Hell is empty and all the devils are here. The Fall of the Spirits of Darkness: Lecture 1 of 14

 

Ahriman, the Spirit of Materialism

“The old world is dying, and the new world struggles to be born: now is the time of monsters.”  ― Antonio Gramsci

      

 

Hell is empty and all the devils are here.

Christ maintaining the balance between Lucifer and Ahriman

Rudolf Steiner, Dornach, Switzerland

September 29, 1917

It is a matter of deep satisfaction to me, as I think you know, to be with you again for a while, for this is the place where we are able to create a visible sign of our intentions and of the will to come closer and closer to a true knowledge of the spirit in our studies and in our work in spiritual science.

The quest for knowledge is intimately bound up with the most inward aspect of the human being, and every now and then we must therefore enquire into the essential nature of our will and intent. In the light of the present situation, woeful as it is, it seems the answer to this question must be a negative one. For more than three years we have seen something spread across the world that I need not discuss in detail, at least to begin with, for we are all aware of it and feel it deeply. The events now taking place are the opposite of our own intentions, which have come to expression in this very building.[ Note 1 ]

Again and again we must try to see clearly which stream of spiritual development we wish to see taken up by humanity, and today we have to say it is the opposite of the stream which has led to the terrible tragedy of these last years. This is something we may call to mind again and again when we give deep and full consideration to the events now raging all over the world. We may say to ourselves that it appears as if time were drawn out and had become elastic, as if the things we remember from before this madness took hold of the world happened not just years but centuries ago.

There will, of course, be many today — as there always have been — who may be said to sleep through the events of the day, people who are not fully awake to what is going on today. But when those who are awake look back on what went through their minds four or five years ago and left an impression, they will feel more or the less the way one does when one lets the mind dwell on an old book or a work of art that was created hundreds of years ago. Events which meant something to us before this madness came on the world now seem to have happened an infinitely long time ago.

Anyone who was awake — through the science of the spirit — was, of course, able to appreciate what was coming even before these events developed. Many of our friends will remember the almost routine answer I gave to questions asked over and over again after my public lectures from the beginning of this century. The question, you may remember, was: “According to the statistics, the world population is increasing; how does this relate to the idea of repeated Earth lives? The increase in population is rapid. How can one reconcile this with the spiritual scientific finding that these are always the same souls?” My answer always had to be: It does look as if the statisticians are right and the world population is increasing; but we have to take a longer view and consider much longer time-spans if we are to do justice to the question. And I would always go on to say that a time may well come, sooner than we may expect, when people discover to their horror that the population can also decrease.

It is not always possible to give plain and simple answers in anthroposophy. People have not yet reached the point where they are able to take truths in the right way, and some things can only be hinted at. Read through the lectures given in Vienna not long before this catastrophe came on our world and you will find the passage where I spoke of the social cancer that is gnawing away at the evolution of humanity. [ Note 2 ] This and other things were said in order to indicate what was going to happen in human evolution and to challenge people to reflect. For we need to reflect on these things if we are really and truly to wake up. We need to be awake and alive for the sake of humanity. If anthroposophy is to fulfill its purpose, its prime task must be to rouse people and make them really wake up. Merely knowing what is going on in the physical world, and knowing the laws that human minds are able to perceive as operative in this world, is no more than being asleep in a higher sense. Humanity is only fully awake when people are able to develop notions and ideas of the world of the spirit. This is all around us, just as air and water, the stars, the sun and the moon are all around us. When we are physically asleep we are wholly given up to the internal processes that go on in the body during the night and have no idea of anything in the physical world around us. We are asleep in exactly the same way when we are wholly given up to the physical environment, and to the world and the laws of the intellect, and have no idea of the world of the spirit that is all around us.

Humanity has made great play of its intellectual progress and scientific achievements in the last few centuries and has been particularly insistent on this at the turn of the nineteenth to the twentieth century. Yet, strangely enough, the unconscious and instinctive life was never more to the fore than it is at this time. Up to the present time this instinctive and unconscious element has increasingly taken hold of the human race. Failure to see the spiritual reality and take account of the element of the spirit is ultimately the cause of this terrible world war. Nor can it be said that through these years — years which have turned into centuries for anyone who is awake in them, as I have said — humanity has learned an adequate lesson from the terrible events around us. Sadly, it has to be said that the opposite is the case.

What is the characteristic element to be found day by day, hour by hour, when we take note of what people think, or rather pretend to think and pretend to want? It is that, fundamentally speaking, no one in the world knows what they want, and no one realizes that people's perfectly justifiable aims, whichever form they may take in the minds of individual nations, would be achieved so much better if they did away with these terrible wars in which so much blood is shed. People do not realize that these terrible events with their bloodshed are really not necessary as a means of helping them to achieve their aims.

These events have a mysterious background, but if you consider some of the things said in our anthroposophical lectures over the years, even if they have only been touched on lightly, you will find perfectly clear statements, also with reference to the most significant of recent events. Consider also what has been said in these very rooms, especially in the last few years, on the character of the Russian people and the difference between the Russians and the peoples of Western and Central Europe. [ Note 3 ] You will find that you need the things which have been said here to gain understanding of an event that appears to have come in with such vehemence. It has burst forth as though it were a karmic vengeance, the inner meaning of which is quite clear, though the word ‘vengeance’ must be taken as a technical term and not at all in a moral sense.

Not only the Russian people, but those of Europe and the whole world, will have to reflect for a long time to come on the events in Eastern Europe, events much more mysterious than we are inclined to think. Something has come to the surface which has been preparing for centuries. The new element wanting to take shape is something completely different from what is actually taking shape. Later generations will be able to use the events which will be taking shape in Eastern Europe over the next decades to demonstrate the difference between maya and reality. For you see, the generations of today are taking what is happening now for the real thing, when this is in fact still waiting in the wings, and they are wrong in taking it for real, for something quite different wants to make its appearance.

The people in the West are ill-equipped to understand what wants to come to the surface. Why are they so ill-equipped? Strange as it may seem to people today — not to you but to the ordinary, average individual; being anthroposophists, you are not ordinary, average people of today — the present age is more than any other age demanding the one thing people least want to have: understanding based on the science of the spirit. Strange as it may sound to the ordinary, average people of today — order will not be created from the chaos of the present time until a sufficiently large number of people are prepared to recognize the truths of that science. Such will be the karma of world history.

If people insist that this war is just like the wars of the past and that we'll be making peace just as peace has been made before — let them talk. They are the people who love maya and do not distinguish between truth and deception. Let them make what may seem like ‘peace’ — order will only arise from the chaos that fills the world today when insight based on the science of the spirit dawns in human minds. You may feel in your heart that it will be a long time before such order comes; you may think it will be a long time before people are prepared to let the dawn of such a science arise — and you will be right. You have to accept that it will be a long time before order arises from the chaos. For it will not come until human hearts understand the realm of the spirit. Order can only come when it is understood how this chaos has arisen.
Chaos has arisen because the reality is considered in an unspiritual way — and the world of the spirit cannot be ignored with impunity. You may think it is enough to live with thoughts and ideas that are wholly derived from the physical world. It is what people generally think today, though this does not make it true. The most completely and utterly wrong idea humanity has ever had is — to put it simply — that the spirits will put up with being ignored. You may consider it egotistical and selfish on their part, but the terminology is different in their world. Egotism or not, the spirits take their revenge if they are ignored here on Earth. This is a law, an iron necessity. One way to characterize the present time is to say that the present human chaos is the revenge of the spirits who have been ignored for too long.

I have often said, both here and elsewhere: A mysterious connection exists between human consciousness and the destructive powers of decline and fall in the universe. Each can, or indeed must, take the place of the other in the following way.

Let us assume there was a time, say during the last twenty or thirty years of the nineteenth century, when people put the same effort into their quest for the things of the spirit as they have put into achieving material knowledge and material actions during those twenty or thirty years. What would have happened if they had endeavored to recognize the world of the spirit and used this to give a character, a foundation, to the physical world, rather than follow mere instinct and chase after more and more knowledge of a kind that has seen its ultimate triumph in the creation of instruments of murder and found its be-all and end-all in people enriching themselves with nothing but material goods? What would have happened if people had sought to gain spiritual knowledge and spiritual impulses for their activities in the social sphere? It would have meant that the powers of destruction were paid off! If people had been more awake and not asleep in the last decades of the nineteenth century there would have been greater awareness and therefore no need for destruction in the first decades of the twentieth century. Spiritual awareness simply has to be greater than purely sensual and material awareness. If this had been the case during the last decades of the nineteenth century, the powers of destruction would not have had to intervene in the early decades of the twentieth century.

This is brought to realization most insistently, and perhaps most cruelly, to the perceptive mind when you meet many of the dead who have entered the world of the spirit either during the last decades of the nineteenth or the first decades of the twentieth century. Many of them have been caught up in the hustle and bustle and search for material values here on Earth and never had the opportunity to let spiritual impulses arouse awareness. Many have gone through the gate of death without even a notion of the thoughts and ideas that point to spiritual impulses. If they had had the opportunity to take in spiritual thoughts and ideas before they went through the gate of death they could have taken these with them. It would have been something they needed after death, but they were not in a position to have it.

Anyone who knows the history of ideas of the last decades of the nineteenth and the first decades of the twentieth century also knows that people actually no longer knew how to use the term ‘spirit’. It has been used to describe all kinds of things, but not the true spirit. Those souls therefore had no opportunity of knowing the spirit whilst here on Earth and they have to take the consequences. Having gone through the gate of death and entered the world of the spirit, they are thirsting for — well, what are they thirsting for, these souls who lived in materialism here? They are thirsting for destructive powers in the physical world! Those are the dues and they must be paid.

There is no easy way of dealing with these things. If we want to know the realities in this sphere, we must acquire a feeling for what the ancient Egyptians called ‘iron necessity’. Terrible as it may be, it was necessary that destruction should spread, for those who had gone through the gate of death were longing for the destructive powers in which they are able to live, seeing they did not receive what was due to them and had been deprived of spiritual impulses while on Earth.

Order cannot arise from the chaos until people are ready to give room to such grave truths in their souls and also let these truths enter into the ideas that apply in the world of politics today. And if these truths sound pessimistic to you and make you think that humanity is still a long way from achieving all that is demanded, as I have indicated, you are indeed right. But let this justifiable pessimism become a challenge to be awake and to try, whatever your place in life may be, to awaken souls so that the science of the spirit can send out its impulses. It cannot yet be done to any great extent, but we must have the real, honest desire to make people consciously aware in such a way that they are able to understand this concrete fact: Longings have arisen in the dead in recent times, and those longings are being met with events which are truly horrifying for those of us who are alive here on the physical plane.

Just think how easy it is for some people to present their friends with an image of the region into which human beings enter when they have gone through the gate of death. Consider the unctuous sermons preached in the churches — with politicians now actually following the example of these sermonizers — and the facile notions people have of the world of the spirit, and you simply cannot help realizing how far removed from reality is the facile vanity of many of today's leading figures. Compare the speeches of such leading figures — their lives show that they do anything but lead and that they are guided by all kinds of forces of which they are completely unconscious and which are not the right forces — compare this with what is really needed at the present time, and you will realize the immense gravity of the present situation.

Right next to our physical world lies another, non-physical or spiritual world, and this has never before influenced our world as intensely as it is doing at the present time. People are not aware of this, however; they do not even notice when things get heart-stoppingly fearsome and terrible. Intensely illuminating words are heard in the world today; they should set vast numbers of people thinking. But people never notice, or at least they do not show it if they do.

Some of you will remember that on a number of occasions in the last three years [ Note 4 ] I have said that when the history of this ‘world war’ will be written in the future — unfortunately present-day critics have not done so, though it could be done fairly easily — it will be impossible to use the method which has produced the legend, the fairy-tale, or call it what you will, which currently goes by the name of ‘history’. This was produced by ‘scholars’ — as the world calls them — sitting in libraries for months, years, and decades and studying diplomatic records in order to write their histories. Inevitably a time will come when most of these histories will have to be pulped. In fact, no one will be able to write the history of these last years by such a method unless they are literally off their heads.

The causes of the chaos will not be apparent to the people who have been writing histories until now, but only to people who have a real feeling for what it means when a miserable individual of our time has to face a court and is forced to sum up the condition he was in at the time by flinging down before the world the lamentable statement: ‘First one thing happened, then another, and that was the moment when I went out of my mind!’ It was Suchomlinov who spoke these pitiful words. [ Note 5 ]

Many people had gone out of their minds at that time, not only Suchomlinov. What kind of moments are these in world events when the only way of describing them is by confessing that one has gone out of one's mind? They are moments when Ahriman and his cohorts gain access to the human race and to human thoughts. For as long as people watch over their conscious minds and their consciousness is not in any way clouded or inactive, neither Ahriman nor Lucifer have access to it. But when it is not fully active and one needs to use the phrase ‘I have gone out of my mind’, that is the moment when Ahriman and his cohorts enter the stage. The things that happen then will not appear in diplomatic records — little of what it says in those records in recent decades makes real sense, by the way. Leaving this aside, the things that have happened in our time and have led to chaos are not merely human actions, but above all the actions of ahrimanic spirits seeking to gain access by reducing human awareness. Some of you know very well that soon after the present catastrophe broke on the world I pointed out that when we speak of the origins of this catastrophe in time to come, we must not do so on the basis of written records; instead we shall have to point to real facts through which ahrimanic spirits gained access to the stage of human events.

These things must be taken in all seriousness; they have to be seen as concrete realities and not merely as abstract formulations. People who do not know anything about it may well laugh when one says that Ahriman gained access to human evolution. They may well laugh at people who say this, but the day will come when world history laughs them to scorn for having laughed at others today.

We certainly cannot say that the judgments, ideas, and notions to be found on the surface in recent years show any degree of maturity. People even failed to understand when eighteen months ago it was pointed out somewhere that something might soon happen of which due note should be taken; it should not be taken lightly. Concrete examples given as an indication of what was likely to happen were never taken in the right way; people were not sufficiently awake in their minds to do so. Now the event has come. And people fail to realize that something is taking root deeply in a certain soil. People are taking it as something which — well, because a certain number of statements take up so many lines, people accept they have a number of statements made in that particular number of lines. They are not at all interested in looking for the roots of such statements, but simply take things at their face value.

I think you know what I mean. You know I am referring to the Papal Note [ Note 6 ] as something I had seen coming for eighteen months. I have looked around a great deal to see if I might not find someone who has expressed their views on this Note, or asked the kind of question that should have come to mind.

Let us remember that the idea of the state as we know it today has been dawning since the sixteenth century. In some parts of the world peculiar people known as ‘historians’ are speaking of states as something which have existed for I do not know how long. But they know little about real history. The present-day idea of a state is no more than four or five hundred years old, and something entirely different existed in earlier times. It is important to know this and be really clear about it. The priestly element, which is to be found in Rome, is indeed older than our modern states. It had its justification in its own day, when it brought about many things in the world. I have tried to find out if people are asking themselves the question: What does it really mean that the modern structures which have developed over four or five centuries cannot find a way of achieving order out of their own resources, and look back to the old priestly element as something to be discussed in the way people generally discuss things today?

It would interest me to know if anyone faced with the question as to whether it is a good idea to skate on ice when it is only one millimeter thick would actually answer in the affirmative. Relative to what we are really dealing with, the concepts on which people base their opinions when a priestly element brings impulses into modern life today are like a one-millimeter layer of ice covering the water. The things people write and say today are like someone skating on ice that is not more than one millimeter in thickness. No one is trying to understand what is happening, no one is prepared to see that what matters is not to take a document and look at the statements it contains, but to know that a statement can mean something totally different, depending on the source from which it comes.

Everywhere today we are faced with the need to warn people in all seriousness to look to the origins, to see how things are related, to look for realities and not to the way things look on the surface. Surely it cannot be that difficult for anyone to admit: I see the way things are, but I do not yet understand them and therefore I will not say anything to interfere. Considering the incredibly superficial level of education, it is not at all surprising when people are able to understand and have an opinion on everything. People find it really difficult to admit that they cannot judge an issue and need to get a basis for their judgment before they give an opinion. In fact, it hardly ever comes to their minds that one has to have a basis on which to form an opinion.

Infinitely much depends on real insight into the driving forces, especially for the immediate future. It has to be realized that the chaos will certainly not be reduced if — speaking hypothetically — the churches were to succeed in establishing even the initial stages of apparent order. The worst error we can fall into would be to say: It does not matter where peace comes from, even if it is from the Pope. The point is, it may actually cause no harm at all to have peace initiated by the Pope; the question is how those who are involved see the issue.

Again and again we need to be really clear in our minds that the present time is literally challenging us every hour, indeed every minute, to wake up. Anthroposophy as a science of the spirit can only be understood by those who are able to grasp that humanity is being asked to make a clear decision. Either the spirit is understood or the chaos continues. A papered-over chaos would be no better than the carnage we have today. If we are unable to come up with anything better than materialism and again materialism, even a heightened materialism, in the next few years, and if it were to happen that the events of the last three years, to which humanity has failed to wake up and take notice, were to lead to a new rush for material goods — many people are longing for this as something that comes with peace — then souls would once again go through the gate of death and thirst for destruction here on Earth. There would be no end to the destruction.

All it needs is to get an idea, a feeling, an inner impulse for the need to turn to the things of the spirit! Then we shall progress, depending on the extent to which this is achieved. Anyone who wants to gain a little understanding of the present position, and looks at our time in the light of the serious truths we have been considering, must develop a reasonable degree of feeling for all the terrible, hopelessly commonplace and superficial things that are now being written and said in this world.

Imagine a band of children smashing up all the pots and plates, glasses, and everything in the house. The adults who see this happening are considering how to stop it, for the children keep running to the larder and all over the house to find more things to smash. Finally the adults have an idea as to how they can stop it. A number of people who are watching, people who actually consider themselves to be the teachers of these children, find a solution: They take care that everything breakable is collected and smashed to pieces — and that, they think, should put an end to it all! I do not know how many people would not consider those teachers to be fools. This is the kind of situation where people would see the truth. Yet there are people who consider themselves to be wise and who say to the whole world: Carnage must continue until peace comes; everything has to be broken, so there will be nothing left to smash in the world. This is considered wisdom. Go on murdering people for as long as you can and you will stop the murder. This is wisdom!

For anyone who has even a spark of logic it is no longer wisdom when the teacher says to a band of children: To make sure nothing else gets smashed up, I will quickly get people to collect all other breakable objects and smash them; I reckon nothing else will get smashed after that. Why do people call this foolishness and the other thing political foresight? Because people's thinking stops at the very point where it should be most intense, which is where their thoughts relate to great questions of destiny.

We shall continue with this tomorrow, and consider some serious spiritual truths.

Related post:

Beetlejuice; or, Thank God reality is nondual, or this'd just suck

Source: The Rudolf Steiner Archive

http://wn.rsarchive.org/Lectures/Dates/19170929p01.html

Visions of Sugar Plum Fairies

 

This Is Just To Say

BY WILLIAM CARLOS WILLIAMS

I have eaten

the plums

that were in

the icebox

and which

you were probably

saving

for breakfast

Forgive me

they were delicious

so sweet

and so cold

Continued:

The Dance of the Sugar Plum Fairies

Beatings will continue until consciousness improves

 

Rudolf Steiner:

Yes, gentlemen, if things continue like this on earth, then all thinking will become a chaos. All horrors and catastrophes would occur. Even now people no longer know what they should actually do. Therefore, they approach something with all their might and say: Yes, our reason no longer holds us together, so nationality must hold us together. These nation states arise only because people no longer know how to hold together. And that, gentlemen, that one no longer knows anything about the spiritual world, that is what has actually caused the immense misery – the other is the external appearance – that has caused the immense misery. And to say: People deserve this because they did bad things in their previous life – that is nonsense, of course, because that is not the fate of each individual, but it is the common fate of each individual. But everyone experiences it in this life. Just think of how much misery people experience in their present life. It does not come from a past life. But in the next life, they will suffer the consequences of the misery they experience now. The result of this will be that they will become wiser and that the spiritual world can enter them more easily. So the present misery is already an education for the future.

But something else can be concluded from this. Imagine that anthroposophy had already begun in 1900 and had really become very well known. But people opposed it and did not want to hear about the spiritual world. Now, gentlemen, if you had a schoolboy in the old days who didn't want to learn anything – now they have changed their minds about that; I won't say whether it's right or wrong – then you gave him a good thrashing! Some of them then started to learn after all. It helped some of them. Yes, people didn't want to learn anything spiritual until 1914. Now they have been beaten by the fate of the world, by their common destiny. Now we will see if they help.

Yes, that is indeed the case, gentlemen, you have to see this as a common human destiny! Because what has happened? You see, the girl I told you about was thinking with her mother's thoughts. People have gradually completely given up thinking for themselves and only think with the thoughts of those they have as authorities. People must start again, every single one of them, to think for themselves, otherwise they will, especially if they know nothing of the spiritual world, be continually influenced by it, but in a bad sense. And then one can say: One can really see that what has come over humanity as misery is, I would say, a beating of fate, and one can still learn from it. No matter how many congresses are held, none of it helps. The people who want to support the mark with today's intellect will cause it to fall by half, because this intellect, which is completely of the earth, is of no use, absolutely no use. When a body does not have enough fluid in it, it becomes sclerotic, calcified. And when the soul knows nothing of the spiritual world, then in the end it gets the mind, which is no longer useful. And humanity is heading for this fate if it does not continually receive nourishment from the spiritual world.

Therefore, the only real remedy is that people begin to take an interest in the spiritual world. 

Source: The Rudolf Steiner Archive June 16, 1923

 

How we learn

 

Rudolf Steiner:  "All learning really consists in bringing up into our astral body something which we already have in our ether body."

Continued:

Beatings will continue until consciousness improves

Related post: Catching Fire

Source: June 16, 1923 From Mammoths to Mediums, p. 100

"True art is an expression of our human search for a relationship with the spiritual"

 

The Arts and Their Mission

Lecture 3

A lecture given by Rudolf Steiner on June 2, 1923

Yesterday I tried to show how the anthroposophical world-conception stresses, more intensively than is possible under the influence of materialism, the artistic element; and how Anthroposophy feels about architecture, about the art of costuming (though this may call forth smiles), and about sculpture as dealing artistically with the form of man himself, whose head, in a certain sense, points to the whole human being.

Let us review the most important aspects of this threefold artistic perception of the world. In architectural forms we see what the human soul expects when it leaves the physical body at death or otherwise. During earth life the soul is (so I said) accustomed to enter into spatial relations with its environment through the physical body, and to experience spatial forms. But these are only outer forms. When at death the human soul leaves the physical world, it tries, as it were, to impress its own form on space; looks for the lines, planes and forms which can enable it to grow out of space and into the spiritual world. These are the forms of architecture insofar as they are artistic. Thus, if we would understand architecture's artistic element we must consider the soul's space-needs after it has left the three-dimensional body and three-dimensional world.

The artistic element in costuming represents something else; and I have described the joy of primitive people in their garments, and their sense — on dipping down into the physical body — of finding in it a sheath which did not harmonize with what they had experienced during their sojourn in the spiritual world; and how out of this deprivation there arose an instinctive longing to create clothes which in color and pattern corresponded to their memory of pre-earthly existence. The costumes of primitive peoples represent what might be called an unskillful copying of the astral nature of man as it existed before he entered earthly life.

Thus a contrast. Whereas architecture shows the human soul's striving on its departure from the body, the art of costuming shows the human soul's striving after descent into the physical world.

Which brings us to a consideration of sculpture.

If we feel, intimately, the significance of the formation of man's head (my last point yesterday) as a metamorphosis of his entire body formation minus head, during his previous incarnation; if we see it as the work of the higher hierarchies on the force relationship of a previous life, then we understand the head, especially its upper part. If, on the other hand, we see correctly the middle of man's head, his nose and lower eyes, then we understand how this part is adapted to his chest formation, for the nose is connected with the chest's breathing. And if we see correctly the lower head, mouth and chin, then we understand that, even in the head, there is a part adapted to the purely earthly. In this way we can understand the whole human form. Furthermore, the super-sensible human being manifests himself directly in the arching of the upper skull, and the protrusion or recession of the lower skull, the facial parts. For an intimate connection exists between the vaulting of the head and the heavens; also an inner connection between the middle of the face and everything circling the earth as air and ether; also between mouth and chin and man's limb and metabolic system, the last an indication of how man is fettered to earth. In this way we can understand the whole human form as an imprint of the spiritual on the immediate present; which means seeing man artistically.

To sum up: in sculpture we behold, spiritually, the human being as he is placed into the present; in architecture we behold something connected with his departure from the body; and in the art of costuming something connected with his entrance into that body. Which means a sharp contrast: whereas architecture begins with the erection of tombs, sculpture shows how man, through his earthly form's direct participation in the spiritual, constantly overcomes the earthly-naturalistic element, how, in every detail of his form and in its entirety, he is an expression of the spiritual.

Thus we have considered those arts which are concerned with spatial forms and which illustrate the different ways in which the human soul is related to the world through the physical body.

If we approach a step nearer the spaceless, we pass from sculpture to painting, an art experienced in the right way only if we take into full account its special medium.

Today, in the fifth post-Atlantean age, painting has assumed a character leading to naturalism. Its prime manifestation is the loss of a deeper understanding for color. The intelligence employed in contemporary painting is a falsified sculptural one. Painters see even human beings this way. The cause is space-perspective, an aspect of painting developed only after the fifth post-Atlantean period. Painters express through lines the fact that something lies in the background, something in the foreground; their purpose being to conjure up on canvas an impression of spatially formed objects. But in doing so they deny the first and foremost attribute of their special medium. A true painter does not create in space, but on the plane, in color, and it is nonsense for him to strive for the spatial.

Please, do not believe me so fantastic as to object to a feeling for space; in the evolution of mankind the development of spatial perspective on the plane was a necessity; that fact is self-evident. But it must now be overcome. This does not mean that in the future painters should be blind to spatial perspective, only that, while understanding it, they should return to color-perspective, employ color-perspective.

To accomplish this we must go beyond theoretic comprehension; the artistic impulse does not spring from theory; it requires something more forceful, something elemental. Fortunately it can be provided. For that purpose I suggest that you look again at some words of mine about the world of color as reported excellently by Albert Steffen in the weekly Das Goetheanum. (The report reads better than the original lectures.) This is the first aspect.

I shall now deal with the second problem.

In nature we see objects which can be counted, weighed and measured; in short, objects dealt with in physics. They appear in various colors. Color, however — this should have become perfectly clear to anthroposophists — color is something spiritual. Now we do see colors in certain natural entities which are not spiritual; that is, in minerals. Recent physicists have made matters easier for themselves by saying that colors cannot inhere in dead substances because colors are mental; they exist within the mind only; outside, material atoms vibrating in dead matter affect eye, nerve, and something else undetermined; as a result of which colors arise in the soul.

This explanation shows physicists at a loss in regard to the problem of color. To throw light on it, let us consider from a certain aspect the colorful dead mineral world.

As pointed out, we do see colors in purely physical things which can be counted, measured, weighed on scales. But what is perceived in physics does not give us colors. We may employ number, measure and weight to our heart's content: we will not arrive at color. That is why physicists say that colors exist only in the mind.

I would like to explain by way of an image. Picture to yourselves that I hold in my left hand a red sheet, in my right a green one, and that with these colored sheets I carry out certain movements. First I cover the red with the green, then the green with the red, making these motions alternately; and in order to give them more character do something additional: move the green upward, the red downard. Say I have today carried out this maneuvre. Now let three weeks pass, at which time I bring before you not a green and red sheet, but two white sheets, and repeat the movements. You immediately remember that, contrary to my present use of white sheets, three weeks ago I produced certain visual impressions with a red and a green sheet. For politeness' sake let us assume that all of you have such a vivid imagination that, in spite of my moving white sheets, you see before you, through recollecting phantasy, the colored phenomenon of three weeks ago, forget all about the white sheets and, because I carry out the same motions, see the same color harmonies called forth, three weeks ago, with the red and green. Because I carry out the same gestures, by association you see what you saw three weeks ago.

The case is similar when we see in nature, for instance, a green precious stone. Only, the jewel is not dependent on this moment's soul-phantasy; it appeals to a phantasy concentrated in our eye, for this human eye with its blood and nerve fibers is in truth constructed by phantasy; it is the result of an effective imagination. And inasmuch as our eye is an organ imbued with phantasy, we cannot perceive a green gem in any other way than that in which, in the immeasurably distant past, it was spiritually constructed out of the green color of the spiritual world. The moment we confront a green precious stone, we transport our eye back into ages long past, and green appears because at that time divine-spiritual beings created this substance through a purely spiritual green. The moment we see green, red, blue, yellow, or any other color in a precious stone, we look back into an infinitely distant past. For (to repeat for emphasis) in beholding colors, we do not merely perceive what is contemporary, we look back into distant time-perspectives. Thus it is quite impossible to see a colored jewel merely in the present, just as it is impossible, while standing at the foot of a mountain, to see in close proximity the ruin at its top; being removed from it, we have to see it in perspective.

In confronting a topaz, say, we look back into time-perspective; look back upon the primal foundation of earthly creation, before the Lemurian epoch of evolution, and see this precious stone created out of the spiritual; that is why it appears yellow. Physics (I have characterized a recent stand) does something absurd. It places behind the world swirling atoms which are supposed to produce colors within us, when all the time it is divine-spiritual beings, creative in the infinitely distant past, who call forth, through colored minerals, a living memory of primeval acts of creativity.

And we can press on to the plant world.

Every spring, when a green carpet of plants is spread over the earth, whoever is able to understand this emergence of greenness sees not merely the present, but also the ancient Sun existence when the plant world was created out of the spiritual, in greenness. We see both mineral and plant colors in the right way when they stimulate us to see in nature the gods' primeval creative activity.

This requires an artistic living with color, which involves experiencing the plane as such. If someone covers the plane with blue, we should sense a retreat, a drawing back; if with red or yellow, we should feel an approach, a pressing forward. In other words, we acquire color-perspective instead of linear perspective: a sense for the plane, for the withdrawal and surging forward of color. In painting, the linear perspective which tries to create an impression of something essentially sculptural upon the plane falsifies; what must be acquired is a sense for the movement of color: intensive rather than extensive. Thus, if a true painter wishes to depict something aggressive, something eager to jump forward, he uses yellow-red; if something quiet, something retreating into the distance, blue-violet. Intensive color-perspective! A study of the old masters reveals that some early Renaissance painters still had what belonged to all pre-Renaissance painters: a feeling for color-perspective. Only with the advent of the fifth post-Atlantean period did linear perspective displace color-perspective.

It is through color-perspective that painting gains a relationship to the spiritual. Strange that today painters chiefly ask themselves: Can we by rendering space more spatial transcend space? Then they try to depict, in a materialistic manner, a fourth dimension. But the fourth dimension can exist only through annihilation of the third, somewhat as debts annihilate wealth. For we do not, on leaving three-dimensional space, enter a four-dimensional space; or, better said, we enter a four-dimensional space which is two-dimensional, because the fourth dimension annihilates the third; only two remain as reality. If we rise from matter's three dimensions to the etheric element, we find everything oriented two-dimensionally, and can understand the etheric only if we conceive of it so. Now you may demur: Yes, but in the etheric I move from here to there, which is to say three-dimensionally. Very well, but the third dimension has no significance for the etheric, only the other two dimensions. The third dimension expresses itself through red, yellow, blue, violet, in the way explained; for in the etheric it is not the third dimension which changes, but color. Regardless of where the plane is placed, the colors change accordingly. Only then can we live with and in color; live two-dimensionally; rise from the spatial arts to those which, like painting, are two-dimensional. We overcome the merely spatial. Our feelings have no relation to the three space-dimensions; only our will. By their very nature, feelings are bound within two dimensions. That is why they are best represented by two-dimensional painting.

You see, we have to struggle free from three-dimensional matter if we would advance from architecture, costuming as an art, and sculpture. Painting is an art which man can experience inwardly. Whether he creates as a painter or just lives in and enjoys a painting, it is a soul event. He experiences inner by outer; experiences color-perspective. We cannot say, as in the case of architecture, that the soul is striving to create the forms it needs when it gazes back into the body; nor, as in the case of sculpture, that the soul is trying to depict man's shape in such a way that it is placed into space full of present meaning. None of this concerns painting. It makes no sense in painting to speak of anything as inside or outside; of the soul as inside or outside. In experiencing color the soul is within the spiritual. Really, what is experienced in painting — despite the imperfections of pigments — is the soul's free moving about in the cosmos.

With music it is different. Now we do not merge inner with outer, but enter directly into that which the soul experiences as the spiritual or psycho-spiritual; leave space entirely. Music is line-like, one-dimensional; is experienced one-dimensionally in the line of time. In music man experiences the world as his own. Now the soul does not assert something it needs upon descending into or leaving the physical; rather it experiences something which lives and vibrates here and now, on earth, in its own soul-spirit nature. Studying the secrets of music, we can discover what the Greeks, who knew a great deal about these matters, meant by the lyre of Apollo. What is experienced musically is really man's hidden adaptation to the inner harmonic-melodic relationships of cosmic existence out of which he was shaped. His nerve fibers, ramifications of the spinal cord, are marvelous musical strings with a metamorphosed activity. The spinal cord culminating in the brain, and distributing its nerve fibers throughout the body, is the lyre of Apollo. Upon these nerve fibers the soul-spirit man is “played” within the earthly sphere. Thus man himself is the world's most perfect instrument; and he can experience artistically the tones of an external musical instrument to the degree that he feels this connection between the sounding of strings of a new instrument, for example, and his own coursing blood and nerve fibers. In other words, man, as nerve man, is inwardly built up of music, and feels it artistically to the degree that he feels its harmonization with the mystery of his own musical structure.

Thus, in devoting himself to the musical, man appeals to his earth-dwelling soul-spirit nature. The discovery by anthroposophical vision of the mysteries of this nature will have a fructifying effect, not just on theory, but upon actual musical creation.

In discussing the various arts I have not been theorizing. It is not theorizing when I say: In beholding the lifeless material world in color we stir cosmic memory: and through anthroposophical vision learn to understand how in precious stones, in colored objects of all kinds, we call to mind the creative acts of the primordially active gods; and feel, therefore, the enthusiasm which only an experience of the spiritual kindles. This is no theorizing; this permeates the soul with inner force. Nor does any theory of art emerge therefrom. Only artistic creation and enjoyment are stimulated. For true art is an expression of man's search for a relationship with the spiritual, whether the spiritual longed for when his soul leaves the body, or the spiritual which he desires to remember when he dips down into a body, or the spiritual to which he feels more related than to his natural surroundings, or the spiritual as manifested in colors when outside and inside lose their separateness and the soul moves through the cosmos, freely, swimming and hovering, as it were, experiencing its own cosmic life, existing everywhere; or (our last consideration) the spiritual as expressed in earth life, in the relationship between man's soul-spirit and the cosmic, in music.

Which summary brings us to the world of poetry and drama.

Often in the past I have called attention to the way poetry was felt in ancient times when man still had a living relationship to the spirit-soul world, when poetry, including poetic dramas, by reason of that fact, was artistic through and through. Yesterday I pointed out that in artistic ages it would not have been considered sensible for playwrights to copy on the stage the way Smith and Jones move in the market place of Gotham or at home, inasmuch as their movements and conversation, there, are much richer than in any stage representation; that it would have seemed absurd, for instance, to the Greeks of the classical age; they never could have understood naturalism's strange attempt to imitate nature right down to “realistic” stage sets. Just as it would not be true painting if we tried to project color into three-dimensional space instead of honoring its own dynamics, so it is not stage art if we have no artistic feeling for its own particular medium. Actually a thorough-going naturalism would preclude a stage room with three walls and an audience in front of it. There are no such rooms; in winter we would freeze to death in them. To act entirely naturalistically one would have to close the stage with a fourth wall and play behind it. But how many people would buy tickets to a play enacted on a stage closed on four sides? Though speaking in extremes, I refer to a reality.

Diagram 3

Now I must draw your attention again to the way Homer begins his Iliad: “Sing, O Goddess, of the wrath of Achilles, Son of Peleus.” This is no mere phrase. Homer experienced in a positive way the need to raise himself up to the level of a super-earthly divine-spiritual being who would make use of his body in artistic creation. Epic poetry points to the upper gods, those considered female because they transmitted fructifying forces: the Muses. Homer had to offer himself up to these upper gods in order to bring to expression, in the events of his great poem, the thought element of the cosmos. Epic poetry always means letting the upper gods speak; means putting one's person at their disposal. Homer begins his Odyssey this way: “Tell me, oh Muse, of that ingenious hero who wandered afar,” meaning Odysseus. Never would it have occurred to him to impose upon the people something which he himself had seen or thought out. Why do what everybody can do for himself? Homer put his organism at the disposal of the upper divine-spiritual beings that they might express through him how they perceived earthly human relationships. Out of such a collaboration arises epic poetry.

And the art of the drama? It originated — we need only to think of the period prior to Aeschylus — from a presentation of the god Dionysus working up out of the depths. At first it was Dionysus alone, then Dionysus and his helpers, a chorus grouped around him as a reflection of what is carried out, not by human beings, but by the subterranean gods, gods of will, making use of human beings to bring to manifestation not the human but divine will. Only gradually, in Greece, as man's connection with the spiritual fell into oblivion, did the divine action depicted on the stage turn into purely human action. The process took place between the time of Aeschylus, when divine impulses still penetrated human beings, and the time of Euripides, when men appeared on the stage as men, though still bearing super-earthly impulses. Real naturalism became possible only in modern times.

In poetry and drama man must find his way back to the spiritual.

Thus we may say in summary: Epic poetry turns to the upper gods, drama to the lower gods. True drama shows the divine world lying below the earth, the chthonic world, rising up onto the earth for the reason that man can make himself into an instrument for the action of this netherworld. In contrast, epic poetry sees the upper spiritual world sink down; the Muse descends and, making use of man through his head, proclaims man's earthly accomplishments or else those out in the universe. In drama the subterranean will of the gods rises up from the depths, making use of human bodies in order to give free rein to their wills.

Diagram 4

One might say: Here we have the fields of earthly existence: out of the clouds descends the divine Muse of epic art; out of earthly depths there rise, like vapor and smoke, the Dionysian, chthonic divine-spiritual powers, working their way upward through men's wills. We have to penetrate earth regions to see how the dramatic element rises like a volcano, and the epic element sinks down from above, like a blessing of rain. And it is right here on this same plane with ourselves that the cosmic element is enticed and made gay, joyous, full of laughter, through nymphs and fire spirits; right here that the messengers of the upper gods cooperate with the lower: right here in the middle region that man becomes lyrical. Now man does not feel the dramatic element rising up from below, nor the epic element sinking down from above; he experiences the lyrical element living on the same plane as himself: a delicate, sensitive, spiritual element, which does not rain down upon forests nor erupt like volcanoes, splitting trees, but, rather, rustles in leaves, expresses joy through blossoms, wafts gently in wind. In whatever on our own plane lets us divine the spiritual in matter, stretching hearts, pleasantly stimulating breath, merging our souls with outer nature, as symbol of the soul-spiritual world — in all this there lives and weaves a lyrical element which looks up, with happy countenance, to the upper gods, and down, with saddened countenance, to the gods of the underworld. The lyrical can tense up into the dramatic-lyrical or quiet itself down into the epic-lyrical. For the hallmark of the lyrical, whatever its form, is this: man experiences what lives and weaves in the far reaches of the earth with his middle nature, his feeling nature.

You see, if we really enter the spirituality of world phenomena, we gradually transform dead abstract concepts into a living, colorful, form-bearing weaving and being. Because what surrounds us lives in the artistic, mere intellectual activity can, almost unnoticed, be transformed into artistic activity. That is why we constantly feel a need to enliven impertinently abstract conceptual definitions — physical body, ether body, astral body, all such concepts, these impertinently rigid, philistine and horribly scientific formulations — into artistic color and form. This is an inner, not merely outer, need of Anthroposophy.

Therefore the hope may be expressed that all mankind will extricate itself from naturalism, drowned as it is in philistinism and pedantry through everything abstract, theoretical, merely scientific, practical without being really practical. Man needs a new impetus. Without this impulse, this swing, Anthroposophy cannot thrive. In an inartistic atmosphere it goes short of breath; only in an artistic element can it breathe freely. Rightly understood, it will lead over to the genuinely artistic without losing any of its cognitional character.




Source: The Rudolf Steiner Archive  

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