| 277b. The Development of Eurythmy 1918–1920: Eurythmy Address
05 Sep 1920, Dornach Rudolf Steiner |
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| 277b. The Development of Eurythmy 1918–1920: Eurythmy Address
05 Sep 1920, Dornach Rudolf Steiner |
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Dear attendees, As on previous occasions before these eurythmy exercises, I would like to take the liberty of saying a few words in advance today. This is not done with the intention of somehow explaining artistic performances, that would be inartistic - art must speak for itself - but it is done because what is presented here as the eurythmic art is based on certain sources for artistic creation that have not been used in the same way before, and also on a certain formal language that has not been used in art in this way either. The basis of this eurythmy is a kind of visible language, but not a sign language or anything mimetic - anything gestural or mimetic must be avoided here. Rather, you will see [this language] expressed through the individual human being moving in his limbs – or through the movement of the human being in space or also through the movement of the mutual positions of groups. So you will see movements that are visible linguistic expression in the same way that expression is ordinary language in an audible way. So eurythmy is based on emotional life expressed in a visible language. What the artist then seeks to shape is, of course, something that is first built on this special language. This special language has not come about in some arbitrary way, through the fixation of this or that movement for the individual sound, for the individual word or for some sentence or some rhythm, or from some other context. Rather, the basis for the eurythmic art has come about through careful study, but on the basis of what Goethe calls sensuous-suprasensuous vision. Our speech organs – the larynx and the other speech organs – are in constant motion. Everyone knows that they are in motion when we speak, because the sound is simply conveyed through the air by the air being vibrated by the movement of the speech organs. But it is not this movement that is important here, but rather the tendency to move, which in turn underlies this vibratory movement. And this tendency of movement, which can be studied for every sound, for every inflection, and also for that which underlies the expression of speech in the soul, has all been studied and is transmitted from a single organ or a group of organs, such as the larynx and its neighboring organs, to the movements of the whole person. This is done entirely out of Goethe's world view. Goethe sees the whole plant only as a complicated expression of a single organ, the leaf. This is an expression of Goethe's important theory of metamorphosis, which has not been sufficiently appreciated scientifically by a long way. Just as Goethe's morphology of form thus sees the whole plant as a complicated, developed leaf, so we try, as it were, to place the whole human being on the stage like a modified, moving larynx. And then, in the artistic realm, what has been begun is further transformed. The artistic aspect only really begins when what has been gained through the study of the secrets of human speech is shaped. Of course, from today's point of view, it is very easy to say: Yes, what movements are performed, that cannot be understood. My dear audience, a new-born child does not understand language either. Language must first be listened to. And for eurythmy this is not as easy as it is for speech. When a person simply abandons themselves to the form of movement on which the art of eurythmy is based, they have an instinctive, intuitive knowledge of it. Every human being has the potential to understand human language; but it must be clear, for example, that poetry first emerges from ordinary spoken language by formally transforming and developing this spoken language in terms of rhythm, rhyme, alliteration and so on. So what can be learned eurythmically as a basic formal language must first be artistically developed. Those of the honored audience who have been here often will notice how we have progressed in recent months in terms of the artistic development of eurythmy. You may have seen how much at that time still recalled facial expressions, ordinary gestures, but how we worked our way out of that, so that little by little there is actually nothing left in what is done in eurythmy but what the poet makes out of the linguistic content. And the further we get at shaping what the poet first makes out of the linguistic content, the more the eurythmic art will develop. The artistic element in eurythmy is to the movement of speech, to visible speech, as poetic language is to language. The task now is to present a self-contained work of art through the inner laws of eurythmy, just as one creates a musical work of art through the succession of tones or the poetic art through the artistic design of the vocabulary of language. They will become a completely independent art because that is still necessary today, until eurythmy has achieved a certain emancipation, being a completely independent art. However, this may take a very long time, perhaps decades. Today you will still see musical elements presented in parallel, where some soul element is revealed through the sound, through the musical art – and at the same time the same soul element through the eurythmic art – or mainly poetic elements. And here it must be taken into account that when the eurythmic is accompanied by recitation, the recitation itself is forced to return to the earlier, more artistic forms of recitation, which have been more or less lost in our thoroughly unartistic times. Today, something special can be seen in such recitation, which essentially goes back to the prose of the poem's content and actually takes back what the poet has made from the material of the poem. That is why the poet creates something out of language in rhyme, rhythm, beat and so on. When reciting, this does not have to be taken back by reciting according to the content of prose, according to the pure logic that underlies it. This is considered a sincere, soulful recitation. However, it has become an unartistic recitation. We are therefore trying to shape the art of recitation in a eurythmic way again, namely to give what is already eurythmic in poetic language in recitation as well, to bring out the rhythmic, the pictorial, imaginative, the rhyme and so on. It is precisely in such things that eurythmy, in the wake of which such views must arise, can in turn have a fruitful effect on other artistic endeavors. And that will be of very special importance in our time. It is already the case, as I have said, that eurythmy is in the early stages of its development. We ourselves are most aware of the mistakes we still make today; but it will perfect itself. Today it must be said that this eurythmic art has, firstly, the artistic on the one hand; on the other hand, however, it has an essentially pedagogical-didactic and hygienic element in it. And in the Waldorf School in Stuttgart, we have introduced eurythmy as a compulsory subject. One day, when people think about these things more objectively than they do today, they will see that when children are taught eurythmics, they actually add something to ordinary gymnastics that can be called soulful gymnastics, because every movement also comes from the soul. In this way, what is merely physiological gymnastics - that is, something derived only from the physical laws of the human body - is enriched by movements that come from the soul. This has a very strong influence on the whole development of the growing human being. While ordinary gymnastics actually only trains the body, eurythmy - you will also see some examples of children's eurythmy today - has an effect on the child and its development that awakens and appropriately fosters willpower, the soul's initiative. And this is of the greatest possible importance for our time, for the present and the near future, since our age has brought about catastrophic events precisely because people lack awakened souls. So then, eurythmy has various sides to it: an artistic side, a pedagogical-didactic side. But all this is actually only just beginning today. Hopefully it will be further developed, probably by others, no longer by us. For the one who can really see through the world form language of eurythmy knows what still needs to be done. Then it will be seen that it can stand alongside its older sister arts as a fully justified art. In this sense of a beginning, perhaps also of an attempt at a beginning, I ask you to take up such ideas from the eurythmic art as we want to present to you again today. |
| 277b. The Development of Eurythmy 1918–1920: Eurythmy Address
12 Sep 1920, Dornach Rudolf Steiner |
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| 277b. The Development of Eurythmy 1918–1920: Eurythmy Address
12 Sep 1920, Dornach Rudolf Steiner |
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Dear attendees! We are taking the liberty of showing you another sample of the eurythmic art today. This art is based on certain artistic sources that are to be newly opened and aims to become a kind of new artistic formal language. For this reason, you will allow me, as I usually do before these performances, to send a few words in advance today - not to explain the performance, but rather, artistic things must work through themselves in the immediate impression, but to suggest the formal language and sources from which what is presented to you here as the eurythmic art comes. The basis of the art of eurythmy is a kind of visible language. The whole human being performs movements in his gestures, or: he performs movements in space or groups of people perform movements in space. All this could be understood as an ordinary, even representational, ordinary art of dance, but it is neither of these, but is based on a careful study of the ordinary language of the human being. This is what is perceived by the human ear. But at its basis lies a certain tendency of the larynx and other speech organs to move. These tendencies of movement are to be understood as what is communicated as a vibrating weaving of the air: It is not something more highly developed than thought, but something more deeply rooted, something that takes place in a seemingly simpler way than the vibrations of the air, but which is expressed through the vibrations of the air when the tone that underlies this movement tendency expresses itself. We can study what the larynx and speech organs do when a sound is produced, how they behave in a whole word, in a sentence transition, how they behave when certain sound sequences play out, and so on. All this can be studied – allow me to use this Goethean expression – through sensory-supersensory observation. Then, what is otherwise only assessed – that is why I said: movement tendencies – what is otherwise only assessed in the larynx and the other speech organs, is transformed into small vibrations as it develops, and then transferred. And then what language describes, what the human being performs in his movements or in movements in space, or what groups of people perform, that means what can be experienced, can be experienced on the one hand through language, and on the other hand through the visible language of eurythmy. One can express through this eurythmy what musical creation is – you will also see rehearsals today – one can also express what poetic creation is. But when the recitation, that is, the artistic reproduction of the poetic, accompanies the eurythmy, then, for example, the recitation must take up the eurythmic element. Today, our age is somewhat inartistic, and one does not have the feeling that the real artistry of a poem only begins when the prose-like, the mere content, the literal content of a poem has been overcome. It is never about what the poet says, but how he says it, how he shapes it in meter and rhythm or how he artistically shapes it and is able to give shape to the image through the word. In the case of a poet like Goethe, for example, we can see how his poetic language has a plastic character, how he imaginatively conceived the transformation of the pictorial. In the case of Schiller, we know that before he wrote any poem, he had a kind of melody living in his soul. At first, it was all the same to him what should arise from this melody as a poem – “The Diver” or “The Fight with the Dragon”: He had it living in his soul as a melody, and the other simply lined up in the poem. That is how you can shape with the melodic, with the plastic poem. All of this comes to light in a proper recitation. In our unartistic age, what is usually brought out is what is appropriate to the prose content, what is literal. What the poet has artistically done with the content is what is actually formally artistic in the recitation. And then what is offered in the poetry also coincides with what is offered in the visible language of eurythmy and in the recitation. You know how to shape this or that sound, this or that word formation and the like, so that something artistic comes about from the whole, and in particular, that the artistic element of the eurythmic performance is properly formed in parallel with the poetry, the artistic formation of a poem. That is a purely artistic activity. And we must distinguish between the elementary nature of the eurythmic language of form and what is artistically revealed in the process. But it is not the case that eurythmy is pantomime, mimicry or mere gesticulation or dance. Rather, everything is such that actually everything lies in the artistic sequence of movement forms, so that the melodious and musical lies in the sequence, in the interaction of the sounds. Likewise, an inner lawfulness in space and in the time of the eurythmy production underlies this. Those of you who have been here before will have noticed how, over the past few months, we have been working to develop this element of artistic form-giving more and more in eurythmy, and how we are getting closer to capturing in artfully designed forms what the poet has made of the literal content. In this way one can adapt exactly to the humor or tragedy or ballad-like language or whatever characterizes a poem. So this eurythmy initially offers something artistic. The human being is the instrument for their eurythmic performances. In the most eminent sense, this eurythmy achieves precisely what Goethe had in mind when he said: When man is placed at the summit of nature, he sees himself again as a whole nature, which in turn has to produce a summit. To achieve this, he elevates himself by permeating himself with all perfection and virtue, invoking number, order, harmony and meaning, and finally rising to the production of the work of art. We should bear in mind that the visible and invisible worlds converge in his being, that all the forces at work in the visible and invisible are reflected in him in some way, are formed in him in miniature. And when the human being makes himself an instrument of artistic expression through his organism, what is particularly expressed is what then strives in the human being's soul towards movement. Eurythmy is an art that, when it arises directly and immediately, truly works out of the movements of the human being. That is the artistic side of eurythmy. On the other hand, there is something about eurythmy that – quite apart from many other things – can be addressed as a therapeutic-hygienic element, but which I do not want to talk about now. But another element of eurythmy is the pedagogical-didactic element that it contains. At our Freie Waldorfschule in Stuttgart, which was founded by Emil Molt and is run by myself, we have introduced eurythmy as a compulsory subject alongside gymnastics. One will only appreciate eurythmy as a compulsory subject once one has overcome certain prejudices – which, from my point of view, I do not want to fight so much – regarding gymnastics. Gymnastics is purely physical. One may have one's own opinion about the movements that the physiologist derives from the physical make-up of the human being. I do not want to dispute them here, but it is nevertheless the case that ordinary gymnastics only has a physiological meaning for the harmonization of the physical body of man. Although I do not want to go as far as a naturalist who listened to my introductory words in this regard and who said: He would not even appreciate gymnastics as much as I do. He would not consider it to be something physiologically effective, but simply a barbarism. But the present, dear honored attendees, will object to that, especially if one has to evoke some hostility because of the other branches of one's activity, one would not want to go straight to such sentiments. But this is what must be particularly emphasized, regardless of whether gymnastics merely trains the human body physiologically or whether it is also a barbarism: the powers of the soul, the initiative of the will, are in any case – and I emphasize this particularly – is trained in children through eurythmy, when the child, through this compulsory subject, becomes so immersed in these eurythmic movements, when they are performed in the right way, as a young child would otherwise naturally become immersed in spoken language. Eurythmy awakens activity in the human soul, so that the drowsiness in which the souls find themselves can be overcome. Otherwise it would get more and more out of hand in the most terrible way. If you imagine, let us say, the next generation, you have to admit that you can only get beyond these things by at least adding this soul-filled gymnastics to the usual external soulless gymnastics, in eurythmy. Everything in eurythmy is still in its infancy, but you can be quite sure that we are our own harshest critics. We know what we lack and we are constantly striving to make more and more progress in this respect. I have often mentioned that we have made good progress, for example, in shaping the large forms. We will show you these large forms today in a Fercher poem, “Choir of Primordial Instincts”, which is being performed today and which really moves in a strange cosmic directing force, in that it - Fercher von Steinwand - poetically shapes you. When you see this 'Urtrieb' choir, you will perhaps notice how we have tried and are still trying to make good progress again and again. Over time, the art of eurythmy will be perfected more and more, either by ourselves or probably by others, so that it can establish itself as a fully-fledged newer art alongside the older fully-fledged arts. |
| 202. Search for the New Isis, the Divine Sophia: The Quest for the Isis-Sophia
24 Dec 1920, Dornach Translator Unknown Rudolf Steiner |
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| 202. Search for the New Isis, the Divine Sophia: The Quest for the Isis-Sophia
24 Dec 1920, Dornach Translator Unknown Rudolf Steiner |
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| [ 1 ] In the festival of Christmas something is given to Christendom that directs the thoughts of all circles of Christian people straight to the very deepest questions presented by the evolution of humankind upon earth. Regard the evolution of history from whatever point of view you will, take into consideration historical events in order to understand human evolution, to penetrate the meaning of human evolution on earth—in all history you will find no thought as widely understandable or having as much power to lift the soul to this mystery of human evolution as the thought of the Mystery of Golgotha, as the thought that is contained in the festival of Christmas. [ 2 ] When we look back upon the beginning of human evolution on earth, and follow it through the thousands of years that preceded the Mystery of Golgotha, we find that, although the achievements of the peoples in all the various nations were so great, nevertheless, in reality all these achievements constituted only a kind of preparation—they were a preparatory step toward what took place for the sake of humankind at the Mystery of Golgotha. Furthermore, we find we can only understand what has happened since the Mystery of Golgotha when we remember that the Christ who went through the Mystery of Golgotha has played an active role in the evolution of humanity ever since. Many things in human evolution may at first appear incomprehensible. However, if we investigate them without narrow-minded superstition, for example the kind of superstition that believes that unknown gods should come to the aid of human beings without their active involvement, and that such aid should come just where human beings consider it necessary—if we leave aside such views, we find that even the most painful events in the course of world history can show us the significance and meaning that the evolution of the earth has acquired through the fact that Christ went through the Mystery of Golgotha. It is appropriate for us to study this Mystery of Golgotha—and the mystery of Christmas belongs to it—from a point of view which can reveal, as it were, the meaning of all of earthly humanity. [ 3 ] We know how intimate the connection is between what takes place in the moral-spiritual sphere of human evolution and what takes place in nature. And with a certain understanding of this link between nature and the world's moral order we can approach also another relationship with which we have been concerned for many years—namely, the relationship of Christ Jesus to that being whose outer reflection appears in the sun. The followers and representatives of the Christian impulse were not always so hostile toward the recognition of this connection between the mystery of the sun and the mystery of Christ as the decadent present-day representatives of Christianity so often are. Dionysius the Areopagite, whom we have often mentioned, calls the sun God's monument, and in Augustine we continually find such allusions. Even in Scholasticism we find such references to the fact that the outwardly visible stars and their movements are images of the divine-spiritual existence of the world. [ 4 ] However, we must understand the mystery of Christmas in a far wider context, if we wish to understand what should concern us most of all in view of the important tasks of the present age. I would like to remind you of something which I have repeatedly brought forward in various ways in the course of many years. I have told you: We look back into the first post-Atlantean age, which was filled with the deeds and experiences of the ancient Indian people; we look back into the ancient Persian epoch of post-Atlantean humanity, into the Egypto-Chaldean, and into the Greco-Latin. We come then to the fifth epoch of the post-Atlantean humanity, our own. Our epoch will be followed by the sixth and by the seventh. And I have drawn your attention to the fact that the Greco-Latin, the fourth epoch of post-Atlantean humanity, stands, as it were, in the middle, and that there are certain connections (you can read of this in my little book The Spiritual Guidance of the Individual and Humanity) between the third and the fifth epochs, that is, between the Egypto-Chaldean epoch and our own. Furthermore there is also a certain connection between the ancient Persian epoch and the sixth, and between the ancient Indian and the seventh epoch of post-AtIantean humanity. Specific things repeat themselves in a certain way in each of these epochs of life. [ 5 ] I once pointed out that the great Kepler, the successor of Copernicus, had a feeling that his solar and planetary system was repeating, of course in a way appropriate to the fifth post-Atlantean age, what had lived as the world picture behind the Egyptian priest mysteries. Kepler himself expressed this in a certain sense very radically when he said that he had borrowed the vessels of the ancient Egyptian teachers of wisdom in order to carry them over into the new age. Today, however, we will consider something which stood, in a sense, at the center of the view found in the cultic rituals performed by the priests in the Egyptian mystery religion; we will consider the mysteries of Isis. In order to call up before our minds the spiritual connection between the mystery of Isis and that which also lives in Christianity, we need only look with the eyes of the soul upon Raphael's famous picture of the Sistine Madonna. The Virgin is holding the child Jesus, and behind her are the clouds, representing a multitude of children. We can imagine the Virgin receiving the child Jesus descending through the clouds, through a condensation, as it were, of the thin cloud substance. Created out of an entirely Christian spirit, this picture is, after all, nothing more than a kind of repetition of what the Egyptian mysteries of Isis revered when they portrayed Isis holding the child Horus. The motif of that earlier picture is in complete harmony with that of Raphael's picture. Of course, this fact must not tempt us to a superficial interpretation, common among many people since the eighteenth century and throughout the nineteenth century right up to our own days—namely, to see the story of Christ Jesus and all that belongs to it as a mere metamorphosis, a transformation, of ancient pagan mysteries. From my book Christianity As Mystical Fact you already know how these things are to be understood. However, in the sense explained in that book we are permitted to point out a spiritual congruence between what appears in Christianity and the old pagan mysteries. [ 6 ] The main content of the mystery of Isis is the death of Osiris and Isis's search for the dead Osiris. We know that Osiris, the representative of the being of the sun, the representative of the spiritual sun, is killed by Typhon, who, expressed in Egyptian terms, is none other than Ahriman. Ahriman kills Osiris, throws him into the Nile, and the Nile carries the body away. Isis, the spouse of Osiris, sets out on her search and finds him over in Asia. She brings him back to Egypt, where Ahriman, the enemy, cuts the body into fourteen parts. Isis buries these fourteen parts in various locations, so that they belong to the earth for ever after. [ 7 ] We can see from this story how Egyptian wisdom conceived of the connection between the powers of heaven and the powers of earth in a deeply meaningful way. On the one hand, Osiris is the representative of the powers of the sun. After having passed through death he is, in various places and simultaneously, the force that ripens everything that grows out of the earth. The ancient Egyptian sage imagines in a spirit-filled way how the powers which shine down from the sun, enter the earth and then become part of the earth, and how, as powers of the sun buried in the earth, they then hand over to the human being what matures out of the earth. The Egyptian myth is founded upon the story of Osiris—how he was killed, how his spouse Isis had to set out on her search for him, how she first brought him back to Egypt and how he then became active in another form, namely, from out of the earth. [ 8 ] One of the Egyptian pyramids depicts the whole event in a particularly meaningful way. The Egyptians not only recorded what they knew as the solution to the great secrets of the universe in their own particular writing, they also expressed it in their architectural constructions. They built one of these pyramids with such mathematical precision that the shadow of the sun disappeared into the base of the pyramid at the spring equinox and only reappeared at the autumn equinox. The Egyptians wanted to express in this pyramid that the forces which shine down from the sun are buried from spring to fall in the earth where they develop the forces of the earth, so that the earth may produce the fruit which humankind needs. This, then, is the idea we find present in the minds and hearts of the ancient Egyptians, On the one hand, they look up to the sun, they look up to the lofty being of the sun and they worship him. At the same time, however, they relate how this being of the sun was lost in Osiris, and was sought by Isis, and how he was found again so that he is then able to continue working in a changed way. [ 9 ] Many things which appeared in the Egyptian wisdom must be repeated in a different form during our fifth post-Atlantean age. Humankind must increasingly come to understand from a spiritual-scientific point of view the mysteries of the Egyptian priests in a form appropriate to our own age, in a Christian sense. For the Egyptians, Osiris was a kind of representative of the Christ who had not yet arrived on earth. In their own way they looked upon Osiris as the being of the sun, but they imagined this sun being had been lost in a sense, and must be found again. We cannot imagine that our being of the sun, the Christ, who has passed through the Mystery of Golgotha could be lost to humankind, for he came down from spiritual heights, united himself with the man Jesus of Nazareth, and from then onwards remains with the earth. He is present, he exists, as the Christmas carol proclaims each year anew: “Unto us a Saviour is born.” It thereby expresses the eternal, not the transitory nature of this event. Jesus was not only born once at Bethlehem, but is born continuously; in other words, he remains with the life of the earth. What Christ is, and what he means for us, cannot be lost. [ 10 ] But the Isis legend must show itself as being fulfilled in another way in our time. We cannot lose the Christ and what he, in a higher form than Osiris, gives us; but we can lose, and we have lost, what is portrayed for our Christian understanding standing at the side of Osiris—Isis—the mother of the saviour, the divine wisdom, Sophia. If the Isis legend is to be renewed, then it must not simply follow the old form—Osiris, killed by Typhon-Ahriman and carried away by the waters of the Nile, must be found again by Isis in order that his body, cut into pieces by Typhon-Ahriman, may be sunk into the earth. No, in a sense, we must find the Isis legend again, the content of the mystery of Isis, but we must create it out of imagination, suited to our own times. An understanding must arise again of the eternal cosmic truths, and it will when we learn to think and compose imaginatively, as the Egyptians did. But we must find the right Isis legend. The Egyptian was permeated by luciferic powers, as were all human beings who lived before the Mystery of Golgotha. If luciferic powers are within the human being and stir the inner life, moving and weaving through it, the result will then be that ahrimanic powers will appear as an active force outside the human being. Thus the Egyptians, who were themselves permeated by Lucifer, rightly see a picture of the world in which Ahriman-Typhon is active. [ 11 ] Now, we must realize that modern humanity is permeated by Ahriman. Ahriman moves and surges within human beings, just as Lucifer moved and surged within the Egyptian world. However, when Ahriman works through Lucifer, then human beings see their picture of the world in a luciferic form. How does the human being see this picture of the world? This luciferic picture of the world has been created, it is here. It has become increasingly popular for modern times and has taken hold of all circles of people who want to consider themselves progressive and enlightened. If the mystery of Christmas is to be understood, we must bear in mind that Lucifer is the power wanting to retain the world-picture of an earlier stage. Lucifer is the power trying to bring into the modern world-conception that which existed in earlier stages of human development. He wants to give permanence to what existed in earlier periods. All that was moral in earlier stages also exists of course today. (The significance of morality always lies in the present, where, like seeds for the future, it provides the basis for the creation of worlds yet to come.) But Lucifer strives to separate morality as such, all moral forces, from our world picture. He allows the laws of natural necessity alone to appear in our picture of the external world. Thus the impoverished human being of modern times is presented with a wisdom of the world in which the stars move according to purely mechanical necessity, in which the stars are devoid of morality, so that the moral meaning of the world's order cannot be found in their movements. This, my dear friends, is a purely luciferic world picture. [ 12 ] Just as the Egyptians looked out into the world and saw Ahriman-Typhon as the one who takes Osiris away from them, so too, we must look at our luciferic world picture, at the mathematical-mechanical world picture of modern-day astronomy and other branches of natural science, and realize that the luciferic element holds sway in this world picture, just as the Typhonic-ahrimanic element held sway in the Egyptian world picture. Just as the ancient Egyptians saw their outer world picture in an ahrimanic-Typhonic light, so modern human beings, because they are ahrimanic, see it with luciferic characteristics. Lucifer is present, he is working there. Just as the Egyptians imagined Ahriman-Typhon working in wind and weather, in the storms of winter, so modern human beings, if they wish to truly understand the world, must imagine that Lucifer appears to them in the sunshine and in the light of the stars, in the movements of the planets and of the moon. The world picture of Copernicus, Galileo, and Kepler is a luciferic construction. Precisely because it arose from and corresponds to our ahrimanic forces of knowledge, its content—please distinguish here between method and content—is a luciferic one. [ 13 ] At the time when the Mystery of Golgotha took place, that which enables man to look into the world of knowledge worked in a twofold way as the divine Sophia, as the wisdom that sees through the world. Through the revelation to the poor shepherds in the field, through the revelation to the Magi from the Orient, the divine Sophia, the heavenly wisdom, was at work. This wisdom, which in its final form was present with the Gnostics, from whom the first Christian church fathers and doctors of the church took it in order to comprehend the Mystery of Golgotha, this wisdom could not be transplanted into more recent times; it has been overwhelmed, it has been killed by Lucifer, as once Osiris was killed by Ahriman-Typhon. It is not Osiris or Christ that we have lost, but that which we have in the place of Isis. Lucifer has killed her for us. And while Typhon lowered Osiris into the Nile and sunk into the earth that which had been killed, the Isis being, divine wisdom, has been killed by Lucifer and transferred out into the cosmic spaces; it has been sunk into the cosmic ocean. As we gaze out into this ocean and see only mathematical lines in the starry connections, that which permeates this world spiritually is buried in them, the divine Sophia is dead, the successor of Isis is dead. [ 14 ] We must recreate this legend, for it represents the truth of our time. We must speak in the same sense of the slain and lost Isis, or divine Sophia, as the ancient Egyptians spoke of the lost and slain Osiris. And we must go forth with that which we do not comprehend, but which is in us, with the power of Christ, with the new Osiris power, and seek the body of the modern Isis, the body of the divine Sophia. We must approach nature science with a lucid mind and search for the coffin of Isis, that is, we must find, in what science gives us, that which inwardly stimulates imagination, inspiration, and intuition. For in this way we acquire the help of the Christ in us, who nevertheless remains hidden to us, who remains obscure to us, if we do not enlighten him through divine wisdom. Equipped with this power of Christ, with the new Osiris, we must go in search of Isis, the new Isis. Lucifer will not dismember this Isis, as Typhon-Ahriman dismembered Osiris. No, quite the opposite: this Isis is spread out in her true form in the beauty of the whole cosmos. This Isis is that which shines out to us from the cosmos in many glowing colors. We must understand her by looking into the cosmos and seeing the cosmos aura in its glowing colors. [ 15 ] But just as Ahriman-Typhon once came to dismember Osiris, so Lucifer comes, extinguishing these colors in their differentiation, blurring the parts that are beautifully spread out, the limbs of the newer Isis, those limbs that form the entire celestial canopy, uniting them, gathering them together. Just as Typhon dismembered Osiris, so Lucifer takes the manifold aura of colors that shine to us from the universe and reassembles them into the one unified white light that radiates through the world. This is the unified luciferic light, against which Goethe turned in his Theory of Colors by opposing the idea that it should contain the colors — but which instead are spread over the mysterious acts of the whole universe, in their diversity of mysterious acts. [ 16 ] We must penetrate through in our search and find Isis again! And we must gain the possibility of transferring into the universe that which we fathom by having found Isis again. We must be able to visualize vividly before us what we gain through the rediscovered Isis, so that spiritually it becomes for us the universe, the cosmos. We must grasp from the inner being Saturn, Sun, Moon, Earth, Jupiter, Venus, Vulcan. We must replace in the heavens what Lucifer made out of Isis, just as Isis replaced in the earth what Typhon-Ahriman made out of the pieces of Osiris. We must grasp that through the power of Christ we have to find an inner astronomy that in turn shows us the universe emerging and working in the power of the spirit. Then, in this insight into the universe, the rediscovered power of Isis, which is now the power of the divine Sophia, will bring forth the Christ, who since the Mystery of Golgotha has been united with earthly existence, in whom people will also come to the right activity because of the right knowledge. It is not the Christ that we lack, but the knowledge of the Christ, the Isis of Christ, the Sophia of Christ. [ 17 ] This is what we should write into our souls as part of the Christmas mystery. We must come to say to ourselves: In the nineteenth century, even theology has come to see Christ only as the man from Nazareth. That is to say, this theology is thoroughly Luciferized. It no longer sees into the spiritual foundations of existence. Outer knowledge of nature is Luciferized, theology is Luciferized. One could, of course, when speaking of the inner aspect of man, just as well say Ahrimanized, as you have seen from my discussions. But then one would have to say for the Egyptians: Luciferized, or Ahrimanized, when it concerns the outer. The modern human being must also understand the Christmas mystery in a new way. He must understand that he must first seek Isis so that Christ can appear to him. What our misfortune in modern times has brought about for civilized humanity is not that we have lost Christ — who stands before us in a higher glory than Osiris for the Egyptian — that we must search for him with the power of Isis. No, what we have lost is the knowledge, the vision of Christ Jesus. We must find it again with the power of Jesus Christ that is in us. [ 18 ] This is how we must look upon the content of the Christmas festival. For many modern people Christmas is nothing more than a festival for giving and receiving presents, something which they celebrate every year through habit. Like so many other things in modern life the Christmas festival has become an empty phrase, And it is just because so many things have become nothing more than a phrase that modern life is so full of calamities and chaos. This is in truth the deeper reason for the chaos in our modern life. [ 19 ] If in this our community, we could acquire the right feelings for everything which has become mere phrases in the present age, and if these feelings could enable us to find the impulses needed for the renewals that are so necessary, then this community, which calls itself the anthroposophical community, would be worthy of its existence. This community should understand the terrible significance for our age that such things as the Christmas festival are carried forward as a mere phrase. We should be able to understand that in the future this must not be allowed, and that these things must be given a new content. Old habits must be left behind and new insights must take their place. If we cannot find the inner courage needed to do this, then we share in the lie which keeps up the yearly Christmas festival merely as a phrase, celebrating it without our souls feeling and sensing the true significance of the event. Are we really lifted up to the highest concerns of humanity when we give and receive presents every year out of habit at this festival of Christ? Do we lift ourselves up to the highest concerns of humanity when we listen to the words—which have also become a phrase—spoken by the representatives of the various religious communities! We should forbid ourselves to continue in this inner hollowness of our Christmas celebrations. We should make the inner decision to give such a festival a content which allows the highest, worthiest feelings to pass through our souls. Such a festival celebration would raise humankind to the comprehension of the meaning of its existence. [ 20 ] Ask yourselves whether the feelings in your hearts and souls when you stand before the Christmas tree and open the presents which are given out of habit, and the Christmas cards containing the usual phrases—ask yourselves whether feelings are living in you that can raise humankind to an understanding of the meaning of its evolution on earth! All the problems and misfortune of our time are due to this—we cannot find the courage to lift ourselves above the empty phrases of our age. But it must happen, a new content must [be]come content which can give us entirely new feelings that stir us powerfully, just as those people were stirred who were true Christians in the first Christian centuries, and who felt the Mystery of Golgotha and the appearance of Christ as the highest which humankind could experience upon the earth. Our souls must again acquire something of this spirit. [ 21 ] Oh, the soul will attain to altogether new feelings if it feels committed to experience the new Isis legend within modern humanity. Lucifer kills Isis and then places her body into the infinity of space, which has become the grave of Isis, a mathematical abstraction. Then comes the search for Isis, and her discovery, made possible through the inner force of spiritual knowledge. In place of the heavens that have become dead, this knowledge places what stars and planets reveal through an inner life, so that they then appear as monuments to the spiritual powers that weave with power through space. We are able to look at the manger today in the right way only if we experience in a unique way what is weaving with spiritual power through space, and then look at that being who came into the world through the child. We know that we bear this being within us, but we must also understand him. Just as the Egyptians looked from Osiris to Isis, so we must learn to look again to the new Isis, the holy Sophia. Christ will appear again in his spiritual form during the course of the twentieth century, not through the arrival of external events alone, but because human beings find the power represented by the holy Sophia. The modern age has had the tendency to lose this power of Isis, this power of Mary. It has been killed by all that arose with the modern consciousness of humankind. And the confessions have in part exterminated just this view of Mary. [ 22 ] This is the mystery of modern humanity: Fundamentally speaking, Mary-Isis has been killed, and she must be sought, just as Osiris was sought by Isis in Asia. But she must be sought in the infinite spaces of the universe with the power that Christ can awaken in us, if we devote ourselves to him in the right way. [ 23 ] Let us picture this rightly, let us immerse ourselves in this new Isis legend which must be experienced, and let us fill our souls with it. Then we will experience in a true sense what humankind in many of its representatives believes, that this new legend fills the holy eve of Christmas, in order to bring us into Christmas day, the day of Christ. This anthroposophical community could become a community of human beings united in love because they feel the need, common to them all, to search. Let us become conscious of this most intimate task! Let us go in spirit to the manger and bring to the Child our sacrifice and our gift, which lie in the knowledge that something altogether new must fill our souls, in order that we may fulfill the tasks which can lead humankind out of barbarism into a truly new civilization. [ 24 ] To achieve this, of course, it is absolutely necessary that in our circles we are prepared to help one another in love, so that a real community of souls arises in which all forms of envy and the like disappear, and in which we do not look merely each at the other, but together face the great goal we have in common. The mystery brought into the world by the Christmas child also contains this—that we can look at a common goal without discord because the common goal signifies union in harmony. The light of Christmas should actually shine as a light of peace, as a light that brings external peace, only because first of all it brings an inner peace into the hearts of human beings. We should learn to say to ourselves: If we can manage to work together in love on the great tasks, then, and only then, do we understand Christmas. If we cannot manage this, we do not understand Christmas. [ 25 ] Let us remember that when we do sow discord, this discord hinders us in understanding the one who appeared among human beings on the first Christmas on earth. Can we not pour this mystery of Christmas into our souls, as something which unites our hearts in love and harmony? If we do not properly understand what spiritual science is, then we will not be able to do this. Nothing will come of this community if we merely bring into it ideas and impulses we have picked up here and there from all corners of the world, where cliches and routine hold sway. Let us remember that our community is facing a difficult year, that all our forces must be gathered together, and let us celebrate Christmas in this spirit. Oh, I would like to find words that could speak deeply into the heart of each one of you on this evening. Then each one of you would feel that my words contain a greeting which is at the same time an appeal to kindle spiritual science within your hearts, so that it may become a power that can help humanity which is living under such terrible oppression. [ 26 ] Beginning with such points of view, I have gathered the thoughts which I wished to speak to you. Be assured that they are intended as a warm Christmas greeting for each one of you, as something which can lead you into the new year in the very best way. In this spirit, accept my words today as they were intended, as an affectionate Christmas greeting.
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