The Rudolf Steiner Archive

The scene from “Faust” just presented, which comes at the end of the second act of Part II, forms the bridge for Faust's entrance into ancient Greece. Those who have gone most deeply into Goethe's world-conception will see how, through it he has penetrated deeply into the spiritual, in both universe and the mystery of man, in so far as the latter is connected with what is spiritual in the universe. It should first be emphasised, on the one hand, that what Goethe meant by saying he had put a great deal in a veiled way into Part II of “Faust”, applies especially to this profound, most significant scene. In this second part of “Faust” there is much wisdom. On the other hand, when represented on the stage, this wisdom is able through its imagery to make a great appeal to the senses.

If we are to understand Goethe's Faust, particularly the second part, we must always keep these two aspects in mind. As Goethe says, the simple minded spectator of Faust will experience pleasure and aesthetic satisfaction in its series of pictures; the Initiate, however, is meant to find there profound secrets of life. If we start with what the pictures give us, this scene represents a festival of the seas to which Homunculus has been taken by Thales. This festival, however, contains a great deal that is veiled, and is meant actually to introduce the demonic powers dwelling in the sea,—that is, the spiritual powers.

Why does Goethe have recourse to the demonic powers of ancient Greece when wishing to lead Faust to the highest point of self-knowledge and self-understanding in human evolution? It may be stated that Goethe was perfectly clear that it is impossible for man ever to arrive at a true conception of his own nature by merely acquiring knowledge received through the senses and the understanding associated with them. True knowledge of man can only be imparted through true spiritual perception. So that all the knowledge and perception of man sought simply through the external physical world, to which the senses and the physical understanding are directed, is no real knowledge of man at all. Goethe indicates this by introducing Homunculus into his poem.

Now Homunculus is the result of the knowledge of man to which Wagner is capable of aspiring with ideally conceived physical means, such ideally conceived means as would. naturally be considered by ordinary science to be its goal, from which, however, no result can be expected either today or in the future. Goethe advances the hypothesis that it might be possible to produce a Homunculus in a retort, that is, to gain such complete knowledge of combining the forces of nature that a human being could be intellectually put together out of various ingredients. But it is no man who arises thus, even when all that can be attained in the physical world is thought out to the highest point of perfection—no man arises, no homo, but only a homunculus. Considered dramatically, this homunculus is simply the image of himself that a man can form with the help of his reason, of his ordinary earthly knowledge. How can this man-made image that is a homunculus provide a true conception of man? How can it be brought about that in this conception man does not stop short at the simple homunculus but pushes on to the homo? It is clear to Goethe that this goal can only be reached through knowledge acquired by the human soul and spirit when free of the body.

Now, by most various ways Goethe endeavours to reach the realm to which a human being must come if he wishes to acquire complete knowledge of man, that is, the knowledge acquired when free of the body. Goethe really wishes to show that it is possible too out of the body to gain knowledge, decisive knowledge, concerning the nature of man. He was by no means one of those who plunges lightheartedly into such matters. His whole life through he was striving to to make his soul more profound. For it was clear to him that when a man grows old, he does not live in vain, but that the forces of knowledge are always increasing, so that in old age it is possible for us to know more than in our youth. But he realised, also the problematic nature of the sojourn of soul and spirit outside the body. Hence he sought in the most varied ways to bring man, to his Faust, knowledge in the form of pictures, that we call Imagination. And he does this first in the Romantic Walpurgis-Night of Part I, and then again in the Classical Walpurgis-Night where he takes the Imaginations from ancient Greece, whither he would transport Faust. We might perhaps say that Goethe thinks that, when a man leaves the body in order to change Homunculus into Homo, into man, he has Imaginations appearing to different people in different forms. And, in the perception of the ancient Greeks, these Imaginations in some degree still approached spiritual reality. Setting before the soul the demonic world of ancient Greece, we can see how, in this traditional realm of myths, when outside the body with his soul and spirit, in highly developed atavistic clairvoyance, man contemplated nature from whose womb he sprang. I might therefore say that Goethe, not wanting to invent an imaginative world himself, calls in the Greek world in order to tell us that, whatever a man may contrive out of his ordinary knowledge, he still remains a Homunculus; if, however, he wishes to become a real man, he must first advance to the world of Imagination, Inspiration, and so on. That is how the nature of man should first be conceived.

Why does Goethe choose a sea-festival, or rather the dream of a sea-festival? To understand his feelings, we must take ourselves back into the conceptions of the old Greeks, to which Goethe himself went back in his representation of this gay feast. We must realise that, to the Greeks, there was a special significance in foresaking the land and sailing out to the open sea. The Greeks, like all ancient peoples, still lived in the outside world. Just as a change took place in these people when they forsook the level ground, the plain, and went up into the mountains—a change experienced by modern man in an abstract prosaic way—so the was some tremendous change in their soul on leaving dry land for the open sea. This feeling that the open sea has special power to release the soul and spirit from the body was universally experienced in olden times, and much is connected with the feeling.

I must ask you, my dear friends, to remember what an important part in the various symbols, on the path of knowledge, was played by the Pillars of Hercules in ancient myths. It was constantly said that when a man has gone through various stages of knowledge he sails, through the Pillars of Hercules. This meant that he sails out into the limitless, open sea, where he no longer feels himself within reach of any coast. For man today that has ceased to mean very much, but for the Greek it meant entering a completely different world. Once past the Pillars of Hercules, he became free of all that bound him to earth, above all through his bodily forces. In olden days, when everyday matters were still experienced by soul and spirit, sailing over the open sea wan felt as freeing one from the body.

Goethe's poetical works were not like those of lesser poets; he wrote out of his feeling for the cosmos, and when he speaks of all that he transposed into the Greek world, he transposes himself there with his whole soul. It is of this that we must constantly remind those who read Goethe as if he were any other poet—those who, whey they are reading Goethe, have no consciousness of having been carried into another world.

Now as the scene begins, we see the ‘alluring Sirens.’ Goethe presents a scene that, though externally in picture-form, might equally be one of everyday life. For the Sirens are collecting wreckage for the Nereids and Tritons. Considered from the other side, however, these alluring creatures, these voices, are not only within man but also outside him. They are the voices of different stages in the world, and on these stages, as I have often shown, inner and outer flow together. The Siren-sounds are those that entice the souls of men out of their bodies, and set them in the spiritual cosmos.

Let us sum up all this. First, Goethe shows a festival of the sea, or rather, dreams evoked during this festival. Secondly, this festival took place during the night, under the influence of the Moon. Goethe arranges everything to show that here it is a question of having to gain a conception independently of the body, a conception of the kind that would be attained consciously, outside the body, is then experienced in pictures. And now we see that, while on the one hand, Goethe wishes to satisfy those who keep to the superficial—this is not said in any belittling sense—by making the Sirens collect wreckage for the Nereids and Tritons who covet it, yet these Nereids and Tritons are on the way to Samothrace to seek the Kabiri and bring them to the festival of the sea. By introducing the Gods of the primeval Samothracian sanctuary into this scene, Goethe shows that he is touching upon the highest human and cosmic secrets. What, then, must take place when Homunculus is to become Homo, when the outlook of Homunculus is to become the outlook of Homo? What must then actually happen?

Now the idea of Homunculus, as understood within the world of the senses, must be taken out of that world and transposed into the world of soul and spirit where, between falling asleep and waking, man has his being. Homunculus must be taken into the world man experiences when, free of his body, he is united with the existence of soul and spirit. It is in this picture-world that we must now find Homunculus, he must then transfer this picture of Homunculus, he must then transfer this picture into that other world, the world of Imagination, Inspiration, and so forth. There alone can the abstract idea of Homunculus be grasped by the real forces of being, those forces that never enter human knowledge when we stop short at the understanding through the senses. When Homunculus, the idea of Homunculus, is separated from the body and transferred to the world of so and spirit, then in all earnestness everything becomes real. Then we have to come upon those forces that are the real ones behind the origin and evolution of man.

In all this Goethe is showing that he had a profound and significant comprehension of the Samothracian Kabiri, that he had a feeling how, in primeval times, these Kabiri were worshipped as guardians of the forces connected with the origin and evolution of mankind. Thus, by evoking from the age if atavistic clairvoyance, pictures of the divine forces associated with human evolution, Goethe was touching upon what is highest.

When dealing with the Samothracian Mysteries, the conception of the Greeks referred back to what was very ancient. And it may be said that the ideas about these Samothracian Mysteries about the Kabiri divinities, permeated all the various ideas the Greeks held about the Gods, all their ideas concerning the connection between these Gods and mankind. And the old Greek was convinced that his idea of human immortality was a legacy bequeathed to the Greek consciousness by the Samothracian Mysteries. It was to the influence of these Mysteries he felt he owed the idea of man's immortality, the idea of man's membership of the world of soul and spirit.

Goethe therefore wishes at the same time to suggest that, were the impulses of the Greeks, that are associated with the Kabiri of Samothrace, grasped in a state free of the body, perhaps the abstract human idea of Homunculus might be united with the true evolutionary forces of man. In the Greek consciousness there was definitely something that could live again, vividly, in Goethe when he touched on this profound mystery. To take an example, this may be seen in what the Greeks used to say of Philip of Macedonia how, by watching the Mysteries of Samothrace, he found Olympia. And the Greeks had in their consciousness how, at that time, the great Alexander decided to descend to these parents when coming to earth, when soul to soul before the divinities of Kabiri Philip of Macedon and Olympia found each other. Those things must be touched upon for the awe to be felt which the Greeks actually experienced when the Kabiri were in question, an awe shared later by Goethe.

From an external point of view they are simply ocean-deities. The Greeks knew that, in an age relatively not very ancient, Samothrace had been inundated, rent asunder, and reduced to confusion by most fearful volcanic storms. The nature-demons had shown their power here in such a terrific way that it still remained in historic memory among the Greeks. And in the woods, in the forests of Samothrace, at that time very dense, the Kabiren Mysteries were concealed. Among the many different names they bore is one Axieros; a second, Axiokersos; a third, Axiokersa; the fourth was Kadmyllos. And a vague feeling existed that there were also a fifth, sixth and seventh. But man's spiritual gaze was mainly fixed on the first three. The old ideas of the Kabiri centered round the secret of men's becoming; and the initiate it in to the holy Mysteries of Samothrace was supposed to come to the perception that what is seen spiritually in the spiritual world corresponds to what happens on earth when, for an incarnating soul a man arises, a man comes to birth. In the spiritual world the spiritual correlate of the human birth was supposed to be watched.

Through such vision, Goethe believed he could change the idea of a homunculus to that of homo. And it was to this vision the Samothracian Initiates were led. We cannot see a man in his true nature when we regard him as a being enclosed within his skin and when we are under the delusion that all we are concerned with in man stands before us in external, physical human form, visible to the external eye. Whoever wishes really to know man must go beyond what is enclosed within the skin and look upon the human being as extending over the entire universe. He must have in mind, what extends spiritually outside the skin.

Now many of the ideas about the Gods depend on this impulse of the Greeks to see the human being outside his skin. And connected with these ideas there was an exoteric and an esoteric side. The exoteric side of man's becoming related, however, to the whole of nature's becoming; the connection of man's becoming with the becoming of nature was involved when, later, the Greeks spoke of Demeter, of Ceres. The esoteric side of Ceres, of Demeter, of the world in its becoming, was the Kabiri. We must know how to look at him, if in any way we are to be able to penetrate the secret of man.

You see, to look at man simply as a figure standing on the physical earth is, really, to deceive yourself about him. For the human being has been united from a threefold stream, a trinity. And as three lights cast their beams on a point—a circle—and we see the fusion of the lights and then refuse to recognise how one, perhaps yellow, another blue, and the third of reddish colour flow together into one, refuse to see this harmony, preferring to believe that what has arisen from a mingling of lights is a unity and so deceive ourselves in believing this mixed product we see before us as man in his skin to be a unity. He is not a unity and if we take him for one we shall never read the secret of mankind. At the present time man is unconscious of not being a unity. But he was conscious of it while atavistic clairvoyance glowed warmly through human knowledge. Thus, the Initiates of Samothrace put men together out of Axieros standing in the middle, and the two extremes, Axiokersos and Axiokersa, whose forces were united with those of Axieros. We might say than that there are three—Axieros, Axiokersos, and Axiokersa. These three forces flowed together to form a unity. The higher reality is the trinity; the unity springs from the trinity. This is what comes before the eye of man.

It might also be said that the Samothracian Initiate learned to know man who stood, physically perceptible, before him. He was told: You must take away from this man the two extremes, Axiokersos and Axiokersa, that only ray into him. Then you can retain Axieros. So the matter stands thus: Of the three, Axieros represents the centre condition of the human being, and the others the two invisible ones, merely shine upon him.

Thus, in the Mysteries of Samothrace, man is shown to be a trinity. Goethe asks himself: Can the idea of the abstract Homunculus perhaps be changed into that of the complete Homo by turning to what, in the Samothracian Mysteries, was regarded as the secret of man—the human trinity? And he said: This trinity can only be arrived at as a conception when man, with his soul and spirit, leaves the body. This is what he told himself.

We must, however, always emphasise that, as regards spiritual perception, Goethe was only a beginner. What is so wonderful about all that Goethe stands for will, as I said recently, only be rightly understood when we think of it as being continually developed, being necessarily developed in order to lend to ever greater heights. In Goethe himself we have the theory of metamorphosis, from leaf to leaf, from the green leaf of the foliage to the coloured petal of the flower, or from the spinal vertebrae, perhaps, to the bones of the head—this secret, if rightly understood, leading from one incarnation to another, from one earth-life to another, as I have often shown you. Hence, from the standpoint of Goethe's own conception of the world, we may ask: How then should the Mystery of Samothrace be pictured today? The Samothracian Mystery, as such, with its Kabiri-symbolism of the secret of humanity, corresponds entirely with the atavistic clairvoyant world-conception; but the living content of knowledge at any one human period, cannot be continued on in the right way, and must be re-moulded. It is not suitable for a return to old conceptions adapted to a quite different state of human evolution; the conceptions must be transformed. The Samothracian Mystery has naturally only historical value. Today we should say: We represent how in the centre of the Representative of Man there stands Axieros, how he is encircled by Axiokersa, and how Axiokersos must be placed in connection with all that is earthly—thus giving us the Representative of Man, Lucifer and Ahriman. And here we have the re-moulding suited to the present age, and on into the future, of the holy Mystery of Samothrace.

It might be said: Were Goethe to appear among us today, wishing, in conformity with all that man has since won for himself, to tell us what is able to change Homunculus to Homo, he would point to the Representative of Man, surrounded by, and in combat with, Lucifer and Ahriman. I beg of you, however, not to make an abstraction of these things, not to apply the favorite modern method of settling these matters by a few abstract concepts, and taking them for symbols. the more you feel that a whole world, containing the secret of man, lies hidden in the figure of the Representative of Man in connection with Lucifer and Ahriman; the more you repudiate the pride, the unjustified, childish pride, of modern man in his abstract scientific concepts; the more you open your soul to a world giving you a view of this image of the mystery of man—then the nearer you come to this secret.

Spiritual Science meets with all kinds of opposition today. But one of its strongest opponents is man's desire for abstraction, his desire to label everything with a few concepts. Goethe's teaching is, in feeling, the exact opposite of this mischievous modern habit of pasting concepts everywhere. One has peculiar experiences in this regard. Men come to a movement like Spiritual Science from very different motives. There are many who wish to reduce everything to abstractions. For instance, man consists of seven principles—I once had the experience, a horrible experience, of someone explaining Hamlet by attributing to him the principle of Buddhi on one place, in another, Manes, and so on. That, my dear friends, is something much worse than all materialism. These quite abstract explanations, all this symbolising of an abstract nature is, regarded inwardly, much worse than any external materialism. Anyhow, we see that, in showing his Nereids and Tritons on the way to Samothrace to fetch the holy Kabiri, Goethe wished, above all, to raise the idea of Homunculus to a very high human plane.

And so, with regard to the Kabiri, we must experience what the ancient peoples did with regard to their deities. These deities of primeval peoples appear primitive to man today—mere idols. This is so because modern man has no understanding for idols. This is so because modern man has no understanding for all that flows out of elemental forces. Not even in art does man rise today to anything really creative. He keeps to a model, or judges what is represented for him in art by the question: Is it like?—Often indeed one hears the objection that it is not natural, because, among men today, there is very little real artistic feeling. In any case, whoever wishes to understand the sometimes grotesque looking figures of the ancient Gods, must try to form an idea of the beings belonging to the third elemental world, from which our world springs, on the one hand in its mineral, on the other, in its organic products.

You know how the scene begins. The Nereids and Tritons are on their way to Samothrace to fetch the Kabiri, amongst whom Homunculus is to be transformed into Home. In the meantime, while they are on their journey, Thales, who is to be the guide of Homunculus in becoming man, betakes himself to the old sea God, Nereus. It was Thales, the old philosopher of nature, whom first Homunculus had sought out. Now, Goethe is neither a mystic in the bad sense of the word, not a mere natural philosopher, when it is a question of finding reality. Hence Thales himself cannot be made to help Homunculus to become Home. Goethe had a deep respect for Thales conception of the world, but did not attribute to him the ability, the force, to advise Homunculus how to become man, complete man. For this, one should betake oneself outside the body to a demonic power—to old Nereus. Goethe brings the most various demonic powers to Homunculus. What kind of power is this Nereus? Now we can see this by the way the old sea-God speaks in Goethe's poem. It might be said that Nereus is the wise, prophetic, but somewhat philistine inhabitant of the spiritual world nearest man, the world man first enters on leaving the body. And, we ask, does he know at all how Homunculus is to become man? Nereus has indeed understanding, even to the point of prophetic clairvoyance; and he makes noble use of this understanding, but even so does not really succeed in reaching what is innermost in the human being. Because of this he feels men do not listen to him, do not heed his counsel. He has, as it were, no access to the human soul. On many occasions he has advised men, warned men; once he warned Paris against bringing so much misery on Troy, but to no effect. Now Nereus, since he is not hampered by a physical body, has developed on the physical plane to a very high degree human understanding that is possessed in a much less degree by man. But even with this understanding he cannot help Homunculus very far on the road to becoming Homo. What Nereus is able to say does not entirely meet the case. So by that nothing is actually gained for Homunculus' task.

Nereus says, however, that although he will not concern himself in giving Homunculus advice about becoming Homo, he is expecting his daughters, the Dorides (or Nereides). In particular, he expects Galatea, the most outstanding of them; for they are to attend the ocean-festival. Galatea! and Imagination of a mighty kind.

What the question is here, is to see how things are connected in the world. It is not very easy to speak on this point, because of the soul's desire today to reduce everything to abstractions. But anyone who looks into these matters may experience a great deal. There are, no doubt, well-intentioned people who say they believe in the spirit. Certainly, it is not a bad thing at least to believe in the spirit; but how do they answer the weighty question: What do you mean exactly by the ‘spirit’ in which you believe? What is the spirit? Spiritualists generally renounce all claim to learning anything of the spirit by doing much that is quite unspiritual. Spiritualism is the most materialistic doctrine that can exist. Certain souls more finely tuned speak indeed of the spirit, but what is it exactly that they have i mind when so speaking? That is why very modern and sceptical minds prefer to forgo the spirit—I mean, of course, only in thought—prefer to give up the spirit as against what can be known today through the senses. Read the article called “Spirit” in Fritz Mauthner's Dictionary of Philosophy; there you will probably be able to get bodily conditions but not those of the head.

Now, you see, in Spiritual Science one should rise above all this abstract talking, even if it is about the spirit. Follow what is said in Spiritual Science, and you will see how it rises progressively as we work. Everything is drawn upon that, step by step, can lead into the actual spiritual world. What is said is not merely the spoken word but derives its force from a method of comparison. Only think how, by the very way Spiritual Science is presented here, it becomes comprehensible that man is pursuing a certain path in life, in the physical body. Read, for instance, what is given comprehensively in the October number of Das Reich (1918). It is shown there how, and by means of what forces, a human being while quite a child has the closest affinity to the material world; how in middle life his soul gains in importance; how in later life he becomes spiritual. This, however, he often does not recognise because he is not prepared for it. He becomes spiritual as the body falls into decay, as the body becomes dry and sclerotic the spirit becomes free, even during the waking condition. Only, a man is very seldom conscious of what he is able to experience if he grows old with a certain gift. I mean here with a gift of the spiritual; that is to say if, not simply growing decrepit in body, he experiences the soul becoming young, becoming spirit.

This makes us realise, my dear friends, that the spirit cannot be seen in an old man or old woman; naturally it is invisible. The decrepit body can be seen but not the spirit growing young and fresh. Wrinkles may be perceived in the flesh of the cheeks, but not the growing fullness of the spirit; that is supersensible. We can, however, indicate where the spirit may be found here in the world where we are leading our everyday existence. And if we then say: The whole of nature is permeated by spirit, we reach the point when we realise that outside in nature where the minerals and plants make manifest the external world, there dwells something of the same force into which we men and women grow as we become old. There you have the visible expression of it. To say, in a pantheistic way, that outside lives the spirit, means nothing at all, because spirit then remains a mere word. But if we say, not in a direct abstract way, but with the necessary and various details: To find the force that as you grow old is always becoming stronger in you, look to the innermost and most active of the forces of nature—then we are speaking of a reality. The essential thing is to set the one force by the side of the other, and to notice the place of each. These things can be livingly realised by turning one's gaze to the force-impulses in the whole connection of a physical human being's descent to earth—from conception, throughout the embryonic life till birth. The dull, dry-as-dust scientist stops short at this force; it is true, he examines it punctiliously but only in his own way, and then comes to a standstill. When a man is able to survey the world from the standpoint of Spiritual Science, he knows, however, that this force is also present in other places. Acting more quickly, the very same force makes itself felt when you wake in the morning, when you wake out of sleep. Exactly the same force, though in a more tenuous form, is present, as the one leading from conception through the embryonic life to birth; it is the identical force. This force is not only in you, in your innermost being; it is diffused outside, throughout everything and every process in the whole wide cosmos.

This force is the daughter of cosmic intelligence. You see, if we wish to describe these things, we must touch on many matters that, today, are quite out of the ordinary. What then does the modern scientist do, when wishing to come upon the secret of physical germination? He uses the microscope; he examines the germ-cell under the microscope, before it is fertilised, after it is fertilised, and so on. He has no feeling that what he thus examines in the smallest object under the microscope is constantly before his eyes in the macrocosm. The very same process that goes on, for example, in the womb of the mother, before and during conception, and during the whole embryonic life, this same process, this very same process, goes on macrocosmically when, after the seed has sunk down into the earth, the earth sends forth the little plant. The warmth of the womb, the warmth of the pregnant mother, is exactly the same as is the sun outside for the whole vegetation of the world. It is important to be able to realise that what can be seen in the smallest object under the microscope, can be looked upon macrocosmically all around in the external world. When we wander about among he growing plants, we are actually in the womb of the world. In short, the force underlying the becoming of man is outside in the whole macrocosmic world, seething and weaving there. Imagine this force personified, imagine this same force of human becoming grasped spiritually in its spiritual counterpart outside the human body, and you have Galatea, with those akin to her, her sisters, the Dorides. In these Imaginations we are led into a mysterious but quite real world. This is one of the most profound scenes written by Goethe, who was conscious that, at the most advanced age, man may have a premonition of these secrets of nature.

There is something overwhelmingly significant in Goethe beginning Faust in his youth and then, shortly before the end of his life, writing such scenes as are now being shown. For sixty years he was striving to find the way of putting into outward form what, at the beginning of that time, he had conceived. He draws upon everything he considers relevant to raise the idea of Homunculus to the idea of Homo, and to present man's becoming outside the body, in all its mystery. He draws upon the Kabiri Mystery, and the mystery of becoming man as it appeared in the figure of Galatea. And he knows that reality is so all-embracing, so profound, that the Imaginations awakened by the Kabiri impulses, by the Galatea-impulse, can do no more than hover on its surface. The mystery is far greater than what can be contained even in such impulses.

Goethe himself tried every means of approaching the secret of life in a true and living way. Thus he evolved his theory of metamorphosis, in which he follows up the different forms in nature—how one form develops out of another. Now Goethe's theory of metamorphosis must not be regarded in and abstract way. He shows us this himself. It is perhaps because it can only be conceived and brought to man's soul in a world-outlook free of the body that, with his theory of metamorphosis Goethe approaches what was atavistically experienced in the old Proteus-myth. Perhaps Proteus, who in his own becoming takes on such different forms, perhaps through his experiences it would be possible to find how Homunculus can become Homo. (You know how, in this scene, Goethe introduces him, and we present him, as tortoise, man, dolphin, three forms appearing one after another.)

But Goethe felt that there were still limitations to his theory of metamorphosis. Surely, you may say, a man with such profound, such fundamental knowledge, as Goethe could see what follows from this theory; with it one can watch one leaf of a plant changing into another, up to the petal of the flower, the spinal vertebrae transforming themselves into the bones of the head, the skull-bones? But Goethe—anyone who has worked on Goethe's world-conception knows how he wrestled in this sphere—Goethe knew he could go no farther. Yet he felt: There is something beyond all this.—We know what that something is—the head of the present man is the metamorphosis of the body of the previous man, the man of an earlier life on earth; the rest of his body in this earth-life will, in the next life, become the head. There, for man's life, we have metamorphosis—the crown of metamorphosis. He draws on what he feels about Proteus, but that can lead only to raising the idea of Homunculus to that of Homo. Goethe felt he had made a great beginning with the Protean idea of metamorphosis, but that this had to be developed were Homunculus to become Homo. Goethe in all honesty represents poetically both what he can and what he cannot do, and we see deep into his soul. It is no doubt, easier to picture an abstract, perfect Goethe and to assure ourselves he knew everything. But No! Goethe becomes all the greater by our recognising the limitations he himself so honestly admits, as may be seen, for instance, in his not allowing Proteus—that is, the way he conceives his theory of metamorphosis—to give counsel regarding Homunculus becoming Homo.

Goethe strove, indeed, form the most varied directions to approach this becoming—this growing to true man. For him, artistic conception was not, as it is for so many, fundamentally abstract. He considered that everything expressed in works of art was part of all that is creative in the world. Into this scene he puts all that was to have led him to his heart's desire—to fathoming the mystery of becoming man. As he stood before the Greek works of art, or rather, the Italian work which made Greek art real for him, he said to himself: I am an the track of what the Greeks were doing in the creation of their works of art; they acted in accordance with the same forces as does nature, in her creations. And he had the experience that, if the artist is a true artist, he unites himself in marriage, as it were, with the forces creating in nature; he creates his forms, and all that can be created artistically, out of what is working in the arising, the growing, of plants of animals, of man. But in all this there is still no inner knowledge. That is what Goethe had to admit to himself. The creative forces present themselves to our vision, allow us to feel them, but in metamorphosis we do not go right within them.

There next appear the Telchines of Rhodes. They are such great artists that, naturally. all external human art seems small in comparison. They forged Neptune's trident. They were the first who tried to represent Gods in human form, that is, to create man out of the actual cosmic forces. This art of the Telchines comes nearer reproducing man's becoming, but does not quite reach it. This is what Goethe is wishing to tell us. He expresses it through Proteus who says finally: Even this does not lead to the real mystery of man.

Thus does Goethe wish to evoke a true feeling that there are two worlds—the waking world of day, and the world that is entered when man is free of the body, the world he would see if, during sleep he became awake to this body-free condition. Everything of the kind that he would say, is indicated by Goethe in this scene most delicately and sublimely. Take, for example, the passage where the Dorides bring in the sailor-lads; read the works in which the world is described, how the physical world is set beside the world entered when man is free of the body—how this is pictured in the Dorides set beside the physical sailor boys. They have found each other and yet not found each other. Human beings and spirits meet one another, yet do not meet; they approach each other and remain strangers. In this passage, the relation of the two worlds is wonderfully indicated. Everywhere Goethe endeavours to show how essential it is to place oneself into the spiritual world to find what makes Homunculus into Homo. At the same time he delicately indicates how physical world and spiritual world are together yet apart.

One might say that in his artistic representation, Goethe sees—or rather, makes us see—how Homunculus can become Homo if the soul approaches the intimate mystery of the Kabiri, if it approach what Nereus evoked in his daughter Galatea. All that is active in the true art that works out of the cosmos. But, alas, it is as if one were grasping after reality in a dream, and the dream immediately fades away. It is as though one wished to hold fast what welds together the physical and the spiritual worlds. The Gods will not suffer it; the worlds fall apart.

This difficulty of knowing the spirit is the fundamental experience, the fundamental impulse in the soul of one who watches this scene with true understanding. It is this that leads Goethe to his mighty finale—the shattering of Homunculus against the shell-chariot of Galatea, the shattering that is at the same time an arising, a coming into being, the ascent into the elements, which is a finding of the self in reality.

We will speak again tomorrow of this conclusion of the scene, in connection with its representation.

In today's lecture, my task will be to contribute something to the understanding of what lies in the artistic impulses that carry the building idea of Dornach, in order to then develop this building idea in more detail in the next of these lectures. It will be necessary for me to say something about these artistic impulses, so to speak, because strong misunderstandings have spread about them.

The point is, and this is clear from what I said here eight days ago about the development of the Dornach building from our entire anthroposophical movement, that the Dornach building should in no way create something that could be called the carrying of abstract spirituality into what is actually artistic. The Dornach building should be created entirely by artistic forces. And this building should mark the beginning of a development towards this goal, so that what works in spiritual science as a spiritual being can also flow out, stream out into artistic forms, into artistic designs and so on. This is something that had to be fought for against certain tendencies that very easily run in the opposite direction, especially in such a movement as anthroposophy.

It is very easy for all kinds of mystifying elements to enter into such a movement. These elements push towards the abstract through a false mystification, and which actually – because the artistic element must express itself in the shaping and forming of the external – bypass this artistic element and strive towards the symbolic, towards the allegorical. They want to keep the spirit in its abstract form, so to speak, and see in the outwardly shaped and formed only a symbolic illustration of the spiritual.

This leads to a killing, a paralysis of everything truly artistic. In this direction, due to the penetration of false mysticism from the theosophical into the anthroposophical movement, one has had to experience all sorts of things. For example, a play like “Hamlet”, which is an artistic creation, was interpreted allegorically and mystically, so that one figure was understood as the spiritual self, the other as the astral body, and so on. There is endless allegorizing among those who would like to profess such a spiritual movement, and I once had to experience the following, for example: When I tried to discuss the well-known painting 'Melancholy' by Dürer in such a way that I traced everything that lives in this painting back to the chiaroscuro and showed how Dürer wanted to penetrate the secrets of the chiaroscuro, of the chiaroscuro, to contrast the light with the dark, the darkness with the light, in the most varied of ways, a voice was heard from the audience saying, “Yes, but can't we understand this picture on an even deeper level?” The deep interpretation was obviously sought in the fact that one wanted to extract from the artistically captured chiaroscuro an abstract-allegorical interpretation of what is depicted in the picture, which Dürer has already forbidden by placing the polyhedron in the picture to suggest how important it was to him to express the chiaroscuro variety that becomes visible when you compare differently directed surfaces, differently positioned surfaces of a polyhedron or the different surface layers of a sphere with any spreading light. That it is infinitely deeper to look into this working and weaving of light and darkness and to spread one's own spirit over this weaving of light and darkness, that for the one who feels artistically, it can be infinitely deeper than the abstract-intellectual allegorical interpretation of such images, such an interrupter had no understanding.

And so what is present in this building had to be seen as an initial, weak attempt, in many respects fought for in the face of those aspirations that strive towards allegory and symbolism. These can be seen sufficiently when one enters some particularly solemnly decorated rooms where Anthroposophical spiritual science is practised and sees that attempts are being made to begin with colours and all kinds of paintings and drawings, but that these attempts ultimately leads to nothing other than offending every artistic feeling by painting a hideous rose cross, when what matters is only the allegory of showing some symbolism in seven roses painted in a certain way on a cross. I must mention this so that, if anthroposophically oriented spiritual science is also to show its artistic fertility to the world, it is known that what is attempted artistically must not be confused with all the abominations that easily arise from symbolizing and allegorizing, especially on such mystical ground as I have indicated.

It is absolutely essential that the true spiritual scientist should realize through direct insight what the essence of the ideal consists in, so that he can find the transition from the ideal to what must be expressed in prose words, even though these prose words are only an inadequate means of revelation for the rich revelation of the spiritual world itself, and that this necessary prose presentation, which must also take on certain forms if it is to do justice to the spiritual world, is sharply contrasted with the actual artistic presentation, including that of the supersensible vision, which has nothing of symbolizing or allegorizing in it.

That is why I had to point out in the lecture I gave to you on declamation and recitation that it is nonsense to fantasize and allegorize all sorts of things into my mystery dramas that are actually anthroposophical theory. The point of the dramas is to be understood artistically; and I myself, if I may make this personal comment, suffer the most unspeakable pain when someone presents me with abstract concepts that are supposed to “explain” these mystery dramas. These mystery dramas have been seen and experienced down to the last word, down to the tone of voice, as they stand, and the one who introduces allegorization does not understand them. He cannot really bring out the measure of super-sensibility that lies in them, for he only imprints the intellectual concepts into what should actually be experienced in the artistic sense. And so it is with everything else that is to arise artistically from those impulses from which spiritual science itself arises.

I would like to say it clearly, although it may sound a little pedantic: no art can of course arise from spiritual science itself, as it is communicated in words; only allegory and symbolization can arise from it. But from those spiritual impulses that stand behind spiritual science, that drive spiritual science itself out of themselves like a branch, from those, as another branch from the same origin, artistic creation also arises. Therefore, those who understand spiritual science in the abstract and then want to translate it into art will never be able to create anything other than straw-like allegories or lifeless symbols.

It has been said many times that symbols and allegories can be found in this building. If you look at the building properly, you won't be able to find a single symbol or allegory in it. Everything is meant to be – although some things have been left in initial attempts – in such a way that it has flowed into the form, the design, the color. And because misunderstandings can easily arise in this regard, I would like to discuss a few artistic matters with you today, so that, as I said, I can get to the actual building idea next time and characterize it in very specific terms.

I would like to assume that, when we once had to perform that scene from the second part of Goethe's “Faust” in the carpentry workshop, in which the Kabirs appear, I tried to create the three Kabirs plastically from the supersensible vision that arises when one tries to penetrate the mysteries of Samothrace. So I tried to visualize these Kabirs in order to be able to bring them on stage. Now these three Kabirs were there in three dimensions. Then a personage who was very close to our movement wanted to give some other people an idea of these Kabirs, who could not see them here, or who wanted to have a souvenir of the way in which the Kabirs were vividly reconstructed here, and the question arose as to whether these Kabir sculptures should be photographed.

For someone who has a feeling for sculpture, however, every photograph of a sculpture is a killing of the actual sculptural work of art. And so I decided to simply reproduce these Kabir statues in a drawing, in chiaroscuro, that is, using a different technique. So from the outset they were conceived two-dimensionally on the surface, and so it was possible to photograph them and disseminate them through photography. So you see: if you really stand on the soil of those life forces that pulsate in spiritual science, then above all you acquire a truly artistic feeling for the artistic means you use, and you acquire emotionally, not intellectually, what lives in existence.

Let me mention the following example, which leads us more into the intimacies of the artistic empathy of the world process, which we then try to shape. Let us assume that one wanted to create a kind of sculptural representation of humanity, as I attempted in my sculptural group, which includes a figure similar to Christ (Figs. 94-98). If you want to create a sculpture of this representative of humanity, you would be led to feel quite differently about what is present in the formation of the head than about what is present in the rest of the human being's form, which lives outside the head.

In sculpting, you feel what appears as a huge difference in the human being. In sculpting, where one is dealing with the shaping of surfaces, one feels that a formative impulse must be at work in the head, which, as it were, pushes inwards, draws away from the outside, but which shapes from within; and one feels that in the rest of the human being, one encounters that which is shaped in precisely the opposite sense. It is not so important to say that one thing happens from within and the other from without – that would lead to an abstract, intellectual description again – but rather it is important to have the opposite feelings when developing any form out of the depths of the world process develops some form that can only be shaped from the inside out, or when one takes out a form that can only be shaped from the outside in, in which one can see, as it were, how the external world forces concentrate and shape from the outside in.

If one continues in this feeling and sensing, then one comes to understand how, through having different feelings for the head than for the rest of the organism, one experiences something as a sculptor that is neither gravity nor vertically acting buoyancy nor even spreading force. Pure spreading force is what we feel in the light. Gravity alone is what we feel in our own weight and experience in particular in the aging of the human being, if one can take a look at this aging in true introspection. Of these two forces, gravity and buoyancy, one senses a kind of interaction in such a way that, I would say, the buoyancy forces, those forces that tear the plastic away from the earthly, can be felt more in the head, and the forces that work upwards from the earth's gravity and, as it were, drive the body upwards, these are felt more in the shaping, in the plastic formation of the rest of the body.

But, my dear attendees, when one has really felt this, and – especially when one has metamorphosed this feeling into artistic creation – when one really lives not in an abstract idea, but in this feeling and endeavors to bring into the material that which one feels there, then one feels a strong difference... [gap in the shorthand]. For example, in sculpture there is something to be sensed, such as the balance of two forces, of which the sculptor himself need know nothing. Even someone who knows about such forces as spreading force, gravity and buoyancy force, completely forgets it in sculpting; it is none of his business there, he lives purely in feeling the spreading of the forces of the surface, in feeling how the surface expands in space, or in shaping the surface itself. If you have not appropriated anything abstractly conceptual – that is, if you can completely shed the cloak of the ideal when you immerse yourself in artistic creation – then, in a sense, you become a different person emotionally when you immerse yourself in artistic creation; then you also acquire a feeling for the diversity of artistic means of expression.

And when one moves from working with sculpture to working with painting, one comes to say to oneself: All that one has to say about sculpture in terms of the way in which forces acting vertically and in the direction of propagation interact, of heavy elements and light elements, all that one has to have put aside when dealing with color and its nuances in painting. Because there it is about creating not out of the line, not out of the form, but out of the color, so that one completely stops feeling differently towards the head than towards the rest of the organism, as the sculptor does. In painting, one feels that difference disappear that arose for the sculptor between the head and what is not the head in a human being. This completely balances out and becomes something completely different, an inner intensity that cannot be represented by a contrast of lines, but can only be represented by penetrating into the intensity of the color nuances, so that it is not possible to go into detail, for example, on what still stands out very strongly in sculpture.

And if you want to overcome it, you can only do so if you push the sculpture to a certain degree of consciousness, as I did with my central group for this building. But if you move on to painting, it is a matter of thoroughly rejecting any thinking in lines and moving on to the feeling that creates purely from color. And however strange it may seem to someone who speaks of a spiritualization of art in a falsely abstract sense, it must still be said: for someone who thinks in terms of painting, the most important thing is that there is a certain color nuance at a certain point on a certain surface and that, when one moves from this color nuance to another point on the surface, other color nuances are there. It is about creating from color.

In this creative process, however, the artist is supported by what I would call the experience of color, the experience of blue, the experience of yellow, the experience of red. What the artist has, in experiencing yellow and red as if they were attacking him, and experiencing blue as if he had to chase after it with his soul, as if he had to expand himself, is what transforms into creativity within him and what then gives him the opportunity to transform the sensation into what is to become a work of art. If, for example, one is faced with the task of painting any surface, then it is a matter of nuancing between so-called light, warm colors and dark, cold colors. If one has the color experience, one can create out of this color experience, just as the musician creates out of the sound experience. Then it is a matter of the form arising out of the color itself, so that one does not draw and then smear color into the spaces created by the drawing spaces that arise through drawing, smearing the color in, but rather it is a matter of starting from the color experience and allowing the line experience, the form, to arise from the color experience. That is why I said at one point in the first of my mystery dramas - that is, I had a character say it, to whom I put it in the mouth - that the form must be “the color's work”.

Fundamentally, we must be aware that all drawing and all thinking in drawing is actually a lie compared to painting. For example, when I see the blue sky, with the sea-green of the surface of the sea below, I have the blue of the sky above, the green of the sea below, and the line of the horizon simply arises from seeing, from the experience of color. And I am actually lying when I draw a horizon line that is not actually there (Fig. 114). This must now be thoroughly examined, otherwise one will not be able to enter into that world, which can be experienced through all the means of artistic expression, through the colors and their nuances, as well as through the concepts and ideas, if these concepts and ideas are really rooted in the spiritual and are not abstracted from ordinary human consciousness.

You see, here it is not so much a matter of expressing spiritual science in all kinds of forms, but rather of gaining impulses for artistic observation, which are just as necessary in the course of human development as spiritual science itself. But they are required as something special. It is the case that on the one hand there is the spiritual-scientific stream and on the other hand there is the artistic stream, which in a certain way must now also take on new forms. Therefore, I say to everyone who stands before this group, which is to become the central group here: One can feel something in the central figure like the Christ-figure, but it must be felt, it must not be thought that the name Christ is there. It will certainly not be written on the outside, but it does not even have to be thought, rather, the intuitive experience must take place within us, which draws our attention to how we must look at the matter, so that we develop reverence, develop high regard, develop the intuitive perception of the depths of the human being. So there should be nothing but feeling, nothing but experiencing in feeling, the same feelings that we experience, for example, when we immerse ourselves spiritually in the figure of Christ. But everything we experience spiritually when we immerse ourselves in the figure of Christ through spiritual science must not be carried over into what is formed plastically or pictorially. What is formed plastically or pictorially must be born out of form, out of line, out of surface. And this life in form, in line, in surface, in color, in word itself, is what later develops such forms, such painting, as it is to appear here in this building before you.

What I have said now has little to do with the building itself, but only with the artistic attitude and artistic feeling that underlies the entire building idea of Dornach. It should always be borne in mind that it is at the beginning of the development of that architectural style, that artistic language of form, which can be expected to flourish in a special way in the future. Because I would not rebuild this building in the same way a second time. Not because I consider the artistic attitude on which it is based to be misguided – that is not the case – but because everything that is alive is also constantly evolving, so that a second time all those mistakes would be avoided and everything that could be said in terms of impulses for perfection could be taken into account. But I see all this myself and take it much more seriously than those who often call themselves critics of the building. I know the mistakes very well today and know what could be avoided if the building were to be rebuilt, and what could be brought into it if it were to be rebuilt. And it is necessary that all the details of the building idea from Dornach be taken up in this way.

To take one detail, I would like to mention the small dome (Fig. 57). Later, at the end of this hour, we will raise the curtain and you can then take a look at the small dome. Above all, I would like this small dome to be understood in such a way that nothing abstract is fantasized into it. For in this small dome, in which I myself am essentially involved – this is of course not to say anything special about the also in turn initial and in many respects perhaps amateurish in the painting of this small dome – an attempt has been made to paint really out of color, out of the color experience. In fact, this color experience should be understood in such a way that one sees, above all, the color nuance at a particular point. It could not be a matter of, for example, at a certain point where, let us say, the blue was to be emphasized, where the blue was experienced according to its position near the opening, further away from the center, contrasting with the color effects in the center, of thinking of a fist (Fig. 70) and paint it there because one feels a kinship of the nature of the fist with the blue color, but it could only be a matter of developing the color experience of the blue at this point and then letting the form, the shape, the essence arise out of the color. It had to become what it is there out of necessity.

From this you can see that it is not important to the person who originally gave rise to the idea of forming a figure out of the color experience of blue at this point, which then leads the feeling back to the sixteenth century, reminiscent of the Faust figure, but rather that it is important to him to give birth to form and essence out of the living color. And if, in the end, interpretations are attributed to the works, then one must be aware that these are interpretations from the outside, that they may help one or another subjectivity to experience this or that; but I myself prefer it if you completely forget, when facing this small dome, that there is something Faustian, something Apollonian ( Fig. 76) or of any doppelgänger (Fig. 84) and the like, and that you first surrender to the pure color experience from which the whole is born, and that you are initially just as indifferent to whether there is a Faust crouching there or some other figure, just as the person who wanted to create from the color was indifferent to whether this figure emerged. It just came out because the world lives in color.

But one must not take the starting point from the linear or symbolic boundaries of the being; rather, one must take the starting point from painting from the color experience, from moving in color, so that the color and especially the color harmonization and disharmonization come to life as such. One will then see that one narrows one's view of the world if one tries to translate the intellectually abstract world view — even one that arises as spiritual science — simply symbolically, allegorically into color or into form. Rather, one will see that when one immerses oneself in color, the whole richness of the life of color overflows one and that in this immersion in the world of color one has, that one still discovers a new world. While with every allegory you only bring the world you already have into the colorful world, if you start from the colored experience itself, you discover a new world that is as creative in itself as the world you have in mind when you summarize the external natural fact in abstractions or in natural laws.

In this description – because everything artistic, when it is discussed, must be described – I had to show you how an attempt has been made here in this building, not to secretly incorporate anything into the plastic forms, into the color nuances, but to experience the secrets of these worlds ourselves, which give us the means to express them artistically. And when one experiences the secrets of these worlds, then one gradually frees oneself from all straw-like allegorizing and straw-like symbolizing. In painting, for example, one learns to overcome the line, even in the representation of the copperplate engraving or the woodcut, and to allow form to arise purely out of the contrast between light and dark. It is out of such experiences, not out of abstract thought, that the building idea of Dornach has come into being, out of what can be experienced in colour, in form, in surface, what can be felt as that which strives upwards, freeing itself from burdens, as that which works downwards, bearing burdens, bringing them to life within itself.

All this is here in architecture, sculpture, painting, even in the window panes - the nature of which I will also discuss next time - felt, experienced, not thought; because all abstract thinking is the death of art. The life of art is born only out of form, out of color, out of the burdened, out of the carrying, out of the rounded, out of the angular – I now mean “rounded” and “angular” as a verb. And when one can live in the round, in the angular, in the burden, in the carrying, in the arching, in the covering and opening, in the plastically rounding, in the surface giving, in the expressing the interior in the exterior through the special surface treatment, when one can experience what arises like beings in the waves from the surface of the sea, when one experiences from the living colors, then the forms are formed in such a way that they are a creation of the color. Then there is truly no allegorization, no symbolization; then, alongside that world of abstraction or the merely non-sensuous spiritual, a completely new world arises, a world that Goethe called the sensuous-suprasensible world. This world is not, however, killed by the merely intellectual, and it is brought to life when one knows how to set the spirit within oneself in motion, not by going so far in the contemplation of the external that the sensual contemplation leads to the linking of thoughts, but in such a way that one sees the supersensible directly in the external, in the sensual. When the inner life, which in Expressionism always seeks to give rise to thought, is restrained to such an extent that it does not reach thought, but remains in the mere experience of the formative, of that which permeates the surface with the intensity of color and when the world is experienced in this way, as it can only be experienced in the element of sensation, not in the element of thought, then this experience can truly provide the stimulus for a new art.

In recent years, anthroposophical spiritual science has found an external center for its work in Dornach, near Basel. The creation of this center, called the Goetheanum, the School of Spiritual Science, was the result of the expansion of anthroposophical spiritual science. After many years of me and others spreading this spiritual science in the most diverse states and places, initially in an ideal form through lectures or similar, around 1909 or 1910 the inner necessity arose to bring to the souls of our fellow human beings what is meant by this spiritual science by means of other means of revelation and communication than those of mere thoughts and words. And so it came about that a series of mystery dramas were performed, initially in Munich. These were written by me and were intended to present in pictorial, scenic form the subject matter that anthroposophical spiritual science must speak of in its entirety.

We have been accustomed throughout the entire course of education in the civilized world over the last three to four centuries to seek knowledge primarily through external sensory observation and by applying the human intellect to this external sensory observation. And basically, all our newer sciences, insofar as they are still viable today, have come about through the effects of the results of sensory observation with intellectual work. After all, the historical sciences do not come about in any other way today either. Intellectualism is the one thing the modern world has confidence in when it comes to knowledge. Intellectualism is the one thing that people have become more and more accustomed to.

And so, of course, people have increasingly come to believe that all the results of knowledge that come before the world can be completely revealed through intellectual communication. Indeed, there are epistemological and other scientific disputes in which it is apparently proven that something can only be valid before the cognitive conscience of contemporary people if it can be justified intellectually. That which cannot be clothed in logical-ideational intellectual forms is not accepted as knowledge. Spiritual science, which really did not want to stop at what is rightly asserted in science as the limits of scientific knowledge, and which wants to penetrate beyond these limits of knowledge, had to become more and more aware that the intellectual way of communicating could not be the only way. For one can prove for a long time with all possible sham reasons that one must imprint all knowledge in intellectual form if it is to satisfy people; one can prove this for a long time

prove it and back it up with spurious reasons – if the world is such that it cannot be expressed in mere concepts or ideas, that it must be expressed through images, for example, if you want to know the laws of human development, then you have to get at something other than the presentation through the word in the theoretical lecture; you have to move on to other forms of presentation than the presentation in intellectual forms.

And so I felt the necessity to express that which is fully alive, namely in the development of humanity, not only in theory through the word, but also through the scenic image. And so my four mystery dramas came into being, which were initially performed in ordinary theaters. This was, so to speak, the first step towards a broader presentation of that which actually wants to reveal itself through this anthroposophical spiritual science, as it is meant here, through the cause of spiritual science itself.

Not in my own case – I may say that without hesitation – but in the case of friends of our cause, the idea arose in the course of this development, which made an external, theatrical presentation necessary, to prepare a place of our own for the work of this spiritual science. And after many attempts to found such a place here and there, we finally ended up on the Dornach hill near Basel, where we received a piece of land for this purpose from our friend Dr. Emil Grosheintz, and we were able to build this ach Hill, we were able to establish this School of Spiritual Science, which is also intended to be a house for presenting the other types of revelation of what is to come to light through this spiritual science; this School of Spiritual Science, which we call the “Goetheanum” today.

Now, if some association or other had set about creating such a framework, such a house, such an architecture, prompted by the circumstances, what would have happened? They would have turned to this or that architect, who might then, without feeling or sensing anything very intensely and without recognizing the content of our spiritual science, have erected a building in the antique or Gothic or Renaissance style or in some other style, and they would have handed down in such a building, which would have been built out of quite different cultural presuppositions, the content of spiritual science in the most diverse fields. This could well have happened with many other endeavors of the present time and would undoubtedly have happened. However, this could not happen with anthroposophically oriented spiritual science.

When we opened our first series of courses on a wide range of subjects at the School of Spiritual Science in Dornach last year, I was able to speak of how, through this anthroposophically oriented spiritual science, not only what is science in the narrower sense is to come before humanity, how this spiritual not only draws from the achievements of human sensory observation and the human intellect, but draws from the whole, from the fullness of humanity, and draws from the sources from which religion on the one hand and art on the other also emerge.

This spiritual science does not want to create an abstract, symbolic or a straw-like allegorical art, which merely forces the didactic into external forms. No, that is absolutely not the case. Rather, what is expressed through this spiritual science can work through the word, can shape itself through the word. Spiritual processes and spiritual beings in the supersensible world can be spoken of by resorting to ideas and the means of expressing ideas, to words. But that which stands behind it, which wants to reveal itself in this way, is much richer than what can enter into the word, into the idea, pushes into the form, into the image, becomes art by itself, real art, not an allegorical or symbolic expression. This is not what is meant when we speak of Dornach art.

When Dornach art is mentioned, it is first of all a reference to the original source from which human existence and world existence bubble forth. What one experiences in this original source, when one gains access to it in the way often described here, can be clothed in words, shaped into ideas, but it can also be allowed to flow directly into artistic expression, without expressing these ideas allegorically or symbolically. That which can live in art or, as I could expand on but need not today, in religion, is an entirely identical expression of that which can be given in an idealized representation. This anthroposophically oriented spiritual science is thus predisposed from the outset to flow as a stream from a source from which art and religion can also flow in their original form. What we mean in Dornach when we speak of religious feeling is not just a science made into a religion, but the source of elementary religious power, and what we mean by art is, in turn, also an elementary artistic creation.

Therefore, when some visitors to the Goetheanum or especially those who only hear about it defame our Dornach building and say that one finds this or that allegorical, symbolic representation there, it is simply defamation. There is not a single symbol in the entire Dornach building. Everything that is depicted has been incorporated into the artistic form, is directly sensed. And basically, I always feel somewhat as if I am merely presenting a surrogate when I am expected to explain the Dornach building in words. Of course, if one speaks outside of Dornach, one can make statements about it as one might speak about chapters of art history, for example. But when one sees the building in Dornach itself, I always feel that it is something surrogate-like, if one is also supposed to explain it. This explanation is actually only necessary to convey to people the special kind of language of world view, but the Dornach building has flowed out of it just as, let us say, the Sistine Madonna has flowed out of the Christian world view, without anything being symbolized, but only in such a way that the artist has truly lived in accordance with his feelings, his ideas.

Hamerling, the Austrian poet, was also reproached for using symbolism after he wrote his “Ahasver”. He then rightly replied to his critics: What else can one do when one portrays Nero quite vividly, as a fully-fledged human being, rather than as the symbol of cruelty! For history itself has portrayed Nero as a symbol of cruelty, and there is no mistake in giving the impression of the true, real symbol of cruelty when Nero is portrayed as a living being. At most, there could be an artistic defect in presenting some straw allegory instead of a living entity. Even if the world depicted in Dornach is the supersensible world, it is the supersensible reality that is portrayed. It is not something that seeks to symbolically or allegorically implement concepts. This is the underlying reality, and at the same time it indicates why a house could not be placed here in any old way for this anthroposophically oriented spiritual science. Any architectural style would have been something external to it, because it is not mere theory, it is life in all fields and was able to create its own architectural style.

Of course, one can perhaps draw a historical line retrospectively by characterizing the essence of ancient architecture in terms of its load-bearing and supporting function, then moving on to the Gothic period and showing how architecture there moves beyond mere load-bearing and supporting, and how the buttress is freed from mere load-bearing and supporting by the pointed arch and the cross-ribbed vault, how a kind of transition to the living is found. In Dornach, however, an attempt has been made to develop this life to such an extent that the pure dynamic, metric and symmetrical of earlier forms of building have been truly transferred into the organic.

I am well aware of how much can be written from the point of view of ancient architecture against this allowing of the geometric, metric, symmetrical forms to be transformed into organic forms, into forms that are otherwise found in organic beings. But nothing is naturalistically modeled on any organisms; rather, it is only an attempt to immerse oneself in the organically creative principle of nature. Just as one can become familiarized with the bearing and supporting when the columns are covered by the crossbeams, and with the entire configuration of the Gothic style in the buttresses, in the ribbed vaulting and so on, so one can also familiarize oneself with the inner forms, the forming of nature that is present in the creation of the organic. If one can find one's way into this, then one does not arrive at a naturalistic reproduction of this or that surface form found in the organic, but one arrives at finding surfaces from what one has directly represented architecturally, which are integrated into the whole structure in the same way that, say, the individual surface on a finger is integrated into the whole human organism.

This is therefore the basic feeling that can be gained from the Dornach building, to the extent that this has been achieved in the first attempt at this new architectural style. What has been striven for is perhaps best expressed as follows: In relation to the smallest detail, the greatest formal context is conceived in such a way that each thing is, at the place where it is situated, as it must be. You need only think, for example, of the earlobe on your own body. This earlobe is a very small organ. If you understand the whole organism, you will say to yourself: the earlobe could not be any different than it is; the earlobe cannot be a little toe, it cannot be a right thumb, but in the organism, everything is in its place, and everything in its place is as it emerges from this organism.

This has been attempted in Dornach. The entire structure, the entire architecture, is conceived as part of a whole, and each individual part is formed in its own place in such a way that it is exactly what is needed at that place. Although there are many objections that could be raised, the attempt has been made, as I said, to make the transition from mere geometric-mechanical construction to building in organic forms. As I said, this architectural style could be incorporated into other architectural styles, but that doesn't really get you anywhere. In particular, the creator doesn't get anywhere with it. Something like this simply has to arise from the naive, from the elementary. Therefore, when I am asked how the individual form is conceived from the whole, I can only give the following answer. I can only say: look at a nut, for example. The nut has a shell. This nut shell is formed according to the same laws around the nut, around the nut kernel, according to which the nut itself, the nut kernel has come into being, and you cannot imagine the shell differently than it is, once the nut kernel is as it is.

Now one knows spiritual science. One presents spiritual science out of its inner impulse. One forms it into ideas, one brings them together in ideas. So you live in the whole inner being of this spiritual science. Forgive me, it is a trivial comparison, but it is a comparison that illustrates how you have to create out of naivety if you want to create something like the building in Dornach: you stand inside it as if in the nut kernel and have within you the laws by which you have to execute the shell, the building.

I often used to make another comparison. You see, in Austria we have a special kind of cake called 'Gugelhupf'. I don't know if that expression is also used here. And I said that one should imagine that anthroposophical spiritual science is the Gugelhupf and the Dornach building is the Gugelhupf pan in which it is baked. The cake and the pan must harmonize with each other. It is right when both harmonize, that is, when they are according to the same laws as nut and nut shell.

Because Anthroposophical spiritual science creates out of the whole, out of the fullness of humanity, it could not have the discrepancy within itself of taking an arbitrary architectural style for its construction and speaking into it. It is more than mere theory; it is life. Therefore, it had to provide not only the core but also the shell in the individual forms. It had to be built according to the same innermost laws by which one speaks, by which mysteries are presented, by which eurythmy is now presented. Everything that is presented in words, that is seen performed in eurythmy, that is seen performed in mystery plays, that is otherwise presented, must resound and be seen throughout the hall in such a way that the walls with their forms, that the paintings that are there, say yes to it as a matter of course; that the eyes, so to speak, absorb them like something in which they directly participate. Each column should speak in the same way as the mouth speaks, proclaiming anthroposophically oriented spiritual science. Precisely because it is science, art and religion at the same time, anthroposophically oriented spiritual science had to establish its own architectural style, disregarding all conventional architectural styles. Of course, one can criticize this to no end; but everything that appears for the first time is imperfect at first, and I can perhaps assure you that I know all the mistakes best and that I am the one who says: if I were to rebuild the building a second time, it would be based on the same spirit, on the same laws, but it would be completely different in most details and perhaps even as a whole. But if anything is to be tackled, it must be tackled once, as well as one can at that particular moment. It is only by carrying out such a work that one really learns to know the actual laws of one's being. These are the laws of destiny of spiritual life and spiritual progress, and these have not been violated in the erection of the building at Dornach.

Now the building rises up on the Dornach hill (Fig. 1). Its basic forms had to be sensed first, emerging from the Dornach hill. That is why the lower part is a concrete structure (Fig. 4). I tried to create artistic forms out of this brittle material, and yet some have felt how these forms connect to the rock formations, how nature merges with the building forms with a certain matter-of-factness. Then, on the horizontal terrace, up to which the concrete structure extends, the wooden structure rises. This wooden structure consists of two interlocking cylinders, which are closed off by two incomplete hemispheres that are, as it were, interlocked in a circle, so that two hemispheres, two consecutive hemispheres, enclose the two cylindrical spaces as if they were placed one inside the other. A larger room, the auditorium, a smaller room, the one from which eurythmy is performed, mysteries are played and so on. Between the two rooms is the speaker's podium. This is initially the main building.

Of course, I must not fail to mention that in recent years numerous friends, particularly from this or that scientific field, have now found each other from almost all scientific fields, who have seen through and recognized how natural science, mathematics, history, medicine, jurisprudence, sociology, and the most diverse fields can be fertilized by anthroposophical spiritual science. So that a real Universitas must attach itself to Dornach, and for this the building, for which we have been able to provide for the time being, is nothing more than a large lecture hall, with the possibility of working in this lecture hall, which is intended for about a thousand people, in other ways than through the mere word.

That the building has this dualistic form, I would say, consisting of two cylinders crowned by hemispheres, can be sensed from the whole task that spiritual science, as we understand it in Dornach, must set itself. After all, this is based on what is called inner human development. One does not arrive at this anthroposophical spiritual science by merely using one's ordinary everyday power of judgment - although, of course, full reliance is placed on this - or by using the ordinary rules of research; but rather by

you must bring to the surface the powers slumbering in the soul, as described in my book “How to Know Higher Worlds”, and really ascend to that region where the supersensible powers and entities of existence reveal themselves to you. This revealing of the supersensible world to the sensory world, which expresses itself in the fact that the thousand listeners or spectators sit there and on the other side exactly that which gives knowledge of supersensible worlds is communicated, this whole thing, transformed into feeling, expresses itself in the double-dome building in Dornach. It is not meant to be symbolic in any way. That is why I can also say: Of course one could also express this thought differently, but that is how the artistic expression of this basic thought presented itself to me at the time when it was needed.

In a sense, by approaching it from the environment, in the external form of the wooden structure growing out of the concrete, which is a double dome, one sees in the configuration, in the design of the surfaces, what is actually meant by anthroposophically oriented spiritual science. The fact that they really tried not to calculate with abstract concepts, but with artistic perception, may become clear to you from the fact that - in the time when it was still possible before the war - Norwegian slate was obtained with all possible efforts to cover the two domes. Once, when I was on a lecture tour in 1913 between Christiania and Bergen, I saw the wonderful Voss slate. And this Voss slate now shines in the sunshine from the double domes, so that one actually has the feeling: this greenish-greyish shine of the sun, which reflects itself there, actually belongs in this whole landscape. It seemed to me that the care that had been taken to bring out the shine of the sun in the right way in such a landscape was something that showed that account had been taken to present something worthy in this place, which, as a place, as a locality, has something extraordinary about it.

I will now take the liberty of showing you a series of slides of what has been created as this Goetheanum in Dornach. They are intended to show in detail how what I have just explained, how the Dornach building idea has actually been realized. The Dornach building idea should present the same thing to the beholder in the outer spatial form in the picture, as it unfolds to the listener through the word, so that what one hears in Dornach is the same as what one sees in Dornach. But because it should really present a renewal out of spiritual life, a renewal of everything scientific, it also needed, in a sense, a new art.

Now the first picture (Fig. 4): You see here the building, the dome is somewhat covered here, here the concrete substructure. When one approaches via a path that leads from the northwest towards the west gate, one has this view. This is therefore the concrete substructure with the entrance; here one goes in first. Further back in this concrete building are the storage rooms. After you have taken your things off, you go up the stairs that lead through this room, to the left and right, and first come to a vestibule – which you can also enter from the terrace through the main gate – and from there to the auditorium. Here you see, starting from this terrace and going up, the wooden structure covered with Nordic slate (Fig. 10). You can see from the shape above the main entrance in the west that an attempt has been made to incorporate something here that really does look like an organic form growing out of the whole of the building. It is not some random thing found in the organic world, copied from nature, but an attempt to explore organic creation itself. The aim is to devote oneself to organic creation in nature in order to have the possibility of forming such organic forms oneself and to shape the whole into an organic form without violating the dynamic laws. I would like to emphasize: without violating the dynamic or mechanical laws.

Anyone who studies interior architecture with us in Dornach will see everywhere that, despite the fact that columns, pillars and so on are organically designed, it is precisely in this organic design that what is properly supported and properly weighted is expressed, without it being expressed in the thickness of the columns or in the heaviness of any load. The correct distribution of load and support is achieved without the aid of organic forms, so that one has the feeling, as it were, that The building feels both the load and the support at the same time. It is this transition to the appearance of consciousness, as it is in the organic, that had to be striven for in this building, out of the anthroposophical-spiritual-scientific will. So without in any way violating the mechanical, geometric, symmetrical laws of architecture, the form should be transformed into the organic.

The next picture (Fig. 5): Here you see the concrete structure from a slightly further point and more from the west front; here the terrace, then the main entrance. The same motif appears here. The second dome, the smaller one, which is for the stage, is covered here; on the other hand, you can see, as it were, what is adjacent to it. Where the two domed structures connect, there are transverse structures on the left and right with dressing rooms for the actors in mystery plays or eurythmy performances, or offices and the like. These are therefore ancillary buildings here. We will see in a moment in the floor plan how these ancillary buildings fit into the overall building concept.

The next picture (Fig. 7): Here you see the building from the southwest side: again the West Gate, the great dome, another tiny bit of the small dome, to the south the southern porch; here the whole front between west and south.

The next picture (Fig. 3): Here you see the two domed rooms, the auditorium, from the other side, from the northeast, one of the transverse buildings from the front, here the small domed room and here the storage rooms that adjoin the small domed room to the east; furthermore, the terrace, and below the concrete building. This is the porch that leads to the west gate, which you have just seen.

The next picture (Fig. 2): This is the strange building that is particularly heavily contested. This is what you see when you look at the building from the northeast side: you then see this heating and lighting house. It is also the case that one was obliged to form something out of the brittle concrete material, and that one said to oneself, out of artistic laws, out of artistic feelings: There I am given everything that is necessary as a lighting machinery, as a heating machinery: that is the nut kernel to me, around which I have to form the nutshell, to form the necessary for the smoke outlet. It is, if I may express myself in such a trivial way, this principle of the formation of the nutshell is fully implemented. And anyone who complains about something like that should consider what would be there if this experiment had not been carried out, which may still have been imperfectly successful today. There would be a red chimney here! A utilitarian building should be created in such a way that one first acquires the necessary sense of material and then finds the framing from the determination.

The next picture (Fig. 20): Here I take the liberty of showing the layout of the whole. The main entrance from the west: you enter the auditorium through a few vestibules. This auditorium holds chairs for nine hundred to a thousand listeners or spectators. Here you can see a gallery that is closed inwards by seven columns on each side. Only one thing is symmetrical here: namely, in relation to the west-east axis. This is the only axis of symmetry. The building's motifs are only designed symmetrically in relation to this axis of symmetry, the east-west axis; otherwise there is no repetition. Therefore, the columns are decorated with capital and base motifs that are not the same, but are in progressive development. I will show this in detail later. So if you have a first column on the left and right, a second column on the left and right, the capital and base are always the same as those of the right column when viewed from the left, but the following columns always have different capitals, different bases and different architrave motifs above them (Figs. 33-54).

This is absolutely the case, and it has emerged as a necessity from organic building. And this is based on an artistic interpretation of Goethe's principle of metamorphosis. Goethe has indeed developed this metamorphosis theory - which, in my firm conviction, will still play a major role in the science of the living - in an ingenious way. Anyone who still reads his simply written booklet “Attempt to Explain the Metamorphosis of the Plant” from 1790 has before them a grandiose scientific treatise that, according to today's prejudices, simply cannot be sufficiently appreciated. If one wants to express it simply, one must say: Goethe sees the plant as a complicated leaf. He now begins with the lowest leaf, which is closest to the ground, follows the leaves upwards to the heart leaves, which are shaped quite differently than the foliage leaves, then the petals, which are even colored quite differently, then the stamens and pistils, which are shaped quite differently. Goethe says: “Everything that appears in such seemingly different metamorphoses in the leaves of the plant is such that it can be traced back to an ideal similarity and only appears in different metamorphoses for the external sense impression. Basically, the plant leaf always repeats the same basic form; only in the external sensual perception is the ideal similarity differently formed, metamorphosed.

Now, of course, people come and see seven columns – deep mysticism! Yes, there are definitely members of the Anthroposophical Society who, in all sorts of dark, mysterious allusions, talk about the deep mysticism of these seven columns and so on. But there is nothing in it but artistic feeling. When you arrive at the seventh column, this motif of the seventh column is exactly the same as that of the first column – if you really create as nature has created – as the seventh is to the first. And just as the first motif is repeated in the octave, the seventh, you would have to repeat the first motif if you were to move on to the eighth.

Here you can see the boundary between the large and small domes; there is the lectern, which can be retracted because it has to be removed when the theater is in use. Here again there are twelve columns in the perimeter, here the boundary of the small domed room, here the two transverse buildings for dressing rooms and so on.

The next picture (Fig. 21): Here I have made a section through the middle. One enters from the west through the vestibules. Here is the stage area, and rising up from here is the auditorium, the rows of seats, again the seven columns, and here the great dome is connected to the small one by a particularly complicated mechanical structure. Here are the storerooms, the concrete substructure, the dressing rooms for taking off clothes. Here you go in, and then there are the stairs; here you come up and there is the main gate through which you enter.

The next picture (Fig. 22): Here I have taken the liberty of presenting my original model in cross-section. The whole building was originally modeled by me in 1913. Here you see the auditorium with its seven columns, the vestibules, here only hinted at the interior of the great dome, which was then painted; here in the small dome room, the capitals everywhere – I will show them in detail in a moment – here the architrave motifs above them; here the plinth motifs, always emerging metamorphically from one another. So, as I said, it is 'only' a line of symmetry, the central axis of the building. Otherwise, no repetitions can be found, except for what is located on the left and right.

The next picture (Fig. 10): seen from the terrace, the view of the West Gate, the main entrance gate, with two wings, which are necessary [gap in shorthand].

The next picture (Fig. 12): there is such a wing structure, the northern one [seen from the northeast]. Dr. Großheintz's house is also located here, an entire concrete building with about 15 rooms, a family house where I tried to create a residential house out of the concrete material by integrating it into this concrete material. It is near the Goetheanum and was built for the person who donated the land. You can see here how I tried to metamorphose the motif. Everything about this building emerges from the other, like a plant leaf, so to speak, in its form from the other form: it is entirely in the artistic sense the work of metamorphosis.

Next image (Fig. 14): This is one of the side wings, the south wing. Here you can see how the motif above the west entrance appears in a completely different form. It is the same idea, but completely different in form. It is just as, say, the dyed flower petal is the same idea as the lowest green leaf of the plant, and yet in external metamorphosis it is something completely different. In this way, one can indeed sense this organic building-thought by living and finding one's way into the metamorphic by giving oneself up to it, but understanding it in a feeling-based way, not in an abstract, intellectual way. This should not actually be explained, but everything should be given by the sight itself.

Once the building is finished, those who are familiar with the anthroposophical attitude and feeling will not perceive the building as symbolic at all, but as something that flows from this overall attitude. Of course one would say that it should flow out of the “generally human”; but this generally human is only a foggy and fanciful construct, a fantasy. The human is always the concrete. Someone who has never heard of Christianity naturally does not understand the Sistine Madonna either. And someone who has no sense of Christianity would never understand the Last Supper in Milan in the church of Santa Maria delle Grazie. It is certainly possible to use language to imagine what was given, but apart from that, there is nothing symbolic about the entire structure; all the forms are metamorphosed variations of one another.

Next picture (Fig. 11): Here you see such a lateral transverse structure, viewed from the front, that is, here from the south side. Up here in a substantially modified metamorphosis is the motif that is also above the west entrance. All these motifs are in various metamorphoses, so that the whole architectural idea is carried out organically. Likewise, if you were to study the columns, you would find a basic form, and this is always metamorphosed, just as, in the end, the skull bones of humans are a metamorphosed transformation of the bones of the spinal cord, as everything in the organism is a metamorphosed transformation right down to the last detail.

The upper part (Fig. 14) of the southern transverse structure seen on its own; this motif, which was just a little smaller there, is now a little larger.

Next picture (Fig. 23): Here you can see part of the staircase. You would enter through the main entrance below, into the concrete building, and go up these stairs. Here you can see the banister and here a pillar. On this pillar you can see how the attempt is made to shape the supporting pillar in an organic form, how the attempt is made to give the pillar the form that it must have after the opposite exit, because there is little to carry; the form that it must have where it is braced, where the entire weight of the staircase lies. Of course, something like this can only be formed geometrically. But here, for once, an attempt should be made to shape the whole thing as if it were alive, so that, as it were, the glow of consciousness of bearing and burdening lies within; with every curve, everything is precisely and intuitively measured for the place in the building where it is located.

Especially if you look at this motif here (Fig. 24): there are three half-circular channels on top of each other. Believe it or not, but it is true: when someone goes up there and enters the auditorium, they must have a certain feeling. I said to myself, the one who goes up there must have the feeling: in there, I will be sheltered with my soul, there is peace of mind to absorb the highest truths that man can aspire to next. That is why, based on my intuitive perception, I designed these three semicircular channels in the three perpendicular spatial directions. If you now go up these stairs, you can experience this feeling of calm. It is not modeled on it – it is not that at all – but only later did I remember that the three semicircular channels in the ear also stand in these three directions perpendicular to each other. If they are violated, a person will faint: they are therefore connected with the laws of equilibrium. It was not created out of a naturalistic desire for imitation, but out of the same desire, which is modeled on the way the channels are arranged in the ear.

You enter from the west side, go up the stairs, here are the three perpendicular semicircular canals, and here again these pillars. Of course, it often happens in life – I have experienced it many times – that when people in a city have seen an actor or actress in certain roles, and later another actor or actress has come along who could be good, better, more interesting or different, they judge them based on the earlier ones. If they did everything exactly like the earlier ones, they were good; if they did it differently, they were bad, no matter how good they might be in themselves. And so, of course, people judge such a thing according to what they are accustomed to, and do not know that when something like this is erected, every effort is made to make it look as if it were supported in different ways on different sides, and that this is derived from the overall organic structure of the building. Some found it thin and called it rachitic, others thought it resembled an elephant foot, but could not call it an elephant foot either, and so someone came up with the name “rachitic elephant foot” based on their own intuitive feeling. This is what happens so often today when some attempt is made to bring something new out of the elementary.

Next image (Fig. 27): If you go up the stairs, you will come to the vestibule before entering the large domed room. Here you can already see the beginning of the timber construction. At this height, there would be a concrete terrace, with the concrete structure below. You can see from this column how the capital, with all its curves, is precisely adapted to the location, not just schematically in space, but dynamically. The curves at the exit have to express a different form of support than those on the opposite side of the building, where the columns have to brace against them. That is why all these wooden forms, column capitals, architraves and so on had to be made by our friends from the Anthroposophical Society over many years of work. All this is handcrafted, including, for example, the ceiling, which does not have just any schematic form, but is individually designed on all sides in its curves and surfaces, hollowed out differently in one spatial direction than in the other spatial direction. And all this according to the law, just as the ear is hollowed out differently at the front than at the back, and so on.

Next picture (Fig. 30): Now we have entered and are standing in the room that is the auditorium. If we turn around and look backwards, we see the organ room here, which you can see in more detail in other pictures. But here you only have the model, not as it can be seen now in the building, where a lot has been added. I have tried to integrate this organ in such a way that one does not have the feeling that something has been built into the rest of the space, but rather that at this point what is presented here as the organ case and the organ itself has literally grown out of the whole. That is why the architecture and sculpture are adapted to the lines created by the rest, i.e. the organ pipes and so on.

Next image (Fig. 28): You are now, so to speak, in the auditorium, looking from the auditorium at the columns. Here is the organ motif, here are the first two columns with their capitals. We then come to the altered, metamorphosed capitals of the second, third, fourth columns and so on – I will show this in detail in a moment – above them always the architrave motif and below the base motif. Next image (Fig. 29): The pictures were taken at different times. The construction has been going on since 1913, when the foundation stone was laid, and the pictures show it in various stages. Here again, if you turn around in the auditorium and look to the west, the upper part, the organ motif; the first and second columns with capitals on the left and right, the capitals and the architraves above them are quite simply designed. In the following, I will show one column and the one that follows, and then each column with the column capital on its own, so that you can see how the following column capital always emerges metamorphosically from the preceding one. This particularly emphasizes the fact that, basically, the individual column cannot be judged on its own, but only the entire sequence of columns in their successive form can be judged.

Next image (Fig. 34): Here you see the first column by itself, simply from bottom to top in the forms, simply from top to bottom. You see a very simple motif.

Next image (Fig. 35): Here you see the first motif, the first capital with the architrave above it; here the second, emerging organically from the first. The motif, which goes from top to bottom, grows; in growing, it metamorphoses, and so does the motif from bottom to top. To a certain extent, one has to feel one's way into the forces that are at work when an upper plant leaf is created in its form, metamorphosed compared to the lower one; in the same way, this first simple plant motif develops into a more complicated one. What matters is that you take the whole sequence of motifs, because each one always belongs with the other; in fact, all seven belong together and form a whole.

Next image (Fig. 36): Here you see the second column by itself. The next motif always emerges metamorphically from the previous one. I will now show the second and third columns.

Next picture (Fig. 37): the second and third columns, again the third capital motif with the architrave motif above it is more complicated, so that you really get this complicated form in your feeling if you do not want to explain it symbolically or approach it with some intellectual things, but with feeling. Then you will see the emergence of one from the other.

Next image (Fig. 38): The third column by itself.

Next image (Fig. 39): The third and fourth columns, that is, the capitals of these with the architrave motif. Here one could believe that the search was for this architrave motif to form a kind of caduceus. But it was not sought, it is simply sensed, as these meeting forms, when they continue to grow, continue to complicate, as they become there, and then the sensation of this motif, which resembles the caduceus, arises by itself. Likewise, as if this continues to grow: from bottom to top, things simplify, from top to bottom they complicate; then this form arises, which I will now show again in isolation.

Next image (Fig. 40): The fourth column.

Next image (Fig. 41): The fourth and fifth column. As can be seen from this, if you imagine it growing downwards, this form emerges, and it becomes simpler from the bottom up, and I would say that it grows in a more complex form upwards. That is the strange thing! When you think of development, you believe, from a certain false idea of development that has gradually formed, that development proceeds in such a way that you first have a simple thing, then a more complicated one, and then an increasingly complicated one, and that the most perfect thing is the most complicated. If you now put yourself in the right place in the developmental impulses with artistic perception, you see that this is not the case at all; that you must indeed advance from the simple to the more complicated; but then you arrive at the most complicated in the middle of the development, and then it becomes simpler as it approaches the more perfect.

That was, my dear attendees, while I was working on the models for these things, an extraordinary surprise for me. I had to go from the simple to the complicated - you see, we are here at the fourth and fifth pillars, so roughly in the middle of the seven pillar forms - and I had to have the most complicated thing in the middle and then go back to the simpler. And if I go back, as nature itself creates, I also find the human eye, but the human eye, although it is the most perfect, is not the most complicated. In the eye of certain lower animal forms, for example, we have the fan, the xiphoid process. The eye of certain lower animal forms is more complicated in some respects than the perfect human eye. In nature, too, it does not happen that one goes from the simpler to the more complicated and then further to the most complicated, but by observing things further, one comes back to the simpler. The more perfect is simpler again. And that turns out to be an artistic necessity in such a creative process.

Next image (Fig. 42): The fifth column in itself.

Next image (Fig. 43): Now the fifth and sixth columns. You can see that here the capital of the fifth column is still relatively complicated; if it continues to grow, it becomes simpler again: so that this sixth column, although more perfect in its design, is nobler, is simpler again. The same applies to the architrave motif.

Next image (Fig. 44): This sixth column stands alone.

Next image (Fig. 45): Sixth and seventh column, considerably simplified again. Next image (Fig. 46): The seventh column on its own, again simplified.

Next image (Fig. 47): This is the seventh column, the architrave motif; here is the gap between the large and small domed rooms; here is the curtain. Then the first column of the small domed room, and here we enter the small domed room.

Now that we have gone through the orders of the columns in the large domed room, I will show you the figures on the pedestals, which have also grown out of each other in a metamorphosing organic way. I will show them in quick succession.

Next image (Fig. 48): Here I show the figures on the pedestals in succession. First pedestal.

Next image (Fig. 49): Each one always emerges metamorphically from the other: Second plinth.

Next image (Fig. 50): If you now imagine the changes, this is what happens: Third base.

Next image (Fig. 51): Fourth pedestal, again more complicated. And now the simplifications begin with the pedestal figures, in order to arrive at perfection.

Next image (Fig. 52): Fifth pedestal. Next image (Fig. 53): Sixth pedestal. Next image (Fig. 54): This seventh pedestal figure is relatively simple again.

Next image (Fig. 55): Now, here you can see into the small dome room from the auditorium. You can still see the last column of the auditorium, then the columns and architraves of the small dome room. That is the end of the large dome room, here the center of the small dome room. Here, a kind of architrave is formed between the two central columns of the small dome, but [above it] is not some kind of symbolic figure. If you want to see a pentagram in it, you can see it in every five-petalled flower. We have [below] synthetically summarized all the lines and curves that are distributed on the individual columns. Above, the small dome is then painted. I will have more to say about this coloring.

The next picture (Fig. 56): individual columns of the small domed room. Here the gap [for the curtain]. It is seen here on the left when entering from west to east. Here is the architrave of the small domed room. Here, as you can see, the capitals of the large domed room are not repeated, they correspond to the overall architectural concept. Since the small dome room is smaller and every organ that is smaller in the organic context also has different forms, this is also clearly evident here in the formation of the whole.

The next picture (Fig. 64): Here again is the view into the small domed room, the last two columns of the large domed room; the same motif that you have just seen in a different aspect, and here the small dome. Of course, nothing of the paintings can be seen here, only the situation could be hinted at. The bases of the small columns have been converted into seats.

The next picture (Fig. 67): Here the orders of columns continue to the left and right; this is in the middle in the east, directly under the small domed room, where all the lines and curves found elsewhere are synthetically summarized in the most diverse forms. This is a kind of architrave, a central architrave; below it is the group I will talk about, a nine-and-a-half-meter-high wooden group, the central figure of which represents a kind of human being. Above it is the small domed room.

The next picture (Fig. 69): We now come to the painting of the small domed room. Now, by speaking to you about the painting of the small domed room, I can only show you the pictures of this small domed room. In the painting of the large domed room, I have not yet fully succeeded in doing this, but in the painting of the small domed room, I have tried to realize to a certain extent what I had a character in my mystery dramas express about the new painting: that the forms of color should be the work, that is, that one should really pull oneself together to fully perceive the world of color as such.

Dear attendees! If you look at the world of colors, it is indeed a kind of totality, a world of its own. And if you feel very vividly into the colorful, then I would say red and blue and yellow speak to each other. You get a completely lively feeling within the world of colors and you get to know, so to speak, a world of colors as an essential one at the same time. Then drawing stops, because in the end you perceive drawing as something insincere. What then is the horizon line? If I draw it with a pencil, I am actually drawing an untruth. Below is the green surface of the sea, above is the blue surface of the vault of heaven, and when I put these down as color, the form arises, the line arises as the boundary of the color.

And so you can create everything out of the colored that you essentially want to bring onto the wall as painting – be it the wall of the spheres as here or the other wall. Do not be deceived because there are motifs, because there are all kinds of figures on it, even figures of cultural history. When I painted this small dome, it was not important to me to draw these or those motifs, to put them on the wall; what was important to me was that, for example, there is an orange spot here in different shades of orange: the figure of the child emerged from these color nuances. And here it was important to me that the blue was adjacent: the figure emerged, which you will see in a moment. It is definitely the figure, the essence, drawn entirely from the color. So here we have a flying child in orange tones, here would be the gap between the large and small domed rooms, and the child is, so to speak, the first thing painted on the surface of the small dome. But by seeing these motifs, you will best understand the matter if you say to yourself: I can't actually see anything in it, I have to see it in color. Because it is felt and thought and painted entirely out of color.

The next picture (Fig. 70): Here you see the only word that appears in the whole structure. There is no other inscription to be found anywhere; everything is meant to be developed into art, into form. But here you will find the “I”. Out of the blue, a kind of fist figure has emerged, that is, the 16th-century human being. The whole cognitive problem of modern man has really emerged from the perception of color before the soul. This cognitive problem of modern man can only be perceived in the abstract, if one perceives as it is often portrayed today; it is different from what we can grasp of natural laws today.

It [the problem of knowledge] intrudes into our soul when we do not merely view things scholastically as abstractions, but when we strive with our whole being to immerse ourselves in the riddles and secrets of the world, as we must in order to be fully human, in order to become aware of our human dignity. Then it places itself beside the striving human being, the one striving for knowledge, who in Faust really, I would say, strives out of the mysterious, mystical blue, strives for the fully conscious I that speaks. The older languages have the I in the verb; for this epoch one is justified in letting a word appear; otherwise there is no word, no inscription or the like in the whole structure, everything is expressed in artistic forms. But the child and birth, and the other end of life, death, are placed alongside the person striving for knowledge. Above it would be the Faust figure you have just seen, below it Death, and further over towards us this flying child. This skeleton here (Fig. 71) in brownish black, in the Faust book in blue, the child (Fig. 72) in various shades of orange and yellow.

The next picture (Fig. 73): Here you see a compilation: below the skeleton, here Faust, here this child, whom you saw individually, above it a kind of inspirer, an angel-like figure, which I will show as an individual, then other figures join here. As I said, the necessity arose for me to depict the striving of the people of the last centuries from the color surfaces that I wanted to place in just that position. Here then is the striving of the Greeks. You will see it in detail.

The next picture (Fig. 74): the genius in blue-yellow, who is above the fist-shape, as if inspiring the fist-shape from above. We would then come across the striving child. The next picture (Fig. 75): then a kind of Athena figure, taken out of a brownish-orange with light yellow. It is the way in which Greek thinking has become part of the whole world of knowledge and feeling. This figure that we have here is inspired by a kind of Apollo figure, just as Faust was previously inspired by his angel (Fig. 76); this brings us back to Greek thinking.

The next picture (Fig. 76): The inspiring Apollon. Particular care has been taken here with the bright yellow, through which this Apollo figure has been created out of color. I tried to give this bright yellow a certain radiance through the type of technical treatment.

The next picture (Fig. 77): Here you see two figures, which now inspire the Egyptian initiate, who recognizes the tables and feels the world. The man on the right is depicted in a somewhat darker color, I would say a reddish brown, and the Egyptian initiate, who is below him, is also depicted in this way.

The next picture (Fig. 78): The Egyptian knower, that is, the counter-image for those ancient times, which in our case is Faust, who strives for knowledge.

The next picture (Fig. 79): Here you see two figures that I am obliged to always assign certain names to in spiritual science because they keep recurring. One should not think of nebulous mysticism here, but only of the necessity of having a terminology; just as one speaks of north and south magnetism, so I speak of the Luciferic and the Ahrimanic. When we stand face to face with a human being, we cannot grasp his whole being at once, nor with all the powers of knowledge. He has within him two opposing polarities: that which in him constantly strives towards the rapturously false mysticism, false theosophy, that which always seeks to rise above itself towards the unreal , the unfounded, the nebulous - the Luciferic - and that which makes him a Philistine, that which predisposes him to the spirit of heaviness - the Ahrimanic, which is painted here with its shadow. The Luciferic is painted in the yellow-reddish color, the Ahrimanic in the yellow-brownish. It is the dualism of human nature. We can have it physically, physiologically: Then the Ahrimanic in man is everything that ages him, that brings him to sclerosis, to calcification, that makes him ossify; the Luciferic is everything that, when it develops pathologically, brings one to fever, to pleurisy, that thus develops one towards warmth. Man is always the balance between these two. We do not understand the human being if we do not see in him the balance between these two, the Luciferic and the Ahrimanic.

In particular, however, the Germanic-Central European culture that came over Persia is confronted with this duality in its knowledge. Hence the recognizing Central European, who has the child here (Fig. 82) – we will see him in more detail – is inspired by this duality of the Luciferic-Ahrimanic, with which he must come to terms through his inner tragic destiny of knowledge. Here this kind of dualism is seen again in the smaller figure, shaped like a centaur. I painted this during the war, and one sometimes has one's private ideas; the ill-fated fabric of Woodrow Wilson's fourteen points grew out of the abstract transformation of dualism. Here in Switzerland, too, I have repeatedly spoken of the world-destroying nature of these fourteen points: Therefore, I took the private pleasure of immortalizing Mr. and Mrs. Wilson in these figures. But, as I said, this is of little importance.

The next picture (Fig. 81): Here you see the Ahrimanic figure brought out and the shadow above it. In spiritual terms, this is everything that drives man to materialism, to philistinism, to pedantry, what he becomes when – be it expressed in the extreme – he has only intellect and no heart, when all his powers, his soul powers, are directed by the intellect. And if man did not have the good fortune that his outer body is more in balance, his outer body would actually be determined by the soul, he would be an exact expression of the soul: All those people who feel materialistically, feel pedantically, who are almost completely absorbed in the intellect, would look like that on the outside. Of course, they are protected from this by the fact that their body does not always follow the soul, but the soul then looks like this when you see it, when you feel it physically.

Next image (Fig. 80): The Luciferic, worked out of the yellow, worked out of the yellow into the bright. This is what a person develops when he shapes himself one-sidedly according to the visionary, one-sidedly according to the theosophical, when he grows beyond his head; one often finds it developed in some members of other movements who always grow half a meter with their astral head above their physical head so that they can look down on all people. This is the other extreme, the other pole of man.

Here at the bottom, so to speak, is the Germanic initiate (Fig. 82), the Germanic knower in his tragedy, which lies in the fact that duality has a particularly strong effect on him: the Luciferic and the Ahrimanic; as an addition, again, the naivety of the child. This is what emerged for the artistic sensibility. It was worked out of the brown-yellow; the child is kept in the light yellow.

Next picture (Fig. 83): Here we are already approaching the center of the domed room. This man would stand here with the child, and further towards the center are these two figures, which are one. Of course, this does not refer to the current Russian culture or lack of culture, which is corrupting people and the world, but rather the Russian culture actually contains the seed for something future. At present it is overshadowed by what has been imported from the West, by what should indeed disappear from the earth as soon as possible if it does not want to drag the whole of Europe with it into the abyss. But at the bottom of Russian nationality lies something that is guaranteed a future. It should be expressed through this figure, which has its double only here. That which lives in Russian nationality always has something of a double about it. Every Russian carries his shadow around with him. When you see a Russian, you are actually seeing two people: the Russian, who dreams and who is always flying a meter above the ground, and his shadow. All of this holds future possibilities. Hence this characteristic angel figure, painted out of the blue, out of the various shades of blue. Above it, a kind of centaur, a kind of aerial centaur. Here this figure, everything in the indefinite, even the starry sky above this Russian man, who carries his doppelganger with him.

Next image (Fig. 85): We have now passed the center here. This is the same centaur figure – when facing east, located on the left – as the earlier one on the right of the center. This angel figure is the symmetrical one to the one you have just seen. This one, however, is painted in a yellowish orange, and below it would now be the Russian with his doppelganger, but symmetrical to what was shown before.

Next image (Fig. 86): Now we are standing in the middle of the small domed room. Once again, on the other side, the Russian motif. Here, you can see the figure of Ahriman lying in a cave; and here, at the top, the representative of humanity. One can imagine him as the Christ. I have formed him out of my own vision as a Christ-figure. Lightning flashes come out of his right hand and surround Ahriman like the coils of a snake. His arm and hand go up to Lucifer, who is painted emerging from the reddish-yellow.

Next image (Fig. 87): Here you can see the figure of Lucifer a little more clearly. Below would be the figure of Christ, reaching up with his arm; this is the face, painted in yellow-red. So it is the Luciferic in man that strives beyond his head, the enthusiastic, that which alienates us from our actual humanity by making us alien to the world, bottomless.

Next image (Fig. 88): Ahriman in the cave. His head is surrounded by lightning serpents that emanate from the hand of Christ, who is standing above them. Here the wing, the brownish yellow, is painted more in the brownish direction, in places descending into the blackish blue.

Next picture (Fig. 89): Here I am now showing you my first sketch for the plastic figure of Christ. You see, I tried to make Christ beardless, but Christ pictures have only had a beard since the end of the fifth or sixth century. Of course, no one has to believe me. It is the Christ as he presented himself to me in spiritual vision, and there he must be depicted beardless.

Next image (Fig. 90): The painted head of Christ between Ahriman and Lucifer, the images that I have just shown. Painted in the dome room above is Christ between Ahriman and Lucifer, and below it will later be – it is still far from finished – the nine-and-a-half-meter-high wooden group (Fig. 93), in the middle of which is the representative of humanity, the Christ, with his right arm lowered and his left arm raised, in such a way that this position, like embodied love, is placed between Ahrimanic and Luciferic forces.

Next picture (Fig. 92): This is the first model, made in plasticine, for the Christ, en face, that is, for the representative of humanity, who is to stand in the middle of the wooden group (Fig. 93). But I would like to explicitly note that it will not be somehow obvious that this is the Christ; rather, one will have to feel it from the forms, from the artistic aspect. Nothing, absolutely no inscription, except for the “I” that I mentioned earlier, can be found in the entire structure.

Next image (Fig. 98): This is from the left side of this group of woodcuts [taken from the execution model]: Here is Lucifer striving upwards, and above him a rock creature emerging from the rock, so to speak, the rock transformed into an organ. Here is Lucifer; here Christ would stand; here is the other Lucifer, and that is such a rock creature. It is a risk to make it completely asymmetrical, as asymmetries in general play a certain role in these figures, because here the composition is not conceived in such a way that one takes figures, puts them together and makes a whole – no, the whole is conceived first and the individual is extracted. Therefore, a face at the top left must have a different asymmetry than one at the top right. It is a daring thing to work with such asymmetries, but I hope that it will be felt to be artistically justified if one ever fully comprehends the overall architectural idea.

Next image (Fig. 99): Here you can see the model of the Ahriman head. It is the original wax model that I made in 1915. It is an attempt to shape the human face as if the only things present in the human being were the aging, sclerotizing, calcifying forces, or, in the soul, that which makes the human being a philistine, pedant, materialist, which lies in him by being an intellectualizing being. If he had no heart at all for his soul life, but only reason, then he would present this physiognomy. We do not get to know the nature of a human being by merely describing it in the way that ordinary physiology and anatomy do. This one-sided approach provides only a limited insight into the human being. We must move on to an artistic appreciation of form, and only then do we get to know what lives and breathes in a person, what is truly there. You can never get to know the human being, as is attempted in the academies, anatomically or physiologically; you have to ascend to the artistic – that is part of artistic recognition – and must recognize, as Goethe says: “When nature begins to reveal her secrets to him who is open to them, he feels the deepest yearning for her most worthy interpreter, art.” Not only the abstract word, not only the abstract idea and the abstract thought, but also the image gives something of what the forces of nature are, what is really contained in the secrets of nature. One must ascend to the artistic, otherwise one cannot recognize nature. The building may rightly call itself the “Goetheanum” for the reason that precisely such a Goethean understanding of nature also strives for an understanding of the world. Goethe says: Art is a special way of revealing the secrets of nature, which could never be revealed without art.

Next image (Fig. 101): The figure of Lucifer above, here the chest, wing-like. It is the case that one really has to immerse oneself in all of nature's creativity if one wants to give plastic form to something like this figure of Lucifer. Nothing can be symbolized, nothing can be allegorized, nothing can be thought and the thought put into earlier forms, but one must really delve into how nature creates, one must know the nature of the human rib cage, the lungs, one must know the organ of hearing, then the atrophied flight tools that the human being has in his two shoulder blades. All of this must be brought into context, because a person would look quite different if they were not intellectually developed, if the heart did not hypertrophy and overgrow everything: The heart, the hearing organs, wing-like organs, everything would be one. Those who do not merely accept the naturalistic, but also what is ideal, spiritual in the beings, will see in such art only that which reveals the secrets of the world and of existence in the Goethean sense. Up there you can see the hands of this asymmetrical rock creature.

Next image (Fig. 103): Here you can see a building in the vicinity of the Goetheanum. It was originally built to carry out a kind of glass etching. Now it serves as a kind of office space, and eurythmy rehearsals and eurythmy lessons are also given there. In the wooden wall of the large domed room, there are glass windows between every two columns, and these glass windows are not made in the old glass window art, but in a special art, which I would call glass etching. Panes of glass of the same color are engraved with a diamond-tipped stylus that is clamped into an electric machine, and the artist actually works here as an etcher on glass, as he otherwise works as an etcher on a plate, only on a larger scale. So that you scratch out in the monochrome glass plate, thus working the motif in question into the light. This is how we got these glass windows, which have different glass colors, so that there is a harmonious effect. When you enter the building, you first come to one glass color, then to the other, to certain color harmonies. These glass windows had to be ground here; accordingly, this house was built, which, except for the gate and the staircase, is individually designed in every detail. Here we do not have the earlier castles that are otherwise present, but a special form of castle has been used (Fig. 105). So it is individually designed down to the last detail. Next picture (Fig. 104): The gate to this house just shown; below the concrete staircase.

Next image (Fig. 110): Here you see one of these glass windows, which is executed in green. The motifs here are created out of green panes of the same color. The etching is actually only, I would say, a kind of score. This is then a work of art when it is in its place and the sun shines through. So the artist does not finish the work of art, but only a kind of score: when the sun shines through, this etching achieves what, together with the sunbeam shining through, actually creates the work of art. This again marks something that emerges from the whole building idea of Dornach and is physically expressed here.

The Dornach building is built on a fundamentally different architectural idea from other buildings. The walls of the previous buildings are closing walls, artistically also conceived as closing walls. No wall in Dornach is conceived in this way; the walls in Dornach are designed in such a way that they are artistically transparent, so that one does not feel closed in when one is inside the building. All the walls, so to speak, open up through the artistic motifs to the whole great world, and one enters this building with the awareness that one is not in a building but in the world: the walls are transparent. And this is carried out in these glass windows right down to the physical: they are only a work of art when the sun shines through them. Only together with the sunbeam does what the artist has created become artistic.

Next picture (Fig. 113): Another window sample, taken from the same-colored glass pane. The fact that these windows are there means that the room is again illuminated with the harmoniously interwoven rays, and one can, especially when one enters the room in the morning hours, when it is full of sunshine, really feel something through the light effects in the interior, which cannot be called nebulous, but in the best sense inwardness, an impression, an image of the inwardness of the existence of the world and of human beings. For just as, for example, in Greek temple architecture there stands a house that can only be conceived as the house that no human being actually enters, at most the forecourt as a hall of sacrifice, but which is the dwelling place of the god, just as the Gothic building, regardless of whether it is a secular or a church building, is conceived as that which is not complete in itself, but which is complete when it has become a hall for assembly and the community is within it, the whole building idea of Dornach, as I have developed it here in its details, should work so that when a person enters this space, they are just as tempted to be in the space with other people who will look at what is presented and listen to what is sung, played or recited.

Man will be tempted, on the one hand, to feel sympathy with those who are gathered, but the question or the challenge that is as old as Western culture will also arise: know thyself! And he will sense something like an answer to this in the building around him: know thyself. The attempt has been made to express in the building forms, in an artistic and non-symbolic way, that which the human being can inwardly experience.

We have already experienced it: when, for example, an attempt was made to recite - to eurythmy or to recite to oneself - the space that I showed you as the organ room, when an attempt was made to recite into it, or when an attempt was made to speak of the intermediate space between the two dome spaces, the whole room took these things in as a matter of course. Every form is adapted to the word, which wants to unfold recitatively or in discussion and explanation. And music in particular spreads out in these plastic-musical formal elements, which the building idea of Dornach is meant to represent.

In conclusion, I would just like to say, my dear attendees: With these details, which I have tried to make clear to some extent through the pictures, I wanted to present to your souls what the building idea of Dornach should be: a thought that dissolves the mechanical, the geometric, into the organic, into that which itself presents the appearance of consciousness, so that this consciously appearing element willingly accepts that which arises from the depths of human consciousness.

However, this means that something has been created that differs from previous building practices and customs, but in the same way that spiritual science oriented towards anthroposophy also wants to place itself in the civilization of the present day: as something that feels related to the emerging forces of the rising sun, and at the same time wants to strongly oppose the terribly devastating forces of decline of our time. Thus, that which wants to live in the teaching of anthroposophy, the whole world view of anthroposophy, also wants to express itself through the building forms. What is to be heard in Dornach through the spoken word should also be seen in the forms. Therefore, no arbitrary architectural style was to be used, no arbitrary building constructed: it had to grow out of the same spiritual and intellectual background from which the words spoken in Dornach arise. The whole idea behind the building, the whole of the Dornach building, is not to be a temple building, but a building in which people come together to receive supersensible knowledge.

People say that just because one is too poor to find words for the new, one often says: that is a temple building. But the whole character contradicts the old temple character. It is entirely that which is adapted in every detail to what, as spiritual science in the anthroposophical sense, wants to step out into the world. And basically, every explanation is a kind of introduction to the language, to the world view, from which the artistic concept has emerged. I believe that artistically, the building expresses its own essence and content, even if it is still often perceived today as something that is not justified in terms of what is considered acceptable in terms of architectural style, forms and artistic language. Only someone who has already absorbed the impulse, the entire civilizing character of spiritual science, will understand that a new architectural idea had to emerge from this new world view. And as badly as contemporaries sometimes take it, something like this had to be presented, just as anthroposophical spiritual science had to be talked about.

And so, in the manner of a confession, today's discussion, which sought to point to the building of Dornach and to these thoughts, may simply conclude with the words: something was ventured that had not been done before as a building idea, but it had to be ventured. If something like this had not been ventured, had not been ventured at various points in time, there would be no progress in the development of humanity. For the sake of human progress, something must be ventured first. Even if the first attempt is perhaps beset with numerous errors – that is the very first thing that the person speaking here will admit – it must nevertheless be said: something like this must always be ventured again in the service of humanity. Therefore, my dear attendees, it has been ventured out there in Dornach, near Basel.

A great deal of course could still be added to all that I have touched upon in these lectures, but we shall endeavour today to conclude them with a summary of the whole subject.

The approach we have taken throughout these lectures raises an important issue: What is the attitude to Anthroposophy, to spiritual investigation as presented by Anthroposophy? What is the position in regard to the understanding of anthroposophical teachings seeing that few today can have immediate access to spiritual exercises and practices which enable them to perceive and test thoroughly for themselves the anthroposophical descriptions of other worlds? This is a question that lies close to the hearts of those who feel an urge and even a longing to take up Anthroposophy. But this question is always seen in a false light, and is the more likely to be misinterpreted precisely because they are unable to grasp the right procedures such as I have advocated in these lectures.

People may ask: what is the use of all these descriptions of the spiritual world if I cannot look into that world myself? I should like, therefore, to touch upon this question in my cursory analysis today.

It is not true to say that one cannot acquire an insight into anthroposophical teachings and an understanding of them unless one can investigate the spiritual world oneself. I t is essential to distinguish, especially at the present time, between the actual discovery of facts relating to the different worlds and the comprehension of those facts. This distinction will be clear to you when you recall that man, as we know him today, belongs in fact to different worlds and that his experiences are derived from different worlds. Man as he is constituted today acquires his stock of knowledge and his consciousness of everyday existence in the course of his day to day experiences. During his waking life this consciousness which was the starting-point of our enquiry gives him a certain perspective over a limited field, over that aspect of the world that is accessible to sense-observation, and which can be grasped and interpreted by means of the intellect which he has developed in the course of evolution.

With his understanding man penetrates in his dreams into this world concealed behind the phenomenal world, in a vague, indefinite way as I have already pointed out. In his psychic life man contacts the world through which he passes between death and rebirth only in dreamless sleep, where he is surrounded by spiritual darkness and where he lives out a life which normally he cannot recall.

Man knows three states of consciousness—waking, dreaming and deep sleep. But he does not live only in the worlds to which this threefold consciousness gives access, for he is a being whose kingdom has many mansions. His physical body lives in a different world from his etheric body, his etheric body again in a different world from his astral body and both live in different worlds from the Ego.

And this threefold consciousness—clear waking consciousness, dream consciousness and sleep consciousness (one would like to say absence of consciousness but one can only describe it as diminished consciousness)—belong to the Ego as it is today. And this Ego when it looks inwards has also three states of consciousness. When it looks outwards, it knows waking (day) consciousness, dream consciousness and sleep consciousness. When it looks inwards, it knows clear intellectual consciousness; a sentient consciousness, a sentient life, though this is far more opaque and dreamlike than one usually imagines; it knows als1˃ a sentient life and finally the dim, twilight will-consciousness that resembles the state of deep sleep. Normal consciousness can no more explain the origin of willing than it can explain the origin of sleep. When a man performs an act of will it is accompanied by a thought which is clear and lucid. He then shrouds this thought in feeling which is more indefinite. The thought that is imbued with feeling passes down into the limbs; the process cannot be experienced by normal consciousness. To the kind of investigation of which I spoke yesterday and the day before, willing presents the following picture: whilst a thought wills something in the head and is then transmitted to the whole body through feeling, so that a man wills in the whole of his body, something akin to a delicate, subtle and intimate process of combustion sets in meanwhile.

When man develops Initiate-consciousness he is able to experience this life of will which is subject to the influence of warmth, but it remains wholly subliminal to ordinary consciousness. This is merely one instance which shows how what lies in the subliminal consciousness can be raised to the level of Initiate-consciousness.

When the information in the book I mentioned yesterday is made progressively more accessible to the public, people will realize that when we contemplate with Initiate-consciousness an act of will performed by man, we have the impression that we are watching the lighting of a candle or even the kindling of a warmth-giving light. Just as we have in this instance a clear picture of the external phenomenon, so we shall be able to see the thought as it is precipitated into the will. We then say: the thought develops feeling and from feeling—it follows a downward direction in man—proceeds a sensation of warmth, a flame in man. And this flame wills; it is kindled by degrees. We can represent schematical1y this normal consciousness in the following way:

Now although, in order to investigate the spiritual world, we must of necessity direct our consciousness to that world which we seek to apprehend cognitively, none the less, if the fruits of our investigations are to be communicated honestly, the ideas communicated verbally must be expressed in the language of other forms of consciousness.

You can now understand, perhaps, that this is a twofold process. In the first place, for example, we investigate the world of the human organs as I explained yesterday. We investigate the phenomena in question by utilizing the emergent forces in man as he draws near to the spiritual world during the course of his life. We then discover the relevant facts as they are revealed to the understanding. And there are men in the world who are aware of these facts and who communicate them to the world. When they are imparted to the world by such men they can be comprehended by normal consciousness if we look at them with the necessary objectivity. In the course of human evolution there has always been a minority who devoted themselves to investigation of the facts relating to the spiritual world and who then communicated to others the fruits of their investigations.

Now one factor today militates against the acceptance of such knowledge, namely, that as a rule people grow up in a social environment and under an educational system that conditions their habitual responses to such an extent that they can believe only in the world of fact, in the sensory world, and the rational information derived from the world of the senses. This habit is so strongly ingrained that people are inclined to say: At the university there are graduate members of the teaching faculty who, in addition to teaching, investigate certain factual aspects of the phenomenal world or confirm the findings of other research workers in this field. Everyone accepts their findings. Even though one does not investigate the facts oneself, one still believes in them. This boundless credulity is reserved especially for modern science. People believe things which, to those who have insight, are not only problematical, but definitely untrue. This situation stems from centuries of education. I would like to point out that this form of education was unknown to men of earlier centuries. They were far more inclined to believe those who made researches into spiritual facts since they still preserved something of the old insight into, and participation in the spiritual world that was consistent with their will and feeling. Today people are strangers to such knowledge. They are accustomed to an outlook which on the Continent is more theoretical and in England and America more practical, and which has now become firmly established.

On the Continent there exist detailed theories about these matters whilst in England and America there is an instinctive feeling for them which is by no means easy to overcome. During the course of centuries mankind has become inured to a scientific outlook that is related to the phenomenal world and has come to accept the findings of astronomy, botany, zoology and medicine, for example, in the form in which they are presented in recognized schools or centres of learning. A chemist, for example, undertakes a piece of research in his laboratory. People have not the slightest understanding of the technique involved. The work is acclaimed and they unhesitatingly declare: “Here is truth, here is knowledge that makes no appeal to faith.” But what they call knowledge is, in effect, an act of faith.

And amongst the methods adopted for investigating the phenomenal world, for ascertaining the laws of the phenomenal world through the instrument of reason, not a single one gives the slightest information about the spiritual world. But there are few who can afford to dispense wholly with the spiritual world. Those who do so, are not honest with themselves, they persuade themselves into it. Mankind feels an imperious need to know something about the spiritual world. As yet men ignore those who can tell them something about the spiritual world as it is known today, but they are prepared to listen to historical traditions, to the teachings of the Bible and sacred scriptures of the East. They are interested in these traditional writings, because otherwise they cannot satisfy their need for some sort of relationship to a spiritual world. And in spite of the fact that both the Bible and the Eastern scriptures have been investigated only by individual Initiates, people claim that they reflect a different kind of outlook, which bears no relationship to the knowledge of the phenomenal world, scientific knowledge, and depends upon faith and appeals to faith. And so a rigid line of demarcation is set up between science and belief. Men refer science to the phenomenal world and belief to the spiritual world.

Amongst the theologians of the Evangelical Church on the Continent—not amongst the theologians of the Roman Catholic Church who have retained the old traditions, and who do not accept the dichotomy of the Evangelicals or the natural scientists—there exist innumerable theories showing that there are definite boundaries to knowledge and thereafter faith steps in. They are convinced there can be no other possibility.

England is less hag-ridden because theorizing is unpopular. Here the traditional attitude is, on the one hand, to listen to what science has to say, and, on the other hand, to live reverently—I will not go so far as to say sanctimoniously—in faith and to keep the two spheres rigidly apart.

For some time past, laymen and scholars have adopted this point of view. Newton laid the foundations of a theory of gravitation, i.e. of a conception of space which, by its very nature, excludes any possibility of a spiritual outlook. If the world were as Newton depicted it, it would be devoid of spirit. But no-one has the courage to admit it. One cannot imagine a divine-spiritual Presence that lives and moves and has its being in the Newtonian world.

But not only the devotees of these ideas ultimately accept a conception of space and time that excludes the spiritual, but also those who undertake independent research work. Newton offers an excellent example of the latter, for he not only laid the foundation of a world-outlook which excluded the spiritual, but at the same time in his interpretation of the Apocalypse he fully accepted the spiritual.

The links between knowledge of the phenomenal world and knowledge of the spiritual world have been severed. Today the theorists set out to give solid proof of this dichotomy and every effort is made to inoculate the thoughts and feelings of those who distrust theory with this idea, so that ultimately they become conditioned.

On the other hand, man's intelligence, power of comprehension and ideation, his capacity for ideas, have today reached a point where, if he keeps them under conscious control, he can grasp by reason, though he cannot investigate by reason, the teachings of Initiation Science.

It is essential that the following point of view should find wider acceptance: that investigations into the spiritual world must be undertaken by those who, in their present life on Earth are able to call upon forces from earlier incarnations, for it is these forces which release the necessary powers for spiritual investigation; and further, that the results of these investigations shall be accepted by increasing numbers of men and incorporated into ideas which are comprehensible; and that, when the results of spiritual research are accepted by healthy understanding, a way is prepared for these other men, by virtue of this understanding, to have real experience of the spiritual world. For I have often said that the healthiest way to enter the spiritual world is first of all to read about it or to assimilate what we are told about it.

If we accept these ideas, they become inwardly quickened and we attain not only to understanding, but also to clairvoyant vision in accordance with our karmic development. In this respect we must give serious thought to the idea of karma. Today man is not concerned with karma; he believes that just as we analyse sulphur in the laboratory, so we can analyse by laboratory techniques the origin of so-called trans-normal phenomena; and that, as with sulphur, we must subject the individual who manifests abnormal forms of knowledge to experimental tests.

But mineral sulphur has no karma. Only the sulphur associated with the human body has karma, for only human beings are subject to karma. We cannot assume that it is part of man's karma to be experimented upon in a laboratory which would be a necessary prerequisite if the investigations were to have any value.

For this reason we have need of Spiritual Science. It would first of all be necessary to enquire into the karmic conditions which enable us to gain knowledge of the spiritual world through the agency of another. I have explained this clearly at the end of the later editions of my book Theosophy. But mankind today is not yet ready to accept this idea, not from incapacity, but from conservatism; but it is of immense significance.

It is essential to realize that we must not immediately undertake investigations into the spiritual world; but on the other hand if we do not adopt undesirable practices, such as experimenting with karma when there is no karmic necessity, or with mediums whose procedure we do not understand; and if we rely upon the everyday consciousness, which is the right condition of consciousness for this world, then we will attain to a perfect understanding of the communications of Initiation Science. We are greatly mistaken if we imagine that we cannot have such an understanding without first being able to experience the spiritual world for ourselves. To say, “what avails the spiritual world, if I cannot experience it for myself?” is to encourage yet another of the errors commonly committed today. This is to commit one of the greatest, most dangerous and most obvious of errors and must be clearly recognized by those who are associated with a Movement such as the Anthroposophical Society.

Man's existence here on the physical plane is bound up with existence in other worlds. To the unprejudiced mind this can be explained by the fact that man's experiences, as seen in the light of total human experience, are such that, in relation to the most vital questions in life they meet with incomprehension on the part of the ordinary daily consciousness because they appear unrelated, whereas in certain instances they are in effect closely associated.

In this brief account, therefore, I should like first to speak of man's entrance into the physical world and his exit, of birth and death.

Birth and death, the two most momentous events of our life on Earth, appear to ordinary consciousness to be isolated phenomena. We associate all that precedes birth, all that is related to human incarnation, with the beginning of our life on Earth, and death with its end. They appear to be dissociated. But the spiritual investigator sees them drawing ever more closely together. For if we take the path leading to the Moon mysteries and woo the night into the day in the manner described yesterday, then we perceive how, during the processes of birth, the physical body and etheric body progressively grow and flourish: how they develop out of the germ, gradually assume human form, and how during earthly life their vitality progressively increases up to the age of thirty-five, when it gradually decreases and a decline sets in. This process, of course, can be observed externally. But he who follows the lunar path, which I described yesterday, perceives that whilst the cellular life of the physical and etheric bodies grows, develops and assumes embryonic form, another form of life, which in Anthroposophy we call the astral body and Ego, is subject to the forces of decay and death.

When we uncover the hidden recesses of life—I gave a concrete description of this yesterday—we become aware of the birth of the physical and etheric and the death of the astral and Ego. We perceive death interwoven with life, the winter of life allied to its springtime.

And again, when we observe man with Initiate-consciousness, we are aware that, as his body declines, there is a burgeoning of the Ego and the astral from the thirty-fifth year onwards. This burgeoning life is retarded by the presence of dying forces in the physical and etheric being. Nevertheless a definite renewal does take place. And so by means of spiritual investigation we come to recognize the presence of death in life and life in death. Thus we prepare ourselves to trace back that which is seen to be dying at the time of birth to its pre-earthly life where it is revealed in its full significance and greatness.

And because we perceive the gradual burgeoning of the astral and Ego within the declining etheric and physical (for they are imprisoned within the etheric and physical), we prepare ourselves to follow them into the spiritual world after their release from the physical and etheric bodies at the moment of death. Thus we see that birth and death are interrelated, whilst to ordinary consciousness they appear to be isolated events.

All this information which is revealed by spiritual investigation can be grasped by ordinary consciousness as I indicated in the first part of today's lecture. At the same time one must be prepared to abandon the demands of ordinary consciousness for factual or scientific proof.

I once knew a man who maintained that, just as a stone falls to the ground, so if I pick up a chair and let go, it also falls to the ground since everything is subject to gravitation. Wherefore if the Earth is not supported, as it is claimed, it must of necessity fall. But he failed to realize that objects must fall to the ground because they are subject to the gravitational pull of the Earth, that the Earth itself however moves freely in space like the stars which mutually support and attract one another.

Those who, like the modern scientist, demand that proof must be supported by the evidence of the senses resemble this man who believed that the Earth must fall unless it is firmly underpinned. Anthroposophical truths are like the stars which mutually support each other. People must be prepared to see the whole picture. And if they can do this by means of their normal understanding they will begin really to grasp anthroposophical ideas such as the interrelationship of birth and death.

Let us go a little further and take the case of the man who is well grounded in the principles of modern science, but whilst alert and receptive to anthroposophical ideas has not yet learned to take the whole man into consideration, but only the separate organs in the manner described yesterday.

Through this knowledge of the organs acquired in the course of Initiation we are not only aware of birth and death, but of something quite different. In the light of this knowledge of the organs, birth and death have lost their usual significance, for it is only the whole human being who dies, not his separate organs. The lungs, for example, cannot die. Science today dimly realizes that when the whole human being has died, his single organs can be animated to a certain extent. Irrespective of whether a man is buried or cremated, his separate organs do not die. The individual organs take their path into that sphere of the Cosmos to which each is related. Even if man is buried beneath the earth, every organ finds its way into the Cosmos through water, air or warmth, as the case may be. In reality they are dissolved, but they do not perish; only the whole human being perishes.

Death, then, can only have meaning in relation to the whole human being. In the animal the organs die, whereas in man they are dissolved into the Cosmos. They dissolve rapidly. Burial is the slower process, cremation the faster. We can follow the individual organs as they take their path towards the infinite, each towards its own sphere. They are not lost in infinity, but return in the form of the mighty cosmic being whom I described to you yesterday. Thus, as we observe the organs with Initiate-consciousness, we see what really befalls the organs at death, namely, this streaming out of the organs into those regions of the Cosmos to which they are severally related. The heart takes a different path from the lungs; the liver from lungs and heart. They are dispersed throughout the Cosmos. Then the Cosmic Man appears; we see him as he really is, integrated in the Cosmos. And in the vision of this Cosmic Man we become aware of what is the source of successive incarnations, for example. We need this vision which has its origin, not in the whole man, but in the perception of the several organs, in order to be able to recognize once more, clearly and distinctly, the karmic return of former Earth lives in the present life.

It is for this reason that those who approached the spiritual world through the Moon path, mystics, theosophists, and so on, perceived the strangest phenomena—human souls as they had lived on Earth, gods and spirits—but could neither recognize nor decide what they were, nor give any definite assurance whether they were in the presence of Alanus ab Insulis, Dante or Brunetto Latini. Sometimes the entities were given the most grotesque appellations. And they were unable to determine whether the incarnations they contacted were their own or other people's, or what they were.

Thus the spiritual world is associated with the realm of Moon consciousness that has been wooed into the day; then, under the influx of the Venus impulses, this vision is lost and we now behold the spiritual world in its totality, but without that clear definition which it should possess. It is in this realm that we first begin to realize man's situation in the world as a whole and his position as a cosmic being.

In this connection, however, we cannot escape a tragic realization. For if man were simply the complete physical man he appears to be here on Earth, what a virtuous, docile and noble being he would be! Just as little as we can investigate death with normal consciousness—we can always understand death in the sense already suggested—just as little can we discover by means of the ordinary consciousness why human beings, with their candid faces—and there is no denying they have candid faces—have a capacity for evil. It is not the whole man who can become evil. His outer tegument, the skin, as such is noble and good; but man becomes evil through his individual organs; in his organs lies the potentiality for evil.

And thus we come to recognize the relationship of the organs to their respective cosmic spheres and also from what spheres obsession with evil originates; for fundamentally, obsession is inherent in the slightest manifestation of evil.

Thus our knowledge of the total man reveals first, birth and death; secondly, a knowledge of his organization reveals his relationship to the Cosmos in health and disease, namely, evil.

And so we can only perceive spiritually that Figure who experienced the Mystery of Golgotha when we are able to behold Cosmic Man through human organology. For it was as Cosmic Man that Christ came from the Sun. Until that moment He was not earthly man. He approached the Earth in cosmic form. How can we expect to recognize Cosmic Man if we have not first prepared ourselves to understand Cosmic Man as he really is! It is precisely out of this understanding of the Cosmic Man that Christology can grow.

Thus you see how true paths lead into the spiritual world, to a knowledge of birth and death and of the relationship of the human organism to the Cosmos, to the recognition of evil and to knowledge of Christ, the Cosmic Man. All this can be understood, when it is presented in such a way that the various aspects are shown to support each other. And the best means of finding one's own way into the spiritual world is through understanding and by meditating upon what is understood. Other rules for meditation then serve as additional supports. This is the right path into the spiritual worlds for human beings today. On the other hand, all experimenting with other paths which fail to use and maintain the normal channels of consciousness, all experimenting with trance conditions such as mediumism, somnambulism, hypnotism and so on, all investigation into world-events that cannot be apprehended by a consciousness that is a travesty of modern natural science—all these are false paths, for they do not lead into the true spiritual world.

When man is sensitively aware of the findings of spiritual investigation, namely, that through knowledge of the organs the Cosmic Man returns, that this “return” can to some extent lead to an understanding of Christ when all that is disclosed to occult investigation and insight is admitted into the Initiate-consciousness and becomes an integral part of his sentient life, then, through feeling, the Divine manifests in the terrestrial. And this is the province of art.

Through feeling, art embodies half consciously that which man receives from the spiritual world along those paths of return of which I have spoken. In all ages, therefore, it was those who were predestined to do so by their karma, who clothed the spiritual in material form.

Our naturalistic art has abandoned the spiritual approach. Every high point in the history of art depicts the spiritual in sensuous form, or rather raises the material into the realm of the spiritual. Raphael is valued so highly because, to a greater degree than any other painter, he was able to clothe the spiritual in sensuous representation.

Now in the course of the history of art there existed a general movement which tended more to the plastic or graphic arts. Today we must once again inject new life into the plastic arts, for the immediacy of the original impulse was lost years ago.

For centuries the impulse towards music has been growing and expanding. Therefore the plastic arts have assumed a musical character to a greater or lesser extent. Music, which includes also the musical element in the arts of speech, is destined to be the art of the future.

The first Goetheanum at Dornach was conceived musically and for this reason its architecture, sculpture and painting met with so little understanding. And for the same reason, the second Goetheanum will also meet with little understanding because the element of music must be introduced into painting, sculpture and architecture, in accordance with man's future evolution.

The coming of the figure of Christ, the spiritually-living figure, which I referred to as the culminating point in human evolution, has been magnificently portrayed in Renaissance and pre-Renaissance painting, but in future will have to be expressed through music.

The urge to give a musical expression of the Christ Impulse already existed. It was anticipated in Richard Wagner and was ultimately responsible for the creation of Parsifal. But in Parsifal the introduction of the Christ Impulse into the phenomenal world where it seeks to give expression to the purest Christian spirit, has been given a mere symbolic indication, such as the appearance of the Dove and so on. The Communion has also been portrayed symbolically. The music of Parsifal fails to portray the real significance of the Christ Impulse in the Cosmos and the Earth.

Music is able to portray this Christ Impulse musically, in tones that are inwardly permeated with spirit. If music allows itself to be inspired by Spiritual Science, it will find ways of expressing the Christ Impulse, for it will reveal purely artistically and intuitively how the Christ Impulse in the Cosmos and the Earth can be awakened symphonically in tones.

To this end we only need to be able to deepen our experience of the sphere of the major third by an inner enrichment of musical experience that penetrates into the hidden depths of feeling. If we experience the sphere of the major third as something wholly enclosed within the inner being of man and if we then feel the sphere of the major fifth to have the characteristic of “enveloping,” so that, as we grow into the configuration of the fifth, we reach the boundary of the human and the cosmic, where the cosmic resounds into the sphere of the human and the human, consumed with longing, yearns to rush forth into the Cosmos, then, in the mystery enacted between the spheres of the major third and major fifth, we can experience musically something of the inner being of man that reaches out into the Cosmos.

And if we then succeed in setting free the dissonances of the seventh to echo cosmic life, where the dissonances express man's sentient experiences in the Cosmos as he journeys towards the various spiritual realms; and if we succeed in allowing the dissonances of the seventh to die away, so that through their dying fall they acquire a certain definition, then in their dying strains they are ultimately resolved in something which, to the musical ear, resembles a musical firmament.

If, then, having already given a subtle indication of the experience of the ‘minor’ with the ‘major,’ if, in the dying strains of the dissonances of the seventh, in this spontaneous re-creation of the dissonances into a totality, we find here a means of passing in an intensely minor mood from the dissonances of the seventh, from the near consonance of these diminishing dissonances to the sphere of the fifth in a minor mood, and from that point blend the sphere of the fifth with that of the minor third, then we shall have evoked in this way the musical experience of the Incarnation, and what is more, of the Incarnation of the Christ.

In feeling our way outwards into the sphere of the seventh, which to cosmic feeling is only apparently dissonant and that we fashion into a ‘firmament,’ in that it is seemingly supported by the octave, if we have grasped this with our feelings and retrace our steps in the manner already indicated and find how, in the embryonic form of the consonances of the minor third, there is a possibility of giving a musical representation of the Incarnation, then, when we retrace our steps to the major third in this sphere, the “Hallelujah” of the Christ can ring out from this musical configuration as pure music.

Then, within the configuration of the tones man will be able to conjure forth an immediate realization of the super-sensible and express it musically.

The Christ Impulse can be found in music. And the dissolution of the symphonic into near dissonance, as in Beethoven, can be redeemed by a return to the dominion of the cosmic in music. Bruckner attempted this within the narrow limits of a traditional framework. But his posthumous Symphony shows that he could not escape these limitations. On one hand we admire its greatness, but on the other hand we find a hesitant approach to the true elements of music, and a failure to achieve a full realization of these elements which can only be experienced in the way I have described, i.e. when we have made strides in the realm of pure music and discover therein the essence, the fundamental spirit which can conjure forth a world through tones.

Without doubt the musical development I have described will one day be achieved through anthroposophical inspiration if mankind does not sink into decadence; and ultimately—and this will depend entirely upon mankind—the true nature of the Christ Impulse will be revealed externally.

I wish to draw your attention to this because you will then realize that Anthroposophy seeks to permeate all aspects of life. This can be accomplished if man, for his part, finds the true path to anthroposophical experience and investigation. It will even come to ~ass that one day the realm of music shall echo the teachings of Anthroposophy and the Christian enigma shall be solved through music.

With these words I hope to have concluded what I could only indicate in these lectures, to indicate the purposes I had in view.

I should like to add, however, that I hope to have succeeded in awakening in your souls some recognition of anthroposophical truths; and that these truths will grow and multiply and fertilize ever wider fields of human life.

May this cycle of lectures be a small contribution to the far-reaching aim which Anthroposophy sets out to achieve.

It might seem unusual to speak about practical questions in education from the standpoint of a particular philosophy—that is, anthroposophy. In this case, however, the reason for speaking about education arises from the practice of teaching itself.

As you know, I will speak tonight of the way of teaching being practiced at the Waldorf school in Stuttgart. The pedagogical ideas and goals proposed through anthroposophy have been, for the most part, established at the Waldorf school. A few years ago everyone was talking about problems in education, and industrialist Emil Molt decided to create a school for the children of the workers in his factory. He turned to me to provide the pedagogical content and direction for that school.

At first, we dealt only with a particular group of children who came from a particular class—proletarian children connected with the Waldorf Company and with some children whose parents were members of the Anthroposophical Society. However, we soon extended the task of the school. We began originally with about 150 children in eight classes, but we now have eleven classes and over 700 children. Before that, a group of friends within the circle of anthroposophy made a trip to Dornach, Switzerland to attend a conference on education at the Goetheanum at Christmas. As a result, I was invited to lecture at Oxford this past August. Following the Oxford lectures, the Educational Union formed in order to bring the educational principles I will discuss today to a greater application in England.

I need to mention these circumstances so you will not think our discussion this evening is to be theoretical. You should realize that I want to speak about a genuinely practical manner of educating. I need to emphasize this also because this evening we will, of course, be able to mention only a few things. Those things I can bring up will also be rather incomplete compared to the reality of those principles of education, since they are not about “programs” but about practice. When we speak of practice, we can only speak in terms of examples taken from that practice. It is much easier to talk about a program, since you can speak in generalities and about general principles. We cannot do that when speaking of the Waldorf school education due to its own distinctive characteristics. As I mentioned before, our concern is to begin pedagogy and education derived from a spiritual-scientific perspective, a perspective that can lead us to a true comprehension of the human being, and thus to a true comprehension of the nature of a child.

Painters or other artists must learn two things in order to practice their art. In the case of painters, they must first learn a particular skill for observing form and color. The artist must be able to create from the nature of form and color and cannot begin with some theoretical comprehension of them. The artist can begin only by living within the nature of form and color. Only then can the artist learn the second thing, namely, technique. Spiritual science does not comprehend education as an academic or theoretical field. Spiritual science sees it as a genuine art, as an art that uses the most noble material found in the world—human beings. Education is concerned with children who reveal so marvelously to us the deepest riddles of the cosmos. Children allow us to observe from year to year, even from week to week, how physiognomy, gestures, and everything else they express reveal spirit and soul as a divine gift of the spiritual worlds hidden deep within them. The perspective I am speaking of assumes that, just as the painter must learn to properly observe how form and color—the activity arising through the hands, soul, and spirit—result from that understanding, so the artist in teaching must be able to follow the essence of the human being revealed in the child. However, this is not possible if you do not elevate your capacity to observe above the level of common consciousness—that is, if you cannot gain a true observation of soul and spiritual activities in life. That is precisely the objective of anthroposophy. What contemporary people typically call “cognition” addresses only the corporeal—that is, what speaks to the senses. If people have not risen to a genuine comprehension of the spirit, how can they learn to understand the soul? They can gain understanding of the soul only by understanding the expressions and activities of their own soul. Through self-observation, they learn about their own thinking, about their own feeling and willing. Those are aspects of the soul. They comprehend the soul only through reasoning. The senses perceive the sense perceptible. However, such people can understand the soul only by forming a judgment about those characteristics within themselves and then concluding that they have something like a soul.

Anthroposophy does not begin with that ordinary way of thinking. Instead, it seeks to systematically develop those forces sleeping within the human soul so that (don’t be surprised by my expression) a kind of precise clairvoyance results. With precise clairvoyance, you can penetrate the characteristics of the soul to see what is truly the soul. You can perceive the soul through that spiritual vision just as you can recognize colors through the eyes or tones through the ears. Through normal consciousness we can comprehend the spirit active in the world only as a conclusion. If we insist on remaining within normal consciousness, then we can say that we see only the phenomena of nature or of the soul. From that, we conclude that a spiritual foundation exists. Our thinking concludes that spirit and soul are at the foundation of what exists physically. Anthroposophy develops forces sleeping in the soul, organs of spiritual perception through which we can experience the spirit through living thinking, not merely as a conclusion.

You can have a genuine understanding of the human being only when you have seen the soul, and when you can experience the spirit in living thought. A living understanding of the human being arises that can permeate you through spiritual science, so that you can see in every moment of the developing child’s life how the spirit and soul act in the child. You do not see the child only from outside through the senses; you see also the sense perceptible expression of the soul. You do not work with just a revelation of the soul, but with the actual substance of the soul that you can see, just as your eyes see colors. You can begin with how spirit works within the child because, through anthroposophy, you can understand how to comprehend spirit with living thought.

Thus, the art of teaching I am speaking of here begins with a living comprehension of the human being, along with a comprehension of the development taking place in the child at every moment of life. When you understand in that way how the material we work with in teaching is the most noble, when you recognize how your teaching can affect the human being, then you can see many things differently than possible through ordinary consciousness. You can then teach and give educational guidance based on that knowledge. You can, through direct practical interaction with the child, develop what you can see in the soul and experience in the spirit.

Observation that is truly alive shows that spirit exists within the child no less than in the adult. However, that spirit lies hidden deep within the child and must first conquer the body. If we can see that spirit before it speaks to us through language or reveals itself through intellectual thought, we can receive an impression of the marvelous way spirit’s divine gift affects the child’s organism. You will then get an impression of why we certainly cannot say that the physical nature of the human being is one thing, and spirit another. In children you can see how spirit, much more so than with adults, works directly on the physical—that is, how spirit completely permeates the physical. As adults, we have spirit to the extent that we need to think about the world. Children, on the other hand, have spirit to the extent that they need to form their organism through spiritual sculpting. Much more than people believe, the human physical organism throughout all of earthly life is the result of how that spirit hidden within the child develops the physical organism. To avoid speaking abstractly, I would like to present some concrete examples.

If you look at a child only as conventional science does, so that you only perceive what ordinary physiology presents through dissection—that is, if you do not have a spiritual view of the child—you will not see the effect of all the different events on the child’s physical organism. For instance, the child does something and is shouted at by an adult. That makes a very different impression on the child than it would on an adult, if one were to shout at the adult. We must remember that a child functions very differently than an adult. The adult’s sense organs exist on the surface of the body. Adults can control with their intellect what comes through the sense organs. Adults can form fully developed will from within when confronted with sense impressions. However, the child is completely surrendered to the external world. If I may express it pictorially (but I mean this to a certain degree in a literal sense), the child is entirely a sense organ. Allow me to be very clear about this. Look at an infant. If we look with an external understanding at an infant, it appears that the baby feels and sees the world just as an adult does, except that the infant’s intellect and will are not as well developed as in adults. That is, however, not the case at all. Adults feel taste only on their tongue and gums. What takes place only at the surface in adults permeates the child’s organism right into the innermost depths. In a way, children perceive taste throughout their bodies when they eat. They perceive light throughout themselves when light and colors enter their eyes. That is not simply pictorial; this is actually how it is. When light shines on children, the light vibrates not only in their nervous system, it also vibrates in their breathing and throughout their circulatory system. Light vibrates throughout the entirety of the child’s organism in just the same way light acts within the adult’s eye only. The child is, throughout the entire body, a sensing organ. Just as the eye is completely occupied with the world and lives entirely in light, children live entirely in their surroundings. Children carry spirit within themselves in order to absorb everything that lives in their physical surroundings into their entire organism. Because of this, when we yell at a child, our yelling places the entire body into a particular kind of activity. When we yell at a child, a certain inner vibration occurs that is much stronger than that in an adult, who can make certain inner counteractions. What happens then is a kind of stopping short of the spiritual and soul life, which affects the child’s physical body directly. Thus, when we often yell at and frighten a child, we affect not only the child’s soul, but the child’s entire physical body. Depending on how we act around children, we can affect the health of human beings all the way into the final years of old age.

The most important means of teaching a very young child is through the way we, as adults, act when in the child’s presence. If children experience a continuous hustle and bustle, a continuous hastiness in their environment, then they will take up an inner tendency toward haste within their physical body. If you truly understand human beings so that you can observe their spirit and soul, you can see in children of eleven or twelve whether they were brought up in a restless or hurried environment, in a more appropriate environment, or in one where everything moved too slowly. We can see it in the way they walk. If the child was brought up in a hurried environment, one where everything proceeded with extreme restlessness, one where impressions continually changed, then the child will walk with a light step. The kind of environment the child had makes an impression on the child, even in the way of walking, in the step. If a child had insufficient stimulus in the surroundings so that continuous boredom was experienced, we see the reverse in how the child walks in later life with a heavy step. I mention these examples because they are particularly visible, and because they show how we can observe people better. Through this example, you can see what we are able to give to children when we see them properly in early childhood. During early childhood, children imitate their surroundings. They are particularly imitative in learning what they should do in their souls—that is, what is moral. I would like to give an example of this as well.

Those who have had to deal with such things can also experience them. For example, a father once came to me and said that his son had always been a good boy and had always done what the parents had found morally pleasing. But, now he had stolen money. Well, in such a case, anyone who truly understands human nature would ask where the child had taken the money. The father replied, “from the cupboard.” I then asked further whether someone removed money from the cupboard every day. “The child’s mother,” was the reply; thus, the child had seen the mother remove money from the cupboard every day. Young children are imitative beings who dedicate the entire soul to their surroundings, and, therefore, they do what they see happening in the surroundings. The young child does not respond to reprimands, does not respond to “do” and “don’t.” Such things are not strongly connected with a child’s soul. Children do only what they see happening in their surroundings. However, children see things much more exactly than adults do, even though they are unconscious of what it is they see. What children see in their surroundings leaves an imprint on their organism. The entire organism of the child is an imprint of what occurs in the surroundings.

Contemporary understanding overvalues way too much what is called “heredity.” When people see the characteristics of some adult, they often say such traits are inherited by purely physical transfer from one generation to another. Those who truly understand human beings, however, see that children’s muscles develop according to the impressions from their surroundings. They can see that, depending on whether or not we treat a child with tenderness and care, with love or in some other manner, the child’s breathing and circulation develop according to the feelings experienced. If a child often experiences someone approaching with love, who instinctively falls into step with the child and moves at the tempo required by the child’s inner nature, then the child will, in subtle ways, develop healthy lungs. If you want to know where the traits for a healthy adult physical body arise from, you must look back to when the child was affected as one great sense organ. You must look at the words, the gestures, and the entire relationship of the child to the surroundings, and how these things affected the child’s muscles, circulation, and breathing. You will see that a child imitates not just in learning to speak—which depends entirely on imitation, even into the bodily organization that makes speech possible—but you will see that the child’s whole body, particularly in the more subtle aspects of the physical body, reflects what we do in the child’s presence.

To the extent that a person’s physical body is strong or weak, that the physical body can be depended upon, gratitude or blame for the way one walks through life, even in old age, is due to the impressions made on a person as a small child.

What I just said about growing children being imitative beings applies throughout the first period of childhood, that is, from birth until the change of teeth at approximately age seven. At that time, the child goes through many more changes than is generally thought. In order to build a secure foundation for a genuine art of education and teaching, we need to fully penetrate what occurs in the child’s development; that is what I want to discuss in the second part of the lecture after this first part has been translated.

(Rudolf Steiner paused at this point while George Adams delivered the first part of this lecture in English.)

At around age seven, the change of teeth is not just a physical symptom of transformation in human physical nature, but also indicates the complete transformation of the child’s soul. The child is primarily an imitative being until the change of teeth. It is in the child’s nature to depend on the forces that arise from imitation for the physical body’s development. After approximately age seven and the change of teeth, children no longer need to be physically devoted to their environment, but instead need to be able to be devoted with the soul. Everything that occurs in the child’s presence before the change of teeth penetrates the depths of that child’s being. What penetrates the child during the second period of life is due to an acceptance of the authority of the child’s teachers. The child’s desire to learn such adult arts as reading and writing does not arise out of the child’s own nature, but expresses the acceptance of that natural authority. It is a tragic pedagogical error if you believe children have any desire to learn those things, things that serve as communication for adults! What actually acts developmentally on a child are the things that arise from the child’s loving devotion toward an accepted authority. Children do not learn what they learn for any reason found in the instruction itself. Children learn because they see what an adult knows and is able to do, and because an adult who is the child’s accepted educational authority says this or that is something appropriate to be learned. That goes right to the child’s moral foundation.

I would remind you that the child learns morality through imitation until the change of teeth. From the age of seven until about fourteen—that is, from the change of teeth until puberty—the child learns everything through loving acceptance of authority. We cannot achieve anything with children through the intellect, that is, with commandments such as “this is good” or “that is evil.” Instead, a feeling must grow within the child to discover what is good based on what the accepted authority indicates as good. The child must also learn to feel displeasure with what that accepted authority presents as evil. Children may not have any reason for finding pleasure or displeasure in good or evil things other than those revealed by the authority standing beside them. It is not important that things appear good or evil to the child’s intellect, but that they are so for the teacher. This is necessary for true education.

It is important during that period for all morality, including religion, to be presented to the child by other human beings; the human relationship with the teachers is important. Whenever we think we teach children by approaching them through intellectual reasoning, we really teach in a way that merely brings inner death to much within them. Although children at that age are no longer entirely a sense organ, and their sense organs have now risen to the surface of the body, they still have their entire soul within. Children gain nothing through intellectualization, which brings a kind of systemization to the senses, but they can accept what the recognized authority of the teacher brings to them as an ensouled picture.

From the change of teeth until puberty, we must form all our teaching artistically; we must begin everywhere from an artistic perspective. If we teach children letters, from which they are to learn to read and write as is now commonly done, then they will have absolutely no relationship to those characters. We know, of course, that the letters of the alphabet arose in earlier civilizations from a pictorial imitation of external processes in things. Writing began with pictograms. When we teach the letters of the alphabet to the child, we must also begin with pictures. Thus, in our Waldorf school in Stuttgart, we do not begin with letters; we begin with instruction in painting and drawing. That is difficult for a child of six or seven years, just entering school, but we soon overcome the difficulties. We can overcome those difficulties by standing alongside the child with a proper attitude, carried within our authority in such a way that the child does indeed want to imitate what the teacher creates with form and color. The child wants to do the same as the teacher does. Children must learn everything along that indirect path. That is possible only, however, when both an external and an internal relationship exists between the teacher and pupil, which occurs when we fill all our teaching with artistic content. An unfathomable, impenetrable relationship exists between the teacher and child. Mere educational techniques and the sort of things teachers learn are not effective; the teacher’s attitude, along with its effect on the feelings of the child, is most effective; the attitude carried within the teacher’s soul is effective. You will have the proper attitude in your soul when you as a teacher can perceive the spiritual in the world.

I would like to give you another example to illustrate what I mean. This is an example I particularly like to use. Suppose we want to stimulate the child in a moral-religious way. This would be the proper way to do so for the nine- or ten-year-old. In the kind of education I am describing, you can read from the child’s development what you need to teach each year, even each month. Suppose I want to give a child of about nine an idea of the immortality of the human soul. I could tiptoe around it intellectually, but that would not leave a lasting impression on the child. It might even harm the child’s soul, because when I give an intellectual presentation about moralreligious issues nothing enters the child’s soul. What remains in the child’s soul results from intangible things between the teacher and child. However, I can give the child an experience of the immortality of the soul through artistically formed pictures. I could say, “Look at a butterfly’s cocoon and how the butterfly breaks through the cocoon. It flies away and moves about in the sunlight. The human soul in the human body is the same as the butterfly in the cocoon. When a human being passes through the gates of death, the soul leaves the body and then moves about in the spiritual world.”

Now, you can teach that to children in two ways. You can feel yourself to be above children and think that you are wise and children are dumb. You might feel that children cannot understand what you, in your wisdom, can understand about the immortality of the soul, so you will create a picture for them.

If I make up such a picture for the children while feeling myself to be superior to them, that will make an impression on the children that soon passes, but it leaves a withered place within them. However, I can also approach the child differently, with the attitude that I believe in this picture myself. I can see that I do not simply fabricate the picture, but that divine spiritual powers have placed the butterfly and cocoon into nature. The fluttering of the butterfly out of the cocoon is a real picture within nature and the world of what I should understand as the immortality of the soul. The emergence of the butterfly confronts me with the idea of immortality in a simple and primitive way. It was God Himself who wanted to show me something through that emerging butterfly. Only when I can develop such a belief in my pictures is the invisible and supersensible relationship between the child and myself effective. If I develop my own comprehension with that depth of soul and then give it to the child, that picture takes root in the child and develops further throughout life. If we transform everything into a pictorial form between the change of teeth and puberty, we do not teach the child static concepts that the child will retain unchanged. If we teach children static concepts, it would be the same as if we were to clamp their hands in machines so that they could no longer freely grow. It is important that we teach children inwardly flexible concepts. Such concepts can grow just as our limbs do, so that what we develop within the child can become something very different when the child matures.

Such things can be judged only by those who do not merely look at children and ask what their needs are or what their developmental capacities are. Only those who can survey all of human life can judge these things, which then become a rather intuitive way of teaching. I could give you an example of this. Suppose we have a school-age child that has inner devotion toward the teacher. I would like to illustrate the strength that could develop through an example. Those with insight into such things know how fortunate it is for later life when, during childhood, they heard about a respected relative they had not yet seen. Then, one day, they had the opportunity to visit that person. They went to visit that relative with a shyness and with everything that was contained in the picture developed within them. They stood there shyly as the door was opened. That first encounter with a highly respected person is certainly memorable. To have had the opportunity to respect someone in that way is something that takes deep root in the human soul, and it can still bear fruit in later life.

It is the same with all truly living concepts taught to children and not simply stuffed into them. If you can get a child to look up with true respect to you as a teacher, as an accepted authority, you then create something for the child’s later life. We could describe it as follows. We know that there are people who, when they have reached a certain age, spread goodness in their environment. They do not need to say much, but their words act as a kind of blessing; it is contained in their voice, not in the content of their words. It is certainly a blessing for people when, during their childhood, they met such people. If we look back on the life of such a person of fifty or sixty and see what occurred during childhood between the change of teeth and puberty, if we look at what that person learned, we realize that person learned respect, a respect for morality. We realize that such a person learned to look up to things properly, to look up to the higher forces in the world. We might say that such a person learned how to pray properly. When someone learns to pray in the right way, the respect they learn is transformed into powers of blessing in old age, powers that act like a good deed for others in their presence. To express it pictorially, someone who never learned to fold their hands in prayer as a child will never develop the strength later in life to spread their hands in blessing.

It is important that we do not simply stuff abstract ideas into children, but that we know how to proceed with children when we want to create within their souls something fruitful for all of life. Therefore, we do not abstractly teach children to read and write, but begin artistically with writing and allow all the abstraction within letters to arise from pictures. In that way, we teach children to write in a way appropriate to the child’s needs. We do not simply appeal to the child’s capacity to observe, to the head alone, but to the entire human being. First, we teach children to write. When the child has learned to write in this way—so that the child’s entire being, and not simply the head, participates in the picture—then what we give the child is appropriate. After children learn to write, they can learn to read. Anyone caught up in today’s school system might say that such children would learn to read and write more slowly than otherwise. However, it is important that the tempo of learning is proper. Basically, children should learn to read only after the age of eight, so that we can develop reading and writing pictorially and artistically.

Those who have genuine knowledge of human beings through true vision of soul and spirit can observe subtle details and then bring those observations into teaching. Suppose we have a child who walks too heavily. That comes about because the child’s soul was improperly affected before the change of teeth. We can improve the situation by enlivening what previously formed the child by teaching through artistically presented pictures. Thus, someone who truly understands the human being will teach a child who walks too heavily about painting and drawing. By contrast, a child whose step is too light, too dancing, should be guided more toward music. That has a tremendous moral effect on the child’s later character development. Thus, in each case, if we can truly see the human being, we will understand what we need to bring into our pictures.

Until the change of teeth the child’s closest and most appropriate place is within the circle of the family and the parents. Nursery school and play groups follow. We can appropriately develop games and activities when we understand how they affect the child’s physical organism. We need only imagine what happens when a child receives a store-bought doll, a “beautiful” doll with a beautifully painted face. We can see that such a child develops thick blood (these things are not visible in the normal anatomy) and that this disturbs the child’s physical body. We simply do not realize how much we sin in that way, how it affects the child. If we make for the child a doll from a few rags, and if this is done with the child—simply painting the eyes on the rags so that the child sees this and sees how we create the doll—then the child will take that activity into its body. It enters into the child’s blood and respiratory system.

Suppose we have a melancholic girl. Anyone who looks at such a child externally, without any view of the soul, would simply say, “Oh, a melancholic child; inwardly dark. We need to put very bright colors around her and make toys red and yellow for her wherever possible. We must dress the child brightly, so that she awakens in bright colors, so that she will be awakened.” No, she won’t! That would only be an inner shock for the child, and it would force all her life forces in the opposite direction. We should give a melancholic and withdrawn child blue or blue violet colors and toys. Otherwise, the bright colors would overstimulate such an inwardly active child. We can thus bring the child’s organism into harmony with her surroundings and cure what is perhaps too flighty and nervous because of being surrounded by bright colors. From a genuine understanding of the human being, we can gain an idea of what we should teach and do with children, right down to the finest details, and thus gain direct help for our work. You can see that this way of teaching might seem to support current ideas about what children should learn at a particular age—that we should stuff such things into them and about how we should occupy them. However, if you realize that children can take from their environment only what already exists within their bodies, then you might say the following. Suppose we have a child who does not tend to be robustly active, but always works in details—that is, tends to work rather artistically. If you insist that the child be very active outwardly, then just those tendencies within the child that are for detailed work will wither. The tendencies toward activity that you want to develop because you have deluded yourself into thinking that they are common to all humanity, that everyone should develop them, will also certainly wither. The child has no interest in that; the work assigned between the change of teeth and puberty is done, and nothing sticks, nothing grows within the child through forcing things. Throughout the kind of education we are discussing, it is always important that the teacher have a good sense of what lives within the child and can, from what is observed within the child’s body, soul, and spirit, practice every moment what is right through the teacher’s own instinct for teaching.

In this way, the teacher can see the pedagogy needed for the children. In the Waldorf school, we discover the curriculum in each child. We read from the children everything we are to do from year to year and month to month and week to week so that we can bring them what is appropriate and what their inner natures require. The teaching profession demands a tremendous amount of selflessness, and because of this it cannot in any way accept a preconceived program. We need to direct our teaching entirely toward working with the children so that the teacher, through the relationship to the children developed by standing alongside them, provides nothing but an opportunity for the children to develop themselves.

You can best accomplish this between the ages of seven and fourteen—that is, during elementary school—by refraining completely from appealing to the intellect, focusing instead on the artistic. Then, you can develop through pictures what the body, soul, and spirit need. Therefore, we should present morality as pictures when the child is about nine or ten years old. We should not provide moral commandments; we should not say that this or that is good or evil. Instead, we should present good people to the children so that they can acquire sympathy for what is good, or perhaps, present the children with evil people so that they can acquire antipathy toward what is evil. Through pictures we can awaken a feeling for the nature of morality. All of those things are, of course, only suggestions that I wanted to present concerning the second stage of childhood. In the third part of my lecture today, I want to show how we can bring it all together as a foundation for education—not merely education for a particular time in childhood, but for all of human life. We will continue with that after the second part has been translated.

(George Adams delivered the second part of the lecture.)

We can best see how this way of educating can achieve the proper effects for all of human life if we look specifically at eurythmy in education. The eurythmy we have performed publicly in London during the past days has a pedagogical side, also.

Eurythmy is an art in which people or groups of people express the movements in the depths of human nature. Everything expressed in those movements arises systematically from the activity within the human organism, just as human speech or song does. In eurythmy, no gesture or movement is haphazard. What we have is a kind of visible speech. We can express anything we can sing or speak just as well through the visible movements of eurythmy. The capacity of the entire human being for movement is repressed in speech, it undergoes a metamorphosis in the audible tones and is formed as visible speech in eurythmy.

We have brought eurythmy into the Waldorf school for the lowest grades all the way to the highest. The children, in fact, enter into this visible speech just as the soul makes a corresponding expression for the sounds of audible speech. Every movement of the fingers or hands, every movement of the entire body is thus a sound of speech made visible. We have seen that children between the change of teeth and puberty live just as naturally into this form of speech as a young child lives into normal audible speech. We have seen that the children’s entire organism—that is, body, soul, and spirit (since eurythmy is also a spirit and soul exercise) find their way just as naturally into eurythmy speech as they do into oral speech. Children feel they have been given something consistent with their whole organism. Thus, along with gymnastics derived from an observation of the physical body, we have eurythmy arising from an observation of the child’s spirit and soul. Children feel fulfilled in eurythmy movements, not only in their physical body or in an ensouled body, but in a spiritually permeated soul within a body formed by that soul. To say it differently, what people experience through eurythmy acts in a tremendously living manner on everything living within them as tendencies and, on the other side, has just as fruitful an effect on all of life.

Regardless of how well children do in gymnastics, if they perform these exercises only according to the laws of the physical body, these exercises will not protect the children from all kinds of metabolic illnesses later in life. For instance, you cannot protect them from illnesses such as rheumatism, which may cause metabolic illnesses later. What you gain through gymnastics results in a kind of thickening of the physical body. However, what you can effect by developing movements that arise from the spirit and soul makes the spirit and soul ruler of the bodies of the soul and physical for all of life. You cannot keep a sixty-year-old body from becoming fragile through gymnastics. If you educate a child properly, however, so that the child’s movements in gymnastics arise from the soul, you can keep the child’s body from becoming fragile in later life. You can inhibit such things if you teach pictorially during elementary school so that the picture that would otherwise occupy the soul can move into the body.

Thus, this pictorial language, eurythmy, is nothing but gymnastics permeated with soul and spirit. You can see that gymnastics permeated by soul and spirit is directed only toward a balanced development of the child’s body, soul, and spirit; and you can see that what can be ingrained during childhood can be fruitful throughout life. We can do that only when we feel like gardeners tending plants. The gardener will not, for example, artificially affect the plant’s sap flow, but will provide from outside only opportunities for the plant to develop itself. A gardener has a kind of natural reluctance to artificially alter plant growth. We must also have a respectfulness about what children need to develop within their own lives. We will, therefore, always be careful not to teach children in an unbalanced way. The principle of authority I discussed before must live deeply within the child’s soul. Children must have the possibility of learning things they cannot yet intellectually comprehend, but learn anyway because they love the teacher. Thus, we do not take away from children the possibility of experiencing things later in life.

If I have already comprehended everything as a child, then I could never have the following kind of experience. Suppose something happens to me around age thirty-five that reminds me of something I learned from a beloved teacher or a loved authority, something I had learned from that authority through my desire to believe. However, now I am more mature and slowly a new understanding arises within me. Returning in maturity to things we learned earlier, but did not fully comprehend, has an enlivening effect. It gives an inner satisfaction and strengthens the will. We cannot take that away from children if we respect their freedom and if we want to educate them as free human beings. The foundation of the educational principle I am referring to is the desire to educate people as free beings. That is why we should not develop the child’s will through intellectual moral reasoning. We need to be clear that when we develop moral views in the child’s feeling between the ages of seven and fourteen, the child can, after maturing and moving into life, then comprehend intellectual and moral feelings and the will. What permeates the will, and what arises out of the will from the esthetic feeling developed earlier, enlivens morality and, insofar as it arises from freedom, gives people strength and inner certitude.

You see, if you want to use the kind of education we are discussing properly, you will not simply look at childhood, but will also look at people later in life. You will want what you give to children to act just as the natural growth and development of the plant acts to produce a flower that blooms. If we want a blossoming, we do not dare to want the plant to develop too quickly. Instead, we await the slow development from the root to the stem to the leaf to the flower and, finally, to the fruit, unfolding and developing freely in the sunlight. That is the picture we need to keep before us as the goal of education. Our desire is to nurture the root of life in children. However, we want to develop this root so that life slowly and flexibly forms physically, soulfully, and spiritually from our care during childhood. We can be certain that, if we respect human freedom, our teaching will place people in the world as free beings. We can be certain that the root of education can develop freely if we do not enslave children to a dogmatic curriculum. Later in life, under the most varied circumstances, children can develop appropriately as free human beings.

Of course, this kind of education puts tremendous demands on the teacher. However, do we dare presume that the most complete being here on Earth—the human being—can be taught at all if we do not penetrate fully the characteristics of that being? Shouldn’t we believe—concerning human beings and what we do with them—that they hold a place of honor, and that much of what we do is a kind of religious service? We must believe that. We must be aware that education demands of us the greatest level of selflessness. We must be able to forget ourselves completely and plunge into the nature of the child in order to see what will blossom in the world as an adult human being. Selflessness and a true desire to deepen your understanding of human nature, and gaining a true understanding of humanity—these are the basic elements of genuine teaching.

Why shouldn’t we recognize the necessity of devotion to such teaching, since we must certainly admit that teaching is the most noble activity of human life? Teaching is the most noble thing in all human life on the Earth.

That is progress. The progress we achieve through teaching is this: the younger generations, given to us from the divine worlds, develop through what we, the older generations, have developed in ourselves; and these younger generations move a step beyond us in human progress. Isn’t it obvious to every right-thinking person that, in bringing such service to humanity—that is, in bringing the best and most beautiful things of previous generations as an offering to the younger generations—we teach in the most beautiful and humane way?

(George Adams concluded the English translation.)

What I would like to say about certain things would not appear to me as a whole if I did not add today's lecture, which I have given here on the social question, to the one I gave today and the one I will give next Friday, because what has been developed here on the social question, although with seemingly quite different aims and from a seemingly quite different world, ultimately stems from the same human spiritual striving that I will be speaking to you about in these two lectures.

Those of you who have followed my book on the social question in the necessities of life, present and future, will have seen immediately in the first pages how the social question is approached from a point of view that decidedly considers the spiritual and cultural concerns of humanity.

As one of the phenomena that have brought humanity into its present situation, and without whose proper understanding this humanity cannot emerge from chaos and confusion, this book focuses on the relationship between humanity, cultural humanity, and the spiritual world in the last three to four centuries. It is emphasized how humanity's, I might say, negative relationship to the spiritual world is expressed in what has come to be the most widespread designation for this spiritual world: the expression, 'This spiritual world is mere ideology'. That is to say, the spiritual world is something that arises only as a superstructure on a substructure, like a kind of smoke rising from a material or economic reality. It is certainly true that in the last three to four centuries humanity has been repeatedly drawn into this view, as if all spiritual life were only a smoke rising from material life, only a superstructure on a substructure. But it is also clear to anyone who is able to follow the cultural development of the last three to four centuries and up to the present day that the whole state of mind of modern man, which is influenced by this relationship to the spiritual world, has led to the confusion and chaos in which we currently find ourselves. On the one hand, we have the terrible events of the world war catastrophe behind us, and on the other hand, the emerging revolutionary movement. We see, when we look back, how it became clear that people were no longer able to manage the external social life through their practical ideas. The facts have escaped these ideas, they have broken free, and they went their own way. They ran away without being held back by strong human ideas. And they ran into that which led them to ad absurdum, and through which the social life of the last three to four centuries was led ad absurdum. They ran into disaster. Various causes of this catastrophe have been investigated. Clarity on this point will not be achieved until it is realized that, as a result of the view of the spirit that one believed one had rightly arrived at, one has lost control over the facts of the external world and that one can only regain this control by acquiring a different relationship to the spiritual world. That is why all those who, from the standpoint of today's revolutionary movement, believe that the spiritual world is nothing more than an ideology, and base their reforms or revolutions on this view, will not bring humanity to salvation, but on the contrary will push it deeper and deeper into the abyss. Therefore, it is not just some subjective inclination of mine to speak in connection with the social question of what I have spoken of again and again every year here in Stuttgart as anthroposophically oriented spiritual science. This spiritual science movement is intended to bear witness to the fact that the spiritual in man and outside of man is not an ideology. It is to bear witness to the fact that man can only gain the necessary strength for his actions, for his life practice, if he draws it from those insights that initially seem far removed from practical paths, but that train the human soul in such a way that they bring this soul into a state in which it is then also strengthened for the management of practical life. And if many today believe that the events that lie ahead of us will only take place in economic struggles, they are mistaken. We just do not realize it yet, but we are in the midst of intense spiritual struggles and that which shakes and stirs humanity up in an elemental way, which expresses itself outwardly through material and armed struggles — it is nothing other than the wave that is thrown to the surface from the stirred human souls that are struggling for new truths, for new insights. Anyone who is able to examine their own inner being to a certain extent today will be aware that the education that all of civilization has undergone over the last three to four centuries no longer allows people to educate themselves about their highest, soul and spiritual matters in the way that was necessarily possible in the past. Over the past three to four centuries and up to the present day, man has undergone a scientific education, in general. This has led him to demand a path to the supersensible worlds, of which only religious denominations have spoken to him so far, a path that is on a par with the scientific path, that does not want to present itself merely as the path of religious feeling, but as the path of knowledge of the supersensible world, of the spiritual world, alongside the path of research into the physical world through natural science. Even if few people today admit this fact, it lives unconsciously in the majority of present-day cultural humanity, and what people often bring to consciousness today is only a veiling of the facts, which can be expressed with the words: We do strive in our inmost being for a knowledge of the spiritual world, and we carry within us numerous dissatisfactions and unfulfillments of life because this longing for knowledge of the supersensible rules in our soul, instinctively rules and is not yet satisfied by anything in the cultural endeavors of our immediate environment, of our entire spiritual life.

And so today, starting from such points of view, I will speak about the paths to supersensible knowledge and observation, and the day after tomorrow about the actual supersensible being of man, that is, the true being of man that outlasts his life between birth and death. And I would like to show how this knowledge must become a real social factor, having a say in the new construction of our human society. It is certainly undeniable today for many people that a certain insight into human striving in general, that which one could call self-knowledge in the broadest sense, is more difficult for people today than it was for people in previous centuries. If we look back at earlier centuries, we cannot but admit that man then came more easily to a certain understanding of his own nature from the elementary demands of human nature than he does today. But there is another fact that stands in meaningful juxtaposition to the one just described, and that is this: today more than in earlier times, man needs this self-knowledge, which is more difficult for him than for earlier man. This is expressed in the striving for such self-knowledge, which is there after all, even if it is hidden behind this or that mask by our difficult life circumstances. But today, in terms of his upbringing, his feelings and his living conditions, people want to ask the authorities they know as scientific authorities about the state of their soul and spiritual life. This is because they have been accustomed to making the scientific the guiding principle of their lives. And so they also want to turn to the scientific forum for self-knowledge and knowledge of human nature. But it must be said that precisely by addressing this forum, he can initially only receive unsatisfactory information. And so, little by little, something has crept into the public consciousness about the questions of the soul and the spirit, which basically can only lead to doubt and uncertainty.

From what usually emerges, so to speak, from the various scientific disciplines, from the rest of life, it is clear that today's human beings have no real idea of how much goes on within their inner selves without being aware of it in their ordinary consciousness. What does the modern man believe about himself? He believes that on the one hand he is a body; and many, if they are at all concerned about it, then say that on the other hand there is the soul. But when the big question arises about the relationship of the body to the soul, of the soul to the body, then doubts arise, then uncertainties arise. On the one hand, we believe that the body is exhausted in what we survey through the sensory observation of the human being, what we dissect and recognize through anatomy, physiology, in short, through everything that the scientific knowledge of the human being provides. This provides us today with a certain idea of what the human body is. Then the human being knows that he develops ideas, that he has emotions, that he has a will that drives him to action – in short, the human being knows that something lives in his consciousness, underlying the will, underlying the emotions or feelings, underlying the ideas. But when he then reflects, “What is the relationship between what I think, feel and will, between the content of my inner soul life and my outer life?” he gets no answer. For what science, the view of the human body through the senses, shows him, is so fundamentally different from what lives in the will, in feeling and in thinking, that a bridge cannot be built from the body to the soul. And it is not only the case for ordinary consciousness that one is faced with the impossibility of building such a bridge, but if one goes through the various scientific, scholarly views of today, they generally conclude with this: something certain about this relationship between body and soul cannot be said.

Anyone who speaks about this question from the standpoint of anthroposophically oriented spiritual science, as it is meant here, is compelled to look very seriously at the doubts and uncertainties that beset humanity and science in this way to a high degree. And he must say, based on his knowledge: Yes, for scientific knowledge, for the kind of knowledge that has brought us to the great triumphs in natural science, for this knowledge, it must be fundamentally the case that one is driven only into doubt and contradictions when asking the relevant questions. Scientific knowledge is unsuitable for illuminating those depths of human nature from which alone answers to the burning questions can come. Now, however, the same humanities scholar is in a very special position with regard to the thought habits of the present. Since he has to present his findings from a completely different point of view than that of these thought habits, it is only natural that he is attacked in a hostile manner and judged from all sides. For he must not only open up a different field of knowledge from the everyday and the ordinary scientific one; he must also draw attention to a completely different way of knowing. He must point out that the questions raised cannot be answered at all with the way of knowing of ordinary life and ordinary science, and that if man were to remain with this ordinary scientific knowledge, he would never arrive at an answer to these questions. The spiritual scientist must assert that through a development that he himself takes care of, man comes out of this ordinary way of knowing to a completely different knowledge, to a knowledge that initially appears to be a kind of fantasy to the ordinary. Nevertheless, anyone who speaks of anthroposophically oriented spiritual science on the basis of the assumptions being spoken of to you today knows that he stands on the same scientific rigor and the same scientific discipline as the strictest scientific method of the present day. Only what the natural scientist strives for, for example, certain proofs of these facts and these laws, forms the prerequisite for the spiritual researcher, as he is meant here, that is what he has been trained in. He has gone through this before coming to his spiritual science. And in this day and age, no spiritual science should present itself to the public that does not stand on this ground, that does not assert and that has really come to know through research in the spiritual world the very thing by which natural science has come to its 'triumphs'. The spiritual researcher must have put himself in a position to be a natural scientist in the strictest sense of the word. Only the spiritual researcher begins where the natural scientist ends. While the natural scientist searches for certain results for his life of ideas, for his thinking, the spiritual scientist strives to let that which one undergoes with natural science as a strictly methodical, as a conscientious scientific experience, be his education, and only from there to go out and ascend to those higher cognitions of which I will have to speak to you today and the day after tomorrow. Therefore, it is the case for the spiritual researcher that he cannot communicate in the usual sense: I observed this or that external fact; this or that law emerged for me from this or that external fact. Rather, the spiritual researcher must have gone through everything that the natural scientist speaks of as preparation; and he must have arrived, through this preparation, at a state of soul such that he rises to new facts, to new observations, of which he can only tell, and which alone can form the content of the truly spiritual world. Therefore, the spiritual researcher, as he is meant here, will have to speak of his paths of knowledge in a completely different way than the one who, for example, has only gone through a scientific path of knowledge, who has only gone through what is often called a path of knowledge, a path to science, within today's cultural life, today's spiritual life.

Ask those who have gone through a path to science today how they went through this path to science, I would say, with a certain inner calm. They can tell how they worked here or there in the laboratory, how they heard this or that about the processes of human, historical development, how they incorporated it into their concepts, how they compiled these or those statistical facts in order to gain these or those social insights. But we will hear from all of them how they went through it all in a certain state of inner calmness of soul and then, as it were, came into possession of the scientific concepts they had been striving for. The spiritual researcher, especially the anthroposophically oriented spiritual researcher, is not in such a situation. If he is serious about this, he will not be able to speak of such inner calm and indifference in which his path of knowledge was traversed as can be spoken of the paths of knowledge of external science today. The spiritual researcher, if he speaks the truth about his path of knowledge, will tell you about inner struggles and conquests. He will tell you of the abysses of the soul he had to go through before the true supersensible insights presented themselves to him. He will have to tell you how much his own human nature, that which is dear and valuable to man in his outer life, has often become an inner opponent of his striving for knowledge. He will have to tell you about the courage he often had to summon against the inner opposing and hostile forces that lie in human nature and are averse to the true path of knowledge. And so it will be that what the spiritual researcher has to say about soul and spirit is the result of those moods of the soul that have not taken place in inner calm, that have taken place in inner turmoil, that have taken place amid the most serious inner struggles. And this spiritual researcher will have to say that nothing other than inner suffering, inner pain and the overcoming of it, has brought about what he may justifiably call, as he believes, insight into the supersensible worlds.

The spiritual researcher will have to speak of the struggles he had to undergo in two directions. For many people today, these struggles are in an abstract world, but only for the faith of these many people. By consciously going through these struggles, the spiritual researcher learns to recognize that he is truly not alone in the world in going through these struggles. As a rule, the spiritual researcher is not so presumptuous as to say to himself that something is taking place in his soul in which other people have no part. He comes to say to himself that he is only raising to consciousness what unconsciously takes place as an inner struggle at the bottom of every human soul. And the spiritual researcher knows how these struggles, I would say, between the consciousness that lives in thinking, feeling and willing, and the body that external sensory perception and physiology and anatomical science show, how these struggles take place in between, and that they rise up into human consciousness like something that many people in the present time cannot cope with. What is expressed in their instincts and often in physical and mental illnesses, in their dissatisfaction and unfulfilled longings, what is expressed in their nervousness, without their knowing what the actual causes of this state of mind in the depths of the human being are.

The spiritual researcher has to struggle on two fronts: firstly, with the external world and, secondly, with his own inner being. For people today, natural science and its popularization in the way people think is often merely a reason to be happy about the great progress of humanity, and rightly so. For the spiritual researcher, however, the experience of natural science is a particularly intense life struggle. By delving into what today's natural science is, by not only penetrating intellectually to the usual scientific knowledge, but by wanting to experience what is contained in natural science, the spiritual researcher can only experience life with natural science as a struggle. Indeed, through sense perception, through the combinations of sense perceptions that the human intellect produces in the laws of natural science, one does learn many things about nature. But you know, and in earlier years I have often dealt with this fact in my lectures in other contexts, you know that precisely the most conscientious natural scientists and natural researchers come to the conclusion that there are limits to this knowledge of nature. The most conscientious natural researchers, they speak their “ignorabimus” precisely out of a certain deepening, that is, we will not penetrate the essence of things through nature. And now it is once in human nature, that when such a limit piles up, as it rightly piles up before the knowledge of nature, man then says to himself: Well, that is just a limit of knowledge, you have to stop there. He then speaks of insurmountable limits of human knowledge.

The one who lets himself be completely absorbed by the fact that he already feels the spiritual research profession within him, that which is in the soul as a full force, cannot simply stand still when science establishes such limits. Such limits become for him the cause to fight out a life-long struggle of knowledge with that which presents itself to science as power and matter, for example, or as something else. What science itself is unwilling to penetrate, the spiritual researcher must fight his way through with. Only then does the beginning of his path of knowledge and his observations begin; the observations that he cannot go through with as calmly as one goes through a laboratory observation, the observations that he must go through with continually calling upon new spiritual-soul powers of knowledge. And then, when man comes up against these limits and fights his fight, then he becomes acquainted with the reciprocal action between his own inner being of knowledge and the outer world. There he experiences a spiritual fact of observation that presents itself to him as a fundamental characteristic of all human life. As the spiritual researcher struggles with the outer limits of knowledge of nature, he realizes that he has to draw on something from his inner soul in this struggle that otherwise plays a very small role in the knowledge of nature. He has to draw on those powers of his soul that otherwise only come into play in the interaction between human and human or, in an attenuated sense, in the interaction with natural beings, with living beings. He must draw from his inner being the power of life, that power which we unfold when we stand face to face with another person and inner sympathy passes from our soul to the soul of the other person. And it forces itself upon him, not as something subjective, but as an objective fact, the very sober knowledge of nature, and the struggle with the limits of knowledge of nature and that which plays a great role in human nature and human life: sympathy, love, the fundamental tone of all human social intercourse. And man now learns through experience to recognize the relationship between the limits of nature, which stand in the way of his knowledge, and the power of love. Through direct observation, which he has brought about by strongly invoking his inner soul powers, he learns to recognize that at the moment he becomes more deeply involved in the struggle with the limits of nature, he must expend his power of love. It is as if his power of love were released from his soul and flowed over into those areas of nature that lie beyond the boundary. And now the spiritual researcher comes to the significant and deeply moving fact that human nature is adapted to its world environment in such a way that it is denied to penetrate into the inner being with ordinary knowledge. The inner being lies beyond the boundaries of nature. If we did not have such boundaries, we would not be able to be endowed with the power of self-sacrificing love in ordinary life.

A deep meaning comes into this human life through the realization of the connection between knowledge and love. One learns that one can only love in ordinary life by this love-power separating itself from our cognitive activity exercised through the intellect. This fact, this observation, must not only be considered intellectually, it must make the deepest impression on a person once he has grasped it, for in this way he comes to know the very special way in which he is placed in the world. And he knows what he has to do if he is a true spiritual researcher. He knows that he cannot continue to penetrate into what lies beyond the boundary if he has not first strengthened himself in the power of human love and love for all other things to a degree greater than he has in the ordinary life. One must be equipped with such a strong love for all things. This equipment must be the preparation of the innermost being of the soul if one wants to go further in the struggle with the outer world, as I have indicated to you. This path, which the soul must go through so that it does not lose the power of love, so that it is not, as it were, sucked dry of this power, but can enter unreservedly into the supersensible worlds, I have tried to describe in my book “How to Know Higher Worlds”. And I would here expressly note that such descriptions of the right path to knowledge essentially serve to prepare the human soul so that it can safely follow the higher path to knowledge. From the present time and into the near future, humanity will demand this higher path of knowledge precisely through scientific education. Humanity will — it is in a process of development, I will speak more about this the day after tomorrow — arrive at a point where it can no longer do without such insight into the spiritual worlds as I have indicated. Humanity will arrive at a point where it would feel mentally unhappy and lost if the path into the spiritual, the supersensible worlds were not opened to it. This path will be taken by an irresistible inner impulse.

But it will be necessary to show more and more precisely and in detail how human nature has to prepare itself so that it can walk this path safely, so that the human forces that are important for practical and social life, such as love, are not taken away from it. When a person engages in such inner thought exercises, whereby he makes his thinking, which otherwise stops at the boundaries of natural phenomena, stronger and stronger, you will find in my book “How to Know Higher Worlds” such thought exercises, such meditations and thought concentration, through which thinking becomes ever stronger and stronger. When a person does such exercises, he comes to a point in his development where he sees inner experiences and observations placed before his soul that do not appear before his soul in ordinary life. Then he clarifies above all the one question, the fundamental question of the life of the soul: What is it actually that I perceive of the world through my senses, that I develop within me as a world of ideas? What is it actually? And he comes upon a most remarkable fact. When stated in the abstract, it does not seem so remarkable, but in its effect on the whole human being it is highly significant and has a shattering influence on the human soul. Man comes, precisely by intensifying his thinking in such a way that he has the feeling, “I am not only passively surrendering my thoughts to the world, but I am thinking in such a way that a will, directed not by me but by the beings of the world themselves, lives in my thinking.” man comes to realize, especially when he intensifies this thinking, when he makes this thinking stronger than it is in ordinary life — that all thinking and all sensory imagining of ordinary life is nevertheless nothing more than an image, that it has an imagistic character.

It is a great impression that one gets when one comes to this through the intensification of thinking: this ordinary thinking, which one develops by looking at the outer world, which one develops when one reflects on what one has experienced in the outer world, this ordinary thinking is basically only something that runs entirely in images. It is something that has no reality in itself, as it arises. There comes a moment when, if one has followed the spiritual development of modern civilized humanity, something is awakened in the soul that has a shattering effect. It is remarkable for someone who has really had the experiences I have just described to hear that one of the greatest minds of humanity, one of the greatest thinkers of this humanity, the first representative of the newer historical development of world-views, Cartesius, Descartes, uttered the remarkable sentence: “I think, therefore I am. Cogito ergo sum.” That Descartes uttered this sentence is proof for the true spiritual researcher that he did not really look into the spiritual world, that Descartes did not come to that intensified thinking of which I have just spoken, as being based on such exercises as I describe in my book ”How to Know Higher Worlds.” Because when you get to that, then you say the word that Descartes wanted to say differently, then you say: I think, therefore I am not. Because as long as you remain with your soul in ordinary thinking, you are not. Thinking is an image, and one only becomes aware of what is reflected in it when one intensifies this thinking so that one does not experience it as shadowy as one experiences ordinary thinking, but as if permeated by the will; one experiences it as I presented it as pure thinking as early as 1892 in my Philosophy of Freedom.

When one experiences this thinking as an active, self-active process, then one knows that ordinary thinking is a shadow image of a reality, that one is not in the movement of thinking that one accomplishes. Therefore, it also follows from real spirit communication, from the real spiritual researcher, that by repeatedly reinforcing this thinking through the calm experience of thoughts with which he himself meditatively fills his consciousness, it is as if he grows into a reality with this thinking. Whereas he used to feel free in shadowy thinking, he now feels something like a spiritual drowning. And precisely for this reason he must make his whole being strong and vigorous in soul and spirit, so that he is armed against what opposes the intensified thinking, which inwardly, in the soul, is like drowning, like an extinguishing of consciousness. One must live one's way into this intensified thinking with a strong consciousness. In this way, by intensifying one's thinking, one actually experiences the shadowiness of ordinary thinking through direct spiritual perception. And then there comes a point in life that, more than anything I have been able to mention earlier, strikes this human life with a sudden shock. That is the point at which one learns to recognize what ordinary thinking and imagining actually is in its shadowiness, in its pictorial nature. One learns to recognize that it is the shadow of what one has experienced in a purely spiritual world before birth or, let us say, before conception, the shadow of reality, which is called prenatal reality. The life of a human being in the spirit, before birth, before conception, one experiences this, one feels it in the intensified thinking. And then one learns to recognize how one actually has the power of thought, of ordinary thought. One has the power of ordinary thought because one has led a different kind of life in the spiritual world before birth or before conception. And this different kind of life fades away according to this reality, it becomes a mere shadow, and we experience the shadow in our imagination, in our thinking. Time becomes like space. One looks back into the prenatal time, into the time before conception. One looks back into the spiritual world, and one sees the reality that one has experienced there. And just as a spatial phenomenon acts on another spatial phenomenon that is distant from it, so time acts like space. In this view, which I have indicated, prenatal life is still there. And it shows: by thinking, this prenatal life has an effect on my present life. I am, by thinking, dependent on this prenatal life. That shines into my soul being and through it I can think.

In short, what is called the human spirit, independent of bodily life, becomes a perception, but a perception that one must first struggle to attain through inner soul struggles. And now, now light comes into the ordinary view of the soul. Now one knows when one believes in ordinary life: there one has thinking, feeling, willing, which has no connection with the body — this must be so because in this ordinary life of the soul, in this imagining, one has only a reflection of a reality that has become paralyzed at our birth. Now we know that the soul is actually something else than what has been living with us since our birth. And now, when we step out into the world again with this intensified thinking, we see something else besides the ordinary sense world. One can also support oneself in the sense world, but that is not usually advised, and I am not advising it here either, I am just mentioning it for the sake of explanation: At the moment when you make an effort to develop an inner power of imagination of the soul, through which you are able, for example, to imagine a green meadow purely through your inner soul power quite differently than green, namely in the color of peach blossoms – it takes a strong inner effort to do so – then this inner effort that you make to not see the green, to see the soul's counter-color, not the physical counter-color, then this effort works in such a way that it supports you in generating that powerful, that strengthened thinking of which I have just spoken. But then you can also judge other external experiences differently than through ordinary thinking.

Then you meet another person, you enter into some kind of relationship with them, and you say to yourself – not with everyone, but in certain contexts with the other person, and also in certain contexts with other beings of nature, with the world in general. You say to yourself: Oh, I have not in vain reached to strengthen my thinking, I have become capable in this strengthened thinking to leap over the boundaries of nature, to look beyond the boundaries of nature. But then I see what happens to me in life differently than when I stood at these boundaries as at the boundaries of knowledge. Then I see what enters my life as fate, as fateful events, as an effect of past lives on earth that I went through before I progressed to the life in the spiritual world between death and a new birth, which I have just said is reflected in ordinary thinking and imagining. In short, what anthroposophically oriented spiritual science has to say about the life of the human soul in the spiritual world, about repeated earthly lives, is not a gray theory, is not a hypothesis, and is not spoken of as something that has been conceived, but is stated as the result of those cognitions and observations which one only penetrates to when one has prepared oneself for them in the way I have just indicated and as you will find it further explained in my book “How to Know Higher Worlds”.

Today I have indicated the path to the supersensible worlds from this one side. I will speak about the whole context of the supersensible man the day after tomorrow. Today I still have to discuss the other boundary that the spiritual man comes to, the other boundary at which he has to fight a hard inner battle just as at the boundary of natural phenomena. That other boundary is the one which I would like to call the boundary towards one's own human inner being. It is the boundary that man often wants to deceive himself about by becoming a mystic in the ordinary sense. Just as the spiritual researcher has to live much more intensely with natural science than the natural scientist himself, because the natural scientist only comes to his usual results and insights, but the spiritual researcher has to have experiences, struggles with natural science, so the spiritual researcher must also really go through everything that the mystic builds on, in which the mystic often delights inwardly. But at the same time he must undergo an inner struggle with this very joy, with this edification. While the ordinary mystic believes that he can arrive at questions of eternity by a certain kind of immersion in his own inner being, the real spiritual researcher, in penetrating to this inner being of man after the manner of the ordinary mystic, is beset by the most bitter doubt and the most terrible uncertainty. Just as with natural science, the spiritual researcher has to struggle with mysticism, but now inwards. Just as the spiritual researcher must not stop at ordinary natural science and its limits, he must not stop at ordinary mysticism either. For precisely because he immerses himself conscientiously and without illusions in the human interior, doubts and uncertainties arise for him in the face of ordinary mysticism. Precisely because he develops what I have just characterized: the intensified thinking; because he clearly sees into what occurs through mysticism, in which many people feel so at home that they believe themselves to be resting in the divine substance when they inwardly mystically deepen, therefore the spiritual researcher cannot stop at this mysticism, because he has learned not to indulge in illusions when observing it. He has learned to really fight all forms of fantasy. He has trained himself in strictly disciplined, scientific thinking. And so he soon sees through what the mystic calls a life with his divine inner being, with his higher self, as nothing more than the experience of all kinds of unconscious reminiscences, which are only misinterpreted because they have incorporated themselves badly into the soul or because they are overshadowed by the memory.

You see, I would like to give you an idea of this, that the spiritual researcher does not allow himself to be blinded by any illusions; that the true essence of spiritual research, through an inner discipline, through a strict inner schooling, leads to all fantasy. Therefore, the spiritual researcher is not able to calm himself down in the way that the ordinary mystic does. He regards these as subjective reminiscences; he regards them as something to which the ordinary person, in his mystical contemplation, gives himself over to all kinds of illusions. But one thing becomes clear to the spiritual researcher: that one cannot penetrate at all in the way of this ordinary inner contemplation to anything that is really the human soul. One arrives at a true reality just as little as one arrives at a true reality through ordinary, unintensified thinking. One arrives only at the elevation of a certain refined soul egoism. One feels inwardly so well and comfortably when one can say that the soul is absorbed in the divine human being, and the like. Many of those who are revered as mystics live in this comfort, in this refined egoism. The spiritual researcher must see through the true facts here, because, precisely because of his strengthened thinking, it is clear to him what the actual facts are regarding this inner mysticism. It becomes clear to him that if one could penetrate in the ordinary way into the human interior down to the divine-soul core of the human being, one would then not have a power of the soul that is so extremely necessary for ordinary practical and social life: one would not have the power of remembrance, the power of memory. We only have the power of recollection, the power of memory, because we cannot, through inner experience in the ordinary sense, descend into the full human being. The spiritual researcher then acquires an inner insight into how one can truly descend into the inner being of a person through a kind of strengthening of the ordinary soul life.

You see, this ordinary life of the soul takes place to a very great extent quite unconsciously. For are we not, in fact, a different person every day? Anyone who engages in even the most superficial self-observation will notice that they are deeply affected by their experiences each day. Just think how the soul changes from day to day, from week to week, from year to year, by experiencing this or that. Think how we change from time to time, as we go through our lives between birth and death. But man undergoes this process very unconsciously, he does not observe himself in the process, and above all he does not develop the will to make himself different. In ordinary life he develops only a small degree of self-discipline, of self-education. By increasing this self-discipline, this self-education, by consciously taking himself in hand, man comes to recognize himself in life as truly becoming. If we do not just abandon ourselves to life as it presents itself to us, allowing ourselves to be passively trained by life, but if we actively set out to shape ourselves, to educate ourselves, so that we often say to ourselves: Today you cannot do this, you will do that do this or that, so that you can enter into this or that - in short, when you take what self-education is into your own will and become more and more aware of it and make it an exercise; when you do this systematically, then another power is added to the strengthened thinking. Details of this, of which there are many, can be found in the book mentioned. If one carries this out, then the will becomes something different than what it is. Then the will becomes so that it is permeated by thoughts, that it reveals itself as interwoven with light. While the will otherwise remains something very dark for us, which is only stimulated by the thoughts of the head, a thought shines out to us from those efforts of the will, when we have trained ourselves as I have indicated. The world in which we move at will becomes completely permeated with thoughts. The world does not become a mere symbol, but a great fabric of world thoughts, through our will having become active in this way. And then, from these world thoughts, knowledge comes to us that can be added to the others I have mentioned.

Once you have passed this other test of mysticism, once you have recognized that your will is imbued with world thought, then life expands in another direction, but in such a way that something occurs for which you must be prepared, so that no harm comes to the life of the soul. You will find more details about this in the book mentioned. Damage could be caused to the soul because in the moments when one looks into the spiritual world through this other willpower, which is illuminated by thoughts about the world, one must renounce memory, the ability to remember. One cannot remember what one has seen spiritually. If today, on the paths of training that I have just mentioned to you as the training of the will, I have done some spiritual research and want to tell you about it tomorrow, I cannot get it out of my memory. I can only tell you about it if I go through all the events that led to the experience again, so that it arises anew in my soul. One must renounce the actual memory. But instead, the human soul presents itself to the soul, that human soul that cannot be experienced through ordinary mysticism. One experiences it after one has passed the test of ordinary mysticism, after one has overcome that which adapts one to the ability to remember in life. Just as the ordinary world of thoughts and ideas is a shadow of prenatal life, so one beholds that which lives in the will, which otherwise remains so dark – that which lives below memory, that which is spiritually hidden in the human is spiritually hidden in the human body, but cannot be seen, because otherwise we would have no memory in ordinary life —, one then sees it as what remains as a germ when the human being has passed through the gate of death. Then one learns to recognize through direct observation, through perception, that which hovers before man as the immortality of the soul. Then one learns to recognize the spiritual connection between what lives in man before birth and what lives in him after death. Then one learns to recognize the eternal in human nature.

Today I have described to you the paths that lead to supersensible knowledge and observations, to that which gives man a consciousness of the immortality of his soul. I have shown you that it must become a modern path for the development of humanity to ascend to real knowledge of the supersensible world on the basis of everything that humanity has acquired in religious and scientific development. The day after tomorrow I will talk about how this human being presents himself as a supersensible being before our soul.

Today, to conclude, I would just like to summarize in a few sentences what appears to me to be the bridge between the lectures I have given here this year on a seemingly completely different subject and the lectures I am now giving.

You see, I have often had to ask myself in the times that have emerged from the terrible social experiences even before the world war catastrophe, then from the horror experiences during the world war catastrophe and now afterwards: What about the ideas and concepts, with the impulses that people need to really shape social life of their own accord? For man is compelled to shape this social life with the future in mind. And I have conscientiously, truly conscientiously, inquired in the literature and everywhere else I could think of about what ideas about social will are held by the economists of current opinion, by people who think about economics and have to do with economics, and on what basis they form such ideas.

I have just had a strange experience in this search. I have not made it easy for myself, this search, and I have not started from the immodesty of wanting to practice a frivolous criticism everywhere. The one who becomes a spiritual researcher is far from this frivolity. He is very inclined, precisely for reasons that you can gather from today's lecture, to lovingly respond to the ideas and will impulses that people produce. But still, I could not close my mind to the fact that especially the social and ethical sciences everywhere today suffer from a certain imperfection, from a certain lack of clarity of concepts. You can see this in practice when you look at the economists of the various schools of thought and see what one says about goods, about labor, about capital, what the other says about it, and so on. But what people say lives in the terrible struggles of the present, it lives itself out, it wants to be shaped. People fight, fight out of instincts. They make demands and do not know what they are talking about. This is something that weighs on the soul. And then it became clear to me, and I will say this quite openly, where the real harm lies. It became clear to me that in those conceptions which one wants to gain from what lives in human activity, in human production, what lives in what one person does for another in the social order, that which the mere scientific habits of thought give cannot live.

This, for example, is the terrible thing about Karl Marx's political economy, that it starts from the model of the habits of thought in the natural sciences, and that as a result it does not arrive at a true understanding of the external social situation of humanity, but only at a killing criticism and at the suggestion of fruitless revolutionary movements. This is the tragedy of present thinking. And so, when one has the opportunity to have spiritual science, the paths of which I have characterized to you today, on the one hand, and to have the great social questions on the other, one comes to the conclusion that this way of thinking, which people have developed over the last three to four centuries under the influence of ideological thinking and the unreality of spiritual life, is not sufficient to grasp social life. In order to grasp this social life, a training of the spirit is needed that can only be acquired through the spiritual world itself. What is contained in the circulation of goods on the market, what is given to them by human labor, cannot be understood unless it is related to the spiritual worlds to which the human soul belongs. And what lies in the work of one person for another in social life cannot be grasped if one cannot train one's thinking through thoughts that reach into the spiritual world. And one will not grasp what capital is in the right sense if one cannot measure its mode of operation in its purely material nature against what man is as a spiritual being.

In short, we cannot arrive at a knowledge of the social organism without first having spiritual science. This is a fact that has become clear to me, and it is from this fact that I have tried to build a bridge between spiritual science and the impulses for the threefold social organism. How this bridge looks in terms of the development of humanity into the future is something I will also have to talk about the day after tomorrow. I will have to speak about what arises from the basis of such a soul life, which is capable of understanding from common sense that what I have said today is based on truth, about necessities for the social development of the present and the near future.

For decades we have been hearing again and again from the present consciousness with a certain justification the call: the enslaved part of humanity must redeem itself, must free itself. For, whatever may happen in the struggle for this redemption, this liberation, this enslaved part of humanity has nothing to lose but its chains. Now, as true as that is on the one hand, it is nevertheless one-sided for the one who is able to see the whole world, the world that is before man, to see in the light of the spirit. For as hard as it is to bear chains in the material world, as those meant in the saying quoted, so justified it is to strive to shake off these chains, which one can only lose through a struggle – there is still something that must be said to be more terrible to lose than all material chains of humanity: that is the fulfillment of the soul with the realization of the true spiritual man. If we continue to develop under the relationship to the spirit that has emerged over the last three to four centuries, and which can be rightly regarded as an ideology, we could lose something that must not be lost: the awareness of the spiritual nature of man, of the eternal significance of this man. And it will be the task of modern spiritual science to ensure that this awareness is not lost, that man once again fights for a spiritual life in which he appears to himself in his true form. If it undertakes this task, it will make the most important contribution to the social reorganization of human life. But then, when one realizes this, one will also say: it is not only economic struggles that we must boldly sail into, but in the future there will also be spiritual struggles. May humanity prove strong and courageous in standing these spiritual battles, then it will not lose what it must not lose if it is not to sink into the abyss: the consciousness of spirituality, of the eternity of man.

I have tried to give you some insight into the nature of the human being and thereby into the nature of the developing child. For pedagogical artists, such insights are quite practical in that they enable us to guide this human material into life in a fruitful way. From what I have already indicated, you can see that the question I posed in the first lecture can be at least partially answered. I believe that question is particularly important for today’s teachers. The question is: How is it that we have, on the one hand, such a wonderful science of teaching, with all its well-thought-out principles and, on the other hand, so much justifiable public criticism of education and current teaching methods?

The reason is that although pedagogical geniuses developed our principles through a kind of instinctive intuition, although we have many theories about how to teach, this recently assembled collection of principles that has permeated our entire worldview is not related to a genuine understanding of human nature. We cannot develop an art of education from the sciences as they are practiced today. I certainly do not want to trivialize the great progress and triumphs of modern science. Nevertheless we must understand the developing human being from a very different perspective. The sciences have remained theoretical and have created a contradiction between external physical existence and the spirit-soul. We can therefore say that they offer no support or help to our pedagogical principles. Putting those pedagogical principles into practice depends upon teachers who are highly skilled at practicing them instinctively.

Pestalozzi, Diesterweg, and others obviously had a marvelous pedagogical instinct and developed an instinctive understanding of the human being. However, we live in a time when we can go no further on instinct alone. In older patriarchal societies, we could survive more or less instinctually. However, we live in a time when we must become more and more conscious of everything, and we therefore need to consciously understand human beings. We can do that only by bringing the practical perspective needed for teaching into a closer connection, a systematized understanding of human nature. What science tells us about human physiology or biology offers us no basis for the development of pedagogical principles. What modern science tells us gives us no direct help in seeing how we can best use a child’s talents when they are unequally developed.

For that to be possible, our understanding of the human being must be different than that of modern science. I have already mentioned some basic goals for such an understanding. We still need to learn what can create a bridge to a genuine art of education. I would like to stress that in this age of materialism, we are less and less in a position of genuinely understanding the physical human organism. On the other hand, we have hardly anything other than language as a means of approaching other human beings. Although illustrative materials can be very useful in certain areas of education, the method of teaching through illustration should not be the only one used. We need to ask whether language, when used as the primary means of communication with growing children, can really bring us closer to the nature of the child. We cannot answer that question without penetrating a little deeper into the nature of the human being.

Everyone who attempts to form a picture of the human being from normal pedagogical texts or texts on psychology, who attempts to fill education with principles from natural science or psychology, ends up with the idea that a human being is just a collection of various forms. Such people would have the perspective that here we have a human organism, and within the skull there is a firm brain (or at least a semi-solid one). They would also think here are the other organs, the liver, the lungs, and so forth. If we look at things superficially or clinically, the drawings we see would convey the idea that these firmly delineated organs are the only things that exist within a human being. But remember that people consist of at least 80 percent fluid, that they are actually a column of fluid; therefore they consist of only a very small amount of something solid. Is it really possible to assume that a human being really consists only of sharply delineated individual organs? The human being is a column of fluid and is moreover filled with gases. Yet these texts describe the nervous system as more or less solid strands, or possibly as a somewhat softer solid. They have no awareness that these are in fact imbedded in liquid or even in gas, a gas that exists in the human organism in the form of vibrations or rhythmic movements.

Aside from the gaseous aspect, the human being is actually a liquid column and the brain is imbedded in cerebrospinal fluid; indeed much of the life of our organs is connected with the up-and- down motion of the cerebrospinal fluid as we inhale and exhale. If we become aware of these things, we will not ascribe parallel organic processes to spiritual and soul facts; we will not assume they are firmly delineated. Instead we will form a picture that describes how while I am thinking, while I am feeling or willing, the moving fluid portions of my organism take on certain liquid structures which again dissolve.

We need to ask ourselves why, for example, we should connect the process of thinking with some vibrations or similar processes in the nerves. Of course they are not. Why shouldn’t they be connected with the vibrations within the liquid portion of the human being? This is a question natural science, under the influence of our materialistic period, have not even asked. We can be satisfied with what science discovers when we accept its common goals. Modern science has brought about numerous practical results in the area of solid or liquid technology where the liquid exists in an external form in space. It has also been very successful in working with gases, such as in steam technology, where the steam exists in space and can be worked with there.

When we are working with the results of conventional science in a technology, working with inorganic substances, we need to take into account how things operate. For that reason, conventional science in this era of materialism has had such great success, since it has had to closely follow advances in technology. Consider this example: if someone constructed a railway bridge using the principles of mechanics incorrectly, we would very soon see how such a bridge would collapse when one or two locomotives went over it. Such a catastrophe would occur because the proven results of conventional scientific testing were not applied; this is how incorrect principles are corrected in practice.

The further we go into areas where inorganic technology can no longer have a correcting effect, the less we can base our practice upon theory. We need think only of how slowly medicine has advanced in comparison with modern technology. You can very quickly see the significance of incorrect principles in the process of building a railway bridge or similar things. However, when a physician treats someone, it is not at all common to try to determine whether the physician has done everything necessary to restore the person’s health, simply because that is impossible to determine. Here the situation is very different; it is simply not possible to correct theories through practice. You will forgive me if I make a comment here, but I think it is important for teachers, since everything in life is important for teachers. In the areas of jurisprudence or economics, for instance, if we followed the way people’s principles were applied, we would very quickly see how lame the concept of control through practice is. What is officially determined in legal matters is then made correct through laws. This is true in all countries. Whether we can justify such things from the perspective of a genuine understanding of human beings is a question that is just as neglected today as it was when Goethe gave Faust the question of which rights we are born with.

Furthermore people have not the slightest interest in finding out how our use of externally superb pedagogical principles relates to what then transpires with the developing generation. That, however, is just what I want to draw your attention to. We hear a great deal about the terrible social things now occurring in the eastern part of Europe and in Russia. The things being done in Eastern Europe under the influence of Lenin’s1 and Trotsky’s2 theories are horrible. However, people today give no thought to what is actually happening. People today have no idea of what the results of those things being done today will be in twenty or twenty-five years, what kind of barbarism will fall upon Europe. It is, however, the task of teachers to observe what will happen to human development.

Now here is something unusual. You see, in Zurich, Avenarius, an honest and upright citizen, once taught philosophy. Somewhat later, Vogt, a student of Ernst Mach, taught together with the philosopher Adler, who was the same Adler who shot the Austrian Minister Stürgkh. We can certainly not say of Adler that he was as honest a man as Avenarius, but Avenarius was an honest, upright man. Nevertheless he taught a philosophy that was possible to teach only because of the materialism at that time. If you now look into the “state philosophy” of Bolshevism, you will find it is none other than that taught by Avenarius. After two generations, what was once taught in Zurich as an appropriate philosophy has become the theory the Bolsheviks put into direct practice.

People pay no attention to the relationships of different periods because they are not at all clear about what happens when the views of one generation are inherited by the following generation. Of course, I do not mean just physical inheritance. The honest and upright Avenarius taught a philosophy which, after a relatively short time, led to the barbarization of Europe. It is important not to simply accept abstract judgments when we want to see what value a viewpoint has for human development. Instead we must look into the way that viewpoint takes effect. An important responsibility of all education is to look at what will become of what we do in the classroom in twenty or thirty years. All education has the task of placing itself consciously in human development, but we cannot do that without a thorough understanding of the human being, an understanding that spiritual science can give to a renewed natural science. A natural science renewed through spiritual science will not be some fantasy or figment of the imagination. Rather it will provide a good understanding of the material human organism as the physical vehicle for the soul and spirit.

Today I want to mention an important aspect of our soul life that you all know well and that will prove particularly important as we move on to the actual pedagogical subject. The phenomenon I refer to is how what we think about as children eventually becomes memory. You all know that to maintain a healthy soul, we must properly transform the ideas we develop from our sense impressions, that result from our judging and so forth—we can discuss the details of this later—and that we must take the results of this thinking into our memory. When we then describe something, we recall from within our souls what we previously experienced in the external world or in our interactions with other human beings. We bring it back into our consciousness. But what actually takes place here?

The general view has moved more and more toward looking at this process in a one-sided, abstract way, as simply a process within the soul. People ask, what becomes of our thoughts once we take them into our soul? What have they become, once they are taken in and returned to us as memory? How does this process take place? We cannot study this process if we have not first looked into the relationship between the spirit-soul and the physical body in some detail. There are some so-called idealists who might say spiritual science is basically materialistic, since it is always referring to physical organs. To believe that, however, would be an enormous error. Spiritual science recognizes the great effects of the soul on the formation of the organs. It sees the soul as having a greater influence than simply working on abstractions, and in fact sees the soul as actually having the power to form the organs. Spiritual science primarily seeks to understand the soul during childhood, when the spirit-soul continues to work upon the formation of the organs after birth.

In my opinion, Goethe’s color theory offers the first beginning of a really reasonable consideration of the soul and physical life, something that has been previously unrecognized. Yet today all one needs to do to be immediately branded a dilettante is speak about it in a positive way. I believe, however, that physicists will soon see it much differently from the way it is seen at present. I do not intend to go on praising Goethe’s theory of color today, I only want to direct your attention to the wonderful chapter where Goethe begins to speak about physiological colors, and to another chapter toward the end, where he speaks about the sensory and moral effects of colors. Physicists have attempted to refute the portion in between. The beginning and the end have been of more interest to people with an artistic nature, and they can more easily understand them. However, for us to develop a scientific foundation of education, we need to accept some of the help offered by Goethe’s considerations of the world of colors. In the beginning, Goethe draws our attention to the lively interaction between the eye and the external world. That lively interaction exists not only while we are exposing the eye to some color process in the external world, but also afterward. Goethe specifically discusses the after-images that result from the direct impression. You all know these after-images, which occur in the eye itself. You need only expose your eye to, say, a green surface and then turn away from this sharply delineated green area. You will see the same area as an after-effect that is subjectively red. The organ is still influenced for a time by what it experienced in the external world. This is the basic process as it occurs in the sense organs. Something happens in the sense organs while they are exposed to a process or to things in the external world, and something else happens afterward, which then slowly subsides. From an external perspective, we also can see a certain similarity between what briefly takes place in a sense organ and what happens in the human organism in regard to memory. Just as the green surface continues for a short time as red, a thought with its associated images resulting from a direct experience exists in our organism, only the time periods are quite different.

There is another difference that brings us closer to an understanding of the difference in duration. If we expose the eye to a color impression and then see an after-image, it is something partial, an individual organ on the periphery of the human organism that brings forth that after-effect. When a memory arises from within the human being, it reproduces something that existed years before. This is something we can feel, that is apparent, that participates in this reproducing—thus it is the entire human being that participates in this after-effect.

What actually occurs within the human being? We can understand this only when we have a detailed understanding of certain interactions within the human being. Here I want to draw your attention to a fact that our modern scientific way of thinking has put into an incorrect light, namely, the function of our heart in connection with the whole human organism. You now find the heart described everywhere as a kind of pump that pumps blood throughout the organism. Actually, the blood circulation is forced upon the heart. The fact that embryology contradicts the standard view and more detailed observations of the heartbeat and such things also offer contradictions is something modern people still do not want to hear. Only a few people have noticed this: for example, the physician Schmid,10 who wrote a treatise about it in the 1880s, and the criminologist Moritz Benedikt. That was not enough, though. There are only a few who have realized that the movements in the heart are a result of the movement of the blood, and that the blood circulation itself is what is fundamentally alive. Thus the heart does not pump; rather its movement is due to the influence of the living movement of the blood. The heart is nothing more than the organ that creates a balance between the two blood circulatory systems, that is, between that of the upper human being, the head, and that of the limbs. These two movements of blood form a pool in the heart. The blood, however, is not something dead; it is not simply pumped like a stream of water. The blood itself has an inner life and is subject to its own movement. It passes that movement on to the heart, which simply reflects the movement of the blood in its own movements. Just as we can say that there is a parallel between the more or less solid organs and processes in the soul, there is also a parallel, which I mentioned yesterday, between the movements of the blood and soul processes.

What is the task of an organ such as the heart in relationship to the soul? I would like to ask that question in the following way. If, under the influence of a genuinely correct science, we say that the blood itself has life and the movements of the heart, the entire activity of that organ results from the blood circulation and are only inserted into the living blood circulation, then what is the task of the heart?

Unprejudiced observation shows that if we expose the eye to the external world, the eye’s experiences create an afterimage that soon disappears. When we develop the world of feeling, that world has a close connection with the circulation of the blood. It has a connection with other things also, but here I am speaking only of the blood circulation. Recall for only a moment that when we feel shame, we turn red. Everyone knows this is because the blood comes to the surface. If we are fearful, we turn pale as the blood moves toward the inside. The physiologist Lange12 from Copenhagen has done a number of good studies about the connection between blood circulation, and other organic processes, and processes in the soul. Just as in the extreme cases where the soul’s experience of fear or shame has an effect upon blood circulation, the normal life of the soul also continuously affects our circulation. Our feeling life is always active, but it influences normal circulation toward one direction or another only when our feelings move toward one extreme or another. Just as we are continuously breathing, we also continuously feel. Just as our blood circulation is uninterrupted, our feeling is uninterrupted. If we were to follow these processes further, you would see that we even feel during sleep.

What circulates in the blood is the external physical expression of our feeling. Furthermore, our feeling is connected with our thinking. What we imprint upon the circulation also vibrates within the heart. Goethe used the word “eye” to mean an inner, living organ, and the heart is just as much a living organ. It does not just move the blood. It has an enormous significance within the entire organism. Whereas the eye is affected for only a short time by light outside it, the heart continuously responds to feeling and thinking as it relates to feeling with small vibrations that are then carried into the blood. After a time, the heart’s vibrations include what lives specifically in feeling and in feeling-related thinking. The heart is a part of the body that influences us when we remember experiences. All human organs that partake of the currents of organic human fluids, that are included in the liquid currents—whether it is the kidneys imbedded in this flow or the liver connected to it in the digestive stream—all these organs vibrate in unison, vibrate with our feeling and willing in circulation and metabolism. Just as an after-image arises in the eye, in the same way a memory arises within the entire human being, though in differentiated and specific ways; it is a memory of experiences in the outer world. The whole human being is an organ that vibrates, and the organs people normally say are placed next to each other are there in reality so that human beings can process and retain spiritual-soul experience in a certain way. We will see that this only appears to be a materialistic perspective. We will see that it is precisely this that allows us to properly recognize the human being as a spiritual being. Today, however, now that I have mentioned this, you can see how we can grasp the entire human being through such a perspective. We can comprehend the human being not only in the way materialistic science does, by placing the individual organs alongside each other, even assuming that they interact mechanically. The spiritual-scientific perspective shows that the entire human being is unified as body, soul, and spirit, but our thinking separates these three perspectives. In reality, body, soul, and spirit are always interconnected within the human being.

You need learn only a little embryology to learn that the heart slowly develops in the organs of the blood circulatory system, in the system of vessels. You can see that the heart is not there first, with the circulatory system developing from it, but that the circulatory system develops slowly, with the heart as the final result. You can see directly from embryology that the situation is just as I have described it. Therefore, when we consider things from a spiritual-scientific perspective, we need to think of the human liver not simply as a liver, the human spleen not simply as a spleen in the way these things appear when we dissect a corpse in the laboratory. Instead we need to try to investigate the significance of these organs in the spirit-soul life. We do not see the eye, or any of the other organs, as merely some physical tool. Although it is commonly believed that the liver is only an organ in the digestive system, it has a great deal to do with human spiritual life.

We can often learn much from language itself. Ancient peoples, who still had a kind of primal, instinctive knowledge, did not always consider things as abstractly as we do. Take, for instance, hypochondria, which in Greek means “below the cartilage of the breast bone,” an anomaly of the soul that has its origins in the human abdomen, which is indicated in the word itself. In the English language, which in comparison to the languages of Central Europe is still at an early stage of development, the word spleen, as an emotional state, has something to do with the soul. However, spleen also refers to an organ, and for good reason, since the spleen of the soul has much to do with the spleen organ. Such things are nearly all lost. Materialism has nearly lost an understanding of the physical organs, particularly those of the human being. How can we work with a human being if we are not in a position to understand what the human being is physically? We must first understand that the human being is built up piece by piece out of the spirit-soul, so that there is nothing physical that is not a revelation of the spirit-soul.

We need to be able to see the physical properly if we are to have a solid foundation for education. When I say such things, some people may think I want to throw out everything in the world that has been learned through hard scientific work. I certainly do not do that light-heartedly, you can be certain of that. In general, it is much more comfortable to play the same tune as everyone else than to counter prevalent views from genuine understanding and from the realization that a true cultural renewal in our decadent times requires such an understanding in the area of spiritual life. Personally, I would much prefer to present all the scientifically recognized perspectives rather than argue against many of them, particularly where the concern is an understanding of the human being.

We also need to resist the standard scientific perspective when we consider human interactions in practice. Instruction and education are essentially a special case of human interaction. We need to differentiate human life before the change of teeth and then again until puberty. I have attempted to characterize how different the forces are during the first period of human life in comparison to the second. It requires a very different kind of soul experience for these two periods, for the simple reason that the forces connected with imaginative thinking are directed toward an inner hardening of the human body during the first period of life. This activity culminates in the change of teeth at about the age of seven. The most important means of communicating with human beings during that time lies in the principle of imitating the surroundings.

Everything a person does during the years before the change of teeth is done out of imitation. What occurs in the surroundings of a child is enormously important, since the child only imitates. Imitation is one of the strengths of children at that age, and that imitation is directly connected with the same forces that produce the second set of teeth. They are the same forces, and, as we have seen, they are the forces of thinking, of inwardly picturing and understanding the world around us. Thus the forces associated with representational thinking are also the forces connected with physical development. These are the forces active in the child’s motive for imitation. Imagine what it means when you grasp that not only intellectually, but when with the entirety of your being, with your soul, when you have a universal, human understanding of it. It means that when I do something in front of a child who is not yet seven years old, not only do I do it for myself, but my doing also enters the child’s doing. My deeds do not exist for me alone.

I am not alone with my deeds, with my willing, with my feeling. I am not alone with my thinking; there are intangibles that also have an effect. There is a difference in whether I live alongside a child with a good attitude and allow the child to grow up alongside of me, or whether I do it with a poor attitude. These intangibles have an effect but they are not yet recognized. If we do not honor the connection between the spirit-soul and individual physical human organs, then we do not honor what exists between human beings as a real force, the spirit-soul itself.

When we look at the period between the change of teeth and puberty, the will begins to predominate in the way that I characterized it. With boys, we experience this eruption of the will in the change in the voice. In girls, this is expressed in a different way that we will discuss later. What is active in children at elementary school age shows us that it is connected with the will. Something wants to enter the physical body from the will; something wants to become firmer. There is more than simply a desire to imitate, although, as we will see, that remains important in the curriculum until the age of nine. Something more than simple imitation wants to develop, and that is the desire to honor authority. If I do not live as an authority alongside a seven- to fourteen- or fifteen-year-old child whom I am to bring up and educate, for the child that would be the same as if I cut off a finger or an arm so that he or she could no longer physically behave in the way natural to children. I would take something from the child that wants to develop, namely, the experience of having older people nearby, people who, as genuine authorities, are to educate and raise the child.

We now come to something we will have to make understandable to growing children in a way other than through example or through language. We now come to the role of love in education and upbringing. One of the intangibles we are justified in exercising in educating a growing child is authority over that child, and that our authority be accepted as a naturally effective force. We will not have that authority if we are not permeated in a certain way by what we have to present to the child. If, as teachers, we carry our knowledge within us just as some dry, memorized facts, if we teach only out of a sense of duty, then we have a different effect upon children than when we have an inner warmth, an enthusiasm for what we are to teach them. If we are active in every fiber of our soul, and identify ourselves with that knowledge, then the love for what we carry in our souls is just as much a means of communication as demonstrations and language. An education made fruitful through spiritual science enables us to understand the importance of this kind of intangibility.

Notes by Alice Kinkel

On residual spirits of personality and archangels. The picture appears: Moses with the tablets of the law, which he breaks because he finds his people worshiping the golden calf. Other tablets are given by the Christ. That is given, what the Rosicrucians have to say.

Should it not be understood, the spiritual entities would have to withdraw the revelation.

In the middle one of these three lectures there are a number of anthroposophical truths in particular that I would like to develop for you. We shall then see what a great impact on a person's everyday life these particular truths have, and that is what we will talk about tomorrow. Today I just want to draw you attention to some deeper aspects of the being of man.

People very often do not ask the question as to which of man's forces are used to acquire knowledge of supersensible worlds. They try to answer this question merely by saying that there is a possibility of acquiring supersensible knowledge by means of certain forces in man. But what the actual connections are between these forces and man's being, they do not usually ask. That is why so little importance is attached to making knowledge of supersensible worlds really fruitful in ordinary life. It can be said that supersensible knowledge is becoming more and more essential to man, just in our time. In that case it is vital to understand what its connection is with ordinary everyday life.

As you know, the first of the capacities that leads man into supersensible realms is the force of Imagination, the second capacity is the force of Inspiration and the third capacity the force of Intuition. The question now is whether these capacities need concern us at all except in their connection with knowledge of supersensible worlds or whether these capacities have any part to play in the rest of man's life?—You will see that the latter is the case. As my little book Education of the Child in the Light of Anthroposophy tells you, we can see human life running its course in three stages: from birth to the change of teeth, from the change of teeth to puberty, and from puberty till about the twenty-first year. If you do not regard man purely superficially you will be struck by the fact that the nature of man's development is entirely different in the three different seven-year stages. The pushing through of our permanent teeth, as I have often mentioned, is connected with the development of forces that are not merely confined, let us say, to our jaws or their neighbouring organs, but fill our whole physical body. There is work in progress within our physical body between birth and the seventh year, and this work comes to an end with the pushing through of our permanent teeth.

It is obvious that the forces doing this work of developing the physical body are supersensible, isn't it? The perceptible body is only the material in which they work. These supersensible forces, active in the whole of man's organisation during the first seven years of his life, become, as it were, suspended when their purpose has been achieved and the permanent teeth have appeared. At the age of seven these forces go to sleep. They are hidden within the being of man; they go to sleep within him. And they can be drawn forth from your being when you do the sort of exercises I describe in Knowledge of the Higher Worlds as leading to Intuition. For the forces that are applied in the acquisition of intuitive knowledge are the same forces that you grow with at the time of life when this growth culminates in the change of teeth. These sleeping forces that are active within the human body until the seventh year are the forces you use in supersensible knowledge to reach Intuition.

Now the forces that are active from the seventh year to the fourteenth year and go to sleep at puberty in the depths of the body, are drawn forth and form the power of Inspiration. And the forces that in bygone times used to be the source of youthful ideals between the fourteenth and the twenty-first year—it would be too much of an assertion to say that this still happens today—the forces that create organs in the physical body for these ideals of youth, are the same forces you can draw forth from their state of slumber and use for the acquisition of Imagination.

From this you will see that the forces of Imagination, Inspiration and Intuition are not just any old forces got from we do not know where, but are the same forces as those we grow with from our birth to the age of twenty-one. So the forces that live in Imagination, Inspiration and Intuition are very healthy forces. They are the forces a human being uses for his healthy growth and that go to sleep within his body when the corresponding phases of growth are completed.

I have just shown you the connections between the forces of supersensible knowledge and man's everyday existence. Something similar, though, can be said about the forces of man's normal nature, man's nature as it appears in ordinary life. Only there it is not so obvious. A very important force in ordinary life—and we have discussed it many times—is the force of memory. The power of memory is active within us when, as we say, we remember something we have experienced. But, as you all know, there is something peculiar about the power of memory. We have got it and yet we haven't got it. Many a person struggles at some moment of his life to try and remember something that he cannot remember. This wanting to remember but not being able to remember entirely, arises through the fact that the force we use in our souls to remember with is the same force that transforms the food we eat into the kind of substances our body can make use of. If you eat a piece of bread and this bread is transformed inside your body into the sort of substance that serves life, this is apparently a physical process. This physical process, however, is governed by supersensible forces. These supersensible forces are the same forces you use when you remember. So the same kind of forces are being used on the one hand for memory and on the other hand for the assimilation of foodstuffs in the human body. And you actually always have to oscillate a bit between your soul and your body if you want to dwell in memory. If your body is carrying out the process of digesting too well, you may find you will not be able to draw enough forces away from it to remember certain things. There is an inner struggle going on the whole time in the unconscious between a soul process and a bodily process every time you want to remember something. Looking at memory is the best way to understand how absurd it is basically, from a higher point of view, for some people to be idealists and other people materialists. The assimilation of foodstuffs in the human body is doubtless a material process. The forces controlling it are the same as the forces at work in a process of ideas, namely the force of memory. You only see the world aright if you see it as being neither materialistic nor idealistic, but are capable of following up the ideal aspect of what is presented in a material way and following up the material aspect of what is presented as idea. The spiritual quality of a world conception is hot being able to say 'Over there is base materialism, which is for the 'dregs' of humanity, and over here is idealism, which is for the elect—and the speaker usually includes himself among these—but the essential quality of a really spiritual world conception lies in its capacity to take what it has grasped in the spirit and bring it down into material existence so that material existence can be understood and not despised. That is the fallacy of many religious denominations, that they despise material existence instead of understanding it and looking for the spirit within it.

The crux of the matter is really to go into these things, and not, as is still largely the case, to deal in empty phrases where mysticism is concerned. After having as it were shown you how these things can really be gone into, I would now like to bring something of very great importance. When people speak of material existence and supersensible existence they usually speak of them as though material existence were spread out in the world and as though supersensible, non-perceptible existence were somewhere behind or above this. If you imagine you simply have physical-perceptible existence on the one hand and supersensible existence on the other, you will never understand man. There is no way of really grasping man if you look at things from the point of view of the perceptible world versus the supersensible world. In reality it is like this: The world of the senses and the world in which we work and live socially are spread out around us. Let us represent diagrammatically by means of this line this world that is spread out around us (see horizontal line of drawing). You will only have a complete picture of what is actually there in the world if you imagine that there are forces above this line, supersensible forces (red side). We neither perceive these supersensible forces by means of our ordinary senses nor by means of our intellect bound to our ordinary senses. We perceive only what is in the realm of this line.

But there are forces under this line as well. If we actually want to include the whole of the imperceptible or spiritual realm we must speak of subsensible as well as supersensible forces. So we must imagine that there are also subsensible forces here (orange side).

Thus we have the sense world, supersensible forces and subsensible forces. Where does man himself, as an ordinary person, belong? The part of him you see standing in front of you belongs entirely to this line. But supersensible forces from one side and subsensible forces from the other side work into the part of man that belongs to the line. Man is the result of supersensible and subsensible forces. Now which of man's forces are supersensible and which are subsensible? All the forces connected with understanding are supersensible, that is, everything we make use of for understanding. And these are the same forces that also form our head. So we can say that the supersensible forces are the forces of understanding.

Now subsensible forces also work into man. What kind of forces are these? These are will forces. All the will forces, everything in man that is of the nature of will, is subsensible.

An obvious question is where do these subsensible forces, these will forces, come from? They are the same forces as the forces of the planets, that is, from our point of view, the forces of the earth. Yes indeed, the forces of the earth are perpetually working into man. And it is our forces of will that are connected with these forces of the planets, these forces of the earth. The forces of understanding come to us from the world's periphery, and pour into us as it were from outside, from the outside of the planet. The forces of will enter into us from the planet itself. This is how the forces of our own planet earth live within us. The moment we enter birth the forces of planet earth are active within us.

The question now arises as to how this activity is distributed. There is a considerable difference in this respect in the first, second and third stage of life, that is, up till the seventh year, the fourteenth year and the twenty-first year. The will working in us up till the seventh year works entirely from out of the planet's interior. It is very interesting to see spiritual-scientifically that in everything working in the child up till the age of seven it is the forces of the earth's depths that are active. If you want to see an actual manifestation of the forces of the earth's interior, then make a study of everything going on in the child up till the age of seven, for these are the forces from within the earth. To delve down into the earth to find the forces of the earth's interior would be absolutely wrong. You would only find earth substances. The forces that are active in the earth come to manifestation in the work they do in the human being up till his seventh year. And from the seventh to the fourteenth year it is the forces of the encircling air that work in man, forces that still belong to the earth, to the earth's atmosphere. These are predominantly at work in everything developing in the human being between seven and fourteen. Then comes the most important stage of all, from fourteen to twenty-one. At this stage the subsensible passes over into the supersensible. Here a kind of balance is created between the subsensible and supersensible. Now the forces of the earth's whole solar system work at organising the human being.

So we have the earth's interior in the first period of life; encircling air in the second period of life, that is, what the earth itself is embedded in. The forces streaming down from cosmic spaces in so far as these cosmic spaces are filled with our own actual planetary system, up till the twenty-first year. Not until the age of twenty-one does man tear himself away, as it were, from the influences brought about in him from outside by the planets and the planetary system belonging to these.

Please notice that in everything I have referred to as having an influence on man, bodily influences are of course included. They are bodily processes that the forces from the planet's interior bring about up till the seventh year. They are bodily processes that are formed by the circulating air in connection with the breathing and so on between the seventh and the fourteenth year. There is no doubt that they are bodily processes, in fact actual transformations of bodily organs are brought about; everything being connected with man's growing and becoming larger. Thus man grows beyond all this work being done on him by the earth; all this ceases at twenty-one.

What happens then, however? What happens after twenty-one? Up till twenty-one we draw on what comes from the earth and its planetary system in the way we have described. We build up our constitution with the earth's help. Then, after we have reached the age of twenty-one, we have to draw on ourselves. We gradually have to release what we have put into our organism from out of the forces of the planet and the planetary system.

Activities going on in the blood forces always used to ensure that this happened in the past. As you will probably know, man has not learnt to release the planetary forces, himself, after the age of twenty-one. And yet he has been doing so. He did it as an unconscious process. The capacity was in his blood. It was built into him to do it. The important change in our present time—and the present extends over a long period of several centuries, of course—is that man's blood is losing the capacity to release what we have put into the organism in this way, before twenty-one

The important changes taking place in humanity at the present time are based on the waning of the forces in the blood. These things cannot be testified by external anatomy and physiology; to do that they would need to investigate bodies from the tenth or ninth centuries in order to discover that blood was different then. And they would not even have had the chemical tests to do it. But through spiritual science we can know with certainty that man's blood has grown weaker. And the great turning-point when human blood began to grow weak lay in the middle of the fifteenth century.

What are the consequences? The consequences of this are that what we cannot carry out unconsciously any more by means of our blood, we have to carry out consciously. We have to educate ourselves to do consciously what was simply done unconsciously by man's blood in the past. For the strength in our blood is in the process of fading away. What would happen if a time were to come when human beings completely lost hold of their youth, and were unable to draw on their youthful forces, if there were no means of resorting to doing consciously what was once done unconsciously by the blood?

You must not take these things in a purely theoretical way, of course. As theories, they may be interesting, but to take them as theories is not enough. Nowadays they have to be put into practice, for they are connected with the practical matter of the evolution of mankind. They must be put into practice to the point of making us conscious that man's whole educational system has to change. We have to help man to develop a strong, conscious capacity to re-experience later in life, as though with the force of elemental memory, what he has received in his youth.

Everywhere, people are still working contrary to this requirement. For instance they are proud of the visual aids used in primary school education, and they attach great importance to getting down to the mental level of the child as far as possible, and not teaching him anything that extends beyond his mental capacity. They actually rig up calculating machines so that they can teach the children to do all kinds of sums by counting balls. Nothing must go beyond the child's mental capacity. These visual aid lessons get frightfully trivial and trite. It is bound to lead to nothing but commonplace concepts if they avoid giving the child anything beyond its own mental capacity. People who do this, thoroughly overlook an important yet subtle observation of human life.

Supposing a child is taught in such a way that he takes a particular thing in, not because it is absolutely on his own mental level, but because his teacher's warmth of enthusiasm gets passed on to him, and the child takes the thing in because the teacher in his enthusiasm tells him about it. The child takes it in just because it lives in the warmth emanating from the teacher. If the child absorbs something that reaches beyond his understanding, purely because of the infectious quality of his teacher's enthusiasm, he will not yet understand what he has taken in, as people say in superficial life. Yet what he has taken in lives in his soul. At the age of thirty the grown-up will remember what the child took in, perhaps at the age of ten. He re-experiences it. He has become mature now, and he can understand what he is able to release from the depths of his soul; he can understand the thing he was taught purely through the force of enthusiasm, and which he is now able to release from his mature mind. You know, these are the most valuable moments in life, when your mental life does not have to be restricted to what comes to meet you from outside, but you re-experience what you took in in your younger days with inadequate understanding, and which you can now release and absorb with your more mature mind. The more care you take that the child does not just get the sort of lessons where it matter-of-factly takes in what it understands—for that will disappear with the passing years, and neither joy nor enthusiasm will come from it later—the more you will be doing for the person's later development; for lessons taken in purely through the teacher's warmth are life giving when they are re-experienced.

Nowadays this is of particular importance in teaching- In earlier times it was not so important, for in those days the releasing was carried out by the blood, whereas now it has to be brought to consciousness. It certainly makes a difference if you understand the kind of things that are being put to practical use by spiritual science. Because if you understand them in the right way you will find an opportunity somewhere in life of making practical use of them for the good of humanity. In this case, if you understand it properly, you will find an opportunity to make use of the fact that our blood is becoming weak, by attaching all the more importance to the teacher's capacity for enthusiasm.

But people are so little aware nowadays of what is at stake. For standardised education still plays a great part, that is, the kind of education that works with a whole set of standard rules. Education is learnt, how to teach a child is learnt, how to arrange the lesson is learnt. Comparing this with our present day consciousness it would be like learning that man consists of carbohydrates, protein and so on—these are our constituents and they undergo such and such changes inside our body, and we cannot eat before we have understood this; for we do not eat in a physiological sense until we understand it.—I told you once, and you may even have experienced this yourselves—, that you can already come across a thing like this:—You visit someone who has a scale standing beside his plate, and he carefully puts a piece of meat on the scales to find out how much it weighs, for he may only eat a piece of meat of a quite specific weight. Physiology already determines his appetite. But not everybody does it this way yet, thank goodness! It is important to understand that physiology is not part of the eating process but covers other aspects, and that a person can eat without having studied physiology, the physiology of the nutritional process. But we do not take it for granted that we also ought to teach, that is, teach in a living way, without having absorbed standardised education. This standardised education is exactly the same thing to a good teacher as the aesthetics of colour is to an artist. He can have studied aesthetics of colour very well, but he will not be able to paint because of that. The ability to paint comes from an entirely different quarter from the study of the aesthetics of colour. The ability to teach comes from an entirely different quarter from the study of education. The important thing, today, is not to give would-be teachers a seminar of some sort of standardised education that prescribes dogmas, but to give them the sort of thing that makes them become teachers and educators in the same way as people become artists or botanists. It is that the educator has to be born in a person and not that education has to be learnt.

What has to be understood just because of this very change in man's set-up is that education has to be a real art. In the time of transition people were at sixes and sevens as to what to do about education. That is why they invented so many abstract educational systems. The essential thing today, however, is to give people a real knowledge of man, especially if they are teachers. You see, if you possess this real knowledge of man and work out of it with children, a remarkable thing will happen: Let us suppose you are a teacher and have your pupils in front of you. If you are a student of standardised education, the kind that follows the rules, then you will know exactly how you have to teach, because you will have learnt the rules. You will teach according to these rules, today, just as you taught according to these rules yesterday and will teach according to them tomorrow and the day after tomorrow. But if you are the artist kind of teacher you are not nearly so well off. For now you cannot teach yesterday, today, tomorrow and the day after tomorrow according to the same rules, but have to learn from the child afresh each time, how he has to be taught; it must be man's own nature every time that determines what you do. And it is ideal if the teacher can teach the way the child tells him to teach, and can keep on forgetting actual education and has not got a clue about the rules. For the moment the child stands in front of him again he will again be electrified by the growing child and will know what he has to do with him.

You must pay attention to the way things have to be said, to the way things have to be spoken about today. You cannot speak about these things today in such a way that they can be put into so and so many satisfying principles, but you can only speak about them by pointing to something alive, something that cannot be reduced to abstract principles but which is alive and produces ever more life. That is the crux of the matter. That is why spiritual science is needed in actual life today, because spiritual science is not merely for the head but is for the whole of man and releases will impulses. Indeed it ought to enter into many realms of life, so that impulses of will are eventually brought into every sphere of human activity.

I have demonstrated this in one particular realm of life, namely education, and shown how the education of children under the age of twenty-one can be made to bear fruit for later life. People do not receive an education only up to the age of twenty-one, though, for education carries on throughout the whole of life. But this only happens in a healthy way if people learn from one another.

This too was done by the blood in earlier ages of history. When people met in social life they used to learn things from one another unconsciously, some people learning more and others less, according to the way their blood worked. But our blood has grown weak and has lost its power. This activity, too, has to be replaced by more consciousness. People must achieve the art of acquiring relatively more for themselves from other people compared with what they produce from out of themselves. In earlier times it was sufficient to rely on life. The blood did everything. Now it is essential for people really to develop a sense for the other person's being. This will come about as a matter of course if people steer their thoughts in the direction of spiritual science. Different kinds of thoughts are stimulated with spiritual science than without it.

You will not doubt this fact, for the way spiritual science is received by people who do not want to know anything about their thoughts shows that spiritual scientific thoughts are different from thoughts without spiritual science. It is necessary to develop a totally new way of thinking. The kind of thinking we develop when we accustom ourselves to working with supersensible thoughts is the kind of thinking that has an effect on our organism. And when I told you today that memory is the same force that transforms food into substances man needs for his organism you will no longer be astonished to find that other forces can be transformed in man, like for instance the force with which we understand supersensible things being the same one that helps us to know the human being better than we would know him if we had no healthy longing for supersensible knowledge.

You people study what is in my Occult Science, and to do that you have to develop certain concepts that most people would still call 'Utter madness'. A few days ago I got yet another letter from someone studying Occult Science, and he says that nearly every chapter is pure nonsense. You can understand people saying it is pure nonsense. Why, it is quite obvious that they often say it these days. Yet these people who do not put themselves out to accept the kind of concepts that lead to Saturn, Sun, Moon, Jupiter, Venus and Vulcan, and do not get down to developing ideas about a world that is not limited to the senses will also not acquire any knowledge of man. They do not see the human being in the other person but notice at the most that one person has a more pointed nose than the other, and one has blue eyes whereas the other has brown. But they notice nothing of man's inner being that manifests as his soul and organises his body. The same force which enables us to take an interest, and I am not saying now that it enables us to have supersensible occult powers, but the same force that enables us to take an interest in supersensible knowledge also gives us the kind of knowledge of man that we need today.

You can set up the most grandiose social programmes and develop the finest social ideas, but if people shy away from acquiring any knowledge of man and do not see any real humanity in one another, they will never be able to bring about social conditions. They cannot produce social conditions unless they establish the possibility that people can be social. But people cannot be social if they do not see the human quality in one another, but live entirely within themselves. Human beings can only become social if they really meet one another in life, and something passes between them. This is the root of the social problem. Most people say of the social question nowadays, that if certain things were arranged in such and such a way people would be able to lead a social existence.—But it is not like that. If things are arranged like that, social people will be good people in a social sense, and anti-social people will be anti-social with any sort of arrangement.

The essential thing is to make the sort of arrangements that allow for human beings to develop really social impulses. And one of these social impulses is knowledge. But as long as you go on educating people, for instance, with an eye to their becoming clerks or army officers or some other kind of civil servant, you will not educate them to recognise the human quality in others. For the sort of education that is good for becoming a clerk or an officer only helps you to see clerks and officers in other people. The kind of education that makes human beings of people also enables them to recognise people as human beings. But it is impossible to recognise people as human beings if you do not develop a sense for supersensible knowledge. And the realm in which supersensible knowledge is most indispensable is in the art of education. Therefore the natural scientific, materialistic way of thinking has done more damage in the field of education than anywhere else. And here you can experience the most amazing things.

In every department you find well-meaning people today, who want to reform everything, even revolutionise them. But if you talk to these people about these things, something very strange transpires. They will admit quite honestly to a particular conviction about reforming things. Yet one of them who happens to be a tailor will ask you how his existence as a tailor is going to be affected when things change. And another person, who is, let us say, a railway clerk, asks you how his life as a railway clerk is going to suffer when things are changed.—These are only given as examples to show you that people are perfectly in agreement that everything should be changed as long as nothing changes and everything remains exactly the same. The vast majority of people today are convinced that everything must stay exactly the same when it changes. Make no mistake about the fact that the sort of social improvement people long for today is of extremely abstract dimensions. People long for a great deal, but nothing must change where their comfort is concerned.

And this is particularly true where it is a of people taking an inner step into an entirely new situation. Nevertheless the essential thing is that people open themseIves to the possibility of making the transition to thinking in quite a new way about man changing himself in his innermost being.

All sorts of questions arise from these considerations, questions that are absolutely pertinent to life. What we must realise is that we have constructed a deeper foundation for these questions, by saying that although certain forces appear to be of a spiritual-soul nature, they also come to expression in our bodily nature. For the capacity is terribly lacking today, to bring down to a material level what we think of on a spiritual level. Not until we are capable of bringing down on to a material level what we think of as being spiritual shall we be able to grasp the actual nerve of the social question.

Thus it is virtually a matter of aiming towards a way of thinking that really develops a knowledge of man that is at one and the same time a social impulse. A way of thinking based on anything else is not adequate. A mentality based on the life of the state or the life of economics creates clerks and officers. But the sort of mentality we need creates human beings. This can only be the sort of thought life that breaks away from the sphere of economics and the life of the state. That is why our Threefold Social Organism had to happen. We had to show in a radical way that any kind of dependency of thought life on economics or on the life of the state had to stop, and thought life had to be set up on its own basis. Then thought life will be able to give economics and the life of the state what economics and the state cannot give to the life of thought.

That is the important thing, that is what is vital! Whole human beings will only arise again when we work out of an independent life of thought.

One of the repeated objections to the search for spiritual knowledge, in the last third of the nineteenth century, is this: when a man has passed through the gates of death he will see the nature of the spiritual life as lived without the physical body, but while here in the physical body attention must be paid to earthly life; here man should live as if the earth were his sole sphere of activity. A deeper study of Spiritual Science shows us increasingly what a superficial grasp of spiritual life is contained in such a statement. It teaches us that things are not really as though life in a physical body before death were entirely separate from life in the spiritual world after death, as if the one did not contact the other. We shall best come to a common understanding for study, if we consider what we already know of the connection of the spiritual life with physical life. Let us begin by reminding ourselves of what we have learnt from Spiritual Science about the alternating life of man between sleeping and waking. We speak of this rightly when we say: The Ego and astral body are outside the physical body during sleep. This is a sufficient answer for the immediate demand for knowledge, but only one aspect of the full truth; it is as though we were to say: the sun rises in the morning and sets in the evening, and is not there in the interval. We know that for the earth this is not the case; we know that during the time the sun is not shining for us it is shining elsewhere, giving its light to other inhabitants of the earth when it is dark for us. It is much the same with the life of the Ego and astral body in. relation to that of the physical and etheric bodies, if we take a wide view of it. True, the Ego and astral body are outside the physical body during sleep, but only partially they are outside the blood and nerve-systems. When we all asleep the sun of our Ego and astral body sets in this way for the blood and nerve-systems; yet from the Ego and astral body outside, the forces radiate while we are sleeping into those organs not connected with the blood and nerves. Our body lives in two spheres. We live in one while awake, when we are ensouled by our Ego and astral body; and in the other when we sleep, in the sphere from which the radiations and force of our Ego and astral body pour into the activities of our body-with the exception of the functions connected with the blood and nerves. Actually during sleep we are in the spiritual world with our Ego and astral body—as it were inserted into it—and just those forces of the astral body and Ego of which man is unconscious in normal human life, stream into his bodily organs when he is asleep. Thus we see the enormous significance of sleep for healthy human life on earth. I will make this clear by a little diagram. Let us take (a) for the sphere of the spiritual world, and (b) our body on earth. I will then shade the part connected with the blood and nerves; the other contains the organs apart from the system of blood and nerves. This cannot really be so sharply divided, for in a certain sense the nerve and blood systems are themselves organs with activities of their own like the other organs; but in so far as they are instruments for the conscious soul-life they may be considered as ensouled and inspired by the Ego and astral body.

This same Ego and astral body are taken into the sphere of spiritual life during the night and they thence radiate their forces into the other organs of the body. Thus we may say: There is in our physical body something that is strengthened and revived by what our soul in its sleeping condition draws into itself from the spiritual world and with which it is permeated by the spiritual world. The sun of our Ego and astral body sets for the nerves and blood, in so far as the Ego is connected with the blood, and the latter is not merely bodily life. It sets for the blood and nerves when the human being sleeps, and shines into the other organs functioning in our body. From this fact we can easily understand that sleep is an important Healer, and that unhealthy sleep may be regarded as one of the most deep-seated causes of illness, especially in relation to certain inner functions of our bodily life. Spiritual Science shows us that the way in which our Ego and astral body leave the blood and nerve-systems during sleep and enter spiritual life, is a matter of great consequence. Such things as I am about to discuss can apparently be refuted easily by so-called external experience, but the Spiritual Scientist must become accustomed to the fact that these refutations are only apparent, and that what is actually derived from the observations of inward processes is true. If the outer facts seem contradictory, we must search and see in how far they are illusion. I will now give a concrete instance, verified by Spiritual Science, which has an important bearing on this point.

Human life changes with respect to many things, but certain fundamental facts of life remain constant for long periods. In the Middle Ages there existed a certain fear, the so-called fear of spirits, of all sorts of elemental beings and ghosts; this we now call mediaeval superstition. In our day the object has changed, but not the fear; for just as the people of the Middle Ages were afraid of ghosts-—those of the present time are afraid of bacilli and similar things. It might be said that ghosts are more respectable and more to be feared than bacilli. The change has come about through the fact that formerly people were of a more spiritual disposition; they were afraid of the elemental spirit-beings; while now as the disposition is more materialistic, the spirits must be of a physical nature. This corresponds better with the age of materialism. What I wanted to say, however, is that Occult Science reveals the fact that bacilli are nourished in the human body if they are to thrive. Human beings do cultivate them. Of course everyone in the present time will say that it would be silly to breed bacilli. This is not a question of principle of any kind, but of looking at things from the right standpoint. It cannot be denied that, as Spiritual Science teaches, an Ego and astral body which have been fed on materialistic ideas alone, and have rejected all spiritual conceptions and wished to have nothing to do with them, when they leave the body during sleep, send into the bodily organs forces from the spiritual spheres which are just what the bacilli need. Nothing better can be done for the rearing of bacilli than to carry crude material ideas into sleep-life; thereby calling forth Ahrimanic forces which stream into the body and become the cultivators of bacilli.

To form a proper judgment of all this, we must understand clearly that the moment we turn to the study of spiritual life, we immediately have to consider what is called human fellowship. For a common co-operation in fellowship is effectual in a far greater measure when working at spiritual matters than when only concerned with the physical plane. We might say that in order to have no harmful bacilli in our bodies, it is best to apply the remedy of falling asleep with spiritual thoughts in our minds. Perhaps that might become a remedy, if it were to be medically proved, so that the most materialistic people in times to come would allow spiritual thoughts to be prescribed for them; and something contributing to spiritual life might be hoped for in this way. But the matter is not so simple, for the importance of communal life really begins when we touch spiritual matters, and there we can say: it is perhaps of no advantage to the individual to cherish spiritual ideas if all those around him are breeding bacilli by their materialistic thinking; here the one breeds for the other. This is an important fact and we must bear it in mind. Therefore I must again emphasize what I have already told you, that Spiritual Science can only be fruitful in its service to humanity when it does not merely serve the individual. It is not enough for the individual to accept it; Spiritual Science must patiently wait until it can become a factor in civilization, until it grips the heart and soul of the many; then we shall see what it can do for man.

There is, however, something which affects the Ahrimanic beings in the bacilli just as strongly. I say Ahrimanic beings, for I can easily show you the difference between Ahrimanic and other beings—and even externally it can be easily seen. Around us we see Nature with her many creatures; all that lives outside in Nature draws its life from the good, wise and progressive beings. Everything having its existence in other organisms and preferring to thrive therein belongs to the creatures of a Luciferic or Ahrimanic order. All parasites are of Luciferic or Ahrimanic origin; if we remember this we can easily distinguish the differences in the nature-kingdoms. There is something, as I said, very helpful for Ahrimanic creatures when they infest the human body. Suppose we are living at the time of an epidemic or plague. Naturally at such a time we must look after others, and a strong human fellowship or co-operation comes into being, for the karmic conditions may actually be such that the one who in his individual life seems least likely to have the illness, falls a prey to it. Nevertheless—we must not be deceived by appearances—what I am going to say is generally true. If we are living among the sick or dying and have to absorb these pictures that are around us and then fall asleep with these pictures in our minds and if nothing is linked with them but selfish fear, the imaginations arising from these pictures in the soul during sleep become filled with this selfish fear, and that enables injurious forces to enter the human body. Imaginations of fear are really the fostering forces for the Ahrimanic enemies of man. When a noble disposition is present, so that egotistic fear retires and loving help for others prevails, and we pass into the sleep life, not with fearful imaginations but with the effects produced by loving help, this means destruction for the Ahrimanic enemies of humanity. It is quite true that by the encouragement of such an attitude we could put an end to epidemics, if we regulated our conduct accordingly.

Here I may indicate how some day (but it cannot be yet) the results of knowledge of spiritual life will be seen in the social life of humanity: human souls will become strong through spiritual knowledge, and those whose disposition is to accept spiritual Knowledge will work healingly on material life on earth.

Hence we see how unjustifiable the objection is, that while living on earth we need not bother about spiritual life. A great deal depends upon the kind of spiritual life we take with us into sleep while here on earth, for by it we mold our souls into good or bad instruments for the sending forth of forces from the spiritual world into those organs of the body which are not used as instruments by the soul in the day consciousness, but which function physically and chemically beneath the threshold of consciousness. Those functions which do not belong to the activity of nerves and blood in the human being but are simply of an organic nature-physical and chemical activity—those are not life functions such as obtain in the plant and mineral kingdoms, but functions into which the forces of the spiritual world flow during sleep. Therefore we see the importance of being able to carry spiritual knowledge into sleep life, and we realize the attitude of mind it creates. If there still is doubt as to the inter-working of the spiritual and physical worlds, we may, among other things, make the following remarks.

Let us imagine that some sort of climatic change were to corrupt the whole ground of the earth, so that nothing good for food could grow on it; we should then discover how important the earth's mineral and plant kingdoms are for man. If the earth were to decay under our feet, we should realize how much we need the lower kingdoms of earth, that human life may be sustained. What the ground and fruits are for our physical life that we are, as living beings with the activities of our souls, for those who have passed through the gates of death. It is a fact that the dead living in their sphere have need of a ground from which they may gather fruits. The following illustration will give an idea of this: Let us think of a crowd of people asleep, all filled with conceptions belonging to earthly life alone, materialistic ideas. This ground which they form for the dead, is just as sterile for them as waste, corrupt ground would be to us. The dead feel this as a region in which they starve.

Every spiritual conception which we take into our soul and carry into sleep helps, while we sleep, to create part of the ground needed by the dead, even as the mineral and plant kingdoms are needed by us. In a certain sense souls filled with spiritual ideas during sleep, form the fruitful spiritual basis for the nourishing of the dead; and we take away the nutriment which the dead need and which must be gathered on our earth, if we allow our souls to become desolate, i.e., empty of spiritual ideas—and conceptions. Here we see still more clearly the importance of cosmic spiritual knowledge, and its fruitfulness for the spiritual world itself. Just as our sleeping souls provide the ground from which the dead draw their sustenance, so, if we knowingly cause spiritual concepts to pass through our souls that helps the dead in their power of perception. For this reason I have advised those who have been bereaved to read to their dead. If we call them to mind, and read in thought something from Spiritual Science, or cause any other spiritual thoughts quietly to pass through our souls, our dead will perceive these. They observe them and are nourished by the unconscious after-effects of the spiritual ideas. Their own consciousness is refreshed or revived by means of what has been read to them. Here again we see constant intercourse between the physical and spiritual worlds. It may easily be suggested that the dead are in the spiritual world and that this method of reading can be of no use to them. Yes! They are in the spiritual world, but the concepts of Spiritual Science have to be formed on earth, and nowhere can they be conceived except in the minds of men on earth: the dead are indeed in a spiritual world and precisely there can these conceptions reach them and sustain them, and we enhance their consciousness if from earth we send these to them. As the most intimate connections exist between the dead and those amongst whom they have lived, the best persons to read to them are those who were friends and helpers before they died, or who have been closely related to them. If you cultivate such thoughts about the connections of the physical with the spiritual world, you will actually experience a new disposition, which truly in the greatest sense of the word must be called the religious disposition of the future. From such spiritual-scientific studies as have just been given, a disposition will be developed which in the highest sense deserves to be called religious, for he who thus acknowledges the spiritual world will build upon the foundations of the Divine Wisdom streaming through the Cosmos.

It is tremendously important that we should acquire this feeling of the ruling Wisdom in the Cosmos and that we should fill ourselves with it. When humanity is permeated by this feeling, it will, with a deep genuine confidence in the wise ruling Wisdom of the Universe, accept its destiny and all the strokes of destiny which are so hard to bear. When we observe the spiritual worlds in which the dead live, we can often see how much easier it is for the dead when the friends they left behind on earth are permeated with this ruling Wisdom of the Universe. Weeping over the dead is, of course, quite natural; but if we cannot put an end to our weeping it looks as though we doubted the ruling Wisdom of the Universe; and he who can look into spiritual worlds knows, that those who long for their dead to be here and not in the spiritual world, are doing the greatest harm to them. We very much help the dead in their life after death if we accept our destiny, and think of the dead as having been taken from us at the right moment by a good ruling Wisdom, because they were needed for other spheres of existence beyond earth. In the future much will depend on people helping more (not less) in all that touches the sorrows of humanity, having a clear knowledge that destiny is ever at work, and that if through Karma even death has befallen those who belong to them, this had to be. This must not prevent us, as long as a person is living, from doing all that is possible to help him when he is ill if he is amenable to treatment, but as human beings, we may not presume to go beyond what is allotted to us as such. We must be sure that the ruling Wisdom of the Universe is wiser than we are. This is all commonplace and trivial, but it is too little spoken of to-day. Great happiness would come to both the living and dead, if this knowledge were more generally circulated; if it could enter as a conviction into men's souls, if they could think of the dead as living, as having experienced a transformation of life, and not think of them as having been taken from them.

If we only observed a little of this connection between the physical and spiritual worlds, we should see the manifold ways in which the one world is intimately linked with the other, and that the affairs of the physical world only become clear when observed in the light of the spiritual world. If with reference to anything that happens to us in the physical world we could but succeed in finding the spiritual causes of some stroke of fate or misfortune, we should look beyond it, and understand that what seems supremely sad may be understood at the fount of Cosmic Wisdom. We must emphasize this over and over again. It does not alter the fact that much suffering may come to us; but it does alter our attitude to it, we do not sink under it and shut ourselves egotistically in our sorrow, or withdraw from the world's life, which we certainly ought not to do. Many other things are similarly linked together and precisely these significant incidents teach us the falsity of the saying that we need not trouble about the spiritual life during our physical life on earth. For the bringing of spiritual ideas, feelings and convictions into physical earth-life is of great importance. Let me now add some examples to what I have told you to-day. Examples will show us clearly the truth of what I have been saying.

A person well-known to some of the members of our Society died before attaining middle age. If a person dies early in life, about the beginning of the thirties, it is often asked: What is the meaning of this? Why should a person be cut off from earth life in the first third of his physical life on earth? When we traced this person back, to describe what she was as an individual, we came to an earlier incarnation about the third or fourth century after Christ, in which she had acquired certain forces, of which we may say that, civilization being as it was at that time, these and similar soul-capacities did not really belong to that period. The time had not arrived when the talents then acquired by the soul of this individual could be used. She was born again in a new life, became one of our members and died before the first half of her life, the ascending part, had been completed. In this case we could immediately see, on studying the whole connection of the physical with the spiritual, that this person was one of the most important and significant workers with us in all our Cosmic work.

Materialism is rampant in our times, it puts its stamp on earth-life more than we realize. In our day particularly, materialism is so strong that those beings of the higher Hierarchies whose task it is to carry on the progress of Cosmic evolution actually cannot rescue all the souls who have to-day become materialistic. These must not be left behind, they must be saved; yet their salvation can only be accomplished by the death of certain souls at an early age, who take with them into the spiritual world the forces which would otherwise have been used in the course of their earth-life, and which they then transmute so that they may help the beings of the higher Hierarchies who are working for the redemption of the materialistically-minded souls. Persons who have thus died early in life, are a wonderful help to the higher beings. Now in the case of the soul to which I am referring, something special resulted. She brought with her into her latest incarnation the powers which could not be fully used in her earlier life, poured them as it were into her body, which became weak and ill because of the penetration of these forces. The soul was too powerful for the body; it really contained very great powers. This person died at the above mentioned early age, and, with the forces which instead of being weakened by age remained at their youthful strength, she passed through the gates of death into the spiritual world, still possessing the fund of strength which would have served a long life in that incarnation, and filled to overflowing with earthly force would have so poured itself into the body, as to bring the same into relationship with the external world. Instead she was able to take up spiritual ideas enthusiastically and thus to bring a great supply into the spiritual world. When we trace this individual, who was dear to a large number of our friends, we may learn a great deal from her. What we see in her is, that at a definite time (in this case about the Third or Fourth Century A.D.) certain forces appeared on the path of human evolution which could not be brought to fulfillment then, and that the work to be done through these forces must be taken up later—we have to look back to what belongs to an earlier period and is preserved by certain individuals for a later life. Now when we look for this individual during her life after death we observe direct results—we see that the powers which have lain dormant for a time, reserved for a coming period, now burst forth and are preparing for humanity's future. Thus we see how a later life must be linked with an earlier one, when talking of human evolution. We could not know certain things, of which it may be said that what had existed in the third and fourth epochs had to be revived in the fifth post Atlantean times, unless we could see into the spiritual worlds and say: ‘There we see an individuality who, by means of a short life on earth, acquired faculties which shine forth like a revival of something that has been lost to human life.’ A great inflow of strength comes to the spiritual investigator on observing such individuals in their life after death.

If the time of physical life on earth were ever so bad, if ever so many enemies were to arise against Spiritual Science, and if danger threatened on all sides, it would certainly be a sad and desperate outlook; but there is one thing which may always be a comfort for the future of Anthroposophy, that is, that in those who have died, in such a way as the person above mentioned, we have the best helpers for our earth, the most powerful fellow-workers. This is a case in which a short life on earth served for the gathering of strength with which to take possession of certain fruitful forces requisite for a later period on the path of human evolution. The wise ruling Cosmic powers far surpass in Wisdom all that we, with our merely earthly wisdom, can comprehend. Naturally such fruits of a shortened earth-life can only result when life is shortened in a purely natural way. In anthroposophical circles it should not be necessary to mention that such results do not occur in cases of suicides, and would be quite impossible.

Now, having said all this, I shall give you another concrete example in reference to a member who has not long since passed from our midst, who had a very long illness, which was connected in a remarkable way with his condition of soul, a lively intellectual person, a renowned poet in his earth life and as we can clearly see, a much more important individual than we had deemed while observing his life on earth. After a life lived in sickness of body and long years of suffering, how strangely the fruits of his suffering on earth, after a relatively short period, reveal themselves in the spiritual world; though only in their beginning. That I may make you understand what I want to say, I should like to lead up to the right concept by means of a comparison.

With deep feeling we can admire nature—a scene in nature or a group of people-but we do not on that account lose anything when a clever artist comes along and depicts the scene as his own soul sees it. We then find in the picture created by the artist something which he has placed alongside nature. We know that we have gained by having looked at Nature through another's soul as well, if we can observe nature side by side with it. Why do I say this? To make use of an illustration: we can go into the spiritual world, we can observe things there; yet it is of great importance to observe something else besides. The person to whom I am referring, who died after a life of much suffering on earth, had during his long illness formed for himself a world of Cosmic imaginations, as it were lifting them up out of a sick body gradually approaching death. In the measure in which the body became more sick and incapacitated, there arose from it this world of Cosmic imaginations. That person then passed through the gates of death, and his imaginations are beginning to shine out in wondrous beauty so that in the spiritual world they can be perceived as a wonderful spiritual work of art, as if created out of the Cosmos. They had their origin in the sick body, and were carried from the sick body into the spiritual world; and for those who are able to see the spiritual worlds in other ways they provide a far richer gain in spiritual knowledge than can be acquired by direct spiritual observation; as in a work of art one sees the world as another soul sees it, side by side with what one sees oneself. The above-mentioned person absorbed spiritual conceptions with great devotion, and was even able to put into his poems much of that which comes to the human soul when it grasps the Mystery of Golgotha in a truly Anthroposophical way, when we allow ourselves to be permeated with the thought of the Christ Whom we have learnt to know through Anthroposophy. For we then so recognize Him in our nature, that we really live according to the Pauline saying ‘Not I, but Christ in me contemplates the Universe.’

These truly Rosicrucian Christian thoughts flowed into the later poems of this personality. While his conscious earth-life was occupied with such poetry and creating these poems, his subconscious powers were molding this world of Cosmic imaginations which really consumed the body by the strength of their inner life, but which so worked that to this person in the spiritual world is probably allotted a task about which I will not speak further now. In any case it must be said that behind this conscious life lies another which passes through the gates of death and so manifests that we know it had already been prepared during earth-life through the disposition which is the result of Spiritual Science, and which has turned into beautiful tableaux of Cosmic imaginations which radiate toward the exploring spiritual investigator, and explain much that perhaps would not otherwise have been so easy to discover, but which will continue to work in the tasks which will be allotted to such an individual.

We must regard such results of Spiritual Science with awe and deep reverence. For if in past times the religious sense of the soul had to be aroused through feeling, in the times in which we now live spirituality must be kindled more and more in man through the inter-working of the physical and spiritual worlds, we must become more and more concrete in our spiritual life. In the future, humanity cannot be prevented from seeking the spiritual in a concrete way, and from thinking about how a human individual continues to work on after death with the forces which, as in this case, were prepared before he had passed through the gates of death.

What depths will be found in human life, how noble will be the feelings with which one human being confronts another I They will in the true sense of the word be moral, and filled with the Divine essence which will then be weaving and working in human life, when the thoughts which speak of the dead in as concrete a way as we now speak of the living, find a home in the hearts of men.

We must think of all this, that we may gain in our hearts and souls a proper sense of the mission and work of Anthroposophy in the future.

I should like you to ponder over the things I have said in the last part of this lecture, regarding them as really springing from that attitude towards Spiritual Science which can only speak of such matters in sacred modesty and with deep reverence, and with this feeling I should like to leave in your souls what I have said.

Tomorrow I shall tell you of other facts, for the stimulation of Spiritual Science in your hearts.