[
  {
    "id": "GA062-7",
    "title": "Jacob Boehme",
    "date": "9 Jan 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/GA062/English/Singles/19130109p01.html",
    "book_title": "",
    "content": "Translated by Margaret W. Barnetson\nAT the point of time in modern spiritual evolution when we see the dawn of the new world-conception breaking forth, at that time in which we must record the great achievements of Kepler and Galileo, in which Giordano Bruno, in a certain measure, outlines the great problem of a modern world-conception, — at this moment we meet the solitary thinker to whom the present reflections shall be dedicated, the simple shoemaker of Goerlitz, Jacob Boehme. He struggled with the highest problems of existence in a way which can occupy our thinking and feeling to this day in the deepest manner, and will probably occupy the thinking and feeling of human beings for a long time to come.\nA peculiar figure this Jacob Boehme, a figure who strove and struggled in solitude, whereas elsewhere in the spiritual life the single currents united to form a great comprehensive tableau. And in a certain sense one might say that the solitary striving of Jacob Boehme appears almost as interesting, from a certain standpoint, as the flowing together of the different points of view which meet us elsewhere in that epoch. And then we see how, very strangely, what Jacob Boehme found in his own solitary mind, even in his century, received the greatest imaginable dissemination — the greatest imaginable dissemination we may say, considering the fact that we are dealing with a deeply significant spiritual matter. Precisely through the manifestations of his adversaries we see how far his influence extended after only a few decades had passed since his death. Again and again, Jacob Boehme was the object of appreciative and admiring, or rejecting and ridiculing, contemplation. And when we observe what came into being as his following, or as his opposition, we have the impression that both the adherents and the attackers knew they were dealing with a very strange phenomenon.\nThis phenomenon is strange, especially to those who wish to understand every personality that appears in the spiritual life of humanity on the basis of the immediate conditions, so to speak, of the age and the surroundings. We see, for instance, how people try to understand Goethe by collecting all sorts of details of his life, even the most unimportant, and believe that by assembling these details they can acquire this or that to explain his corresponding spiritual life. It is not possible in this manner really to acquire much for the understanding of Jacob Boehme. External influences are difficult to verify through external science, and it is still harder to understand how Jacob Boehme grew out of that which constituted the spiritual life of his time.\nMany, therefore, have professed the opinion that in Jacob Boehme we have to do with a kind of spiritual meteor. All that arose there, all that this personality had to give, appears as if it had suddenly sprung up, revealing itself out of the depths of his strange soul. Others then have tried to explain that many a turn of expression, many a way of presenting his ideas, shows similarity in words and turns of expression to the formulae of the alchemists, or to some philosophical or other tendencies that were still alive in his time. But whoever enters more deeply into the whole mentality of Jacob Boehme will find that such a procedure has hardly more value than if one were to examine the “language” in connection with an eminent personality, who, after all, must always express himself in a language. For when Jacob Boehme makes use of alchemistic formulae, or such things, it is only verbal clothing. That which makes such an exceedingly powerful impression, however, on one who seeks to understand him presents itself with an originality such as is found only in the very greatest minds.\nIn contrast to this, there are a few clues which are not quite compatible with modern thinking — with the modern world-conception — but which, for the person who is capable of entering into such things, throw light on how Jacob Boehme was able to soar up to his high spiritual standpoint. In order to connect our reflections with his life, to the extent that it has a bearing here, we need mention only a few biographical facts.\nJacob Boehme was the son of very poor parents and came from Alt-Seidenberg in the vicinity of Goerlitz. He was born in 1575. In his youth he had to tend the cattle with other village boys. As is apparent from this, he grew up in complete poverty, and since a person growing up in this way does not have any particular means of education, we shall find it understandable that even as a boy of twelve or thirteen years Jacob Boehme could hardly read and only barely write. But another experience confronts us even during his boyhood, of which a faithful biographer heard from him out of his own mouth. We shall first tell this experience. As we have said, it is not one of those things which are quite intelligible to modern consciousness.\nWhen Jacob Boehme was once tending the cattle with other shepherd boys, he withdrew from the company of the boys and climbed a moderately high mountain in the vicinity of his native locality, the “Landskrone.” He declared that he had seen there in the bright noontime something like an entrance-gate into the mountain. He went inside and there found a vessel, a kind of vat, filled with pure gold. That made such an impression of fearful awe on his soul that he ran away and retained only the memory of this peculiar experience.\nOne can, to be sure, speak of a “dream dreamed in the waking state.” One may, for all that, grant the right to those who are satisfied with such an explanation. But the essential point is not whether one calls such an occurrence a “dream,” or gives it another name, but what it releases in the mind of the person who “dreams” it, what effect it produces in the soul. And from the way in which Jacob Boehme later told this occurrence to his friend we see that it had engraved itself deeply on his mind, that it had released significant forces in his soul so that it had the highest psychological significance for him.\nLet us, therefore, grant to the rationalists the right to explain such an experience, which was in any case a significant happening in Jacob Boehme's soul, in the way in which they likewise wish to explain the event of the appearance of Christ before Paul at Damascus. Only, an explanation which resorts to these things must also admit that such significant work as that of Paul, which is so intimately connected with Christianity, proceeded from a “dream.”\nEven the boy Jacob Boehme, when he had this experience, felt something like the deepest stirring up of soul forces which are otherwise not active in the soul. The important thing is this inner releasing of deeper-lying forces of the soul. The important thing is the testimony of such a fact which proves that we have to do here with a human being who could descend to a far greater profundity in his soul life than thousands and thousands of others.\nAnother event of a similar nature must also be borne in mind, of which we must again say that it remained so fixed in Jacob Boehme's memory that the brightness and the significance of this event shone over his whole life, in so far as this life was an inner one.\nIn his fourteenth year Jacob Boehme was sent to a shoemaker as an apprentice and often had to stand guard, so to speak, in his master's shop. He was not permitted to sell anything. On one occasion — and this story, again, came from the mouth of his loyal biographer, Abraham von Frankenberg — an individuality who immediately made a singular impression on Jacob Boehme came into the shop and wanted to buy shoes. But, because the boy was forbidden to sell shoes, he said this to the stranger. The latter offered him a high price and it came about that the shoes were sold.\nThen, however, the following took place, which remained in Jacob Boehme's memory throughout his life. When the stranger had departed and a short time had passed, Jacob Boehme heard his name called: “Jacob, Jacob!” and when he went out the stranger seemed to him even more singular than at first. There was something sun-like, shining in his eyes and he said words to him which sounded very strange: “Jacob, you are now still small, but you will once become an entirely different human being, about whom the world will break out in amazement. But remain humble before your God and read the Bible diligently. You will have to endure much persecution, but be strong, for your God loves you and will be merciful to you.” — Jacob Boehme regarded such an occurrence as much more essential than any other, external biographic experiences.\nAnd his biographer relates further how Jacob Boehme himself told him the following: It was in the year 1600 when, during seven days, Jacob Boehme felt as if withdrawn from his physical body, felt as if he were in an entirely different world, felt as if, with regard to his soul, he was re-born.\nWe have to do here — if one wants to call it that — with a permanently abnormal condition of the soul. But Jacob Boehme experienced this, his “re-birth,” also simply more or less as something which could, according to his conception, take place with a human soul. He did not become, let us say, a visionary or a false idealist through this, nor did he become an arrogant person, but continued to practice his shoemaker's trade in all humility — or, we might say, in all sobriety. And even the experience of the year 1600, the withdrawal into another world, remained to him a phenomenon of which he said to himself: “You have looked into a kingdom of joy, into a kingdom of spiritual reality, but that is a thing of the past.” And he continued to live from day to clay pursuing his trade in his sober manner.\nIn the year 1610 this experience of re-birth was repeated. He then began to record what he had experienced in his states of exaltation, since he felt called upon to do this. Thus, in 1612 his first work, The Dawn in Its Ascent, came into being, later entitled Aurora. Regarding it, he said that he did not write it down through his ordinary ego, but that it was given to him word for word; that, in comparison with his ordinary ego, he lived in a being which was encompassing, which reached into all parts of the world and immersed itself in this world.\nTo be sure, the revelations did not do him much good. When several people noticed what he had to say, what he had written down, a few copies of the manuscript of Aurora were made and circulated. The result was that Gregorius Richter, the deacon of Goerlitz — where Jacob Boehme had meanwhile, in 1594, established himself as shoemaker — railed at Jacob Boehme from the pulpit and not only condemned his work, but also succeeded in having him called before the council of the city of Goerlitz. About this I will now simply repeat the words that we know from his biographer. He relates that the verdict of the council was that Jacob Boehme must be forbidden to write further, for only those who were academicians were permitted to write and Jacob Boehme was not an academician, but an idiot, and must, therefore, refrain from writing!\nThus Jacob Boehme was branded as an idiot. And, since he was a good-natured man on the whole, who could not quite believe — because of the simplicity in his nature — that he would be considered one of the damned entirely without reason, he did indeed resolve to write nothing further in the near future.\nBut then came the time when he could no longer do otherwise. And in the years 1620 to 1624, up to his death, he wrote rapidly, one after another, a great number of his works, as for instance: The Book of the Contemplative Life, De Signatura Rerum, or Concerning the Birth and Designation of All Beings, or the elucidation of the first book of Moses. But the number of his works is rather large and in this connection, many a reader may fare strangely. Some have said that Jacob Boehme repeats himself again and again. It is true; one cannot deny that certain things appear over and over again in his writings. If, however, a person draws the conclusion from this that you know the whole Jacob Boehme if you know a few of his works, because he always repeats himself — though we cannot simply contradict persons who say this — it must be said that whoever contents himself with having read one work of Jacob Boehme's and has no appetite to read the other works also, does not understand much of Jacob Boehme. But whoever takes the trouble to go through his other works will not rest, in spite of all the repetitions, until he has read even the very last ones.\nIf, from this characterization of his nature, we try to penetrate more into his train of thought, into the spiritual nature of Jacob Boehme, it must be said that for modern man, who lives only in the cultural life of our time, much indeed must be unintelligible, not only in the content of Jacob Boehme's works, but also in his whole manner of presentation. At first the presentation appears completely chaotic. To be sure, one becomes slowly accustomed to it. But then there still remains for many persons something that is a hard nut to crack. We find that he has very peculiar definitions of words — quite unintelligible for the modern mind. Thus we find that in his explanation of the world he again and again uses words such as “salt,” “mercury” and “sulphur.” And if he wishes to analyse what “sul” signifies, what “phur” signifies, and finds all sorts of deep thoughts therein, then these modern minds must say to themselves that one cannot do anything with this, for what can be the significance of offering explanations about a universal principle by explaining the syllables of a word individually, such as “sul” and “phur”? That is quite alien to the modern mind.\nTo be sure, if a person enters further into the mind of Jacob Boehme, he will find that Jacob Boehme clothes what he wishes tó say in all kinds of alchemistic formulae. But only when one penetrates through to what expresses itself livingly as the spirit of Jacob Boehme in what he found available, only then does one find that something entirely different lives in these formulae from what we know today as scientific thinking, as thinking with regard to world-conceptions, or any other thinking.\nWhat lives in Jacob Boehme's soul resembles most closely that which has been characterized here in these lectures as the first stage of a higher spiritual life, as the stage of imaginative cognition. We have emphasized the fact that he who ascends from ordinary life in the sense world comes, through a special development of his soul, to the point where he perceives a new world of pictures, of imaginations. And we have stressed the fact — I beg you to call to mind precisely the character of this discussion 1 See lecture by Rudolf Steiner entitled: Die Wege der übersinnlichen Erkenntnis . that, when the human being has brought it about that he does not only form imaginations, but that pictures, imaginative conceptions, shoot up out of the unknown depths of the soul-life and he experiences a new world, then he who desires to ascend to new cognition must make the firm resolution to suppress completely this first flashing up of an imaginative world in the soul and to wait until it rises up a second time from a much deeper-lying world.\nThe whole state of soul, the whole inner mood to which Jacob Boehme comes is, therefore, most nearly comparable to that which meets a person in his soul-life who ascends to supersensible knowledge. Nowhere, to be sure, does it appear that something like that which modern spiritual-science proclaims as its conscious methods is already to be found in Jacob Boehme. But whoever were to believe that all this appeared in Jacob Boehme as if of its own accord would, nevertheless, be wrong. He himself once said that he had striven unceasingly for the spirit's — for God's — assistance, and that a luminous, imaginative world resulted from this unceasing striving.\nThus, we cannot say that he was simply a naive, imaginatively cognizant person, but we must say that he grasped naively at the means which lead the human being to the height of imaginative cognition. It is to be assumed, naturally, that such an imaginative force was in his soul. In other words, he arrived at imaginative cognition by just the same paths, only more quickly, more as a matter of course, than one can arrive at it through such methods as are described in the book Knowledge of the Higher Worlds and Its Attainment. Thus Jacob Boehme stands before us as an imaginatively cognizant human being. But this imaginative knowledge struggles to the surface with primal power, as if it were a matter of course, as if borne by a strong inner will.\nThus, we see this strong inner will, which cannot express itself in external deeds — his humble occupation prevents this — surrounding his soul like a flood, so that the soul immerses itself in this flood. We see powerful pictures being born out of this will, through which he tries to solve the riddles of the universe. In Jacob Boehme, it is not so much the individual results that matter, as this mood and condition of his soul. And he feels that, in his striving, he is driven to something which is not the ordinary cognizing human ego, but which is connected with the forces that bind the human being — out of the subconscious in his soul, out of the depths of his soul — to the whole cosmos; that is, to what lives and weaves outside in nature.\nThe human being who really has an earnest desire for knowledge feels that there is not only something rational in the act of cognition, but something that he achieves for himself through suffering and pain, and through the overcoming of suffering and pain. And he notices, when he tries to penetrate into nature and existence with present-day, ordinary means, how he really separates himself from nature and existence through all such means. But when we expose forces in our soul which rest otherwise in the subconscious, then we feel that these are connected with nature and existence in quite another, more intimate sense. In order to explain this, I should like to draw upon the following.\nIt is a well-known fact, and one hears it often related, that in regions where an earthquake or some other elemental event is imminent, certain animals flee from the locality of the earthquake or some similar occurrence, or at least become restless, so that they are like prophetic announcers of what is to happen. We may say that the instinctive life of the animal is more closely connected with what takes place outside in nature than the whole state of soul of the human being. But in the depths of the human soul, there lives something which is not the same as the instinct of animals, but which is deeper than this animal instinct, and which is also closely connected with the forces of nature. And in descending into the depths of his soul, Jacob Boehme felt himself more closely interwoven with the forces of nature.\nBut one thing stands out particularly. It has been emphasized that only when that which appears as imaginations and an imaginative world has been suppressed, extinguished, and then lights up again as if of its own accord, — only then does this second imaginative world have value. (As I said, I beg you to call to mind the earlier discussions.) Now, it is most singular if we compare the path of Jacob Boehme with this.\nIn the year 1600 he experiences a re-birth, feels himself transported into a spiritual world, into a “kingdom of joy.” Then he continues to live in sober simplicity. For ten years it is as if what he had experienced were submerged. Then it emerges a second time in the year 1610. Did not then the path which we represented as the right one appear as a natural phenomenon in Jacob Boehme's soul? For us, it is this that makes Jacob Boehme approach so closely that upon which we ourselves have focused our attention as being the natural way into the supersensible worlds. If we take this into account his experience will not seem as strange to us as it may have seemed at first sight. 2 See also: Rudolf Steiner, Kosmischc und menschliche Geschichte, , Vol. V, Lecture 3.\nIt will have no value for the objective cognition of the sceptic, to be sure, if one reflects profoundly on the combination out of the syllables “sul” and “phur,” or about other such things. But I beg you to call to mind what we explained concerning human speech once on an earlier occasion 3 See: Rudolf Steiner - Geisteswissenschaft und de Sprache . how we showed that in the course of human evolution “speech” really preceded abstract, conceptual thinking, and how Jean Paul is entirely right when he emphasizes that the child learns to think through speech, instead of forming speech through thinking. Speech, therefore, is something more elementary, primal than thinking. When we see how the whole of nature arises again in our thoughts, then we feel how thought is separated from the realities of nature by a world chasm. But, when the sound as something more like the sounds in nature — and, after all, speech was originally composed of such sounds, — when the sound of speech is wrested from the human soul, then something of the whole system of law in the universe works into the depths of the soul. And then a kind of echo in relation to nature tears itself loose in an entirely different way from that occurring when something is released out of thoughts as an echo.\nA soul of the present time no longer has any feeling for the affinity of speech and sounds in nature. As a contemporary soul one can only slowly struggle through to the feeling that in all speech there is something which directly resembles an echo of the impressions of the external world. In such a personality as Jacob Boehme, who draws deeper forces from his soul with elemental power, it is only natural that in this respect also, in feeling also, as it were, he is carried back to that impression of speech which was once characteristic of humanity and which the child, more or less unconsciously, still develops.\nAnd now if we extend what has just been set forth to include the strange analyses concerning the joining together of syllables into words, then we can understand that what nature brings about in the human soul is only a feeling by means of the sounds; that nature wishes to create her own language through sound itself. Precisely because Jacob Boehme stood closer to nature in his soul, he also lived more in speech than in thought, and his whole philosophy is more a feeling with, a sympathizing with, that which lives and weaves outside in nature than any abstract grasping of things. What I mean to say is that, when a person lets a thought of Jacob Boehme's really have its effect on him, he feels as if the thought were as akin to what Jacob Boehme observed as he himself is akin only to that which he senses as some kind of taste, when he also feels contact with nature.\nThus, does Jacob Boehme feel the contact with nature. He feels in the inner being what weaves and works and lives outside in nature. He lives nature's life with it, and in his representations he gives, really, that wherein he participates, so that one feels what he perceived vibrating in his words. To him, therefore, words are something which he feels especially to be like that which is the “How” in nature itself. One does not have to ponder, therefore, over the question whether such discussions as the above-mentioned about “sul” and “phur” mean anything particular in Jacob Boehme, but one should try to re-experience in connection with this soul how it makes the experience of the universe into the experience of the soul and gives as its revelations that which the soul can experience.\nNo one understands Jacob Boehme who simply supposes that he perceived thunder and lightning, clouds, or cloud transformations, or the growth of grass like a modern human being. A person understands him only if he knows that with the flashing lightning, with the rolling thunder, with the changing clouds something is transformed for his soul-life, so that something takes place in his soul which stands there as the solution of the corresponding riddle. Thus, what takes place in the world becomes for Jacob Boehme a riddle of his own experience.\nAnd now, if we look at him thus, we understand how he could wrestle with a task which meets us elsewhere during his time also, and which long occupied other spirits, even the greatest spirit of recent times. This same sixteenth century, in which occurred the birth of Jacob Boehme, gave birth to the Faust riddle, which places next to the striving and struggling man the enemy of man, who drags down man's striving nature into the base, sensual — into that which Jacob Boehme's age called “the\nDevilish.” Poetically, Goethe still struggled with the problem which places “evil” in the world structure. Must not the human being ask again and again: How does it come about that the irregular, the unsuitable, places itself antagonistically in the harmonious universe, in the wise guidance of the world? And the question of the origin of evil lies in the riddle of Faust. It is really already in the book of Job, but it appeared especially powerfully in the sixteenth century.\nIn what manner could this question appear before the mind of Jacob Boehme?\nWe need only to take a few words from the Dawn in Its Ascent and we shall see at once how that which is elsewhere a world problem becomes for Jacob Boehme at first an inner soul problem. There he says approximately the following words: If an understanding and thoughtful man shows himself anywhere in the world, the Devil at once meddles with his soul and seeks to drag his nature down into the vulgar, common, sensual, — seeks to ensnare the man in pride and conceit.\nHere we see at once how the problem is grasped by Jacob Boehme as a soul problem. We see how he searches in the soul itself for the power of evil, which interferes with the good soul forces. And the question arises for him: What does the soul have to do with the soul forces that strive towards evil? Thus the problem of evil becomes for Jacob Boehme finally an inner soul question. 4 See also: Rudolf Steiner, Geisteswissenschaft als Forderung unserer Zeit; Vol. VII, Das Böse im Lichte der Erkenntnis vom Geiste. But because for him soul and universe correspond to each other, the soul at once expands into a universe. And now the peculiar thing for him is that the question of evil is transformed into an entirely different question, into the question of human consciousness — in fact, of all spiritual consciousness, of the whole character of the life of consciousness.\nIt is difficult today with our current conceptions to illuminate Jacob Boehme's soul life and what the cosmic questions and their solutions became for him, and a person cannot make himself very clear if he uses the words of Jacob Boehme, because they are no longer current coin in our time. I will try, therefore — entirely in the spirit of Jacob Boehme, but with somewhat different words — to approach what he wished to say about the question of evil, which becomes with him a question concerning the whole nature of spiritual consciousness in general.\nLet us once try to think how our consciousness works, what our whole consciousness would be if we were not in a position to hold fast in memory, as thought, what we once experienced in our soul, in our consciousness. Let us try to think how our consciousness would have to be something entirely different if we were not capable of drawing up out of our memory what we experienced yesterday, the day before yesterday, years ago. The whole content of consciousness rests on the fact that we can remember past experience, and our consciousness does not extend back beyond that point of time to which we can remember. We began then to grasp ourselves as an “ego,” to have the coherent thread of our consciousness, to be at home in our soul life.\nUpon what, therefore, does the whole nature of consciousness depend? Upon the fact that we know: Now we are at this moment experiencing something in our consciousness. When we experience something, we are directly connected with this experience. In the moment when we experience something we are nothing else than our experience itself. A person who visualizes a red colour is united with the experience of it at the moment when he visualizes this red colour. Whoever conceives an ideal is, at that moment, one with the ideal. I le distinguishes himself only afterwards from his experience, while before he was one with it. Thus our whole consciousness is something that we first experienced and then stored up as an objective thing in our inner soul life. Such storing away in the objective makes our consciousness possible. We could not develop any consciousness if everything that we experienced were always forgotten — completely removed. By placing our experience before ourselves as counterpart ( Gegenwurf ), 5 The term Wurf is almost untranslatable. It is apparently intended to suggest the primordial source from which all that is takes its rise. Gegenwurf is that which is created by the Wurf , its counterpart. as Jacob Boehme says, — by confronting ourselves with it as with an opposite — only thereby does our real consciousness ignite. We must observe this in connection with the simplest fact of our consciousness.\nIn his clairvoyant contemplation Jacob Boehme extends this experience, which any and every consciousness can have, over all the world. He says: And if a Divine Being in the world had once had the capacity only to live in Himself, but not to confront Himself with His experience — as counterpart — consciousness would never have come to be, even in a Divine Being. But for the Divine Being the counterpart is the world. Just as we confront ourselves with our conceptions, just as we become conscious of ourselves through the object, so the counterpart for Divine Consciousness is the world. And everything that surrounds us Divine Consciousness set out of Itself, in order to become aware of Itself thereby, — just as we develop our consciousness only when we set up our own experiences as counterpart.\nFor Jacob Boehme the grasping of this thought was not a theory, but something that brought him satisfaction with regard to a question which signified a matter of destiny for him — the great Faust question. He could now say to himself: “If I am carried back in thought into Divine Consciousness prior to the world, as it were, this Divine Consciousness could come to Itself, become real consciousness, only by confronting Itself with the world, in order to become aware of Itself through Its counterpart.” Thus, everything that lives and weaves and is took its rise from the Divine-Psychic, from a Will of this Divine-Psychic, which developed the craving, as Will, to become aware of Itself. And in that moment (this now became clear to Jacob Boehme) when the Unitary Consciousness set up Its counterpart and wanted to become aware of Itself — that is, duplicated Itself, created, as it were, the reflected image of Itself — It created this reflected image in a variety, in the multiplicity of single members, just as the single human soul does not have its life only in single limbs, but in limbs that have a certain independence, such as hand, and foot, and head. A person does not get close to the reality of Jacob Boehme if he describes him as a pantheist. He must go through the train of thought in a similar way, must understand how Jacob Boehme conceived everything that appears before us as a “counterpart of the Godhead.”\nTo the counterpart of the Godhead, which the Godhead set out of Itself in order to become aware of Itself thereby, belongs also the human being as he is. From this point of view of his. Jacob Boehme says: Men direct their gaze upwards; see the stars, the masses of clouds, the mountains and the plants, and would often assume the existence of still another special region of the Godhead. But I say to you, you unreasoning human being, that you yourself belong to the counterpart of the Godhead; for how could you sense anything and become aware of anything of Divine Being in yourself if you had not flowed forth from this Divine Being? You have sprung from this Divine Being. He placed you opposite Himself, as He also gave birth to you out of Himself, and you shall be buried in Him. And how could you be raised from the dead if an alien Godhead stood confronting you? How could you call yourself a child of God if you were not one with the substance and being of God!\nThat he does not refer to any ordinary pantheism is expressed by him through the fact that he says: “The external world is not God; it will never in eternity be called God, but a being in which God reveals Himself. … If one says that God is all. that God is heaven and earth and also the external world, it is true, for everything has its origin and genesis in Him. But what can I do with such a speech, which is no religion?”\nOne cannot call him a pantheist. Just as the question concerning the essential nature of the world is not, for him, something artificially sought after, neither is that which he gives himself as an answer to it. Rather is it an experience for him. He felt the prerequisite conditions determining his own consciousness and extended these over Divine Consciousness, because he knew clearly that the nature of his own capacity for consciousness was an echo of the actualities of the world.\nAnd in the answer to the question of the soul and the Divine in the soul he finds also the answer to the question concerning the origin of evil. This is something exceedingly characteristic of Jacob Boehme, which has again and again aroused the admiration of profound thinkers. Thus, for instance, Schelling was very significantly affected when he became aware of the manner in which Jacob Boehme approached the question concerning the significance of evil in the world, and other thinkers of the nineteenth century also admired the profundity of thought with which Jacob Boehme took hold of this question.\nOne may say, with regard to many persons who have sought an answer to the question concerning the origin of evil, that they searched for the primal cause of evil. It is characteristic of Jacob Boehme that he went further than that point which, according to the opinion of many people, is the sole and only limit to which one can go. For where else should a person go if he does not wish to stop at this primal cause? Jacob Boehme goes beyond the primal cause when he wishes to solve the question concerning the significance of evil. He goes to that which he calls, significantly, not the primal cause, or primal ground ( Urgrund ), but the groundlessness, ( Ungrund ), and here we actually stand before an experience of the human soul in Jacob Boehme which can be admired in the highest degree if one has the requisite organ.\nCertainly, the ordinary soul which has its roots in the modern world conception does not, perhaps, possess this organ; but one can have this organ which feels admiration when, in Jacob Boehme, the transition is made from the primal ground to the groundlessness. And, after all, it is really something like the egg of Columbus, something exceedingly simple. For, at the moment when Jacob Boehme had solved the world riddle for himself in the way we have just described — when it was clear to him that there is a relationship between God and the world like that between the soul and the limbs of the body — then he could also say to himself: When the world came into existence as counterpart of the Godhead, there appeared in this counterpart the dividedness, the differences among the limbs, as we should say. 6 He did not use these words, but we wish to characterize according to the essence rather than the words, for we shall, thereby, come closer to understanding him. The dividedness of the single limbs of the body confronting the single soul made its appearance. Is not every single limb of the body good with regard to functions of the soul? Can we not say that the right hand is good, the left hand is good, everything is good in as much as it serves the functions of the soul? But cannot the right hand, because of its relative independence, indeed just because of its excellence, injure the left hand?\nHere we have the independence of the corporeal, that which needs to have “no ground” (cause), set up against that which constitutes harmony. We see this placed in the primal ground (cause), which simply results from the fact that from the “primal ground” we pass on to the “groundlessness.” Just as we do not need to seek in light the cause of darkness, so we do not need to seek in good the cause of evil. But as the world proves itself, for Jacob Boehme, to be the counterpart of the Godhead, the possibility arises in this world of dividedness for the individual limbs to work against each other, in that, because they must have their independence for the sake of the purpose of the world — according to the goal-seeking character of the world — they must also develop this independence.\nThus, for Jacob Boehme, evil does not have its roots in that which one explains, but in that which we find as “groundlessness” without the need for explaining it. But the latter appears thereby, as if of its own accord, as a counterpart of good. And now evil, the unsuitable, the harmful in the world becomes for Jacob Boehme itself a counterpart, in contrast to good, — just as we become aware of ourselves through contact with an object. We move along in space; we do not think of ourselves. But we begin at once to think of ourselves if, for instance, we knock our head against a window. Then we become aware of ourselves through the counterpart, through the object. Just as Jacob Boehme confronts consciousness with the counterpart, just as he experiences himself through the counterpart, so the good, the suitable, the advantageous and useful becomes aware of itself, for Jacob Boehme, through the fact that it has to preserve itself in the presence of the harmful and unsuitable. It becomes aware of itself in that “evil” became the counterpart of good, like the objects that are experienced through collision with the external world.\nThus Jacob Boehme sees in good the force which assimilates its counterpart, just as man, in his memory, assimilates more and more what he himself first set out of his consciousness. We find thus a constant absorption of evil and, thereby, an enriching of the good with the evil. And as darkness relates itself to light, in that light shines into darkness and thereby first becomes visible, so does good first become effective by working into evil and relating itself to evil as light to darkness. Just as light graduates to the different colours through darkness and could not appear as light if darkness were not opposed to it, so can good perform its world-function only by experiencing itself through its counterpart, through evil.\nThus Jacob Boehme looks into the world. He sees the good effective in such a way that it finds itself confronted by evil, but that it takes evil into its own domain, absorbs it, so to speak. Thus a pre-earthly occurrence appears for Jacob Boehme in such a way that he says to himself: The Deity once placed other spiritual beings opposite Himself. These were, like our present nature at a later stage, a counterpart of the Deity. Thus these beings were already a counterpart of the Deity, whereby the Deity achieved consciousness of Himself. But they behaved towards the Deity like the limbs that turn against their own body.\nThereby the Being Lucifer came into existence for Jacob Boehme. What is Lucifer for him? He is the Being who, after the counterpart was created, used the separateness, the multiplicity, to rebel against his Creator as independent counterpart. Thus, in the forces of the world which differ from and struggle against one another Jacob Boehme finds that which must be, but which contributes to the general evolution, nevertheless, by being absorbed in the course of development. In the same way he also conceives that all deeds of the opponent of the Gods — in order that the deeds of the Deity Himself may come to realization so much the more powerfully through the counterpart — are absorbed by the Deity, and that the self-realization of the Deity becomes only so much the more glorious through the forces which the opponent develops.\nInto the depths of the world Jacob Boehme pursues the thought which extends the experiencing of consciousness to the cosmic experience of the origin and primal state of evil. And he puts into a simple formula — not what he gave theoretically, we must say, as the solution of the cosmic riddles, but what he experienced, — into the formula: No “ Yes ” without a “ No, ” for the “Yes” must first experience itself through its counterpart, through the “No.” “No Yes without a No ” is the simple formula into which Jacob Boehme brought the whole problem of evil. And it is not a theoretical formula, but in this philosophy, there lies something like a most primal, most elemental experience.\nFor to know that there is no Yes without a No, that evil is absorbed by good and contributes to the evolution of the world, — that may yet be nothing. But it is something else to be a struggling soul, a soul that experiences pain and suffering, temptations and seductions, and to say to oneself: “All of this must be present, and although it is present I can procure for myself out of my living philosophical word — not by theorizing — the certainty and the consolation and the hope that the best in me will find the possibility of overcoming what is only the counterpart, the “No,” through the primal, through the Primordial Impulse ( Wurf ), 7 The term Wurf is almost untranslatable. It is apparently intended to suggest the primordial source from which all that is takes its rise. Gegenwurf is that which is created by the Wurf , its counterpart. through the “Yes.” And no matter how much I become entangled in evil, and no matter how small the ray of light is that extends over it, — I can and may hope for liberation, so that the good in me and not the evil will win the victory!\nIf such a philosophy passes over into certainty of redemption, then it is something which is, in this manner, connected with the personality, to be sure, but which has with this character of personality at the same time general human significance. If a person allows this to work upon his soul, he will gladly go on from this struggling soul which rises into the cold abstractions of the “Yes” and “No” in order to acquire therefrom the warmest soul content and the warmest soul experiences — then he will gladly go on from this soul, which gains through struggle confidence in its world conception, to the lonely man in Goerlitz who had no opportunity to found a school, for the time which men, under other circumstances, spend in spiritual things he had to spend in making shoes ... he had to gain the time by strenuous effort for his numerous works. Such a person will gladly go to the man whose books reveal how he struggled with language because his external education was so limited, but whose teachings, nevertheless, were disseminated and spread abroad after his death; who sat on his shoemaker's bench and had only few friends to whom he could open his heart. He had friends, it is true, to whom he wrote letters, but their number was small.\nOne sees him thus in his loneliness and feels as if a necessary connection existed herein. Just as one can think of Giordano Bruno only as journeying through the world, moving from land to land in order to proclaim something about the world as if with trumpet tone — just as one feels in him, who enters into the multiplicity of phenomena, that this journeying belongs to this world conception — so does one feel in the other case that this lonely shoemaker experienced something which could be experienced only in such a way that it took place as if in a solitary dialogue with the spirits of existence — in this solitary seership which we characterized at the beginning.\nIf we feel thus, then the sentiment grows in us, with regard to what the human being needs in order to solve the riddles of the world in a thoughtful, feeling way, that the greatest which the human being can experience in the world is independent of place and time, is subject only to the human soul's capacity for profound meditation, and that the soul can undertake the greatest world-migrations, the migrations into the spirit-regions, everywhere and always. Then there rings out to us from Jacob Boehme's soul, and touches our understanding, that which characterizes his world conception in such a significant expression when he says:\nWem Zeit wie Ewigkeit Und Ewigkeit als wie die Zeit, Der ist befreit von allem Streit. To whom time is like eternity And eternity like time, He is freed from all strife.\nThis does not characterize his world conception in a theoretical respect, but it characterizes what his world conception really came to be through the fact that he was such a very special human being. For we have been able to emphasize that through his whole being he was more intimately connected with nature than the normal human being, — that he experienced the weaving and activity of nature in his own soul experiences. This leads us to sense a certain necessity in a designation which Jacob Boehme's friends gave him. They gave him a happy designation. For let us just consider the following:\nWhen there was already a widely diffused, wonderfully detailed science over in the East, in the Orient, whose wisdom we admire if we learn to know it, we still find the very simplest spiritual culture on Central European soil. We find that something lives in all the souls of Central Europe which is like an intimate connection of the forces in the depths of the soul with the forces of nature and the nature-beings, and that the people threw twigs on the ground and saw in the “Runes” which took form all kinds of riddles which they sought to solve. These human beings were decipherers of “Rune riddles.” And of all that speaks out of the souls of the human beings in the forests of ancient Germania about what lives in nature, about what rustles through the trees, or lives mysteriously in human souls themselves, — we feel as if something of all this were active in Jacob Boehme's soul.\nThen something in Jacob Boehme may well become comprehensible to us which would otherwise be the most difficult thing for us to comprehend today. We are not forcing things if we compare with the picture of the decipherer of runic riddles, who solves all sorts of riddles through the twigs which have been thrown on the ground and claims to perceive the revelations of the Divinity Himself — if we compare with this the way, for instance, in which Jacob Boehme sets up the syllables “sul” and “phur” runically out of his relationship with the feeling for speech, and wants to solve world riddles thereby. Here he appears to us like a last offspring of the forests of ancient Germania, and we understand why his friends gave him the name “Philosophus Teutonicus.” This includes, however, his significance for the coming times.\nWe look towards him and see how he struggled with the most exciting problems that can play into the human soul, how he arrived at peace in this struggle, and how his last words: “I enter into Paradise” were the seal to consistency of soul, to soul-practice. It is this that led him to peace of the soul. A breath of faith lives in all his books, and from this point of view Jacob Boehme can have significance for us and for all times. When it comes to the practical life consequence of a philosophy, this “Philosophus Teutonicus” will always be a dominant influence as regards that which he can really be for the soul if it becomes familiar with him. 8 Compare: Rudolf Steiner — Die Rätsel der Philosophie , Vol. I.\nHis adversaries sometimes make a strange impression — beginning in the year 1684, when the first rather strong refutation of Jacob Boehme by Kallo appeared, up until our time, when we also have a writing against Jacob Boehme, by a Leipzig scholar of the past century, Dr. Harles. It seems rather peculiar how Harles wishes to show that Jacob Boehme did nothing but warm up old alchemistic things, and then says that, after he had often tormented himself for days in order to present Jacob Boehme in this way, he was often glad when he could approach Matthias Claudius in the evening in order to find recuperation and edification in his words, after he had had to concern himself thus with Jacob Boehme throughout the day. And he desires also for his readers that they not allow themselves to be beguiled by the glistening and glimmering formulae of Jacob Boehme, but that they also take refuge in the simple and naive Matthias Claudius, whose gift to the soul is such that the soul does not have to seek its salvation in being elevated to the highest heights of spiritual life.\nIt may be that this Dr. Harles, the antagonist of Jacob Boehme, had to take refuge in Matthias Claudius in order to escape from the glistening, high-flown formulae of Jacob Boehme, and that he could find peace in Claudius, in contrast to his experience with Jacob Boehme. Only, it makes a strange impression on one who knows that Matthias Claudius himself took refuge, after he had achieved what Dr. Harles found in his works, in some one who not only knew Jacob Boehme, but even translated him — in Saint Martin, who was a faithful pupil of Jacob Boehme! Thus it is very good not only to know wherein Dr. Harles, the antagonist of Jacob Boehme, sought edification, but also to know wherein Matthias Claudius sought his edification!\nBut the world conception of Jacob Boehme is one that is suited to lead beyond contradictions, if only one does not stop at it. The whole nature of the lectures that have been given here has shown that within the world conception which is represented here we should not remain standing at any one phenomenon, but that whatever of the spiritual world can be grasped directly through the forces of our age should be grasped. Certainly Jacob Boehme remains a significant personality, a star of the first magnitude in the spirit-heavens of humanity — yet no one will stop at him. The representations of spiritual-science which are given today are, therefore, by no means given from the standpoint of Jacob Boehme, but from that of our age, and the next time we shall show, in contrast, what an entirely modern spirit has to say. 9 Rudolf Steiner, Die Weltanschauung eines Kulturforschers der Gegenwart ( Herman Grimm ) und die Geistesforschuug.\nBut Jacob Boehme becomes still more interesting if we transport ourselves into his spirit-nature — which stands upright in simplicity and solitude, and takes flight with his soul into the highest region of clairvoyance, — and if we find how this spirit-nature could spread peace over Jacob Boehme's soul, which can subsequently be felt by all who approach him with understanding or, at least, seeking for understanding. For this reason, intellectual characterizations will not come close to the reality of Jacob Boehme, but only such characterizations as endeavour to feel what a human being like Jacob Boehme felt, what streamed forth from him — as, for instance, in the three lines which I have cited.\nAnd only then can the words with which I essayed to characterize Jacob Boehme gain their significance if those present feel that they were not said in order to culminate in a theory or theoretical characterization of Jacob Boehme, but to culminate in this: that, when we are directly confronted by the personality of Jacob Boehme, something streams out from it — and streams out so much the more warmly and intensively the more we learn to know it — which can sum up what has been said in words designating his peace, his serenity:"
  },
  {
    "id": "GA062-8",
    "title": "The World View of Herman Grimm",
    "date": "16 Jan 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/GA062/English/Singles/19130116p02.html",
    "book_title": "",
    "content": "“Spiritual science aims to show what can be gained in widening one's spiritual horizons. It can be said that for the purpose of gradually entering into the whole outlook inherent in spiritual research, anyone immersing himself in Herman Grimm?s spirit has the finest precepts.” — Rudolf Steiner, GA 62 This is a lecture, given by Rudolf Steiner, entitled Die Weltanschauung eines Kulturforschers der Gegenwart, Herman Grimm, und die Geistesforschung and contained in the volume Ergebnisse der Geistesforschung (Results of Spiritual Research) GA 62. The series in which this lecture was given at the Architektenhaus in Berlin, may be said to underline its overall importance for Rudolf Steiner: Held January 16th 1913 subsequent to a lecture January 30th on Raphael. Also known as, Herman Grimm, Contemporary Culture and Spiritual Developments, and Anthroposophy . This single lecture is the 8th of 14 lectures in the lecture series entitled, Results of Spiritual Investigation , published in German as, Ergebnisse der Geistesforschung . Translated by Peter Stebbing\nTranslated by Peter Stebbing\nIt could easily appear as though what is set forth here as spiritual science stood in isolation to what is otherwise proclaimed and of a tone-setting nature in the cultural life of the present. However, it can only appear so to one who conceives of this spiritual science in a somewhat narrow-hearted sense, seeing in it nothing more than a sum of teachings and theories. On the other hand, whoever recognizes it as a spiritual stream open to new sources will become aware that parallels can be drawn to modern cultural life in various ways. It will be seen that this manner of viewing life called spiritual science can be applied to other, in some degree related directions. A direction of this sort is the subject of today's considerations — as represented by a prominent personality of modern cultural life, the art historian and researcher Herman Grimm .\nHerman Grimm [the son of Wilhelm Grimm of the Brothers Grimm] was born in 1828 and died in 1901. He appears indeed as a quite characteristic figure of modern life, and yet he is, at the same time, so distinctive and unique as to stand apart. Today's considerations can connect especially well onto this personality. To anyone having occupied himself with Herman Grimm, he appears as a kind of mediator between all that relates to Goethe, and to our own spiritual life.\nBy reason of his marriage to the daughter of a personality, who stood close to the circle of Goethe, namely the sister of the romantic poet Clemons von ] Brentano ,[ Bettina Brentano [1785-1859], Herman Grimm was connected in a quite special sense with everything associated with the name of Goethe. Herman Grimm was related to her in that she was his mother-in-law, the same Bettina Brentano who had brought out Goethe's remarkable exchange of letters with a child. Bettina Brentano's unique memorial shows us Goethe enthroned like an Olympian, a musical instrument in his hands, while she presents herself as a child grasping at the strings. From the Frankfurt circle of La Roche, in her relation to Goethe she was able (like few others) to enter into Goethe's spirit. Even if some things as presented in the letters are inexact, being colourfully mixed together in various ways — a combination of poetry and truth — it still has to be said: Everything in this remarkable book, Goethes Brefwechsel mit einem Kinde [ Goethe's Exchange of Letters with a Child ], grew in a heartfelt manner out of sensing Goethe's whole outlook. In a wonderful way, it grants us an echo of his wisdom-imbued worldview. Bettina Brentano was married to the poet Achim von Arnim [l781-1831], who had contributed to bringing out the fine collection of folk poems called Des Knabens Wunderhorn [1806] [ The Boy's Magic Horn ]. By virtue of the connection with this circle — as mentioned, Gisela Grimm , Herman Grimm's wife, was one of the daughters of Bettina von Arnim — Herman Grimm grew up from youth onwards, as it were, amid personalities who stood in close proximity to Goethe. In all that he took up in his education, Herman Grimm absorbed something of an immediate, elemental spiritual breath of Goethe. Thus, he felt himself as belonging to all those who had stood personally close to Goethe, even though he was still a child the time of Goethe's death [in 1832J, rather than one who had “studied” Goethe and Goetheanism. Herman Grimm counted as having taken into himself, in a direct and personal way, something of Goethe's essential being, his magical power, his natural humanity.\nWith inner participation, Herman Grimm experienced the development of German cultural life during the decades of the mid-nineteenth century. In doing so, he established, so to say, his own “kingdom” within this German cultural life. He can be called a spirit who, in an individual manner, starts out from whatever stimulated him, that furthered the development of his own powers. In this way, out of the whole range of cultural life, a realm subdivided itself for Herman Grimm that suited his aims, a realm in which he felt at home. Within this domain in which Herman Grimm felt himself at home, he understood himself to be, lo to say, the spiritual “governor” with respect to Goethe. Goethe's spirit appeared to him as though it lived on. And in seeking out what derived from Goethe and what was compatible with him in cultural life, entering into this, it was always the essence of Goethe that he sought. This then became a yardstick for him in evaluating everything in cultural life.\nThese were decades of struggle in German cultural life, decades in which everything to do with Goethe receded, following his death. So much else of immediate everyday concern stood in the forefront, rather than what proceeded from Goethe. During that period, numerous other things asserted themselves in the cultural life of Germany, while little was heard of Goethe. On account of his connection with Goethe, Herman Grimm regarded himself as one whose task it was, quietly yet actively to cultivate and carry over Goethe's ethos to a future time that he certainly hoped would come, a time in which Goethe's star would shine out once more in the European spiritual firmament.\nIn that he regarded himself as, so to say, the “governor” of Goethe's spiritual domain, Herman Grimm stood somewhat apart in his relation to cultural matters. It seemed appropriate, if not self-evident to see him as having the air of a “lord.” Even in his stature, his physiognomy, his gestures, in his conduct, there was something about him suggestive of an aristocrat. And, it can be said: For anyone not accustomed to looking up to someone as to a lordly personality, Herman Grimm's whole demeanour as though compelled acknowledgement of the aforementioned status. I still fondly recall being together with Herman Grimm in Weimar, which he often liked to visit. On one occasion, he invited me as his only guest to a midday meal. We spoke about various matters that interested him. We also talked — and I was pleased that he wanted to have this conversation with me — about his comprehensive life-plans. And when a certain time had passed after the meal, he said, in his inimitable, humorous and quite natural manner, such that one accepted it from him as something innate, “Now, my dear Doctor, I wish graciously to dismiss you!” As though a matter of course, it actually made a self-evident impression on me. And it accorded with Herman Grimm's whole manner of conducting himself, so that, one granted him a certain air of lordliness.\nHerman Grimm's whole lifework bears something of the same attribute. One cannot take up one of his major or minor writings, with their harmonious and so succinctly constructed sentences without feeling: all this affects one as though the author's personality stood behind it, regarding one with soulful participation. This contributes to the wonderful quality in Herman Grimm's writings. In every respect they are the product of his soul-imbued personality and have their immediate effect as such. In this way, his style takes on a certain justified, noble pathos. However, this noble pathos is mitigated everywhere by the individual, human element that breaks through. One accepts his style despite its elegance. Everywhere, one senses his origins in having sincerely absorbed Goethe's spirit. Yet this is not all; it becomes apparent that with him the Goethean element has undergone something of the development of German Romanticism. We sense in Herman Grimm's style a liberation from all that can broadly be termed “commonplace” or “customary.” We have the impression of a singular personality secluded within himself.\nHerman Grimm's orientation could possibly have led to a certain one-sidedness, had something else not played a part, binding him closely to tradition; Herman Grimm was, after all, the, son of Wilhelm Grimm and the nephew of Jakob Grimm . Known for inaugurating modern linguistic research, these two collected the German fairy tales that have in the meantime profoundly permeated German life. They listened to the sagas and fairy tales told them by simple folk, that were almost forgotten and remembered by only a few remaining souls. Brought to life again by the Brothers Grimm, they now live on.\nDespite a refined style in everything he produced, Herman Grimm also had close ties to popular tradition, combining this with what might otherwise have been a one-sided direction. We still have to stress something further by which he appears harmonious and complete. In taking up the works of Herman Grimm, we encounter something of his adaptability — a capacity to connect with the various spiritual phenomena in which he immersed himself in the course of his life. A certain isolation is required for someone to submerge themselves fully in the phenomena and facts of past centuries. This adaptability, this quality of “softness” with regard to Herman Grimm acquires its “skeleton,” however, its necessary “hardness,” by reason of something else that intervened in his upbringing. Both his father and his uncle belonged to the “Göttingen Seven,” who in the year 1837 submitted their proclamation protesting the abolition of their country's constitution. They were consequently expelled from the University of Göttingen. Thus, already as a child, Herman Grimm experienced a significant event and its aftermath. For there were consequences both for his father and his uncle, in that they not only lost their positions, bur their daily bread as well, at the time. Herman Grimm often referred to how he had experienced historical change in this way, even already as a nine-year old boy, and not merely via book-learning.\nAt a time when little was said of Goethe in Germany, attention having been diverted to other things, Herman Grimm viewed himself as a representative of Goethe's ethos. But he did experience a resurgence of interest in Goethe and was himself able to contribute to it. At the beginning of the seventies of the nineteenth century, he was able to hold his famous Goethe lectures [“Goethe-Vorlesungen” 1874-75] at the University of Berlin, also published in book form. Anyone getting hold of it as a young person, and able to find the right relation to it, will undoubtedly speak of it in later years as being of special significance. And, as set forth in this book, Herman Grimm clearly shows himself as someone who knew the various ramifications of Goethe's soul life.\nWe gain a clear sense of how Herman Grimm viewed a personality such as Goethe. We find nothing of a small-minded biographical compulsion — to flush out all manner of more or less indifferent traits. Rather do we find an immersion in everything that was important for Goethe's development — the endeavour to pursue what Goethe experienced in life, what lived in his soul, and how this re-constituted itself, taking on form to become a creation, of Goethe's phantasy. How, he asks, in forgetting everything of a particular life experience, did this re-arise for Goethe to become the product of creative phantasy — a new experience?\nThus, in Herman Grimm's interpretation, Goethe raises his life-experiences a stage higher, to a sphere of pure spiritual contemplation. We see Goethe ascend to spiritual experiences. Herman Grimm demonstrates this with regard to each of Goethe's works. And we gladly follow him in pursuing this course, since with Herman Grimm nothing intrudes that can otherwise so easily enter into such a portrayal — that a single soul-force, e.g., reason or phantasy, becomes paramount, as it were, and one no longer feels the connection to immediate life. Herman Grimm goes no farther than he can go as an individual in contemplating Goethe's work. In the end, we are led by Herman Grimm to the point where the work takes its start from Goethe's life experience. One feels oneself transported everywhere into unmitigated spiritual life. Goethe becomes a sum of spiritual impulses. This breath of the spiritual extends throughout Herman Grimm's Goethe book.\nWhat Herman Grimm ascribed to Goethe in this way has its roots deep in Herman Grimm's spiritual configuration. Long before commencing these considerations that led to his lectures on Goethe, a grand, a colossal idea had stood before him — the idea of viewing occidental cultural life as a whole in the same way he had done, individually, with regard to Goethe. The idea stood before his mind's eye of following three millennia of western cultural life so as to reveal everywhere how human sensibility transforms everyday events in the physical world to what the human soul experiences upon ascending to the realm of “creative phantasy,” as Herman Grimm called it. Thus, he becomes a unique kind of historian. For Herman Grimm, history was, so to say, something altogether different from what it is for other modern historians.\nHistory is, after all, customarily studied in that documents, materials, are first collected, and from these the attempt is made to present a picture of humanity's development. Although materials, external facts, were of enormous importance for Herman Grimm, they were nonetheless not at all the main thing. He often entertained the thought: Could it not be that for some epoch or other precisely the most significant documents, the decisive ones, have disappeared without a trace — lost, so that one actually passes by the truth most of all in focussing too conscientiously and exactly on the documents? Hence, he was convinced that, in abiding most faithfully by external documents, one is least of all capable of providing a true picture of human development. Only a falsified picture could arise in keeping strictly to external documents alone.\nHowever, something else has arisen in the cultural life of humanity. What took place outwardly, what happened has, thanks to leading individualities, undergone a spiritual rebirth. This is evidenced by personalities who have transformed it artistically, who have utilized it for cultural purposes. Thus, in looking back for instance to the time of ancient Greece, Herman Grimm said to himself: Some documents exist concerning this Greek age, but these are insufficient to enable one to understand the Greek world. Yet what the Greeks experienced has found its rebirth in the works of Greek art, has been re-enlivened by significant Greek personalities. Immersing oneself in them, letting the Greek spirit affect one, a truer picture of the Greek world is attained than in merely assembling external facts. In this way, the facts themselves disappeared, so to say, for Herman Grimm. One is inclined to say, they melted away from his world-picture. What remained in his world-picture was a continuous stream of what he called the creations of “folk-phantasy.”\nIn contemplating Julius Caesar , for example, he not only took account of the historical documents, he considered what Shakespeare had made of Caesar as of equal significance, comparable to what is contained in the existing documents. Through characteristic human beings he looked back at the age in question. For Herman Grimm, the course of humanity's development became something always handed on from one personality to another, seeing it as a spiritual process encompassed by what he termed creative phantasy. Proceeding from this point of view, he sought to gain a picture of the creative folk-phantasy at work in western culture — a sense of the actual course of events in the development of humanity, so as to be able to say: The epochs of western culture follow one upon the other, supersede each other — from the earliest epochs up to the present, i.e., from the oldest times to which he wished to return, up to his own period, the age of Goethe. They therefore represent an ongoing stream, the influence of folk phantasy within western cultures.\nStarting out from this urge, he turned his attention early on to that grandiose phenomenon of western cultural life, Homer's “Iliad.” This occupied him for a period of time during the 1890s, leading to his truly exemplary book, Homer . One gladly takes up this volume again and again in wanting, from a modern viewpoint, to immerse oneself in the beginnings of the Greek world. Adopting his general standpoint, it shows us Herman' Grimm from another side. His gaze is directed to the world of the gods as depicted in Homer's “Iliad” — to the battling Greek and Trojan heroes, and the question arises for him: How do matters actually stand with regard to this interplay of the world of the gods with the normal human world of warring Greek and Trojan heroes? This becomes a question for him. It is indeed striking, what a tremendous difference there is in the Homeric portrayal, between the humans walking around and the nature of those beings described as immortal gods. And Herman Grimm attempts to present the gods in Homer's sense as portraying, so to say, an “older” class of beings wandering on the earth. Even if Herman Grimm, in his more realistic way, sees these beings as “human beings,” he does look back into a culture that in Homer's time had long lost its significance, a culture that had been superseded by another, to which the Greek and Trojan heroes belong. Thus, Herman Grimm has an older and a younger class of humanity play into one another in Homer's “Iliad;” and what has remained over of real effects of a class of beings that had lived previously, enters for Herman Grimm (in Homer's sense) into what takes place between Greece and Troy.\nHerman Grimm saw the further progress of humanity in this way — as a continual supplanting of older cultural cycles by newer ones and an interplay of older cycles with newer ones. Each new cultural cycle has its task, that of introducing something new into the general development of humanity. The old remains extant for a while and still interacts with the new.\nIt can be said that what Herman Grimm investigated, to the extent possible in the last third of the nineteenth century, has now to be set forth once more from the point of view of spiritual science. He did not look further back than the Greek age. For this reason, he was unable to arrive at what recent spiritual research describes in looking to the lofty, purely spiritual beings of primeval antiquity, exalted above the human being. He did, however, frequently touch upon results of recent spiritual research — as nearly as anyone can without conducting such research themselves.\nIn going back to earlier stages in the development of humanity, we attempt, in spiritual research, to show that we do not arrive at the animal species in the sense of the Darwinian theory that is interpreted materialistically nowadays. Rather, we attempt to show that we come to purely spiritual ancestors of the human being. Prior to the cycle of humanity in which human souls live in physical bodies, there is another cycle of humanity in which human beings did not yet incorporate themselves in physical bodies. Herman Grimm leaves the question undecided, so to say, as to what was actually involved with the “gods,” before human beings stepped onto the earth. However, he does recognize the ordered sequence of such cycles of humanity. And this results in an important point of contact with what spiritual science presents. That he takes account of such regular periodic stages taking place ~~ brings him especially close to us.\nHe attempts to extend his spiritual observations over three millennia. The first millennium for him is the Greek millennium. With Herman Grimm, one is inclined to say, there is something like an undertone in his manner of characterizing the Greeks, as though he were to say: In looking to the Greeks, they do not appear constituted like human beings of today, particularly in the oldest periods. Even someone like Alcibiades [ca. 450-404 B.C.] appears to us like a kind of fairy-tale prince, it is as though one beheld what is superhuman. Still, out of this Greek world that, as already mentioned, Herman Grimm presents as being altogether unlike the later human world, there towers ell that arose in the subsequent Greek world end in what follows, becoming the most important constituent of our cultural life. And finally, at the end of the first thousand years contemplated by Herman Grimm, the most significant impulse in humanity's development stands before his soul: the Christ impulse.\nHerman Grimm is sparing in what he has to say about the figure of Christ, just as he is restrained in various other matters. But the occasional observations he makes show that he would as little go along with those who would “dissolve” Christ, as it were, to the point of a mere thought impulse, as he would go along with those who want to see Christ Jesus only in human terms. He emphasizes that two kinds of impulses actually proceed from the figure of Christ — one of colossal strength, that continues to work on throughout the further development of humanity — and the other impulse which consists in immense gentleness. Herman Grimm sees the entire second millennium of western cultural development taking shape in such a way that the Greek world is as though absorbed by the Christ impulse and the resulting mixture of Christianity and Greekness is incorporated into the Roman world, overcoming it. Out of this something quite unique arises. That is his second millennium, the first Christian millennium. The Roman element is not the main thing for him, but rather the Christian impulses. Everything of a political or external nature disappears for Herman Grimm in this millennium. He looks everywhere at how the manifold Christ impulse makes itself felt. His conception of Christ is neither narrow. nor small, but broad. When a book on the life of Jesus, La Vie de Jesus [1863], by Ernest Renan was published, Herman Grimm referred to it in the periodical he edited at the time, “Künstler und Kunstwerke” [Artists and Works of Art]; he attempted to show how pictorial representations of the Christ figure had undergone changes over the centuries both in the visual arts and in literature. He sought to demonstrate how the Christ impulse undergoes changes. He pointed out that people had always conceived of the Christ impulse according to their own outlook. In Ernest Renan he saw an instance of someone in the nineteenth century who conceived of Christ once again in a narrow sense only.\nIn Herman Grimm's view, Christianity needed about a thousand years to send its impulses into the rivulets and streams of western spiritual life. Then came the third millennium, the second Christian one, in which we still find ourselves today. It is the millennium at the dawn of which spirits such as Dante and Giotto arose, as also artists like Michelangelo , Leonardo da Vinci , Raphael and so on, followed by the works of Shakespeare and Goethe . These cycles in the development of humanity, an ongoing stream , he spoke of as an expression of the being of creative phantasy. Again and again Herman Grimm sought to present in lectures give to his students, this rhythmically subdivided, ongoing stream of humanity's development. Herman Grimm aimed to show how single creations had their place within the unbroken flow.\nThus, for him, Michelangelo, along with Raphael, Savonarola, Shakespeare and others, such as Goethe, were in a manner of speaking the spiritual constituents that become explicable on seeing them against the background of the ongoing stream of creative phantasy. For Herman Grimm this was especially apparent at the source, in the ninth or the tenth century before our era, with Homer. Thus, Herman Grimm addresses himself in an immediate way to the human soul, in drawing our attention to a specific work of art — be it Raphael's “'Marriage of Mary and Joseph,” a painting, of the Madonna, or one of the creations of Leonardo da Vinci, or. later, of Goethe. He grants us the feeling of standing as though directly within the unique qualities of the particular work. In considering with him the arrangement of colours, the figures and their gestures, while standing inwardly before the work of art, there emerges for us something like a tableau of the entire progress of humanity — now called forth by a single entity in that onward-flowing, all-encompassing stream of creative phantasy — over three millennia.\nThus, with Herman Grimm, one is first conducted into the intimate aspects of the work of art in question and is then led up to the summit from which the total stream can be surveyed. However, that is not something he considered in a theoretical manner. It seemed entirely natural for Herman Grimm to look at the totality of the onward flowing spiritual stream of humanity's development in this way. As he explained it to me, as mentioned at a midday meal, with his whole soul. he actually lived, as a matter of course, within this spiritual stream, and he could not look at a single phenomenon in any other way than as though it were excerpted from this mighty stream of humanity's development.\nThe whole of western cultural development, seen as folk phantasy, stood before his soul, though not as a general abstract idea, but filled with real content. He saw himself as inwardly connected with this luminous content extending over millennia, such that everything he wrote appears to one as individual segments of an enormous work. Even in only reading a' book review by Herman Grimm, one has the impression as though it were cut out from a colossal work setting forth the whole development of humanity. One feels oneself positively placed before such a colossal work, having opened it, and as though one were reading a few pages in it. It is the same with an article or an essay by Herman Grimm. And one comprehends how Herman Grimm could say of himself, in the evening of his life, in writing the preface to his collection of Fragments , that the idea had floated before him of a portrayal of the ongoing stream of folk phantasy, and that therein the whole of western culture had appeared to him, A particular subject he had pursued appeared as if it had been taken out of a finished work. However, he placed no more value on what had been printed than on what he had only written down, and on what he had written down, no more value than on what lived in his thoughts.\nIn referring to this, one would like to add a further impression, without putting it into an abstract formula — having been fond of Herman Grimm, remaining so, and in valuing his work and the kind of person he was. Herman Grimm was never able to reach the point of actually carrying out what stood before his mind's eye as something so beautiful, so colossal, so magnificent that even his works on Homer, on Raphael, on Michelangelo, on Goethe, appear to us as fragments of this comprehensive, unwritten work. We read the lines of the introduction to the Fragments mentioned above with a certain feeling of wistfulness. He states there that, though it would most likely not come about, it would perhaps be feasible to rework into a book what he had to say to his students year after year — and newly revised every year — concerning the progression of European cultural life in the last form these lectures took. One reads these lines today the more wistfully, as it did indeed not come to such a rewriting. We had to see Herman Grimm pass away, knowing what lived in his soul intended for present-day culture — having this sink with him into the grave.\nWe have characterized the sweeping cultural horizons underlying Herman Grimm's written works. Spiritual science intends to show what can be gained in widening one's spiritual horizons. It can be said that for the purpose of gradually entering into the whole outlook inherent in spiritual research, anyone immersing himself in Herman Grimm's spirit has the finest precepts. Apart from the breadth of his horizons, we see how he approached the phenomena, how his thoughts and feelings led him to everything he wrote in his comprehensive works on Homer, Raphael, Michelangelo and Goethe. And, bearing in mind what is set forth in his other writings, one sees that Herman Grimm distinguishes himself in significant ways from other spirits, in possessing attributes belonging to the kind of soul-deepening we have spoken of in describing the path the soul has to take in order to enter the spiritual worlds.\nWe have stressed that for the spiritual path, the intensity of soul-forces has to become greater. Deeper soul-forces are to be called forth that otherwise slumber. Inner strength, inner courage and boldness are required to a greater extent than in ordinary life; concepts are to be grasped more sharply. The soul needs to identify itself more fully with its own being, with the forces of thinking, feeling and willing. Initial signs of this are evident everywhere with Herman Grimm, by which he was, for example, in a position to describe works of art in such an intimate and personal way, as in the case of Raphael and Michelangelo. This is a precursor, however, to further illuminating the spiritual world. The basis of Herman Grimm's historical research does not lie in what is nowadays called “objectivity,” but in his allying himself with the cultural phenomena he portrays, as accords with the spiritual world. In this way, wholly forgetting itself and yet in a rare sense conscious of itself, the soul immerses itself in the corresponding cultural manifestation.\nThis becomes particularly evident when he directs his attention to a single cultural phenomenon, such as Raphael, elevating this to the overall stream of human spiritual life. His impressions then become bold, powerful ideas — and what others do not venture to say with the same shade of feeling, or with the same subtlety of ideas, Herman Grimm does venture, becoming in this way a representative of the spirit. And he then stands before us with such boldness that we are sometimes reminded of the Gospel writers. It is just that they wrote more in keeping with mysticism, while Herman Grimm wrote in the sense of a modern spiritual discourse. Just as the Gospels reach upward to attain the horizon of mankind as a whole, so Herman Grimm reaches upward with his Raphael book to the horizon of mankind as a whole.\nIt is miraculous when, in his audacious way — seemingly tearing his soul out of himself and striding as though alongside Raphael — as in an overall stream of evolution — he erupts in words that can truly tell us more than any mere presentation of world history: “Raphael is a citizen of world-history; He is like one of the four rivers that according to the belief of the ancient world flowed out of Paradise.”\nIn letting such a sentence duly affect one, Herman Grimm's perception of Raphael takes on an altogether different character, compared to what other authors have to say. Hence, for Herman Grimm, the various personalities of history merge into the overall stream of spiritual life. It could also be said, he brings the highest spiritual spheres down to the personal element. And in speaking the following heartfelt words, Herman Grimm further expresses his relation to leading cultural figures:\n“If, by some miracle, Michelangelo were called from the dead, to live among us again, and if I were to meet him, I would humbly stand aside to let him pass; if Raphael came by, I would follow him, to see whether or not I might have the opportunity of hearing a few words from his lips. With Leonardo and Michelangelo one can confine oneself to reporting what they once were in their day; with Raphael one has to start from what he is for us today. Concerning the two others, a slight veil has passed over them, but not over Raphael. He belongs among those whose growth is as yet far from being at an end. we may imagine that Raphael will present ever new riddles to future-generations of humanity.” [ Fragments , Vol. II, p.170]\nThis counts as a characteristic mood, rather than as something normally objective in the sense of what is normally demanded nowadays. But if does describe matters in such a way that we feel ourselves transposed, in an immediate way to what had lived in Herman Grimm's soul in writing- such sentences. It becomes understandable that such a spirit had to struggle in coming to terms with such a world-historical figure as Raphael. Oddly, as he himself relates, it was quite different for him, in describing the life of Michelangelo. The portrayal of the life of Michelangelo by Herman Grimm is a marvellous document, though in some respects perhaps, it counts today as having been surpassed. Seen against the background of the life of that time, the figure of Michelangelo stands out significantly from other figures — as also from the unique description of the city of Florence. Herman Grimm places a tableau before us in contrasting two spiritual entities, Athens and Florence. With that, the weaving together of three millennia as characterized by Herman Grimm, appears as a mighty background upon which Dante and Giotto appear, along with other painters of that time — followed by figures such as Savonarola, and finally Michelangelo himself, evident.\nIt becomes evident that Herman Grimm responded differently to Raphael and his surroundings than to Goethe, while presenting everything with no less familiarity. In the case of Herman Grimm's Goethe portrayal, we sense everywhere that he had grown up as a spiritual descendant of Goethe. With his Michelangelo portrayal, we feel how he enters into everything personally, wandering the streets, visiting every palace in Florence. ... other matters, as it were. Besides personally acquainting himself with other matters, he succeeds in standing as it were, before Michelangelo, and in depicting his actual manner of working. All this is as though cast from the same mould.\nThis differs from what he presents concerning Raphael. There we sense a wrestling with the material, with the spiritual image of Raphael. It is as though Herman Grimm were never able to achieve satisfaction. He describes having taken up the material again and again, while nothing appeared adequate to him of what he had already published. That was true even of his last works — of what he finally attempted as a portrayal of Raphael's personality. This remained a fragment, appearing in the collection of essays entitled Raphael as a World Power , from which the sentences derive that were just read out.\nWhy did Herman Grimm struggle with the material, precisely in the case of Raphael? It is because he could only present something to his own satisfaction in uniting himself completely with the material. In Raphael, however, he saw a spirit characterized in the words quoted: “Raphael is a citizen of world-history. He is like one of the four rivers that, according to the belief of the ancient world, flowed out of paradise.” And thus, with every statement applied to him, Raphael grew to giant size. Herman Grimm could never be satisfied, since he could not capture this “world-power” in a book. If the comprehensive breadth and grace of his spirit is evident in the portrayals of Homer, Michelangelo and Goethe with his Raphael discourse we see the profound uprightness, the profound honesty of Herman Grimm's personality.\nWhoever takes up his book on Homer will possibly find it not scholarly enough. But Herman Grimm states on the very first page, that this book is not meant to be a contribution to Homer research. As already set forth; here, Herman Grimm could conduct himself in this and similar matters much like a spiritual “lord.” Thus, it appears quite natural that, in collecting his ideas on Goethe for publication, he boldly started out from the view that every other book he had come across concerning Goethe fell short. What seems like brazenness to some, can be taken for granted in the context of his literary and artistic abilities.\nThat is how he relates to everything in cultural life. Hence for those who adhere to the standpoint of erudite scholars, Herman Grimm's Homer book may seem intolerable. All the many questions that have been raised concerning Homer — whether or not he actually lived, whether the “Iliad” was put together from so and so many details, and so forth — all that did not concern him. He took it as it was. In this way, however, it became clear to him how wonderfully it is composed, how what comes later always refers to what preceded it. Everything that shows this inherent composition appears to us inwardly coherent. But apart from that, what appears most salutary for a spiritual researcher, is his immersion in the soul-life of the Homeric heroes. Everywhere, we see Herman Grimm's soul-imbued style extend to the soul-life of Homer's heroes. Everywhere we see the Achilles-soul comprehended, the Agamemnon-soul, the Odysseus-soul, and so on. As a description of souls, this book is overpowering in its effect, in spite of the familiarity of the stylistic presentation! We are led not only to the heights of historical contemplation, but also deep into the souls of the single Homeric figures, some scholars will inevitably say, Herman Grimm has taken the “Iliad” at face value, with disregard for the whole of Homer research and all preliminary study, accepting it verse for verse! Indeed, he does so — quite “amateurishly” — and the dry conclusion could then be: There someone has written a book without any preliminary study.\nDid Herman Grimm in fact write this book without any preliminary study? Anyone concerning himself with the works of Herman Grimm will find the preliminary studies, only they look different from the preliminary studies of the usual experts. The preliminary studies of Herman Grimm lay in soul studies, in immersing himself in the secrets of the human soul. And one can convince oneself that no one could have shed such light on the Homeric heroes without those preliminary studies. Herman Grimm looks for what held sway in Homer's Phantasy. But what he says reveals him to be the finest knower of human souls. We may expect remarkable things of him in considering the way viewed Homer's heroes — from Achilles to Agamemnon to Odysseus. How did he find the words to write, in his Homer book and other works, what can seem to the researcher so uncommonly spiritual? He was able to do so on account of quite definite preliminary studies. And these are to be found among the works of Herman Grimm's first period.\nAbove all, we have the wonderful collection of novellas [1862] that is perhaps less read today than other modern products of its kind. However, these should be read by those who take an interest in spiritual things. As a collection of novellas, it is an intensive attempt to get to know human souls, to fathom human secrets and the soul's activity beyond the physical plane. The first of these novellas, “The Singer,” belongs to Herman Grimm's earliest phase as an author. In this work it is shown how a man acquires a deep, passionate yearning for a woman of a broad spiritual nature. However, these two personalities are never able to come together. The woman sends this ardent man away from her social circle, while everything lives on in the man's soul in the way of impulses that drew him to her. On the other hand, what proceeds from his soul saps at his bodily strength. Set forth as corresponds to spiritual research, we see him gradually destabilized in his soul. He is taken in by a friend to live on his estate, becoming, however, entangled again in the woman's “net.” The friend recognizes that it is high time to fetch this person his friend adheres to so completely. She does come — but too late. Whereas she is in front of the house, the individual concerned shoots himself.\nAnd now comes something, taken up unreservedly in spiritual research, which Herman Grimm so often touches upon in artistic expression, but allows to devolve into indefiniteness. Briefly and succinctly he describes how, in the singer's imagination the deceased lives on. The scene is unforgettable in which, feeling her entire guilt in the death of this man, she sees him approaching from the realm of the dead, night after night. This now fills the content of her soul. It is not described as being a mere figment of her imagination, but in the sense of someone who knows there are secrets that reach beyond the grave. It is a wonderful description, that tells how the friend plants himself in front of the woman when she says the deceased comes to her — continuing right up to her final letter to the friend, in which she expresses that she herself now feels close to death. For her, the deceased, to whom she was so closely bound, had drawn her towards him from the realm of the dead. Probably no modern author has found the right tone, in touching on the spiritual world with such sincerity.\nIn spiritual research we present how, in going through the portal of death, what otherwise always remains united with the human being — also in sleep — the so-called etheric body, raises itself along with the higher soul-members, out of the physical body, passing over into the spiritual world. In the field of spiritual research, we draw a picture of how the corpse-remains behind and how the human being with his ether body loosens himself, step by step, one member after the other, from the physical body. The etheric body is then for a time the enclosure for the higher soul-members of the human being. That is an idea with which those who approach closer to spiritual research can become more and more conversant. In what follows we shall be able to consider in what an admirable way the artistic soul of Herman Grimm touches upon these facts of the spiritual world. This will lead us again to the question as to why, for deeper reasons, Herman Grimm did not develop his cultural discourse into a comprehensive work.\nApart from his novella, Herman Grimm wrote a further work, a novel, Unüberwindliche Mächte [1867], [Insurmountable Powers], in which, as with his work in general, his refined style leads us to a contemplation of the world and of life. Particularly remarkable is what might be called the clash of two cultures in miniature. The one world adheres to title, status and rank. Deriving from an old lineage, an impoverished count lives in the afterglow of his hierarchical status. Wonderfully contrasted in this novel is the way in which the world of old prejudices and rankings encounters the New World. The quite different views and notions of America play into this. The individual identifying himself with hierarchical prejudices, whom Herman Grimm calls Arthur , encounters Americans. He meets Emmy , the daughter of Mrs. Forster, who has grown up with American values. We see this count passionately enraptured by Emmy.\nIt would be impossible even to outline the rich content of this novel adequately. We encounter the whole contrast of Europe and America. In addition, there is the contrast of the old Prussian milieu and the newly constituted Prussian milieu arising as the outcome of wars. It is a tremendous cultural “painting” in which the characters are featured, and from which they emerge. Only this much can be indicated: that, as a result of the confluence of these streams, Arthur, the count, dies a tragic death right before he was to marry Emmy. A deluded relative considers himself the rightful heir to the count's lineage, seeing the count as a bastard. Stung with envy and jealousy, he opposes the count, and on the eve of his marriage, the count is shot down by this individual.\nSomeone wanting to contemplate this novel merely rationalistically might consider it as concerned with the unbridgeable prejudice outstanding, However, the expression “insurmountable powers” can perhaps hardly seem more justified than when Herman Grimm, unintentionally indicates the idea of karma, the idea of the causal connection of destinies in human life — as though knotted together one after another. We see him depict forces at work in destiny that can only come into play in working over from earlier embodiments — from previous earth-lives. He does not describe this in speaking theoretically of “forces” or of “karma,” but in simply letting the facts speak for themselves, giving expression to these powers that, then appear in a certain way corresponding to the ideas of spiritual research. We see a karmic destiny unfold; we see insurmountable karmic powers come to expression. And we see something further:\nEmmy remains behind. The final glance that fell into Arthur's eyes as he lay there, his heart shot through, was when she bent over him and their eyes met in a certain expression. An utterance of Herman Grimm remains unforgettable, in saying, the spirit gave way at the moment his eyes assumed the peculiarity of appearing as no more than physical instruments. But now we encounter once more Herman Grimm's penetration of worlds that lie beyond death — what one would like to call his chaste penetration of worlds out of which souls work on, in remaining real once they have gone through the portal of death.\nIn a brief concluding chapter, Herman Grimm shows us Emmy gradually becoming infirm. It is entirely characteristic of his close connection to matters of soul and spirit, that he describes Emmy's approaching death. She is brought to Montreux. Montreux and its surroundings are uniquely described. However, Herman Grimm does not describe Emmy's passing like authors who have no relation to spiritual matters, but rather as someone taking account of how the secrets of death, of the realm beyond, speak to the soul. I would render something incomplete if I did not add in conclusion Herman Grimm's own words on the death of Emmy:\n“This was Emmy's dream.\n“Between midnight and morning, she believed she woke up.\n“Her initial glance at the window, through which a pale light streamed in, was free and clear and she knew where she was. She also heard her mother, who slept next to her, breathing, However, a moment later, with a sense of pressure she had never felt before, overwhelming anxiety overcame her. It was no longer the thoughts that had tormented her during the last few days, but as though a giant hand were holding all the world's mountains over her by a thin thread, and that at any moment the fingers holding them could loosen, and the whole mass would fall down on her, to remain lying on her eternally. Her eyes wandered hither and thither looking for a glimmer of light, but there was none; the light of the window extinguished, her mother's breathing no longer audible, and stifling loneliness all around, as though she would never come alive again. She wanted to call out, but could not; she wanted to touch herself, but not a limb obeyed her. All was completely silent, completely dark; no thoughts could be grasped in this frightful, monotonous anxiety: even memory was taken from het — and then, at last a thought returned: Arthur !\n“And wondrously now, it was as if this one thought had transformed itself into a point of light that became visible to the eyes. And to the extent the thought grew to become boundless longing, this light grew, spreading out, and suddenly, as though it sprang apart and unfolded itself, it took on form — Arthur stood before her! She saw him, she recognized him at last. It was surely he himself. He smiled and was close beside her. She did not see whether he was naked, nor whether he was clothed: but it was him, she knew him too well; it was he himself, no mere phantom that had taken on his form.”\nThus, Herman Grimm has the one who has long since gone through the portal of death approach her, now a seeress; at the moment of her death she approaches the deceased, addressing his soul: “She did not see whether he was naked, nor whether he was clothed: but it was him, she knew him too well; it was he himself, no mere phantom that had taken on his form.”\n“He stretched out his hand to her and said, ‘Cornel’ Never had his voice sounded as sweet and enticing as now. With all the strength she was capable of, she tried to raise her arms towards him, but she was unable to do so. He came still closer and stretched out his hand closer to her, ‘Come!’ he said again.\n“For Emmy it was as though the power with which she attempted to bring at least a word over her lips, would have been capable of moving mountains, but she was not able to say even this one word.\n“Arthur looked at her, and she at him. With only the possibility of moving a finger, she would have touched him. And now, most terrible of all: he appeared to shrink back again! ‘Come!’ he said for the third time. Sensing he had spoken for the last time, that the terrible darkness would break in again upon his heavenly gaze, filled now with a fear that tore at. Her as frost splits trees, she made a final attempt to raise her arms to him. It was impossible to overcome the weight and the cold that held her captive — but then, as a bud bursts open, from which a blossom grows before our eyes, there grew out of her arms, other shining arms, out of her shoulders, gleaming new shoulders. And lifting these arms toward Arthur's arms, his hands grasping her hands, and floating slowly backwards, drawing her after him, the whole magnificent figure with him, rose out of Emmy's.”\nThe emergence of the etheric body out of the physical body cannot be described more wonderfully, in having been undertaken by a pure artist-soul. That was a spirit, that was a soul that lived in Herman Grimm, of which we may say that it came close to what we seek so eagerly in spiritual research. Herman Grimm provides evidence that, in approaching the -twentieth century, the modern human being sought paths to spiritual life.\nSo we turn gladly to Herman Grimm, wanting only to continue further on the same path. We see him elevate the creations of Raphael, the creations of Michelangelo, the experiences of Goethe, the Greek-soul of Homer, to the stream that he sees flowing onward as “creative phantasy” through millennia. We then know how close Herman Grimm was, in his entire feeling and perception, to what lives and weaves as the soul-spiritual behind all physical reality. For when Herman Grimm refers to his “creative phantasy” we are not dealing with total abstraction. In so far as it is still perhaps a matter of residual abstraction, to that extent it can seem necessary to break through the thin wall separating Herman Grimm from the living spirit, effective not only as creative phantasy, but living as immediate spirit s effective behind the entire sense world. It could appear a form of unwarranted restraint, to say no.- more than Herman Grimm in speaking of the continual onward working of the phantasy of humanity. After all, as an artist, he touched so intimately on the still living soul that has gone through the portal of death. Hence, it will not be difficult for us, where Herman Grimm speaks of creative phantasy, to see the living spirit that, as spiritual researchers, we seek behind the sense world.\nPerhaps it will not seem unjustified if it is even asserted that-, for a spirit that struggled so honestly and uprightly for truth — wanting to approach this creative phantasy ever and again — it was, after all, too much of an abstraction for him. It urged him to grasp the living spiritual element, and for that reason the great work he intended could not come about — since if it had been written, it would have had to become a work that portrayed the spiritual world not merely as creative phantasy, but as a world of creative beings and individualities.\nSpiritual research has not been placed into the modern age arbitrarily. It is demanded by seeking souls of our time — seeking souls to whom, as we have seen, Herman Grimm.so-clearly and. characteristically belongs. In this way we can become aware that with spiritual research we do not stand as alien and isolated in modern cultural life. We have been able to look to Herman Grimm as to a related spirit. Even if he does not share the same standpoint completely, we do nonetheless stand — or can at least stand, immeasurably near to him. It is better to contemplate such a figure as a whole, rather than scrutinizing every detail — to look at the harmony of soul with which Herman Grimm can affect us, its mildness and then again keenness and strength of soul, with which he can likewise affect us. We may treat this or that question differently from Herman Grimm, but I know that it is not altogether out of keeping with his style, if I summarize what I actually wanted to say in the following words; One could arrive at the thought — let us call it for that matter a delusory thought, one that could be entertained as a beautiful illusion: If higher spirits, other-worldly spirits wanted to acquaint themselves prefer with what happens on the earth by means of reading, they would prefer most of all to read such writings as those in which Herman Grimm depicts the earthly destinies of human beings.\nThis feeling can reverberate as though from almost every line of Herman Grimm's writings, lifting one upwards to a sphere beyond the earth. One then feels so akin to this personality that, if one were to characterize what has been said today concerning Herman Grimm, a beautiful saying could come to mind that he himself employed in eulogizing his friend Treitschke [Heinrich von Treitschke, German historian, 1834-56] whom he valued so much.\n“With what existential joy did this human being stand in life. What courage he showed in battle. What a gift lie had for language. How new his latest book. How little could those take exception to his ‘elbows’ in the general exchange of ideas. They too will join in declaring: ‘Yes, he was one of ours!’”\nThese words are at the same time the last words that Herman Grimm wrote and had printed, as we know from the publisher of his works, Reinhold Steig . And I should like also, in conclusion, to summarize this evening's considerations with the words: With what existential joy did Herman Grimm stand in life; how mild — and yet how individual! How little can even those distance themselves from him, if they but understand themselves aright, who differ from him in their ideas and in other ways! And, proceeding from whatever field of investigation, how closely allied to him must those feel who seek paths to the spirit! What kinship to him must they feel, when his mild figure appears before them — prompting them to break out in the words: Yes, he was one of ours !"
  },
  {
    "id": "GA062-9",
    "title": "The Mission of Raphael in the Light of the Science of the Spirit",
    "date": "30 Jan 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/GA062/English/Singles/19130130p01.html",
    "book_title": "",
    "content": "Translated by Rick Mansell\nHermann Grimm, the eminent thinker on Art, has tried to follow Raphael's influence and fame through the ages down to the present day. Grimm has been able to show that Raphael's creations went on working after the painter's death as a living element, and that a uniform stream of spiritual development has flowed onwards from the life of Raphael to our own time. Grimm has shown how the evolution of humanity has proceeded since the creations of Raphael, and on the other side of the spiritual conception of history it may be said that preceding ages too give the impression as if they were themselves pointing to the Raphael who was later to appear in world evolution like a limb inset in a whole organism. We may here recall an utterance once made by Goethe and from the world of Space apply it to the world of Time. Goethe once wrote these significant words: “What would all the starry world and all that is spread out in Space amount to if it were not at some time reflected in a human soul, celebrating its own higher existence for the first time in the experiences of this human soul?” Applying these words to the evolution of the ages, we may say that in a certain sense, when we cast our eyes back into antiquity, the Homeric gods who were described so gloriously by Homer nearly 1000 years before the founding of Christianity, would seem less to us if they had not risen again in the soul of Raphael, finding their consummation in the sublime figures of his pictures. What Homer created long ages before the appearance of Christianity unites in this sense into an organic whole with what was born from the soul of Raphael in the 16th century. Again, we turn our gaze to the figures of the New Testament, and in the face of Raphael's pictures we feel that something would be lacking if the creative, formative power in the Madonnas and other pictures which have sprung from Biblical tradition and legend, had not been added to the Biblical description. Therefore we may say: not only does Raphael live on through the following centuries but his creations form one organic whole with all preceding ages. Most ages indeed already pointed to one in whom they should find their consummation, although this, it is true, could only be discovered in later history.\nThe words of Lessing when he speaks of “the Education of the Human Race” assume great significance when we thus see how a uniform spiritual essence flows through the evolution of humanity, flashing up in figures like Raphael. The truth of repeated earthly lives that has so often been emphasized from the spiritual-scientific standpoint in connection with the spiritual evolution of humanity is perceived with special vividness when we bear in mind what has just been said. We realize then for the first time what it means that the being of man should appear again and again in repeated earthly lives through the epochs, bearing from one life to the other what is destined to be implanted in the spiritual evolution of humanity. Spiritual Science is seeking the meaning and purpose in the evolution of mankind. It does not merely seek to portray the consecutive events of human evolution in one straight, continuous line, but to interpret the various epochs in such a way that the human soul, appearing again and again over the course of the ages, must have ever new experiences. Then we can truly speak of an “Education” which the human soul undergoes as the result of its different earthly lives, — an education proceeding from all that is created and born from out of the common spirit of humanity.\nWhat will here be said from the standpoint of Spiritual Science in regard to Raphael's relationship to human evolution as a whole during the last few centuries, is not intended to be a philosophical or historical study, but the result of many-sided study of Raphael's creative activity. There is no question of giving a philosophical survey of the spiritual life of humanity for the sake of bringing Raphael into it. Everything that I myself have experienced after study and contemplation of his different works has crystallized quite naturally into what I propose to say tonight.\nIt will be impossible, of course, to enter in details into single creations of Raphael. That could only be if one were able by some means to place his pictures before the audience. A general impression of the creative power of Raphael arises in the soul and then the question arises: what place has this in the evolution of humanity? The gaze falls upon a significant epoch, — an epoch to which Raphael stands in inner relationship when we allow him to work upon us — I refer to the Greek epoch and its development. All that the Greeks not only created but experienced as the outcome of their whole nature and constitution appears as a kind of middle epoch when we study human evolution during the last few thousand years. Greek culture coincides in a certain sense with the founding of Christianity and all that preceded it seems to bear a different character from following ages. Studying humanity in the Pre-Grecian age of civilization we find that the soul and spirit of man are much more intimately bound up with the corporeal, with the outer corporeality than is the case in later times. What we speak of today as the “inwardness” of the human soul, — the inward withdrawal of the soul when applying itself to the spiritual or the spiritual becoming conscious of the Spiritual underlying the universe, — this inwardness did not exist to the same degree in Grecian times. When man made use of his bodily organs in those days, the spiritual mysteries of existence simultaneously lit up in his soul. Observation of the sense-world was not so detached and aloof as is ordinary Science to-day. Man beheld the objects with his senses, and with his sense impressions he simultaneously perceived the spirit and soul-elements weaving and living within the objects. The Spiritual was there with the objects as they were perceived. To press forward to the Spirituality of the universe in ancient times it was not necessary for man to withdraw from sense impressions or to give himself up wholly to the inner being of the soul. Indeed in very ancient times of evolution “clairvoyant perception of things” — in the very best sense of the word — was a common possession of man. This clairvoyant perception was not attained as the result of certain given conditions, but was as natural as sense perception.\nThen came Greek culture with the world peculiar to it, — a world where we may place the beginning of the inward deepening of spiritual life, but where the inner experiences of the spirit are still connected with the outer, with processes in the world of sense. In Greek culture the balance is between the Sensible and the Psychic-Spiritual. The Spiritual was not so immediately present in sense perception as was the case in Pre-Grecian times. It lit up in the soul of the Greek as something inwardly apart, but that it was perceived when the senses were directed to the outer world. The Greek beheld the Spirit not in the objects, but with the objects. In Pre-Grecian times the soul of man was poured out, as it were, into corporeality. In Greek culture the soul had freed itself to some extent from the corporeality, but the balance between the Psychic-Spiritual and the bodily element was still held. This is why the creations of the Greeks seem to be as fully permeated with the spirituality as that which their senses perceived.\nIn Post-Grecian ages the human spirit undergoes an inward deepening and is no longer able to receive, simultaneously with the sense impression the, Spiritual living and weaving in all things. These are the ages when the human soul was destined to withdraw into itself and experience its struggles and conquests in an inner life before pressing forward to the Spiritual. Spiritual contemplation and the sense perception of things became two worlds which the human soul must experience. How clearly evident this is in a spirit like Augustine, for instance, who in the Post-Christian epoch is really not so far removed from the founding of Christianity as we are from the Reformation. The experiences and writings of Augustine as compared with the traditions of Greek culture are highly characteristic of the progress of humanity. The struggles of the inward turned soul, the scene of action existing in the inner being of the soul apart from the external world that we see in Augustine, — how impossible all this appears in the Greek spirits who everywhere reveal how deeply their soul-content is united with the processes of the external world.\nThe evolutionary history of humanity shows evidence of a division, a mighty incision. Into this evolutionary picture there enters on the one side Greek culture, where man holds the balance between the Psychic-Spiritual and outer corporeality; on the other side there is the founding of Christianity. All the experiences of the human soul were thereafter to become inward, to take their course in inner struggles and conquests. The mission of the founding of Christianity was not to direct man's gaze to the world of sense in order that he might become conscious of the riddles of existence, but to all that the spirit might intuitively behold when giving itself up wholly to the powers of the spirit and soul. How utterly different, — divided by a deep, deep cleft, are those beautiful, majestic Gods of Greece, Zeus or Apollo, from the figure dying on the Cross, — a figure, it is true, full of inner profundity and power, but not beautiful in the external sense. Already here we find the outer symbol of the deep incision made by Christianity and Greek culture in the evolution of humanity. And in the spirits of the Post-Grecian ages we see the effects of this incision as an ever more intense inward deepening of the soul.\nThence forward this inner deepening has been characteristic of the onward progress of evolution. And if we would understand human evolution in the sense of Spiritual Science we must realize that we are living in an age which represents a still greater inward deepening, the more we observe it in relation to the immediate past and the prospect of the future in which a cleft, still deeper than that which the contemplation of the past reveals, will appear between all that is proceeding in the world in a more or less mechanical, technical life of the outer world, and the goal ahead of the human soul as it endeavors to scale the heights of spiritual being, — heights which open up only in our inner being as we attempt to ascend to the Spiritual. More and more we are advancing into an age of inner deepening.\nA mighty incision in the progress of humanity in Post-Grecian times toward an energy being is what has remained to us in the creations of Raphael. Raphael stands there as a mighty spirit at a parting of the ways in human evolution. All that preceded him marks the beginning of the process of this inner deepening; what follows him represents a new chapter. Although much that I have to say in this lecture may have the appearance of symbology, it should not be taken merely as a symbolical mode of expression, but as an attempt to create as broad a conception and idea as possible, that which can be clothed only in the “trivial concepts of man” on account of Raphael's towering greatness.\nWhen we try to penetrate into the soul of Raphael we are struck, above all, by the way in which the soul appears in the year 1483 in a “spring-like” birth, as it were, passing through an inner development radiating forth its glory from the most marvellous creations. Raphael dies at an early age, at 37. In order so to deepen ourselves in this soul so that we can follow all its stages, let us turn our attention for the moment away from all that was going on in world history and concentrate wholly on the inner nature of this soul.\nHermann Grimm has pointed out certain regular cycles in the inner development of Raphael's soul. And indeed it may be said that Spiritual Science today has no need to be ashamed of directing the attention of modern skeptical mankind to the existence of cyclic laws holding sway along the path to the spirit, in all evolution andalso in that of individual human beings, if so eminent a mind as Hermann Grimm was led, without Spiritual Science, to the perception of this regular inner cyclic development in the soul of Raphael. Grimm speaks of the picture called “The Marriage of the Virgin” as being a new phenomena in the whole evolution of Art, saying that it cannot be compared with anything that had gone before. From infinite depths of the human soul, Raphael created something entirely new in the whole of spiritual evolution. If we thus gain a conception of the gifts lying in Raphael's soul from birth onwards, we can readily agree with the following passage of Hermann Grimm: “We now see Raphael's soul developing onwards in regular cycles of four years duration. It is wonderful to observe how this soul advances onwards thus, and studying one such period we find that at the end of it, Raphael stands at a higher stage of his soul's development. Four years after the picture The Marriage of the Virgin comes The Entombment ; four years later again the frescoes in the Camera della Segnatura in the Vatican, — and so on, by four year stages up to The Transfiguration which stood unfinished by his death bed.”\nWe feel the desire to study this soul for its own sake because its development is so harmonious. Then however we get the impression that in the Art of Painting itself an inwardness had to develop, — an inwardness such as that expressed in figures which only Raphael could create. It is an inwardness borne out of the depths of the soul experience although it appears in pictures of the world of sense, and it then becomes part of history itself.\nHaving thus contemplated the inner nature of the soul of Raphael, let us allow the age in which he lived and all that was around him, to work upon us. While Raphael was growing up more or less as a child in Urbino, his environment was of a kind that could stimulate and awaken any decisive talents. The whole of Italy was excited at that time about a certain palace that had been built in Urbino. This was something that imbued the early talents of Raphael with an element of harmony with their nature. After that, however,we find him transplanted to Perugia, thence to Florence, thence to Rome. Fundamentally speaking, his life ran its course within narrow circles. These towns seem so near when we study his life. His world was enclosed within these circles so far as the world of sense was concerned. It was only in the spirit that he rose to “other spheres.” In Perugia, however, which was the scene of his youthful soul development, fierce quarrels were the order of the day. The town is populated by a passionate, tumultuous people. Noble families whose lives were spent in wrangling and quarreling fought bitterly against each other. The one drove the other out-of-town, then after a short banishment the other family would try again to take possession of it. More than once the streets of Perugia flowed with blood and were strewn with corpses. One historian describes a remarkable scene, and indeed all the descriptions of that epoch are typical. A nobleman of the town enters it as a warrior in order to avenge his relatives. He is described to us as he rides through the streets on horseback like the spirit of War incarnate, beating down everything that crosses his path. The historian evidently has the impression that the revenge was justifiable and there arises before his soul the picture of St. George bringing the enemy to his feet. Later on, in a work by Raphael, we feel the scene as described by the historian rise up before us in picture form and our immediate impression is that Raphael must surely have allowed this to affect him; and then what seemed so terrible in the outward sense is deepened and rises again from out of his soul in the subject of one of the most wonderful pictures.\nThus Raphael saw around him a quarreling humanity; disorder upon disorder, battle upon battle, surrounded him in the town where he was studying under his master Pietro Perugino. One gets the impression of two worlds in the town, — one, the scene of cruelty and terror, and another, living inwardly in Raphael's soul, which had really little to do with what was going on around him in the physical world.\nThen, later again we find Raphael transplanted to Florence in the year 1504. What was the state of Florence then? In the first place the inhabitants give the impression of being a wearied people who had passed through inner and outer tumults and were living in a certain ennui and fatigue. What had been the fate of Florence? Struggles, just as in the case of the other town, bitter persecutions among different patrician families, and of course, quarrels with the outer world. And on the other hand the stirring event that had thrown every soul in the town into a state of upheaval when Savonarola, a short time previoulsy, had been martyred. This extraordinary figure of Savanarola appears before us uttering words of fire against the current misdeeds, the cruelty, materiality and heathendom of the Church. The words of Savonarola seem to resound again in our ears, words by which he dominated the whole of Florence and to such an extent that the people not only hung upon his lips but revered him as deeply as if a spirit from a higher world were standing before them in that ascetic body. The words of Savonarola transformed Florence as if the direct radiations of the Reformer of Religions Himself had permeated not only the religious conceptions, but the very social life of the town. It was as though a citadel of the Gods had been founded. Such was Florence under the influence of Savonarola. He fell a victim to those Powers whom he had opposed, morally and religiously. There rises before our soul the moving picture of Savonarola as he was led to the fire of martyrdom with his companions, and how from the gallows whence he was to fall onto the burning pyre, he turned his eyes — it was in May 1498 — down to the people who had once hung upon his words, but who had now deserted him and were looking with apparent disloyalty at the figure who had for so long inspired them. Only in a very few, — and they were artists, — did the words of Savonarola still resound. There were painters at that time who themselves donned the monk's robe after Savonarola's martyrdom in order to work on in his Order under the influence of his spirit.\nOne can visualize the weary atmosphere lying over Florence, Raphael was transplanted into this atmosphere in the year 1504. And he brought with him in his creations the very Spirit's breath of Spring, although in a different way from Savonarola. When they contemplate the soul of Raphael in all its isolation, — a soul so different from the mood surrounding it in this town, visualizing him in the company of artists and painters working at his creations in lonely workshops in Florence or elsewhere, another picture rises up, showing us visibly in history how Raphael's soul stands out inwardly aloof from the outer life around it. And there arises before us the figures of the Roman Popes, Alexander VI, Julius II, Leo X, in fact the whole Papal system against which Savonarola directed his words of scorn, the Reformers their attacks. Yet this Papacy was the Patron of Raphael who entered its service, although inwardly his soul had little in common with what we find in his Patron Pope Julius II for instance. It was said of Julius II that he gave the impression of a man with a devil in his body, who always likes to show his teeth to his enemies.\nHow was this possible? We see the contrast between outer life and Raphael's inner being in the early student days in Perugia, but we see it's still more intensely in Rome where his all-conquering works were created in the midst of an officialdom of Cardinals and Priests which had been intolerable to Savonarola. True, the two men were different, but we must nevertheless contrast Raphael with his environment in this way if we are to obtain a true picture of what was living in his soul.\nLet us allow the picture of Raphael to work upon us. This cannot be done in detail in a lecture, but we can at least call up before the mind's eye one of the more widely known works for the purpose of contemplating the peculiar qualities living in Raphael's soul, — I mean the Sistine Madonna which is familiar to everybody in the innumerable copies existing all over the world. The Sistine Madonna is one of the greatest and noblest works of Art in human evolution. The “Mother with the Child” hover towards us on clouds which cover the Earth globe, — hover from the shadowy world of spirit and soul, surrounded in clouds which seem naturally to form themselves into human figures, one being the Child Himself. Feelings arise which, when we permeate them with soul, seem to make us forget all those legendary conceptions which culminate in the picture of the Madonna. We forget all that Christian traditions has to tell of her. I say this not for the sake of giving any dry description, but in order to characterize as fully as may be the feelings that arise within us at the site of the Madonna.\nSpiritual Science raises us above all materialistic conception of human evolution. Although it is difficult to understand in the sense of Natural Science according to which the development of lower organisms proceeded until finally it reached the stage of the human being, — nevertheless it is the fact that man is a being whose life transcends everything below him in the kingdom of Nature. Spiritual Science knows that man contains a something within him much more ancient than all the beings who stand in greater or lesser proximity to him in the kingdom of Nature.\nMan existed before the beings of the animal, plant and even of the mineral kingdom. In a wider perspective we look back to ages when that which now constitutes our inner being was already in existence andwhich only later was incorporated into the kingdoms which now stand below man. We see the being of man proceeding from a super-earthly world and realize that we can only truly understand it when we rise above all that the Earth can produce out of herself to something super-terrestrial and pre-terrestrial. Spiritual Science teaches that even if we allow all the forces, all the living substances connected with the Earth herself to work upon us, none of this can give a true picture of the whole essence and being of man. The gaze must rise beyond the Earthly to the Supersensible whence the being of man proceeds. Speaking figuratively we cannot but feel how something wafts towards the Earthly when, for instance, we gaze at the golden gleaming morning sunrise, — and especially is this the case in a region like that in which Raphael lived. Forces which work down into the Earth seem here to flow into the Earthly elements, — forces which inhere in the being of the Sun. And then out of the golden radiance there rises before our soul the sense image of what it is that is wafting hither in order to unite itself with the Earthly.\nAbove all in Perugia we may feel that the eye is beholding the very same sunrise once seen by Raphael, who in these phenomena was able to sense the nature of the Super-Earthly element in man. And gazing at the Sun-illuminated clouds there may dawn on us a realization that the picture of the Madonna and Child is a sense picture of the eternal Super-Earthly element in man that is wafted to Earth from super-earthly realms themselves and meets, in the clouds, those elements that can only proceed from the Earthly. Our perception may feel itself raised to the loftiest spiritual heights if we can give ourselves up — not theoretically, or in an abstract sense, but with the whole soul — to what works upon us in Raphael's Madonnas. This perfectly natural feeling may arise before the world-famous picture in Dresden. And to prove to you that it has indeed had this effect upon many people I should like to quote words written about the Sistine Madonna by Karl August, Duke of Weimar, the friend of Goethe, after a visit to Dresden: He says:\n“In regard to the Raphael picture that adorns the collection, I felt as if the whole day long I had roamed over the heights of the Gotthard, through the Urner cleft and looked down from thence to the green, blossoming valley. As I looked at the picture and again away from it, it always seemed to me a revelation of the soul. Even the most beautiful Correggios were pictures only of the human; the memory of them tangible like beautiful forms. Raphael, however, remained with me as a breath, as one of those revelations sent to one in women's form by the Gods to bring us happiness or sorrow, like a figure that arises before one again and again in waking or dream life, whose gaze, once experienced, is with one forever, day and night, moving the innermost being.” (Karl August to his friend Knebel, 14th October, 1763)\nAnother remarkable thing is that if we study the literature of those who speak of the experiences of deep emotion at the site of this Sistine Madonna and also of other pictures of Raphael, we shall always find that they use the analogy of the Sun, all that is radiant and spring-like.\nThis gives us a glimpse into Raphael's soul and we realize how from amid the environment already described, it held converse with the eternal mysteries of the genesis of man. And then we feel the uniqueness of this soul of Raphael, realizing that it is not a “product” of its environment, but points to a hoary antiquity. There is no longer any need for speculation. A soul like this, looking out into the wide universe, — a soul which does not express the mystery of existence in ideas, but senses and gives it form in a picture like the Sistine Madonna, stands there in its inner perfection quite naturally as mature in the highest degree. Truly, the gifts inherent in this soul represents something that must have passed through other epochs of human evolution, not many such epochs which poured into it a power able to reemerge in what we call the “life of Raphael”. But from what it re-merges?\nWe see the living content of Christian legends and traditions appearing again in Raphael's pictures in the midst of an age when Christendom had, as it were, become heathenised and was given up to outer pomp and show, just as Greek paganism was represented in the figures of its gods and honoured above all else by the Greeks in their intoxication with beauty. We see Raphael giving form to the figures of Christian tradition in an age when treasures of Greek culture which had for long centuries been buried under ruins and debris on Roman soil were unearthed, Raphael himself assisting. It is a remarkable spectacle, the Rome where Raphael found himself at this time. Let us consider what had gone before.\nFirst there are the centuriesof the Rise of Rome, — a Rome built upon the Egoism of individual men whose aim it was above all to establish a human society in the external physical world on the foundation of what man, as the citizen of a State, was meant to signify. Then during the age of the Emperors, when Rome had reached a certain eminence, it absorbs the Greek culture which streams into Roman spiritual life. Rome subdues Greece in the political sense, but in the spiritual sense Greece conquers Rome. Greek culture lives on within Roman culture; Greek art, to the extent to which it has been imbibed by Rome, lives on there; Rome is permeated through and through by the essence of Greek culture.\nBut why is it that this does not remain through the following centuries as a characteristic quality of the development of Italy? Why was it that something entirely different made its appearance? It was because soon after Greek culture had streamed into the life of Rome there came the influx of that other element which impressed its signature strongly into the spiritual life that was developing on the soil of Italy, I mean, Christendom. The mission of this inward deepening of Christendom was not that of the external sense element in the Greek State, Greek sculpture, or Greek philosophy. A formless element was now to draw into the souls of men and to be laid hold of by dint of inner effort and struggle. Figures like Augustine appear, — men whose whole being is inward turned. But then, — since everything in evolution proceeds in cycles, we see arising in men who have passed through this inward deepening and whose souls have long lived apart from the beauties of external life, a yearning for beauty. Once again they behold the inner in the outer. It is significant to see the inwardly deepened life of Francis of Assisi in Giotto's pictures for those pictures express the inner experiences called forth in the soul by Christianity. And even if the inner being of the human soul speaks somewhat haltingly and imperfectly from Giotto's pictures, we do nevertheless see a direct ascent to the point where the most inward elements, the very loftiest and noblest in external form confronts us in Raphael and his contemporaries. Here we are directed once again to a characteristic quality of this soul of Raphael.\nIf we try to penetrate into the kind of feelings and perceptions which Raphael himself must have had, we cannot help saying to ourselves: “Yes, indeed, in the contemplation of pictures like the Madonna della Sedia, for instance, the whole way in which the Madonna with the Child, and the Child John in the foreground are here represented, makes us forget the rest of the world, forget above all that this Child in the arms of the Madonna is connected with the experiences of Golgotha. Gazing at Raphael's pictures we forget everything that afterwards proceeds as the “life of Jesus”; we live entirely in the moment here portrayed. We are gazing simply at a Mother with a Child, which in the words of Hermann Grimm, is the great Mystery to be met with in the outer world. Peace surrounds this moment; it seems as though nothing could connect with it, before or afterwards; we live wholly in the relationship of the Madonna to her Child and separate it off from everything else. Thus do the creations of Raphael appear to us, — perfect and complete in themselves, revealing the Eternal in one moment of Time.\nHow shall we describe the feelings of a soul able to create like this? We cannot compare them to the feelings of a Savonarola, who when he uttered his words of scorn or was speaking those uplifting, godly words to Christian devotees, was seized with inner fire and passed through the whole tragedy of the Christ. We cannot conceive that Raphael's soul burst forth suddenly like the genius of a Savonarola, or others like him; nor can we conceive that it was swayed by the so-called “fire of Christendom.” Raphael could not however have portrayed the Christian conceptions in such inner perfection if his soul had been as foreign to this “Christian fire” as may appear to have been the case.\nOn the other hand, the forms in all their objectivity and roundness could not have been created by a soul permeated with Savonarola's fire and winged by the experience of the whole tragedy of the Christ. Quite a different peace, quite a different Christian feeling must have flowed into the soul. And yet no soul could have created these pictures if the very essence of Christian inwardness were not living within it. Surely it is almost natural to say: here indeed is a soul which brought with it into the physical existence of the artist Raphael, the fire that pours forth from Savonarola. When we realize how Raphael brings this fire with him through birth from earlier experiences, we understand why it is so illuminating and inwardly perfect; it does not come forth as a consuming and shattering element but as the reliance of plastic creation. In Raphael's innate gifts one already feels the existence of something that in an earlier life might have been able to speak with the same fire that is later found in Savonarola. It need not astonish us to find in Raphael a soul reincarnated from an age when Christianity was not yet expressed in picture form or in Art, but from the age of its founding, the starting point of the whole mighty impulse which then worked on through the centuries.\nIn the attempt to understand the soul like Raphael's, it is perhaps not too bold to say something of this kind, for those who have steeped themselves again and again in the works of Raphael and have thus learnt to reverence this soul in all its depth, cannot but realize what it is that speaks from those wonder-works into which the artist poured his soul. Thus the mission of Raphael only appears in the right light when, — to use an expression of Goethe, — we seek in a life already past for the Christian fire that is revealed in the radiance of the Raphael life. Then we understand why his soul was necessarily so isolated in the world and why it was that having possessed to an intense degree in an earlier existence something of the nature of a Savonarola. It was able to refresh and renew all that had arisen in the spiritual evolution of Italy in the 16th century.\nI have already described how in the age of the Rise of the Empire, the influence of Greek culture has entered into Roman development and how an inward deepening of the soul had set in. Later on, in the age of Raphael, — the Renaissance, — we see on the one side the reappearance of this old Greek culture that had long been buried under ruins and debris. We see in Rome with the remnants of this Greek culture, the reappearance of the Greek spirit that had once adorned and beautified the city; the eyes of the Roman people turn once again to the forms that had been created by this Greek spirit. On the other side, however, we see how the spirit of Plato, of Aristotle, of the Greek Tragedians, penetrates Roman life in the epoch. Once again the victory of Greek culture over the Roman world! The Greek culture which was emerging from ruins and debris and spreading over the Italian peninsula could not help having a refreshing and renewing effect on a spirit like Raphael's, who in an earlier existence was imbued, to the exclusion of everything else, with the moral-religious conception of Christendom.\nIf we see the moral-religious impulse of Christendom born in the gifts of Raphael, we also see that element which these gifts did not at first contain rising before his eyes in the resurrected culture of Greece. And just as the city, rising out of ruins and debris, influenced this soul more deeply than all others, so also did the spiritual yields of Greek culture that were unearthed in the hidden manuscripts. Raphael's inborn gifts, united with his “super-spiritual” devotion to everything of a cosmic nature, worked hand-in-hand with the Greek spirit that was emerging again in his age. These were the two elements that united in Raphael's soul; this is why his works express the inwardness proceeding from the post-Grecian age, — the inwardness poured by Christianity into the evolution of humanity which was expressed in outward manifestation in a world of artistic forms permeated with the purest Greek spirit.\nWe are faced, then, with the remarkable phenomenon of the resurrection of Greek culture within Christendom through Raphael. In him we see the resurrection of a Christendom in an age which in a certain respect represents the “Anti-Christian” element around him. In Raphael there lives a Christianity far transcending what had gone before him and rose to a much loftier conception of the world as it was at that time. Yet it was a Christianity that did not dimly and vaguely direct the attention to the infinite spheres of the Spiritual, but was concentrated into forms that delight the senses too, just as in earlier times the Greeks expressed in artistic forms their ideas of the gods united with the formless element living and weaving in the universe.\nThis is what we find when we try to form a general picture of Raphael, allowing one or another of his creations in all their sublime perfection yet marvellous superfluity of youth, — for Raphael died at the age of 37, — to work upon us. Not for the sake of any colorless theory, or for the purpose of building any kind of philosophical history, but as the result of a conception born out of Raphael's works themselves, it must be said that the law holding sway in the course of human spiritual life finds its true revelation in a mighty spirit such as his.\nIt is not correct to think of this course of spiritual life as a straight line where effect follows cause as a natural matter of fact. It is only too easy in this connection to quote one of the so-called “golden sayings” of humanity to the effect that the life and nature does not advance by leaps and bounds. Well and good, but the fact is that in a certain respect both life and nature do continually do so, as can be seen in the development of the plant from the green leaf to the blossom, from the blossom to the fruit. Here everything does indeed “develop” but sudden leaps are quite obvious.\nSo too is it in the spiritual life of humanity, and this, moreover, is bound up with many mysteries, one of them being that a later epoch must always have its support in an earlier. Just as the male and female must work in conjunction, so may it be said that the different “Spirits of the Age” must mutually fertilize and work together in order that evolution may proceed. Roman culture, already at the time of the empire, had to be fertilized by Greek culture in order that a new “Spirit of the Age” might arise. This new Spirit of the Age had in its turn to be fertilized by the Christ Impulse before the inwardness which we then find in Augustine and others was possible. This human soul that had been so inwardly deepened, had once again to be fertilized by the spirit of the Greek culture which, although it was doubly buried, doubly hidden, was made visible again to the eyes of man in the works of Art resting beneath the soil of Italy, and to their souls in the rediscovered literary manuscripts.\nThe first Christian centuries in Italy were extraordinarily uninfluenced by what lived in Greek Philosophy and Poetry. Greek culture was buried in a double grave and waited in a realm beyond as it were, for an epoch when it could once again fertilized human soul that had meantime passed through a new phase. It was buried, this Greek culture, hidden from the eyes of men and from souls who did not know that it would live and flow onwards like a river that sometimes takes a track under a mountain and is not seen until it once again comes to the surface. Hidden, outwardly from the senses, inwardly from the depths of the soul was this Greek culture and now it appeared once again. For sense perception it was brought to the light of day from out of the soil of Italy and flowed into the works of art; for spiritual perception it was not only unearthed from the ancient manuscripts; men began once again to feel in the Greek sense how the material is the manifestation of the Spiritual. They began to feel all that Plato and Aristotle had once thought.\nIt was Raphael in whom this Greek culture could bring forth its fairest flower because the Christ Impulse had reached a greater ripeness in his soul than in any other. This twice buried and twice resurrected Greek culture worked in him in such a way that he was able to impress into forms the whole evolution of humanity. How marvellously was he able to accomplish this in the pictures in the Camera della Segnatura in the Vatican! The ancient spiritual contests rise again before our eyes, — the struggles and activities of those Spirits who developed onwards during the epoch of inward deepening, who were not there in the Greek culture as it reappeared in the time of Raphael. The whole period of inward deepening was necessary before Greek culture could become visible in this particular form, and then it is painted on the walls of the Papal Chambers.\nWhat the Greeks had conceived of in forms only, has now become inward; we see the inner struggles and conflicts of humanity itself charmed onto the walls of the Vatican in the spirit of Greece, of Greek Art and beauty. The Greeks poured into their statues their conception of the way in which the Gods worked upon the world. How this working of the Gods is experienced by man, so that he presses onwards to the foundations and causes of things, — this is what is expressed in the picture so often called “The School of Athens”. The conceptions which the human soul had learned to form of the Greek Gods is expressed in the Parnassus, with its new and significant interpretation of the Homeric gods. These are not the gods of the Iliad and Odyssey; they are the gods as perceived by a soul that had passed through the period of inward deepening.\nOn the other wall there is a picture that must remain indelibly in the memory of everyone, whatever their religious creed, — I refer to the fresco of the “Dispute about the Mass” which portrays the deepest inner truths. Whereas the other pictures, — in a Greek beauty of form it is true, — express the goal to be attained as the result of a certain philosophical striving, we have in the “Dispute about the Mass”, the fairest thing that the soul of man may experience. Here we find “Brahma”, “Vishnu”, “Shiva” portrayed in quite a different sense, — a proof to us that there is no need to adhere rigidly to a narrow Christian dogmatism. What can be inwardly experienced by every human soul, irrespective of creed or confession, as the “Trinity”, faces us in the symbolism, — though the portrayal is not merely “symbolical”, in the upper part of the picture. We see it again in the countenances of the Church Fathers, in their every gesture, in the whole grouping of the figures, in the wonderful coloring, indeed in the picture as a whole which portrays the inwardness of the human soul in a beauty of form permeated by the spirit of Greece.\nAnd so the inward deepening experienced by the soul man in the course of 1500 years rises again in outer revelation. Christianity, not as the heathendom of the Roman popes and cardinals, but as the wonderful paganism of Greece with its mighty Gods, is resurrected in the works of Raphael.\nThus the soul of Raphael stands at the turning point of ages, pointing back to days of yore, containing within itself all that had developed up to the time of Christendom in the beauty of external revelation, and yet at the same time permeated by what had been brought about by the so-called “education of the human race”, namely an inward deepeningin the reincarnated soul. These wonderworks of so rare and art stand before us like a fusion of two ages, each clearly different from the other, — the pre-Grecian and the post-Grecian epochs, the one of external, the other of inner life. But the pictures also open up a glimpse into the future. Those who realize what the fusion of external beauty and the inner wisdom-filled urge of the human soul may signify, cannot but feel security and hope that this inward deepening — despite all the materiality that must develop more and more as humanity progresses, — must increase in the course of evolution and that the soul of man through successive lives will enter into greater and greater depths of inwardness.\nIf we now turn to literature and study not as “Art critics” or mere readers, the works of a spirit like Hermann Grimm, who tried with his whole soul to portray the workings of human fantasy, we can understand the depths of inner sympathy with which he contemplated the creations of Raphael. If we ourselves study a spirit like Hermann Grimm with this same inner sympathy, we can understand the significance of certain words of his which express what was passing through his soul when he makes a somewhat tentative utterance at the beginning of his books, in a passage dealing with the way in which Raphael is a product of all the ages. Grimm's formal descriptions of the various works of Raphael do not show us whence this particular thought has sprung. In the middle of other wider historical considerations into which Raphael is introduced, Hermann Grimm is struck by a thought which he records somewhat tentatively in these words: “When we contemplate the spiritual creations of humanity and see how they have passed over from days of yore into our own time, we may well be aware of a longing to tread this Earth once more in order to see what has been their fate as they have lived on.”\nThis desire for “reincarnation” expressed by Hermann Grimm in the introduction to his book on Raphael is remarkable, and moreover, deeply characteristic of the feeling living in the soul of a man of our own time, — I mean of course one who tried to penetrate into the very soul of Raphael and his connection with other epochs. Surely this makes us feel that works like those of Raphael are not merely a “natural product”; they do not only induce a sense of gratitude for all that the past has hitherto bestowed. They rather give birth to a feeling of hope, because they strengthen our belief in an advancing humanity. We feel that these works could not be what they are if progress were not the very essence of humanity. A feeling of security and hope arises when we allow Raphael to work upon us in the true sense and we are able to say: Raphael has spoken to humanity itself in his artistic creations.\nIn front of the Stanzas in the Camera della Segnatura we do indeed feel the transitoriness of the outer work and that those ofttimes repaired frescoes can no longer give any conception of what Raphael's magic once charmed on those walls. We realize that at some future time men will no longer be able to gaze at the original works, but we know too that humanity will never cease progressing. Raphael's works began their march of triumph when out of sheer love of them the innumerable reproductions now in existence were made. The influence of the originals live on, even in the reproductions. We can so well understand Hermann Grimm when he says that he once hung a photograph of the Sistine Madonna in his room but always felt that he had no right to go into that room; it seemed to him to be a sanctuary of the Madonna in the picture. Many will have realized that the soul is changed after they have entered livingly into some picture of Raphael, even though it is only a reproduction. True one day the originals will disappear, but may it not be said that they exist nonetheless in other worlds?\nThe words of Hermann Grimm in his book on Homer are quite true: “Neither can the original works of Homer truly delight us in these days for when we read the Iliad and Odyssey in ordinary life without higher spiritual faculties, we are no longer able to enter fully into all the subtleties, beauty and power of the Greek language. The originals exist no longer; yet in spite of this Homer speaks to us through his poems.” What Raphael has given to the outer world however will always remain as a living witness of the fact that there was once an age in the evolution of humanity when the mysteries of existence were indeed revealed through mighty creations, although at that time men could not penetrate into these mysteries through printed writing. In the age of Raphael men read less, but they beheld a great deal more.\nRaphael's eternal message to humanity will bear witness to this epoch, — an epoch differently constituted but that will nevertheless work on through all the ages to come, because humanity is one complete organism. Thus Raphael's creations will live on in the outer course of human evolution and inwardly in the successive lives of the spirit of man, bestowing ever mightier and more deeply inward treasures.\nSpiritual Science points to a twofold continuation of life, one aspect of which has been described in previous lectures here, and will be still further described, and to another spiritual life towards which we are ever striving. This spiritual life becomes our guide as we pass through the epochs of earthly existence. Hermann Grimm spoke words of truth when he expressed what his study of Raphael imparted to his feeling and perception. He says: “A time must come when Raphael's work will have long since faded and passed away. Nonetheless he will still be living in mankind, for in him humanity blossomed forth into something that has its very roots in man and will forever germinate and bear fruit.” Every human soul who can penetrate deeply enough into Raphael's soul will realize this. Indeed we can only truly understand Raphael when we can sublimate and deepen in the sense of Spiritual Science a feeling which permeated Hermann Grimm when he turned again and again to the contemplation of the painter. (In the last lecture we saw how near Hermann Grimm stood to Spiritual Science.) It will help us to understand our own relation to Raphael and the sense in which thoughts such as have been given today may grow into seeds. If we conclude with a passage from Grimm which expresses what I have really wished to say: “Men will always long to understand Raphael, the fair young painter who surpassed all others, who was fated to die early and whose death was mourned by all Rome. When Raphael's works are lost his name will nevertheless remain engraven in the memory of man.”\nThus wrote Hermann Grimm went in his own particular way he began to describe Raphael. We can understand these words and also those with which he concludes his book: “All the world will long to know of the life work of such a man for Raphael has become one of the basic elements in the higher development of the human spirit. We would fain draw nearer to him nay, we need him for our healing.”"
  },
  {
    "id": "GA062-10",
    "title": "The Poetry and Meaning of Fairy Tales",
    "date": "6 Feb 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/PoeTales/19130206p01.html",
    "book_title": "The Poetry and Meaning of Fairy Tales",
    "content": "There are several reasons why it would seem a somewhat risky enterprise to speak about fairy tales in the light of spiritual science.\nFirst of all, the subject is indeed difficult, for the source of what one can call the true fairy tale mood lies deep down within the human soul. The methods of spiritual science that I have often described must take their way along extremely convoluted and lengthy paths in order to find this source. We little suspect how deeply hidden lie the springs that have given rise through centuries of human history to all the enchantment of genuine fairy tale poetry.\nIn the second place, it is just this poetic enchantment that causes one to feel strongly about fairy tales; studying them or trying to explain them with one's own ideas must surely destroy their fresh spontaneity, yes, even the whole effect of the tales. We often hear it said quite rightly that explanations and commentaries of poetry spoil the immediate, lively, artistic impression that a poem should give us; we want it to affect us simply on its own. All the more should this apply to the infinitely subtle and bewitching quality of the poetic tales arising from the deep, almost bottomless springs of the folk soul or from single human hearts. They flow out in such an original way that intruding our own strong judgment would seem like tearing a flower to pieces.\nNevertheless, spiritual research does find it possible to throw some light into those regions of soul that give rise to the poetic mood of the fairy tale. In doing this, the second doubt will be allayed. Simply by searching out the sources and wellsprings from which fairy tales flow, deep down in human soul nature, we can be completely sure that the explanations of spiritual science will touch those depths so gently that they are not harmed. Just the opposite: the wonder of everything lying down there in the human soul is so new, so original, so individual that one has oneself to resort to a kind of fairy tale in speaking about it all; nothing else will do to describe these hidden springs.\nGoethe, for one, moving beyond his work as an artist in order to plunge fully into the wellsprings and sources of life, would not take to theoretical discussion nor destroy the fairy tale's living water with his scrutiny when he wanted to reveal one of the most profound insights into the human soul. No, as soon as he had won these insights, it seemed natural to use the fairy tale itself to describe what lives and comes to expression in the soul at its deepest level. In his Tale of the Green Snake and the Beautiful Lily , Goethe tried to express in his own way the extraordinary soul experiences that Schiller brought forward in a more abstract, philosophical style in the Aesthetic Education of Man.\nThe very nature of fairy tale enchantment leads us to believe that explaining and trying to understand it will probably never destroy the creative mood; to dig down into those wellsprings with the resources of spiritual research is to discover something quite remarkable. If I were to talk about fairy tales as much as I'd like to do, I would have to give many lectures. Today it will be possible to bring only a few hints regarding the results of research.\nA person who attempts the spiritual exploration of the fairy tale sources will find that they lie in far more profound depths of the soul than those from which other works of art emerge, even for instance, the most awe-inspiring tragic drama. In a tragedy, the poet shows us how the human soul experiences the gigantic powers of fate that exalt as well as crush their victim. Fate is the cause of the ordeals and shocks of tragedy. We find that the tangled threads woven together and then unraveled in tragic drama belong more or less to what an individual has to suffer from the outside world. However difficult this may be to discern, requiring as it does our finding the way into the uniqueness of a human soul, it is nevertheless quite possible for anyone sensitive to the impact of life itself upon the soul. A tragedy, we feel, shows us how an individual is entangled in this or that fateful life-situation.\nHowever, the source of fairy tale mood and fairy tale poetry lies still deeper than the complexities of tragedy. For one thing, we can feel that tragedy concerns itself — as do other artistic creations — with an individual who in a certain period of life, at a certain age, is exposed to some kind of misfortune. We take it for granted that when tragic drama affects us, it is because a human being is brought through his own unique experiences to what is happening; we realize that it is one single person with his own special destiny that we must come to understand. Here, as in other works of art, we meet a particular, circumscribed sphere of life.\nIt is altogether different, we feel, when we come knowingly to fairy tale poetry and its mood. The effect of a fairy tale on our soul is spontaneous, elementary, and therefore remains unconscious. When we try to get a feeling for it, however, we can find that what a fairy tale expresses is not about one person in a particular situation in life, is not a limited portion of life, but rather something so integrated in human experience that it has to do with the comprehensive truth of all mankind. It is not about some special individual who finds himself at a certain time of life in a singular dilemma; what the fairy tale describes lies so completely in everyone's soul nature that it represents actual experience to children in their early years to persons of middle age and even to old men and women.\nThroughout our whole lifetime the fairy tale happenings picture our most profound experiences of soul, even though the style is light, playful and picturesque. The artistic enjoyment of a fairy tale, in its correspondence to inner soul experiences, can be compared — a rather bold comparison — to the relationship of an enjoyable taste on the tongue to the hidden, complex proceedings in the rest of the body, where the food takes up its task of nourishing the organism. What lies in that further process, after our pleasure in its taste, is not at all evident to our observation or understanding. Both things seem at first to have little to do with each other; no one is able to say, from savoring a food, what its particular use will be in the life processes of the body. And so it is with our joy in the art of the fairy tale. It is far, far removed from what is happening at the same time, all unconsciously, deep in the soul. There the essence of the fairy tale is pouring forth, satisfying the soul's persistent hunger for it. Just as our body has to have nutritive substances circulating through the organism, the soul needs fairy tale substance flowing through its spiritual veins.\nUsing the methods of research described in my books as a way to approach the higher worlds, you will discover, at a certain level of spiritual knowledge, the spiritual processes working unconsciously in the depths of the soul. In our ordinary life we are aware of these spirit impulses within our soul only when they surface as gentle dreams, caught at rare times by our waking consciousness. Now and then we may have such a special waking up that we realize: You are emerging out of a spiritual world where there is thinking and where there are intentions, and where something was happening down in the unapproachable grounds of your existence that was somehow akin to daily happenings; this something seems an intimate part of your own being but is completely hidden from your waking, everyday life.\nIt is often the same story with the spiritual researcher, even when he has progressed as far as experiencing a world of spiritual beings and spiritual deeds. However much further he then advances, he nonetheless reaches again and again the same edge of a world out of whose deep unconsciousness there come towards him spiritual impulses, impulses connected with himself. They appear to his spiritual gaze like a Fata Morgana but they do not yield themselves up to him completely.\nThis very peculiar experience is what awaits one on looking into the unfathomable spiritual relationships belonging to the human soul. It is fairly easy to follow attentively and understand certain intimate soul happenings, for example, the emotional conflicts that also lie there within the soul and that are revealed in art, in tragic drama. But far more difficult are the quite common human conflicts, which in our daily life we simply cannot imagine are there, and yet every one of us undergoes them at every period of our life.\nOne such soul conflict discovered by spiritual research takes place without the ordinary consciousness being aware of it: our waking up every day, when the soul leaves the world it has been in during sleep and slips down into the physical body. As I said, we have normally not the slightest knowledge of this, yet every morning our soul is engaged in a battle that the spiritual researcher can catch only to a slight degree: it is the battle of the single, lonely human soul meeting the gigantic powers of nature. Thunder and lightning and everything else in the elements that we have to confront out in the world unload their great strengths on us as we stand there more or less helplessly. All that tremendous power, however, even when we meet it head on, is a small thing compared to the unconscious battle at the moment of waking up, when our soul — alive only to itself up to then — has to unite with the pressures and substances of a purely physical body. The soul needs this organism in order to use the bodily senses that are governed by the laws of nature and to use also the bodily limbs in which the powers of nature prevail. There is something like a yearning in the soul to dip down into this sheer natural state, a yearning satisfied each time by waking up, and yet at this very moment there is a shrinking back, a feeling of utter helplessness in the face of the eternal opposition existing between the soul and the nature-related physical body, into which one awakens. It may sound strange that this daily battle takes place in the depths of our soul — but then it takes place in complete unconsciousness. The soul knows nothing of what it has to undergo every single morning, but nevertheless it is burdened by the conflict, which affects its very nature and its individual character.\nThere is something else happening in these depths, which can be caught on the wing by spiritual research; it occurs at the moment of falling asleep. The human soul withdraws from the sense world and from the bodily limbs and has more or less left behind the physical body in the physical-sense world. Then there comes to the soul what one may describe as an awareness of its inwardness. At that moment it begins to experience unconsciously the inner battles caused by its constraint in a physical body in the waking state, where it has to act in consequence of its entanglement in matter. It is aware of its bent toward the burdensome sense-world, which, however, represses its morality. In falling asleep and during sleep, the soul is alone with itself and pervaded unconsciously by so moral an atmosphere that it can hardly be compared to the morality we know in ordinary life. Besides other impressions, it is this that the soul experiences when it is outside the physical body and living a purely spiritual existence between falling asleep and waking up.\nWe should not imagine that all these occurrences in our soul are simply absent when we are awake. Spiritual research can show one very interesting effect as an example: we do not dream only when we believe we are dreaming but we actually dream the whole day long. In truth, our soul is full of dreams all the time, even though we don't notice it, for our waking consciousness is more forceful than the dream consciousness. As a somewhat weak light is extinguished altogether in the presence of a stronger one, our day-consciousness extinguishes what is continually running parallel to it, the dream experience in the depths of our soul. We dream all the time, but we are seldom conscious of it. Out of those abundant and unconscious dream experiences — an infinitely greater number than our waking perceptions — a few rise up like single drops of water shaken out of an immense lake; these are the dreams we become conscious of. But the dreaming that stays unconscious is perceived by the soul spiritually. In its depths many things are being experienced. Just as chemical processes that we are unaware of take place in the body, there are spiritual experiences taking place within us in unconscious regions of the soul.\nWe can throw more light into these hidden depths of soul life by adding something else to the facts we have mentioned. It has often been emphasized, and especially so in my last lecture, [ Raphaels Mission im Lichte der Wissenschaft vom Geiste (January 30, 1913); The Mission of Raphael (unpublished MS). ] that in the course of evolution on earth, human soul life has undergone a complete change. When we look far, far back into the past of humankind, we find the soul of ancient man having totally different experiences from those today. In earlier lectures we spoke about early mankind's primitive clairvoyance; we will speak further about it in the future. We look out at the world today in the wide-awake condition of soul that is normal, taking in sense impressions from outer stimuli, working on them with our intelligence, reason, emotions, and will forces — but this form of consciousness is merely the one that holds good for the present day. This modern consciousness has developed out of the earlier forms in ancient days that we can call — in the best sense of the word — clairvoyant; people were able in certain intermediate conditions between waking and sleeping quite normally to experience something of the spiritual worlds. At that time a person, even though he could not become really conscious of himself, would not find the experiences we have been describing as taking place in the depths of the soul at all unfamiliar or strange.\nIn ancient times the human being could more fully perceive his union with the spiritual world outside himself. He saw how everything going on in his soul, the happenings deep in his soul, were related to certain spiritual realities alive in the universe. He saw these realities moving through his soul, felt closely related to the spirit-soul beings and realities of the universe. This was a characteristic of mankind's primeval clairvoyance. In ancient times, not only artists but quite primitive people frequently had a feeling that I am going to describe, which today we arrive at only in quite special moods.\nIt can really happen that, living gently in the depths of the soul, as gently as anything can be, there is an experience of the spiritual realities mentioned above, one that does not come to consciousness. Nothing of it is perceived in the wide-awake life of the day. But something is there in the soul, just as hunger often is there in the physical organism, and just as we have a need for something to satisfy our hunger, we have also a need for something to satisfy this delicate need in our soul.\nIt is at this moment that one feels urged either to come to a fairy tale or a legend that one knows, or else, perhaps, if one has an artistic nature, to create something of the kind oneself, even though one senses that all the words one could theoretically use would only reach a kind of stammering about such experiences. This is how the fairy tale images arise. The nourishment that satisfies the hunger we spoke of is just this conscious filling of the soul with fairy tale pictures. In the earlier times of mankind's evolution, the human soul was closer to a clairvoyant perception of its inner spiritual experiences; often, therefore, the simple country folk felt this hunger more distinctly than we do today, and this led them to search for nourishing pictures arising out of their creative soul life; we find these today in the fairy tales coming down to us as folk traditions in various parts of the world. In those earlier times the human soul felt its connection to spiritual existence and felt more or less consciously the inner battles it had to undergo, even without understanding them. The soul formed these into pictures and images which had only a distant resemblance to what was happening in its depths. But still one can feel that there is a connection between the happenings of a fairy tale and the unfathomable, profound experiences of the soul.\nIt is evident — many can confirm this — that the heart of a child often succeeds in creating for itself a comrade or “friend” who is present only for that child and who stays at its side through all its coming and going. Probably everyone knows children with such invisible spirit-friends. These unseen playmates you have to imagine as being with the child wherever he is, sharing all his joys and sorrows. And then you see someone coming along, a so-called “intelligent” person, who hears about this invisible playmate and tries to talk the child out of it, even believes it's a healthy thing he's doing — but it has a bad effect on the child's feeling-life. A child will grieve for his soul-comrade and if he is susceptible to spiritual-soul moods, the grief will be weighty and can develop into a pining away or sickliness. This is actual experience, related to deep, inward happenings of the human soul.\nWe can take to heart, without dispelling the fragrance of such a tale, the Grimms' story of the child and the paddock (a small frog). A little girl lets the paddock eat with her out of her bowl of bread and milk; the paddock only drinks the milk. The child talks to the little creature as to another human being, saying one day, “Eat the bread crumbs as well, little thing.” The mother hears this, comes out to the yard, and kills the paddock. And now the child loses her rosy cheeks, wastes away and dies.\nIn this tale we can feel an echo of certain moods that really and truly are present in the depths of our soul. They are there not only at certain periods of our life, but whether we are children or adults, we recognize such moods because we are human beings.\nEvery one of us can feel reverberating in us how this something we experience but don't understand, something we don't even bring to consciousness, is connected with the effect of the fairy tale on our soul like the taste of food on our tongue. And then the fairy tale becomes for the soul very much like nutritious food when it is put to use by the whole organism. It is tempting to search in these deep-lying soul experiences for what reverberates in each different tale. Of course it would be a tremendous task over a long time, given the great collections of fairy tales from everywhere in the world, to probe into them just for this. However, what can be looked at in a few tales can be used in a general way for all of them, if the few are genuine fairy tales.\nTake one of the stories that the brothers Grimm collected, “Rumpelstiltskin”. When a miller claims that his daughter can spin straw into gold, the king has him bring her to the castle in order to test her art. She comes to the king, is locked in a room with a bundle of straw and “there sat the poor miller's daughter and for the life of her could not tell what to do”. As she begins to weep, there appears a little man who says, “What will you give me if I spin the straw into gold for you?” The girl gives him her necklace and the little man spins the straw into gold. The king next morning is astonished and delighted but wants more; she should spin straw into gold again. She is locked in another room with even more straw, and when the little man appears again and asks, “What will you give me if I spin the straw into gold for you?” she gives him her ring. By morning all the straw is spun into glittering gold. But the king is still not satisfied. The manikin comes again, but now the girl has nothing more to give him. “Then promise me, if you should become queen, to give me your first child,” says the little man, and so she promises. And when, after a year, the child is there and the manikin comes and reminds the queen of her promise, she begs him to wait. “I will give you three days' time,” he replies. “If you know my name by that time, you shall keep your child.” The miller's daughter sends messengers far and wide. She must find every name and also the particular name of the little man. Finally, after several wrong guesses, she succeeds in naming the little man by his right name: Rumpelstiltskin.\nNo other work of art gives us the feeling of utmost inner joy as the fairy tale with its unsophisticated pictures, yet we can also know the deep soul experience from which such a tale arises. It is a prosaic but accurate comparison to say, we can know a great deal about the chemistry of our food and still take pleasure in something delicious we're eating. And so we can know and understand something about these deep inner soul experiences in us that are felt but not “known” — and that emerge as the pictures of fairy tales.\nIndeed our solitary soul, this miller's daughter, is a lonely thing, both in sleep and in waking life, even though she is harbored in our body. The soul feels (but unconsciously) the great antithesis she has to live in; she experiences (but does not understand) her unending task, her own anchorage in divine worlds.\nThe soul will always be aware of other insignificant abilities in comparison to those of outside nature. Nature is the mighty enchantress, who can transform one thing into another in a trice — something the soul would like to be and do.\nIn everyday consciousness, one can submit with a good grace to this disparity between the human being and the omnipotent wisdom of the spirit of nature. In the depths of the soul, however, things are not so simple. The soul would certainly come to grief if she did not surmise that within her own conscious being a still deeper being is present, something she can trust, something she might be able to describe like this:\nYou, Soul, are still at such an imperfect stage — but there is something in you, another entity, who is far more clever than you, who can help you to accomplish the most difficult tasks and give you wings to rise up and look over wide perspectives into an infinite future. Someday you will be able to do what is still impossible, for there is something within you that is far, far greater than the part of you now that “knows”; it will be a loyal helper if you can enter into an alliance with it. But you must truly be able to form a concept of this creature who lives within you and is so much wiser, cleverer, more skilful than you are yourself.\nWhen you try to imagine this conversation of the soul with itself, an unconscious conversation with the more capable part of the soul, you can then try to catch this nuance in the Rumpelstiltskin fairy tale: what the miller's daughter had to experience in not being able to spin straw into gold and then finding a loyal helper in the little manikin. It is impossible to blow away the fragrance of those pictures, even when we know their origin, deep down in our soul life. Let us take another tale. Please forgive me if it is connected with things that seem to have a personal coloring; it is not meant to be personal. It makes it somewhat easier to explain if I add this small personal note.\nIn my book Occult Science [ An Outline of Occult Science , Anthroposophic Press, New York, 1972. ] you will find a description of the evolution of the world. I don't intend to speak about it now — possibly on another occasion. During this evolution of the world our earth has passed through certain stages as a planet in the universe, and these stages can be compared to the stages of life in the individual human being. Just as individuals go through one life after another, the earth itself has had various planetary stages or embodiments. In spiritual science, for certain reasons, we speak about the earth — before its “earth” stage began — as having a “moon” stage and before that, a “sun” stage. There was a sun evolutionary period as a planetary pre-stage of our earth in the primordial past; an ancient sun was still united with the earth, from which — at a later stage — it split away. The moon also split away from what originally was the sun. Our sun today is not the original one but only a piece of it; we can speak of an ancient sun-stage of the earth and also of our present sun. Spiritual research can look back to the time in earth evolution when the second sun, our present one, developed as an independent body in the universe. In searching for the existence at that time of beings actually perceptible to the senses, it finds only the lower species up to the level of the fishes.\nYou can read all this in more detail in Occult Science , and there you will be able to understand it. The actual details, however, can be found only through the scientific methods of spiritual research. At the time they were discovered and I wrote them down (more precisely, they were not discovered just when I wrote them down but they were, one can say, discovered for me and I wrote them down in Occult Science ) the following fairy tale was quite unknown to me — and this is the personal note I wanted to add. I can verify the fact that it was unknown then, for I found it much later in Wundt's Elements of Folk Psychology and traced it then back to its source.\nBefore I give you a short summary of the fairy tale, let me say this: Everything the spiritual researcher finds in the spiritual world — and what was just described had to be found in the spiritual world, for otherwise it would no longer exist — everything in that world is very much connected with the human soul. In the very deepest roots of our soul we are united with that world. It is always at hand; we enter it unconsciously as soon as we fall asleep in a normal way. In our union with that world, our soul holds within itself not only its sleep experiences but also all those experiences related to world evolution as we have described them. It is a paradox but one can say that the soul knows unconsciously that it experienced the stream of evolution from the original sun to its daughter, the sun we see shining in the sky, and to the moon that is also a child of the original sun. Moreover, the soul can recognize that it was living through a soul-spiritual existence at that time, for it was not yet united with earthly substance. It could look down then on earthly happenings, for example, when the highest animal organisms were the fish-prototypes, at the time when the present sun and moon developed by separating from the earth. In the unconscious, the soul is connected with these happenings.\nNow look at this short folk tale that can be found among several primitive peoples: There was once a man who was made of resin. He worked only at night. If he had worked in the daytime, the sun would have melted him. One day, however, he did go outside, for he wanted to catch some fish. And lo! the man made of resin melted away. His sons made up their minds to take revenge. They shot off their arrows. They shot so well that the arrows formed figures, towering one above the other. They became a ladder, reaching right up into the sky. The two sons climbed up the ladder, one by day, the other by night. And one son became the sun, the other son became the moon.\nIt is not my custom to explain such tales with abstract, intellectual ideas. Everyone can realize, however, through spiritual research how the human soul is deeply connected with everything happening in the world, how the soul can be understood only through spiritual means, and how it hungers to enjoy the picture-images of its unconscious experiences — this is truly different. If you feel this, you will also feel, vibrating like an echo of this folk tale, just what human souls experienced at the time of the primordial sun and then at the origin of the sun and moon during the time of fish-development in earth evolution. It was for me a most important event — and this is the personal note — to discover, long after these things were described in Occult Science , this particular tale. Even though I would never wish to explain it in an abstract way, a certain feeling comes over me when I look at the evolution of the world, a feeling that is twin-brother to the one I get from immersing myself in the wonderful picture-images of the folk tale.\nWe can look at another story, this one from the Melanesian Islands. Before we hear it, let us recall that according to spiritual research the human soul is closely connected to the present-day happenings and facts of the universe. It may be too picturesque, but nevertheless quite correct from the spiritual-scientific standpoint, to describe the life of the soul when it leaves the body in sleep as completely related to and united with the whole universe. One possibility of remembering or understanding this relationship of our ego, for example, to the cosmos, at least to something significant in the cosmos is to look at the plants. They can grow only when they have the light and warmth of the sun. They are rooted in the earth and consist, as spiritual science tells us, of a physical body interwoven by an etheric body. This is not enough, however, to cause the plants to unfold and blossom; they must also have the forces of the sun shining down on them.\nLooking at the human body during sleep, we see to some degree its equivalence to a plant. Our sleeping body is like a plant, in that it has the same power to grow. But the human being has freed himself from the cosmic order in which the plant is caught. A plant has to wait for sunlight to come to it, the rising and setting of the sun. It is dependent, as we humans are not, on the external cosmic order. Why are we not? Because of a fact that spiritual research has discovered, that the human ego, which in sleep is outside the plant-like body, unfolds for the body what the sun unfolds for the plant. The sun pours its light over the plant; the human ego shines too, resting spiritually over the sleeping body. And the human ego is related to the life of the sun; it is itself a kind of sun for the plant-like human body, engendering its growth during sleep, repairing its various forces that have been used up during the daytime. In perceiving this, we realize how much like the sun our ego is. As the sun moves across the sky — of course I am speaking of its apparent movement — the effect of the sun's rays changes according to the constellations of the zodiac from which they come to earth. In the same way, spiritual science shows us ever more clearly that the human ego passes through the various phases of its experience; the physical body is influenced according to each aspect. We perceive the sun's effect on earth, with the help of spiritual science, according to whether it is passing through Aries, or Taurus, or any other constellation. Rather than refer to the sun in general terms, it is preferable to describe the effect of the sun from one of the twelve constellations of the zodiac. As we consider the sun's passage through the constellations, we become aware of its relationship to the ever-changing ego.\nAll this is described much more fully in Occult Science ; it can be acquired as spirit-soul knowledge. We can perceive it as something that takes place unconsciously in the depths of the soul and yet takes place as an inward involvement with the spiritual powers of the cosmos alive in the planets and constellations.\nLet us compare these secrets of the universe, disclosed by spiritual science, with the following Melanesian tale, which I will sketch very briefly.\nIn the road is a stone. The stone is the mother of Quatl, and Quatl has eleven brothers. After Quatl and his brothers were created, Quatl began to create the world. But in this world that Quatl created, there was no change of night and day. Quatl heard about an island where there was a difference between the day and the night. He traveled to that island and brought a host of beings back to his own land. And through the power of these beings, those in Quatl's land came into the alternation of sleeping and waking. Sunrise and sunset occurred for them as soul happenings.\nIt is amazing what vibrates as echo from this story. If you read the whole thing, you will find that every sentence vibrates with the tones of world secrets, just as our soul vibrates in its depths when it hears how spiritual science describes those secrets. It is true: the source of fairy tale mood and fairy tale poetry lies in the depths of the human soul! The tales are simply pictures using external happenings to help characterize the soul experiences we have described; the pictures are nourishment for the hunger arising from these experiences. This must also be true: we are quite distant from the experience but nevertheless we can feel them echoing in the fairy tale picture-images.\nWhen all this has been said, we should not be surprised to find that the most beautiful and characteristic fairy tales have come to us from those very early times when human beings had a certain clairvoyant consciousness. Because of this, they were able to come close to the wellsprings of fairy tale mood and poetry; it is not at all strange that from those parts of the earth where souls are closer to spiritual sources than in the western world, for example in India or the Orient, fairy tales can have an especially distinctive character.\nFurthermore, in German we find Jacob and Wilhelm Grimm's Children's and Household Tales , which they collected by listening to their relatives or other more or less simple, unsophisticated people telling stories that remind us of the ancient European sagas; even the fairy tales contain elements of the great stories of heroes and gods. We should not be surprised to hear that the most significant fairy tales have now been proven older than the sagas. The hero stories, after all, describe someone at a certain time of life in a particular difficulty, while the fairy tales show us what is relevant to every single person at every period of life from his first breath to his last. Then we understand how a fairy tale can press into itself the deep-seated soul experience on awakening from sleep, of feeling completely inadequate in the face of the powers of nature; how, too, one feels equal to it only with the consoling knowledge that something greater than oneself is present in the soul that may even allow one to triumph over the forces of nature.\nWhen you have a feeling like this, you will understand why there are so many giants that have to be dealt with in the tales. Indeed, they make their appearance without fail as an image out of the soul's mood on waking up — of its wanting to enter the body and seeing the “gigantic” forces of nature alive there. The battle the soul has to undergo is exactly what corresponds — though this cannot be understood perhaps with the intellect — to the various descriptions of people having to fight giants. The soul realizes when confronted by battles with giants that it has only one advantage — and that is its cleverness. This is the soul's perception: You can slip into your body but what can you do about those tremendous forces of the universe? Why, there's one thing the giants don't have that you do have ... cleverness! reason! Unconsciously this lives in the soul even when it realizes the small strength it has; we find that the soul, put into this position, can express itself in the following pictures:\nA man was going along the road. He came to an inn, went in, and asked for a bowl of milk soup. Flies by the dozen were buzzing around; some fell into the soup, the others he swatted. When he counted a hundred dead flies on the table, he boasted, “A hundred with one blow!” The innkeeper hung a medallion around his neck that said: He killed a hundred with one blow.\nThe man went further and came to a castle where the king was looking out of his window. When he caught sight of the wayfarer and his medallion, the king thought to himself, “This is a fellow I can make use of!” The king hurried out and took the man into his service to do a certain task. “There is a pack of bears coming ever and again into my kingdom. Look! if you've killed a hundred with one blow, you can put an end to those bears.” The man said, “I'll do it!” But first he demanded his wages and plenty of food before the bears should arrive, for he thought he might as well enjoy his life for a while, in case it should be cut short. Now came the time when the bears were expected; he collected together all the sweet things bears like to eat, and laid them ready.\nThe bears came, ate up everything they found and were so well stuffed that they had to lie down to sleep off their greed. And now as they lay helpless, the man came and finished them off. When the King arrived, the man told him, “I simply chopped off their heads while they jumped over my stick!” The King was delighted with this brave fellow and gave him a still harder task. “Look! The giants will soon be coming back into my kingdom. You must help me with them.” The man promised and when the time came, he collected a great amount of good things to eat, which he took along with him, besides a young lark and a piece of cheese. Sure enough, he met the giants and began to boast about how strong he was. One of them said, “We'll show you how much stronger we are!” Taking up a stone, he squeezed it into a powder. “Do that likewise, little man, if you're as strong as we are.” The other giant aimed an arrow up into the sky, shot it off, and only after a very long time, it dropped down again. “Do that likewise, little man, if you're as strong as we are.” At that, the man who had killed a hundred with one blow told them, “I can do better than that.” He took up a stone, stuck his piece of cheese on it and said, “Watch me press water out of the stone!” Sure enough, when he squeezed, water squirted out of the cheese. The giants were astonished. Then the man took the lark and let it fly upwards, saying, “Your arrow came back, but mine will go up so high that it never comes back!” Sure enough, the lark did not return. The giants were so astonished that they decided that they would have to overcome him with cunning, for it seemed that they couldn't manage it with strength. However, they failed to get the better of the man with cunning, for he got the better of them. They lay down together to sleep and in the dark the man put over his head a pig's bladder that was blown up and filled with blood. The giants told one another, “We can't overcome him when he's awake, so we'll have to wait until he sleeps.” As soon as he was asleep, they attacked him with great blows on the head and broke the pig's bladder. The blood gushed out; the giants were sure they had finished him off. Therefore they laid themselves to rest and slept so peacefully that it was easy for the man to put an end to them.\nJust as it is in dreams, this fairy tale peters out in a somewhat vague, unsatisfactory way; nevertheless we do find in it the conflict of the human soul with the forces of nature, first with the “Bears” and then with the “Giants.” But something more is in the fairy tale. The man who “killed a hundred with one blow” stands out so clearly that we feel something vibrating in the unconscious depths of our soul to the utter trust he had in his cleverness, even in the face of those powerful forces he found so “gigantic.” It is wrong to try to explain in abstract detail the picture-images created with such artistry, and this is not the intention here. Nothing actually can disturb the character of a fairy tale if you feel how it echoes our inward soul processes. And these inner processes — however much one knows about them, however much as spiritual science itself can know about them — you do become ever and again entangled in them; then, experiencing them in a fairy tale, you see them in their most elemental, primary form. Knowledge of these soul-happenings, when it is present, does not destroy the ability to transform them into fairy tale magic.\nIt is certainly stimulating for the spiritual researcher to discover in fairy tales just what the human soul has need of when confronting its innermost experiences. The fairy tale mood can never be disturbed, for research that is able to arrive at the wellsprings of the tales in subconscious life will find there something that becomes poorer for the ordinary consciousness when it is described abstractly. The fairy tale itself is the most perfect description of these deepest of soul experiences. Now one can understand why Goethe put into the manifold eloquent picture-images of his Tale of the Green Snake and the Beautiful Lily the rich experiences of life that Schiller expressed in abstract philosophical terms. It was pictures that Goethe wanted to use — even though he was otherwise very much given to thought — in order to express his most profound perception of the subconscious roots of human soul life.\nBecause fairy tales belong to our innermost feeling and emotional life and to everything connected with it, they are of all forms of literature the most appropriate for children's hearts and minds. It is evident that they are able to combine the richest spiritual wisdom with the simplest manner of expression. One has the feeling that in the magnificent world of art there is no greater art than this one, which traces the path from the unknown, unknowable depths of the soul to the charming and often playful fairy tale pictures.\nWhen what is most difficult to understand is able to be put in the most clearly perceptible form, the result will be great art, intrinsic art, art that belongs at a fundamental level to the human being. Human nature in the child is linked to the life of the whole world in such a primary way that children must have fairy tales as soul-nourishment. The expression of spiritual force can move much more freely when it comes towards a child. It should not be entangled in abstract, theoretical ideas if the child's soul is not to become dry and disturbed, instead of remaining linked to the deep roots of human life.\nTherefore there is nothing of greater blessing for a child than to nourish it with everything that brings the roots of human life together with those of cosmic life. A child is still having to work creatively, forming itself, bringing about the growth of its body, unfolding its inner tendencies; it needs the wonderful soul-nourishment it finds in fairy tale pictures, for in them the child's roots are united with the life of the world. Even we adults, given to reason and intelligence, can never be torn away from these roots of existence; we are most connected with them just when we have to be fully involved with the life of the time. Therefore at various parts of our life, if we have a healthy, open-hearted mind, we will happily turn back to fairy tales. Certainly there is not a single age or stage of human life that can take us away from what flows out of a fairy tale, for otherwise we would be giving up the deepest and most important part of our nature; we would be giving up what is incomprehensible for the intellect: a sensing within ourselves, a sense for what is pictured in a simple fairy tale and in the simple, artless, primordial fairy tale mood.\nThe brothers Grimm, and other collectors like them, devoted long years to bringing the world the somewhat civilized fairy tales they had gathered out of the folk tradition. Although they had no help from spiritual science, they lived wholeheartedly with these tales, convinced that they were giving human beings what belonged intrinsically to human nature itself. When you know this, you will understand that although the age of reason did its best for a hundred years or so to alienate everyone, even children, away from fairy tales, now things are changing. Fairy tale collections like the Grimms' have found their way to every person who is alive to such things; they have become the property and treasure of every child's heart, yes, property of all our hearts. This will grow even stronger when spiritual science is no longer considered just a theory but becomes a mood of soul, one that will lead the soul perceptively towards its spiritual roots. Then spiritual science, moving and spreading outwards, will be able to confirm everything that the genuine fairy tale collectors, fairy tale lovers, fairy tale tellers wanted to do.\nTo sum up what spiritual science would like to say today in describing the fairy tale, we can take the poetic and charming tribute that a devoted friend of the tales [ Ludwig Laistner (1848 – 1896) ] liked to use in his lectures, some of which I was able to hear. He was a man who understood how to collect the tales and how to value them.\n“The fairy tale is like a good angel, given us at birth to go with us from our home to our earthly path through life, to be our trusted comrade throughout the journey and to give us angelic companionship, so that our life itself can become a truly heart- and soul-enlivened fairy tale!”"
  },
  {
    "id": "GA062-11",
    "title": "Leonardo's Spiritual Greatness at the Turning Point of Modern Times",
    "date": "13 Feb 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/GA062/English/Singles/19130213p02.html",
    "book_title": "",
    "content": "Translated by Peter Stebbing\nAs a result of the distribution of what is perhaps the most widely known picture of all, the famous “Last Supper,” Leonardo's name is continually brought to the attention of countless human souls. Who does not know it, this Last Supper of Leonardo da Vinci? And who, knowing it, has not marvelled at the tremendous idea that comes to expression in this picture! Vividly personified, we see a significant moment, a moment felt by many people as being one of the most significant in world history: The Christ figure in the middle, the twelve apostles of Christ Jesus arranged on either side. We see these twelve apostles with profoundly expressive movements and gestures. With each of the twelve figures their gestures and bearing are so individualized that we have the impression: every possible human soul characteristic comes to expression in these figures, every manner in which an individual of whatever temperament or character might respond to what the picture represents.\nIn his discourse on “Leonardo da Vinci's Last Supper,” Goethe refers strikingly to the moment in which Christ Jesus spoke the words, “There is one among you who will betray me!”\nAfter these words have been uttered we see what goes on in each of the twelve — so intimately associated with the speaker, who look up to Him so reverently — we see all this in the numerous reproductions of this work distributed throughout the world.\nThere are depictions of the Last Supper event deriving from an earlier time. Going no further back than the period from Giotto to Leonardo da Vinci, we find that, in depicting the Last Supper, Leonardo introduced what can be called the dramatic element. Indeed, a wonderfully dramatic moment presents itself in his picture. Earlier, calmer representations seem to express as it were no more than the coming together of the apostles. With dramatic power, in his “Last Supper” Leonardo graphically conjures before us for the first time an expression of the most significant soul configuration. However, having received this impression of the underlying idea of the picture in heart and mind from the world-famous reproductions, arriving in Milan, in that old Dominican church of Santa Maria delle Grazie, one sees on the wall — it cannot be described otherwise — only more or less indistinct damp patches of colour merging into each other. This is all that remains of the original painting that has become world famous through reproductions. Looking further back, one has the impression that for quite some time already it has not been possible to see much of what people witnessed after the picture had been painted by Leonardo and once spoke of in such enthusiastic, exhilarating and captivating words. What must indeed at one time have spoken to human beings from this wall as something of an artistic miracle, not only in terms of the idea that has just been haltingly enunciated, but also by virtue of Leonardo's expressive colour! In these colours the inherent nature of each soul, indeed the very heartbeat of the twelve figures must have come to expression. Yet, for a considerable time this has no longer been evident on the wall. — What has this picture not suffered in the course of time! [It should be noted that from 1978 to 1999, financed by the Olivetti Company, modern techniques of restoration have made it possible to reveal what Leonardo certifiably painted onto the wall, in so far as this remains. — And to extraordinary effect!]\nLeonardo felt compelled to turn aside from the kind of technique previously employed in painting such walls. He found the painting method made use of earlier [fresco] insufficiently expressive. He wanted to conjure the subtlest emotions onto the wall. He therefore attempted to use oil-based colours, something that had not been done before in painting murals. A series of hindrances came to light. The location of the wall as well as the entire space itself was such that comparatively soon these oil colours were undermined by dampness, the moisture coming out of the wall itself. The whole room, a refectory of the Dominicans, was completely under water on one occasion as the result of flooding. Many other factors contributed to the overall problem: the billeting of troops in wartime and so forth. All these things took their toll on the picture.\nThere was a time in which the monks of the cloister also did not exactly conduct themselves with special piety in regard to the picture. They found the door too low that led underneath the dining hall of the cloister and one day had it made higher. In this way part of the picture was devastated. [The feet of the Saviour were eliminated.]\nThen again, a heraldic shield was once placed immediately over the head of Christ: in short, the picture was treated in the most barbaric manner. And then there were charlatans — they have to be called such — who painted over the picture so that hardly anything is to be seen of the original colour it once had. Even so, standing in front of this wall painting, an indescribable magic emanates from it. In spite of all barbarity, all over-painting, all soddenness, the magic that radiates from the picture could not be entirely destroyed. Today it is only a shadow of what it once was, and yet a magical quality still proceeds from it. One can say, it is only partly the painting as such; it is also the idea that exerts an effect on the soul, yet this works powerfully.\nWe can acquaint ourselves with other works of Leonardo, by means of reproductions, or by means of the works attributed to him in various European galleries — still preserved much as he painted them. In thus getting to know Leonardo's creations, what he wrote, as well as the course of his life from 1452 to 1519, we nonetheless stand before the mural in the dining hall of the Dominicans in Milan with quite particular feelings. For, just as little remains to us of this magical creation once painted by Leonardo, little remains also for the general consciousness of humanity of the colossal stature, the power and significance of Leonardo's comprehensive personality. What can be experienced of Leonardo today barely relates otherwise to what he placed into the world than these patches of colour that merge into each other in comparison to what he once conjured onto the wall. One stands with a certain wistful melancholy before this picture in Milan; and so it is in contemplating the figure of Leonardo himself.\nGoethe points out with reference to earlier biographies that one has the impression, in Leonardo a personality appeared working with fresh life forces, viewing life with joyful expectation and enthusiasm, with an enormous urge for knowledge — fresh in mind and body. Turning to the picture that counts as a self-portrait in Turin, we see a portrait of the old Leonardo, the countenance with expressive furrows — expressive of pain and suffering, with the embittered mouth and features that betray much of what Leonardo must have felt in his conflicted relation to the world, in all he experienced. Strangely indeed does this personality of Leonardo stand before us at the turn of modern times.\nDirecting our attention once again to the picture in the Santa Maria delle Grazie we may attempt as it were with the “eye of the spirit,” to use Goethe's expression, to look at this “shadow” on the wall of the refectory, comparing it with the oldest engravings, the oldest reproductions. Letting the picture re-arise for us in this way, a question can emerge for us: Did the one who once painted this picture, in making the final brush-stroke, depart from it satisfied? Did he say to himself: You have achieved what lived in your soul?\nIt seems to me, one arrives at this question, as a matter of course. Such a question arises of its own accord in contemplating the life of Leonardo as a whole. We see him born a natural child, the son of an average individual, Ser Pietro, in Vinci and a peasant woman who disappears from view, while the father then marries in a civil wedding and has the son fostered out. Seeing the child grow up in isolation, communing only with nature and itself, one says to oneself: a tremendous sum total of life forces must have belonged to this human being for him to remain fresh and in good health, as he did in the first place. Since he showed talent in drawing early on, he was accepted into the school of Verrocchio (1435-1488). His father had brought him there, believing his talent in drawing could be exploited. The young Leonardo was now made use of in collaborating on the master's pictures. An anecdote is told from this period, that Leonardo was to paint a figure on one occasion, and that the master decided on seeing it to cease painting altogether, since he saw himself outdone by his pupil. This counts as more than an anecdote, in considering Leonardo as a complete individual.\nWe see him growing up in Florence, his talent in painting increasing by leaps and bounds. But we find something else. In following his painting ability, one has the feeling: Year by year he went about with the greatest artistic intentions, with continual new plans. He had commissions from people who recognized his great gifts and wanted something from him. Leonardo would first of all let the idea arise of whatever he wanted to create and then begin making studies. But how was it with these studies?\nThese studies proceeded from going into every conceivable detail that came into consideration — in a decidedly characteristic fashion. If he had, for example, to paint a picture in which three or four figures were to appear, he went to work in such a way that he did not merely study a single model but went about the city observing hundreds of people. He frequently followed a person for a whole day when a particular feature interested him. He would invite all kinds of people of the most varied standing to his abode, telling them all manner of things that amused or alarmed them. For, he wanted to study their features in connection with the most diverse emotional states. Once, when a rabble-rouser had been taken into custody and was to be hanged, Leonardo betook himself to the place of execution. — The drawing still exists in which he attempted to capture the facial expression and the whole gesture of the one hanged. In a lower corner of the page a head is drawn, recording the exact impression.\nThere are caricatures by Leonardo, incredible figures from which we can see what he actually intended. He would, for example, draw a countenance and see what would result in making the chin larger and larger. To find out what significance single parts of the human figure have, he enlarged a single member so as to discover how this fits into the whole human organism in its natural size. Grotesque figures with the most varied distortions — we find all this with Leonardo. Drawings by him exist in which he sketched a particular feature again and again — drawings he then wanted to use for corresponding works. Even if some of these derive from his students, there are still a great number from his own hand.\nLetting all this work on us, we get the impression that things proceeded in such a way that he would have some commission or other for a picture; he was to depict this or that. He studied the details as described. Then something in particular began to interest him — and he then no longer studied with the aim of completing the picture, but rather to get to know specific features of an animal or of the human being. If a battle scene was to be painted, he went to the riding school to make studies — or to where the horses are left to themselves. In this way he digressed from the actual purpose for which he had intended to use the study. Studies thus pile one upon the other, till it is no longer a question of his returning to the commissioned work at all.\nAmong the more significant pictures in his first Florentine period — though today these have all been over-painted, their original state no longer fully recognizable — we have the “Saint Jerome” and the “Adoration of the Magi.” There are studies for these as well, of the kind already indicated. One has the sense moreover that here a human being lived within the abundance of cosmic secrets. He sought to penetrate world secrets and to reproduce these secrets of Nature in an original manner by means of drawing — though never actually arriving at the kind of creating of which he could say, it had in some way been brought to realization. One has to transpose oneself into such a soul, too richly endowed to be able to fully conclude what it undertook — a soul upon which the cosmic secrets work in such a way that, in beginning somewhere, it necessarily went from secret to secret and never finished. One has to understand this Leonardo soul, too great in itself ever to be able to manifest its own greatness.\nPursuing Leonardo further in Milan, we see two tasks entrusted to him by Duke Lodovici il Moro, who takes him into his court. One task is the “Last Supper” and the other the creation of an equestrian statue of the duke's father. We see Leonardo at work on these projects for a period of fifteen to sixteen years. Yet much else transpired besides. To further characterize Leonardo and to comprehend him completely, it should be mentioned that the duke had not only appointed him as a painter. Leonardo was also an excellent musician, in fact perhaps one of the most distinguished musicians of his time. The duke was especially fond of his musical ability. But the duke also retained Leonardo because he was one of the most important war-engineers, a distinguished canal engineer and one of the most significant mechanics of his time, and because he was able to promise the duke entirely new war-machines, machines utilizing water power, also bridges that could easily be built and taken down again. At the same time, he worked on constructing a flying machine. In developing it, he occupied himself in observing how bird flight comes about. The studies of bird flight that have been preserved count among the most original in this field. With the writings of Leonardo, it has to be borne in mind that it is partly a matter of copies containing much that is inexact. These therefore correspond in nature to what is still to be seen today of the “Last Supper.” But, shining through everywhere is the comprehensive spirit of Leonardo himself.\nWe see Leonardo supporting the court in Milan in every conceivable way with this or that painting project or theatrical event, but also working out all manner of war plans and other plans, as also assisting in the building of the cathedral with advice and practical help. In addition, he is known to have trained numerous pupils who then worked on the various projects in Milan. Today, people hardly have any notion of all that Leonardo contributed to the city of Milan and its surroundings.\nThere are Leonardo's endless studies for the equestrian statue of the duke's father, Francesco Sforza. He studied every part of the animal hundreds of times in hundreds of positions, and over a period of many years he completed the model for the horse. It was destroyed when the French invaded Milan in the year 1499; soldiers shot at the model as though for target practice. Nothing of it remains — nothing is preserved of the enormous amount of work of a personality who, it may be said, sought to investigate world secrets in creating a work in which dead matter gives expression to life — just as life manifests itself with its secrets in Nature.\nIt is known how Leonardo worked on the “Last Supper.” He often went there, sat on the scaffold and brooded for hours in front of the wall. Then he took the brush, made a few brushstrokes and went away again. When he wanted to paint on the Christ figure, his hand trembled. And, considering all that is known, it has to be said: both outwardly and inwardly Leonardo was not pleased as a result of painting this world-famous picture. There were people at the time in Milan who did not much like the slow pace with which the picture was painted. There was for instance the prior of the cloister who could not see why a painter should not be able to paint such a picture onto the wall quite quickly. He complained to the duke. For the duke, the whole matter also went on rather too long, and he took the artist to task. Leonardo replied that Christ Jesus and Judas were to be represented in the picture: two of the greatest imaginable contrasts. These could not be painted in just one year, there being no model for either in the whole world, not for Judas, nor for Christ Jesus. He also did not know, he said, having painted on the picture for many years already, whether he would be able to finish it at all. And then he added: In the end, if no model were found for Judas, he could always take the prior! Thus, it was extraordinarily difficult to bring the picture to a conclusion. But Leonardo was also not pleased in the end with the outcome. For, with this picture the full discrepancy became apparent between what lived in his soul and what he was able to bring onto the wall.\nHere I am obliged to put forward a kind of spiritual-scientific hypothesis to which anyone can come on familiarizing themselves gradually with all that can be known about the picture. This hypothesis resulted for me in attempting to answer the question previously raised. In following the life of Leonardo, one says to oneself: Such an enormous amount lived in this man that he was unable to reveal outwardly to humanity — for which the external means were wholly inadequate. Should he in fact have been able, without further ado, to paint to his satisfaction the greatest conceivable work he undoubtedly intended with the “Last Supper?” One comes to such a question as a matter of course, seeing how he strove again and again by means of studies, to investigate one secret after another — attempting to bring something to realization that did not finally come about. And the answer then results almost of itself. For, if Leonardo had wanted on the one hand to make an equestrian statue, a miraculous work of sculpture, bringing it no further than the model that was lost, never reaching the point of casting it after sixteen years' work — having to forsake it completely without achieving anything — how must he have taken leave of the “Last Supper?” One has the sense that he went away from it dissatisfied! And today we have only a ruin of the picture before us; only damp patches of colour merging into each other, while for a long time hardly anything is left of what Leonardo once painted onto the wall. Thus, it is perhaps permissible to assert that what he painted onto the wall did not remotely represent what lived in his soul.\nTo arrive at such an impression, however, one has to bear in mind various things in regard to the picture. There are further reasons. Among the various writings of Leonardo that have survived there is a wonderful Treatise on Painting . [See Dover Publications edition, 2005.] Here the essential nature of painting as an art is set forth — how perspective and colour composition are to be approached. It is shown that one needs to proceed from a certain viewpoint. Despite the fact that we have it only in a truncated form, this book by Leonardo on painting is a wonderful work, like nothing else that has been written on painting otherwise. The principles of the art of painting are presented as only the greatest genius could have presented them. It is marvellous, for instance, to read how Leonardo describes in what manner horses are to be depicted in a battle scene, how altogether brutal, but also grandiose impressions are to come to light in rendering a battle scene. In short, this work shows Leonardo in his greatness and, it may be said, also in a certain powerlessness, which we shall refer to later. But above all, it betrays how he was careful everywhere in his own painting to study how reality presents itself to the human eye; how light-and-dark and colouration are to be utilized — all this is set forth in genial fashion in this work of Leonardo on painting. And it confirms the yearning for conscience in Leonard's soul, the desire, never even in the slightest detail, to go against what, as we shall see, he valued so highly: the search for truth. The extent to which this lived in his soul becomes apparent everywhere in the Treatise on Painting ; in that one should never violate the truth of the impression with respect to the inner secrets of Nature.\nLetting his “Last Supper” work on us, there are two things we cannot reconcile immediately with Leonardo's requirements with regard to painting. One concerns the figure of Judas. In the reproductions and to an extant in the shadowy picture in Milan, one has the impression, Judas is completely covered in shadow and is quite dark. Looking at how the light falls from various sides, with the eleven other disciples we see the relationships of light everywhere represented in the most wonderful way in conformity with the truth. Nothing properly explains the darkness on the countenance of Judas! On the basis of the external relationships of light we do not have a satisfying answer as to the “why” of this darkness. And in coming to the Christ-Jesus figure, if one does not proceed on the basis of spiritual science, only something like a premonition can actually result for external perception. For just as little as the blackness, the darkness, is outwardly justified, as little does the sun-like quality of the Christ figure, its emergence from the other figures, seem justified in the sense indicated. All the other countenances can be understood on the basis of the existing lighting, but not the Judas and not the Christ-Jesus countenance. Proceeding in accordance with spiritual science, however, the thought arises as though of itself: here the painter strove to make evident, in the contrast of “Jesus” and “Judas,” how light and darkness are to be accounted for inwardly . He wanted to make clear that this Christ countenance stands before us, such that we find it unaccounted for in regard to the external light, but that we are able to believe: the soul behind this countenance grants it luminosity of itself, so that it becomes permissible for it to shine in contradiction to the prevailing light conditions. And in the same way, one has the impression with regard to Judas, this figure conjures a shadow onto itself justified by nothing in the surroundings.\nAs already stated, this is a spiritual-scientific hypothesis, but one that has emerged for me over many years, a hypothesis of which one can believe that it will confirm itself still further, the more one goes into the whole matter. On the basis of this hypothesis, one understands that in striving everywhere in his work for the truth of Nature, Leonardo worked with a brush that trembled in his hand in attempting to present what could have its justification only in the Christ figure. It becomes comprehensible that Leonardo would unquestionably have been bitterly disappointed, since it was impossible, with the art of representation as it was at the time, to bring this to expression in all truthfulness. Thus, he could not do what he intended, and finally despaired of the possibility of carrying it out, having to bequeath a picture which did not ultimately satisfy him.\nThus, in conformity with the entire spiritual stature of Leonardo, we arrive at an answer to the above question. Leonardo must have gone from this picture with the bitter feeling that with his most significant work, he had set himself a task the execution of which could not bring him satisfaction, given the means available. Though in later centuries no human eye was in fact to see what Leonardo had actually conjured onto the wall in Milan, even in his own time the picture did not correspond with what had lived in his soul. Hence, considering him in relation to his most important creation, we are inclined to ask: what really is the underlying secret of this figure of Leonardo?\nIn contemplating the personality of Raphael fourteen days ago, the attempt was made to show that, based on a spiritual-scientific view, such a unique individual can be understood quite differently than otherwise. We can make clear to ourselves that the human soul returns again and again in the course of many earth-lives. Born into a particular age, a soul does not live this one life only, but, with its whole disposition, brings qualities over from earlier earth-lives. With what it carries over into the present from earlier lives, the soul interacts with what the spiritual environment has to offer. Viewing the human soul in this way, we recognize that it enters into existence with an inner spiritual estate deriving from repeated earth-lives. The whole of evolution appears meaningful and imbued with wisdom in presupposing that things arise in particular epochs, not by chance, but according to law-imbued principles — just as the blossom of the plant follows after the green leaves. Great individualities become explicable only if we assume wise guidance in the historical development of humanity and see the human soul returning again and again from spiritual regions. But what can be studied in the context of a single human life unveils itself quite especially in considering human souls that rise above mediocrity. Contemplating Leonardo in the way we attempted in tentatively summarizing his life, we are inevitably led again and again to the background from which he emerges. This is the age into which he is placed, from the year 1452 to the year 1519.\nWhat sort of age is this? It is the age that precedes the flowering of the natural-scientific worldview — before the arrival of the worldview of Copernicus and before Giordano Bruno, Kepler and Galileo. How is this age to be viewed from a spiritual-scientific standpoint?\nWe have often drawn attention to the fact that the further we go back in evolution, the more the whole manner in which human beings relate to the world changes. In primeval times we find everywhere a kind of clairvoyance. In certain states between sleeping and waking, human beings looked into the spiritual world. This original clairvoyance was lost as time went on, but even in the fifteenth century a remnant of this clairvoyance remained from older times. It was not then a matter of the actual clairvoyance itself, which had long since been lost. What remained was a feeling of the soul's connection with the spiritual background of the world. What souls had once seen, they continued to feel. Though this feeling had become weak, they nonetheless felt united in the centre of their being with the spiritual element with which the world was permeated and interwoven — much as physical processes in the human body are connected with physical occurrences in the world.\nIt belongs to the inherent laws of evolution that the old connection of the human soul with the spiritual world had to be lost for a while. Never would modern natural science have been able to blossom, had the old clairvoyance remained. This older way of seeing had to be lost, in order for human beings to orient themselves to what is presented to the senses, to reason bound up with the brain — to what can be ascertained scientifically. Only by virtue of the loss of the old spiritual perception was the natural scientific world conception possible that has evolved from the time of Leonardo up to our own day. In this way human beings turned “objectively,” as it is said, to the external sense world and to what human reason is able to comprehend by means of sense perception.\nToday we stand once more at a new turning point, at the turning point of a time in which it is again possible, by means of modern natural science, for human beings to come to a spiritual view of things. For, the development of natural science has a dual significance. On the one hand, it is to bequeath to humanity a certain wealth of natural-scientific knowledge. In the course of the centuries since the appearance of Copernicus, Kepler and so on, natural science has gone from triumph to triumph, influencing in a remarkable way all practical and theoretical life. That is one field that has been conquered by natural science in the centuries since Leonardo's time. The other is something that could not come about all at once and has become possible only in our time. Not only do we owe to natural science what has been learned as a result of the Copernican worldview, by means of the observations and investigations of Kepler and Galileo, as also what has been discovered by means of modern spectral analysis and so forth. We are indebted to it also for a certain education of the human soul.\nHuman beings directed their attention first of all to the sense world. Natural science evolved in this way. But new ideas, new concepts were formed by means of natural science. And where natural science achieved the most significant advances, it did not do so by means of sense perception, but by virtue of something quite different. This has already been pointed out. In a particular field prior to Copernicus, reliance was placed on sense perception. What was the result? It was believed, the earth stood still in cosmic space and the sun and other planets circled around it. Then came Copernicus, who had the courage not to rely on sense observation. He had the courage to say that no empirical discoveries are made in relying on sense perception alone, but that empirical discoveries are arrived at in combining in a strict manner in one's thinking all that has previously been observed. People then followed in his footsteps; and it misconstrues the actual facts altogether to believe that natural science attained its present height in that humanity placed reliance only on the senses.\nBut what humanity acquired by means of natural science also imprinted itself on souls. The ideas of natural science live in our souls, exerting an educational effect. Quite apart from their content, the natural sciences have been an educational medium. And today, in that natural scientific ideas are actually not only thought but also lived, human beings have become ready of themselves to feel drawn to spiritual science. Humanity had first to become mature for this. The centuries since the time of Leonardo had to pass for this to come about.\nNow let us consider Leonardo. He enters an age having, in an earlier existence, belonged among those initiates who had elevated themselves in the ancient manner to apprehending the secrets of the universe. Born into the fifteenth century, he could not bring this to realization. Though someone may have entered intensely into the cosmic secrets in earlier incarnations, as made possible in those earlier earth-lives, how this is to be brought to consciousness in a new existence depends upon the external corporeality. A physical body of the fifteenth century could not bring to expression what Leonardo had assimilated in an earlier existence of inner thoughts, inner feelings and creative power. What he had brought with him from earlier times took effect only in the form of a certain strength. In the age preceding the flowering of the natural sciences, he felt constrained by a body that placed limits upon him. The times were approaching — the dawn of which had already arrived — when people wanted only to look into the world of sense and to think only by means of reason bound to the instrument of the brain. Leonardo felt drawn everywhere to the spirit, having brought this with him as an impulse from earlier lives. In a grandiose manner, he was impelled to the spirit.\nLet us now look at him as an artist in the first place. Art had become quite different in the age in which Leonardo lived from what it was for instance in Greek times. We may attempt to transpose ourselves, for example, into how a Greek artist created a sculptural figure. What kind of feeling do we have in looking even at the statue of Marcus Aurelius [175 A.D.] in Rome? Never would those who created something like this have proceeded in the manner of Michelangelo or Leonardo, making detailed studies from an external model. The wonderful horse of the Marcus Aurelius statue was quite certainly not studied in the way Leonardo went about studying his horse for the equestrian statue of Francesco Sforza. How alive are these ancient statues even so! Why is this? It derives from the fact that in Greek times human beings felt themselves the immediate creators of their own bodies, feeling themselves at one with the soul forces of the cosmos. In the times when Greek art arose, one sensed, for example with an arm, all the forces that formed it. One felt one's way into the inner, self-sufficient nature of one's own human form. Things were not viewed from outside, but created from within, while being aware of the actual formative forces. This can even be established quite externally. Taking a look at Greek female figures, we find they are all directly felt. Hence, they are shown at an age when growth is ascendant. Here we sense that the artist created as Nature does, in standing within the spirit of Nature, feeling himself inwardly connected with the spirit of Nature.\nThis feeling of union with the spirit that lives and weaves through things had been lost in the age of Leonardo. It had to be so, since it would not have been possible otherwise for modern times to arise. This is said not as a critique of the times, but to indicate the underlying facts.\nLet us look at how Leonardo went to work in studying say, the movements of the hand, the parts of an animal, or the human physiognomy. He proceeds in having a notion, an inner experience that does not, however, rise to consciousness. This is something that is brought to bear in a living manner in creating these figures, but Leonardo cannot apprehend it from within. He feels as though detached from it, from apprehending it inwardly. And now nothing is sufficient for him. The new natural scientific worldview does not yet exist. He stands there in expectation of this natural scientific worldview, without as yet having it for himself. With his writings, things jump out on every page that are only discovered over the next three hundred years, and in some cases have still not been found even today. Leonardo had the most wonderful ideas that frequently had no effect at all in his own time. We find these ideas both in his written works and in his artistic creations.\nThus, with him we sense the helplessness with which a soul had to appear in an age in which the old way of conceiving things came to an end, and for whom the new world conception had not yet arisen. But this new world conception brought with it that the whole outlook of human beings became splintered, in focussing on details. We see a specialization of the different branches of work. With Leonardo everything still appears unified. He is at the same time fully a painter, fully a musician, fully a philosopher, fully a technician. He united these within himself, having come over from ancient times with great capacities. In the new age he is able everywhere to touch on things, but not to enter into them. And so, in human terms, Leonardo appears as a tragic figure. But, seen from a higher point of view, he is enormously significant, appearing at the turning point of a new age.\nOne sees this in looking at Leonardo's further achievements. The most significant things were brought by him only up to a certain point; then his students worked on them. And even in the case of such works as the “Saint John” or the “Mona Lisa” in the Louvre in Paris, we see that, in consequence of the technical means by which they were produced, they soon lost their lustre. We also see how Leonardo could never be satisfied. Without having the pictures to hand, it is not possible to speak about Leonardo's paintings in detail. Immersing oneself in them, it becomes evident that as an artist Leonardo continually came up against boundaries that he could not surmount. We see how what lived in his soul could not reach the point where from the state of soul experience, it lit up in his consciousness. In lighting up at a certain moment from the level of soul experience in this way, one could shout for joy, but sinks back in pain, since it does not reach clear consciousness. Even for Leonardo himself, this did not come about.\nWe actually follow Leonardo with rather bitter feelings in seeing how he is sent for by Francis I [king of France from 1515-1547] and, for the last three years of his life, in the residence Francis I had assigned him, spends these years in spiritual contemplation, immersed in the secrets of existence. We encounter him there as a lonely individual who cannot actually any longer have had anything much in common with the world that surrounded him; who had to sense a tremendous contrast between what he felt to be the primal foundation of existence, capable of taking on form by means of art, and what he had been able to bequeath to the world after all only in fragmentary form.\nRecognizing this with regard to Leonardo one says to oneself: This is an individual in whom much takes place; an infinite amount goes on in his soul. The impression made on the observer is shattering — considering what is given over to humanity, what is revealed to humanity externally at Leonardo's death and how slight this is, compared to what lived within him! How does it stand with the economy of existence, if we subscribe to the view that human life exhausts itself in what comes into existence externally? How meaningless and pointless does the soul-life of such an individual as Leonardo appear when we see all that went on within him in relation to what he was able to bequeath to the world? What contradiction would result in asserting: this individual may be viewed only in accordance with how he manifested himself in outer life! No , we cannot view such a soul in this way! We must adopt a different standpoint and say: Whatever Leonardo may have given to the world, what he experienced, what he went through inwardly — all that belongs to another world, a supersensible world as compared to our world. And such human beings are above all evidence that, with his soul, the human being stands within supersensible existence. We can say, such souls achieve something of significance with regard to supersensible existence, while what they leave to the world is only a “by-product” of what they undergo otherwise.\nWe only arrive at a true impression in adding to the stream of external human events, another, a supersensible stream, saying: Something takes place parallel to the sense-perceptible stream, and souls are in fact embedded in the supersensible realm. They live within this realm so as to be the connecting link between the sensible and the supersensible. The existence of such souls as Leonardo's appears meaningful only when we are able to accept the existence of a supersensible realm in which they are embedded. Thus, we apprehend little of Leonardo in looking only at what results from his creative activity. We arrive at the view that this soul still has something to sort out in supersensible existence. We can then say to ourselves: We understand! — In order to be able to reveal various things to humanity over the course of many earth-lives, this soul had to undergo, in that “Leonardo existence,” the circumstance that only the least of what lived within it could come to outer expression. Thus, individuals such as Leonardo are themselves real life-enigmas, embodying cosmic riddles.\nWhat I wanted to put forward today should not be presented in sharply defined concepts. The intention has been rather to provide indications as to how such souls may be approached. Truly, the task of spiritual science is not to provide theories! In all it is capable of, spiritual science should take hold of the entire feeling life of human beings and become an elixir of life — enabling us to gain a new relationship to the world and to life. Spirits such as Leonardo are quite especially suited to make this possibility clear to us. Contemplating spirits like Leonardo, we can say: They enter existence mysteriously, having something of greater importance to express than their age is capable of supporting. Bringing over treasures from earlier times, individuals such as Leonardo enter life in unprepossessing circumstances. Born of an average father and a mother who soon disappears from one's field of vision altogether, having given birth to a natural child, Leonardo was subsequently brought up by average people. Thus, we see him left to himself, yet bringing to expression what he had carried over from earlier lives. In looking at the unfavourable circumstances of his birth, we recognize that they did not prevent the greatest imaginable content of soul from manifesting itself.\nWe see Leonardo in good health, so complete in himself that it becomes understandable when Goethe states: “Of regular features, well-formed, he stood before humanity as an exemplary human being. And just as the eye's clarity and power of comprehension belong in reality to reason, to the power of judgement, so clarity and comprehension were integral to this artist.” In making use of these words with reference to Leonardo, and they are applicable to him, we can apply them to the youthful Leonardo. We encounter him, fresh in mind and body, full of creative enthusiasm, of a kind of cosmic yearning — a complete human being, an exemplary human being. He is as though born a conqueror, yet likewise born with humour, which he showed on the most diverse occasions. Turning once again to the drawing that rightly counts as a self-portrait, to the old man in whose countenance so much is engraved of painful experience, leaving deep furrows, we see the features around the mouth indicating disharmony. He is ultimately a lonely man, far from his fatherland, living in asylum, at the behest of the king of France — still struggling with questions of cosmic existence — but alone, forsaken, not understood, though appreciated by loyal friends who accompanied him.\nHence the greatness of this spirit presents itself to us as having undergone much suffering, initially entering into life fully, and then departing from it embittered. We look into this countenance and sense the genius of humanity itself looking out from this human countenance. We begin to understand the age, the evening glow in which Leonardo lived, as also the age in which Copernicus, Kepler, Giordano Bruno and Galileo lived — in which a new dawn breaks. We take note of all the limitations and restrictions Leonardo's great soul had to endure. In comprehending the age, we understand this great artist who could ultimately only work with the means available. Looking into Leonardo's countenance with our full powers of understanding, while immersing ourselves in spiritual scientific viewpoints, it is as though the whole character of the age looks out from this countenance. These embittered facial features express indeed in the first place something of the downward inclination of the human spirit. We need to acquaint ourselves with this aspect of Leonardo in order to become aware of the magnitude of the power that had to be there for a Copernicus, a Kepler, a Galileo, a Giordano Bruno to arise.\nActually, we only acquire the proper reverence with respect to the development of the human spirit in feeling the tragedy of Giordano Bruno's being burned at the stake; and also, in learning to deepen this in viewing the powerlessness felt by Leonardo in the preceding, declining age. Leonardo's greatness only becomes clear to us in having a sense for what he was not able to accomplish. And this is connected with something with which we wish to summarize and conclude today's considerations. It is connected with the fact that the human soul can be satisfied after all, even animated, in viewing imperfections — if not so much in viewing small imperfections, nonetheless in viewing the large imperfections where creative activity, on account of its greatness, “dies” in the execution. For, in such “dying” forces we surmise and finally recognize forces that prepare the future. And in the evening glow there arises for us the premonition and the hope of the coming dawn.\nIn regard to the evolution of humanity we must at all times feel able to say to ourselves, all development takes its course in such a way that wherever what has been created becomes a ruin, we know that out of the ruins new life will always blossom forth."
  },
  {
    "id": "GA062-12",
    "title": "Errors in Spiritual Investigation: Meeting the Guardian of the Threshold",
    "date": "6 Mar 1913",
    "city": "Berlin",
    "source": "https://rsarchive.org/Lectures/ErrInv_index.html",
    "book_title": "",
    "content": "Pitfalls await those on the path of spiritual knowledge. Dr. Steiner's poignant depiction of self-love can be especially helpful. This love rises like a force of nature in one who follows a spiritual path. He also explores the encounter with the double, the influences of Lucifer and Ahriman, the role of fear, and the polar tendencies toward phenomenology and mysticism. Lecture 12 of 14 from the volume: Results of Spiritual Investigation The volume of the Complete Edition of the works of Rudolf Steiner containing the original text of the this lecture, among eight others, is entitled: Ergebnisse der Geistesforschung , (No. 62 in the Bibliographical Survey , 1961).\nJust as it is of great significance in every realm of human endeavor and investigation to know not only the path of truth but also the sources of error, so it is especially the case in the realm dealt with by our lectures here, the realm of spiritual science, of spiritual investigation. In this realm one has to do not only with sources of error that can be eliminated to a certain extent through judgment and reasoning but with sources of error that accompany every step of the spiritual investigation of truth. One has to do with errors that must be not only refuted but overcome, conquered. Only by knowing them in such a way that one keeps, as it were, a spiritual eye on these experiences in their character as error will it be possible to guard oneself against them. It is not possible in relation to this realm to speak of individual truths or errors, but it is necessary to be clear through which activity of the soul, through which confusion of the soul, man can fall into untruth on the path of spiritual investigation.\nIt is easy to grasp that one wishing to penetrate to the super-sensible world first needs a healthy organ of perception, just as healthy sense organs are needed for outer sense observation. The second thing one needs, in addition to the organ of perception, is a corresponding development of clarity of consciousness, which can clearly oversee and judge the observations. Even in ordinary sense observation of life it is necessary that we have not only healthy senses but also a healthy consciousness, that is, a consciousness not befogged or confused, not paralyzed in a certain way. Both these qualities of the soul life in a higher stage come to be of even greater significance in the realm of spiritual investigation. A comparison from ordinary sense observation will help us to understand this. Suppose someone has an abnormally developed eye, for example. He will not be in a position to observe objects in as accurate and unprejudiced a way as they should be seen. From hundreds of possible examples let us consider just this one. A very significant natural scientist of our day, who is not in the least inclined to submit willingly to any delusion, had a certain eye condition, and he described in his biographical sketch how this eye condition misled him, particularly at dusk, causing him to see things unclearly and, through this unclear seeing, to arrive at false judgments. He described, for example, how he often walked through darkness and, due to his eye condition, would see a figure that he took to be real but that was nothing other than something called forth by his abnormal eye. He then related how he once went around the corner in a strange city and, because he believed the city to be unsafe, his eye induced him to see someone approaching and wishing to assault him; he even pulled out a weapon to defend himself. He therefore was not in a condition, despite complete knowledge of his organ impairment, to judge the situation correctly, to recognize that what his eye called forth was not there at all. Errors can occur in this way in all our sense organs. I bring this up only as a comparison.\nIn the recent lectures it was described how the human being, through a certain inner cultivation, evolution, of his soul, can develop into a real spiritual investigator, how he brings into use real organs of spirit through which he can look into the super-sensible world. These spiritual organs must be developed in the right way to make it possible to behold — in an analogy with sense perception — not caricature and untruth but the truth, the reality, of higher spiritual worlds. As we have seen, this development of the higher spiritual organs, which can be brought about by a rightly applied concentration, contemplation, and meditation, depends upon the starting point in ordinary, everyday life. Every human being who wishes to evolve upward to a view of the spiritual world must, and this is quite natural and proper, take his starting point from ordinary soul development, from what is right and normal for everyday life and also for ordinary science. Only from this starting point, by taking into the soul those mental processes (Vorstellungsarten) that we have presented as meditations and as other exercises, can the soul ascend again to an observation of the spiritual world.\nThe problem now is that at the starting point, that is, before the beginning of a spiritual training, the future spiritual investigator must be in possession of a sound power of judgment, a capacity for judgment proceeding from true conditions. Every starting point that does not result from a sound power of judgment, that surrenders itself to the object, leads to unsound organs of spiritual observation, which can be compared to abnormally developed sense organs. Here we are again at the point that we have often mentioned in previous lectures: the significance of what one can designate as the soul life of the spiritual investigator before he begins his development as a spiritual investigator, his training for spiritual investigation. An unsound power of judgment, lacking ability to observe objects in their reality, leads man to see facts and beings of the spiritual world as distorted or, as we shall see today, in many false ways. This is, as it were, the first important point in all development toward spiritual investigation. Spiritual scientific training makes it necessary to take as one's starting point a sound power of judgment, an interest in the true relationships of existence, even before the path to the super-sensible worlds is embarked upon. Everything that readily surrenders itself to illusion in the soul, that readily judges in an arbitrary way, that represents in the soul a certain unsound logic, leads also to the development of unsound spiritual organs.\nThe other starting point that is of essential significance is the moral mood of soul. The moral ability, the moral force, is as important as sound logic and intelligence, for if unsound logic, if unsound intelligence, lead to faulty spiritual organs, so will a cowardly (schwachmuetig) or immoral mood at the beginning of the spiritual training lead one ascending into the spiritual world to a certain fogginess, a “stupor”, we could call it. One thus faces the higher world in a state of what one must designate as a kind of paralysis, even a loss of consciousness (Ohnmacht). It must be noted, however, that in the stage of soul development referred to here, that which is called losing consciousness, a stupor, cannot be compared with the loss of consciousness, the paralysis, of ordinary, everyday consciousness. In ordinary consciousness, losing consciousness occurs in relation to the areas of everyday life. Losing consciousness in the spiritual world means a stupor, a fogging; it means the saturation of consciousness with all that can stem from the ordinary sense world or from the ordinary experience of the day. The spiritual investigator who is in error cannot be befogged or unconscious to the same degree as in ordinary consciousness, but he can be unconscious in relation to the spiritual world by being filled in the spiritual field of consciousness with that which has justification only through its properties and way of appearing in ordinary sense and intellectual consciousness.\nBy taking such elements along into the spiritual world, the spiritual investigator dims his higher consciousness. The matter can be presented in the following way. Dimming of consciousness, impairment of the ordinary behavior of soul in everyday life, is like a penetration of sleep or of the dreams into the clear, everyday consciousness. A stupor, a fogging of the higher, super-sensible consciousness, however, is like a penetration of ordinary, everyday consciousness — the consciousness that we carry around with us in the ordinary world — into that consciousness in which it no longer belongs, into the consciousness that should oversee and judge the facts of the higher, super-sensible worlds purely and clearly. Any kind of immoral or weak moral mood, any kind of moral untruthfulness, leads to such a fogging of super-sensible consciousness. Among the essential and most significant aspects of preparing for a spiritual scientific training, therefore, is a corresponding moral development, and, if you go through my book, Knowledge of the Higher Worlds and Its Attainment , you will find special practices for the soul through which this appropriate moral mood can be established. Of particular damage in this striving is everything that overcomes man in ordinary life in the way of vanity, ambition, the ordinary sense of self, and a particular sympathy for this or that experience. Inner tranquility, impartiality, a loving penetration of things and worlds, an attentive interest in everything life offers, but especially a certain moral courage, a standing up for what one recognizes as true, are proper starting points for a spiritual scientific training.\nFrom what has been said in preceding lectures, it should be clear that all spiritual training consists of an awakening of certain spiritual forces that exist in the soul but that slumber in ordinary life and must be developed. The spiritual organs and the super-sensible consciousness can be developed only when forces lying peacefully in the depths of the soul, forces that are weak or not at all developed in ordinary life, are really brought into consciousness.\nThe following can be seen from what has been said. Two things appear when man, through appropriate meditation, through concentrating his whole life of soul on individual mental images called into consciousness by his free will, tries to draw forth these forces resting in the depths of his soul. First, a quality that is always present in the soul but that in ordinary life can be kept relatively in check will be intensified, along with the other slumbering qualities in the depths of the soul; spiritual development cannot take place in any other way than by the whole soul life becoming in a certain respect inwardly more active, more infused with energy. This quality that is intensified at the same time as the others that one is trying directly to intensify one can call human self-love, sense of self. One could say that one begins to know this human self-love, this sense of self, only when one goes through a spiritual scientific training; only then does one begin to know how deep within the human soul this self-love slumbers. As has been pointed out already, he who engages in the exercises described in past lectures, thus intensifying his soul forces, notices at a certain moment in his development that another world enters his soul life. He must be able to notice, to have the knowledge to recognize, that the first form (Gestalt) in which the new, super-sensible world appears is nothing other than a projection, a shadow image, of his own inner soul life. These forces that he has developed in his soul life appear to him first in a mirror image. This is the reason that the materialistic thinker easily mistakes what appears in the soul life of the spiritual investigator for what can appear in the unhealthy soul life as illusions, visions, hallucinations, and the like. That objections from this side rest on ignorance of the facts has often been pointed out; this distinction, however, must be alluded to again and again. The unhealthy soul life, which beholds its own essence as in a mirror image, takes its own reflections for a real world and is not in a position to eliminate these reflections through inner choice. By comparison, in a true spiritual training it must be maintained that the spiritual investigator recognizes the first phenomena that appear as reflections of his own being; not only does he recognize them as such, but he is able to eliminate them, to extinguish them from his field of consciousness.\nJust as the spiritual investigator is able through his exercises to intensify his soul forces so that a new world is conjured before him, so he must be able to extinguish this whole world in its first form; he must not only recognize it as a reflection of his own being but be able to extinguish it again. If he could not extinguish it, he would be in a situation comparable to something that occurs in sense observation and that would be unbearable, impossible in an actual development of the human soul. Imagine in ordinary sense observation that a person directed his eyes to an object and became so attracted to it that he could not avert his gaze. The person would not be able to look around freely but would be tied to the object. This would be an unbearable situation in relation to the outer world. With a spiritual development, it would mean exactly the same in relation to the super-sensible world if a person were not in the position to turn from his spiritual observation and extinguish what presents itself as image to his spiritual observation. He must pass the test expressed in the words, “You are able to extinguish your image,” overcoming himself in this extinguishing; if the image returns, so that he can know his reality in a corresponding way, then only does he face reality and not his own imaginings (Einbildung). The spiritual investigator therefore must be able not only to create his own spiritual phenomena and to approach them but also to extinguish them again.\nWhat does this mean, however? It means nothing less than the need for an immensely strong force to overcome the sense of self, self-love. Why does the abnormal soul life, which arrives at visions, hallucinations, and crazy notions, see these creations as realities and not as emanations from its own being? Because the human being feels himself so connected, so bound, to what he himself brings forth that he would believe himself destroyed if he could not look at what he himself brings forth as a reality. If a human being leaves the ordinary world with an abnormal soul life, his self-love becomes so intensified that it works like a force of nature. Within the ordinary soul life we can distinguish very clearly between so-called fantasy and what is reality, for within the ordinary soul life we have a certain power over our mental images. Any person is aware of this power whose soul has been capable of eliminating certain mental images when it recognizes their error. We are in a different situation in relation to the outer world when we are confronted with forces of nature; when lightning flashes, when thunder rolls, we have to let the phenomena take their course; we cannot tell the lightning not to flash or the thunder not to roll.\nWith the same inner force, however, the sense of self appears in us when we leave the ordinary soul life; as little as we can forbid lightning to flash so little can we forbid self-love from appearing, developed into a force of nature, if it is only a reflection of one's own being, that which the soul presents as an image of its own being, perceived as a real outer world. From this one can see, therefore, that the self-education of the spiritual investigator must consist chiefly of overcoming piece by piece self-love, the sense of self. Only if this is accomplished at every stage of spiritual development through a strict self-observation will one come to be able at last to erase a spiritual world when it appears as described. This means to be in the position of allowing that which one has striven for with all one's might to fall into oblivion. Something must be developed through spiritual training (one can find this presented more precisely in Knowledge of the Higher Worlds ) that actually does not exist at all in man's free will in ordinary life. If man in ordinary life undertakes to do something, he wants to do it if he neglects to do something, he doesn't want to do it. One must say that in ordinary life man is in the position of applying his will impulses. To extinguish, in the way I described, the spiritual world that appears, the will must not only have the described faculties but must be able, after the spiritual world appears, slowly to weaken itself bit by bit, to the point of utter will-lessness, even to the point of extinguishing itself. Such a cultivation of the will is accomplished only when the exercises for the soul, described in Knowledge of the Higher Worlds , are followed systematically. When we awaken the slumbering forces in our soul, self-love, the sense of self, are intensified. This intensification leads us under certain circumstances to consider as an outer reality that which we actually are ourselves, that which lies only within us.\nAnother thing that is necessary when the soul undergoes appropriate exercises for a spiritual training is for man, at a certain level of this development, actually to forsake everything in his consciousness, everything that in his life up to now gave him in outer, everyday life and in ordinary science the content of truth, security in truth, everything that gave him the possibility of considering something as reality. As indicated already in previous lectures, all supports that we have for our judgments in ordinary life, all basic reference points given us by the sense world, which teaches us how we must think about reality, must be forsaken. After all, we want through the spiritual training to enter a higher world. The spiritual investigator at an appropriate stage of his development now sees, “You can no longer have a support in the world that you want to enter; you can no longer have the support of outer sense perception, of the intellectual judgment you have acquired, which otherwise guided you correctly through life”; when he has seen this, then comes the all-important, serious moment in the life of the spiritual investigator when he feels as if the ground is gone from under his feet, as if the support that he has had in ordinary life is gone, as if all security that has carried him up to now is gone and that he approaches an abyss into which with every further step he will surely fall. This must in a certain way become an experience in the spiritual training. That this experience not be accompanied by every possible danger is the primary concern of a true spiritual training today.\nAn attempt has been made to explain this more fully in the book, Knowledge of the Higher Worlds . If one undergoes the exercises offered there, one comes step by step to a point at which one feels what has just been described; one feels oneself as if over an abyss. One has already become so tranquil in one's soul, however, that one beholds the situation with a newly acquired, special faculty of judgment; therefore the fear, terror, and horror that otherwise needs must overtake the human soul in a dangerous way — not an ordinary, everyday fear — do not appear. One learns to know the basis of the fear, terror, and horror, but one has already progressed so as to achieve a mood in which one can endure it without fear.\nHere we are again at a point at which it becomes necessary for the soul to recognize the truth and not fall into error, because the support that one has in ordinary life has disappeared, and the soul feels itself as if placed over an abyss. This must occur in order that, out of the emptiness, that which is fully spiritual in the world can approach the soul.\nWhat in ordinary life is called anxiety, fear, will be intensified through such a training, expanded, just as self-love and the sense of self are intensified and expanded, growing into a kind of force of nature. Something must be said here that perhaps sounds paradoxical. In ordinary life if we have not struggled through to a certain courage, if we are cowards, we are frightened by this or that event if we have courage, however, we can endure it. In the region of the soul life we have described, fear, terror, and horror will approach us, but we must be in the position, as it were, not to be afraid of the fear, not to be horrified by the horror, not to become anxious with the anxiety that confronts us. This is the paradox, but it corresponds exactly with an actual soul experience that appears in this realm.\nEverything that the human being experiences on entering the spiritual world is designated ordinarily as the experience with the Guardian of the Threshold. I tried to describe something concrete about this experience in my Mystery Drama, The Guardian of the Threshold . Here it only need be mentioned that at a certain stage of spiritual development, man learns to know his inner being as it can love itself with the force of an event of nature, as it can be frightened and horrified on entering the spiritual world. This experience of our own self, of the intensified self of that inner being that otherwise never would come before our soul, is the soul-shaking event called the Meeting with the Guardian of the Threshold. Only by having this meeting will one acquire the faculty to differentiate truth from error in the spiritual world.\nWhy this experience is called the Meeting with the Guardian of the Threshold is easily comprehensible. It is clear that the spiritual world that man enters is always around us and that man is unaware of it in ordinary life only because he does not have the appropriate organs to perceive it. The spiritual world surrounds us always and is always behind that which the senses perceive. Before man can enter this world, however, he must strengthen his ego, his I. With the strengthening of the ego, however, the aforementioned qualities also appear. He therefore must learn above all else to know himself, so that when he is able to confront a spiritual outer world in the same way as he confronts an objective being he can distinguish himself from what is truth. If he does not learn to delimit himself in this way, he will always confuse that which is only within him, that which is only his subjective experience, with the spiritual world picture; he can never arrive at a real grasp of spiritual reality.\nTo what extent fear plays a certain role on entering the spiritual world can be observed particularly in the people who deny the existence of such a world. Among such people are also many who have different reasons for denying this spiritual world, but a great portion of those people who are theoretical materialists or materialistically tinged monists have a definite reason for denying this spiritual world, a reason that is clearly visible for one who knows the soul. We must now emphasize that the soul life of the human being is, as it were, twofold. In the soul not only does there exist what man ordinarily knows, but in the depths of the soul life things are happening that cast their shadows — or their lights — into ordinary consciousness. Ordinary consciousness, however, does not reach down to this level. We can find in the hidden depths of soul hatred and love, joy and fear and excitement, without our carrying these effects into conscious soul life. It is therefore entirely correct to say that a phenomenon of hatred directed from one person to another, taking place within consciousness, actually can be rooted, in the depths of soul, in love. There can be a sympathy, a deep sympathy, of one person for another in the depths of the soul, but since this person at the same time has reasons — reasons about which he perhaps knows nothing — he is confused about this love, about the sympathy, deceiving himself with hatred and antipathy. This is something that holds sway in the depths of the soul, so that these depths look quite different from what we call our everyday consciousness. There can be conditions of fear, of anxiety, in the depths of the soul of which one has no conscious idea. Man can have that fear in the depths of his soul, that anxiety in face of the spiritual world — because he must cross the abyss that has been described before entering — and yet be aware of nothing consciously. Actually, all human beings who have not yet entered the spiritual world, but who have acquired an understanding of entering, have to a degree this fear, this terror in face of the spiritual world. Whatever one may think concerning this fear and anxiety that are within the depths of the soul, they are there, though they appear stronger with one person, weaker with another. Because the soul might be injured, man is protected by the wisdom-filled nature of his being from being able to look further into the spiritual world, from being able to have the experience of meeting the Guardian of the Threshold until he is ready for it. Before that he is protected. Therefore one speaks of the experience of the Guardian of the Threshold.\nWe can note that a materialistically or monistically minded person, although knowing nothing of this experience, does have this fear in face of the spiritual world in the depths of his soul. There lives in such a person a certain antipathy to confronting the abyss that must be crossed; and to help him get past this fear, this anxiety in the soul in face of the spiritual world, the monist or materialist thinks out his theories and denies the spiritual world; this denial is nothing other than a self-induced anesthesia in face of his fear. This is the real explanation for materialism. As unsympathetic as it may sound, for one who knows the soul it is evident that in a meeting of materialistic monists, or those who deny soul and spirit, there prevails only the fear in the face of the spiritual world. One could say mockingly that fear-mongering is the basis of materialism, and although it is mocking it is nevertheless true. In materialistic literature, in the materialistic world conception, the spiritual investigator recognizes everywhere between the lines fear and anxiety in face of the spiritual world. What in ordinary life appears as materialism, however, as the soul condition present when a person is a materialist or a materialistically tinged monist, can also be present when a person arrives through definite measures at a certain spiritual vision. One can go through certain exercises in the soul and develop thereby from a more-or-less unhealthy soul condition to a more-or-less spiritual comprehension, yet one need not come by this means to a real understanding of the nature of the spiritual world. In a certain way one can carry up into the spiritual something of this fear about which one knows nothing, which has already been characterized and which underlies the materialistically minded person in the ordinary world.\nIf one does not grasp this connection, one can carry up into the spiritual world something that is terribly widespread in ordinary life: the love of ease of thinking, the love of ease of feeling. Fear is closely akin to love of ease, to clinging to habit. Why is man afraid of changing his situation? Because he loves his ease and comfort. This love of ease is closely related to fear. We have already described the basis for hatred; in the same way one can also say that lassitude, love of ease, are closely related to fear. One can, however, carry this love of ease up into the spiritual world. No one ought to object that human beings show no evidence of fear or love of ease, for this is again characteristic; it is characteristic that the ordinary mood of soul knows nothing of these things rooted in the subconscious. If man carries fear into the spiritual world, already having developed to the point of acknowledging the spiritual world, then an error arises in a spiritual region, an error that is extraordinarily important to consider the leaning toward phenomenalism.\nPeople who become subject to this leaning become, rather than spiritual investigators, “specterseers” (to express it crassly), those who see ghosts (Gespensterschauer); they become possessed by a leaning toward phenomenalism. This means that they want to see the spiritual world in the same way as the sense world is to be seen; they do not want to perceive spiritual facts, spiritual beings, but something similar to the beings that the sensory eye can behold. In short, instead of spirits they want to behold specters, ghosts. The error of spiritualism (this is not to say that all spiritualism is unjustified) consists of this leaning toward phenomenalism. Just as the ordinary, everyday materialist wants to see only matter everywhere and not the spirit behind matter, so does he who brings to the spiritual world the same soul condition that actually exists in materialism want to see everywhere only ghostlike, condensed spirits.\nThis is one dangerous extreme of error that can emerge. One must say that this tendency to carry the ordinary field of consciousness up into the super-sensible field of consciousness exists in the widest circles, even among those who fully recognize a “spiritual world” and want “proof” of a spiritual world. The error here, however, lies in considering a proof valid only if it takes place in the realm of phenomenalism; it lies in considering that everything should be like condensed ghosts. Here something arises that was called in the beginning of our study a stupor, losing consciousness in relation to the spiritual world. While losing consciousness in ordinary life is the penetration of a sleeping or dreaming condition into consciousness, losing consciousness regarding the spiritual world means wanting to give worth only to that which appears in the same way as things in the ordinary world, so that one is unconscious in relation to the spiritual world; it is demanded that proof be supplied that can be taken in the way appropriate only in the ordinary world. Just as one brings sleep into the ordinary world if one falls unconscious, so one falls unconscious in relation to the beings and processes of the spiritual world if one takes into the super-sensible world that which is only an extract of sense reality (das Sinnliche). The true spiritual investigator also knows those realms of the spiritual world that condense into the ghostlike, but he knows that everything arriving at such a condensation is merely the dying, the withering in the spiritual world. When, for example, with the help of a medium, something is brought to life as the thoughts of a deceased person, we are confronted only with what remains behind, as it were, of the deceased. We are not dealing with that which goes through the portal of death, which passes through the spiritual world and appears again in a new earthly life. We are concerned in such a case not with what is present in the individuality of the dead person but with the sheath that is cast off, the wooden part of the tree, or the shell of a shellfish, or the skin of the snake that is cast off. In the same way, such sheaths, such useless remnants, are continuously being cast off from the being of the spiritual world and then, by way of a medium, they can be made perceptible — although as visible unreality. The spiritual investigator knows, to be sure, that he is not confronting an unreality. He does not surrender himself to the error, however, that in encountering the described phenomenon he is confronted with something fertile, with something sprouting and budding; rather he knows it as something dying, withering. At the same time it must be emphasized that in the sense world, when one confronts error, one is dealing with something that must be ignored, that must be eliminated as soon as it is recognized as error, whereas in the spiritual world one cannot cope with error in the same way. There, an error corresponds to the dying, the withering, and the error consists of mistaking the dying and withering in the spiritual world for something fruitful or full of significance. Even in the life of the ordinary human being, error is something one casts off; in the spiritual world error arises when the dead, the dying, is taken for something fruitful, sprouting; one mistakes the dead remnants that have been cast off for immortality.\nHow deeply the best individuals of our time have been entangled in this kind of phenomenalism, considering only such proof as valid, we can see in an individual who wrote so many excellent things about the world and now has written a book about these phenomena, about these different phenomena of spiritual investigation. I am referring to Maurice Maeterlinck and his book, About Death. We read there that he acknowledges a spiritual world but as proof acknowledges only what appears in phenomenalism. He does not notice that he tries to find in phenomenalism that which can never be found in phenomenalism. Then he criticizes the “phenomena” very acutely, very effectively. He does notice, however, that all this actually has no particular meaning and that the human soul after death does not exhibit a very intense vitality, that it behaves rather awkwardly, as though groping in the dark. Since he wants to admit only this kind of proof, he generally does not acknowledge spiritual investigation but remains stuck.\nWe see how the possibility of error opens itself to someone who would gladly recognize the spiritual world but is unable to do so, because he does not demand spiritual investigation but rather “specter investigation” and does not make use of what reality can give. His newest book is extraordinarily interesting from this point of view.\nIn the leaning toward phenomenalism we thus have the one extreme among the possibilities for error in spiritual investigation. The other extreme among the possibilities for error is ecstasy, and between phenomenalism and ecstasy, in knowing both, lies the truth, or at least truth can be reached if one knows both. The path of error, however, lies as much on the side of phenomenalism as on the side of ecstasy. We have seen what soul condition leads into the wish to acknowledge only phenomenalism. It is fear, horror, which man does not admit, which he tries to conceal. Because he is afraid to abandon all sense reality and to make the leap over the abyss, he accepts sense reality, demands the specters, and arrives thereby only at the dying, at that which destroys itself: This is one source of error. The other force of the soul, intensified through the exercises often described here is self-love, sense of self; self-love has as its polarity — one would like to say — the “getting out of oneself.” This “enjoying oneself in oneself” (pardon the expression; it is a radical choice but points exactly to what we are concerned with here) is only one side; the other side consists of “losing oneself in the world,” the surrender and dissolving and self-enjoyment in the other and the corresponding intensification of this self-seeking coming-out-of-one's self is ecstasy in its extreme. It is the cause of a condition in which man in a certain respect can say to himself that he has gotten free of himself. He has become free of himself, however, only by feeling the comfort of his own self in the being outside himself. If the one who knows the soul looks at the evolution of mysticism in the world, he finds that a large part of mysticism consists of the phenomena just characterized. As great, as powerful in soul experiences, as deep and significant as mysticism can be, the possibilities of error in ecstasy are actually rooted in a false cultivation of the mystical faculty of the human being. When man strives always to enter more and more into himself, when he strives through this for what is called the deepening of his soul life, strives, as he says, to find “God in himself” this God that man finds in his inner being is usually nothing other than his own I or ego made into God. With many mystics we find, when they speak of the “God within,” nothing other than the God imprinted with their own egos. Mystical immersion in God is at times nothing but immersing oneself into one's own dear ego, especially into the parts of the ego into which one does not penetrate with full consciousness, so that one surrenders one's self, loses one's self, comes out of one's self, and yet remains only within one's self. Much that confronts us as mysticism shows that with false mystics love of God is often only disguised self-love.\nThe real spiritual investigator must guard himself on the one hand against carrying the outer sense world into the higher world; he must guard on the other hand against the opposite extreme, against false mysticism, the coming-out-of-oneself. He must never confuse “love for the spiritual being of the world” with self-love. In the moment that he confuses these, the following occurs, as the true spiritual investigator, who has developed himself correctly, can verify. Just as one who is compelled by phenomenalism beholds only the remnants, the dying of the spiritual world, so he who surrenders himself to the other extreme sees only individual parts of the spiritual world, not spiritual facts and beings. In the spiritual world he does not do what one who contemplates the flowers in a meadow does; rather, he does what the one does who takes what grows in the field, chops it up and eats it. This comparison is peculiar but absolutely to the point. Through ecstasy the spiritual facts are not grasped in their wholeness, their totality, but only in that which pleases and benefits one's own soul, that which the soul can consume spiritually. It is actually a consumption of spiritual substance that is cultivated in the human being through ecstasy. Just as little as one learns to know things of this sense world by eating them, so little does one learn to know the forces and beings of the spiritual world through giving oneself to ecstasy in order to warm one's own self with what feels good. One thereby comes to a definite knowledge only of one's own self in relation to the spiritual world. One lives only in a heightened sense of self, a heightened self-love, and because one takes in from the spiritual world only that which can be consumed spiritually, which can be eaten spiritually, one deprives oneself of that which cannot be handled in this way, of that which stands apart from the nourishment gained through ecstasy. What one deprives oneself of, however, is by far the greatest part of the spiritual world, and the mystic who clings to ecstasy is deprived more and more. We find with mystics who ascend to the spiritual world through ecstasy that it is exactly as if they were always indulging themselves through repeating feelings and sensations. Many presentations of such mystics appear not as objective presentations of the conditions of the spiritual world but as though the one who gives the presentation were indulging in what he presents. Many mystics are actually nothing but spiritual gourmets, and the rest of the spiritual world, which does not taste good to them, does not even exist for them.\nWe see again how concepts change when we ascend from the ordinary world into the higher world. If in the ordinary world we occupy ourselves only with our own concepts, we become poorer and poorer, our logic becomes ever poorer. Finally we find that we can no longer find our orientation, and anyone who knows the facts can set us straight. In the ordinary world we correct this meagerness by widening our concepts. In the spiritual world, that which corresponds to ecstasy leads to something else. By taking into us realities, and not something unreal — but taking in only isolated parts, after picking out what suits us — we receive a view of the spiritual world that is only suited to ourselves. We carry ourselves into the spiritual world just as in the other extreme, in phenomenalism, we carry the sense world into the spiritual world. It can always be shown in the case of one who arrives at a false picture of the world through ecstasy that he began from an unsound force of judgment, from an incomplete factual logic.\nWe thus see how the spiritual investigator always must avoid the two extremes that bring him to every possible source of error: phenomenalism on the one hand and ecstasy on the other. In order to avoid the sources of error, nothing will be more helpful than for the spiritual investigator to cultivate one particular mood of soul, through which he is in a position, when he places himself in the spiritual world, to exist in the spiritual world, to be able to observe calmly in that world. One cannot always remain in the spiritual world, however, so long as one is in the physical body; one must also live with the physical world; therefore this mood of soul that the spiritual investigator must cultivate allows him in the physical world to strive as much as possible to grasp the facts of life with common sense, without sentimentality and untruthfulness. It is necessary for the spiritual investigator, to a much higher degree than is ordinarily the case, to have a healthy sense for facts, a genuine feeling for truthfulness. All fanaticism, all inaccuracy, which make it so easy to skirt what is really there, are harmful for the spiritual investigator. One can see already in ordinary life, and it becomes clear immediately in the realm of spiritual training, that lie who lets himself indulge only the least bit in inaccuracy will notice that it is only a tiny step from inaccuracy to lies and untruthfulness. The spiritual investigator, therefore, must strive to feel himself obliged to hold firmly to the truth, to mix nothing with the unconditional truth that exists in ordinary life, for in the spiritual world such a mixing leads from error to error. In those circles wishing to have anything to do with spiritual investigation, the justified opinion should be spread that an outer, distinguishing characteristic of the true spiritual investigator must be his truthfulness; the moment the spiritual investigator demonstrates that he feels little obligation to test what he says, speaking rather of things he cannot know about the physical world, he becomes flawed as a spiritual investigator and no longer can merit a full trust. This is connected with the conditions for spiritual investigation itself.\nIt must be brought to our attention again and again that, when the realms of spiritual investigation and spiritual science are spoken of today, it is unjustified to claim that only the spiritual investigator can see into the spiritual world and that one who is not yet a spiritual investigator is unable to know and understand and grasp it. You can learn from the descriptions in my book, Knowledge of the Higher Worlds , and from my presentation in An Outline of Occult Science that in our era to a certain degree every person, if only he makes the necessary effort, can become a spiritual investigator, no matter what his position in life is otherwise. Nevertheless, it is also possible for a person to understand the descriptions of the spiritual world without being a spiritual investigator. It is necessary to be a spiritual investigator not in order to understand the communications from the spiritual world but in order to discover them, to investigate what is present in the spiritual world. One must be a painter in order to paint a picture, but one need not be a painter to understand a picture; it is the same with understanding communications from the spiritual world with the sound human intellect. It is in order to investigate the spiritual world that the human being is endowed with the higher organs of observation. If what is investigated, however, is brought into the concepts of the ordinary world, as is often attempted here, the sound human intellect can, if only it is sufficiently unprejudiced and does not create obstructions for itself, grasp what is brought to light through spiritual investigation.\nOne could say that with spiritual investigation it is the same as it is with what grows under the earth and is found only when one digs into the earth like a miner. Whatever one finds there can originate only as it exists within the earth, developing in those layers of the earth that are covered by layers above it. What is in the depths of the earth cannot develop on the surface of the earth, which is illuminated by the sun during the day. If we then make an opening in the earth, however, and let the sunlight shine in, illuminating what is underneath, everything can appear in the light of the sun. It is the same with what can be gained through spiritual scientific investigation: it can be brought to light only if the soul has transformed itself into an organ of perception for the spiritual world. If it is brought into the concepts and mental images of ordinary life, however, then the human intellect, if only it is sufficiently sound, can understand and illuminate everything as if with spiritual sunlight. All of spiritual science, therefore, can be grasped by the sound human intellect. Just as a painting is not made merely for the painter himself, so the communications about the spiritual world are not only for the spiritual scientific investigator. Nevertheless, paintings are able to originate only through the painter, and the spiritual world can be explored only by the spiritual investigator.\nHe who believes that what comes from the communications of the spiritual investigator cannot be grasped by means of the ordinary intellect does not perceive at all correctly the nature and essence of the human capacity for thinking. In the human capacity for thinking reside faculties that stand in direct connection with the nature of the higher world. Because man is accustomed to approach only the ordinary sense objects with his concepts, he believes that the ordinary faculty of judgment vanishes in him if super-sensible facts are presented to him. He who develops his capacity for thinking, however, can cultivate this capacity in such a way that it can grasp what is brought to light through spiritual investigation. One must not have some notion beforehand, however, of how one can grasp such matters. This should result from the study itself. If one has a definite notion of how one should grasp these things, one surrenders oneself again to a serious error in relation to spiritual investigation. This is the second aspect that is especially noticeable in Maurice Maeterlinck's new book. He is an individual who wishes to direct his gaze to the spiritual world, who has made some fine observations about various things, and who has also tried to present the mysteries of the spiritual world dramatically; it is especially telling that this individual, in the moment in which he should approach the real science of the spirit, proves himself so inadequate. He demands a certain kind of understanding — not the kind given by the things themselves but the kind he imagines (ertraeumt), which he believes must appear to provide verification. In this way the greatest peculiarity arises: Maeterlinck takes to be merely a belief that which anthroposophy or spiritual science has to say when it speaks today about “repeated earthly lives” — when it speaks with a certain outer justification (not with a merely inner conviction, which would be akin to a certain primitive belief of humanity). He calls it a belief, because he cannot perceive that what we are concerned with here does not have to do with belief but with knowledge. He thus finds that the existence of that which develops further in man, moving from life to life, cannot be proved, because he has a definite idea of what constitutes proof. Maeterlinck can be compared in this realm to certain other people. Until recently, there existed a kind of belief, a certain mathematical-geometrical belief that is summarized in the words, the “squaring of the circle”; that is, one would seek by means of a mathematical-analytical, constructive thinking for that square which equaled the area or the circumference of the circle. This task of transforming the circle into a square was an ideal, as it were, toward which one always strove: the transforming of the circle into a square. Now, no one doubted that there could be a square exactly as large as a circle. In reality, of course, it is entirely possible for such a thing to exist, but it is impossible to show with mathematical constructions or with analytical methods just what the diameter of a circle would have to be to equal a particular square. This means that mathematical thinking does not suffice to prove something that is real, that is physical. There have been countless people who have worked on the solution of squaring the circle, until recent mathematicians proved that it is impossible to solve the problem in this way. Today anyone still trying to solve the problem of squaring the circle is considered not to know mathematics in this realm. Maeterlinck is equivalent to those people trying to square the circle in regard to what he is trying to prove. One can understand the spiritual world, can grasp that what is brought to light through spiritual investigation is real; one cannot prove the existence of this spiritual world, however, if one demands out of prejudice a particular kind of proof; one can prove it in this way as little as one can prove the squaring of a circle mathematically.\nOne would have to reply to Maeterlinck, therefore, that he tries to square the circle in the spiritual realm, or he would have to be shown how the concepts by which he would like to prove the existence of the spiritual world disappear when man passes through the portal of death. How is one supposed to prove the existence of the spiritual world with concepts such as those taken from the sense world? This, however, is what Maeterlinck is trying to do, and it is extraordinarily interesting that when he gives in to his healthy feeling, he has no choice but to acknowledge repeated lives on earth. It is very interesting how he expresses himself about a knowledge that he calls a belief, and I would like to read to you his own words: ‘Never was there a belief more beautiful, more just, more pure, more morally fruitful, more comforting, and in a certain sense more probable than this. With its teaching of gradual redemption and purification of all bodily and spiritual inequities, of all social injustice, all terrible’ injustices of destiny, it alone gives meaning to life. The goodness of a belief, however, is no proof of its truthfulness. Although six hundred million human beings devote themselves to this religion, although it is closest to the origins that are shrouded in darkness, although it is the only one without hatred, it should have done what the others have not done: bring us indisputable evidence. What it has given us up to now is only the first shadow of the beginning of a proof.” In other words, Maeterlinck is trying in this realm to square the circle.\nWe see especially clearly in this example how someone who can think that the benefit of spiritual science lies only in an extreme, in phenomenalism (all his writings show this), is totally unable to keep in view the significance and the real nature of spiritual scientific investigation. From such an example as Maeterlinck, we can learn a lot, namely that truth, which must be introduced into the world evolution of humanity, is really, when it first appears, in the position once characterized by Schopenhauer with the words, “In all centuries poor truth had to blush over being paradoxical.” To Maeterlinck, truth appears not just paradoxical but unbelievable, yet it is not the fault of truth. Truth cannot take on the form of the universally reigning error. Thus she looks sighing to her patron god, Time, which promises her victory and glory, but whose vast wings beat so slowly that she dies in the meantime. So it goes with the course of the spiritual evolution of humanity. It is most interesting and instructive that the best individuals today, those human beings who long to have their soul life connected with a spiritual world, are not capable of grasping the core of the actual science of the spirit. Instead, where it involves distinguishing the true path from the two possibilities for error, they stumble, because they do not dare leap over the abyss; they wish either to make use of their dependence on the ordinary world, in phenomenalism, or, if they do not do this, they seek an intensification of the sense of self in ecstasy. We cannot concern ourselves only with recognizing the character of the separate possibilities for error; we must concern ourselves with that which humanity must avoid if one is to recognize and close up the source of spiritual scientific error. From the way in which today's study has been undertaken, one conclusion can be drawn: spiritual investigation must know the sources of error. The temptation is always present in the soul to err in the direction of phenomenalism, and therefore to stand as though spiritually unconscious in relation to the spiritual world, or to err in the direction of ecstasy, which means wanting to enter the spiritual world with inadequate organs of spirit and thus receiving only isolated pieces and not related facts.\nThe path goes between the two extremes. One must know the possibilities for error. Because they can appear with every step in spiritual life one must not only know them but overcome them. The revelations of spiritual investigation are not only results of investigation but also victories over error, victory by means of a way of looking that has been gained previously, victory over the sense of self and more. He who penetrates more deeply into what we have tried to describe only sketchily today will become aware that — even if everywhere where we embark on the investigation of spiritual life the possibilities for error can lurk frighteningly — we nevertheless must conquer error again and again. He will become aware that spiritual investigation not only satisfies an indomitable yearning for that which man needs for certainty in his life but that its goal must appear, to one who regards this movement with comprehension, as attainable to a sound human sense. To conclude what today's lecture was to offer on the level of feeling, I would like to say that in spite of all obstacles, in spite of all things that can stand in a hostile way on the path of spiritual investigation, those who penetrate with a sound sense into the results of spiritual scientific. investigation feel and sense that these results penetrate — through difficult hindrances of soul, through bewildering darknesses of spirit — to a solemn clarity, to a luminous truth."
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]