The Rudolf Steiner Archive

Address by the architect Carl Schmid-Curtius

As the builder of this house, it is my privilege to address the first words of greeting and welcome to you at today's house dedication.

The abundance of feelings that move me at the handover of this building, our new Theosophical home, should above all find expression in my heartfelt thanks to all those who, with their advice and support, have actually made this building possible. Once I have thus fulfilled the noblest duty of someone who has accomplished a work with the help of others, I may summarize my many wishes for this house, in which Theosophy is to be taught for many generations to come, that I say: In these rooms, the occult motifs have been arranged according to a fundamental idea under higher guidance and approval; we know that everything that surrounds us here is the expression of a spiritual. May these forms all serve to promote Theosophical work and may this building always be dedicated to the spirit in which it was built!

I hereby hand over the keys of the house to the building association of the Stuttgart branch association, and express my heartfelt thanks for their loyal support. I also wish them all the best and much success in their work in these beautiful rooms.

Address by the chairman of the Stuttgart branch association's building association, Jost del Monte

On behalf of the building association, I take over the key of this house.

If you, my dear Mr. Schmid, have addressed words of thanks to all those who have helped you to accomplish this work, we are well aware that these thanks must go above all to the one whose profound knowledge alone made it possible to develop the ideas embodied in these rooms, and each of us shares your sentiments with all our hearts. And as far as these thanks are directed at us, let me tell you that we have regarded it as a very special favor to be allowed to participate in this work. We leave it to our dear guests to judge the extent to which the work has been successful; but let me add one thing: working together with you in harmony has given us great satisfaction, and we fully appreciate the amount of dedicated work this work has required of the builder. We thank you very much and are pleased to be able to say this to you from this point.

Furthermore, we would like to thank all those who have generously contributed to this undertaking, and in particular we would like to mention one of our members who, with a large, fundamental donation, has made it possible to fulfill our long-held wish.

And finally, on behalf of the building association, let me express our joy at being able to celebrate the inauguration of the house together with so many friends from outside. We thank you for your interest in our celebration and warmly welcome you. We have been able to create a stronghold for theosophical life through our loyal cooperation; this house is now complete, and the building association has thus fulfilled its primary task. I now hand over the key to this house to the Stuttgart branches, which may become a place of loyal work for them.

Address by the Chairman of the Association of Stuttgart Branches Adolf Arenson

On behalf of the Association of Stuttgart Branches, I take possession of the key to this house.

It has been designed and built in accordance with spiritual rhythms and spiritual laws that have been transmitted to us by our esteemed teacher.

The forms and designs that confront us, the signs and images that give the room its character, are drawn from those spheres that underlie our earthly one; we should always be mindful of this, and the work we do in this house should strive to achieve harmony with our surroundings. The symbols that look down on us – they shall become inner life through our work.

Sacred is the space in its arrangement - in its holiness it shall be animated by our work. It shall become a home for the Highest, which has become ours through high spiritual powers. And we want to protect with all our strength the good that has been entrusted to us. We solemnly swear this.

In this spirit, we ask our esteemed leader to consecrate the place of our future work.

Consecration speech by Rudolf Steiner

All of us gathered here today feel the significance and consecration of this moment. And perhaps at this hour many a heart here will ask itself what the greater significance and the greater consecration lies in, whether in the fact that we have before us, and whose importance for the theosophical life in our circles we cannot sufficiently feel, or whether in the symbolic meaning, in the symbolic importance of what we are allowed to begin here today. The most beautiful and solemn words at this moment are undoubtedly those that resonate quietly in the hearts of those gathered here, and it is hardly my duty to express these unspoken words that now fill our hearts. We feel the significance of the fact that from now on, for the first time, the spirit that has been maintained for years within our Central European Theosophical Society can be realized in a space that, wherever we we turn our eyes, surrounds us with signs and features of what is so intimately connected with all that we strive for as an impulse for our knowledge, which should lead us into the supersensible worlds. And basically, the full weight of this moment can be summed up in a few words: for the first time we are surrounded by a home, by a space that is ours. A concept can easily be associated with such words, but it must be a distant one. Such a word can be associated with the concept of selfishness; but the word cannot and must not be understood by us in this sense, but solely and exclusively in the sense that we now have a space around us that belongs in an intimate and personal way to what we strive for in the spiritual worlds; and if we allow the weight of these words to weigh on our soul, then the all-embracing feeling of gratitude to all those who have made it possible for us to stand today before such a fact will spring up.

However, if we want to go back to the first sources of this possibility, we have to go back years, we have to look back on the dedicated theosophical work that has been done here in this place for years, and we have to remember the beautiful way in which the most diverse most diverse theosophical impulses have interacted here in this place, how mystical-inner and theosophical-intellectual striving have been lovingly combined here for years, and how harmoniously people with of the most diverse temperaments and working methods, but who were all able to harmonize their working methods, temperaments and characters because the deepest impulse lived in them, which we can express as theosophical love, as a theosophical feeling and striving for peace. We would have to reach far into what has been achieved here on the horizon of our theosophical life if we wanted to characterize everything that has finally been condensed into one impulse. So we can say: born here out of diligent, energetic work in the theosophical field was an understanding of the needs of real theosophical life.

This has captured the heart of one of our dear friends, who was able to turn an idea into reality, which must surely always live in all our hearts. Therefore, our thanks must go to the person who made the basic donation for this building, which was conceived in the noble theosophical spirit and can be entered in the memory of the theosophical development. Thus, relatively early in our theosophical striving, a home for our 'Theosophy' was created here, showing a reflection of our thinking and feeling in every detail. The impulse given by our dear friend is, first of all, an invitation to work in a dignified manner in the home that has been given to us. Thus, we feel, as we have done from the very beginning, that not only what lies before our eyes, what affects our senses, is theosophically ours, but we feel at this moment that space is also, in a sense, morally ours; and we feel this space permeated by theosophical love and theosophical willingness to make sacrifices, the love of those who have worked here for years, devotedly and self-sacrificingly, to give the impulse of theosophical understanding, and the love of the one who first made this room possible. And we may say that we also feel the exemplary nature of this present moment in many respects. It has often been emphasized how Theosophy must find its way into all branches and activities of the human spirit, of the soul life and of the outer life.

Just as everything comes from the spirit, so should all human activity be imbued and inspired by the spirit, and so we must regard it as a fact to be recognized in the true sense as a theosophical result, that we have found in our own midst the man who with what our theosophical spirit is. And you all undoubtedly feel at this moment that our dear Mr. Schmid, who has executed this building, has combined his best theosophical feeling and thinking with what the outside world has given him as his artistic ability. We can feel happy with him about this fact. What do we feel when we take a look at everything that surrounds us! Above all, we feel that not only the skill of a master builder, but also the heart of a theosophical master builder has worked here. As true as it is that we stand in awe of the way our friend Schmid implements what 'Theosophy is' in his art, it must also be true that we are full of gratitude for all the love that he was able to put into this building. I think it has also been a task for you, my dear Mr. Schmid, which filled your heart with joy, with the kind of joy that belongs to the realm of spiritual feeling and that arises when a person is allowed to let his ability to work, his creative urge, his skill flow into the forces of spiritual life. But we consider it a favorable karma of our theosophical movement that we have found precisely this master builder, who — as I, perhaps more than anyone outside Stuttgart, can assure you — has shown a wonderful devotion and understanding for what architecture in this case can offer to spiritual life. And we may be glad if a similar relationship can be achieved in the future.

And now let us, who have come together from the most diverse regions to celebrate this hour with our friends here, remember not only the general, sacrificial and dedicated work that has been done, but also the more specific work that has had to be done in recent years. Just think back to nine and a half months ago, when we were able to lay the foundation stone for this building, and consider all the selfless work that had to be done beforehand. Consider further what had to be done by our friends in Stuttgart, by the inner circle of the Society, which today took possession of this building, so that we can be united within this theosophical new structure. It would be impossible to describe this laborious and devoted work. But one thing in particular should be emphasized about this work. Let me mention a fundamental aspect of such theosophical work! You are all undoubtedly filled with joy and heartfelt satisfaction at how our Theosophical Society has grown; but on such an occasion we should not forget that, although it is the greatest happiness in the sense that one can speak of it here, that it has grown so much, with the growth the difficulties in the management of the affairs of this very Society are also growing considerably.

Things such as those that are now appearing before us, full of significance and laden with meaning, must be accomplished by people who, at the time of their creation, can put their whole hearts into the work. This makes it necessary to speak of the fundamental nerve of such a matter at this moment. The more our Society grows, the more it seems as if such work should be placed in the hands of all theosophists. That cannot be! That is impossible! But something else is possible: that the genuine work on such a project should be carried out in an exemplary manner, almost pedagogically, for all those who profess to be our followers. What will be the best in social terms if our movement is to realize in numerous fruits what it has as a germ? It will not be voting and majority decisions, but the trust that one person can place in another personally and individually; that trust that consists in letting the small groups that have to carry out one or the other work work without hindrance. Then they can work as we have worked here. Let us not disturb those who, sacrificing their hearts, are attached to what should promote our great goal, and let us give them complete freedom to work, let us not surround them with the obstacles of know-it-alls who cannot possibly be there! And when the small circle here has been working quietly for years, demanding that trust, then we may say: If we may judge from the fruit on the germ, then what is in any case in line with the theosophical work has proven itself here in the most brilliant way. The work that we see today is, in the fullest sense, a glorious vindication of the trust that we had in the faithful work of this small building association that has been at work here. With understanding and trust, we express our gratitude for the exemplary work of this building association.

When you leave this room today or tomorrow, take this feeling with you: how different it is to be able to devote ourselves to theosophical thoughts in such an environment than in an environment that we encounter when we have to work elsewhere. Let us feel in this moment how the word can expand for us: This space is ours. What does this mean in yet another sense? What was said at the laying of the foundation stone can be repeated in a modified way: “We have built a temple for the Spirit we serve.” How differently we can feel connected to this spirit within such a building! And we then understand the longing for images of the beautiful, magnificent model that has been given to us here. Perhaps more than any words that could otherwise be spoken, this room itself can speak to those who are able to create afterimages; it speaks in a clearly audible way of the necessity to be surrounded by that which is our spirit's temple. And if there has been talk in Munich of another, similar building, only to be executed on a larger scale, then consider as a beautiful intensification of all these words, which can only be spoken with the mouth, what this room is able to say to you. When we enter it with understanding, dwell in it, and leave it to return to it again and again, does it not emphasize the necessity of such buildings in other places as well?

If we allow our feelings free rein for a moment, we cannot but say that human karma works in the strangest ways. We could be filled with emotion that this building of ours could be placed in this region of this country. Let us remember how much of the intellectual life of Central Europe has sprung precisely from these regions. Think of how, in a quiet, earnest, intimate way, a 18th-century spirit wrote the fervent worship of the spirit that reigns and weaves through all worlds in a friend's book with three words: “One in All.” The unfortunate ZZölderlin, from a sense of the spirit in the universe, wrote the words to his philosophical friend in this very area: “One in All.” The word that was written out of deep feeling in this area has often been repeated. It was written in the family register of a man whose philosophical spirit filled all of Germany and, in fact, the whole of the educated world.

Let us also remember how intellectual life in the 18th and 19th centuries took its starting point from this very area. Theosophy, which could only have existed at that time, originated in this very area. Within the Swabian region, there were theosophical centers in the 18th century from which many colonies originated, some of which are still active today. Let us remember that it was a son of this area who came to an 18th-century seer in Thuringia, Oetinger, who represented the theosophy that was possible at that time. Through his own temperament, he found that seer personality of Central Germany who bore a name that has local significance here. Let us remember that from the vision of the 'Thuringian peoples, the theosophy of this region drew rich sources of seership. Let us remember that the great philosophers were sent to us from the same spiritual substance of this region, let us remember that the one who has become so popular within the spiritual life and who spoke the beautiful word: “Thought is an immeasurable realm, and the word is a winged tool.”

If we bear in mind that we wish to be servants of the spirit through the word in this building, which in symbols and forms is intended to be an expression of the spirit we serve, then in a somewhat modified form, transposed into our theosophical thoughts, a word that long, long ago moved and uplifted countless hearts, which had gathered together everything they had left to build a temple for the Spirit they served. And the one who was allowed to serve with his person in the construction of this temple spoke words that we may translate into our language:

"O Spirit of the Universe, You who proclaim yourself to our true self-awareness, You have graciously kept the word You gave us when You saw our work, as it has been done for years by Your servants; and it is becoming apparent today in this hour. Although the furthest reaches of the spirit are not able to grasp You, great Spirit of the Universe, You who permeate all Your works with Your thoughts, You who want to dwell in the words that may sound from our lips; how much less can these temple walls, which we have built for You, grasp You. But behold, Spirit of the Universe, You who make Yourself known in our true self-awareness, upon our will to understand, upon our yearning for knowledge of Your servants! Behold, Spirit of the Universe, Pervader of every ego, look down upon us, and let Your eyes be open over this structure, where You have decided to dwell! Hear our feelings, which urge us, through our work of letting Your spirit flow into the spaces we have dedicated to You, to show ourselves worthy of You!"

I had to resort to the words of the Old Testament, to the words of Solomon, to express what we ourselves, out of the spirit of human development that has progressed with the world, have to address like a prayer to the spirit of the universe, which dwells in all hearts that strive for true self-knowledge. If we can develop something in us of the devoted feelings that have been invoked in all times by the spirit of a community towards a building, then let us create this feeling in our hearts! As we continue to work in this room, we will see how differently our work can be done than in an otherwise indifferent space.

What, above all, is possible here? There is one thing we need that we can summarize in a single word: concentration of mind, seclusion of soul, while we devote ourselves to theosophical knowledge. We can feel what the voice of the universe itself can tell us if we tune into the spring mood. Even if it is autumn outside, we have spring in this room. Then we can understand from the language of the world spirit in nature how justified it is to seek contemplation and collection. If those who say, “Why do you shut yourselves away with your work, don't carry it out as a labor of love?” should come, then we will not answer, but let us let the great world spirit answer, which speaks from the works of nature itself. How much depends on what happens in spring! What is necessary for the salvation of the plant world that sprouts out of the earth in spring? That the seeds are taken from the full sunlight of outer activity; but in order to flourish, they must enter into the darkness, into the seclusion in which they enter in autumn. Thus, these spiritual seeds of life must be carried into the quiet home of meditation, of knowledge, of love and of peace, in order to work there quietly like the seed in the bosom of the earth; and only then can they be effectively carried out into the full sunshine of life. Such places are necessary for the interaction of human development, and insofar as we ourselves want to be bearers of the best seeds of our cultural life, it is necessary that what can be won from outside, what can only be cultivated and flourish here, be brought into the hiddenness.

Thus it is a wonderful fulfillment of karma that our first Theosophical house has been built on this very ground, like a tribute of the new spiritual life to the old. When the spirit we serve has received this shell, we ourselves feel integrated into the organism of the whole human spiritual life and know that we have a contemporary work in the highest and most sacred sense. It is contemporary because this work is connected to the spiritual current that flows from the source of spiritual life after the karma of all humanity in the present.

Therefore, we can admit it today: we feel that we have been allowed to serve those whom we regard as the source of our work, but also of our opportunity to work, with this work. We were allowed to serve the Masters of Wisdom and of the Harmony of Feelings, in whom lie the sources of our occult knowledge, with our outer work as well, and because we are allowed to feel this, we are also allowed to feel that they help us in our work. May their spirit prevail in this room, which has arisen out of theosophical devotion, which the masters of wisdom and of the harmony of feelings will honor by allowing the forces of the invisible worlds to flow into it, which we need to strengthen and invigorate what our souls themselves are capable of. I visualize the Masters of Wisdom and of the Harmony of Feelings looking down with favor upon this hour and especially upon the feelings that live in our hearts, which are the best when we pledge ourselves to fulfill the work of the Masters in this room that we have built for them. The spirits who have been connected with Theosophy in its best form, as long as it has existed, will send their help into this room; so speaks the feeling that they may do so, but so also speaks a prayer that may be addressed to them in a silent way. When the Masters of Wisdom and Harmony of Feeling, whom we invoke, work in a place where we strive for knowledge, for harmonization, for a foothold in our lives, then this work thrives.

May these good spirits of the theosophical movement bestow their blessings on me when I write out of all your hearts at this hour, not with physical words but only with spiritual words, something like a motto over the door of this house, which is to be written in our hearts , so that we need no physical eyes when we read it upon entering this house, and which we keep in our hearts when we are in this house, when we leave this house, taking with us the longing to gather again and again to cultivate Theosophy. Written over the door shall be:

Those who enter bring love to this home, those who stay inside seek knowledge in this place, those who leave take peace with them from this house.

To me it seems fitting today to speak of something that concerns us very closely; this our home for anthroposophical work in Stuttgart. Perhaps for all of you who have entered this room, and then with a kind of inner vision try to survey the feelings which come to you here, there is a word which may describe what we should like to indicate as the special characteristic of our experience today, namely, mood, feeling; we have doubtless a special feeling, an exalted frame of mind when we are gathered together in this hall. If one follows this feeling further occultly, one may from their standpoint look into the foundation of our life. The most noticeable thing is that we are surrounded by a certain shade of colour which has been used for this room a deep ultramarine. The fact that in many respects combinations of colour play a great part with us, you will also have seen from the way in which we have tried to present the Mystery Plays, and also from the colours of other rooms which we have been able to dedicate to anthroposophical work.

Now it is by no means a matter of indifference to a person in a certain frame of mind what kind of colour he is surrounded by. And further, it is not immaterial what principle shade of colour acts upon a person of this or that temperament, intellectual nature of character. It is also not immaterial for the whole human organisation whether a certain shade of colour acts upon him by being repeated again and again for a long time, or whether it acts only temporarily. You will remember that we covered the hall which served us for the 1907 Congress with a certain shade of red; but from this the conclusion must not be drawn that red is always the right colour for a lecture room. The room here we have covered with a different colour, and if one enquires the reason for these different procedures, the answer is that the hall at Munich was used for a few days for a particular festive occasion, and event which was over in a few days, and was intended to arouse the frame of mind appropriate to this occasion. But here we have a workroom in which our Stuttgart friends will do their anthroposophical work and carry on their classes again and again from week to week. Essentially we are dealing with a room which will be used for oft-recurring classes.

You will best realise the importance of colour if we describe how it affects occultists. For this it is necessary that a person should free himself completely from everything else and devote himself to the particular colour, immerse himself in it. If the person who devotes himself to the colour which covers these physically dense walls were one who had made curtain occult progress it would come about that after a period of this complete devotion the walls would disappear from his clairvoyant vision; the consciousness that the walls shut off the outer world would vanish. Now what which first appears is not merely that he sees the neighbouring houses outside, that the walls become like glass, but in the sphere that opens up there comes a world of purely spiritual phenomenon, spiritual facts and beings become visible. We need only reflect that behind everything around us physically there are spiritual beings and facts. That which lies at the foundation of the physical objects outside in a certain way become visible, what becomes visible is not the same if there are different surroundings. The worlds which surround us spiritually are of many kinds, many different kinds of elementary beings are around us, These elementary beings are not enclosed in boxes or in such a state that they live in various houses. The law of impenetrability only applies to the physical world; penetrability is the law for the higher worlds. But they cannot all be seen in the same way; according to the capacity of clairvoyant vision there may be visible and invisible beings in the same space. When spiritual beings become visible in any particular instance, depends upon the colour to which we devote ourselves. In a red room, other beings become visible than is a blue room, when one penetrates to them by means of colour. We may ask: what happens if one is not clairvoyant? That which the clairvoyant does consciously is done unconsciously by the etheric body of a person if it is not clairvoyantly trained; it enters into a certain relation with the same beings. The consequence of this is nothing less than that, according to our surroundings, we come in touch with one or another kind of spiritual beings. Now, further, it is a case of being able to establish a favourable or unfavourable connection with the beings that surround us. Let us suppose that we use a colour for the room which brings us into connection with beings who disturb us in what we do in this room, then the colour is unfavourable. Conversely, our etheric body may be assisted by spiritual beings though using the corresponding colour; this is then, of course, favourable. Now this room is devoted to repeated study through which we desire to progress in our knowledge. If we have to work in such a room as this, it is necessary that we should be able fully to devote ourselves with our entire human organisation to what is brought before us. We do not wish to be disturbed by anything, we wish to work under the best conditions so that we may take in these things as well as possible; naturally one person will take then in better, another not so well, but the best possible conditions are to be made, so that each one can devote himself—so far as it is possible in accordance with his inner organisation—to the studies which are here brought forward. The colour surrounding us here, brings us in touch with beings in our spiritual environment who come to help us in our etheric body in the spiritual truths within us. In such a building and such a room as this, we are least disturbed, our etheric body is not burdened with fighting against prejudicial influences of certain elementary beings, but the forces of our etheric body are able to work more easily.

Thus we see that for work which is continually repeated and for which there must be a certain calmness of soul as a foundation, exactly this surrounding must be chosen. Let us suppose that we have to deal with something particularly earnest, but which is temporary; in this case if we consider the occult law it is very advantageous—if we are to have not only a festive spirit but also inward strength—to surround ourselves with red. If we have to make a strong decision of the will, we must overcome the spiritual beings which penetrate in. That is to say, on festive occasions we must become strong, so that what we may become a permanent impulse; and unsympathetic weakness of disposition and does not allow earnest decisions of the will to be made, which although roused in a short time, are to remain permanently. The effects of colour are extremely important.

Now you know that under certain circumstances in the general state of our cosmic environment, we see a fundamental colour outspread above us; the blue sky. This blue of the sky is very important to the people of our age, for though the blue expanse of space working upon our souls they continually receive the call to come into touch with the beings in the great world, these beings act upon us through this colour and call upon our etheric body to think of the spiritual. With regard to the blue sky it was not always with man as it is now. The people of the present day think that men have always been as they are now, but the entire constitution of man has changed in the course of time. In those ancient days when man possessed an original clairvoyance there was no blue sky such as exists for present humanity, but at that time when he gazed out into the expanse of space, it was not limited by the blue sky, but he saw into the spiritual worlds which lie out there in space. When our ancient ancestors spoke of heaven beginning there above, that is to say, that the spiritual beings of the Hierarchies are to be found there, they expressed the literal truth.

With these colours which appear transparent (the coloured windows) it is again different from what it is in the case of a colour which is on a wall which we cannot see through. When we observe this shinning bright colour we have to say: Just as through the colour which is on the opaque walls we enter into relation with certain beings, so through the transparent shining colour, we enter into relation with other beings. While the beings with whom we come in touch through the opaque walls are primarily outspread in space, but really have nothing to do with the three kingdoms below us, the mineral, vegetable and animal kingdoms, through shining colours we come in touch with the beings who are directly occupied with bringing the objects of the three kingdoms of nature into being. When we look particularly through shining red, we come in touch with quite a particular type of beings within the kingdom of nature. When shining red forms a kind of window through which to look clairvoyantly into the kingdom of nature, we meet with beings whose work forms the best forces for the future of our earth existence. They have to be there in the kingdoms of nature, so that inner forces may develop in man which make him more and more chaste in his blood, that is to say, in his passion life, and when we look into the kingdom of nature in this way, we are looking upon those beings which, although we may not be aware of it, incite us the most to rouse up and push forward in the purification of our passions.

Besides being surrounded here in this room by certain shades of colour, we see all kinds of tokens and symbolic figures. These are filled with meaning, although I do not mean the meaning which can be found by the intellect. Ingenious persons may discover in them all sorts of curious things, but to occultists explanations such as these mean nothing. The chief point is that these figures are actually here, and if we turn our physical eyes to any one of them, it is not merely the physical eye, but the whole organization, above all, it is the currents of the etheric body which come into motion in quite a special way, they are roused by the course of the lines and by the forms of these figures, so that the etheric body has different movements within it, according as one looks at one figure or another. This means that within the world of etheric substance, which surrounds us, with all the beings incarnated in it, the forms which we see here, are actually present, There are beings who really have these forms in the etheric world; and when we look at one of these figures our etheric body arranges itself in such a way that in its own movements it builds up forms according to these lines, that is, it produces a thought-form which then proceeds from it; and according to the thought-form, will our etheric body be able to make a real union with one or another kind of being. These figures are the means by which this may be accomplished, for when we look at them, we produce within ourselves the thought-forms, that is, the movement-forms in our etheric body. Now these figures are chosen in such a way that when looked at in a rhythmic consecutive order they yield something which is a whole, namely, something which corresponds to a certain stream of development in the outer etheric world, something which through a particular circumstance is favourable to our etheric body; our etheric body has within it the tendency to change, in a certain way it will be different when it is more perfect. The series of forms corresponding to the gradual perfecting of our etheric body will be developed in the consecutive order shown in these figures. When we display these symbolic figures, which are in accordance with certain occult facts, and can let our vision penetrate more deeply, this is a help towards what we are aiming at, and if we produce the corresponding thought-forms in the right consecutive order, we assist our inner being which is to open our understanding for the rhythm which exists when you are speaking of the seven principles of man. We have not placed these figures there merely for decoration, but because they are inwardly connected with what we wish to accomplish here.

We are placed in touch with the surrounding etheric world by means of the thought-forms which we ought to build up in the manner just described; by means of music we are placed in touch with the astral part of our surrounding world. Music acts directly upon our astral body, so that we are made receptive—because this works from within on the etheric body—to all that is incarnated in the astral word, not in the sense in which one speaks of the astral world as contained in kamaloka, but the universal astral world into which the devachanic world also streams down. The revelation through music is a more direct one than when the higher worlds clothe themselves in the forms around us in space; but that which is outspread in space, if it is in accordance with occult results, leaves us independent, whereas music constrains us.

We now come to a kind of action on human beings which affects the etheric body by first stimulating the astral body, also by means of the element of space, and we may also study an example of this in this room. Up above you see two pictures which were contributed to this special occasion by our friend, Stockmeier. These two pictures will later be painted differently, and they will then produce the full effect intended. The effect of these two pictures together, not of each one singly, is somewhat as follows; when first one picture works and then the other afterwards, under all circumstances, whether it is wished or not, the one picture and afterwards the other will together rouse up thought-forms particular formations in the astral body. This remains in the sub-consciousness, and because it is contained in the intention of the pictures—it is only reproduced in an abstract way by means of ideas. Our feeling may perhaps render somewhat more perceptible the thought-forms which our actual body will produce perfectly under all circumstances from these pictures, if Mr. Stockmeier, succeeds in painting them in the right way. The picture on the right; a certain astral form, an kind of dragon is vanquished by a great being who belongs to the higher Hierarchies (Raphael) merely by his magnetic gaze; and when through the development of his will man comes to receive the power of this being into his own will we shall have the powers of which the Greeks thought in connection with the divine powers of Aesclepius with which he healed. All that is contained in the spiritually magnetic gaze, which can have curative effects when it is suitable trained, may be called forth in thought if immediately afterwards we pass over to what belongs to this feeling in the other picture. The optical effects must be conveyed to the phantom, so that with the help of the phantom-forces of the physical body, the effect is strengthened which proceeds from the dragon which is then overcome by the power of Michael. When we acquire the power to feel this thought out of the forces of the universe and think how through the physical body it may receive a vehicle through the will-forces being strengthened, so that a person need no longer say in regard to such forces that the spirit is willing but the flesh is weak, when we have these consecutive feelings and formations of the astral body, we have something which subconsciously can strengthen the moral nature very much. Thus we can draw moral power directly from the consecutive consideration of the two pictures, and still more from three. But it must be expressly pointed out that this applies only to the united notion of such themes, not to one single theme. If it were to depend upon one picture it would have to be differently formed, the two motives would have to act together, as for example, in the Sistine Madonna; in that instance there is a crossing of two motives which can strengthen the moral nature to the highest degree. Up above the clouds out of which the angels heads are formed, and when we look at the child Jesus in the arms of the mother we perceive that it has originated through the consolidation of the same forces which bring the angels only to a cloud existence. That is one motive, in which we perceive the origin of the pure light-being of man out of the cloud-light of the universe, as it were. This motive meets that which in expressed in the mother; she is full of innocence and love, and from that which appears to us as the body, the face, the lines of the mother, we see coming forth, as it were the warmest love. Light from above, condensing into the pure light-body of the child Jesus, and warming love from below, meeting and touching in the position of the arm—the two motives blending together—this gives subconsciously to our astral body, whether it wishes it or not, if a person only has the patience to devote himself to it, the feeling: It is thy duty to bring thy love towards that which can reveal itself to thee from divine heights, so that thou takest it into thine own arms and realisest it in the world, that thou bringest impulses in life from the spiritual world. The Sistine Madonna is an alter picture in which this thought-form works together with a congregation. We have here to do with two motives which are to rouse in us the frame of mind in which we may become capable of holding fast in thought the laws and the principles of action of the spiritual world. That is the essential point in our anthroposophical work. Spiritual things are always in motion and to the untrained seer they are like dreams. It is difficult to hold fast in thought these moving, fleeting peculiarities of being, and, conversely, it is also difficult in thought to give thought itself such an inner consistency that ont receives the feeling: Thou art thinking a reality of the true spiritual world. We can receive this feeling if we allow these pictures to act upon us in the manner described, not be apathetic towards these things, but look at them repeatedly. Then the forces of the astral body are obliged to experience the effect which may be described by saying, that we come more and more to perceive the true content of anthroposophical thought. We are not coerced unawares, but this recognition is quite free; the co-operation of two motives is something which liberates the free powers of man.

Thus you see that in what surrounds us here all the laws are fulfilled which so-called white magic uses, not to work by means of any overruling force upon modern humanity, but to consider that which is to be worked upon in another human being as a sacred thing which must not be touched, which is to allow the forces of the spiritual world to come forth out of itself. If you bear in mind what has been said in this lecture you will realise how important it is to anthroposophical work that it should have its own home, for you will have received the feeling that such a home must be built and arranged within according to the laws of occultism itself, and indeed, according to laws of occultism which at first are somewhat remote. You will also understand what it means on the whole when we possess no such home and are obliged to give our lectures on Anthroposophy and carry on our studies in the ordinary rooms usually at our disposal. Our age has, indeed, very little talent in the domain which has been touched upon today, and the greatest sins are committed in the realms of form and colour. For instance, the way people dress and the colours they use are outrageous, and when one goes through the streets of a large town and looks at the shop-windows with a vision sharpened by occultism, he will be obliged to decide for himself the question whether what he sees comes from sound reason or from something else. And if the judgment as regards colour is bad, it is still worse with form. But this limited talent also exists in regard to the decoration of rooms, and when it takes place in full consciousness it is frightful to be obliged to hold our anthroposophical lectures in conventional rooms. When this fact is considered and then compared with our present surroundings, with all this which has proceeded from our intentions, which surrounds us not in any way from caprice, but as we must be surrounded, if we wish to work under favourable conditions, then we shall be able to realise the importance of what has been done here; and the words that I have said to you today are intended to help us to realise it.

A spiritual movement can be injured very much by one-sidedness; and when we devote ourselves to such a subject as the occult standpoints of the Stuttgart building¹ we must clearly understand that when some single truth is specially emphasised, a strong light falls upon this truth, and one may then easily fail to recognise what should also be observed — the other side of the matter. In order to arrive at an all-round view one should always bear this in mind. For example, to all that was said yesterday² something else must be added. Certainly, a still greater perfection is attained when we are able purely in thought to erect around us such a temple, when we are able to imagine ourselves surrounded in thought by such a home. To this end our thoughts must be so strong that they act like a physical home. This may be achieved by a great power of concentration when, alone by ourselves, we follow rules such as are given in my books, The Way of Initiation and Initiation and its Results.³

But now, in order that we may have the right ideas about the necessity of such a building, we must say that when we devote ourselves to our studies in our lodge work, we require not only that we as individuals shall produce the conditions for our concentration, but also that we shall be disturbed as little as possible by what is around us. As the human being consists not only of the physical organism but also of supersensible principles, and these are active and set up relations with our environment, it is necessary when we exert our physical thought, for us to support the efforts of our will for our etheric and astral bodies. This we can do by providing for our subconsciousness — that is, for our etheric and astral bodies — conditions which may best be set up when we are in occult surroundings.

For this reason such a building is a great benefit and becomes a necessity to us.

We must bear in mind that in a certain way the great truths are at the same time difficulties to a person, something which he must first learn to bear, something which at first may be shocking, which may upset him, because it agrees so little with his everyday life. Therefore, in order to come to the higher truths in as favourable a way as possible it is necessary to provide a building such as this so that the spiritual knowledge which awaits us may indeed come into us — and in our age the Masters of Wisdom and of Harmony of Feeling are able to give us a great deal.

Since the end of the 19th century many doors have opened to the spiritual world, and many streams of spiritual life may be led into us. It may be said that just in the immediate future, towards which humanity is now going, the conditions are becoming more and more favourable for the influx of important spiritual knowledge which can enable us to progress quickly in every respect; but in order to clear away the hindrances which come through people — after they have just slipped out of materialism — not yet being sufficiently mature to receive the great truths, we must develop within ourselves a frame of mind which brings less danger of disturbance. This can be accomplished by means of suitable surroundings; and everywhere where from our standpoint just at this time care should be taken to see all is in order, there everything will really be observed which the occult point of view demands. It is natural that the needs and wishes of one who comes into Anthroposophy should go very far to one side or another, and because on the other hand there cannot be the necessary insight, it is difficult to be obliged to deny things which the other considers right. Very often it is not perceived that the denial is for the other’s welfare, and it is especially the case that some can only await the answer to one question or another with very great difficulty.

Because all knowledge is exoteric, one has grown so accustomed to expect that fundamentally everything that a person may ask can always be answered; but to this belongs two things at least. One is that the person who wants the answer should be in the position to understand it, that is to say, that through his whole anthroposophical or theosophical development he had progressed far enough to understand the answer. Abstract reasons prompt him to put the question much earlier than it is possible for him to understand the answer which is given from occult worlds. The other is that the one asked knows the answer. In regard to certain spiritual knowledge we are just at the stage when a question may be very premature, not only for individuals but for our whole age, although the answer will doubtless be given to us in the right form in the course of time. For this reason I said in the course of lectures at Karlsruhe⁴ that an essential thing in occultism is: to be able to wait. Particularly one who perhaps has undergone a certain development must be able to do this, and most of all one who has reached a certain height of occult development. When a person considers it extremely important to answer a question at a certain time, the intellect, which is always ready to answer, may very easily conjure up an answer, even from the feeling of a trained occultist. This answer is not only false or insufficient, but it takes away for a long time the possibility of a coming to the right answer at all, hence it is necessary to be able to wait until one is favoured with an answer from the spiritual world.

This applies not only to the highest questions, but also to more elementary ones. Even to the trained occultist there is a great temptation to produce the answer out of himself, but then he will be liable to fall into error. These two pictures [in our building here in Stuttgart] are an example. Our friend Stockmeyer has said for a long time that he wishes to finish them. The answer concerning the idea was promised him as soon as it was possible. That went on for a long time. To the despair of the architect the pictures were only finished very late indeed. Where did the fault lie? It was because the answer which was necessary as a kind of occult sketch for these pictures could only be given very late. One had to wait until the intuition came. These ideas might very easily be thought out, but then they would be worthless. What is so necessary is that one should not only go the straight way, as it were, but one should also have the resignation not to excogitate something; only to exercise the intellect upon occult truths when they are there, but not in order to find them. For this purpose the intellect must be absolutely laid aside. When occult truths are there they must then be taken up and established by the intellect, it must give them a logical character. One must make a practice of this if one wishes to progress; just as when one uses details which may perhaps be elementary in order to fit them into a whole. Then what will happen if in Munich we wish to build a great hall and at the right time we have not the idea which is to be embodied? We are Anthroposophists and know that karma works not only in individual beings, but in all connections, and when we have this faith we know that when a thing is necessary it can let us wait, but it will come, and indeed at the right time. We cannot judge when the right time is, for this we need confidence in the future; if it does not come, then it is not the right thing for us. This is not fatalism, for such a faith does not prevent us from making every effort, but it directs these efforts into the right lines. We make no false attempts with our intellect, but prepare ourselves for the moment when we shall be favoured. Instead of worrying oneself in front of a sheet of paper it is better to sink into prayerful meditation and ask of karma that this moment of intuition may come.

With this is also connected what might be called the right view of the Rosicrucian principle. If one who is acquainted with the Rosicrucian Temple⁵ in a pedantic, external manner were to come into this building, and if he were to remember the rules taught him from old traditions, he would say: “You have done it all wrong, that is not Rosicrucian.” We should have to reply: That which you demand we do not wish, and could not wish it, for Rosicrucianism does not mean to carry on certain truths throughout the centuries, but it means to develop the sense for what each age can give to man from the spiritual world. That which in the l4th century might perhaps be wrong is right in our age, and in our age it must be done in this way, for our relation to the spiritual powers around us requires exactly this form. This building, therefore, is not constructed after an old pattern, but it is built in accordance with the requirements of our age.

For what is the demand made of us by the spiritual powers? I give hardly a single lecture without using the word ‘theosophical’, as this is linguistically possible, although it is not grammatically correct. Perhaps many would find our address, “My dear theosophical friends,” blameworthy.⁶ This word is purposely used because the heart of our mission may be characterised by this word. Theosophy, or Anthroposophy is something which has always existed in the world and has been cultivated in all ages in the way in which humanity had to cultivate it according to its requirements — at one time in wider circles and at another in smaller ones, according to the peculiarities of the several ages. It is something which — after all the preceding developments have taken place — may now be given in such a form that, within certain limits, it can enter into each human I, into every feeling and every stage of intellectual maturity.

Today there need be no one who, if he has the goodwill, may not receive Theosophy or Anthroposophy. For this reason it is on the one hand something external and on the other a special task of our age. From this standpoint we must consider ourselves as the vehicles of the world-movement which must be described as the theosophical or anthroposophical movement.

That within this movement, according to the capacities of the individuals, the most varied shades may be found, should be self-evident, and this has been the case in our movement in every age. When Theosophy becomes conviction it provides the ground upon which the most varied knowledge may blossom forth, but they have to be obtained on the paths of actual truth. Among those who understand the heart of occultism it is always the case that they cannot disturb one another; it is impossible for persons to disturb one another who are engaged in occult practice and through proceeding from different starting-points arrive at other formulations. That is a strict law. The occultist may not fight when he sees that other occultists have correct starting-points and are striving rightly, even if he finds their formulation clumsy. The fact that various occultists formulate what they have to say in different ways may depend upon the various starting-points, and according to how they consider it necessary to bring this or that from the higher worlds.

It is different when it becomes evident that other movements are not on the same level, when they simply set to work with more elementary conditions and then assert that this is the final truth. Not to recognise a higher standpoint is wrong. If someone were to say that Christ — whose nature we have tried for years in our spiritual movement to render more and more plain — can incarnate more than once upon the earth in a fleshly body — upon what would this assertion rest? From what you have heard and will still hear you will clearly understand that there is a Being Who works in such a way that He could sojourn but once in a physical body for three years, and cannot come again and again in a physical body. This is a truth which has always been emphasised by Rosicrucianism; and it was also clearly shown in the Mysteries. One who does not know this may arrive at an incorrect formulation from a knowledge which does not extend so far into these regions; incorrect because it uses the name Christ.

On the other hand it is possible to say: Why does the other speak differently? He speaks differently because he is not thinking at all of what we have here called Christ. He designates someone else as Christ, of whom perhaps might be said what he says, but it is not the one who is spoken of in this movement, because it is the unconditional necessity of our age — as the requirements of the Masters of Wisdom and Harmony of Feeling — that we should speak of this high Being whom we call Christ. And when we read the Gospels we may recognise and identify Him with the One who for 2,000 years has been thus described. This is an historical right, not an absolute one, of course! Although the knowledge of Him has been very imperfect for 2,000 years, He has been thus described, and we do the same for historical reasons. On this account this name ought not to be used for other beings. This is something which has always been emphasised and which today can really be quite easily understood by anyone.

It is, however, interesting to notice how difficult for some to understand this matter clearly, but those who from the very beginning have no particular inclination to enter into more detailed explanations will have felt it uncomfortable that we do not by any means make the matter concerning Christ so easy. This one could see again in Karlsruhe (when the preceding course of lectures on the subject of ‘Jesus to Christ’ was given). What was said there was only possible because of everything else which had preceded it. Thus at the present time it is not yet very easy to arrive at the Christ principle, but it is a necessity which is laid upon us by the leaders of the spiritual movement.

It is very remarkable that there has been a certain difficulty in introducing the special investigations of Rosicrucianism into the theosophical movement, and even the position of this movement is very misunderstood here; exactly in how far does this movement merit the name of a Rosicrucian movement? But I shall never say: “My Rosicrucian friends!” You may gather from this that it was never correct to consider what belongs to Rosicrucianism as something exclusive. If someone outside our movement were to say that we were Rosicrucians, that would not only be a misunderstanding, but it would be a somewhat defamatory designation for our movement. This always reminds me of a man in the market place who once said that so and so was a phlegmatic, and a woman said, “Oh, is that what he was? But I know he is a butcher!” It is somewhat similar when in order to distinguish us someone calls us Rosicrucians. This has no meaning. Rosicrucianism has flowed into our movement, it is assimilated and to a certain extent practised. How difficult it is to let this current flow in you may see in the remarkable fate of the personality to whom all we in this movement look up with great respect: Helena Petrovna Blavatsky. If you follow her development from Isis Unveiled to The Secret Doctrine you will see that a great amount of Rosicrucian knowledge has streamed into Isis Unveiled. For reasons which cannot now be discovered she then swerved to one side in The Secret Doctrine, which did not further develop what could have been carried further, but on the contrary took a side path. But how strongly these Rosicrucian principles acted we may see in the third volume of The Secret Doctrine. There one finds the greatest truths next to really impossible things. One who is able to discriminate may connect this with what is being revealed today.

Thus it has come about that Helena Petrovna Blavatsky has very clearly said that it must never be thought that Christ Who is to come again will reappear in a fleshly body, but that the coming Christ must only be understood as an event which a person experiences through a connection with the spiritual world. We take the same ground that she did in this respect, when in a clearer way than was possible to her, we work out what she commenced. When she turns with such severity against the idea that Christ could incarnate again in the flesh it is not easy when the reproach is made against our movement that her most important knowledge, which sometimes is not well formulated, is violated. There is continuity, and there is no need to make this breach with the original starting-point, by coming into conflict with what concerns the coming of Christ. Although we always set what is true in place of what is false, in many things we may go back to the original statements of Helena Petrovna Blavatsky. And we may know that in the form in which she now lives she wished that the continuity should be developed, which should not be an adhesion to the formulas but a working in the spirit which existed at that time. It was not a spirit of standing still, and least of all a spirit of retrogression! We work in the best way when we bring out that which was still closed to Helena Petrovna Blavatsky. The doors have opened in quite a different way, especially since 1899.

Without taking into account anything that has gone before, we try to penetrate into the meaning and importance of the Christ Principle. This leads us naturally to join on to the occult investigations which have been made with special care in Rosicrucian circles since the l3th century.

But those who have heard my various courses and lectures will know that we are not now teaching the Rosicrucianism of the 13th century. We are Rosicrucians of the 20th century! It is our task to join on to the principles which Rosicrucianism possessed, to utilise them in theosophical progress. We cannot do otherwise than recognise that what has thus been found is something higher in every way than anything else in the world with respect to the Christ Principle. We must, however, admit that on account of the energy with which this principle has been worked out the teachings regarding Karma and Reincarnation passed into the background. Therefore we are dealing not with the spirit of an historical epoch, nor with the spirit of Rosicrucianism, but with the Spirit of Truth. It is quite indifferent to us where one faith or another appears, we have to deal with the Spirit of Truth, and on this account all division into categories and forms must always give rise to misunderstandings in our movement; we desire only to serve the Truth, as was described with respect to our small festival. We wish to represent not what this or that age has said, but what comes directly from the spiritual world. That which can be recognised by the human intellect is our concern; in accordance with this we shall lead our movement further, and with respect to all other creeds we may call ourselves theosophists, according to the motto of our movement: No religion is higher than Truth. In this respect we take the most theosophic ground.

For this reason we surround ourselves not with a building modelled according to Rosicrucian pattern but with one that is planned for a particular object. For example, the size of the space is the external condition for this. Perhaps we should have been quite unable to add one thing or another if the space had been larger or smaller. No scheme is of any value, but we have to wait for what comes to us as a gift from spiritual worlds. In other words, our whole effort is to understand something that sounds so simple: To open our hearts to the spiritual world which is always around us, to understand words such as those which Christ said: “I am with you always, even to the end of the world.” If someone were to examine the work we have done in past years he will not be able to say that we present Christianity in a way it was thought in the early centuries. We desire to acquire the spirit which wishes to come close to Christ as He is today; and only when we have recognised that this Christ is a living One we shall illuminate what took place in former times.

In the same way we consider Buddha as a living One, who follows his principle that Buddha does not return any more in the flesh. If someone were to affirm this, we should have to reply that he understands nothing about Buddhism, for one who has risen from Bodhisattva to Buddha does not return. For Buddha lives, and he works in our movement and illuminates what he accomplished 2,500 years ago by what he does today.

Just as only he may speak of Buddha who knows him, so also only he who knows Christ may speak about Him. Therefore if someone says that a very important being will come in a fleshly body, that may be correct, but he has nothing to do with Christ. The fact is that if a person enters deeply into the nature of Christ he comes to understand that the other is making a mistake; it can never be the reverse. This brings difficulties, but it must be borne in mind — especially by one who has occasion to practise theosophical principles in the true sense — that one should exercise tolerance even towards error. But to exercise tolerance means, not to acknowledge error but to deal with it with love, otherwise it would be a sin against the Holy Spirit. We must exercise tolerance precisely because in regard to Christ we represent the Rosicrucian principle.

We can wait until opposition comes, exactly concerning Christ. If you understand this word, the principle of the most real search for truth and on the other hand real tolerance, you will be able to answer for yourselves the question: In what sense are we Theosophists and in what sense are we Rosicrucians?

• 1. The Branch-House in Stuttgart; the first building specially erected and designed for anthroposophical work; opened by Rudolf Steiner in October, 1911.
• 2. Special Building for Anthroposophy at Stuttgart from an Occult Point of View, Stuttgart, 15 October 1911
• 3. The Way of Initiation is an early version of the first half of the book entitled Knowledge of the Higher Worlds and Its Attainment. The book Initiation and Its Results corresponds to the second half of Knowledge of the Higher Worlds and Its Attainment.
• 4. Course of lectures From Jesus to Christ, GA 131
• 5. See description of the Temple of the Holy Grail in The Younger Titurel by Albrecht von Scharfenberg, about 1270 AD.
• 6. This lecture was given prior to the exclusion of the German Section from the Theosophical Society. Since then Dr. Steiner’s movement has continued as the Anthroposophical Society.

A public lecture at the Stuttgart Art Building

When the spiritual science, the aims and nature of which I have been honored to present in lectures in Stuttgart every year for almost two decades, gained greater currency, namely when artistic work was created from this spiritual science, the intention arose to create a central building for this spiritual science that would be particularly appropriate for it, somewhere where it would be fitting. This idea has become a reality in that we performed the Mystery Dramas in an ordinary theater in Munich from 1909 to 1913. These plays were intended to be born out of the spirit of this anthroposophically oriented spiritual science in their entire structure and attitude.

What the supporters of this spiritual science had in mind, on the one hand, as the actual meaning of their world view, and, on the other hand, as the artistic expression of this world view, was initially brought about by the intention, just mentioned, to stage their own play, which was to be the representative, the outward representative of this spiritual science. In Munich, this did not succeed due to the lack of cooperation on the part of the relevant artists. Since I have set myself a different task today, I do not want to talk about everything that led to the construction of this building on a hill in a remote location in northwestern Switzerland, in the canton of Solothurn, where, at the time we began building, there were no restrictive building laws and one could build as one wished. As I said, all this has led to the fact that I do not want to go into it today. But I would like to talk about the sense in which the intention should be understood, especially for the spiritual science meant here.

When one speaks of world views, world view directions or world view currents, then one usually has in mind a sum of ideas that often have a more or less theoretical or popular character, but which mostly exhaust themselves in the fact that they simply want to express themselves through communication, through the mere word, and then at most expect from the world that the word, which is formulated in a certain way programmatically, is actually carried out in reality. From the outset, what is meant here as anthroposophically oriented spiritual science is not predisposed in the same way as other world views. It is, if I may express it this way, imbued from beginning to end with a sense of reality. That is why it had to lead, even in difficult times in this present age, to direct penetration into what the attempt at a social reconstruction of modern civilization is. If a world view that is more in the realm of ideas needs a structure of its own for its cultivation, then, depending on one's means, one usually contacts someone whom one assumes to be professionally capable of constructing a structure from the relevant styles. One contacts such a personality or a series of such personalities in order to then create, as it were, a house, a framework for the cultivation of such a worldview. However, this could not have corresponded to the whole structure of our anthroposophically oriented spiritual science, for the simple reason that this spiritual science is not something that expresses itself only in ideas, but because it wants to express itself in all forms of life.

Now I would like to use a simple comparison to suggest how this anthroposophically oriented spiritual science had to express itself in its own framework, both in terms of trees and in artistic terms. Take any fruit, let us say a nut. Inside the nut is the fruit, and around it is the shell. Let us first look at the hard shell inside the green shell. If you study the whole configuration, the shape of the nut shell, you will say to yourself: it could not be any different than it is, because the nut is as it is. You cannot help but think to yourself: the nut creates its shell, and everything about it that is visible through the shell must be an expression of what the nut itself is. Thus, a frame is quite appropriate in nature, in all creation, for what it frames.

If you do not think abstractly, if you do not think theoretically, if you do not think from a world view that moves only in ideas, but that wants to be in all reality and in all life, then you feel compelled to do everything you do in a certain way, as the creative forces in the universe do. And so, if we had built with some alien architectural style, with something that had grown out of those building methods that are common today, a framework for an anthroposophically oriented worldview and its cultivation, there would have been two things: on the one hand, a building that expresses itself entirely from within, that says something for itself, that stands in its own artistic formal language. And then one would have entered and represented something inside, cultivated something that could only relate to the building in a very superficial way. One would hear words spoken in such a building, one would see plays performed on the stage (since these are intended) and other artistic performances; one would have heard and seen and beheld something that wants to present itself as something new in modern civilization. One would have turned one's eye away from what one might have seen on the stage; one would have turned one's ear away from what one might have heard, and one would have looked at the building forms — these would have become two essentially different things. The spiritual science meant here could not aspire to this. It had to strive in harmony with all world-building. It had to trust itself to express itself in artistic forms as well as in building forms. It had to claim that what forms itself into words, what forms itself into drama or into another form of artistic expression, is also capable of directly shaping itself into all the details of what is now the shell. Just as the nut fruit creates its shell out of its own essence, so too did a spiritual science such as this, whose essence is not understood in the broadest circles today because it breathes precisely this spirit of reality, had to create its own framework. Everything that the eye sees in this framework must be a direct expression of what is present as living life in this world view, as must the formed word.

And there were some pitfalls to avoid. For those who have a certain inclination to make a building appropriate to a worldview are often, let us say, somewhat mystical or otherwise inclined, and they then have the urge to express what is expressed in the worldview in external symbols, in some mystical formations. But this merely leads to such a framing becoming something in the most eminent sense inartistic. And if one had performed a building bearing symbols, one would have wanted to express in allegorical or symbolic form what underlies anthroposophically oriented spiritual science, so nothing would have emerged but something in the most eminent sense inartistic.

Indeed, I must even admit that some people who have come to what is referred to here as anthroposophically oriented spiritual science with their views and currents of life, as contributors or advisors, in the early days of our work in Dornach, were quite inclined to express everything that spiritual science contains in old symbolic or similar forms. I might also mention that those people, who are so numerous, who either out of a certain lack of understanding or out of malicious intent talk about the Dornach building, keep coming to the world with the idea that one can find symbols for this or that, allegorical expressions for this or that.

Now, ladies and gentlemen, it must be admitted that even in what I have to show you this evening, anyone who does not look closely and with a lively sense of perception can find something to use as an expression: There are many allegorical or symbolic elements. In reality, there is not a single symbol or allegory in the Dornach building, but everything that is there is there entirely so that the inner experience of the spirit, which on the one hand is to be grasped in ideas that are expressed in lectures or the like, is experience is to be completely dissolved into artistic forms, that nothing else is asked for in artistic creation in Dornach than: what the line is like, what the form is like, what that is which can be shaped as an artistic form of expression in sculpture, in architecture, in painting, and so on. And many a person who comes to Dornach and asks what this or that means is always given the same answer by me: I ask them to look at the things; basically, they all mean nothing other than what flows into the eye. People often say that this or that means this or that. But then I am obliged to talk to them about the distribution of colors and the like.

I have now tried to show how the building, as a shell, very much in the spirit of nature's own creation, forms the framework for anthroposophically oriented spiritual science. But for that very reason the whole idea of the building had to strive for something new. Now, in all that I am going to say today, I ask you to bear in mind that, of course, much criticism can be made of the Dornach building, that many objections can be raised. And I give you the assurance: the person who perhaps objects most of all is myself. For I am fully aware that the Dornach building is a beginning; that the Dornach building stands as a first attempt to create a certain stylistic form that cannot even be characterized in words today, because its details are not formed from abstract thoughts, but from what is experienced in a living way in that beholding of the spirit that is meant by our spiritual science.

I may mention just one difference at the outset: if we compare the various architectural styles, which, in a certain development of form, still find expression today wherever buildings are constructed, it is apparent everywhere that, basically, the mathematical, the geometrical, the symmetrical, that which perhaps follows in the rhythm of the line, the mechanical, the dynamic, etc., all flow into architecture. From the basic feeling – I am not saying from the basic idea, I am saying from the basic feeling – of our spiritual science, the daring attempt was once made, I know it, to create an organic building idea, not a mechanical-dynamic, but to create an organic building idea, and this under the influence of that which Goethe incorporated into his great, powerful view of nature under the influence of the idea of metamorphosis. The Dornach building, as far as this can be realized in architecture, should not merely represent the symmetrical, the dynamic, the mechanical, the geometrical; it should represent something that can be looked at, I do not say grasped, but looked at as a building organism, as the form for something living.

In this case, however, it is a matter of every detail in an organism being exactly as it should be in its place. You cannot imagine the ear lobe in a human organism being formed any differently than it is. So we tried to make our building in Dornach a completely organic, internally organic unit by placing each individual part in the whole in such a way that it appears as a necessary structure in its place; that every detail is an expression of the whole, just as a fingertip or an earlobe is an expression of the whole human organism.

That is one thing that has been attempted. As I said, it is a beginning, an attempt, and I know how many imperfections it has and how much can be objected to from the point of view of architecture and sculpture and so on. The other thing is what I would like to say in advance, namely that our world view itself demands that the whole idea of building be formulated differently from the way in which the idea of building is usually formulated. If we consider ordinary buildings – I will mention just one – we find that they are closed off from the outside by walls to a certain degree. Even the Greek buildings were closed off to a certain degree. What is required by the Dornach building is that the wall itself be treated in a completely different way than it is usually treated. The person who enters the Dornach building should not have the feeling that, having a wall around him, he is closed off in an inner space. Rather, everything should be artistically designed so that, to a certain extent, the wall itself is suspended; that the wall itself - please do not misunderstand me - the wall itself becomes artistically transparent, so that one gets the feeling - transparent is of course only spoken in comparison - you are not closed off, but everything that is wall, everything that is dome, opens up a feeling that it is broken through, that it cancels itself out, that you are in a feeling connection with the whole great universe. Far out into infinity, the soul is meant to feel connected to this through what the forms evoke; the forms of the columns, the walls, the forms of the dome paintings, etc.

The building in Dornach is a double-domed structure, consisting of a small and a large domed space that do not stand side by side but interlock. The small domed room, that is, the circular room covered by a smaller dome, will be used for presenting mystery dramas, for dramatic performances in general, for other artistic performances, such as eurythmy. But there are also other things planned. Then there is the large domed room, which is connected to the smaller one in the segment of the dome. It is intended as an auditorium; so that those who approach this building must immediately be imbued with a certain feeling by this outer form.

We will begin by looking at our building as it presents itself to someone approaching it from the northeast.

So, as you can see, we have a double-domed structure. This is the auditorium, and here is the stage. The two domes are inserted into each other by, if I may say so, a special technical feat, because this insertion was difficult. The person who approaches this building – which, I believe, is particularly appropriate in its artistic expression of the special mountain formation of the Jura region in which it is built – should have the feeling that something is present that reveals itself in a duality. The person who enters the building finds themselves in the large domed room. Inside, he may have the feeling: here something is seen, something heard. And this something, which is experienced in a sense in the heights of spiritual life, which is to reveal itself to an inclined audience, should already express itself as a feeling to those who approach the building.

But initially, every single detail of the outer forms is attuned in such a way that one has an impression from the outside, so to speak – I could not express it in terms of ideas or thoughts – but through the forms, through the artistic language forms, one has an impression from the outside of what is actually being proclaimed inside as spiritual science. I would now like to show you another approach to the building, which presents itself when approaching it from the north:

Here is the building, here the main entrance, here a nearby building that has experienced very special challenges. I would just like to mention in this picture: the lower part of the building is a concrete structure. It has a walkway here. The entire building stands on the concrete rotunda. The entire double-domed structure is a wooden construction.

I note that the task was not only to create a shell for spiritual science in this building, but also to find a style for this very special institution that could be derived from concrete. That, ladies and gentlemen, is what is not really understood today, that we have to create out of the material everywhere. Today we see how sculptors create things that they shape, I would say, by having some kind of novelistic idea or a novelistic harmony of ideas, which are then shaped in any material, in bronze or the like. But we have to come back to having such an intense feeling for the material that we ourselves, even with this brittle, I mean artistically brittle, this abstract concrete material, gain the ability to create forms of design out of the material.

It is certainly the case that today people will not understand you if you say to them: I am going to paint a picture; in the middle I have this or that figure, on the sides this or that figure, I now want to do that, can you do something like that? And one answers: Yes, you can do anything, but it is a matter of what becomes of the colors. You cannot talk about a picture differently than from within the colors. Even in many artistic circles today, there is little understanding when one tries to think that which lives artistically as something quite separate from everything that is not direct contemplation, direct experience of feeling.

As the third picture, I would like to show you another aspect of the building. You can see the small dome, the large dome. Here, seen from the outside, the auditorium. The whole thing sits on the concrete substructure here. Here are the side wings, which fit into the building at the point where the two domes merge.

This is a slightly closer view of the structure. You will be entering from down here. The cloakrooms are located in the concrete substructure. There is a stairwell at the front of the interior. You can come up to this level through the wooden structure, but you can also come up here, where there is a walkway. You can walk around a large part of the structure here during the intervals between performances.

This is the main entrance from the terrace. You can already see that all the forms from the dynamic geometry have been transposed into the organic, into the living. There is nothing in this building that has not been created in the spirit in which I meant the design of the earlobe on the human body earlier. So everything, every detail and the whole, is designed in such a way that not geometric forms, but organic forms are present; but not, I would like to point out, organic forms that are modeled on this or that organic limb. That was not the intention at all. When I had first designed this structure in the wax model, from which the building then emerged, it was not a matter of reproducing anything naturalistically in organic forms, but rather of immersing myself in the creative essence of nature itself, of making what Goethe calls the truth, so to speak, of how nature lives in its creation.

Now, of course, nature does not create such structures. Therefore, one does not find those organic forms in nature that can occur in such a structure, but by having the whole structure like an organic being in its intuition, in its imagination, the inner creation is formed in such detail that detail that, without imitating anything in nature, one is compelled to shape a structure like the one above the main entrance in the same way that a plant leaf is shaped out of the essence of the plant organism. So without imitating anything naturalistically, natural creation should reveal itself everywhere without symbolism and allegory, purely by proceeding in the design of the building forms as one can imagine that nature itself lives in its creation.

Once again, closer to the building. We are in front of the main entrance. This is where people will enter first. These are the cloakrooms. Then you come up through the stairwell and enter a vestibule, which I will also show later. This is the north side. Behind here are the storage rooms, the rooms for the equipment and the cloakrooms for the stage plays.

Another view of the main entrance. Here, the smaller dome is completely covered by the large dome. The two side wings were intended as dressing rooms for the performers.

This is a piece of the side wall. Next to it is the house that the man who was able to give us the land for this building had built. This house was built for him in a style that is certainly, since it is all a beginning, completely thought out in all its individual forms using the concrete material. That is what I would like to say about this house.

Here you can see one of the side wings, which, as I said, are intended to provide dressing rooms for those performing in the stage festival. If you walk around here, you will come to the main entrance. Here is a piece of the facade of such a side wing. It has been attempted to follow Goethe's idea of metamorphosis – not in a pedantic way, but in the spirit of transforming the ever-identical, of transforming the ever-uniform, to form everything as an organic unity, so that the motif above the main entrance is repeated here, but in a different form. As you will see in Dornach in general, what Goethe calls changeability in organic structures has been tried to be expressed in the building idea everywhere.

Here is the floor plan, here is the entrance, and there is the auditorium, which will hold about nine hundred to a thousand people. When you come out of the main entrance here, you walk through the space that is vaulted by the organ room above. You then come in here. The line that goes in this direction is the only symmetrical one in this building. Nothing else is oriented in a symmetrical way except for what lies to the left and right of this axis of symmetry. Therefore, as you enter the room, you see a row of columns. These columns are formed in such a way that only the symmetrical pairs always have the same pedestals, the same capitals and the same decoration in general. The formation of the capital progresses as one moves from the entrance towards the stage, so that each successive capital is formed in such a way from the previous one that the space of the architrave above a column is formed from the spatial design of the architrave above the previous column, so that the metamorphosis view is expressed in the right sense.

It is, I dare say, a great thing to attempt such a thing: here you have a first capital with very definite forms that arise inwardly for you as you shape them. And as you say to yourself, now it is so that it must remain in the place where it is, then the feeling comes: That is also to be transformed, just as in a plant growing out of the ground, a subsequent leaf is something metamorphosed in relation to the preceding leaf. There you shape the next form out of the previous one. There the next form presents itself as something absolutely necessary. People often come to Dornach and ask: What does this or that chapter mean? My task is simply to say: look! It is not a matter of someone finding an abstract, complicated meaning, but of sensing how the following chapter always grows out of the previous one in organic necessity.

The smaller dome, framed by twelve columns, and the fourteen columns here, will provide space for the presentation of stage plays. Often, people also count when they come: one, two, three, four, five, six, seven. Seven columns! Then they say: They are mystics, they bring in the superstitious number seven. I can only say: Then nature is also superstitious. The rainbow has seven color shades, we have seven tones in music, the octave is the repetition of the prime. What is so self-evidently expressed in nature is repeated in the direct experience of creating something metamorphic. And I may well say: it was far from my mind to pursue some mystical number seven, but it was obvious to me to think of one capital out of the other. And then a wonderful thing happened – if I may call it a miracle – that just as there are seven colors in the rainbow, without any mysticism, simply by shaping the form, when you are finished with the seventh form, you can't think of anything more. That's how you get the seven forms. With the seventh, you can't think of a single small artistic idea, so you just know you've finished.

This is a section through the original model. It is cut through the axis of symmetry, so that you can see the formation of the columns in progress, the architraves on top, the bases. So this is the model on which the construction was based.

Another section, a kind of drawing section through the building. Here is the concrete substructure. Here we have to show how the two domes are joined together. But here too, two domes are joined together, leaving the space between them free.

I originally had a specific idea in mind when arranging the double dome. When building such a thing, the most important thing is the acoustics, and I had the idea that if you connect two such domes with a connection that is as light as possible, a kind of soundboard must be created.

Furthermore, not for mystical reasons but for very real ones, I had the seven columns made out of different types of wood. All of this, of course, yields a great deal when one tries to think and feel it all together. But many people know how difficult it is to get the acoustics right in a hall. Basically, everything was thought out, down to the choice of materials – as I said, the columns are made of different types of wood – and into this soundboard, so that both the sound that develops in the musical sense and the sound of the spoken word are accentuated in a beautiful acoustic way throughout the entire room.

Just as the whole thing is an experiment, and one could not think that the most perfect thing could be created in the very first attempt, so I could not indulge in the illusion that the perfect acoustics had been created. But we were able to experience how the intuitions revealed something in the very last few days. The organ was installed as the first musical instrument. It was completed, and it became apparent to us that the entire structure, in terms of music, reveals itself acoustically in a very unique way. And I dare to hope – things are not yet ready, that can prove this – but when everything is there, including the curtain, that then the acoustics, including those for the spoken word, will also reveal themselves. But in any case, the one rehearsal for the intuitive design of a space with regard to the acoustics, the one rehearsal in terms of the music, seems to me – and as it seems to everyone who has heard the organ there in the last few days – to have actually been successful.

A little way into that staircase, which you enter when you come through the main entrance into the interior. You see here a capital above a column. You see this capital formed in a very special way. Every single form, every single surface, every single curve is conceived with the space in which it is located in mind. The line and surface run this way because this is where you come out, because there is little to bear. Here the column braces itself against the building. Here the individual forms must be shaped differently. Just as nature creates differently when it creates a muscle, depending on what it has to bear, so we must experience how the forms must be when each individual link in its place is to be thought of as it can only be in this place through the nature and essence of the whole.

This is the staircase itself. The staircase goes up here. What I showed before is the vestibule above the concrete room. This is where I am standing, and this is where you would stand when you enter the building. Here is the banister for the staircase that leads up from the lower concrete substructure to the building, which is then made of wood, to the actual auditorium. I have tried here to transform a support from the merely geometrically mechanical to the organic.

Let me reiterate: I am, of course, aware of all the objections from the point of view of conventional architecture, but it has at least been attempted, and I have the feeling, however imperfect everything is, however many objections there may be, that a start has been made that paves the way for a new architectural style that will be further developed. Perhaps it will lead to something quite different from what has been built in Dornach, but if you don't even start with something, nothing new will come of it. Therefore, even if it goes completely wrong, something new should be attempted here: the development of the mechanical-dynamic form into organic forms. The concrete is worked in such a way that the beam expresses in its own form what it bears; on the other hand, it is shown here how it only forms outwards, bearing nothing.

Here you can see a radiator screen. The individual radiators are covered at the bottom with concrete screens and at the top with wooden screens. These screens are designed in such a way that their plastic forms reflect something that, in its formation, is, so to speak, in between animal and plant forms. It comes from the earth, as if organically grown, but not symbolically, but artistically designed. In creating this, one has the feeling of something coming into being if the earth itself allowed something like this to grow out of its principle of growth. If you take this staircase, you will come to the room that was shown before, and through that you then enter the actual auditorium.

So this is where you come in, enter the auditorium. Here on the left and right are the first two columns. You can see how the simplest capital structure, the simplest architrave structure, is used here. And now you will see how each subsequent capital structure attempts to create something that necessarily grows out of what has gone before, just as a subsequent plant leaf, which is more complicated and more dissipated in form, always grows out of the one that went before.

Here is the first column individually. It is always important to me that one sees that the essential is not: what does the individual column mean? Some people have done a terrible disservice by always talking about the meanings of the Dornach columns; it is important to me that the artistic form must be questioned. Therefore, I will always show the one column and the next one, so that it becomes clear how simply, artistically, the next form was attempted to be derived from the preceding one.

So here, continuing from the simple column – that is the left aspect – we have the second column. It is designed in such a way that what goes down here goes up there. Just as a plant leaf develops from another, this capital form is derived from the preceding one through artistic experience, and this architrave form from the preceding one.

The second column by itself. Now the following two columns, always to illustrate how the next column is to be artistically designed from the previous one. There now follow several column pictures, initially single ones, then in twos.

Everything that one experiences artistically is actually formed in one's imagination as a matter of course. One cannot help it, it just happens. One can hardly say anything else about it either. But the strange thing is: when one simply transfers one's own experience into the forms, then one gradually feels how one creates in harmony with nature's own creative process. One feels the life that lies in the shaping of one metamorphosis out of another, in intimate harmony with natural creation. And so I believe that those who experience – not intellectually, but with lively feeling – what develops there as one capital out of the other actually get a more vivid sense of development than can be given by anything in modern science. For when we speak of development, we usually mean that each successive structure is more complicated than the one that precedes it. This is not true. When one inwardly experiences a development such as this evolution of columns and architraves, then at first the simple develops into the complicated. But then one reaches a height, and then the structures become simpler again. You are amazed when you see the results of artistic necessity, how you create in harmony with nature. Because that is how it is in nature too. An example: the most perfect eye is the human eye, but it is not the most complicated eye. The animal eye is much more complicated than the human eye; in certain animals there are fans and xiphoid processes; in humans this has been absorbed again. The shape is simplified. You don't follow that when you create something like this from abstract ideas, but it presents itself to you as something self-evident in the form.

The next two columns. Here we come to something that the abstract mystic or mystical abstractor might say: “He formed the caduceus here.” I did not form the caduceus, I let the preceding forms grow. It formed by itself. It emerges organically, by itself, from the preceding form. I had to say to myself: “If the preceding column grows just like that, it will come out like that, one from the other.”

Two consecutive columns showing how the forms become simpler as development progresses.

Here we are already approaching the gap where the auditorium borders on the stage.

Here the first column of the stage area; here the last of the auditorium, here the gap for the curtain.

Here you can see into the small domed room. If you stand in the auditorium and look that way, you get a view similar to this. The top of the dome, initially carved and then painted. We won't look at the painting here, we'll come to that later.

Here I would like to show the order of the individual columns, so that one can get an overview of how the matter progresses from the simplest. All the individual columns are formed individually for each column, and symmetry is only found in relation to the main axis of symmetry of the building.

Here are the figures on the pedestals. I also tried to give the pedestals a metamorphic appearance.

I would like to ask you to take a look at something that is not quite finished yet: the room in which the organ is built. The idea was to avoid making the organ look as if it had simply been placed in the room, and instead to make the whole structure appear to grow out of the room. That is why the architecture around the organ is designed to match the way the organ pipes have to be constructed. It is not finished, as I said. There are still things to be added here.

This is what you see when you enter the small domed room from the auditorium. The end of the small domed room. A number of forms have been carved out of the wood. All of them have been carved out of the rounded surface of the wood, a number of forms that are a summary of the forms found on the capitals and architraves. So that, standing in the auditorium, one has the forms of capitals and architraves, and when one looks up into the small domed space, as a conclusion to all this on a spherical surface, which is like the formal synthesis, the formal synthesis of what can be seen on the individual forms of the architraves and capitals. And now I have to move on to something about which I will have to say a few words.

This is what the small domed room looks like when it is painted. Both domed rooms are painted with motifs that actually only arise when you live very inwardly with what we call anthroposophically oriented spiritual science. When you live very inwardly with this, then, I would like to say again, picturesqueness also emerges all by itself. Just as the word is formed by wanting to express the inner spiritual experience through the word, so this inner spiritual experience, which is truly not so poor that it could only express itself in abstract thoughts and ideas, but can express itself in everything that is a form of life and the purpose of life, is transformed. And motifs that are just as much alive in the one who lives in the inner contemplation of the spiritual world, as it is conveyed through spiritual science, are also painted in the large and small dome in such a way that one does not have the feeling of being closed off by the dome, but rather that one has the feeling, through what is painted on the wall, that the domes form themselves far out into infinity. I want to discuss, because I can't explain everything, only what is painted here in the small domed room, so that you can see it immediately when you look from the auditorium into the small domed room.

There is a central figure. It represents to me, as it were, the representative of humanity as such. At the same time, it is the artistic expression of that which lives in the human form. So that even in its natural human form, the human being must constantly seek balance between two extremes. What the human being actually is is something that should be expressed by the content of all anthroposophically oriented spiritual science. This cannot truly be said in one or even many lectures, but comes to expression in the fullness of all spiritual science. But one can say the following, which is still somewhat abstract but already points to what is experienced as human essence in the human being. One can express it in soul terms as follows:

In fact, human beings are always engaged in an inner battle between something that works in him in such a way that he wants to rise above his station. All that is fanciful, enthusiastic, mystical, theosophical, that seeks to lift man in the wrong way above himself, so that he no longer remains on the firm ground of reality, all that is one extreme. This is what some people tend towards, what every human nature secretly tends towards, and what every human nature must overcome through its health. Enthusiasm, fantasy, one-sided mysticism, one-sided theosophy, in short: everything that makes man want to rise above himself, is one thing in the soul. The other thing that is in the human soul and must be overcome through inner struggle is what constantly pulls him down to earth; expressed in spiritual terms: the philistine, the bourgeois, the materialist, the merely intellectual, the abstract, the calculating. And that is the essence of man, that he seeks to find harmony between the two opposite poles.

In physiological terms: the same thing that appears physically when a person wants to go beyond themselves is also expressed physiologically in the fact that a person can become feverish, develop pleurisy, that human nature is led into dissolution. The other extreme, that which develops in the soul as mere intellect, as narrow-mindedness, as philistinism and materialism, is what causes the ossification of human nature and leads to one-sided calcification, to ossification. Between these two physiological extremes, human nature fluctuates and seeks balance.

The intention is not to present an idea, but rather – both pictorially up there and sculpturally in the group of figures down here – to show how the representative of humanity lives in the middle between the two extremes that I have depicted. And so, above the central figure, which expresses the representative of humanity, there appears, at the top, a luciferic figure that expresses everything that is enthusiastic, fanciful, feverish, and pleurisy-ridden, etc., that wants to lead people beyond their heads. And at the bottom, protruding out of the cave, is the representative of everything ossified, everything philistine, everything that leads to sclerosis in its one-sidedness.

This central figure is designed in such a way that there is nothing aggressive about it. The left arm points upwards, the right downwards. Every effort has been made to represent love embodied in this representative of humanity, right down to the fingertips. And just as I am convinced that the trivial figure of Christ, as we usually see it, bearded, only came into being in the fifth or sixth century, so I am convinced, from spiritual scientific sources, which I can't talk about, but only because of lack of time, I am convinced that the figure that is depicted here is a real image of the one who walked in Palestine at the beginning of our era as the Christ-Jesus figure. And there should be nothing aggressive about it, even if the figure of Lucifer is painted, poetically shaped, falling and even breaking into pieces, not through an attack on the part of Christ Jesus, but because in his Luciferic nature he cannot bear the proximity of embodied love.

And if Ahriman, down there, the representative of the ossifying principle, the being that carries within itself everything that seeks to bind human beings to the earth, everything that does not want to let them go, suffers torment, ground. This is not because the figure of Christ hurls lightning bolts, but because this ahrimanic entity, through its own soul condition, so to speak, out of embodied love, casts lightning bolts for its own torment.

Here I really tried to depict love both plastically and pictorially in this central figure. And in a similar way, the inner experiences of spiritual science are given in the pictures on either side of this central group. But I can only show you the content of what is painted here. But that is not the main thing. In the first of my Mystery Dramas it is stated that in truth only that corresponds to modern ideas about painting in which the form of the color is the work. And here in this small dome an attempt was once made to create everything that was to be created out of color. If someone asks about the meanings, they are at most what one has tried to attach to the color scheme. I have to keep saying: one sees the color spot there or there, and what is in its vicinity as color spots, that is more important to me than what is meant there in a novelistic way.

An attempt has been made to realize this – I know all the counter-arguments – but it has been made, to realize what appears to me to be the case: I actually perceive every line in nature, when it is reproduced by drawing or painting, as a lie. The truth in nature is color. One is not concerned with the horizon line, but above with the blue firmament, below with the green sea, and where the two colors meet, the line and the form arise by themselves. This is how I have tried to paint here: everything from the color. The line should be the creature of the color.

Here you can see a section of the painting more clearly.

Here is a kind of rule of thumb. Here is the only word written out with letters that can be seen as a word in the whole structure. Nowhere is there anything symbolic that could be expressed in words; only here at this point, where an attempt has been made to convey the sensation as an experience through color, which occurred around the 16th century, when humanity developed more and more towards an individualistic soul life; there, knowledge took on very special forms. Those who speak of knowledge in such abstract terms, as many epistemologists do, really know nothing of the inner experience of knowledge. Today, knowledge is only known by those who can see before their soul how, in the process of limiting human life, childhood emerges from the spiritual world.

Here the child and on the other side, death. In the middle, the realization, the realization that brings it to the individualism of the ego-grasping. That which humanity has felt as actual cultural thoughts, for example in the 16th century, is attempted here to be expressed through color. I can only show you the content, which is not the main thing. But I think that precisely because this content is imperfectly depicted here, it evokes the feeling that something is still missing here, without which this thing cannot truly be what it should be. Anyone who sees this should feel that there should be color: here the child in its particularity, here the self, there a kind of fist-like figure, and below that death.

Here a little further. With the first figure we were still touching the auditorium. Here we come to the middle of the small domed room. There we have a figure that is supposed to represent how the spiritual was experienced by a cognizant human being in ancient Greece. The sensations, as they pass through human spiritual culture, should be seen in colors on the wall.

Here is the figure, which is, as it were, the inspiring figure above the Faust figure. You always see the inspired below, with a kind of genius above. Here is the genius of Faust, who appears as a kind of inspirer of Faust.

Here is the figure that can be seen above the Greek figure as an inspiring figure. It was a natural development that the genius of the sentient and cognizant entity was depicted as Apollo with the lyre. This is a higher inspiring entity that is always above the one who is down below, who is sitting down below, as it were, on the column. The inspiring figures are painted in the dome space.

Here below is an Egyptian figure, leading the Egyptian soul-life. The two figures shown before (Fig. 75) stand above her and represent the inspirers; the entities that are meant to pour the soul-life into them. Fig. 44 (Fig. 77):

Here I have tried to show how the civilization that I would describe as that of the Persian Zarathustra culture, which dates back to primeval times and has a view of the world as dual, ambivalent, as a world in which light and darkness cast their effects, how this view of the world has spread from Asia through Central Europe, and how it is still expressed in Goetheanism, where man experiences it. That is the essence of our Germanic-German culture: we always experience this contrast between light and darkness, which is already expressed in the old Zarathustra culture, this contrast that cuts so deeply into our souls when, on the one hand, we feel something that wants to grow beyond us like light; on the other hand, something that, like heaviness, wants to pull us into the earth. This is how the dualism that is felt should be expressed.

Above them you can see two figures. Sometimes you get fed up when you have been working on something like this for months. I got fed up while forming these two figures, in these figures, in which the inadequate and the ugly come to life, to recreate something like Mr. and Mrs. Wilson. That was something like a bugbear. But the other thing is that, basically, something lives in the Germanic-German soul when it experiences the thought of realization, which can only be endured if one recognizes full life in harmony with where life innocently enters physical existence from spiritual worlds.

Here you have, so to speak, an inspiring summary of everything that appears as duality: the being of light, the Luciferic, that which tempts people to fall into raptures; the other is the pedantic, the philistine, the Ahrimanic, which would like to drag people down. No civilization experiences this dualism as deeply and dramatically as the one within which there is a transitional context for contexts that go back to ancient times to the Zarathustra culture and find their expression in all that has become Goetheanism, which we still feel by spiritual science itself compels us to present the representative of humanity as he must seek the balance between the Luciferic, the mystical, the enthusiastic, the theosophical, and the Ahrimanic, the pedantic, ossified, philistine, sclerotic, and so on.

Here is the one figure, the ahrimanic, philistine, pedantic one, with the forehead set far back; the whole built as man would become if he were pure intellect. Only by the heart working its way up into the head do we avoid one extreme, how we would become if we only developed the things that form the skull, but which cannot form themselves according to their own inner forces because this is counteracted by the heart and the whole of the rest of the human being.

Here the other aspect, counteracting the Ahrimanic aspect. Between these two aspects, man must always seek his equilibrium. Christ is the great Master who leads us on the path to find this balance.

Here we come up against the central group. This is what will arise when dualism has developed to the point where the human being feels himself to be twofold, as a higher and a lower human being; that he has his shadow within himself, but as a shadow that he digests spiritually and mentally.

As a kindly genius that is above him.

Here a centaur, inspiring him what needs to be overcome in us as animality. Up here the centaur form, inspiring a future culture, next to the genius, the angelic, what approaches man on the other side.

Here is the central figure, Christ, not by attaching a vignette to him, but by placing him as the central figure. One should feel artistically: this is the figure in which the divine has appeared on earth. One should feel it from the form, from the line, from the surfaces and here from the color.

Figure 53 (illustration unclear): Here, at this point, it has, so to speak, been completely successful, even if it is only an attempt, to create everything out of color, without line.

Here is the head of the Representative of Man. Above it, Luciferic; below, Ahrimanic. This is the head that appears to me, from the spiritual vision – as far as one can form it – as the true form of the one who lived in Palestine at the starting point of Christianity as the Christ.

Here is the figure of Lucifer, collapsing into himself. It is painted in red and worked out of red. Picture 56 (Fig. 86): Below, the figure of Ahriman.

Here is the head, as the human head would be if it were not softened by the rest of the human being.

Here is the lightning bolt that must be drawn from the Christ principle.

Here I then move on to showing an illustration of a group of people. This group of people now also represents the representative of humanity. Above them are two figures, one again representing the rapturous, the mystical and so on. And as paradoxical as it may sound, this is designed in its forms as it presents itself in an inner spiritual vision if one wants to represent what man would be like if he formed himself according to the feverish, the pleuritic, the enthusiastic-fantastic.

Here the head, here the arm, and the peculiar thing that arises: that the larynx, ear and chest come together and merge into the wing. You feel what becomes an expressionist work of art. This is something that the non-understanding person might call symbolic. It is not symbolic, it is observed as only an organic-physical form can be observed.

Here again this figure, and here the figure at the very top on one side of the group of wood. It turned out that we needed something purely to balance the gravity conditions so that the whole group would support itself. It became so that I had to dare to create something quite asymmetrical, a kind of elemental spirit, growing out of the rock form, but here made of wood. If you abandon yourself to the rock formations, look at them and let your imagination create, saying to yourself: nature has decided on their formation, but if they were to continue, what would arise? You end up with something that approaches the higher form but is not it. I tried to create that in this figure. Above are two luciferic figures, below two ahrimanic figures, and up there this entity, which was dared to be formed completely asymmetrical, because it occurs in a place where the symmetrical would be in contradiction to the whole, and which looks somewhat mischievously humorously at what is forming there as the human struggle. I say “mischievously humorous” because there are indeed entities in the spiritual world that look with a certain humor at the inner tragedy of the human soul struggle. Picture 62 (Fig. 94):

Here you see a photograph of my original wax model of the Ahriman figure, the Ahriman head, the original pedant, the original philistine, the head that would have formed if the other human-forming forces had not counteracted the head-forming forces. Once you have created something like this, you know that you have nothing more to add to it. If you then want to create the head for Ahriman, who lives down in the rocky cave and is in conflict with Lucifer, this head also undergoes a metamorphosis, and the place where it needs to be in the body goes through a corresponding metamorphosis.

Here, seen from the side, is the head of the central figure, of whom I have just shown the painted form; that figure, carved out of wood, is, in my opinion, supposed to represent Christ Jesus walking in Palestine.

It is remarkable; while I was creating this, it became clear to me once again that one should actually create all Christian motifs in wood. The warmth of the wood – this statue is made of elm wood – is necessary for Christian motifs. An Apollo, an Athena is better in marble; Christian motifs are better in wood. It was always a real pain for me to see Michelangelo's Pieta in Rome, the mother with the body of Christ on her lap. I would have liked to see this Pieta - which I nevertheless greatly admire, of course - in wood instead of marble. I don't yet know the reasons myself. Such things cannot be easily explained. But I think the Aperçu is correct that everything Christian must be represented in wood.

Now, regarding the group that I just showed, which forms the center of the building, there is one more thing. If we follow the development of architecture, and consider only two or three stages, we must say: let us look at a Greek temple. It is not quite complete if it does not have its god inside. You cannot think of a Greek temple in general, but only of a temple of Apollo, a temple of Athena. It is the god's dwelling.

Let us move from Greek architecture to Gothic. The Gothic cathedral is not complete unless the community is within it.

We live in an age in which the community is becoming individualized. Therefore, the social question is the most important question of our time, because people live according to their individuality. Grasping the deepest nerve of our contemporary culture, we must look at what a building that belongs to a community must be a framework for today: for the people themselves. Therefore, the representative of human self-knowledge, the trinity between man, as he struggles in his soul between the enthusiastic-mystical and the pedantic-philistine, materialistic, this trinity should be placed at the center of the building, just as the god stands in the Greek temple, as the community praises in the Gothic cathedral. In this way, the spectator area should be pervaded by the pictorial and plastic sound of the “know thyself,” not in abstract forms, but artistically embodied in the Trinity of which I have so often spoken and which, in my opinion, is the Trinity of the culture of the future of humanity. Therefore, this wooden figure did not have to be erected at the center of the building, but as the central figure of the building.

Here an adjoining building, a neighboring building. Again a metamorphosis of the two domes. Here the architectural idea has been developed into a different form. The main building has windows for which a special type of glasswork has been invented. What I said earlier – that those inside this building feel at one with the whole universe, not closed off – should be expressed through the windows. That is why all the windows are large panes of glass in a single color. These panes – red, green, blue – are engraved, etched out of the glass, which then gives the glass its visual effect. This visual effect is there when the sun shines through the windows. This glass etching was tried for the first time in this building. And here, with the glass window in front of you without sunlight, you can physically feel a kind of score; together with the sun, it becomes a work of art. And you feel in the building: when the sunlight floods in through red, green, and blue panes, what the sun paints with its light lives in these windows, so that it is a representation of human death, sleep, waking, and so on; but nowhere is it symbolic, rather these states of consciousness are experienced vividly within.

These glass windows were to be made in this smaller building. And because the first person to work there was called Taddäus Rychter, this house was called “the Richter house”. So it does not have this name because we want to implement the threefold social order, as some people have said, and so we would have built a legal building in which we would have had our own jurisdiction. That is not the case. This should be noted by those who have done something wrong; they will be convicted according to Swiss law.

This is the entrance gate. Everything about it, down to the locks and door handles, is designed in line with the organic architectural concept, so that everything has to be the way it is in its place. Hence the need for a separate lock for these structures.

Here you can see the one that has experienced the most challenges. One day I said to myself: there must be a heating house, a firing plant, near the building. One could have done something that would not have been in the spirit of the overall architectural concept of the Goetheanum; a red chimney would have stood there. But I tried to create a utilitarian building out of concrete. I tried, in turn, to form a shell around the heating elements and the firing machines that are inside, just as the nut fruit forms a shell around itself. Also around what comes out as smoke. The whole is only complete when smoke comes out. So there, too, an attempt is made to carry out a building idea in such a way that, despite the utilitarian idea being carried out, what is created out of the utilitarian form is that which, in utilitarian building, the artistic form-giver currently strives for.

The same building from the side.

By now, enough time has passed and I have kept you waiting for a long time with a large number of pictures that were intended to show you something that is being built in Dornach as the Goetheanum, as a free university for spiritual science. What I have shown you in a series of pictures is intended to provide an initial framework for the work that has arisen from the spirit of spiritual science, which I have now been able to present in Stuttgart for almost two decades. A building was to be erected in Dornach that would not only have an external connection to this spiritual science, in that it serves the cultivation of spiritual science, but that would also be an expression in every detail of life in this spiritual science, just as the word that is formed and through which this spiritual science is proclaimed is intended to be a direct expression of the ideal that can be experienced in this spiritual science.

This spiritual science should not be abstract, theoretical, unworldly or unreal. This spiritual science should be able to intervene in reality everywhere. Therefore, it had to create a building style, a framework that emerged from itself just as a nutshell emerges from a nut. Of course, one will rightly be able to object to some things that are also before my mind's eye. But there was always a certain sense of encouragement while I was working on this building idea and all its details, what went through my mind when I was a very young man in the 1880s and heard the Viennese architect von Ferstel, who built the Viennese Votivkirche, give his inaugural address on the development of architectural styles. With a certain emphasis, Ferstel, the great architect, exclaimed: “Architectural styles are not invented, architectural styles arise.

I always said to myself: But then we live today in a time in which everything spiritual must change in the human soul in such a way that a new architectural style must necessarily arise from this change of the spiritual. And that something like this must be possible was always before me. I believed that it must be possible, and therefore I did not shrink from seeking such an architectural style, even if it was initially in a very imperfect design, from anthroposophically oriented spiritual science. A second time, if I were ever to supervise such a building again, it would be quite different. But one only learns by approaching reality, when one wants to deal not with abstract ideas, with something symbolic and allegorical, but with something vividly artistic and real in life. Spiritual science needs at least the beginning of a new architectural style, a new artistic formal language. No matter how imperfect it may be, present-day human civilization demands it! And those who have stood by me in such great numbers have seen it with me and have submitted to the first attempt at realizing this aspiration. And even if many still look with a sneer at what rises up as the Goetheanum, as a free college on the Jura hill in northwestern Switzerland — which is now difficult to reach from here, but otherwise easy to reach because it is only half an hour across the border — what stands there is already visited by thousands and thousands from all countries, especially from Switzerland itself. The eurythmy performances are also well attended, every Saturday and Sunday, and the lectures that I already give for the public in this school enjoy a certain interest even in circles that do not belong to the Anthroposophical Society. Dornach is beginning to open up to the world. It will still cost great sacrifices. We will still need many resources to really develop what is intended. But from what is there today, what is still unfinished, it can be seen that there can be a world view that not only thinks but also builds. On the other hand, we would like to show the world through the Federation for Threefolding that this world view can also have a socially constructive effect on the immediate life of the individual and of humanity. However great the faults of this structure, which is the external representative of our world view, our spiritual-scientific world view, and however much it is still rightly subject to criticism today, it had to be ventured. It had to be placed in our present civilization. And in the face of all contradictions - or rather in the face of all approval of the present - I would like to say, in harmony with all the friends who have helped me in such great numbers in erecting this building, in the face of what is intended here, the modest, summarizing word:

What has been willed must first become the right thing in later times, but a start had to be made. And speaking on behalf of all those who have been active in Dornach, I can summarize the attitude out of which flowed what I have tried to show you today: we dared to do it despite the difficulties, and we will continue to dare to do it!

Dear attendees!

It is my task today to speak about the place that is to be a center of activity for everything that can radiate from the work in which you have participated here in such a deeply satisfying way over the last eight days. I may say in a deeply satisfying way, for the reason that you will believe me when I say that I am connected with this work in the deepest sense and therefore may express the deepest satisfaction about the course of this congress.

Now, my dear attendees, the Goetheanum is, so to speak, a physical manifestation of that which, in the most diverse ways and in the most diverse fields, would like to emerge as the result of anthroposophical spiritual science in the world. When it first emerged in the world, anthroposophy naturally did not immediately have its own place of activity, and it could not even be thought of, not even remotely, to build a place of activity for it. After about a decade of activity, a number of people who believed in the anthroposophical worldview came up with the idea of creating such a center for anthroposophy. The idea had initially come from the impressions gained from the performance of the mystery plays, which we started in Munich in 1910. It struck a number of our friends how unsuitable the architecture of an ordinary theater, such as we had to use to stage the mysteries at the time, is for what is actually artistically intended by anthroposophy.

And so the plan arose to found a kind of college for anthroposophy. The first attempt was to build in Munich. Land had already been acquired in Munich. But now the question was that precisely because anthroposophical spiritual science wants to be what has been spoken of here again in these days, the same could not be said for such a building as is otherwise the case. You have a society or an association, as you will, that has set itself some goal and believes it needs its own building. You get in touch with some master builder, an architect, and receive his suggestions. The building is constructed in the antique, Renaissance, Gothic style or similar, and then the events of the respective association or society are held in such a building.

Those who are thoroughly connected with their own soul life, as it should be, with an anthroposophical worldview, can never agree to such an outward agreement for a framework, for a wrapping of that which is to be created through anthroposophy. Because it has been emphasized over and over again: Anthroposophy is, on the one hand, a science of the spirit, of the supersensible, arising from the deepest sources of human knowledge. But it is not a theory, it is not a sum of abstractions, it is not something about the world and about life; it becomes, as it develops, life itself, it takes hold of the deepest inner impulses of the whole, of the full human being, and pursues everything from the inner being of this full human being, whatever it can be for him. In this way, it not only stimulates the impulses for scientific research, but also for artistic creation.

Not as if out of the true anthroposophical spirit – I have already mentioned this in my evening lectures – not as if out of this spirit an allegorizing or symbolizing art wanted to arise; that would not be art at all. Not ideas are to be transformed into symbolic or allegorical forms. No, anthroposophical spiritual knowledge penetrates into the depths of the human soul and takes its origin from sources that can flow into the world in other currents than in the field of the presentation of ideas. And so the one stream of the presentation of ideas arises as the one, and the other stream, the stream of artistic creation, in addition to many others, from the same source. But it is not about the translation of spiritual science into art or into sham art, but rather about an elementary, very original, I would say, expression of the artistic. In Dornach today, one can see how nothing symbolic or allegorical is striven for, but how what is intended to be art is conceived as art and created out of the artistic.

I would like to express myself with an image: if the relationship between the anthroposophical worldview and art is really as I have just described it, then this anthroposophical worldview must not allow itself to be built a place from the outside, in some style that for the Greek, for the Renaissance, for the Gothic worldview. Instead, the anthroposophical worldview must be housed in a building that has arisen out of the most original impulses of anthroposophy. Then the matter must be such that, for example, speaking takes place from the podium, singing or reciting or acting in eurythmy takes place on the stage, and so on; that which emerges in this way to the people must, so to speak, be the one language, and the other language must be the building forms, must be the architecture that envelops that which wants to reveal itself within the space. Anthroposophy must not accept a style from outside; Anthroposophy itself, being intimately related to the artistic, must appear as a creator of style.

This is what was there, I would like to say, with the same inner spiritual necessity as - now I would like to express myself through an image - as the nutshell cannot be different in its formation, in its design, than it is. The nut fruit and also the nutshell arise from the same lawfulness, from the same forms and life forces. He who sees the one can judge the other. This must also be the case with the structure for the anthroposophical world view. Therefore, what was to become the style for such a structure could arise out of all that was alive in the ideas of anthroposophy.

It is understandable that this met with resistance at first from all those who cling to the old, who cannot imagine that the development of humanity can only come about through the constant emergence of new and new metamorphoses of human labor, human creativity and human insight, and so – and I emphasize this – it was not the police or the government that rejected us at first, but the art world rejected our styles for Munich. It is not our fault that the building was not built in Munich, where it was originally intended to be. Of course, in the end people grew tired of submitting, I might say, to the yoke of what would have been dictated to them from the old ways of thinking. Those who knew what kind of architectural style must arise from the anthroposophical worldview were not allowed to have their wings broken.

And so it happened that through the donation of a friend, our project on the hill near Basel, in Dornach, in the northwestern corner of Switzerland, could be realized, and that the foundation stone could be laid in the fall of 1913. Of course, we fell into the most difficult period of Western cultural development. But we have at least already come so far that a whole series of university courses have been held in the building since last fall, which is still far from completion.

Now I would like to characterize in just a few words how that which lives in anthroposophy has poured out into an architectural style. That, ladies and gentlemen, is precisely the essence of anthroposophical research, of anthroposophical knowledge: that the concepts, that the whole forms of knowledge live, unfold in free activity, and this led, I would like to say, in a very elementary, naive way, to transferring the old architectural styles, which are based on the geometric, symmetrical, mechanical-static, into the organic. And so the previous architectural styles are, I would like to say, external images of that which can live in the static, in the carrying, in the load-bearing and in the symmetrical, in the geometric.

Of course, the Dornach building and my words here are not a criticism – it would be foolish towards these architectural styles – but it is a matter of drawing on progress. In this case, it could only consist of the geometric, the symmetrical, the static being transferred into something that, in all its forms of expression, in all its formation, also represents the organic, just as the inorganic is otherwise represented in architectural styles. I am well aware, esteemed attendees, of all the objections that can be raised against such a thing; but it had to be done at some point, based on the fundamental impulses of an anthroposophical attitude. There had to be a building idea that is lived and woven through the contemplation of the organic.

And consider what that actually means in terms of the human body itself. Take the smallest organ, perhaps it will be most illustrative. Please take your earlobe, a very small organ, it has a certain shape and size. If you feel the whole meaning of the human organic structure, feel it artistically, then you will say to yourself: firstly, this earlobe could not be in any other place in the human organism than where it is, and secondly,

in the place where it is, it could not be other than it is. The same had to be achieved with all the individual forms in the construction of the Goetheanum. One had to connect inwardly with the metamorphosing formative forces that otherwise live in the organic, and one had to experience what must of course be observed as the basis for every building idea: the geometric, the symmetrical, the static. One had to experience this through what can be experienced in this way in harmony with organic creation. Every single shape, every door, every window, every column, every detail [of this building] had to be individually felt. And the whole, in turn, had to be the one that, as a unified organic building idea, could absorb these individual organic building elements.

One difficulty arose from the fact that the matter was initially conceived for Munich in such a way that, in fact, only interior design would have been considered in the main. The building was to be surrounded by houses that anthroposophical members wanted to acquire, so that the exterior architecture would have been of little consequence. When the building had to be moved to Dornach, the space available was a completely open field on a hill, on a Jura hill, in a Jura configuration. There were unobstructed views in all directions and a clear view of the building. The mountain formations were there, and the whole thing had to be adapted to them. Since the interior design could not be changed much due to the haste with which I promoted the matter at the time, it was necessary to design the exterior in accordance with the finished interior. That is the thing that still leaves me somewhat dissatisfied today, because the person who will fully appreciate the whole can already see a certain discrepancy between the exterior and the interior design. However, every effort has been made to overcome the difficulties as far as possible. And in such a matter, basically only something incomplete can be created in the first attempt. But that is also the only reason for the Dornach building, to start a new architectural style, which cannot arise from any other foundations than those that can be made at all for modern civilized life from the knowledge of the spirit of the world.

The way the Goetheanum presents itself to the observer when approaching from afar is connected with the overall task: one is dealing with something that arises in the depths of the human soul, be it art or science, and that the person who has fathomed it has a duty to communicate to others. We are dealing with something that comes from the bottom of the heart, with something that is taken from the whole soul by someone who truly understands. This can be felt. And it may be demanded of the one who can feel it that this is now translated into contemplation. As I said, nothing should be thought up, no idea should be cast into form. But what I have just hinted at can be felt, can be experienced inwardly, this relationship of an intimate unity to a receptive other unity and the union of the two. By feeling this, it arose for me quite naturally only in contemplation, not as an allegory or as symbolism, a double-domed building, designed in such a way that two domed spaces met in a segment of a circle. And it seems to me that in this form of construction one can feel everything that a soul can feel in relation to anthroposophy and the world, as it must actually be felt as the ideal relationship, as the blissful relationship. And I believe that, just by looking at the outer form, one can feel this when approaching the hill at Dornach, just as one feels the inner necessity of the form of the nutshell compared to the form of the nut fruit; one can feel that there is something in the two juxtaposed domes of a large and a smaller dome structure that should be explored in the most intimate way, and yet at the same time wants to openly communicate with the world. That is what is expressed first in the external forms that I will take the liberty of showing you.

Yes, please, now the first picture (Fig. 5).

You see, dear attendees, here is the road that leads to the west side of the building. The building is a concrete structure down to the upper terrace. From here on, it is a wooden structure. You first enter the concrete structure. In the concrete structure - we will see later - is stored. Then you go up the stairs and come to a foyer and from there to the actual auditorium. You can see here in this motif how an attempt has been made to transfer the otherwise existing forms of construction, which, as I said, are based on the purely geometric, symmetrical, static or dynamic, into organic forms, but not in a naturalistic sense, not in such a way that natural forms would have been imitated. No one can ask what something depicts, just as one cannot ask what a plant leaf or a human ear depicts. It is something that has its inner form of life and vitality and life force within itself; something that justifies itself through its own form and its own unfolding of life.

When you create such a form, you do not feel that you are imitating something, but rather you feel, as a human soul, inwardly connected to that which lives metamorphosing in the plant from leaf to flower to fruit, shaping and reshaping everything, if I may use this Goethean expression. And that is what we have here, not something copied, but something formed in such a way that is otherwise only formed in the organic world. Those who then see the building itself may perhaps be able to see how we have tried to sense artistically from the material all around. It was rather difficult – I will have to come back to this later – to find forms for the concrete, a new material.

The next picture (Fig. 6): You can see the entrance to the west portal again. Here you go in, here left and right up, then you enter a vestibule, then the actual auditorium. The second, smaller dome is now completely covered by the larger dome of the auditorium. All the individual such secondary forms are in complete harmony, and in fact in organic harmony with the larger forms.

The next picture (Fig. 7): Here you can see the building from the southwest side; here the entrance, here the west portal; here the south side, here a transverse building, which we will see in more detail; here the entrance from the south side. You can see how this main form reappears here in some window forms, but actually in such a way that the main form is formed quite differently than the window forms. It is really the case that, when designing in this architectural style, one has to form organic shapes in such a way that, let us say, at the bottom of the plant there is an entire unnotched leaf, further up the leaf is notched, becomes of a very different shape, then in the sepal again something else. One must have the possibility, so to speak, to slip with one's feeling through all the possible forms that arise within, which are quite different according to external sensuality, but are inwardly spiritual and yet quite the same.

Here the large dome, there the small one. One of the issues, for example, was to find the right roofing for this building. The building had to appear as a unified whole, and, I would say, fate brought it about: While I was still occupied with the idea of building, I had to undertake a lecture tour in Norway, from Kristiania to Bergen, and from a train I saw the wonderful slate quarries of Voss. And just as this Voss slate presented itself to me in brilliant sunlight at the time, I said to myself at that moment: this belongs to the covering of this building. And indeed, a certain necessity for it will be felt by anyone who comes to Dornach and sees the wonderful grey-blue of this slate, shining and radiant in the sunlight.

The next picture (Fig. 8): Here you see the building from the south side. I emphasize, here would be the entrance, here is the side wing, as there is one on each side of the building. Here are the storerooms for the equipment, dressing rooms for performances, here the dome of the stage area. This is where the two domes meet. And it is precisely at the point where they meet that these side wings are located.

The next picture (Fig. 2): Here we have the construction from the northeast, and you can see the stage area, the dressing room, the storage room, [the large dome partially covered by the small dome]. Here is the so-called boiler house, which is completely made of concrete, and it is perhaps the one that is most [challenged by individuals], and that is because, firstly, an attempt was made to find a form out of the concrete material with a real sense of the material, but then to find a form in the way that is only possible for utility buildings. The lighting and firing systems had to be accommodated in it. It was important to see what the whole thing looked like and how it would appear. That was the nut to crack, so to speak, and the concrete shell had to be built around it according to the same principles. And I tried to think it through to the point where the whole shape of this building is only complete when the smoke comes out here, when it is in full operation. The shapes of the smoke clouds actually belong to the whole shape.

The next picture (Fig. 3) offers a completely different view. There is a small domed structure nearby that had to be built for a reason that I will explain later. This composition of a building with two domes is intended to be another metamorphosis. Here the domes are intertwined, intersecting, while there they are separate, on the adjoining building. But this then means that all the details of the structure had to be designed differently.

The next picture (Fig. 20): Here you can see the floor plan. Here is the entrance; below that would be the room for storing clothes. Here are the stairs. You go up these stairs and come into the vestibule, which we will see in a moment. Now you enter the auditorium. Here is the space below the organ, which is slightly elevated, with the other musical instruments. Here are the rows of benches for about a thousand spectators, here on each side are seven columns. These seven columns are, as we shall see, only symmetrical in relation to the only axis of symmetry that the whole building has, and which runs from west to east. The whole building is symmetrical in relation to this west-east direction, so that the capital of the second and third column is not a geometric repetition of the first column, but the capitals are progressive, metamorphosing forms from the first to the seventh column, and only this column is symmetrical with this one, the second with the second here and so on, so only symmetrical in relation to the one axis of symmetry. The rest in the course of this axis of symmetry is perceived in organically progressive transformation.

The next picture (Fig. 21): Here is an average in accordance with the axis of symmetry. Here are the storerooms, the stage rooms, the smaller domed room, the large domed room, here is the floor of the auditorium rising, here the entrance, here then the anteroom, here you come in, put your things down here, here is the staircase. You come into the anteroom here and go into the auditorium under the organ here.

The next picture (Figure 22): Here I have taken the liberty of showing you the model, cut in the same section as the one I have just shown you. This is the first model of the structure, which I made in Dornach during the winter of 1913–1914, partly out of wood and partly out of wax. The structure was then built according to this model. The model contains the essential building idea.

The next picture (Fig. 10): Here we have the west portal, the main entrance, seen in more detail.

The next picture (Fig. 12) shows a detail. If you approach from the south side, you will see a similar detail here. You saw it earlier at the building itself. But here you see a concrete house, the house of the friend who provided us with the land back then. An attempt has been made to design this house as a concrete mold for the residential building in the style that it must have next to the building.

The next picture (Fig. 13): This is a side wing. You can see here the window forms in more detail, that is, the forms that the main form, which is on the west portal, takes on in metamorphosis. The next picture (Fig. 11): Here is such a metamorphosis of the main form above the west portal at one of the side entrances.

The next image (Fig. 14): Here, isolated so that it can be seen better, is a motif of one of the side entrances, and the concrete walkway, a gallery, a terrace.

The next picture (Fig. 23): Imagine, dear attendees, that you have now gone down through the gate in the concrete building that I have often pointed out to you. You enter; here are the stairs leading up to the auditorium, here is the stairwell. You see, I have dared to replace the usual pillars or columns with something that is organically designed, and in such a way that, artistically speaking, it can only be in the overall organism of the building as it is, tapering outwards with reference to its curves towards the gate, where it has little to bear, bracing itself here, as a muscle braces itself where it has to bear, because here the whole weight of the building rests. But it was not attempted to make it out of thoughts, so that one can say that something is meant to express something. It does not express anything other than, for example, the human thigh expresses in its architectural structure. It expresses itself, that is, what it is for the organism as a whole. And one must have the feeling that it cannot be otherwise.

Of course, when people with habitual ways of thinking approach something like this, their desire to ridicule is stirred up. And since they can usually only think in a naturalistic way, they don't really know what to imagine by it. It seems organic to them, but they can only imagine the organic in naturalistic terms, as an imitation. Then along came an obviously very clever critic who noticed, as it seems, that it represents a certain strength. It has to bear weight, it has to represent a certain strength. But since he can only think in naturalistic terms, an elephant's foot occurred to him. But then again, it seems to him that something of an artistic-critical conscience has arisen, and he felt that it does not look like an elephant's foot. But now he already has this idea of the elephant's foot, it was already on his mind. He thought, but it must be an elephant foot. But now it was not as thick and clumsy as an elephant foot, and he thought it was rachitic, and now, in order to do justice to both these impressions, he said it was a “rachitic elephant foot”.

The next picture (Fig. 24): You see, at this point I felt how it must be for someone who enters our auditorium via these stairs. They must, so to speak, receive the feeling that Inside, my spiritual powers will be balanced by spiritual insight. Now, the whole feeling was realized for me in such a way that I had to make three such perpendicular forms, which stand perpendicular in the three directions of space. Believe it or not, it is still true: only when I had already done it in this way, when I had the model, did it occur to me that it reminds me of the three semicircular canals that are perpendicular in the ear and that, when injured, cause people to faint. One must unite one's own experiences of the soul with the sense of the creative forces of nature, then one discovers things that are by no means – I must keep saying it – symbolic or allegorical, but that come entirely from artistic feeling and yet have an inner necessity in themselves.

It is true that I actually prefer it when what I say about the building tonight is not expressed at all, but only felt when looking at the building, because the building should speak for itself. I don't really like talking about the building the way I am doing tonight. But not everyone can see the building over and over again; in art, one speaks of artistic works, and so perhaps one may try to talk about the building through a surrogate.

The next picture (Fig. 23): you can see here the staircase that was only hinted at there, here the form just discussed, here the “rachitic elephant foot”. You can see here, for example, this curve. I hope that whoever enters the building will feel the necessity of these forms at this point from the sense and view of the entire building.

The next picture (Fig. 26): Here you see a concrete mold – formed out of the wood above, it is somewhat different – for a radiator cover. This is also a form that arises from the feeling of saying to yourself, what do I have to put in front of a radiator, which grows out of nature like an organic thing, but which does not bring it to life, only the conclusion is for a radiator.

The next picture (Fig. 27): Now we have gone up the stairs and are here in the anteroom, which is only the anteroom, which is already quite in the area of timber construction. Here you see a column, and quite distinct from the sense of space in this place, you see this one column capital with its various curves, which reach out in the most diverse ways in the most varied directions in space, formed out of the sense of space itself. When you come to Dornach, I would ask you to see that in this room which is perhaps most clearly visible because it is the simplest. You will see that the whole thing is carved out of wood and it must be said again and again wherever there is an opportunity, that friends have devotedly worked for many years to bring about this building, because all of it is carved by hand after very crude carpentry work, all of it is carved by hand by our friends themselves, including this wall, which is individually designed in a variety of curves in different directions.

What I would particularly ask you to see is precisely the treatment of the wall. The whole building idea of Dornach resulted from the fact that the wall had to be conceived differently than one has been accustomed to, always thinking of walls. Walls are something final and limiting for the old architectural styles. Here they are not, here the thought should not arise: when you are inside the Dornach building, you are in a closed room. This thought should not arise. You come in and you should feel all the walls as if they were designed in an artistic way that actually makes the walls artistically transparent, so that you feel inside as if the wall does not close you off, but through its own form, which artistically makes the wall transparent, connects you with all the secrets of the macrocosm, allows you to look out, to look out inwardly, spiritually and soulfully into the vastness of the world.

The next picture (Fig. 28): We have entered through the space below the organ, are standing in the auditorium, looking back and see here, somewhat elevated, the organ space.

The next picture (Fig. 30): But this is not yet the finished organ motif, rather it is the model, which you can see here is still unfinished. The framing of the organ should also be developed in such a way that one has the feeling that the organ has not been placed in some corner or on some side, but that one has the feeling that the organ grows out of the whole organic structure as a necessary element. This motif would then have to be added later, in keeping with the height of the organ pipes. That was the first wax-wood model.

The next picture (Fig. 29): Here is the organ motif, here you enter. This is directly above the organ. These are the two columns to the right and left of the axis of symmetry. There you can see the sequence of columns. This sequence of columns with the architrave-like structure above it, I was already able to show in the first model earlier. But here I may draw attention to the fact that you see here the simplest capital motif; now the following capital motif is somewhat more complicated, the third again more complicated and so on. It is the case that the same formative forces, the same formative maxims that can be seen in nature, ascending the plant stem, metamorphosing the leaves, are at work here. The leaves are outwardly different in shape, but inwardly, in the sense of Goethe's theory of metamorphosis, they are ideally or spiritually the same.

If you now feel this form, descending, this ascending, but not in thought, but in artistic contemplation, and then connect with the creative forces of nature in such a way that you can really can deduce one from the other in the same way that the next plant leaf, which is shaped differently, emerges from the previous one, then you get these following forms; but, as I said, they are meant artistically. And it follows from this that it is actually of no particular value to focus attention on only one capital; what is important is that each capital emerges from the one that precedes it. For it is precisely this living transformation of one into the other that brings life to the building. And the same applies to the architraves.

I might say that you make some astonishing artistic discoveries. When I had designed the capitals according to the same principles as the advancing bases and architraves, I was able to follow a line of development. The idea of development has become a central tenet of modern knowledge. But one has – just look at this in the works of Herbert Spencer or others who have developed the idea of development in an abstract form, not in an inwardly living form – one has always believed that development progresses in such a way that first there is the primitive, simple form, then comes the complicated and so on and more and more complicated, and the last form is the most complicated. You can think that up if you think abstractly, but you can't express it artistically. If you express it artistically, the most complicated form is in the middle, then it becomes simpler again. One is simply pushed by artistic feeling to ascend to a middle most complicated form, and then to pass into the simpler one.

Then, however, one comes to realize that nature itself does it that way. The human eye is indeed the most perfect in the series of living beings, but not the most complicated. In its simplification, it no longer has the organs, for example, the fan and the xiphoid process, which are found in certain animals that have less perfect but more complicated intermediate forms of eyes. That is what I would particularly like to emphasize here.

Nebulous mystics, people who want to ramble on about everything, naturally ask: Why are there seven pillars on each side? There is no other answer to that than: Why are there seven colors in the rainbow, seven tones and the octave as a repetition of the prime in the tone scale? It is an inner necessity. And precisely when one feels this inner necessity quite objectively, then one does not lapse into nebulous mysticism. That something was done in nebulous mysticism in the Dornach building is simply a calumny.

The next picture (Fig. 33): Here I present to you – here the organ motif – the two first forms, the simplest with the architrave motifs above them. I will now show the following in such a way that I always show a column, then this column together with the next, then the next in turn together with the next, and so on, so that you can see how the lively sense of progression from one column capital to the next and from one architrave motif to the next takes place.

The next picture (Fig. 34): Here, then, the first column, isolated, leaning down, rising up, but the whole thing sensed in its polyhedral spherical form.

The next picture (Fig. 35): The first and second columns, progressing from a simpler motif to a more complicated one, as well as with the motifs above them.

The next picture (Fig. 36): The next is the second column by itself. The next picture (Fig. 37): The second and third columns continue. The next picture (Fig. 38): The third column by itself.

The next picture (Fig. 39): the third and fourth columns. It is becoming even more complicated, and from these motifs one gets one such that any observer will believe that it was actually conceived as a single entity. However much it may seem familiar to you, if you have heard anything about mysticism – I hope not in a mystically nebulous way – it is simply obtained here by a metamorphic transformation of this motif. You can see it here, I would say, already in the forms.

The next picture (Fig. 40): This is the column still by itself, which was the fourth here.

The next picture (Fig. 41): Here you have the column that we just had. From this, then, by simply letting this motif continue to grow through metamorphosis, not by actually only developing this motif, this motif emerges. I believe that someone who had formed this concept intellectually, not emotionally, would have placed the same motif here [on the architrave above the fourth column] over the motif [on the fifth capital]. This did not occur to me because here [on the capital] I am dealing with columns in which the motifs that enclose a polyhedral shape can be felt. These motifs arise differently than those [of the architraves], where the surfaces are mounted; there they are distributed differently in space, and can only be understood from a sense of space.

The next image (Fig. 42): This [fifth] column on its own. It looks like a caduceus, but is simply the metamorphosis of the previous chapter.

The next picture (Fig. 43): This column and the one that emerges from its metamorphosis. When you have arrived at this most complicated one, the motif simply wants to become simpler again. It discards certain complications, it becomes more perfect, but simpler.

The next image (Fig. 44): This is the [sixth] column capital by itself.

The next picture (Fig. 45): So it has jumped over from one side to the other, it is this motif and then it becomes this through transformation.

The next picture (Fig. 46): This is the last motif.

The next picture (Fig. 47): Here you have the last column of the auditorium, here is the slit between the auditorium and the stage, here is the first stage column. Here you can see into the stage area. Here is the dome of the stage area seen from the inside. It is still equipped with scaffolding. It is under construction.

The next image (Fig. 48): I will now take the liberty of showing the metamorphosis of the pedestal figures in quick succession, so that it does not take us too long. You will see how one pedestal motif – for the columns of the auditorium – develops into the other.

The next picture (Fig. 49): So it gets more complicated. The next picture (Fig. 50): The third pedestal.

The next picture (Fig. 51): Next picture. The metamorphosis advances in this way. It is always the case with this metamorphosis, when it is felt through, that it tends to slope downwards again and new forms arise, expanding. The necessity for further development can only be felt artistically, not speculated upon.

The next picture (Fig. 52): The fifth base motif. The next picture (Fig. 53): The sixth motif. The next picture (Fig. 54). The seventh motif.

The next picture (Fig. 55): Here you can see into the stage area from the auditorium. This is the painting of the small dome, below it the stage area. The auditorium would then be here. You can see here into the small stage area from the auditorium facing east. This is the end of the auditorium. It is a motif; here the auditorium, then comes the curtain, which then belongs to the small stage area. It is the conclusion to the east. Below it will be the nine-and-a-half-meter-high wooden group, which I will talk about later, covered here by a wooden roof, which, in its various forms, synthesizes everything that is distributed over the other forms of the capitals and architraves.

I would also like to show some columns from the small domed room, i.e. the stage area. These columns are made according to the same principle, but because of the small size of the room, because of the whole complex, the capital forms are different again, but they are asymmetrical in relation to the west-east axis.

The next picture (Fig. 58): Another column from the small domed room. The next picture (Fig. 59): Yet another. The next picture (Fig. 60): Yet another.

The next image (Fig. 57): Once again, the view from the auditorium into the small domed room. Here are the columns of the stage area. Performances will take place here. I have redesigned the bases of these columns in the small domed room as twelve seats. This was possible because this room can also be used as a meeting room. And because a meeting of twelve people was not intended to be mystical, but arose from the overall architecture.

The next picture (Fig. 67): Here you can see what I just called the roofing. The columns of the small domed room would be here. Carved out of the wooden wall in various forms, these forms synthetically summarize the others. Below that is the nine-and-a-half-meter-high wooden group (Fig. 93).

Now I come to the painting of the small dome. In this small dome, what must be aimed for in painting is gradually, perhaps, already achieved, despite all imperfections, not in the sense of artistic perfection, but in the sense of artistic intention. In one of my mystery dramas, I have a character suggest how painting should actually develop, so that gradually one no longer seeks the pictorial motif from the drawing, from the forms, but that one seeks it from the color and color harmony. That is how I had the character express it, that “form becomes the work of color”.

Now, since everything depends on the color in this painting of the small dome, it cannot be shown in these black-and-white afterimages, what is meant. But I think you can gain something from the fact that you might feel that something is wrong with these reproductions, that what you see is actually nonsense. And this feeling that it is actually nonsense is just an expression of the fact that one actually feels the necessity, it must be created from the color everywhere. And the human form, no matter how individualized it is, is thoroughly felt from the color.

The next picture (Fig. 72): Here this child, which – here would be the first column, the other column of the auditorium here, here the curtain, here this orange-reddish-yellowish child painted – which stretches out its hands and its gaze towards this fist figure [Fig. 70]. Of course one can see a fist-like figure; but for the person painting, what matters is the blue bruise and how it relates to the other spots, that is, to the orange-yellow spots and so on. The colors represent a whole world, a cosmos in itself, with something creative in it; one can extract the form from what the colors speak to one another in the universe. It is the conversation of color, the color word, the creative color word. If one really feels all this artistically, then, just as the world is rightly described as emerging from the word, human, superhuman, and subhuman figures arise from color as it intensifies into the color word.

The next picture (Fig. 70): This is where the child would be, here the only word in the entire structure, here a kind of fist figure emerging out of the blue. As I said, the feeling arises from the color, and we are transported to the sixteenth century, to the culture of the sixteenth century. It is the dawning of that culture which we ourselves still carry within us in our spiritual life, the culture that rushes towards abstract knowledge. Those who do not experience it as it is largely experienced today by people, but who experience it with the whole, with the whole human being, feel the Faustian struggle within our modern knowledge. This Faustian struggle has led to the fact that only in recent times has man come to the full feeling of the I, and now of the unformed, inartistically written I, which is experienced darkly within. What can be borne is only that which one has in knowledge, when one feels it out of the fullness of the human being in the proximity of the child; for that which we will see in a moment, what is painted here, is linked from the brownish blackness below the fist, it is linked to the danger of modern knowledge for those who feel from the fullness, it is linked to death, because our knowledge only delivers the dead to us. And whoever not only thinks through theoretically, but inwardly experiences that our concepts themselves are corpses as concepts, always feels death standing beside him out of the Faustian striving, and so he longs for birth, which shows itself on the other side in the child.

The next picture (Fig. 71): Below Faust – here it would be Faust – [Death] is taken out of the black-brownish area.

The next picture (Fig. 73): Here the fist figure is merged out of the blue as a larger area, here the child, stretching out its hands, arms, and gaze, with Death below. Above it, a kind of inspirer, as these figures, which have been tried to be created out of colors, always represent - one can feel that, it is always initiated quite instinctively from the color harmony - the initiates, who receive the secrets of the world from inspirers. Here, then, is Faust, and above him is his inspirer.

The next picture (Fig. 74): This is the inspirer of Faust; below it, Faust would be taken out of the blue, yellowish, reddish colors.

The next image (Fig. 75): A Greek figure as you go further into the dome. Here there would be Faust with his inspirer, here a Greek figure with the inspirer above.

The next picture (Fig. 76): The inspirer; yellow and yellowish-white, sunny like an Apollo countenance, here below somewhat like an Athena countenance; but all this is drawn from the color word.

The next picture (Fig. 77): These are inspirers, spiritual beings that do not incarnate in the flesh, but who have an inspiring effect on those who live on earth in the flesh as human beings.

The next image (Fig. 78): An Egyptian person, inspired by the two preceding ones. An Egyptian initiate, brought out of the brownish-bluish-blackish coloration.

The next picture (Fig. 79): We are moving more and more towards the east, towards the center of the dome, so to speak. Here below is a type of human being that lived as an intellectual being in the whole zone from Persia north of the Black Sea in ancient times, and then developed in Central Europe in the Germanic being; here, in the arms of the child, is the aging human being who carries within himself the memory of the boy.

The ambivalence, the dualism that manifests itself in the Germanic nature when it becomes knowledge, reveals itself, precisely in this Germanic nature, always reveals itself by confronting powers: the Luciferic, which you see here, taken out of the yellowish-reddish, the Ahrimanic taken out of the brownish-yellowish. The Luciferic and the Ahrimanic, we shall see again later in the central figure, they are the two essential ingredients of the human being. Man can only be understood as a kind of state of equilibrium, which must be continually striven for, but which is continually in danger of falling out of itself, of falling towards what would present itself on one side, and on the other side, if the extremes were to develop one-sidedly. This is what man would be like if he had only a heart and no intellect. Then the rest of the human form would adapt to what the heart makes of the human being. This is how man would look if he only had reason and no heart: the Ahrimanic, ossified in himself.

This secret of human existence can be expressed in three ways: physically, psychologically and spiritually. In the luciferic form, which man does not become, but which he contains latently within him, towards which he always strives as towards one side of his nature, what is expressed is that which develops into pleurisy, which constantly places man in danger of fever. On the other hand, man carries within himself the forces of aging; he is always in danger; in morbid cases he succumbs to the physiological pathology of sclerosis, calcification. Between these two states man lives.

Here dualism is depicted, as it does not yet extend to the complete interpenetration of forms, in a kind of physiology that extends down to the animal kingdom, a kind of centaur. But then, something like this has been done before. I have just tried to reproduce the faces of Mr. and Mrs. Wilson in these figures, so that what is contemporary, what was particularly annoying in this period, is also immortalized to some extent.

The next picture (Fig. 81): Here we see the ahrimanic figure just discussed; that is, what the human being tends towards: physiologically in sclerosis, in calcification; psychologically, it is all that in man tends towards pedantry, towards moral intellectualism, and so on; spiritually, all that is actually most alive when man awakens and returns to his physical being.

The next picture (Fig. 82): the Luciferic figure all to itself. I have just discussed it physiologically. The psychic — that which drives people to enthusiasm, to wanting to go beyond themselves with their heads, so to speak, to falling into mysticism, into false theosophy — is something that can be found particularly in mystics and mystical societies. People are often in this mood of enthusiasm, of soulfulness, so that they are always half a meter above their physical head with their soul head, and with a certain inner arrogance - I have already spoken of this - they would then like to look down on their fellow human beings. Spiritually, this is the human being in the moment of falling asleep, of dreaming. These forces, to which the human being tends one-sidedly, are strongest in the moment of falling asleep, while the others, the Ahrimanic ones, are strongest in the moment of waking up.

The next picture (Fig. 82): The Germanic initiator, above him Mr. and Mrs. Wilson. He is holding the child by the arm, shining next to his dark figure.

The next picture (Fig. 83): Here we are already quite close to the eastern side of the small dome. Here is the Russian man, who actually always has his own shadow beside him. The one who sees spiritually actually always sees a real Russian twice, because the Russian always has the second man, the other, the double, with him spiritually. This is something that will only develop in the future; now it is rushing towards destruction, devastation and ruin. But out of this terrible devastation, out of this murder of human civilization, the good core of Russian-ness will one day develop. As here the Germanic has been shown, here is the Russian. Here the inspirer, out of the blue.

The next picture (Fig. 84): Here, if you note this point, you will find above the Russian – there is only one, as I said – the inspiring stars, above which there is a kind of cloud that forms the centaur, which, via the stars from the cosmos, stimulates that which is still present in the Russian today in an embryonic state of soul and spirit.

The next picture (Fig. 85): I will show you that from the other side in a moment. So over here [far right of the image] would be what I have just shown. Here is the actual central motif [directly to the right of the image], and here is the same inspiring angel from the north side; but it is created out of the orange and then, accordingly, this centaur figure. Below, there is again the one Russian who appears in two.

The next picture (Fig. 86): We are now in the middle. Here you see the Russian and here the inspiring blue angel and here the orange one, here in the middle the representative of humanity. Those who feel can feel the Christ in him. He stands there as the representative of human equilibrium; from his right side he sends out the rays of love, which, like serpents, entwine the ahrimanic form – that is, the sclerotic, pedantic, materialistic-intellectual human being; here above is the luciferic figure, which is physiologically, psychologically and spiritually what I have indicated.

This will be in the far east. This is painted on the inside of the dome, and below it, though differently designed, as it must be for the sculpture, is the nine-and-a-half-meter-high wooden group, which also has the Representative of Humanity in the center, who brings balance between the Ahrimanic and the Luciferic.

It so happened that the famous and influential Frohnmeyer wrote a pamphlet, a defamatory pamphlet about anthroposophy, and in this pamphlet he makes the monstrous claim that “when one comes to Dornach, one can see, as Steiner claims, that this is what the Christ looked like in objective reality.” I don't say to anyone else that I see him that way and don't impose him dogmatically on anyone, but I could only shape him as I saw him, he is the one who walked in Palestine according to my vision. Above that is the Luciferic-Ahrimanic.

Frohnmeyer now says that he depicts a Christ there as objective, who has Luciferian traits above and animalistic traits below. He [supposedly] saw it that way. Lucifer is above, the Christ is shaped entirely humanly, below is Ahriman, here is still a piece of wood, it is not yet finished in the wood. But someone writes it down who doesn't feel the slightest obligation to research the truth, just as in the other case, as Mr. Kolisko told it today, someone writes down the objective untruth and then apologizes by saying that he didn't have time to research the truth.

Pastor Frohnmeyer was confronted with the matter. He then said that he had not seen it himself, but had copied it from another pastor, and since it had already appeared a long time ago, he simply believed he could copy it. We did, in fact, send a correction from Dornach, but it was not included. This is how things are spread today; it is the level of conscientiousness with which people work today. But one must keep saying: what should a theology look like that is shaped only in this way? The person in question was also a lecturer at the University of Basel.

The next picture (Fig. 87): the figure of Lucifer in itself – here the figure of Christ would be underneath – this has been brought out of the red.

The next picture (Fig. 88): the Ahrimanic figure by itself. You see here the head, which is as it should be in a being that has only intellect and no powers of the heart.

The next picture (Fig. 90): the painted representative of humanity, the Christ.

The next picture (Fig. 91): Here is my original model of the plastic Christ, seen in profile, who is thus a wooden figure. And in the middle again this Representative of Humanity; above it, repeated twice, the Luciferic figure; below it, twice, the Ahrimanic figure. And then, on the side, an elemental being growing out of the rock, which I will show you in illustrations so that you can see how asymmetry has been attempted in the Dornach sculpture. The next picture (Fig. 92) is my original model for the Christ of the wooden figure. The asymmetry is taken so far that, because the left arm is directed upwards and the right downwards, and the whole figure, not just the face, should have physiognomy, the whole figure should be soul, that the held-up arm on the left corresponds to the forehead, and the held-down arm corresponds to the forehead. This asymmetry, which is only subtly hinted at in humans, has been attempted here. Such things had to be dared because the sensual should not be imitated, but on the contrary, the spiritual, concrete [forming] behind the sensual should be observed, which underlies the sensual formation.

The next picture (Fig. 98): This is a piece [of the execution model]. Here would be Christ. Here is Lucifer, who aspires to the right hand of Christ. Here is this being, growing out of the rock as an elementary being in complete asymmetry. You see, here it is attempted to overcome the usual way of composing. Usually, one composes figures that one puts together. Here, the whole group, which consists of a series of figures, is conceived as a unit, and the individual figures are taken out of the whole down to their fingers, noses, eyes and eyebrows, so that, of course, when the left is at the top, an asymmetry results, but one that is taken from the life of the whole.

The next picture (Fig. 101): once again the striving Lucifer. Here would be the second Luciferian figure, here the Christ figure.

The next picture (Fig. 99): This is my original Ahriman-Mephistopheles model. Mephistopheles is, of course, only a later metamorphosis of Ahriman, who signifies physiologically, psychologically and spiritually what I have said. This model underlies all the Ahriman figures. It was originally designed by me for the wood group in 1915.

The next picture (Fig. 106): Now I come back to showing you this heating house, here in profile, so to speak, since I have already told you how it came about. It is often perceived as annoying; but people do not consider what would be there if one had not tried to shape something out of the concrete material, out of this brittle material, which might be more perfect later on. There would be a red chimney here! I wonder if it would be more beautiful in reality.

The next picture (Fig. 107): the boiler house, seen from the front. As I said, it is only when the smoke comes out that you feel a certain necessity for these outgrowths.

The next picture (Fig. 103): This is the house that was built nearby, the glass house that is now used as a construction office. Some eurythmy practice rooms are inside. It had to be built originally because the glass windows for the building were cut inside it. These glass windows came about in such a way that what is otherwise only artistically executed – that the wall is artistically transparent – is formed in these glass windows right down to the physical level. The motif that had been specified was engraved with a diamond pencil from monochrome glass panes by friends who worked on it for years with tremendous dedication and devotion. This had to be done first in this house. The glass panes are large and a separate studio building had to be erected for this purpose. But it is designed entirely in the style of the whole. Two domes, standing apart from each other, determine the very different shape of the building up to the gate; the whole asymmetry, so down to the stairs, everything is individualized. Those who come here will see that the lock and the door handle are individually designed.

The next picture (Fig. 104): the gate lifted out. The staircase individualized so that it can only be as it is at this location. Here (Fig. 105) the lock, which also returns in various metamorphoses on the building, then the gate.

The next picture (Fig. 112): Here you see a sample of windows, engraved out of a [same-colored] glass pane. One could allegorize and symbolize many things from these colors; but what the person who feels the matter artistically likes best is to simply stand in front of it and let this whole interplay of the light color tone with the dark color tone take effect on them because the interplay – the glass panes are, after all, arranged in succession in different colors – this entire play of colors undulates in the building, but in such a way that it does not make anyone nervous, but on the contrary = as has been attempted – has a healing effect.

The next picture (Fig. 110): other motifs. Such Ahrimanic figures, scratched out.

Now, dear attendees, that was what I took the liberty of bringing to you as a single image from this Goetheanum in Dornach. It is precisely the place where we should find the center of what has been cultivated here for a week, through this week, which was actually dedicated to Goethe's name, Goethe's essence and Goethe's work. And everything that the Goetheanum stands for should be dedicated to this. Perhaps it will have emerged from what I dared to say in the course of these discussions, that what wants to come before the world in anthroposophy can work both artistically and cognitively.

Unfortunately, we are not yet finished; a great deal of effort and, in particular, a great deal of sacrifice from our friends is still needed; unfortunately, it cannot come from the central states at the moment because of the currency difficulties. The sacrifice of other friends is needed if the building is to be completed. It cannot be completed otherwise than by this spirit of sacrifice being renewed. But it must be said that for a long time this spirit of sacrifice has been revealed in the most beautiful, significant and understanding way for Dornach. And from the feeling of the cultural significance of our cause, we cannot thank enough – I would say, from the genius of this anthroposophical sense, we cannot thank enough – those who have been able to possess this spirit of sacrifice. May it continue to exist so that Dornach does not remain a torso, but can be completed.

In the past week, a worthy and beautiful contribution has been made by our friends in Stuttgart and those who have joined them, and this is also intended to serve Dornach; and since I do not belong to the organizing committee, but am only an invited guest, it will not out of place if I also include myself – one knows how much effort a congress committee has, how it has to consider all the details and the big picture and prepare them over a long period of time – to express my heartfelt thanks to this committee, even now that we are at the end of this event.

And then, we must indeed consider, my dear attendees, what calls are going out into the world today. Everywhere we hear, in the broadest circles, the ethical needs - if only in words - of what, in deepest reality, spiritual science wants to bring to the world. Do we not hear everywhere the yearning and speak of world brotherhood, which is to come about through all kinds of world covenants in the most diverse areas of life, but unfortunately out of the old? World brotherhood is sought; it is believed that this or that external event could lead to it.

But, my dear attendees, this world brotherhood cannot be found unless one has the deepest conviction that it actually exists, but is hidden for our time in the deepest subconscious depths of the human soul. But that is where it must be sought. That which is in the depths of the human soul must be sought and realized in the outer life, in social life. Then there will be world brotherhood, then this world brotherhood will be able to create the outer institutions that belong to it. But this world brotherhood cannot be brought about through external institutions. This world brotherhood, however, can only be found if man searches his deepest inner being in the spirit, at the point where his own being is bound together with the world spirit.

Knowledge and art, so they should arise from anthroposophical attitude and anthroposophical insight, as we tried to show in this week. Then, when knowledge and art emerge from human spirituality, which experiences world spirituality within itself, then this experience will also be a deeply religious one, one that will arise in man, entirely in the spirit of Goetheanism, that Goetheanism that sought in Goethe himself the harmony of the three most ideal fruits of life: science, art and religion.

If these fruits of life are there, then social life can also flourish for the benefit of humanity. If we speak less of the religious, it is perhaps precisely out of true religious experience, out of that religious experience that arises when science is sought in a spiritual way, art in a spiritual way.

And in this sense, esteemed attendees, the conclusion may well sound as the beginning sounded! Our dear friend Uehli began with Goethe, and may this event end with Goethe, with his words, through which he expressed his attitude towards science, art and religion; for he said what can also be our motto, which only must be developed further, in accordance with the insight that we do not have before us the Goethe who died in 1832, but the one who has developed with the world, whom we want to serve with his further education and development. But as a shining motto, everything that comes out of this work in the spirit of Goetheanism will be able to draw on what lies in his words, with which this event should come to an end:

He who possesses science and art also has religion
He who does not possess both, may have religion

I hope you will permit me to insert into today’s proceedings at this Pedagogical and Artistic Congress an example taken from the art of recitation and declamation, and to make some observations of an interpolated nature.

Art is always a particularly difficult theme on which to speak, in that art is conveyed through immediate sensation – through immediate perception. It must be received as a direct impression. We are thus in a quite special position in speaking about art at a Congress where our aim is a clarification that is reached both through knowledge and through a whole style of education and teaching-practice. Certainly all the lectures that have been held here have stressed the necessity, in the case of Waldorf education, of introducing an artistic quality into the art of education and teaching in general. But when confronting art itself, one would prefer, as I hinted in a former lecture, to preserve a chaste silence. Now every argument, every show of feeling, every human volition ultimately passes over to form the ongoing stream of human civilisation. They are contained in the three greatest impulses behind all human evolution and all historical events: the ideals of religion, art and knowledge. And in our day an attempt is quite justifiably made to make art the bearer of our ideal of knowledge, so that some possibility may once more be found of our rising upward with our understanding from the realm of substance, of matter, into the spiritual. I have tried to show how art is the way to gain a true knowledge of man, in that artistic creativity and sensitivity are the organs for a genuine knowledge of man. Nature herself becomes a true artist the moment she ascends from the multiplicity of facts and beings of the universe to bring about man. This is not said merely as a metaphor, but as a deeper knowledge of the universe and of man. And again, confronted with art, it may be said that it is an intrusion when we want to speak artistically about art. To speak about art is to lead what is spoken back to a sort of religious perception. Thereby religion is grasped in its widest sense, in which it does not only embrace what we today rightly regard as explicitly religious – the quality of reverence in man – but also includes humour, as understood in the highest sense. [Note 29] A sort of religious feeling must always prepare the mood for art. For when we speak about art we must speak out of the spirit. How can we find words for works of art of the sublimest kind, such as Dante's Commedia, if our language does not embody moments of religious insight?

This was indeed felt, and rightly felt, when art came into being. Art originated at a time when science still formed a unity, a common whole along with religion and art. At the beginning of certain great works of art we hear words which, I would say, seem like a confirmation of these comments from world-history. It is truly out of a cosmic awareness that Homer begins his poem with the words:

Sing, O Muse, of the anger of Peleus’ son Achilles.

Homer himself does not sing: Homer is conscious that he must raise his soul to the superhuman, the super-sensible; that he must place his words as a sacrificial gift before the higher powers he serves, if he is to become a truly artistic poet. (Of course, the question of Homer’s identity has nothing to do with this.) And if we survey a longer period, and come to one of the modern poets, we hear how Klopstock begins his Messiah with words that are indeed different, but formally sound quite similar:

Sing, immortal soul, of sinful man’s redemption,

Which the Messiah on earth in human form accomplished.

When we begin from the one poem and progress to the other, we pass through the period in which man traversed the great, immeasurable distance from complete surrender to the divine spiritual powers, whose earthly sheath he felt himself to be, to the point where man in his freedom started to feel himself a sheath only of his own soul. But there too, at the beginning of the great epoch of German poetry, Klopstock appealed to the invisible – as Goethe constantly did, even if he did not overtly say so. Thus among poets themselves we can observe the consciousness of a sort of translation into the super-sensible.

The super-sensible, however, does not speak in words. Words are in every instance prose. Words are in every instance components of a discourse, components of a psychic act which submits to the conditions of logic. Logic exists in order that we may become aware of external beings and occurrences in their external sense-reality; logic must not, therefore, intrude upon spiritual reality. The moment we arrive by means of logic at a prose sentence we must feel the solid earth under our feet. For the spiritual does not speak in human words. The spiritual world goes only as far as the syllable, not as far as the word. Thus we can say that the poet is in a curious position. The poet has to make use of words, since these are after all the instruments of human speech: but in making use of words he necessarily deserts his proper artistic domain. He can only achieve his aim if he leads the word back to syllable-formation. In the quantities, metres and weight of syllable-formation – this is the region where the word has not yet become word, but still submits to the musical, imaginative and plastic, to a speech-transcendent spirituality – there the poet holds sway. And when the poet has to make use of words, he feels inwardly how he has to lead word-formations back to the region that he left under the necessity of passing from syllable to word. He feels that through rhyme, through the entire configuration of the verse, he must again make good what is lost when the word abandons the concrete quantities and weight that belong to the syllable, and round it out artistically, imparting form and harmony.

Here we are vouchsafed a glimpse into the intimacies of the poet’s soul. This disposition is truly felt by a real poet. Platen is not alone in having left us some remarkable comments on what I have just attempted to describe:

Only to rambling dilettantes

Are formal strictures ‘senseless’. Necessity:

That is thy sacrificial gift, O Genius.

Platen invokes Genius, observing that it is inherent in Genius to fashion the syllables in accordance with quantity, metre and weight. Rambling off into prose is merely the foolishness of the half-talented. (Although, as I have mentioned, these make up ninety-nine per cent of our versifiers.) And not only Platen, but Schiller, too, puts it rather beautifully when he says:

It is the peculiar property of an untainted and purely quantitative verse that it serves as the sensible presentation of an inner necessity of thought; and conversely, any licence in the treatment of syllable quantities makes itself felt in a certain arbitrariness. From this perspective it is of particular importance, and touches upon the most intimate laws of art.

It is to the necessity inherent in syllable-quantities that Schiller refers in this pronouncement.

The declaimer or reciter, as the interpreter of the poet’s art, must give special attention to what I have just described. He has to conduct what comes before him as a poetical composition, which obviously communicates through words, back to quantity, metre and the weight of the syllables. What then flows out into the words has to be consciously rounded out so as to accord with the verse-structure and rhyme. In our own age, with its lack of artistic feeling, there has arisen a curious kind of declamatory-recitative art – a prosaic emphasis on the prose-sense, something quite unartistic. The real poet always goes back from the prosaic or literal to the musical or plastic. Before he committed the words of a poem to paper, Schiller always experienced a wordless, indeterminate melody, a soul-experience of melody. As yet without words, it flowed along melodically like a musical theme, onto which he then threaded the words. One might conjecture that Schiller could have conjured the most varied poems, as regards verbal content, out of the same musical theme. And to rehearse his iambic verse-dramas, Goethe stood in front of his actors with a baton, like a conductor, considering the formation of sound, the balance of the syllables, the musical rhythm and time-signature to be the essential, rather than the literal meaning. For this reason it has become necessary for our own spiritual stream to return to a true art of recitation and declamation, where what has been debased through the means of expression imposed upon the poet to the level of mere prose can once again be raised, so as to regain the level of a super-sensible formative and musical experience.

This work was taken in hand by Frau Dr. Steiner, who over the last decades has tried to develop an art of recitation and declamation in which something that transcends prose to become inwardly eurythmic, the imaginative and musical configuration of syllable-quantities, the imaginative quality of the sound, whether plastic or musical – in which all this is once more made apparent. This comes out differently in lyric, epic and drama – I shall deal with that presently. But we would first like to show how what is indicated here can in general be derived from poetry that is truly artistic.

As a first example you will hear “Ostern”, by Anastasius Grün, a poem particularly suited to such a passing-beyond-the-content and approach to the aesthetic form. It is a somewhat old-fashioned poem that is (in a rather narrow sense) topical, in being a poem dedicated to Easter. On the other hand it is not topical, in the sense that it dates back to the first half of the nineteenth century, an age when the poet still felt bound to acknowledge the necessity of plastic and rhythmical formative power. Let us accept the poem as it is – though it will nowadays be found tedious by those who attend to the prose content alone, as being rather antiquated in its imagery. Even allowing for its tediousness as prose, however, a genuine poet has here attempted to comply with the inner aesthetic necessity of the poem.

We shall then continue with a modern poet, with “An Eine Rose”, a sonnet by Albert Steffen. It is precisely in the sonnet that, with good will, we can discern how the verbal presentation is compensated by the strictly bounded form – this atones for the sin committed with regard to the words, and the whole is then rounded out and rendered euphonious. In the case of a poet like Albert Steffen, whose explorations extend into the hidden depths of his view of the world, it is interesting to observe how he simultaneously feels the necessity of transmuting what comes to light as a way of knowledge into the strictest aesthetic forms.

In the “Terzinen” of Christian Morgenstern we shall see how a peculiar poetic form – free terzetti – subsists on the basis of a feeling for continuity, for openness of form, in contrast to the sonnet which is based on a rounding-off of feeling. We shall see how the terzetti, albeit towards the end of the poem, have a quality of openness, while yet constituting a bounded whole from what flows into the words.

And then perhaps I may adduce three poems of my own: “Frühling”, “Herbst”, and “Weltenseelengeister”, in which I have tried to bring into strict forms the most inward experiences of the human soul – not the forms of conventional prosody or metrics, but forms which stem from the actual emotion, while at the same time they try to contain the amorphous, fluctuating, glittering life within the soul in internally strict forms.

Frau Dr. Steiner will now demonstrate these six, more lyrical poems. (“Ostern” is, of course, a long poem of which we will present only Part V.)

OSTERN

Und Ostern wird es einst, der Herr sieht nieder

Vom Ölberg in das Tal, das klingt und blüht;

Rings Glanz und Fühl’ und Wonn’ und Wonne wieder,

So weit sein Aug’ – ein Gottesauge – sieht!

Ein Ostern, wie’s der Dichtergeist sieht blühen,

Dem’s schon zu schaun, zu pflücken jetzt erlaubt

Die Blütenkränze, die als Kron’ einst glühen

Um der noch ungebornen Tage Haupt!

Ein Ostern, wie’s das Dichteraug’ sieht tagen,

Das überm Nebel, der das Jetzt umzieht,

Die morgenroten Gletscherhäupter ragen

Der werdenden Jahrtausende schon sieht!

Ein Ostern, Auferstehungsfest, das wieder

Des Frühlings Hauch auf Blumengräber sät;

Ein Ostern der Verjüngung, das hernieder

Ins Menschenherz der Gottheit Atem weht!

Sieh, welche Wandlung blüht auf Zions Bahnen!

Längst hält ja Lenz sein Siegeslager hier;

Auf Bergen wehn der Palmen grüne Fahnen,

Im Tale prangt sein Zelt in Blütenzier!

Längst wogt ja über all’ den alten Trümmern

Ein weites Saatenmeer in goldner Flut,

Wie fern im Nord, wo weisse Wellen schimmern,

Versunken tief im Meer Vineta ruht.

[IMAGE REMOVED FROM PREVIEW]

You will allow me to precede the recitation of poems by our most esteemed and beloved member Christian Morgenstern with a few words. On such an occasion, I would like to speak differently than I usually have to speak before you. Otherwise, when I speak, I feel obliged not to touch on personal matters and to let our spiritual-scientific worldview speak. This time, however, I may speak to you as I need to speak when I am not bound by such an obligation. I may speak to you very personally on such an occasion.

I would like to see the souls of our dear friends in a kind of festive adornment on such an occasion, because it seems to me that this is an occasion when we can and may feel something directly human about the value and truth of this our spiritual movement in a certain respect. But we can also know something of the value and truth of our spiritual movement through the fact that we give the reasons and the good evidence for this spiritual-scientific world view. But these are things that everyone must do for themselves, if we understand each other correctly, quite regardless of whether they agree with this or that point of view in our world view or not. But there are other proofs. There are proofs that can speak to our hearts. Let me say it plainly and simply: that this evidence of our worldview can exist quite well. But this plain speaking is meant very warmly. It is the word that gives our worldview some of its inner truth by saying: poets also come to us. And he will understand me best at this moment who, as deeply as it can be felt towards Christian Morgenstern, feels the word: Poets also come to us - especially with regard to the inner truth and the clarification of that which may be the core of our spiritual-scientific worldview.

There are experiences of the human heart that, as far as one looks around in all the worlds of the natural, human and divine, are only right when they are experienced at the side of the soul of the poet. And to feel this is to truly experience what the poet is to earthly life. And there are moments when the poet can give the human soul something everlasting.

As I said, I would like to speak only of a few symptomatic, very personal things, just because in this way we may prepare ourselves for that adornment of the soul that I would so much like to see, when something like Christian Morgenstern's poetry descends on the soul in the leisurely moments that one has. Then one feels something of what I have just hinted at.

For me personally, there has been something very special in connection with these poems in the last few days. I read a few pages that our dear member Christian Morgenstern wrote, and I may confess – perhaps Christian Morgenstern himself will not be offended if I take a few minutes to do so before reciting – , that reading some of the unpretentious, simple words that appeared as “Autobiographical Notes” in the publishing house almanac Piper, Munich, is one of those moments of rare joy, of very inner joy. I may speak personally. One feels, precisely through the touches of Christian Morgenstern's love-awakening community soul with another, immersed in regions where, with this soul, one finds oneself alone but surrounded by the world's powers when reading something like the opening words to the autobiographical note. You feel as if you were being blown towards something strange and mysterious when someone says something like that. Perhaps it will seem strange to some that I am saying this here, but it is so.

“The year 1901 saw me through Paul de Lagarde's ‘German Writings’. He seemed to me – Wagner was estranged from me then through Nietzsche – as the second decisive German of the last decades, to which it might also agree that his entire nation had gone its way without him.”

If you are prepared to take on board an independent characteristic of the poet, then you will be able to draw a lot from such beautiful, seemingly unassuming words.

I would like to suggest this in order to be able to say that in Christian Morgenstern's poetry, something can be felt that I think leads to regions that a human soul can only enter in two ways: either as a creator, or at the side of the soul of a creator. Otherwise, these regions of human feeling and experience, which can be found where poems like “The Star” or many wonderfully beautiful landscape pictures in Christian Morgenstern's work were created, are closed to one. Otherwise, the path to this region is closed.

And the second word that I would like to express, where we get a deeper impression of life, is the word that truly reveals to us what each person is as an individual. There is something in the world for each of us that stands before us as a poet-individual, which is a sanctuary that no other person but only he himself can enter. For the gods have created for each such soul a lonely, isolated place in the vast universe, from which the others are excluded if the person in question does not approach them in such a way that he leads them to his sanctuary, if he does not take them by the hand spiritually and lead them there. That one can feel something of creation, of the inner soul creation that the poet wants to bring into the world, that is what I would like to have expressed to you with these words.

It is not for me to speak about the poems themselves, some of which date from earlier times and some of which were created in recent times, because there is a feeling that tells us: when it comes to poems, in some respects it is not permitted to approach them with words, but only with those depths of the soul, where words no longer speak. These are such depths of the soul. That is something of what I would like to see felt.

And since I am speaking to you personally in these minutes, please allow me to make this comment as well. I have often had the feeling that within our movement there are those who, for one reason or another, have the impulse to please someone. It will always give me personal pleasure when many souls, who have delved into our movement through what our movement can achieve in this area, are able to turn to the right, true, beautiful reception of Morgenstern's poetry. And if I am to speak of a joy that one or the other of you personally wants to give me, then he can actually give it to me best by finding himself ready to penetrate with understanding into something of the kind that we would now like to give you some good samples of. These are the things that allow one to feel personally connected to our movement, and to step out of character for a moment, so to speak, and speak intimately and personally of one's joy, including the fact that among the greatest of these joys is that we have poets like Christian Morgenstern among us, in our midst. The best I can give you is not an introduction to someone who can speak for himself. But what I would like is for joy, much joy, to flow from my soul into yours, my dear friends, so that many of you will feel with me what I myself feel so gladly and will always feel. May our dear friend Christian Morgenstern bestow upon us many, many of the poetic creations that accumulate in his soul. We wish with all our hearts that we may experience much of what he still has to give us, and that we may always find the mood to receive much of it.

With that, I wanted to greet you with a few words about what is to be given to you in the recitation.

The recitation by Marie Steiner followed. The order is not known.

Today we have the great and heartfelt joy of being able to immerse ourselves in the impressions of Friedrich Lienhard's poetic creation. On such a dear occasion for us, it should always be pointed out how we feel most gratefully when the opportunity arises for what the true poet brings up from the spiritual home fields, which are also our home fields, to resonate with the striving that fills our hearts. And we must always emphasize how happy and deeply satisfied we must feel when the true poet brings into our circles what the spiritual power, to which we also profess to belong, as its favorite, inspires in the heart and soul. And we will find ourselves filled with such true inspiration when we turn our spiritual ear to Friedrich Lienhard's creations. We may feel a close kinship with his poetic soul in particular, which draws inspiration from two sources that are so close to us, so very close to us. How many of Lienhard's creations reflect what the most diverse, manifold spirits of the natural world in Alsace whisper, rustle, lisp, and let us hear in the human heart. It may be said that in the course of spiritual development, precisely within this occult current, there will be more and more those who are just a grateful audience for what comes from such a place.

It is a complete misunderstanding to believe that inspiration from the spiritual world, as can be felt by the poet Lienhard, merely pours into the content of the artistic and distracts from the actual artistic form. That is not the case. In truth, one feels much more how the words are carried to spiritual heights and how, in the carrying itself, the most artistic things also unfold in form, when the bearers of the word, when the bearers of the other means of art, are the true masters of spiritual reality. It is this sense of being borne by the true spirit of spiritual reality that is so wonderfully what greets us in Friedrich Lienhard's poetry.

The second source, which is also so close to us, is that the poet has found his way to those sources of spiritual inspiration that flow from the ancient traditions of Germanic prehistory, in which ancient wisdom still resonates and murmurs in such a magnificent way. It is truly as if, at times, something of that mood, of that artistic mood of ancient German times, could be felt in Lienhard's larger poems, which has actually been so thoroughly dispelled that even Wilhelm Jordan's poetry could not conjure it up again. It often seemed to me as if I heard something reverberating from the very poems of Friedrich Lienhard, something that was so vivid in my mind as in the old days when alliterations were still alive, these alliterations that in those times carried the words so that there were words that lived in every soul. The poet then struck up a note, and the congregation echoed in alliteration what the poet had struck up and what the singer brought to a close. When the singer struck up a note, the listeners joined in. This formed the bond of souls for the people. And this is basically echoed in all the congregational singing, which shows a faint echo of what was also done in the mysteries. And so we must be grateful when a poet wants to go back to this source in the most genuine sense possible. A poet who, especially in our time, knew how to emphasize the seriousness of art in such a wonderful way through his connection with the fateful days we are living through.

I would like many of us to read Friedrich Lienhard's writings, his poems, especially “Germany's European Mission,” in which so much warmth lives in relation to the conception of what is , in which so much of the great impulses lives, to which we must rise if we want to live as confessors of spiritual science in the right sense with what pulses through our time. And no less will the soul find uplift when it hears the words of a genuine poet, who has grown together in his heart with Germany's Westmark, in his writing “The German Alsace,” in which he has found such beautiful words about the connection between the German Westmark and the entire German essence.

We will first have the joy of hearing some grateful poems from Friedrich Lienhard himself, taken from the yet-to-be-published collection dedicated to serving our time. We will be able to hear them gratefully, because we will hear a foreshadowing of what may already stand before our souls like a state of the future, a future full of vibrancy. For it may perhaps also be seen as a greeting for what Friedrich Lienhard will now give us when it is mentioned how we feel that in our time there is much, much more poetic material that will emerge, will well up, once a different mood has developed from that tragic mood that must now fill us in view of the fact that for the time being the difficult and often cruel deeds must speak, a different mood will have developed, where the feeling of pain must express artistically much of what now passes by our souls, but which will certainly offer our poets, in a similar way to the poets of the past, much to artistically shape. A picture stands before me, which I believe must contain much inspiration for the future, and which will express more clearly than many other things that are already clearly seen, what lives in the present. Many, many profound impressions could be gained in our time. For me, one impression outweighed many others, an impression that I had in the first days of August. When one looked up at the German Reichstag and its assembled parties with their party leaders – it seems prosaic, but in the midst of the prose the impression is transformed into a poetic image – and then turned one's gaze back to the east, where another assembly was taking place, the Duma assembly. If you don't just take what was going on there, but take the mood that spread like an aura over it, well, it is difficult even today to put this mood into words. Turning our gaze to the German Reichstag: what prevailed like a herald that precedes future deeds? Silence. Silence of the parties. The mood that arises from this silence, truly, in comparison to the other, which arises when we consider in detail what took place almost at the same time as the convocation of the Duma, it must appear to us, because so much, so infinitely much was said from all sides, next to the silent herald - I I say it truly, not with scorn, not with irony, I felt sorrow rising in my heart as I envisioned the image of what took place in the Duma in August - the image that resembles a carnival figure hung with all sorts of tinsel from phrases - which were indeed uttered in a frenzy of enthusiasm. I know I am capable of any objectivity, yet I must present these two images, because they present themselves to my soul. And an art will flourish that knows what it must discuss from these images.

We will gratefully listen to the beginning of the poem, which is intended as a song by Friedrich Lienhard, in which is artistically shaped that which weaves through our time and lives karmically. And then, after we have received this, we will be able to delve further into older, but ever-young creations by this artist, this poet, who wanted to direct his paths to us.

But what we feel, my dear friends, is that there is a particularly grateful audience in the souls that have taken up spiritual science, precisely for the kind of poetry that Friedrich Lienhard brings to humanity.

With these thoughts in mind, we greet Friedrich Lienhard, the poet whom we love so much, whom we hold so dearly in our hearts, and whom we revere as a human being.

Friedrich Lienhard presents his poetry.

Today, we will include a presentation of German poetry in the circle of reflections that we are now cultivating during this time. The first part of this presentation will be dedicated to the poet in whose presence we have the great and intimate satisfaction of seeing him in our midst today: our dear Professor Friedrich Lienhard. And it is in keeping with a deep feeling for the unique life's work of our esteemed friend that I want to express, albeit late, following the feelings that have been expressed to Friedrich Lienhard by the broadest circles of the German people on the occasion of his birthday a few weeks ago. It certainly corresponds to our deepest feelings when I express to him today the complete merging of all our warmth with the festive joys that have surrounded him, which have shown him how much that which he has been able to give to his people from the depths of his gifted nature resonates in the hearts of many.

Certainly, my dear friends, there was a wider circle that is more important for historical development today than our narrower circle, which in a festive mood has approached Friedrich Lienhard in the last few weeks. But with all our hearts we join with our feelings, with our sentiments, with what Friedrich Lienhard was fully entitled to hear in these weeks: the deepest agreement of her innermost feelings with his feelings. Many have spoken to him about it. The highest recognition that science can give to human intellectual endeavor has been bestowed upon Friedrich Lienhard by his, I would say, mother university. This is a source of great joy to us and, I am sure, to all those who are able to feel the deep debt of gratitude that exists towards human intellectual achievement. All those who heard about how Lienhard's mother university awarded the honorary doctorate, the recognition of science for human intellectual achievements, were overcome with the deepest satisfaction and joy. And in the deepest sense, we empathized with everything that has happened around him in the past few days, empathized because what is so infinitely sacred to us, what we cling to with all our love and striving, also seems to permeate his work.

It can be said that more recent human culture has produced much that is significant in the way of poetic art. In many places, what present culture can give to people flourishes in poetic achievements. The future will decide, and the heart of the present can already sense how it will decide, which of these blossoms are so closely linked to the temporality of contemporary culture that they will also fade when that culture, with its sole affiliation to the present, sinks into the past. And what is culture of our time has been brought up from the depths of the human being, that it blossoms, grows and greens towards that which is eternal, which will remain of our culture of the times, as something that carries the seeds of the future and will be a support for the ongoing spiritual culture of humanity. We want to be connected to the eternal in the present, to everything that reaches into the future, with all our hearts. And we hear this in the words of Friedrich Lienhard. When we connect with the wonderful natural moods that sound so uplifting, so enchanting, so delightful, so graceful in Friedrich Lienhard's poetry, then we feel how, behind his work, in his work, the spirits of nature themselves surge and weave. We feel drawn through the word, through the thought, through the feelings, to the creative nature, with which we also want to connect in knowledge through spiritual science. And we feel that these poems arise from what seizes man from the eternal, that they express this eternal in the temporal for the upliftment, the joy, the elevation of the human heart and soul. This makes us intimate with all of Lienhard's poetry. It makes us read and listen to it; it makes us, I would say, live and weave ourselves into it from the very first line, feel connected to its life element, to its creativity, and at the same time feel how the soul's life force, the spirit's air of life, overflows in us when we are allowed to let the impressions of his poetry take effect on us. Then again, when he conjures up the figures of ancient times out of the mysterious fog of existence, in lively activity and lively effectiveness, then we feel that yearning of humanity come to life, which expresses itself in the fact that the human human soul must look beyond everything that takes place historically on the outside, before the eyes and ears and the other senses of humanity, and plays itself up into the mythical, which, as an eternal element, encompasses the historical-temporal. And in this truly mythical element, in this element that connects human hearts with the eternal, we feel the figures that Friedrich Lienhard conjures out of the darkness and yet so full of light of prehistoric times.

On the one hand, Lienhard's poetry elevates us from the sensual to the spiritual and creative side of nature, from the present to the past. On the other hand, in his creations, we feel how they carry us into that which can take hold of us from everyday life in a deepening way can take hold of us in a deepening way, enabling us to live in the here and now as a spiritual and living being, how these poems connect us with everything humanly close and humanly lofty, how they develop heart and mind for everything that lives and moves in the world with man. Immersing ourselves in his poetry, we are able to live through its magic with so much that conquers and elevates human hearts in nature and spirit. And so, living with his poetry, we experience the most intimate happiness, the happiness that is the guide to man's true home.

So I ask you, my dear Professor Lienhard, to accept this greeting, which comes from the faithful search for understanding of the impression of your life's work, your life's work that has incorporated so much meaningful and eternal from the development of humanity and entitles us to greet you for all that we now hopefully expect from you in this incarnation. Please accept these words as a promise that we would like to extend to you, not out of passing feelings, but out of a deeper understanding of your life's work to date. Take them as an expression of our desire for all that we may hope for to come from you. Please accept my words as a prelude to every greeting that we wish to extend to you on your future journey through life. May what we strive for be bound to what you strive for. This bond will be sacred to us and we will always view it in such a way that we feel happy and satisfied to see the poet Friedrich Lienhard in our midst. Every moment that we spend in your company will be a moment of heartfelt joy and satisfaction for us.

I wanted to express this to you as a greeting before we now open our hearts to your work again for a short time.

Recitation by Marie Steiner from 'Poems' by Friedrich Lienhard: Faith; Morning Wind; Forest Greeting; The Creating Light (see page 216 for texts),

Lonely Rock

A rock beckons me in the golden air,
High and alone.
Around its summit is the scent of the heath
And evening glow.
A faithful little bee rings out in the herb
Flower bells, pure and calm.
Whoever looks out from there over the land
The world is his!

ELFENTANZ

Raschelgewänder und seidene Schuh',
Krone, Korallen und Bänder dazu
Rundaradei!
Rauschen und schleifen wir, singen dabei,
Rauschen und singen wir,
we swing our rustling skirts
around the ash tree, around into May,
Rundaradei, eia, rundaradei!

Do you want to catch us?
You have to dance with us!
Do you have feet as silky as ours?
Are you as flexible,
Are you as cuddly,
Are you as fast and as swinging as we are?

The leaves on the bush,
They turn in the breeze
The grass-green skirts and flicker in the process!
And if from the blue
The nights a thaw came,
So dances and sparkles in the morning of May!

Drink the light and dance yourself lively!
Drink the light and then up the hill!
A pearl from the early grass splashes down on you, Imagine an elf leaping at you! Finches, oh, see how they fly, Little clouds, oh, see how they glide, Everywhere, everywhere, faces of the sun, You alone in the midst of it all, a darkened man!

Do you want to grab us?
You have to drag along with us!
Do you also have little feet as silky as ours?
Are you as flexible,
Are you as cuddly,
Are you as fast and as nimble as we are?

He stumbles and lurches,
The clogs of the shaggy bear!

Nimble, buzz around him,
Flirting, confusing him!
Whirlwind, caressing wind, teasing wind: there!
Tousle him fine,
Pluck him fine,
Pluck and pluck and pluck him fine!
Hey, and so we float airily and free!
Down there, you catch me now, catch me, catch me,
Tear the train behind me, kiss my cheek, after all,
Catch me – catch me – catch me –
Gone!

SUMMER NIGHT

Strange night! In the reed and moor,
How the dry reed rustles and slurps!
It embraces as if it were alive,
And sighs as it releases them again.

How sweet the rustling sounds!
I have always loved the night wind:
It breathes voices and souls into the reeds, the birches, the moonlight
It breathes voices and souls into them.

Many ghosts are dancing, the world is loud,
The smallest herb stirs and giggles.
From the old knight's tower,
An owl laughs into the enchanted night...

EVENING RED

I long for a homeland that has no earthly boundaries,
I long for an eternal heavenly city out of human need.
The evening glow shines brightly and clearly, the spring rustles gently in the Wasgenwald
How soon my day on earth will pass, and all my daily work!

Oh, come, thou universal night, which knows no earthly measure,
From whose depths star upon star burns upon our tiny star!
I am not tired of the day's work, and yet I am tired of the day
I long for your vastness, you unlimited heavenly city!

AUTUMN ON ODILIENBERG

1. Autumn bells

Through red forest and bell singing,
Through an autumn day's sparkling dew
I seek on anxious heights
The stronghold of a holy woman,
Seeking sunshine above the clouds!
Oh misty walk,
Oh rugged slope,
I will a proud life long
be a pilgrim!

2. The blue flower

The earth smiles as a garden land
On the pilgrim who found the blue flower.

A lily blooms from the deep forest blue:
The bright monastery of a holy woman.

And though I search always, always, always,
You, silent mountain, are the blue flower.

3. Autumn Walk

How beautiful you are! You're a web of golden hair,
I walk transfigured through a fairy-tale grove.
All my soul soars up to God,
A smoke that lost itself in the blue of the heights.

Am I the one who walks dreaming in the falling leaves,

As this earth is full of colors,

Odilienberg is as beautiful as heaven!
In nothing but light, valley and hill dissolve,
And bliss was mine, which was so full of sorrow
Thank you for everything, you blessed year!

SUNDAY MORNING ON THE ODILIENBERG

What laughter and radiance today in the forest and shimmering meadow?
Odilia walks over the mountain and blesses the sunny valleys.

The early bells awaken far and near from weekdays and worries
There is a wondrous radiance on this Sunday morning!

From Otrott and from Heiligenstein, from Klingental and further:
A holy Jacob's ladder rises from the sound of the bells!

And all the saints who have ever lived in the land of the Alisassen
They gather in the “Heidenstadt”, in invisible lanes!

And all the Celts and warriors who long ago converted to the Lord
They crowd like a forest of flowers around the one who is highly revered.

Oh sea of spirits, oh sea of sounds, oh radiance in forest and meadow
Odilia walks over the mountain and blesses the sunny district!

ST. ODILIA

Patron Saint of Alsace

Her heart was a sun,
her eyes were dead and gray!
And from the clear forehead
of the beautiful woman
flowed the golden hair
in a rich flood —
Oh Holy Woman of Odilia,
make me pious and good!

In a mountain spring
she washed her white hands
and her blind eyes
Then she saw her Alsace
in pure May blossom
standing before her eyes
Oh holy woman of Odilia,
teach me to see!

In the monastery the bells are ringing,
The world is drowning in the fog
But see, the stars are shining brightly
From the summer night sky,
But see, Strasbourg is shining brightly
Over to our heights
Oh Holy Lady of Odilia,
Alsace is beautiful!

We will then connect with what we hear from Friedrich Lienhard's poetry, some of a poet who, like Friedrich Lienhard, shows us that the most Germanic nature finds its way out of its self-conception to the eternal of an ideal world view, who also shows us how the whole intimate empathy with the vibrations of the German being broadens the view to universality, to an all-worldly view, how the German view does not narrow, how it leads out to the great wide plan, where all that is human comes into its own and nothing human is misunderstood.

Wilhelm Jordan is the other poet, of whom we want to hear the piece of his Nibelung poem, especially where he wants to introduce a mood of the human heart, where the heart opens out of the temporal in order to listen for counsel for the temporal out of the eternal. How the German hero seeks counsel not only in the external world, but also from spiritual beings who speak through nature and through the soul's outer being. How the German hero opens his heart to this counsel in order to repel the threat that comes from the Huns in the east and threatens the burgeoning of German culture. This scene, which is so poignantly connected with the innermost German feeling, but with the feeling of world culture, is then inserted into our present performance.

From “The Nibelungs” by Wilhelm Jordan. The Saga of Sigfrid, 18th Song.

Just then spoke to the servants
Of the sanctuary in the grove at Holmgart,
Now already infirm and very old, the seeress Oda:

“I thought to rest from the runic office, The little time that my pilgrimage On earth still lasts; but highly significant Is this message from the reeve of Berne; The noble Ditrich, who has long since been in charge of Ditmar, Tired of age, of the power. His bravest man and armorer, Hildebrant, the son of Herbrant,he sent, together with Siegfried's steward,to the mighty mother of men and his most valiant man and armorer,
Hildebranten, the son of Herbrant,
Sandt' he, together with Sigfrid's carer,
to the mighty mother of men and gods,
to give account, to seek advice
and guiding light from the fall of the lots...

But small is the measure of human wisdom;
So let us now pray for revelation
From the omniscient spirit of the mighty goddess,
Who bears all happenings in her womb,
And sees the shadow cast of what is still uncreated.
Omnipotent mother of men and gods,
Once more in this hour,
Strengthen the mouth of the weary. For the last time,
Before I die, I will ascend
The golden throne on the hollow step
And, with incense clouds swirling around my forehead,
From the disappointing breath from the eternal depths,
boldly gaze into the future. —
So now speak, messenger, Ditrich of the Berners:
What does he ask of the goddess of the Goth leaders ?“

Then the offspring of Heribrant spoke:

”What will help us to salvation
from the Hunnic hordes?
What is the goal of the future for a German?"

Once the question had been asked, she climbed the ladder
weakly and with difficulty. With a golden knife
she cut the rice, came down slowly,
carved the smooth bark with runes,
divided the stick into small pieces,
And turned away, she drew them
On the white carpet... Then she tied on the cloth,
Woven from unbidden, black kid
Wool, bent down, selected,
Reaching blindly, went into the grotto
And bade the princes and witnesses follow her.

Then she mounted the chair. She lined up the rods
On the holy table made of the wood of a fir tree,
Which the storm blast had once split to the root,
And then read the motto according to their position.

Then she sat lost in deep thought,
While the steam in dense clouds
Enveloped her head, to which a hundred winters
Had bleached the hair to a blinding snow.

Now at last she beckons. The incense evaporates,
eyes roll in holy ecstasy
and sparkle with fire, but only into the distance
do they gaze, enraptured, perceiving the future.
And so the divinely gifted began:

"In a surging confusion, shadows of princes and peoples and future strugglesappear to me. But in the space of the searching soul,thousands of yearsdeceptivelymove together in view.

Oh, Ditrich, consider
The envy in the neighborhood!
Otherwise a relative
Will throw you from the throne,
And you seek security
And help to return home
In bitter banishment
With the dreaded enemy.

What threatening urge
From east and west!
There Hun hordes,
Here Merowig's might.
Thus languishes the question
Of rights and realms;
Obey the hero,
That aids to salvation.

Here, the ruling
domestic sovereign
binds the envious neighbors
to a glorious empire;
There lie the corpses,
There rise the cities,
The Lechfeld illuminates
the sun of victory.

Be strong in the West,
Conquer in the East,
And take in the North
The march to the sea,
Only do not seek the concubine
In the south of the mountains,
For spirits and bodies
You poison with your kiss.

Oh King, do you fail to recognize
The meaningful legend
Of the future's salvation
Through domestic discipline?
The fruit tree of the frosty land
Becomes sick and crippled,
Because, to ennoble it,
The palm branch does not fit.

Woe! scarlet red foam
The rivers of blood,
The staggering crowd
Is discouraged and swears.
Then the red beard rages
Hidden in the mountains,
Until the raven pair, waking up,
Calls him to Valhalla.

Then the proud ones pray
And bow their foreheads
Like penitents to the dust
Before the rising star.
What crowns in the manger
The infant victor?
Three kings come
And call him Lord.

Oh, Master of mercy,
The furious, wild
And heartless Hilde
Banishes thy commandment;
Their sword shelters the weak, —
Not again awake —
To the rage of revenge
The envy and the need.

Gone, forgotten
Are gods and heroes,
Inaudible fade away
Their praise and their song.
The fearless fathers
Admired wisdom
Is cunningly slandered
And shamelessly reviled.

Incomprehensible feud
Empties the land,
Sending children and old men
To fight for a grave.
The bearer of the crown,
Struck by the crook,
There he bends barefoot
To the prayer of repentance.

But the magician trembles;
You, little rod, destroy for him
The bulwark of his castles;
His letter is burnt.

Dawn is announced
By the candles of the children's tree:
The time of estrangement
Will soon be over.

Another age of disaster,
Full of doubt and discord?
Brothers are consumed
With an excessive lust for murder.
Like greedy vultures
The Franks estrange
The best of the castles
On the rushing Rhine.

But the flames do not burn for long
The shining embers;
We overthrow the proud
From the defiant throne,
And it repents in exile
On a lonely island
The despot despairing
The disruption of the realm.

Therefore, though the earth
Has more warriors than herbs
To fight the world war,
Be fearless, my people.
Full of proud thoughts
The German endures
The storms with strong patience.

The day of recovery will come,
We will find the leader,
Who remembers our fathers
My people will win.
They will fight the battles,
They will adorn themselves with wreaths
And forge the crown
Of the united power.

The seeress spoke it; then she sank down
And gasped for breath, gasping and groaning,
With a broken look, her head on her chest.
Now she raises her head again as if listening,
With flaming eyes and flying hair.

“O Sigfrid,” she cries, “look at the sun!
It fades, it blackens: the wavering lights,
That shimmer through the shadows of the trees, they form
Not discs as usual, no, sharp sickles.
The toads lament, the owl hoots, So that midday becomes night; the murderous marten Stalks and catches the sleepy birds. As much as you thirst, you dare not drink: For behind you... Help! - wait, Hela! Oh woe - stricken - the world goes to ruin
Dreadful scream - terrible night.

Speech failed her. She leaped up,
As, with an arrow through the heart, the stag leaps up in the air
Plunged to the ground and was dead.

When, deeply moved by the words of the seer
And shaken, stunned by the horrors of death,
Odas' remains surrounded the others,
Then disappeared unnoticed from the threshold of the grotto
And won the expanse of Sibich, the Welsche.

The chairman, Mr. Roser, opens the meeting. He then announces that it is intended to introduce study evenings at which explanations of the idea of the threefold social order are to be given and at which, in particular, the book “The Core Issues of the Social Question” is to be thoroughly discussed. The first study evening is to take place in the coming week. He then reports that the shoe industry has made progress with regard to the works council issue. They have already come so far that the works councils in the leather industry have joined together to form an action committee that intends to become active within the shoe industry in the near future.

Opening words

Rudolf Steiner: Dear attendees, As on the previous evenings, I will also give only a brief introduction today, so that we can then discuss one or the other specific question in detail. But in view of the waning interest in the works council issue, it may be advisable to make some more general comments at the beginning of this evening.

You see, on the part of the “Federation for the Tripartite Structure of the Social Organism”, the aim has been to take the first really practical step in the direction that has been outlined by the social movement for more than half a century, by creating a works council. This movement is, after all, like an outcry of the proletariat against its oppression. But this outcry is basically nothing more than a kind of world-historical critique of the capitalist economic order. Due to the world war catastrophe, conditions have now emerged that make it necessary to replace the critique to which the parties of the socialist movement have become accustomed with something else. When people within this movement began to find ways to achieve social renewal, there was hope that, especially among the broad masses of the working class, firstly from their experiences within the capitalist social order, and secondly from the undergrounds that arise because the working class is really much more politically educated than the bourgeoisie as a result of its experiences, an understanding would develop for what should replace the previously merely social criticism of the social order. After the so-called collapse of the German Reich, one could basically only hope for something really decisive from this side, because those who were completely tied to the old state and economic order had nothing to offer that could really lead to a new structure, despite the experiences of the world war catastrophe and its consequences.

One gets quite gloomy thoughts today when, on the one hand, one realizes that the intelligentsia is necessary for a new beginning, and when, on the other hand, one considers the mental and political state of this intelligentsia in today's Central Europe, especially the intelligentsia of those who belong to the leading personalities. From all that has been said here so far, those of you who have been here often will have seen that if we really want to make progress, a new social order must also be found from a new spirit. This applies in particular to the present moment, which clearly shows that Central Europe is in the process of collapse. That nothing can be hoped for from certain circles is illustrated by the following example.

You see, when one speaks of a new spirit with which the future is to be shaped, then one must first ask oneself: where are the manifestations of this new spirit? Now, the political spirit that dominates today, especially the leading classes, I would like to illustrate with an example that could be multiplied a thousandfold. The following words were spoken in Berlin. Please listen carefully, for today it is necessary to familiarize yourself with the spirit of the people. So listen carefully:

"The fact that before the revolution we were generally able to trust in the honest and objective reliability of our government, that in the excellent Prussian civil service we could spare ourselves the need to have a say, is not the least of the reasons for the intellectual superiority that Germany in general, and especially in its scientific and technical development, has demonstrated during the nineteenth century. You cannot serve two masters at the same time. The general politicization is necessarily an enemy of strict concentration and immersion in creative work. May the German mind develop the strength to work its way through the ugly political flood of sin and mud back to that glorious state of trust that Prussia gave us in the form of the Hohenzollerns!"

[Interjection: Is that the Oldenburg Januschau?]

Yes, that's what you think, that it's the Oldenburg Januschau! It would be comforting if it were at least him. But you see, these words were spoken by the leading professor of German language and literature at Berlin University. That is the crucial point! These words, spoken by the representative of German language and literature, the leading representative of this subject at the leading German university, are indeed somewhat indicative of the spirit that prevails among those who today have to inspire our youth for what humanity can expect from the future. Is it any wonder that gloomy thoughts arise when one thinks of this future? Basically, this is mentioned as a characteristic because, after all, those people who are leading the way in journalism today, especially in the journalism of the parties, have learned a great deal from these people in terms of their overall thinking, even if they have adopted individual program points. Above all, they have learned to be short-sighted, not to say dull-witted.

In the face of this, it must be emphasized again and again: Unless people can muster the strength to develop a truly new spirit, a comprehensive spirit, things cannot fundamentally improve. That is why it is so regrettable that the idea of founding a works council was drawn from a truly new spirit, that this idea of a works council, which is a truly practical idea, has found so little favor with the masses. Of course, things can move slowly at first, and that wouldn't even be the worst thing, but the way things have happened must be counted among the worst things.

We started our work here with the threefold social order in mind. At first, as I have already mentioned, the people who are always listened to said: Well, that's just a little folly, we'll let it go. But then this folly turned out to have found a following of thousands in Stuttgart and the surrounding area. That made people extremely uncomfortable. Then the practical idea of workers' councils emerged in a truly practical form. Then people became even more uncomfortable, and then this strange fact arose, which must be recorded again and again: that the parties are now raising objections to the threefold social order in general and to the works council issue in particular. On the one hand, we hear: Yes, the threefold order is all right. When our friends Gönnewein and Roser spoke at a public meeting in the Dinkelacker Hall recently, for example, one of the various speakers, most of whom were opposed to us, said: Yes, the threefold social order is all very well; it must ultimately prevail, but we are fighting against it! — Well, it is good and must ultimately be realized, but it is being fought against. - We want something completely different to start with, and then, when we have realized this completely different thing, then the threefold social order will come about by itself.

Now, there can be no question of the threefold order ever arising by itself; rather, it must be worked hard for. It is, I have to say the word, the biggest swindle when people repeat the old word over and over again: We only need to do this or that, it only needs this or that class to gain power, and then a properly ordered social being will arise by itself. No, the properly ordered social organism must first be recognized and then worked out. And it is characteristic that they keep saying: the threefold social organism is all very well, but that is how a social order must be, as the threefold social organism says, but we are fighting it. But if people are to say what they want, then one hears nothing but slogans and

The only thing I found within the Communist Party with regard to its fight against the threefold order is that they agree – as far as one is confronted with it – that the threefold order is quite good, but that it must be fought. In that they agree. And from the other side it has been shown — do not think that I care about anything, but when it comes to fighting for something, then such things must be looked at — that on the occasion of the publication of the first number of our weekly magazine 'Threefolding of the Social Organism', not a single one of the thoughts contained in this magazine was addressed, but it was all just scathing abuse. This is the result of dullness, of the inability to produce even one real thought of one's own. Therefore one can do nothing but rant. Much has also been said from third and fourth parties that aims in a similar direction. Things were always treated in such a way that it soon became clear that all these critics do not raise any real objections. On the one hand, this reveals an inability, an impotence; on the other hand, it reveals stupidity, in that one says again and again that threefolding is good in itself, but must be fought. Now, if these things are not looked at, if the cancerous damage resulting from party activity is not seen, then nothing healing can come out of the struggle in which we find ourselves.

Dear attendees! Today is truly not the time to get lost in such party squabbling, because today we are close to the point where people with the kind of attitude of Professor Gustav Roethe of the University of Berlin, which I have read to you, are gaining the upper hand again in capitalist circles as well. You don't have to be a friend of these ideas, which are only half or quarter ideas and, on top of that, quite impractical, and you don't have to be a friend of Wissell and Moellendorff, but you have to say that from a certain side they had the power to suppress them. If they had been ousted from another side, it would not have been a particular problem, but the fact that they were ousted from that side proves the current seriousness of the situation in Central Europe. It proves that certain circles feel safe again, circles that felt very unsafe relatively recently.

A few weeks ago, just as I was coming from Switzerland, from Dornach, to Stuttgart and we were beginning our work, it was still the case that the business community, indeed the leading circles in general, felt insecure in a certain sense. There was still a very strange mood prevailing in these circles. And so one could certainly have the impression that something can be achieved if a vigorous movement with content and meaning comes along. At that time, those who abhorred the planned economy and the framework laws of Moellendorff did not yet have the courage to come forward as boldly as they do today. But because it was possible to foresee how things would turn out, one idea was put forward again and again here and in other meetings at which I spoke, probably to the point of tedium for many, namely: Action should be taken on the idea of works councils before it is too late.

In connection with the farewell of Moellendorff and Wissell, it should be noted that the Works Council Constitution Act has now been reintroduced to the National Assembly. You can take all these symptoms together, and you will not find it incredible if today someone who has some insight into these things tells you: all this is the systematic work of the other side, the systematic work of former entrepreneurs who had already felt very close to the abyss and who are now gradually paralyzing the social movement in Central Europe. From this side, no means are spared, including going into partnership with the Entente, if it means paralyzing the social movement in Central Europe. If the ideas of those people who are at work today are fulfilled, and that is no exaggeration, then it is the case that all social striving, as you feel it, is an impossibility for many years. Because then it is not a question of how strong capitalism is in Central Europe, but of how strong Entente capitalism is.

That is how things are on the one hand. On the other hand, we have the most savage party infighting, which would have to be swept away in order to arrive at an objective striving. What does this party infighting reveal? Above all, it reveals the necessity for the threefold social organism. In this threefold order, spiritual life should have an independent administration, on the other hand, state or legal life should have its own administration, and on the third hand, economic life. Within economic life, as a purely economic institution, we want to develop the works councils. This works council system would mark the beginning of a real socialization by separating economic administration from spiritual and political life. What would be the safest way to keep economic life at the mercy of capitalism? By continuing to mix economic life with political life! And what is it that squeals out of the foolish party squabbling? It is the wild mixing and merging of economic points of view and political points of view. These modern parties are so harmful because they are based entirely on what has survived as a fusion of political and economic life. That is why we keep hearing from people who understand absolutely nothing about the structure of the social order that you first have to have political power and then economic power. Then they turn it around and so on. All these things show the most chaotic amateurism. The fact that such views are appearing within the parties shows how necessary the threefold social organism is. And in our day, I would say, we should really, as the twelfth hour approaches, consult with ourselves and ask ourselves: Do we really want to be the fools of the rising reaction by blindly following the party slogans more than ever the seemingly well-meaning Catholics follow them? Don't you want to rely on your own judgment? If you had relied on your own sound judgment, then the works council would have been established already. Just think what it would mean if the works council were already a reality and if the economic demands of the proletariat were taken up by the works councils and were to be heard in all that is now happening within the newly strengthened capitalism and entrepreneurship, in what is being driven on the part of the ore mining industry, which is much more damaging than one might think, and in what is connected with the peace treaty. People have repeatedly emphasized that the main thing is to conquer political power.

Oh, my dear audience, nothing strikes me as more ridiculous than such phrases. Of course, you can say such phrases, that you first have to have political power. But when the first step should be taken to gain power at all, as it could have happened through the election of the works councils, then this first step is not taken. It is not taken because people love to speak in grand words and phrases. But they do not love to approach the issue in a truly appropriate way.

The previous draft of the Works Councils Act has turned out to be impractical and unacceptable. Now a new draft is being presented to the National Assembly, after the timid attempt by Moellendorff and Wissell, which also contained rudiments of a planned economy, was thrown into the underworld, along with the two personalities. All this shows the kind of nonsense being perpetrated by a certain faction, which ultimately will lead nowhere. Imagine if our works councils in Württemberg had been in session for the last fourteen days and had sent tangible proposals for real socialization into the world every day! If that were the case, then one could say: the new spirit necessary for a new beginning arises from this proletariat. If there were a thousand works councils here instead of just a few, then we could say: We laugh at what the big industrialist said after the start of the November Revolution and the outbreak of the strike: “We just have to wait!” Because the time will come when the workers will come whining and begging to our establishment and will be satisfied if they are allowed to work a quarter of what they are asking for now. Well, but today we are not yet in a position to look at things with the necessary seriousness. But it is not enough to express this seriousness only in words; it is important that it is also reflected in actions. If we consider that the Central European industrialists will receive support from the Entente in terms of their power, then we must come to the conclusion that this works council system must be created before it is too late. I am not saying that nothing can be done now. Of course, we must continue to work in the direction we have begun, but it would be playing blind man's bluff to close our eyes to the general world situation. We are in it now, and actually we should not have got into it at all without already having works councils.

You see, in times of such upheaval as the ones we are living through, it is of the utmost importance to recognize and seize the right moment. You can't afford to wait four to six weeks for the right thing to happen. Today, many people know that with the great French Revolution at the end of the 18th century and with the following revolutions in the 19th century, only a kind of emancipation of the human being as a citizen was actually achieved. But the fact that individual people have become freer to a certain extent is meaningless for the broad masses of the proletariat. Why? Because those who rose up against the old feudal order may have seized state power, but they failed to remove the economic straitjacket from the workers, even though they were now personally free. Today it is time to realize that merely seizing state power is not enough. As a result of the revolutions, other people came to power, but nothing really new was created. The old framework of the state was retained. And so they continued to work until the catastrophe of the world wars. They squeezed everything into the framework of the old unitary state. Today the time has come to recognize that the proletariat cannot simply imitate the bourgeoisie, which only wanted to conquer state power. The proletariat must develop something new and not cling to the old unitary state. The proletariat must develop the tripartite social organism. Either we understand this tripartite structure or we will end up with an impossible construct like the state of the 19th and early 20th century. It is not enough to keep saying that we want to overthrow the old institutions and replace capitalism with new social forms! One must also know what these new forms should consist of! That is why an attempt has also been made with my book 'The Crux of the Social Question' to present to people something that really gives the longed-for social community an organic structure. It shows how this social community can become possible and how it can develop. What use is it to always say: things must come from themselves!

Well, I could imagine that such fanatics of self-origin still believe that the social order came by itself, even when it actually had to be fought for hard. You see, if the cockerel on the dung heap crows before sunrise, when it is still dark, and then the sun rises, the cockerel can imagine that it was his crowing that made the sun rise. It is quite certain that a new social order will not come about just by crowing about socialism and the dictatorship of the proletariat. It will only come about if a sufficiently large number of people think: we have to work to bring about this new social order. We must choose from among ourselves those in whom we have confidence, so that, on the basis of existing economic experience, something beneficial for economic life may come about, which can then eclipse all the bureaucratic proposals for laws and the like that are being sought from other quarters. I ask you: Are you afraid of such work, or why do you refrain from creating such a works council, which would really be a power factor because it would be supported by the trust of the workers? At the moment, you can be sure of that, when such a works council produces new fruitful ideas, in that moment the works council is the greatest power in certain areas. It is not the crowing of a cockerel on the dung heap, who believes that the sun rises because of his crowing. It is a call to action, but to an action that is known to be the right one.

You see, I believe that the new spirit could flourish out of such a feeling alone. But as long as this new spirit does not live in people's minds, nothing good will come of it. And the current economic situation is such that, above all, we have to think about how we can get our economic life in Central Europe back on its feet to some extent. Thus, new sources of raw materials of the most diverse kinds will have to be tapped, especially in the East. There will be many a necessity that Central European entrepreneurship has not yet tackled. However, sources of raw materials in Siberia can no longer be tapped, because the course of the world does not allow this today; the Americans and the Japanese no longer allow it. Where we can be effective is in the entire European East. But there it will be a matter of finding the right tone to go along with the Russian national soul. That was precisely the worst thing about the industrial circles that have been leading up to now, that they never found the tone to enter into a corresponding connection with other national souls. That is another reason why a new spirit must enter into our economic life. Otherwise the East will slam the door on us, especially if we come with the spirit that our leading circles have developed so far. Above all, we are dependent on developing a brotherhood, an economic brotherhood, with the East, otherwise we will never get out of the situation we have gotten into.

A new spirit is needed in a wide variety of directions! This new spirit may flourish in hearts and minds, for we need it. You will not find the new spirit in what I read to you at the beginning, because it says that “before the revolution, we were generally able to trust in the honest and objective reliability of our government, that we excellent Prussian civil service state, we could spare the need to have a say in it, and it is not least in this that the intellectual superiority that Germany in general, especially in its scientific and technical development, has demonstrated during the nineteenth century, is rooted. ... May the German spirit develop the strength to work its way through the ugly political flood of sin and mud back to the glorious state of trust that Prussia's Hohenzollern gave us.

You will understand that one cannot speak in this way today. But, ladies and gentlemen, I will now translate these words into another language and then ask you whether one can speak in this way today: the fact that before the revolution we were able to place our complete trust in the honest and objective reliability of our party leaders, that we the excellent Party bureaucratism we could spare ourselves the need to have a say, and it is not least in this that the intellectual superiority is rooted, which Germany in general, but not in its social-democratic and socialist development, has demonstrated during the nineteenth century. One cannot serve two masters, the Party bureaucrats and the tripartite division. The general politicization is necessarily an enemy of strict concentration and immersion in devotion, in loyalty, in party bonze-hood. May the social spirit develop the strength to work its way through the ugly political flood of sin and mud back to that glorious party system of trust, as the party bigwigs have given it to us Social Democrats. You see, you have applied the same thought forms to something else. Whether you are Professor Roethe and speak about the Hohenzollern in this way or whether you are just an honest party man and speak about the party bigwigs in this way, both are based on the same mental perceptions. It does not make a person freer if he simply worships other idols! One becomes free by relying on one's own judgment, on one's own reason and on one's own perception. It is to this inner perception that we have appealed. I hope that it will yet be shown that we have not appealed in vain, for if we had appealed in vain, then the situation of the proletariat would be dire.

Discussion

Mr. Huch: The speaker fully agrees with Dr. Steiner's remarks and expresses his regret that the idea of the threefold social order is not taken up as it should be. He sees the fault largely with the trade unions. As a member of a workers' committee, he also notes that the business community today is again acting quite differently than it did six to eight weeks ago.

Mr. Fischer: He introduces himself as a trade union leader and defends the work of the trade unions against the previous speaker. He explains that it is the fault of the workers themselves if the union does not proceed correctly. — The poor attendance at today's meeting is probably also due to the fact that the workers are suspicious of everything that comes from philosophers, theosophists and commercial counselors. Regarding the works councils, Mr. Fischer criticizes the fact that the works councils in Germany are also fragmented. If there is now competition between works councils in different cities, independently of each other and based on different industries, then that is a big mistake. The speaker professes himself to be a supporter of the works councils. At the moment when the parties and the trade unions have outlived themselves, they must of course be swept away; the only question is what we put in their place. It must be clear that you can't just throw away the organizations that have had the trust of the masses so far. The speaker cannot imagine how unity can prevail in a works council when people with different economic and political views are represented there. If practical socialization is to be pursued, then one must begin by taking the means of production and land out of the hands of the exploiters and transferring them into the ownership of society, because the power of the capitalists is based on the ownership of these means. The speaker asks Dr. Steiner to indicate how the works councils can accomplish this task. Furthermore, Dr. Steiner is asked to provide information on how, in his opinion, the works councils can be put in a position to determine demand. Because as long as the worker has to ask, “Do I have enough to live on?” he will not concern himself with lofty spiritual problems. The starving masses crave bread, not spiritual ideals. Only when food is available again will there also be mental resilience. The masses will certainly not grovel and beg for work, but will throw society overboard. The proletariat's confrontation with the capitalists will not take the form of fine speeches, but of violence.

Another speaker: Dr. Steiner's idea that we must orient ourselves towards the East coincides with what I also said at a meeting. I also said that the new comes from the East; a new form of society has emerged there, perhaps not yet as it should be, but the new comes from there and we must orient ourselves towards it. What do we experience? Our government has known nothing but to look anxiously to the West and to make sure that nothing happens that the Entente does not like. That is the whole evil we are facing today. German capitalism has simply been replaced by Entente capitalism, and we will have to fight very hard battles if we want to eliminate this Entente capitalism from the world. No one has yet succeeded in pointing the way. If Dr. Steiner succeeds, the workers will follow him.

Rudolf Steiner: I would like to make a few remarks before I return to the words of the previous speaker.

First of all, it was said that the working class is strongly opposed to the threefold social order because it is based on philosophers, commercial counsellors and the like. This is not true at all; in fact, the working class was not very prejudiced at the beginning of our work. On the contrary, it turned out that we found thousands and thousands of supporters for what we were spreading, not as a utopian idea, but as something that is directly the germ of action, as I called it at the time. The workers at that time didn't give a damn whether these thoughts came from philosophers or commercial counselors, but they relied on their common sense and listened. And those who were prejudiced whistled from a completely different direction. And they have managed to ensure that this prejudice has only gradually emerged. So the matter is quite different.

Although the previous speaker has correctly characterized the movement of commercial employees, which is showing some better traits and deserves to be studied in more detail by the rest of the working class, his words nevertheless show that he is completely unaware of what threefolding is in general and what it specifically seeks to achieve with the founding of a works council. For this is precisely what must be most vigorously combated by the threefolding of the social organism, namely, that this fragmentation occurs. It has never been our aim merely to create works councils for any industry or to individualize within the works council. How often has it been said: If works councils are created for the individual industries, this is the opposite of what must be aimed for in the context of a real socialization. We have always striven for a works council that extends uniformly over a larger, self-contained economic area. And only from such a works council should everything necessary for individualization then emerge. The fact that the matter has taken on the form that more zeal is shown in individual sectors than in others has nothing to do with the works council as it should have arisen from the idea of threefolding.

Yes, and then the previous speaker brought up the argument that one would have to start by transferring the means of production and land into the ownership of society. Just try to think through what is actually meant by this nebulous sentence to its logical conclusion! Consider what such a demand means in practice! I would like to take this up again. I once spoke about these things in a town, I think it was Göppingen, and after me spoke a man who actually spoke quite well from a certain point of view. He was probably a communist. He said he was a cobbler. At first he spoke very well, but then something strange happened: he said, “Yes, I already know that since I have not learned a trade, I cannot become a registrar, for that you need intelligence.” Well, excuse me, but that doesn't require much understanding. But a great deal of understanding and insight is needed for what this man wanted to know about the conquest of political power and the like. These things must be faced.

Now, the specific question is how to implement the fundamentally correct demand to transfer the means of production and land into the public domain. Of course, there must also be people available who can properly manage the means of production and land. The thing is this: what has been the capitalist form of production up to now has a very specific configuration; a very specific way of handling it was necessary for that. This must be transformed into a different way of handling it, and this must first be created. Today, before you have any concrete ideas about how to manage the means of production and the land, you cannot simply demand that the means of production and so on be transferred into the public domain! That is precisely what the workers' councils are supposed to do in practice. You cannot revolutionize anything with phrases and theories; you can only do it with people, and these people should have been the workers' councils, and I mean the unified workers' councils, not the fragmented ones. That is what it is all about. We shall make no headway if we keep on saying that the proposals of the philosophers and commercial counsellors come from the clouds, and then contrast them with a so-called practice that has arisen from even more nebulous regions, because then it becomes apparent that it is impossible to say how such things can actually be implemented. But it is precisely this “how” that is at issue. This “how” is explained in my book The Essential Points of the Social Question; it is only necessary to understand it, that is what it is about.

Yes, and then it has been said repeatedly that we must first change the economic order. The spiritual will then arise by itself. — It will not. We already need this new spirit to change the economic system. And it is precisely then that one speaks impractically and nebulously when one says again and again: We change the economic system, then the new spirit will come by itself. No, you need the new spirit to change the economic system. That is why I say to you: For my sake, you can chase the whole of society away with the words of the esteemed previous speaker – but then also be clear about what you have to do when you have chased away the old society. Do you know what you want to do then? You can't do the same thing, otherwise you wouldn't need to chase them away. If you centralize the entire economy and put super-bonze above super-bonze, do you think that will improve anything? I would like to see if something would be better for the working masses if you were to put the highest-ranking union bonze in the top positions instead of the capitalists and entrepreneurs. That is what you should think about. That is what emerged from practical considerations, however much I liked the tone of the previous speaker's comments. But it has not yet been understood what it is really about, because everything that is happening in the optical industry, in the automotive industry and the like is the opposite of what is being propagated here. And so it is not enough just to point out ways; there must be a real understanding among the broad masses of workers, and then these ways must be developed in concrete practice. That is why I feel I must say, when I hear it said, “Steiner shows us the ways,” Steiner shows us the way – that it will be of no use if I show these ways, as long as large masses are repeatedly kept from understanding by the fact that people keep coming who have not yet understood this way and then speak of the opposite, as has just happened again, and then say: If we are shown the way, we will follow it; I am happy to be taught. – But when something is shown, the objection is that it is nothing. No, as long as this is the case, we will not make any progress. We will only make progress if we develop an instinct for what is right. And that is what we lack from the “Federation for the Threefold Social Order”. At first we found a certain healthy mass instinct, but then we had to learn that there is still a great deal of obedience to the old leaders. I will not doubt the emergence of a healthy instinct, but it will only emerge when those speakers no longer appear before the masses who, without sufficiently penetrating the matter, simply talk and prevent the masses from from taking further steps, but on the contrary, lead them back to their old obedience and to dubious ideas, by saying again and again: “Go ahead and form works councils; they will only fragment again.

If what we have been striving for had really been achieved, we would not have fragmentation, but a unified organization of economic concerns within the works council into the future, at least for Württemberg. This would then have a motivating effect on others and could have an impact beyond this economic area.

Mr. Fischer: He states that his criticism of the works councils was not directed against Dr. Steiner, but against the remarks made by the chairman at the beginning... I said: I am convinced that the ideas that Dr. Steiner developed and carried to the masses were different. But something different was propagated than was shown in practice. Dr. Steiner said that the socialization of the means of production is a phrase and that afterwards there would be no one left who would know how to manage the means of production. It would be sad if the workers and employees who have done the work since then did not know what to do with the means of production! What I mean is that the shareholders should be eliminated and it should be said: the shares are no longer valid. The property should become the property of the general public and be administered by the general public. Dr. Steiner puts spiritual ideas above everything. But the workers today only want bread because they are physically exhausted and unable to accept spiritual ideas. I ask Dr. Steiner to address this and show how these ideas can be made accessible to the masses with hungry stomachs.

Rudolf Steiner: That is a snake that bites its own tail. Do you think it is said on the one hand: We can transfer the means of production into the general public. Well, a really concrete body that would represent this generality would be the works councils. But such a body must first be created, it is not there! Certainly, the great mass is weakened by hunger. But should we wait for manna to fall from heaven so that bread can be socialized? This is a snake that bites its own tail. We must, of course, strive for both at the same time, and we will achieve nothing if we do not all work together, because the manna will not just fall from the sky. There is work to be done! We will all have to work, but we will only really want to work if we see what comes out of that work. We will work even with weakened muscles, with hungry stomachs, when we know that tomorrow our work will lead to a result. – But if we are always told that it should be socialized, then we will not be able to work even with an empty stomach, because we know that we will not be full tomorrow if we do not work with practical ideas.

So today it is important that we engage with this and also say: Well, the old society was chased away in droves on November 9 [...] The previous speaker, who said very good things in general, then described very well what happened then. I do not want to examine now how much of what happened there can be attributed to incompetence. I attribute more to the incompetence of those in power today than to their ill will. Because of this incompetence, what should actually be overcome keeps coming to the fore. This must be avoided. Whether or not this society, which was discussed today, is chased away with or without violence, is another question. But those who take its place must know what they want. That alone is practical. And that is the aim of the 'Federation for the Threefold Social Organism': to ensure that November 9th is not repeated and that in a few months' time we do not have to say: 'Now you see, now we have a different regime in economic life, but it is doing exactly the same thing as the previous one'. This must be prevented. But it can only be prevented by setting up a works council and then showing that things are done differently under the new regime. Of course, if no people can be found among the working population, among the employees, who really know how to work, then one would indeed have to despair. But that is not the only thing. It is essential that new forms of socialization then become visible. After all, people are all accustomed to working in some way under the old regime. Therefore, now that power has been gained, those who have gained it must really recognize how to deal with that power. So, it's a matter of really taking a practical approach for once. And the sad thing is that there is no understanding of such a practical approach today, and people keep coming up with old phrases. Don't misunderstand me, I am not saying that the transfer of the means of production and the land into the community is a phrase as such. That is not what I said. But a phrase, what is a phrase? Something is a phrase for one person because he cannot see anything special behind the words, while for another it is a deep golden truth because he sees something concrete behind it. When, for example, Bethmann-Hohlkopf, I mean Bethmann-Hollweg, says, “Free rein to the efficient!” it is a mere phrase, because he may understand it to mean that, for example, his nephew or someone else is the most efficient. But when someone who has real social insight and a real sense of humanity says, “Free rein to the efficient!” it is not a mere phrase, it is real. If someone simply repeats the old party line about the socialization of the means of production, then it can be a mere catchphrase. But when someone characterizes it as it is in my book, then it is not a catchphrase, then it is an expression of a reality. Therefore, you do not have to believe that when I call something a phrase, it is meant to be absolute. I mean, it is a phrase when there is not the necessary reality behind what has been said. That is what I wanted to say.

Mr. Roser: The previous speaker is mistaken if he thinks that I welcomed the works councils in the shoe industry because they formed separately. I just wanted to state that the leather industry has grasped the tripartite structure of the social organism. I must note that the works councils in the footwear industry have been firmly established on the basis of the tripartite division; only for this reason did I welcome the matter. A start has to be made at some point.

Mrs. Bühl: I would like to tell Mr. Fischer that the union secretary said: Without a law, there can be no works councils; the law must first be created. The main reason why we still have no workers' councils is the fault of the parties. It's a disgrace that when you go to a meeting and express your convictions, people immediately say, “Ah, one of Dr. Steiner's people.” Why can't we express our convictions? And then they always come to us with the “Kommerzienräte”! Why do you always speak in the plural? I only know of one Kommerzienrat in our family, and it wouldn't be a mistake if we had a couple of dozen of them. Just think of all the things that one Kommerzienrat has achieved! First of all, the free school. It's a shame when you hear how the matter is judged. It's good when Kommerzienrats do it that way. I couldn't open a school. It's the stupid mistrust among the workers and the parties. [Shout: Where does he get the money from?] One opens his wallet, the other doesn't; that's the difference. If a person thinks socially and has a feeling for his workers, that's the main thing!

Mr. Huth: Mr. Fischer's comments call me to the scene. First of all, I would like to confirm to him, because I know him, that he is not one of those union bigwigs who move in the spirit of a Legien, but one of those who are active in the spirit of a truly revolutionary working class. But when he criticizes the fact that works councils have been formed and united in the shoe industry, and when he wants to use this to assert that a fragmentation would take place because other occupational branches also have works councils, then I have to correct him. In the shoe industry, when we elected our works councils, we waited quite a long time for the metal industry here to start electing its works councils as well, so that we could form a works council in the sense of the tripartite division together with them. But as time passed, and this was due to the fault of the proletarian parties, and in the other occupations the matter has not yet progressed as far as in the shoe industry, we had to say to ourselves: There is no point in not getting together and doing practical work ourselves. We have to form a works council, no matter how small, and then spread the idea of the works council to the circles of those workers who have not yet taken any action in this direction.

We cannot wait for some government to bring us socialization. The liberation of the proletariat must come from the proletariat itself, and if it is on a path that a philosopher has shown, if the path is good. It has been pointed out that the old slogan: We must first conquer political power - is repeatedly haunting people's minds. This is hammered into the proletarians again and again. This word is actually a phrase, a dishonest phrase of the parties that call themselves proletarian today, but do not know what to do in the given hour. Because they do not know, they always put off the proletariat to the great Kladderadatsch, until we get reinforcements from the West that will give us political power. We had the power, but what did we do with it? We let it slip out of our hands again because we didn't know what to do with it. We must start by conquering not political power, but economic power through the works councils. Then the power will no longer be able to slip out of our hands. The factory councils, which are to be only economic instruments, will then be supplemented by political councils, by a legal organization. But if we do not also associate the spiritual organization with these two organizations, then we will not arrive at a healthy state, as Russia shows. The leaders of the USP have already risen to a two-fold structure. But the cultural part must not be forgotten either!

When I read Däumig or Müller, I have to say to myself: Put into practice, this will lead to a threefold structure, because they have actually only forgotten the cultural part. — I am a member of the USP, but I am not afraid to tell the parties that they do not know what to do. As proletarians, we have to say: if you don't understand how to lead us, then you have to leave the field. Every movement has the leaders it deserves; so do we. The proletariat as a whole has not yet mustered the courage to tell its leaders who they are. Even if it is already quite late, we must nevertheless take up the question of the works councils with renewed energy. Mr. Molt: The person speaking to you this evening has repeatedly mentioned, if I may say so, the old council system. Mr. Fischer, whom I have the pleasure of meeting again, asked me the specific question of where the money I have actually comes from. This money comes from exactly the same capitalism from which Mr. Fischer also draws his money, that is, from the capitalist economic cycle. And the question is only whether one keeps the money that one acquires on capitalist ground to oneself or whether one gives it back to the general public. By their deeds you shall know them! – In the past, it was said: By their fruits. If you found a school to implement true socialism, if you used the money you had saved through hard work – really through work, not through capitalism – to educate the rising generation in ways other than what we were taught, I would call that the practical fruit of a good idea. If it only came about because I was able to fill my stomach a little better during the war and therefore had a good idea, then it's good that at least that's there. The idea seems to be there for real. And if there aren't good ideas everywhere, then at least we can be glad that there are still people who have ideas, and the main thing is that they are carried out.

You see, the question of the works councils, which Mr. Fischer has so thoroughly misunderstood, has really reached a much more serious stage than has been expressed here tonight. It is truly a matter of life or death! Either we create the works councils, and then we have socialism, or we perish at the hands of Entente capitalism, not only the manual laborers, but also the intellectual workers. And this fact, together with a true idea of socialism, can already warm our hearts for the cause, so that we make the works councils a reality and even put ourselves at the service of this cause as a commercial councilor, and we do so because we really mean it. And the fact that one means it honestly is proved by the wonderful fact that even proletarian assemblies want this strange commercial councillor to give them lectures on works councils, not to the detriment of this assembly. That is why I conscientiously stand on the side of the works councils as well as on the side of the threefold social order. These works councils are different from those in the automotive and optical industries, because they are nothing more than political means to strengthen the parties; they are not there to thoroughly socialize economic life on a large and true scale. That is why we at the “Bund für Dreigliederung” are so strongly opposed to the fact that the works councils that come from the parties are mixed up with the ones we want.

You have probably already read in a daily newspaper that this works council law has again been submitted to the government. We are clear about the fact that the works councils cannot be standardized because every company is different. Economic life cannot be regulated by political power or by laws, but can only regulate itself. Once the law is there, it is difficult to oppose it; you have to be a revolutionary. But if they do not even take a serious stand against the drafts, how much less will it be possible once the law is there? Only a few weeks separate us from this law. This time must be used. If it is not used, it will simply be too late for the works councils and for socialization. That is why one so fervently hopes that the working class will finally wake up. It is not right to think that the workers are prejudiced against 'philosophers and commercial counsellors'. The matter is different. Anyone who has read the newspaper and has read what the “Social Democrat” said about this Waldorf school - he says: “The school is nice, but it comes from factory owners, so it is nothing at all” - must say to himself: These are the people who are hindering true socialism and true progress. The party bigwigs of all stripes are to blame for the fact that our honest efforts and the works councils have so far achieved nothing. But the proletariat itself will soon see how it is driven into misery and hardship if it does not pull itself together in time.

This appeal should be addressed to you again today. There is no time to lose! We only have three to four weeks left. If we lose these, it will be over for good. To show you how serious the situation is, I would like to read you a few lines from a letter that I received just today. This letter was written by a German diplomat who is the first to go abroad, and you should hear how the German situation is characterized from that side: “The situation at home is getting worse and worse, and I fear that the catastrophe that was to be avoided by accepting the peace has only been postponed in order to break over us all the more powerfully. What is now called the government in Germany is really just a caricature of one, wavering between party doctrine and fear of the revolution from left to right. The people's morale is completely collapsing. The speed with which our reputation abroad is declining cannot be described; it is impossible to salvage anything.

This is a letter that arrived today from a German diplomat, who is familiar with the situation and knows how things stand, how we are viewed abroad. But things can truly only change if people in working-class circles do not fall asleep and fail to realize that we are only now approaching real misery, and if they pull themselves together in the last hour to arrive at a state of affairs in which our economic life, which is on the brink of the abyss, can be lifted again. And that can only happen if we ourselves lend a hand, if we ourselves want to see an upward turn in our economy through the introduction of works councils. I wanted to make this appeal to you again, so that we do not have to say in three to four weeks: 'Now it is too late.' There is still time, but it is the twelfth hour. It is up to you, not us.

Mr. Jansen: When Dr. Steiner began his lectures eight to ten weeks ago, there was really great enthusiasm for the idea of the threefold social order. But the moment Dr. Steiner and the Federation for the Tripartite Social Order moved on to the practical, and passed over from thought to reality, the moment work and effort were demanded of those who had previously only been allowed to applaud and clap, some of the enthusiasm already waned. The cool attitude of the workers was also to blame for the fact that the enthusiasm for Dr. Steiner's ideas did not go so far as to be able to fight against the leaders. All of us who were involved in the agitation know what it is to speak out against this apathy. Dr. Steiner also experiences the apathy of the masses. The idea of workers' councils, in the face of capitalism, which was not all that secure a quarter of a year ago, has evoked the last dormant forces within him. He has tried to kill off these workers' councils by denying their validity and feasibility. And the so-called educated caste of our present-day society and the even more vulgar press of all shades have managed to drag the true idea of the threefold social organism and the works councils as it is in the newspapers. |

Half a century has passed since Karl Marx died of starvation, and today people are arguing about how to implement socialization. And it has been more than half a year since the Jena of the German workers, the November Revolution, broke out, and still no one knows how to implement socialization. We should be grateful to a man who has taken the trouble to seek out a practical way, a way by which socialism can be introduced in a relatively short time. The opposite is true! It can be put down to jealousy on the one hand and stupidity on the other. I have already illustrated this a few weeks ago with an example: People talk about killing the lion, capitalism, but they are afraid of the little mouse, the representative of the factories, the director, and of the union and party officials and the like.

Mr. Fischer spoke of commercial counselors, professors, doctors who support the idea of threefolding. Don't we also have professors and doctors in the parties? Do we also say that their ideas are therefore worthless? And if they weren't in the party, the stupidity of the masses would have long since destroyed the parties. One more peculiar little chapter: Mr. Molt, whom I welcome as a colleague and whom we have asked to speak in an informative way at our meeting tomorrow about works councils, this gentleman has money. We have a great many people in the party who also have money, who had it earlier or who have made money through their work in the party. These men, who call themselves party comrades, party leaders, keep their money to themselves. They do not make it available to the party! They buy themselves villas and settle up there nicely. Therefore, let's not be too quick to reproach them: “The man has money.” We have to see what the people below us do with their money. It has been said: “Hunger must be eliminated first so that people are even open to spiritual food.” A communist recently said: Hunger is the worst revolutionary. Once hunger is raging, there is no stopping it, and what has been suppressed for so long breaks through. What are strikes if not hunger revolts? And because hunger is a good incentive, it would not be good to eliminate hunger today. Let us ensure that we abolish mass hunger by abolishing mass exploitation. Socialism is the way to do this! Hunger is an incentive to finally implement socialization.

Mr. Kühn: As managing director of the “Federation for the Tripartite Structure of the Social Organism,” I would like to say a few words about what has been asked. We intend to call the works councils together for their first meeting next week. We will also begin the study evenings next week. Mr. Roser has already spoken about this. Perhaps I may say a few words about the discussion that took place with Mr. Fischer this evening. Unfortunately, Mr. Fischer has already left. I wanted to tell him in front of the meeting that I definitely know that he has never, neither here nor anywhere else, attended lectures by Dr. Steiner. The only time I met him was at a meeting to discuss the question of the works council, which was convened by employees and where he heard something about threefolding from some speakers. Dr. Steiner was not present. That is how people who know nothing about the matter judge it; they imagine all sorts of things and want to dismiss the matter out of hand. However, Mr. Fischer told me this evening that his union or association wants to hold meetings in the near future to discuss works councils and to set up trial works councils in the factories. You see, people come along when they have heard something here and there and make something out of it. That is what we want to avoid and what we must fight against. We must not make common cause with those who do not want to know about the threefold social organism and do not work towards it. Works councils that are not created on the basis of the idea of the threefold social organism will never be able to realize socialism. The works councils we wanted to introduce would have been the first step towards socialization in the sense of the threefold order. We must reject everything else. It is a pity that Mr. Fischer has left and can no longer discuss the threefold order with us.

Time and again, objections to the threefold order come from people who know nothing about it, but also from people who have already heard many lectures on the threefold order. I would like to tell you an example. There is a communist leader who has a fairly great gift as a speaker and captivates large crowds. He appears at almost every meeting. This man has heard a lot about the threefold social order, but has not grasped any of it. For example, he says: Yes, the threefold social order leads to a three-class system, because if you create three parts, then there is a class in each part, and so we get even worse conditions than today; today we only have two classes. If one wanted to draw conclusions about classes from the organizations, then one would have to say: Today we have a unified state, so there is only one class. So today there should only be one class! This man does not understand such things and comes to such a prejudice. We want to put the social organism on a healthy footing precisely in order to eliminate class rule. There is no question of a three-way division of the classes. The same man also asserts the same thing that Mr. Fischer asserted, namely that the threefold order protects employers. Anyone who has read Dr. Steiner's book knows that today's type of entrepreneur will disappear altogether. But the most beautiful objection of this communist leader was that he said: You cannot separate the economy from politics. You see it all the time in the Reichstag or in the National Assembly, how people represent their economic interests; just think of the industrialists in heavy industry! They cannot help but represent their economic interests. So people cling to the old, to this idol of a unified state, because they do not see that this is precisely what we want to fight, what we want to abolish. It is economic policy that has driven us into this disastrous catastrophe. People readily admit this in private, but they are unable to muster the strength to take measures that would no longer make such economic policy possible. There are the party leaders, above all, who have ruined the works council system for us. We must get rid of these people. The proletariat cannot see socialism realized before that.

We have also encountered an incredible prejudice among the employees, whom we have also called upon. I would like to give an example of this: a person whom I respect very much, who is a leading employee in a factory, said to me: I don't yet know whether capitalism is so wrong. In any case, I insist that it is better today than it will be. I will stick to my views and go down with them rather than introduce something new. I know that I am alone in this and that I may soon be out on the street, but I would rather it be so. I will remain honest and consistent. I have been told that this man has a heart for the proletariat, and that is why he speaks in this conservative way. When I told him he was conservative, he got terribly angry. He said it was just honest. I told him: It's just the same as when you take a train. At one station, the train driver comes in and says the train will derail at the next station, and you then say: I'll stay on the train anyway; I'd rather be injured than get off. I said: I would get off as quickly as possible and see if the train could be moved to another track where it would not derail. — So we have to pull ourselves together at the last moment and do everything we can to get the works councils together. We must present and defend the approach that we see as practical, and not be afraid of being too strongly attacked by the party bigwigs. Actually, word of mouth should teach people again and open their eyes to the philistinism of their party leaders.

Rudolf Steiner: The question has been raised: How can what is healthy in syndicalism be related to the threefold social organism? - Well, it would of course be taking us very far if we were to talk about the essence of syndicalism today at this late hour. But I would like to say that there is much that is genuinely healthy in syndicalism, as there is in other contemporary endeavors. Above all, the healthy aspect of syndicalism is that many syndicalists are dominated by the idea that, regardless of the eternal insistence on the rule of law in the state, economic gains for the broad masses of the working population must be achieved in direct competition with entrepreneurship. The idea that something for the future can arise out of economic life itself through a kind of federal structure lives as a healthy thought within syndicalism. Syndicalism has emerged particularly in recent times within the French labor movement, and it is somehow significant that it has emerged most strongly there. The French have a very strong sense of state. But just at the moment when people in France who were well-disposed towards the state wanted to found a particular labor movement, they came to the conclusion that this could only be useful if it operated exclusively on an economic basis. The federative structure of economic life, as envisaged by syndicalism, even shows certain similarities to what is sought through the associations based on the idea of threefolding.

You see, in the threefold social organism we have an independent spiritual life, then an independent state or legal life, and further an independent economic life. This independent economic life, as I have often said, will have to be built on corporate cooperative foundations, that is to say, associations will be formed on the one hand from the various occupational groups and on the other hand from certain connections between production and consumption. One of the objections raised, for example, by Professor Heck in the Tribüne is based on the fact that he says: Yes, but how will it be possible, for example, for craftsmen and small traders to be knowledgeable about the concerns of big industry if economic life is to be structured in the future as Dr. Steiner wants? Well, this shows that Professor Heck has not understood what is meant either. Of course, one cannot be knowledgeable in all fields, nor is it necessary, because if a federal structure is really established and the individual associations work together intensively, something fruitful for economic life will come of it. It is simply not possible for everything that must develop on a purely democratic basis, such as labor law, to be represented or administered in the same way as purely economic matters. This view is also encountered, at least to some extent, in syndicalism. In the Anglo-American labor movement, the principle of Anglo-American parliamentarism still prevails very strongly. Since this is based on a certain system of counterweights, namely power against power, the Anglo-American labor organizations are also aligned according to the same principle, namely, labor power against corporate power is played off against each other, just as the liberal and conservative parties face each other in parliament. We encounter a different form within the labor organizations in Germany. There is a certain centralism, I might even say a certain military system, based on command and obedience. I don't know if you will entirely agree with this, but I can assure you that I have attended several trade union meetings and that I was always unpleasantly affected by the fact that whenever different opinions arose, the chairman of the meeting stood up and said: Children, it's no use! — So, this centralized-military system is the second; and the third is what is meant by the federal structure, by the structure of independent bodies, in which there will be no majorization or centralization, but objective negotiation. In syndicalism, this appears as a good impulse, but here too a further step is necessary, as is aimed at with the idea of the threefold social organism, namely that the progressive factors that have yet to enter into the thinking of contemporary humanity are actually taken into account. And here I believe that an understanding of this may perhaps develop from syndicalism itself. But this should not be understood as if I were only singing the praises of syndicalism. However, I do believe that threefolding can be better understood from this side than from any of the other directions.

Now, I have little to add to what the last speakers have said. I would just like to make one comment, namely that I and the friends of threefolding have recently become very aware of what one speaker said about the apathy of the masses. Yes, in the place of the phlegm, one would need fire, because if we really want to make progress in this day and age, we need not only insight – this, of course, in the first place – but also fire. You see, when it is constantly being said that the spirit is not really needed, that it will come with economic transformation, then I ask you: Yes, the possibility of moving forward was there to a certain extent. On November 9, the National Assembly was elected. But is there any sign of a new spirit in this National Assembly? There was now a whole new group of voters who had not previously been entitled to vote: women. But it is strange that the spirit has obviously not yet descended on these women either, because the National Assembly shows absolutely nothing of what we really need for the future. But for that, enthusiasm and fire will be needed.

In this context, I ask you whether it is not rather short-sighted to refuse to see that a certain socialization has already begun – and this before the official socialization? Do we want socialization only on paper? Is that what it takes to satisfy you? Imagine if the commercial counsellor who devoted himself to the threefold order had done so like the other commercial counsellors. Then it would have come about that at the moment when socialization was to take place, there would have been no commercial counsellor at all! It would have come about that at some point this Kommerzienrat would have been expropriated like other Kommerzienräte, and then there would have been no more money for real socialization or better schools and the like. And now I ask you: Is it a great sin for someone to take money from another before humanity is ready, to give his money for socialization? Is it a sin if someone does not always trumpet the message that the means of production must be handed over to the general public, but does it of his own accord? I fear that those who always trumpet the phrase that the means of production must be put at the service of the general public will not apply it as sensibly as those who do something out of their own insight beforehand. This is socialization before the official socialization. This is worked out from the spirit that we are currently longing for as the social spirit of the future. And to raise the accusation that someone has the social spirit before, that is, before he is in any constitution, means not being able at all to penetrate into the spirit that can only save humanity, but only shows the longing for the written word. The law you give, you can confidently carry home. We need the spirit out of which socialization is done. Therefore, one should not fall into the trap of saying: The Waldorf School is nice, but it is done by a commercial counselor; we don't want to know anything about that! It would be wiser to say: Take him as an example, and as socializers in the future become like him, then it will be good. The things that are constantly being said from this corner against titles and the like only testify that, despite everything, one clings to words and phrases more than to action. And until we can bring ourselves to act and to acknowledge the deed, no matter where it comes from, we will not move forward; we must be convinced of this. And when we are convinced of this, then we will look only at whether someone is a reasonable person inspired by social feelings, and we will not ask about anything else. As long as we ask about something else, we will not move forward. If this does not become clear, all talk is in vain. Because the beginning must be made by those people who understand something of what is to happen, regardless of whether they play this or that role in the present order. All of us who live today, whether capitalists or laborers, naturally have what we live on out of capitalism. And we cannot change anything if we do not look to what lives in the spirit and must come about out of the spirit. We must finally overcome the phrase, we must move on to what can really become action.

Mr. Roser: As chairman, he thanks Dr. Steiner for his presentation and draws attention once again to the next event. He asks those present once again to study the book “The Core Points of the Social Question” so that they are able to talk about the book and the threefold social order in the circles in which they move.