Answers Provided by Anthroposophy Concerning the World and Life

GA 108 — 10 June 1908, Düsseldorf

17. Friedrich Nietzsche In the Light of Spiritual Science

Today I may begin with an experience of my own. Once I had the opportunity to visit a man in the afternoon, around two o'clock. He was lying on a daybed and at first he seemed so absorbed in his own thoughts that he didn't notice that I and another person had entered. He continues to reflect and seems to pay no attention to those around him. One can get the impression – and I ask you to put every word on the scale – that one is standing before a person who has been intensively occupied with difficult questions and problems all morning, then had lunch and is now using this time to let his soul go over what he has been working on. One can get the impression of this personality, who is covered up to his chest by a blanket, as an extremely fresh person, whose mental freshness is also expressed in the fresh color of his face. One can get the impression of a very rare human forehead, which is actually a combination of a beautiful artist's forehead and a thinker's forehead, the impression of a personality who reflects completely freshly on the great problems of humanity. This personality, who could have impressed the person who saw her in this way, had already been insane for more than three years when she offered this picture. Such moments as the one described alternated with terrible ones, but we want to hold on to this moment.

The personality was Friedrich Nietzsche, whom I had not seen before and could not see again afterward. You can appreciate that such a vision is in itself something profoundly significant from a spiritual-scientific point of view. Because the description actually contradicts the true facts, I said: One could have received this impression. One must bear in mind a peculiar phenomenon: that a contradiction arises between the inner and the outer. At that time Nietzsche no longer knew anything of his work. He did not know that he had written his writings, did not know his surroundings and much more. And yet he looked so fresh, as if imbued with a deep thought, lying on the bed, and one could have carried within oneself a strange sensation, which those who have been dealing with spiritual problems for some time will understand better, namely the sensation: How is it that this soul still hovers around this body?

A deep examination of Nietzsche's personality and his mental work can, to a certain extent, provide an answer to this question. Indeed, in Nietzsche we have a very peculiar personality before us. It will hardly be possible for anyone who somehow takes the position: either I accept or I reject – who cannot selflessly engage with what this personality was in itself. It may be that anthroposophists in particular take umbrage with my writing 'Friedrich Nietzsche, a fighter against his time'. For it is in the nature of our time that it says: Well, anyone who talks about Nietzsche like that must also be a Nietzschean. But I can say: If I had not succeeded in making this fact: to delve into a personality without considering my own experiences, then I would not speak of it today as I can and may speak of it.

There is a point of view of independent objectivity. It is as if one were the mouthpiece of the other being. In the case of Friedrich Nietzsche, this kind of consideration is also necessary for its own sake. It would probably make a strange impression on Nietzsche's personality if he could perceive today within the brain what Nietzsche's followers and opponents write. Both would then touch him in a most peculiar way. He would have a loathing for all his deeds. His words would stand before his soul: “What is the fate of all believers...; only when you have all denied me will I return to you.” And now, after we have presented the feeling that we could have received at Nietzsche's sickbed, we want to try to get an idea of Nietzsche as it appears through himself and through modern intellectual life.

Nietzsche stood at this time quite apart from many other minds. We may grasp the character of his soul best by saying that much of what was concept, representation, idea, conviction for other people became for him sensation, feeling, innermost experience. Let us call up before our minds the images of modern intellectual life over the last fifty to sixty years, which also passed before him. The materialism of the 1950s, which had adherents in almost all civilized countries, said: Nothing is real but matter and its motion. That matter takes on the form we see it in is caused by motion. In the brain, motion causes thought. We remember the time when it was said that language was a development of animal sounds. We also remember that experience and sensation were thought of as higher instincts. We remember that it was not the worst minds that formulated such thoughts. The most worthy and consistent even found a certain satisfaction in them. There was not one who would have thought: I do not see with satisfaction the rule of matter. Most said: I find the highest bliss in the thought that everything should dissolve. - Many could get intoxicated by that. We consider the fact that in this world view a system also came about, and that it reached its highest flowering through it.

And then we paint a different picture, the picture of the soul concept of such a person, who directs his gaze to the great ideals of humanity, who directs his gaze back to Buddha, Hermes, Pythagoras, Plato, who could be uplifted by the figure of Christ Jesus, the bearer of human spiritual deeds, the bearer of all that elevates the human heart. We paint for ourselves the picture of a man who could feel all this. And we realize that this man said to himself: Ah, all the Buddhas, Hermes, Pythagoras, Plato, they all only dreamed of lofty spiritual ideals, of something that could uplift them.

I am not telling you something that I have invented. I am describing the soul of many people in the 1960s. These thoughts were present in people who were overwhelmed by materialism and who considered ideals to be a mere fantasy. And a deep tragedy settled upon the souls of such people. Friedrich Nietzsche lived in such a time as a student and young professor. He educated himself in such a time. He was not related to any of the other spirits. His type was quite different from that of his contemporaries. One can understand him in spiritual scientific terms. If one takes into account that the human being consists of several bodies, then one can know that even the young Nietzsche was exceptional in the way his ether body and physical body were put together. Nietzsche had a much weaker connection between his etheric body and his physical body, so that what this personality experienced inwardly in his soul was experienced in a much more spiritual way, much more independently of the physical body, than is the case with other people.

Now it was first the student Nietzsche who was led into the world of the Greeks. For him, there were now two currents in his soul life. One we call something innate, lying in his karma. This was a deeply religious trait, that was a mood of his being, a trait that must worship something, look up to something. Religious feeling was there; and through the peculiar way in which this etheric body was connected to the physical body, what was a condition for this was present in him: an enormous receptivity for what could be read and heard between the lines of the books and between the words of the teachers, what could be felt and sensed. Thus he formed a picture of the ancient Greek world that completely filled his soul, a unique picture that lived more in feeling than in clear imagination. If we want to visualize it as it was experienced by the young Nietzsche, we have to consider him and his time.

Nietzsche had a loose connection with the materialism of his time. He could understand it, but this materialism was something that hardly touched him. Since his etheric body was only slightly connected to the physical body, the materialistic time touched him only as a floating figure is touched by the hem of the dress barely touching the ground. Only one thing was present in him as a dark feeling, the feeling of the deep dissatisfaction of such a world view. The feeling that a person who has such a world view faces the bleakness, the emptiness of life; that was what touched his soul like a faint hint. Above that arose what lived in his soul as an attitude toward Greek culture. We understand this when we learn to comprehend what lived in his soul. This image was not one in which sharp words could be chosen. We will try to present it as it can reveal itself to us through spiritual science.

The spiritual scientist looks into an ancient human development, of which history no longer knows anything. Only clairvoyance can illuminate these times, when wisdom was very different from later times, when people who were ripe for it were initiated into the mysteries and through the initiates were brought to an understanding of human development. If we want to get an idea of the lower mysteries, we have to imagine a special process. This initiation or teaching did not take place as it does today. Learning consisted of something quite different. Let us assume that the thought, which man today expresses so dryly, that spiritual beings descended into the material, but that the material ascended and developed until it became the present human being, that this thought, which is so sober, was presented in an important image at that time. One could literally see the descent of the spirit and the ascent of the material. This took place literally; and what the student saw there was wisdom to him; it was science to him, but not expressed in concepts, but tangible in intuition. There was something else as well. The picture the student saw was such that he sat before it with great, pious feelings. He received wisdom and religion at the same time. Besides, the whole picture was beautiful. It was true, genuine art. The student was surrounded by art, wisdom and religion combined into one.

It is rooted in the course of human development that what was united was separated: art, science and religion. For there could have been no progress in human development if people had kept all this united. In order for each to be perfected in the individual, what had previously been united had to be separated: science, art and religion, in order to be able to flow together at a higher level of perfection later on. What now presents itself in sharp contours, think of it as shrouded in a veil so that one merges into the other. And think that in Greek cultural life an echo of the ancient development of humanity is being lived out and only a dark inkling, a feeling of it, remains in Greek cultural life.

So you have the feeling that this was alive in young Nietzsche; that was the fundamental sound of his soul. The dullness of sensual existence is suffering; to endure it, art, science and religion are given to us. To spread salvation over this suffering is the basic mood of his soul. The image of Greek art increasingly came into his field of vision. Art became a great means for him to endure life in the sensual. And so he grew up. He was in this frame of mind when he graduated from high school. As is often the case with such natures, he was able to acquire with great ease what others can only acquire with difficulty. It was easy for Nietzsche to acquire the external tools of the philologist and thus bring order into his basic mood. Then came the time when he perfected himself more and more. Now we see how gradually an inkling of the ancient spiritual connection of the various currents of humanity dawns on him. He sensed this connection as an indefinite darkness. He sensed a higher power that ruled in the individual personalities. When he immersed himself in the real Greek way of thinking, in the thoughts of Thales, Anaxagoras and Heraclitus, a remarkable idea formed in him that distinguishes him so much from others. He himself once said: When I immerse myself in Greek philosophy, I cannot do it like others, like others do it; that is only a means for me. Now he is developing what distinguishes him so much from other thinkers. We can best make this clear to ourselves by means of an example. Let us take Thales. An ordinary scholar takes up the teachings of Thales, but for him Thales is more or less a historical example. He studies the spirit of the time in him. For Nietzsche, all the thoughts of this philosopher are only an approach, only a way to the soul of Thales himself; Thales stands before him in the flesh, vividly. He forms a friendship with him, he can associate with him, he has a purely personal relationship of friendship with him. Every figure becomes real for Nietzsche, is truly related to him. Look at what he wrote, look at that essay: “Philosophy in the Tragic Age of the Greeks,” 1872/73, and you will find it there. He is there to make friends through philosophy with those he describes. But when you enter into such intimate relationships, it means something completely different for the heart and soul than our dry science. Just think how dull a learned history is! It can only be a learned hypothesis.

Love, suffering and pain, the whole range of the soul's emotions, can only be experienced by ordinary people in relation to the people who surround us in everyday life. Everything from the deepest pain to the highest bliss, the whole gamut of feelings, could be experienced by Nietzsche in relation to the souls that arose for him from the gray depths of the mind. The beings to whom he felt drawn lived in completely different realms than his daily environment. What ordinary people feel in everyday life takes place in Nietzsche in relation to his friends, who have arisen for him out of the spiritual world. Thus, a spiritual world was available to him in which he felt suffering, joy and love. He was always somewhat floating above reality, the world of the senses. This is the great difference that distinguishes him from the other people of his time.

And now let us see how this life was shaped! Above all, we see his great ease of comprehension. He had not yet completed his doctorate when the University of Basel asked his teacher Ritschl, the great philologist, whether he could recommend a student for a professorship. He recommended Nietzsche, and when, in view of Nietzsche's youth, it was asked whether he was really suitable, Ritschl wrote: “Nietzsche will be able to do anything he wants.” So the young scholar became a professor in Basel. He was appointed doctor when he was already a professor, and without an exam, because the gentlemen before whom he was to take the exam said: “But, colleague, we can't examine you.” These things go their easy course, floating above reality, quite understandably.

Then a twofold event happens for him. He gets to know the soul content of a person who has already died and of a living person. He gets to know a soul in Schopenhauer, which he cannot contemplate like a human being whose philosophical system he looks at and admires, and whose teachings he would swear by, but he has a feeling towards him as if he would like to say to him, “Father!” And he gets to know Richard Wagner, who had remarkable experiences of the soul that touched on what Nietzsche felt when contemplating Greek culture. We need only sketch out a few lines to describe Richard Wagner. We need only recall that Richard Wagner said: There must have been a time when all the arts were united. He himself felt the great ideal of humanity to bring the arts together again as an artist, to unite them and to cast a religious, consecrating mood over them. Now we think of how something in Nietzsche came to life that conjured up in his soul that original state of humanity when the arts were still united. We think of his words: “If you want to describe the true human being, you must take into account that something higher lives in every human being. If you want to describe true humanity, you must go to the figures that reach beyond sensuality.” He was always a little suspended over the reality of the sensual world. In his search for that higher, for the figures that reach beyond sensuality, he was led to the “superman,” to the spirit-filled superman. Thus he created his pure, serene, mythical figures.

In this sense, he was led to the higher language, to music, to the language of the orchestra, which could become the expression of the soul. Let us recall what lived in Richard Wagner's soul: Shakespearean and Beethovenian figures stood before him. In Shakespeare, he saw acting figures. He saw figures whose actions take place when they have felt soul, when they have had feelings of pain and suffering and feelings of supreme bliss. In Shakespeare's dramas, according to Richard Wagner, the result of the soul experiences of the characters appears. This is a drama that seeks solely to externalize the inner life. And in Shakespeare, one can sense the experiences of the soul of the characters. Alongside this, the image of Beethoven the symphonist appeared to him. In the symphony, Wagner saw the reproduction of what lives in the soul, in the whole gamut of feelings between suffering and bliss. In the symphony, the soul's feelings are given full rein, but do not become action, do not enter the room. Once, in the conclusion of Beethoven's Ninth Symphony, this inner experience in Beethoven's music seemed to him to want to externalize itself with all its might. Wagner wants to step in at this point. He wants to continue Beethoven in a certain sense. He wants to bring about a synthesis, a unification between Shakespeare's and Beethoven's art. Something of that primeval human culture was alive in Wagner. What lived in him as an impulse must have appeared to Nietzsche as the realization of his most significant dreams.

Nietzsche had a different relationship with Schopenhauer. He read Schopenhauer with fervor. As with every school, he also had reservations about Schopenhauer. All the more was the feeling in him to call him “father.” He had a deep relationship with him. Schopenhauer was not as heavy for him as Richard Wagner. He feels the purifying, ennobling influence of Schopenhauer. Thus we see the genesis of his work “Schopenhauer as Educator.” All this arose from the feeling of saying “father” to him. One cannot imagine a picture that could create a more vivid bond between the living and the dead.

But there was something in Nietzsche's question that Schopenhauer did not answer. The question of cultural connections always came to his mind. He had intuitively grasped the original state of humanity, in which great individual spirits, the initiates, taught and led men in the mysteries. Thus he arrived at the concept of the “superman,” who, he believed, must necessarily arise out of the history of natural evolution. That is his concept of the superman, as the sentence shows: “By raising itself to the great human being, nature fulfills its highest goal, the great personality.” Thus, for him, nature and man are linked together. And now everything he experiences becomes something other than theory. It becomes a very personal emotional experience. It becomes something in which his pain, his joy, his desire for action glows. What he says is less important than that what he says points to what was glowing in his heart. And from the fading away of what he experiences in his soul, his first significant work emerges: 'The Birth of Tragedy'. There he almost falls on how Greek culture developed from ancient Greece, from the state of the united arts. And one may say: here something of the deep truth is touched upon. He knows nothing of that primeval culture which one gets to know through spiritual science. He only senses it. He believes that the first beginnings of art would have played themselves out in grotesque, paradoxical forms; that human beings would have indulged in wild, grotesque figures. And he describes it as if it had taken place in an instinctive state, whereas the art of the mysteries was the highest expression of the spiritual. As man stood in the mysteries, Nietzsche felt as if man had made himself a work of art, as if he had imitated the rhythm of the stars, the world event in dance, as if he had wanted to express the law of the world. But Nietzsche considered all this to be instinctive feeling. He did not know that the laws of the world were given to people in the purest and most noble symbolic forms by initiates in the mysteries. That is why all this has such a wild expression in Nietzsche. But it is an inkling of the actual.

But how does Nietzsche view later tragedy? He said that it was all an expression and fruit of a later time; that man had already fallen out of touch with the divine; that he no longer imitated the laws of the world in his dance; he only imitated it in pictures. He saw in it a serene image of the original, but not the original itself. Thus, already in Sophocles we have an Apollonian art that expressed the original in the static image. [Gaps in the transcript.] And through Richard Wagner, Nietzsche was led back into the old Dionysian element. You see how the conclusion of his writing “The Birth of Tragedy” is a mixture of longing, presentiment, and confusion.

But now, more and more, he was confronted with external reality. He became acquainted with what modern culture had put in the place of the old. What he had been unable to recognize in the first period of his life, what modern materialism had produced, he now became acquainted with. And from the mood that I described, that many of the noblest minds found almost a blessing in materialism, he now got to know something in his way. Now all ideals passed from his view. He once said that all these old ideals were 'put on ice' for him. Now they appeared to him as a legitimate evil, arising from human weakness. The writing of “Human, All Too Human” began.

Now comes the second period of his life. He experienced the materialistic world view in such a way that, in his own way, he had to immerse himself in it. It was his fate that he had to lock up everything he wanted to think in his soul. And just from this world view, from Darwinism, something like a release dawned on him, which in turn led him out of materialism. He looked at the development of humanity in a Darwinian way. He said to himself: Man has developed out of animality. But he also drew the consequences of this view. He had to draw them because he wanted to see clearly in relation to materialism. Because he had to live with it. So he came to the conclusion: If I look at the animal forms, I see in them the remains of an earlier culture. If I look at man, I must say that he contains as a possibility the state of perfection of the future. I may call the ape a bridge between man and animal. So what is man? A bridge between the animal and the superhuman. Thus the superhuman slumbers in man. Nietzsche felt, could not help feeling, what it means to live in such a way that what can become appears. That was the lyrical mood of his “Zarathustra”, in the Song of the Superhuman, the song that describes the future. Feeling bound him to this thought; feeling was what filled him.

And now we see how another thought is linked to this. All lyrical moods resonate in “Zarathustra”. But Nietzsche had no such points of reference as we have in Theosophy. That did not exist for him. The idea of reincarnation did not enter his field of vision, the idea that the “superman” lives in man as a higher divine self in the human body. We see the “superman” recurring, so that we see the consoling ascending line of development, not the repetition of the same. Nietzsche knew nothing of this. Yet there is a mysterious connection between what he said and our spiritual-scientific view. For Nietzsche, the idea of the eternal return of the same was now linked to the idea of the superman. The idea presented itself in a strange way and revealed itself to him in such a way that all things had already existed countless times. This thought was Nietzsche's true, very own thought. How you all think and feel, you have thought and felt countless times, and so you will think and feel countless times. This thought now combined with that of the superman. He had to feel his way into both thoughts.

Now imagine Nietzsche's organism, think of the loosening of the etheric body, which was always ready to separate from the physical body. Imagine a man who takes the thoughts he forms terribly seriously, and imagine his mood: as I am, as I feel, so will I be and feel forever. And now consider how he felt the loosening of his etheric body. He felt it in such a way that for a hundred days of the year he had the most terrible headaches. Then you can understand how this came to life in his soul: this was there countless times, it will return countless times. On the one hand, we feel comforted by the thought of the superhuman, on the other hand, we feel desolate at the thought of the eternal return of the same. And we understand moods like this: “Happy the man who still has a home!” We feel much of what is connected with the feeling of home. We feel something of the idiosyncrasy of Friedrich Nietzsche that is connected with the fate of the world view of the 19th century. He had to feel the feeling of homelessness. It is a testimony to how the world views of their time live in a deeply feeling soul, and how longing arises in it for a spiritual home.

Thus we see how it is only through Theosophy that it becomes possible to arrive at a synthesis of wisdom, art and religion, which are to be reunited into a great culture through spiritual science. Imagine the idea of the eternal return of the same developed further, so that it means reincarnation, only in this way does the thought acquire its true content, and you are filled with the hope that the union of wisdom, art and religion will arise anew. It is not the return of the same, but a constant perfecting.

We may say that a great question appears to us in Nietzsche's life, the question: How is it possible for a truly deep soul to live in the materialistic world view? In Nietzsche's soul, we have before us a soul that was unable to find the answers to the anxious questions of our culture. It lacked what we find through the anthroposophical worldview. And let us imagine another soul that has the opportunity to find these answers through anthroposophy, which gives us answers to the questions that the deepest souls must feel. Nietzsche posed these questions, but could not answer them. Longing filled him, and this longing destroyed him. He is proof that the great problems posed by the spirit must be answered by anthroposophy. The answer to longing is the remedy for Nietzsche's cry. And this remedy lies in anthroposophy. Longing was the power of Nietzsche's soul, which remained so alive that it maintained the exterior of this personality as an imprint of inner aliveness. It was as if, beyond the death of the spirit, the soul wanted to remain with the body in order to catch something of the answers that Nietzsche could not reach, that he longed for and that ultimately destroyed him. From Nietzsche's soul we can feel the necessity of anthroposophy. Let us imagine him as the great questioner, as the questioner of the questions of humanity, the answers to which determine the necessity of an anthroposophical spiritual science.