# The Kalevala

## GA 158 — 9 April 1914, Helsinki

### The Essence of National Epics

Above all, I must ask for your forgiveness if I am unable to give the lecture I am supposed to give in one of the local languages. The fact that this lecture is being held corresponds to the wish of the friends of our Theosophical Society, for whom I was invited here, to hold a series of lectures for a fortnight, and who thought that there was a possibility of also inserting the two announced public lectures within this time. Of course, this means that I will have to apologize in advance if some of the names and terms, which are borrowed from the national epic of the Finns, are not pronounced quite correctly by me, as I am not familiar with the language. However, only next Friday's lecture will be able to introduce us to spiritual science itself. Tonight's lecture will rather concern a kind of neighboring area that can be illuminated from a spiritual scientific point of view. However, the talk will be about an area that, in the very deepest sense of the word, is one of the most interesting for human historical reflection and human historical thought.

Folk epics! We need only think of some of the better-known folk epics, the epics of Homer, which have become Greek folk epics, the Central European Nibelungen saga and, finally, Kalewala, and it will immediately become clear to us that these folk epics lead us deeper into human souls and human than through any historical research, so that important ancient times are brought to life and presented to our souls as if they were present, but in such a way that they touch us in the here and now like the fates and lives of people living around us. How uncertain and hazy are the historical times of the ancient Greek people, as told to us by the Homeric epics. And how do we look into the souls of those people when we let the content of the Iliad and the Odyssey take effect on us, people who have actually been completely removed from the usual view of history? No wonder that the study of folk epics holds something of a mystery for those who study them scientifically or literarily. We need only point out one fact about the ancient Greek epics that a spirited observer of the Iliad repeatedly expressed in a very beautiful book about Homer's Iliad that was only published a few years ago. I am referring to Herman Grimm, the nephew of the great Germanic myth, saga, and language researcher Jakob Grimm. By letting the figures and facts of the Iliad take effect on him, Herman Grimm felt compelled to say again and again: Oh, this Homer – we do not need to go into the question of the personality of Homer today – seems, when he describes something that is borrowed from a craft or an art, as if he were a specialist in this craft or art. When he describes a battle, a fight, he seems to be completely familiar with all the strategic and military principles that come into play in warfare. — Herman Grimm is right to point out that a strict judge in such matters was an admirer of Homer's factual depiction of battles, namely Napoleon, a man who was undoubtedly entitled to pass judgment on whether or not the military is directly and vividly presented to our minds in the spirit of Homer. From a general human point of view, we know how vividly Homer presents the figures to our minds, as if we had them directly before our physical eyes.

What about a national epic like this, how does it prove itself over time? For truly, anyone who observes the circumstances impartially will not get the impression that artificial arrangements of humanity, such as an artificial pedagogical discipline, have repeatedly held the interest of the centuries in the Iliad and Odyssey down to our days. This interest is a matter of course, it is a general human interest. But in a certain sense these folk epics give us a task, and if we want to study them, they immediately present us with a very specific, one might say interesting, task. They want to be taken very seriously in all their details. We immediately feel that something about the content of such folk epics will remain incomprehensible to us if we want to read them in the same way that we read a modern work of art, a modern novel or the like. We feel right from the first lines of the Iliad that Homer is speaking precisely. What is he describing? He tells us at the beginning. We know from other accounts, which are not contained in the Iliad, about events that follow on from the facts of the Iliad. Homer wants to describe only what he says succinctly in the first line: the wrath of Achilles. And if we now go through the entire Iliad and look at it impartially, we have to say: there is nothing in it that cannot be characterized as fact, that follows from the wrath of Achilles. - And further, a peculiar fact right at the beginning of the Iliad. Homer does not begin with the facts, nor with some personal opinion, but with something that modern times might be tempted to take as a mere phrase: “Sing to me, O Muse, of the wrath of Achilles!” And the deeper we penetrate into this national epic, the clearer it becomes to us that we cannot understand the meaning and spirit and significance of it if we do not take this saying seriously at the outset. But then we must ask ourselves: what does it actually mean?

And now the way it is presented, the whole way the events are brought before our soul! For many, not only expert and scientific observers, but also for artistically comprehensive minds like Herman Grimm, it was a question these words: “Sing to me, Muse, of the wrath of Achilles.” A question that went to their very hearts. In this Iliad, just as in the Song of the Nibelungs or in Kalewala, the deeds of spiritual-divine beings—in Homer's poems, first of all, the deeds and intentions and passions of the Olympian gods—intertwine with the deeds and intentions and passions of men who, like Achilles, are in a sense far removed from the ordinary human, and again with the passions and intentions and deeds of men who are already close to the ordinary human, like Odysseus or Agamemnon? When this Achilles appears before our soul, he seems lonely to us compared to the people with whom he lives. We very soon feel in the course of the Iliad that in Achilles we have a personality before us who cannot really talk about her innermost affairs with all the other heroes. Homer also shows us how Achilles has to sort out his actual heart affairs with divine spiritual beings that do not belong to the human realm, how he stands alone in relation to the human realm throughout the entire Iliad, and yet is close to supersensible, supermundane powers. And yet it is strange that when we gather all our human feeling into the way of thinking and feeling that we have acquired in the cultural process and direct our gaze to this Achilles, he then appears to us in such a way that we often have to say: How selfish, how personal! — A being in whose soul divine-spiritual impulses play, he acts entirely out of the immediate personal. For a long time, a war that was so important for the Greeks, such as the Trojan War of the legends, only progresses, and the special episodes that the thliad describes, are won by Achilles making up for himself what he has to make up for personally with Agamemnon. And we always see that supernatural powers are at play. We see Zeus, Apollo, Athena handing out impulses, so to speak, putting people in their places. It was always strange before the task came to me to approach these things from the standpoint of spiritual science, like a very spiritual man with whom I was lucky enough to often discuss these things personally, to find his way around these things like Herman Grimm. He expressed this not only in his writings but also often in personal conversations, and there much more precisely. He said: If we only consider the historical forces and impulses at work in the development of humanity, then we cannot get to grips with what lives and creates in the great folk epics. Therefore, for Herman Grimm, the brilliant observer of the Iliad and folk poetry in general, something that goes beyond the ordinary powers of human consciousness, beyond understanding, reason, sensory perception, beyond ordinary feeling, becomes a real power, a power that is creative just like the other historical impulses. Herman Grimm spoke of a real creative imagination that runs through the development of humanity, spoke of an imagination as one speaks of an essence, of a reality, of something that prevailed for people and that could tell them more in the beginning of the times we can observe, in the development of the individual peoples, than what the ordinary soul forces tell people. Herman Grimm's words always appealed to the creative imagination, which for him thus took on the role of a co-creator in the process of human becoming.

But now, when we look at this battleground of the Iliad, this representation of the wrath of Achilles, with all the interplay of divine, spiritual powers, we cannot get by with such view as Herman Grimm took it, and in his book on the Iliad we find many a word of resignation that shows us how the usual point of view, which one can take today, whether literary or scientifically, cannot deal with these things. Where does Herman Grimm come to in relation to the Iliad and the Nibelungen saga? He comes to the assumption that the historical dynasties and ruling houses were preceded by others. In fact, one might say, Herman Grimm literally thinks in such terms. He considers, for example, that Zeus and his entire entourage represent a kind of ruling house that preceded the ruling house of Agamemnon. He thinks, so to speak, of human history in a certain uniformity, thinks of the gods or heroes depicted in the Iliad or the Nibelungen saga as ancient humans, whom later humans dared to depict only by clothing their deeds and characters in the guise of superhuman myth. There are many things that cannot be understood if one takes such a premise as a basis, especially the particular way in which the gods intervene in Homer. I ask you, my dear attendees, to consider just one thing: how do Thetis, the mother of Achilles, Athena, and other divine figures intervene in the events of Troy? They intervene by taking on the form of mortal men, inspiring them, as it were, and leading them to their deeds. They do not appear themselves, but permeate living men. Living men figure not only as their representatives, but as the shells that are permeated by invisible powers that cannot appear on the battlefield in their own form, in their own essence. It would be strange to assume that ancient people of the ordinary kind should be depicted in such a way that they would have to take the representative people from the mortal race as their shell. This is just one of the indications that can prove to us all that we cannot get by with the old folk epics in this way.

But we are just as little at home with the figures of the Song of the Nibelungs, that Siegfried from Xanten on the Lower Rhine, who is transferred to the court of the Burgundians at Worms, woos Kriemhilde, Gunther's sister, and then, because of his special qualities, can only woo Brunhilde. And how strangely such figures as Brunhilde from Isenland, like Siegfried, are described to us. Siegfried is described as having overcome the so-called Nibelung race, as having acquired, conquered the Nibelung treasure. Through what he has acquired through his victory over the Nibelungs, he acquires very special qualities, which are expressed in the epic by saying that he can make himself invisible, that he is invulnerable in a certain way, and that he also has powers that the ordinary Gunther does not have, because the latter cannot acquire Brunhilde, who does not allow herself to be defeated by an ordinary mortal. Siegfried defeats Brunhilde with the special powers that come from being the owner of the Nibelungen hoard, and because he can conceal the powers he displays, he is able to present Brunhilde to Gunther, his brother-in-law. And there we find that Kriemhilde and Brunhilde, who we then see at the Burgundian court at the same time, are two very different characters, characters who are obviously influenced by things that cannot be explained by the ordinary human soul. This leads to quarrels between them, and also to Brunhilde being able to tempt Hagen, a loyal servant, to kill Siegfried. This again points to a trait that appears so peculiarly in Central European legend. Siegfried has higher, superhuman powers. He has these superhuman powers because he possesses the hoard of the Nibelungs. Ultimately, these do not make him an unconditionally victorious figure, but a figure who stands before us tragically. The powers that Siegfried has through the Nibelungen hoard are also a curse for the human being. Things become even stranger when we add the related Nordic saga of Sigurd, the dragon slayer, but this has an enlightening effect. There we are immediately confronted with Sigurd, who is none other than Siegfried, as the slayer of the dragon, who thereby acquires the Nibelungen hoard from an ancient race of dwarves. And we are introduced to Brunhilde as a figure of superhuman nature, as a Valkyrie figure.

We see, then, that there are two ways of presenting these things in Europe. One way, which directly links everything to the divine-supernatural, which still shows us how something in Brunhilde is meant that directly belongs to the supernatural world, and the other way, which legend has humanized. But we can still recognize how the divine can be found resounding everywhere in this way too.

And now let us turn our gaze from these legends, from these folk epics, to that region about which I can truly only speak as someone who can see things from the outside, only as they can be recognized if one does not speak the language in question. I ask you to bear in mind that I can only speak about everything that a Western European encounters in Kalewala as one who sees the spiritual content and the great, powerful figures and who, of course, must inevitably miss the subtleties of the epic, which only come out when one really masters the language in which it is written. But even when viewed in this way, how peculiarly the triad in the three presents itself to us, indeed, one is actually at a loss to use a name, one cannot say gods, one cannot say heroes, so let us say in the three entities: Wäinämöinen, Ilmarinen and Lemminkäinen. These figures speak a strange language, when we compare their characters with each other, a language from which we clearly recognize that the things we are to be told go beyond what can be achieved with the ordinary human powers of the soul. After all, if we look at them only superficially, these three figures grow into the monstrous. And yet again, which is the peculiar thing, in that they grow into the monstrous, every single trait is vividly before our eyes, so that nowhere do we somehow have the feeling that the monstrous is a grotesque, a paradox; everywhere we have the feeling that what is to be said must, of course, appear in superhuman greatness, in superhuman significance. And then: what mystery in the content. Something that inspires our soul to think of the most human of things, but which in turn goes beyond what ordinary soul forces can grasp. Ilmarinen, who is often called the blacksmith, the most artistic blacksmith of all, forges the Sampo on pins for Wäinämöinen in a realm inhabited, so to speak, by humanity's older brothers or at least by more primitive people than the Finns, for some foreign realm. And we see this strange thing happening, that far from the scene of the facts under discussion, many things take place, that time passes, and we see how, after a certain time, Wäinämöinen and Ilmarinen are again caused to retrieve what was left to them in a foreign land, the Sampo. Anyone who allows themselves to be drawn into the peculiar spiritual language that emerges from this forging of the Sampo, from this keeping away and regaining of the same, has the immediate impression – as I said, I ask you to bear in mind that I speak, so to speak, as a stranger and can therefore only speak of the impression of a stranger – that the most essential, the most meaningful in this grandiose poem is the forging, the keeping away and the later regaining of the Sampo.

What strikes me as particularly strange about Kalewala is the ending. I have heard that there are people who believe that this ending may be a later addition. For me, this ending of Mariata and her son, this introduction of a very strange Christianity – I say explicitly a very strange Christianity – is part of the whole. It acquires Kalevala, through the presence of this conclusion, a very special nuance, a coloring that can, so to speak, make the matter even more understandable to us. I may say that, for my feeling, such a delicate, wonderfully impersonal presentation of Christianity is nowhere to be found at all than at the end of Kalevala. The Christian principle is detached from all locality. The journey from Mariata to Herod, who in Kalevala appears as Rotus, is so impersonal that it hardly reminds us of any locality or personality in Palestine. Indeed, one is not even remotely reminded of the historical Christ Jesus. At the end of Kalewala, we find a delicate hint of the penetration of the noblest cultural pearl of humanity into Finnish culture as the most intimate affair of the heart of humanity. And linked to this is the tragic train, which in turn can have such an infinitely deep effect on our soul that when Christianity moves in and the son of Mariata is baptized, Wäinämöinen takes leave of his people in order to go to an unspecified location, leaving behind only the content and power of what he knew how to tell through his art of singing about the ancient events that include the history of this people. This withdrawal of Wäinämöinen towards the son of Mariata seems to me so significant that one would like to see in it the living interplay of all that prevailed at the core of the Finnish people, of the Finnish national soul, from ancient times until the moment when Christianity found its way into Finland. The way in which this ancient power relates to Christianity is such that one can feel everything that takes place in the soul with a wonderful intimacy. I say this as someone who is aware of the objectivity of what I am about to say, which I do not say to please anyone or to flatter anyone. In this national epic, we Western Europeans have one of the most wonderful examples of how the members of a nation stand before us in the flesh, with their whole soul, so that through Kalevala we get to know the Finnish soul in a way that allows us to become completely familiar with it.

Why have I said all this? I have said it to characterize how something speaks in the folk epics that cannot be explained by ordinary human soul powers, even when one speaks of imagination as a real power. And even if to some what is said sounds only like a hypothesis, then perhaps what spiritual science has to say about the nature of these folk epics may be adduced in this consideration of folk epics. Certainly, I am aware that what I have to say today still touches on something to which very few people can give their consent in our present time. Many may perhaps regard it as a reverie, a fantasy; but some will at least accept it alongside other hypotheses put forward about the development of humanity. For those who penetrate spiritual science in the way that I will dare to describe in the next lecture, it will not be a hypothesis, but a real research result that can be put alongside other scientific research results. The things that have to be discussed sound strange because the very science that today believes it stands firmly on the ground of the factual, the true, the only thing that can be attained, limits itself only to what the outer senses perceive, what the mind, bound to the senses and the brain, can explore of things. And that is why today it is often considered unscientific to speak of a research method that reaches to other powers of the soul, which make it possible to see into the supersensible and the way the supersensible plays into the sensory. By means of this method of research, by means of spiritual science, one is not merely led to the abstract imagination to which Herman Grimm was led in regard to the folk epic, but one is led to something that goes far beyond imagination, that represents a quite different state of soul or consciousness than that which man can have at the present moment in his development. And so, through spiritual science, we are led back to human prehistory in a completely different way than through ordinary science.

Today, ordinary science is accustomed to looking back on the development of humanity in such a way that what we call human beings today have gradually developed from lower, animal-like creatures. Spiritual science does not confront this modern research with a combative attitude, but fully recognizes the greatness and power of the achievements of this natural science of the 19th century, the significance of the idea of a transformation of the animal forms from the most imperfect to the perfect, and an attachment of the outer human form to the most perfect animal form. But it cannot stop at such a view of the becoming of man, of the becoming of organisms in general, which would present itself if one could survey with an external sensory view that which has taken place in the organic world up to man in the course of earthly events. Today, in spiritual science, the human being stands alongside the animal world. We see the variously shaped animal forms in the world around us. We see the human race spread out over the earth as a unified entity in a certain way. In spiritual science, we also have an unbiased view of how everything in the outer form speaks for the relationship between man and the other organisms, but in spiritual science, when we trace the development of humanity backwards, we cannot go back so far that we can directly place the stream of humanity into the animal series of development in some distant past. For we find, when we go back from the present into the past, that we cannot, anywhere, directly attach the present human form, the present human being, to any animal form that we know from the present.

If we go back in the development of humanity, we first find, one might say, the soul forces, the powers of mind and feeling and will, that we also have in the present, developing in ever more primitive forms in humans. Then we go back to the mists of time, of which old documents tell us only very little. Even where we can go back as far as the Egyptians or the peoples of the Near East, we are led everywhere back to an ancient humanity, which, although more primitive in some respects, also has more magnificent the same powers of mind, and will forces, which have only recently reached their present development, but which we recognize as the most important human impulses, as the most important historical impulses, as far as we can trace back humanity by considering this present soul. Nowhere do we find the possibility of placing even the most ancient race of men in a special relationship to the present animal forms. This, which spiritual science must assert for itself, is recognized today even by thinking natural scientists. But if we go further back and consider how the human soul changes when we compare how a person thinks, say, scientifically or otherwise, how he applies his intellect and how his powers of feeling work, when we trace this back — oh, we can trace it quite accurately — to a certain time when it first shone forth in humanity. We might say that it first appeared in the sixth or seventh century before Christ. The whole configuration of present-day feeling and thinking does not go back farther than the times of which we are told as the times of the first Greek natural philosophy.

If we go further back and have an unprejudiced eye, we find, without yet touching on spiritual science, that not only does all present-day scientific thought cease in the past, but that the human soul is in a completely different state altogether, in a much more impersonal state, but also in such a state that we have to address its powers much more as instinctively. Not in the sense that we are saying that people in this period acted on instincts like those of animals today, but the guidance of reason and intellect, as it exists today, was not there. Instead, however, there was a certain instinctive, direct certainty in people. They acted on the basis of direct, elementary impulses; they did not control them through the intellect tied to the brain. There we find, however, that in the human soul those powers still prevail unmixed, which we today have separately as powers of reason, and those powers, which we today carefully separate from the powers of reason and lead to science, the powers of imagination. Imagination, understanding and reason, they all work together in those ancient times. The further back we go, the more we find that we can no longer speak of what prevailed in the soul of human beings, what worked there as imagination and understanding, as we call a soul power today, when we call it imagination. Today we know very well that when we speak of imagination, we are speaking of a soul force whose expressions we cannot really apply, to which we cannot ascribe reality. The modern human being is careful in this matter, he is careful not to mix together what imagination gives him with what the logic of reason tells him. If we look at what the human mind expresses in those prehistoric times before imagination and reason appear separately, then we feel an original, elementary, instinctive power prevailing in the souls. We can find characteristics of today's imagination in it, but what – if we use the term – imagination gave the human soul back then had something to do with a reality. Imagination was not yet imagination, it was still – I must not be afraid to use the expression directly – clairvoyant power, was still a special soul faculty, was the gift of the soul through which man saw things, saw facts that are hidden from him today in his developmental epoch, when understanding and reason are to be particularly developed. Those powers that were not imagination but clairvoyant power penetrated deeper down into hidden forces and hidden forms of existence that lie behind the sensual world. This is what an unbiased consideration must lead us to: that when we look back at the development of humanity, we have to say to ourselves: Truly, we must take the word evolution, development, seriously.

That humanity in the present, in the last centuries and millennia, has come to its present high level of rational and intellectual powers, so to speak, is a result of development. These soul powers have developed out of others. And while our present soul powers are limited to what presents itself in the external sense world, an original humanity, which of course had to do without science in the modern sense, without the use of reason in the modern sense, an original human soul power at the basis of all individual peoples looked into the foundations of existence, into a realm that, as a supersensible one, lies behind the sensual. Once upon a time, all peoples possessed clairvoyant powers as part of the human soul. It was out of these clairvoyant powers that the present human powers of understanding and reason were formed, as well as the present way of thinking and feeling. These soul powers, which we may refer to as clairvoyant powers, were such that the human being felt at the same time: I am not the one who is thinking and feeling within me. Man felt as if he had been given over, with all his physicality and also with his soul being, to higher, supersensible powers that were working and living in him. Thus man felt like a vessel through which supersensible forces themselves spoke. If one considers this, one also understands the meaning of the further development of humanity. Human beings would have remained dependent beings, who could only have felt themselves to be vessels, as shells of powers and entities, if they had not progressed to the actual use of intellect and reason. Through the use of intellect and reason, man has become more independent, but at the same time, for a while of development, he has also been cut off from the spiritual world in certain respects, cut off from the supersensible foundations of existence. In the future, this will change again. The further we go back, the deeper the human soul sees into the foundations of existence through clairvoyant powers, and sees how those forces that worked on the human being himself in prehistoric times emerged from these foundations of existence until a point in time when all conditions on earth were quite different from today, when they were such that the forms of living beings were much more mobile, much more subject to a kind of metamorphosis than today. Thus we have to go back far from what is called the present human cultural period, we have to observe human forms and animal forms side by side. And much further back than is usually believed today is the separation of the animal form from the human form. The animal forms then solidified, became more immobile at a time when the human form was still quite soft and pliable and could be shaped and molded by what was experienced inwardly by the soul. In this way, we come back to a time in human development that is beyond our present consciousness, but for which another consciousness was present in the soul, one that was connected to the clairvoyant powers that have just been characterized. Such a consciousness, which could look back into the past and saw the development of humanity in its origin from the past already in complete separation from all animal life, also saw how human forces ruled, but still in a living connection with the supersensible forces that played into it. It saw what in the times when, for example, the Homeric epics were written was only present as an old echo, and what was present to a much greater extent in even earlier times. If we go back to the time before Homer, we find that people had a clairvoyant consciousness that, as it were, remembered human events from prehistoric times and was able to tell the story of the origin of man from memory. By Homer's time, the situation was such that people felt that the old clairvoyant consciousness was dwindling, but they still felt that it was there. That was a time when man did not speak of himself as an independent, egoistic being, but when gods and supersensible spiritual forces spoke through him. So we must take it seriously when Homer does not speak of himself, but when he says: Sing to me, O Muse, of the wrath of Achilles! Sing in me, higher being, being that speaks through me, that takes possession of me as I sing and say. This first line of Homer is a reality. We are not referred to ancient dynasties that are similar in the ordinary sense to our present humanity, but we are pointed to the fact by Homer himself that there were other people in primeval times, people in whom the supersensible lived. And Achilles is definitely still a personality from the transitional period from the old clairvoyance to the modern way of looking at things, which we already find in Agamemnon, which we find in Nestor and Odysseus, but which is then further developed into a higher way of looking at things. Only in this way do we understand Achilles when we know that Homer wanted to depict him as a member of the ancient human race who lived in a time that lies between the time when people still directly reached the ancient gods and the present time of humanity, which begins with Agamemnon.

Likewise, we are referred to a human prehistory in the Central European Nibelungen saga. The whole presentation of this epic shows us this. We are already dealing with people of our present time in a certain respect, but with such people of our present time who have preserved something from the time of ancient clairvoyance. All the qualities that Siegfried is said to have, that he can make himself invisible, that he has powers through which he overcomes Brunhilde, which an ordinary mortal cannot overcome, all this shows us, along with the other things that are told about him, that we have in him a man who, as in an inner human memory, has carried the achievements of the ancient powers of the soul, which were linked to clairvoyance and connection with nature, over into the present human condition. At what transition does Siegfried stand? This is shown by Brunhilde's relationship to Kriemhilde, Siegfried's wife. It cannot be explained in detail here what the two figures mean. But we can make sense of all these legends if we see in the figures that are presented to us pictorial representations of inner clairvoyant or remembered clairvoyant conditions. Thus we may see in Siegfried's relation to Kriemhilde his relation to the powers of his own soul as they rule in him. His soul is, as it were, a transitional soul, and this is because Siegfried, with the treasure of the Nibelungs, that is, with the clairvoyant secrets of ancient times, brings something into the new time that at the same time makes him unsuitable for his present time. The men of the old time could live with this Nibelung hoard, that is to say with the old clairvoyant powers. The earth has changed its conditions. Thus Siegfried, who still carries an echo of the old time in his soul, no longer fits into the present, and so he becomes a tragic figure. How can the present relate to what is still alive for Siegfried? For him, something of the old clairvoyant powers is still alive, because when he is overcome, Kriemhilde remains. She is brought the hoard of the Nibelungs, she can use it. We learn that later on, the hoard of the Nibelungs will be taken from her by Hagen. We can see that in a way, Brunhilde is also able to work with the old clairvoyant powers. In this way, she is opposed to those people who fit into the then-present: Gunther and his brothers, Gunther above all, for whom Brunhilde has no time. Why is that? Well, we know from the saga that Brunhilde is a kind of Valkyrie figure: in other words, something in the human soul, and specifically that with which, in ancient times, man was still able to unite through clairvoyant powers, but which has withdrawn from man, has become unconscious, and with which man, as he currently lives in the age of reason, can only unite after death. Hence the union with the Valkyrie at the moment of death. The Valkyrie is the personification of the living soul forces that are in the present human being, those soul forces that the old clairvoyant consciousness was able to perceive, but which the present human being only experiences when he passes through the gate of death. Only then is he united with this soul, which is represented in Brunhilde. Because Kriemhilde still knows something of the old clairvoyant times and the powers that the soul receives through ancient clairvoyance, she becomes a figure whose anger is described, as in the Iliad the anger of Achilles. This is sufficiently indicated to us that the people who were still endowed with clairvoyant powers in ancient times did not control with reason, did not let reason prevail, but acted directly from their most elementary, most intense impulses. Hence the personal, the directly egoistic, in both Kriemhilde and Achilles.

The whole matter becomes particularly interesting when we consider the folk epics, if we add Kalewala to the folk epics listed. We will be able to show, today, because of the limited time, that spiritual science in our present time can only point to the old clairvoyant states of humanity because it is possible today, again — albeit in a more advanced way, permeated by reason, not dream-like — to evoke clairvoyant states through spiritual training. Modern man is gradually growing into an age in which hidden powers will arise from the depths of the human soul, pointing to the supersensible. These powers will be guided by reason, not uncontrolled by it. They will point to the supersensible realm, so that we will become familiar again with the realms of which the old folk epics speak to us from the dim consciousness of ancient times. Therefore, we can say: One learns to recognize that it is possible to gain a revelation of the world, not only through the external senses, but through something supersensible that underlies the external physical human body.

There are methods – which will be discussed in the next lecture – by which man can make the spiritual supersensible inner being, which is so often denied today, independent of the sensual outer body, so that man does not live in an unconscious state as in sleep, when he becomes independent of his body, but perceives the spiritual around him. In this way, modern clairvoyance shows man the possibility of living cognitively in a higher, supersensible body, which, like a vessel, fills the ordinary sense body. Spiritual science calls it the etheric body. This etheric body rests within our physical body. When we detach it inwardly from the physical body, we can enter into the state of perception through which we become aware of supersensible facts. We become aware of two kinds of supersensible facts. Firstly, we become aware of it at the beginning of this clairvoyant state, when we begin to know that we no longer see through our physical body, we no longer hear through our physical body, and we no longer think through the brain that is bound to the physical body. At first, we know nothing of the external world. — I am telling you facts that can only be explained in more detail in the next lecture. — But the first step of clairvoyance leads us all the more to an insight into our own etheric body. We see a supersensible physicality of human nature that underlies it and that we can only address as something that works and creates like a kind of inner architect, inner foreman, that permeates our physical body in a living way. And then we become aware of the following.

We become aware that what we perceive in ourselves, what we perceive as the actual living part of our etheric body, is, on the one hand, limited and modified by our physical body, so that it is, as it were, clothed on the physical side. In that the etheric body lines the eyes and ears and the physical brain, we belong, as it were, to the earthly element. Through this we perceive how our etheric body becomes a specific, individual, egoistic human being, integrated into the sheath of our physical body. On the other hand, however, we perceive how our etheric body leads us precisely into those regions where we stand impersonally before a higher, supersensible reality, something that is not us, but that is present in us with full presence, something that works through us as spiritual, supersensible power and strength. In spiritual scientific observation, the inner life of the soul then breaks down into three parts, which are enclosed in three outer bodily sheaths, filling them. We initially live with our soul in such a way that we experience in it what our eyes see, our ears hear, our senses can grasp in general, and what our mind can comprehend. We live with our soul in our physical body. Insofar as our soul lives in the physical body, we call it the consciousness soul in spiritual science, because it is only through the complete integration into the physical body in the course of becoming human that it has become possible for the human being to become aware of himself. Then the modern clairvoyant, in particular, also gets to know the life of the soul in what we have called the etheric body. The soul lives in the etheric body in such a way that it has its powers, but the soul's powers work in such a way that we cannot say that they are our personal powers. They are general human powers, powers through which we are much closer to the hidden facts of nature as a whole. Insofar as the soul perceives these forces in an outer shell, namely in the etheric body, we speak of the mind or emotional soul as a second soul element. So that just as we find the consciousness soul enclosed in the shell of the physical body, we have the mind or emotional soul enclosed in the etheric body. And then we have an even more delicate body through which we can reach up into the supersensible world. Everything that we experience inwardly as our very own secrets, at the same time as that which is hidden from consciousness today and which in the time of ancient clairvoyance was felt as the formative forces in the human process of development, which was felt as if one could look back into the events of the dim and distant past, we ascribe all this to the sentient soul, ascribe it to it in such a way that it is enclosed in the finest human body, in what we — please, do not be put out by the expression, take it as a terminus technicus — call the astral body. It is the part of the human being that connects to the external earthly that inspires the human being, which he cannot perceive through the external senses, nor can perceive when he looks into the etheric body through his own inner being, but what he perceives when he becomes independent of himself, of the etheric body, and is connected with the forces of his origin.

Thus we have the sentient soul in the astral body, the mind or emotional soul in the etheric body, and the consciousness soul in the physical body. In the days of ancient clairvoyance, people were more or less instinctively aware of these things, for they looked within themselves and saw this threefold soul. Not that they analyzed the soul intellectually, but because they had a clairvoyant consciousness, the threefold human soul stood before them: the sentient soul in the astral, the mind or emotional soul in the etheric, and the consciousness soul in the physical body. Looking back, they saw how the outer man, the physical form, developed out of what is now before us as the threefold soul-forces. They sensed that this threefold division is born out of supersensible creative powers. They sensed that the sentient soul is born out of supersensible creative powers, which gave man the astral body, that body which he not only has like his etheric and physical bodies between birth and death, but which he takes with him when he passes through the gate of death, and which he already had before he came into existence through birth. Thus the old clairvoyants saw the sentient soul connected with the astral body and that which, so to speak, has an inspiring effect on man from the spiritual worlds and creates his astral body, as the one creative power that forms man out of the world as a whole. And as a second creative power, they saw what we have today as a result of the mind or emotional soul, and what creates the etheric body in such a way that this etheric body transforms all external substances, all external matter, so that they can permeate the physical human form in the human, not the animal, sense. The creative spirit for the etheric body, which manifests itself in our mind soul, was seen by the ancient seers as a superhuman cosmic power, working into physical matter as in magnetism, and into man. They looked up into the spiritual worlds and saw a divine spiritual power that shapes and forges the etheric body of the human being so that this etheric body becomes the master craftsman, the architect, who reshapes outer matter, confuses it, pulverizes it, grinds it, so that what otherwise exists as matter is structured in the human being and the human being acquires human abilities. The ancient clairvoyants saw how this creative power artfully transforms all matter so that it could become human matter. Then again they looked at the third, at the consciousness soul, which actually makes the egoistic human being, which is the transformation of the physical body, and they attributed those powers that prevail in this physical body solely and exclusively to the line of inheritance, to what comes from father and mother, from grandfather and great-grandfather, in short, what is the result of human powers of love, of human powers of reproduction. In this they saw the third creative power. The power of love works from generation to generation.

The ancient seers saw three powers, a creative being that our sentient soul ultimately evokes by forming the astral body in man, which powers can be inspired because it is the body that a person had before becoming a physical being through conception, the body that a person will have when he has passed through the gate of death. This formation of forces, or, as we might better say, this heavenly formation in man, lasts while the etheric and physical bodies pass away. At the same time, for the old seers this was what their direct experience revealed to them as being capable of bringing all culture into human life. That is why they saw in the Bringer of the astral body that power which brings in the divine, which itself consists only of the permanent, through which the eternal sings and sounds into the world. And the old seers, from whom — I say it unashamedly — the figures of Kalewala have sprung, have presented the living plastic embodiment of that power of creation that penetrates to us in the result of the sentient soul, that inspires the divine into the human, in Wäinämöinen. Wäinämöinen is the creator of that human limb that outlasts birth and death and that brings the heavenly into the earthly. And we see the second figure in Kalewala: Ilmarinen. When we go back to the ancient clairvoyant consciousness, we find that Ilmarinen creates everything that is an image in its living formation from the forces of the earth and from what does not belong to the sensual earth but to the deeper forces of the earth, starting from the etheric body. In Ilmarinen, we see the bringer of that which transforms all matter, that which surrounds it. We see in him the smith of the human form. And we see in the Sampo the human etheric body, forged by Ilmarinen out of the supersensible world, so that the sensual matter can be pulverized and then passed on from generation to generation, so that the human consciousness soul continues to work in the physical human body through the forces that the third divine supersensible being gives from generation to generation through the forces of love. We see this third divine supersensible power in Lemminkäinen. Thus we see deep secrets of the origin of mankind in the forging of the Sampo, we see deep secrets from the ancient clairvoyant consciousness at the bottom of Kalewala and thus we look back into human prehistory, of which we may say: Not at that time was the age when one could have dissected natural phenomena with reason. Everything was primitive, but in the primitive lived the intuition of what lies behind the sensual. Now it was the case that when these bodies of man were forged, when in particular the ethereal body of man, the Sampo, was forged, that it first had to be processed for a while, that man did not immediately have the powers that were thereby prepared for him by the supersensible powers. Once the etheric body has been forged, it must first become familiarized inwardly, as when we prepare a machine that must first be finished, so to speak, must first mature fully in order to be used. In the process of becoming human, there must always be intermediate periods between the creation of the corresponding limbs and the use of them. Thus man had forged his etheric body in distant primeval times. Then came an episode when this etheric body was sent down into human nature. Only later did it shine forth as the soul of the intellect. Man learned to use his powers as external natural forces, he brought forth from his own nature the hidden Sampo. We see this mystery of becoming human in a wonderful way in the forging of the Sampo, in the hiddenness, in the ineffectiveness of the Sampo, in the episode that lies between the forging and the recovery of the same. We see the Sampo first immersed in human nature, then brought out to the external forces of culture, which first appear as primitive forces, as described in the second part of Kalewala.

Thus everything takes on a deep meaning in this great national epic when we see in it descriptions of clairvoyantly acquired ancient processes of becoming human, of the coming into being of human nature from its various elements. I can assure you that I did not get to know Kalevala until long afterward. Once I had clearly visualized these facts about the development of human nature, it was a wonderful and surprising fact for me to rediscover in this epic what I was able to present more or less theoretically in my Theosophy, which was written at a time when I did not yet know a single line of Kalevala. And so we see how the secrets of humanity are revealed in what Wäinämöinen gives, he who is the creator of extrasensory inspiration: the story of the forging of the etheric body. But there is another secret hidden there. I understand, mind you, nothing of Finnish, I can only speak from the spiritual science. I would be able to express the word Sampo only and solely only by the fact that I would try to form a word that could arise in the following way: In the animals we see the etheric body so effective that it becomes the master builder for the most diverse forms, from the most imperfect to the most perfect. In the human etheric body, something has been forged that combines all these animal forms as if in a unity, with the only exception that the etheric body, that is, the Sampo, is forged over the earth according to climatic and other conditions, so that this etheric body has the special characteristics of the people, the special peculiarities of the people in its powers, that it shapes one people in this way and another differently. The Sampo is that for each people which constitutes the particular shape of the etheric body, which brings precisely this particular people into being, so that the members of this people have the same appearance in relation to what shines through their living and their physical being. Insofar as the same appearance is crafted out of the etheric in the human form, the forces of the etheric body lie in the Sampo. In the Sampo we thus have the symbol of the cohesion of the Finnish people, that which, in the depths of humanity, makes the Finnish nation have lived itself out in precisely this particular form.

But this is the case with every folk epic. Folk epics can only arise where culture is still enclosed in the forces of the Sampo, in the forces of the etheric body. As long as culture depends on the forces of the Sampo, the people bear the stamp of this Sampo. This etheric body therefore carries the character of the popular, the folk-like, in all of culture. When could a break in this popular, in this folk-like, occur in the course of the cultural process? It could happen when something entered the human cultural process that is not for one person, for one tribe, for one people, but for all of humanity. Something that is taken from such depths of human nature, from such subtleties and intimacies, and incorporated into the cultural process that it applies to all people without distinction of nationality, race and so on. But that was given when those powers spoke to people, not speaking to one people but to all humanity, those powers that are only so impersonal even in the sense of the folk, so finely and delicately hinted at in the end of Kalewala, in that the Christ is born of Mariata. When He is baptized, Wäinämöinen leaves the land, something has occurred that brings the special folk character together with the general human character. And here, at this point, where one of the most significant, concise, and magnificent folk epics flows into the description, into the completely impersonal – allow me the paradoxical expression – unpalestinianized description of the Christ impulse, Kalevala becomes particularly significant. It leads us particularly into what can be felt where the benefits and the happiness of the Sampo are felt as continuing to have an effect through all human development and at the same time in interaction with the Christian idea, with the Christian impulse. This is the infinitely delicate thing at the end of Kalewala. It is also what explains so clearly that what lies before this conclusion in Kalewala belongs to the pre-Christian era. But just as everything universally human will only continue to exist by preserving the individual, so the individual folk cultures, which derive their essence from the ancient clairvoyant states of the peoples, will continue to live in the universally human. And so everything that Kalewala indicates as Christian at the end will always combine and retain its special consequence through the never-ending effect that is hinted at in the inspirations of Wäinämöinen. For Wäinämöinen means something that belongs to that human part that is above birth and death, that walks with man through all human becoming. Thus, such epics as Kalevala present something to us that is immortal, that can be imbued with the Christian idea, but that will assert itself as something individual, that will always prove that the general human essence, just as white sunlight is divided into many colors, will live on in the many folk cultures. And because this general humanity in the essence of folk epics permeates the individual, which in turn shines into and speaks to every human being, that is why the individualities of the peoples live so much in the essence of their folk epics. That is why the people of old, who in their clairvoyance saw the essence of their own nationality as it is described in all folk epics, stand so vividly before our eyes. But we can get to know it in a very wonderful way when humanity is embraced in its intimacies by circumstances such as those in which the Finnish nation lives, where these, lying at the depths of the soul, are presented in such a way that they can be directly compared with what the most modern spiritual science can reveal to us about human secrets.

Thus, my dear audience, such folk epics are at the same time a living protest against all materialism, against all attempts to derive man from purely external material forces, material conditions, material entities. Such folk epics, especially Kalewala, tell us that man has his origin and primal state in the spiritual and soul. Therefore, a renewal, a re-fertilization of old folk epics can also provide immeasurably great services in the most vital sense of spiritual, of intellectual culture. For just as spiritual science today seeks to renew human consciousness in the sense that humanity is rooted not in matter but in spirit, so a close examination of an epic like Kalewala shows us that the best that man has, and the best that man is, comes from the spiritual and soul. In this sense, it was interesting to me that one of the runes, the kanteles, immediately, I would say, protests against an interpretation of what appears in Kalevala in a materialistic sense. That instrument, that harp-like instrument with which the old singers sang from the old days, is depicted as if it were made of materials from the physical world. But the old rune protested against this, protested in a spiritual-scientific sense, one might say, against the fact that the string instrument for Wäinämöinen was made of natural products that the senses can see. In truth, the old rune says, the instrument on which man plays the wise melodies that come to him directly from the spiritual world comes from the spiritual soul. In this sense, the old rune is to be interpreted entirely in the spiritual-scientific sense, a living protest against the interpretation of what man is capable of in the materialistic sense, an indication that what man possesses , what his nature is and what is only symbolically expressed in such an instrument as that attributed to Wäinämöinen, that such an instrument originates from the spirit and that the whole nature of man originates from the spirit. It can be regarded as a motto for the spirit of spiritual science, the old Finnish folk rune, which is translated into German as follows, and in which I can summarize the basic tone, the basic nuance of what the lecture wanted to explain about the nature of folk epics:

> Those who believe that  
> And are in error,  
> Those who believe that Wäinämöinen  
> Made the kantele,  
> Our beautiful stringed instrument,  
> From the jaws of the pike,  
> And that he spun strings  
> From the tail of the hiisi horse.  
> It was made out of necessity,  
> Then sorrow bound its parts,  
> Bitter tears of longing span  
> And the sufferings their strings.

Thus all being is not born out of material, but out of spiritual-soul, so this old folk rune, so again spiritual science, which wants to place itself in the living cultural process of our time.