# Faust, the Striving Human Being

## GA 272 — 23 January 1910, Strasburg

### 1. Goethe's “Faust” from the Point of View of Spiritual Science

Spiritual science, which seeks to penetrate into the contemporary cultural current, is not attempting to be something new, and precisely in this way differs from the many world views and other schools of thought that have come forward and believe that they can prove their right to exist by claiming to bring something new to this or that question of spiritual life. In contrast to this, the movement that calls itself spiritual science emphasizes that the sources of its knowledge and its life have been present in the same way at all times when people have thought and striven for the highest questions and riddles of existence. I have often emphasized this, even in this city, when I had the honor of presenting previous lectures.

It must now be particularly appealing to consider not only the various religious beliefs and world views that have emerged in the development of humanity from this point of view, but also to look at personalities who are close to us from this perspective. For if something is to be true in spiritual science, then at least a kernel of this truth must be found in all those who have honestly and energetically striven for knowledge and for a dignified human existence.

Now when spiritual science is discussed today, the most diverse judgments are asserted from one side or the other, and those who have not penetrated deeper into the corresponding field, who have gained a superficial knowledge from these or those lectures or pamphlets, will, depending on his point of view, regard this spiritual science as the fantasy or reverie of a few unworldly people who have strange ideas about life and its foundations. It must be fully admitted that, if one does not look more closely, such a judgment may seem understandable, because although today we are not talking about a specific topic, it should be pointed out that some of the main insights of this spiritual science are based on a special theme. And as soon as these are mentioned and characterized, our contemporaries may well feel, in all honesty, “What curious stuff is this?”

On the whole, spiritual science, if taken seriously, is based on the premise that what surrounds us in the sensual world, what we can perceive with our senses, what we can grasp with the mind that is bound to our senses, is not the whole world, but that behind everything that is sensual lies a spiritual world. And this spiritual world is not in an indefinite hereafter, but is always around us, just as the phenomena of color and light are also around the blind. But in order for us to know about something that is around us, we need to have an organ to perceive it. And just as the blind man cannot see color and light, so too, as a rule, people in our age with normal abilities cannot perceive the spiritual facts and beings that are around us. But when we have the good fortune to operate on a blind person, then there comes for him the moment of the awakening of the eye, and what was not there for him, light and colors, now floods into his inner being. From the moment of his operation, this is a perceptible world for him. In the spiritual realm, there is a higher awakening, the awakening through which a person becomes initiated into the spiritual world. To speak with Goethe, there are spiritual eyes and ears, but as a rule, human souls are not ready to use them. But when we apply the means and methods by which these powers come into existence, then something happens in us on a higher plane, as when a blind person is operated on and is then flooded with the world of colors and light. When a person's eyes and ears are opened, he becomes awakened. A new world is around him, a world that was always there, but which he can only perceive from the moment of awakening. But then, when a person is ready, he learns to make various insights his own, insights that brighten life, insights that can give us strength and security for our work, that enable us to see into the essence of human destiny and the secrets of fate.

And only one of these insights will be discussed here, one of those insights that, if not crazy, must often seem strange and dreamy to today's people. It is an insight that is nothing more than the revival of an ancient process of knowledge, its continuation in a higher realm, a truth that was only recently attained for a lower realm. In general, humanity has a short memory for great events in the spiritual world, and that is why so few people today remember that in the 17th century not only laymen but even scholars believed that lower animals, even worms and fish, would develop from river mud. It was the great naturalist Francesco Redi who first pointed out that no earthworm or fish grows out of dead river mud unless an earthworm or fish germ is present in it beforehand. He stated that life can only come from life, and from this it can be seen that it is only an inaccurate way of looking at things to believe that a fish or worm can grow out of lifeless river mud. A closer examination shows that we have to go back to the living germ, and that this living germ can only draw from its environment the forces that are there to bring to the greatest development what is alive in the germ.

What Redi said, that living things develop only from living things, is taken for granted by science today. When Redi uttered these words, he only just escaped the fate of Giordano Bruno. Such is the way of the development of humanity. First, a truth must be so hard won that those who first express it are branded as heretics. Then it becomes a matter of course, the common property of humanity. What Redi did for natural science should be done for the spirit through spiritual science today, by transferring the sentence that Redi pronounced for natural science from the knowledge of the awakened spiritual eye and spiritual ear to the soul realm. And there this sentence means: The spiritual and soul can only arise from the spiritual and soul. This means that it is an inaccurate way of looking at it when we see a human being come into existence, to believe that everything that comes into life comes only from the father and mother and the ancestors. Just as we have to go back from the developing earthworm to the living earthworm germ, so we have to go back from the human being, who develops from the germ into a specific being, to an earlier spiritual existence, and we have to realize that this being, which comes into existence through birth, draws from its bodily ancestors only the strength for its development, just as the earthworm germ draws strength from its inanimate surroundings. And in a corresponding extension, this sentence: Living things can only come from living things, leads to the other sentence: The present life, which comes into existence through birth, not only leads back to physical ancestors, but through the centuries back to an earlier spiritual-soul. And if you delve deeper into it, you will see that it is scientifically shown that there is not just one, but repeated lives on earth, that what is in us now between birth and death is the repetition of a spiritual soul that was already there in earlier stages of existence, and that our present life is in turn the starting point for subsequent lives. Spiritual-soul-like comes from spiritual-soul-like, goes back to spiritual-soul-like, which was there before birth, which descends from the spiritual world and lives in physical embodiments. We now see something completely different when, for example, we as educators are confronted with a child who gradually develops his powers. At birth we see something indeterminate on his face, how something unfolds from within, ever more distinctly and distinctly, which does not come from heredity but from previous lives. We see how this center of the spiritual soul unfolds more and more from birth through talents.

Today, spiritual science has something to say about repeated lives on earth. Today it may be a mere reverie, as what Francesco Redi said in the 17th century was considered a mere reverie. But what is considered a mere reverie today will become a matter of course in the not too distant future, and the sentence: spiritual-mental comes from spiritual-mental, will become common knowledge for humanity.

Today, heretics are no longer treated as they were in the past. They are no longer burned at the stake, but they are considered fools and dreamers who speak out of random fantasy. They are ridiculed, and those in the know sit in the high chair of science and say that this is not compatible with real science, not knowing that it is true, genuine science that demands this truth. And now we can cite a hundred and a hundred such truths that would show us how spiritual science can illuminate life by showing that there is an immortal essence in man that passes through death into the spiritual world and, when it has fulfilled its destiny there, returns to physical existence to gain new experiences, which it then carries up through death into the spiritual worlds. We would see how the ties that are woven from person to person, from soul to soul in all areas of life, those traits of the heart that go from soul to soul and cannot otherwise be explained, can be explained by the fact that they were formed in previous life circumstances. And just as the spiritual bonds we weave today do not cease when death draws over existence, but just as what passes from soul to soul as bonds of life is immortal like the human soul itself, how it lives on through the spiritual world and will revive again in other, future earthly conditions and new embodiments. And it is only a matter of development that people will also remember their earlier experiences on earth, what they have gone through spiritually and soul-wise in earlier lives and states of existence.

Such truths will become established in human life in the not too distant future as necessary things, and people will gain strength and hope and confidence from such conditions. Today we can only see that a few individuals in the world are drawn by their healthy sense of truth to what spiritual researchers have to proclaim from their experiences in the spiritual world. But spiritual-scientific knowledge will become the common property of mankind and will be assimilated by those who earnestly seek the truth. And those who have trodden the paths of earnest seekers after truth have always, in all that they have offered to mankind, developed the great wisdom and knowledge that spiritual science brings again today.

An example should arise before our soul in a personality that is close to our modern life: the example of Goethe, and with him again that which occupied him as his most comprehensive and greatest work throughout his life: his “Faust”.

If we approach Goethe and try to illuminate his striving with what spiritual science can give, we can actually start quite early on. One can say that from his entire disposition, one recognizes in Goethe how there was soul and spirit in him. Everything that pushes one to seek a spiritual element behind the phenomena of the sensual world was an early predisposition in him. There we see the seven-year-old Goethe, who could have absorbed ordinary ideas from his surroundings, as a boy can absorb them, for his first soul perception. That does not satisfy him; he recounts it himself in 'Poetry and Truth'. There we see how the seven-year-old boy begins something quite remarkable to express his yearning for the divine. He takes a music stand from his father's collection and makes an altar out of it, placing all kinds of minerals and plants and other products of nature on it, from which the spirit of nature speaks. The boy's soul builds an altar, puts a little incense on it, takes a burning glass, waits for the morning sun to rise, collects the first rays of the rising sun with the burning glass, lets them fall on the little incense, so that the smoke rises. And in his later years, Goethe remembers how, as a boy, he wanted to send his pious feelings up to the great god of nature, who speaks through minerals and plants, who sends us his fire in the rays of the sun. This grows with Goethe. We see how, at a more mature stage – but still out of a yearning soul, as it lives in Goethe – after he comes to Weimar and is appointed by the duke as his advisor, how this feeling for the spirit that speaks through all of nature is expressed in the beautiful prose hymn. There he says: “Nature, we are surrounded and embraced by it, unable to step out of it and unable to get deeper into it. Unwarned and uninvited, it takes us into the cycle of its dance and carries on with us until we are tired and fall into its arms. We have not done what we do, she has done everything; she is constantly thinking and pondering, looking at the world with a thousand eyes.” And again later, in the beautiful book about Winckelmann, ‘Antiquities’: ”When man's healthy nature works as a whole, when he feels in the world as in a great, beautiful, dignified and valuable whole, when the harmony of pleasure gives him pure, free delight: then the universe, if it could feel itself, would exult in reaching its goal and admire the summit of its own becoming and being. Thus Goethe felt, like everything that lives and moves outside in nature, a resurrection celebrating from the human soul, and like a higher nature, a spiritual nature is brought forth from the spirit and soul of man. But it took Goethe a long time to fully grasp the spiritual realization of nature. And there is no clearer or more obvious example of how Goethe was a lifelong seeker who never rested or paused, always striving to reshape his knowledge and reach higher levels, than his life's poem, “Faust.”

From his earliest youth, he had begun to put everything that filled his yearning and intuitive soul into his poem; and as an old man in his later years, shortly before his death, he completed this poem, on which he had worked for over fifty years and into which he had put the best of his life. The second part was sealed at his death, like the great testament he had to give to humanity. It is a momentous document. We can only understand this document if we follow Goethe a little, as he himself sought to struggle towards knowledge.


For example, there is the student Goethe at the University of Leipzig. He is supposed to become a lawyer, but that is of secondary concern to him. Even then, the young student was possessed by an invincible urge to fathom the secrets of the world, to seek the spiritual. He therefore immerses himself in everything Leipzig has to offer in the way of knowledge about nature. He seeks to eavesdrop on what nature has to say to us in its phenomena, to eavesdrop on the world's riddles of existence. But Goethe needed, in order to rework what natural science could offer him, to re-melt it in his soul to that all-powerful urge of his inner being, which does not seek abstract knowledge but warm hearted a great experience, an experience that really leads the human being to that knowledge which is the gate toward which we intuitively look, the gate that closes for today's normal human being, the invisible, the supersensible: the gate of death. At the end of his student days in Leipzig, he experienced death. A serious illness had prostrated him, brought him close to death. For hours and days he had to face the fact that at any moment he could pass through that mysterious portal. And the mysterious, impetuous urge to understand demanded the utmost seriousness in the pursuit of knowledge. With this newly formed attitude of knowledge, Goethe returned to his native city of Frankfurt. There he found a circle of people, headed by a woman of great and profound talent: Susanne von Klettenberg. Goethe created a wonderful monument to her in his “Confessions of a Beautiful Soul”. He showed how this personality, to whose spiritual world he had such close access at the time, contained something that can only be described as a soul. In Susanne von Klettenberg, there lived a soul that sought to grasp the divine within itself in order to find, through the divine within itself, the spiritual that lives through the world. Goethe was introduced at that time by the circle to which this lady belonged, to studies that, if you, as a truly modern person, let them have an effect on you today, seem crazy. Goethe immersed himself in medieval writings. Those who pick them up today cannot do anything with them. When you see the strange signs in them, you ask yourself: what is the point of this in the face of science's modern quest for truth? — There was a book called “Aurea catena Homeri”, “The Golden Chain of Homer”. When you open it, you find a strange symbolic illustration: a dragon at the top in a semicircle, a dragon full of life, bordering on another dragon, a withering dragon dying within itself. All kinds of signs are linked to it: symbolic keys, two interlocking triangles and the planetary signs. To our contemporaries this is fantasy, to today's science it is fantasy, because one does not know what to do with these signs. Goethe senses in his intuition that they express something, that one can do something with them when one looks at them. They do not immediately express something that can be found here or there in the world. But if you let these signs take effect on you, by memorizing them so that you become deaf and blind to your physical surroundings, only letting these signs take effect on you, then you experience something very peculiar, then you experience that the soul within itself senses something that was dormant before, like a spiritual eye that opens. And if you have enough stamina, you will grasp what you can call meditation, concentration, which will develop your soul to such an extent that you will actually undergo something like an operation of the spiritual eye, through which a new world will open up. At that time, a new world could not yet be opened up for Goethe; he was not yet that far. But what came to life in his soul was the inkling that there are keys to this spiritual world, that one can penetrate into this spiritual world. One must visualize this mood; the vivid sensation, the vivid feeling: something is being stirred in me, something is coming to life; there must be something that leads into the spiritual world. But at the same time he senses: he cannot yet enter it. If Goethe had ever been identical with Faust in his life, we would say: Goethe was in the same situation in which Faust appears at the beginning of the first part, when Faust, after having studied the most diverse fields of human science, opens books in which there are such signs and feels surrounded by a spiritual world, but cannot enter into the spiritual world. Goethe never felt identical with Faust. Faust was a part of him, but he outgrew what was only a part of himself. And so, what went beyond Faust in Goethe grew because he, fearing no discomfort, always strove further and further, saying to himself: “One does not get behind the secrets of existence in a flash , not by incantations and formulas, but by patiently and energetically penetrating, step by step, in a truly spiritual and soulful way, whatever comes our way in the physical world. — It is easy to say: “What is higher knowledge must be absorbed by the soul.” This higher knowledge must penetrate the soul, but it only takes on its true form when we strive with patience and perseverance to get to know the real phenomena of the physical world step by step and then to seek the spiritual behind these phenomena of the physical world. But with what Goethe took with him from his time in Frankfurt, he was able to summarize everything else, he was able to see everything in a different light.

Goethe came from Frankfurt to this city, Strasbourg. We could cite many things that led him higher here. But what is particularly characteristic is how that which has such great significance in this city came before his soul: the cathedral, the minster. At that time, the idea of this wonderful building presented itself before Goethe's soul, and he understood why every single line is as it is. He saw with spiritual vision, with the vision gained through his immersion in Frankfurt, every triangle, every single angle of this significant building as belonging to the whole, and in his soul the great idea of the master builder celebrated a resurrection, and Goethe believed he recognized what had flowed into this building as a thought, as an idea. And so we could cite many instances of what had entered this soul as an inner vision and what it had taken up from external world processes entering into a marriage in Goethe's soul. Therefore it is not surprising that when he later came to Weimar, he took up natural science from a new angle, botany, zoology, bone theory and so on, in order to consider everything like letters that together make up the book of nature, leading into the secrets of existence. This is how his studies of plant development and the animal world came about, which he later continued as a student, only that he sought the spirit behind the sensual phenomena of existence everywhere. Thus we see how, during his Italian journey, he regarded art on the one hand and natural objects on the other, and how he observed the world of plants in order to recognize the spirit that reigns in them. The words he wrote to his friends, while he was engaged in this kind of spiritual natural science, are great and beautiful. He said: Oh, here everything presents itself to me in a new way; I would like to travel to India to look at what has already been discovered in my own way. — That is to say, as his development demanded, according to the indications we were able to give. And so we see how he also looks at the works of art that come to him. He writes in a letter: “This much is certain: the ancient artists had just as great a knowledge of nature and an equally sure concept of what can be imagined and how it must be imagined as Homer. Unfortunately, the number of works of art in the first class is all too small. But if one also sees these, one has nothing to wish for but to recognize them correctly and then to go there in peace. These lofty works of art are at the same time the highest works of nature, produced by man according to true and natural laws. All that is arbitrary and imaginary collapses; there is necessity, there is God.” Just as the great spirit of nature spoke to the seven-year-old boy from the altar he had erected, so the great spirit of the existence of the spiritual world spoke to him from these works of art, which he regarded as a unity. Thus Goethe gradually arrived at the contemplation of the individual in energetic, devoted work. Then he could calmly await the moment when a real insight into the spiritual world leaped out of his observations, a true spiritual science, which then confronts us, artistically transformed and reworked, in his “Faust”.

Thus the first sections of Faust that were written have all the atmosphere of a man who senses the secrets of existence but is unable to penetrate these secrets. We see how Faust allows the signs to take effect that surround him with spiritual reality, but we also see how he is not yet mature enough to really feel this spiritual reality. These are the sentences where Faust, as the Nostradamus aura, allows the signs of the macrocosm and the earth spirit to take effect on him, where the spirit of the earth appears before him. Faust characterizes the earth spirit in wonderfully beautiful words. We see how he senses that what the planet Earth is, is not simply the physical sphere that natural science regards it as, but rather, just as the body contains a soul, so the Earth body contains a spirit.

> In the tides of life, in the storm of action,  
> I surge up and down,  
> I weave to and fro!  
> Birth and grave,  
> An eternal sea,  
> A changing weaving,  
> A glowing life,  
> So I create at the whirling loom of time  
> And work the living garment of divinity.

That is what lives in the earth as the spirit of the earth, just as our spirit lives in us. But Goethe characterizes Faust as not yet mature, his spirit as still unfinished. He must turn away from the terrible sign like a timid worm curled up. The earth spirit answers him: “You resemble the spirit you comprehend, not me.” In Goethe's soul there lived the realization, even if at first only a presentiment, that we cannot declare ourselves satisfied at any stage, but must strive from each stage to higher and higher stages, that we cannot say at any stage that we have achieved something, but must always strive higher from each stage. Goethe was led into these secrets by his diligent studies from phenomenon to phenomenon. And now we see him grow.

The same spirit that he first summoned, and of whom he could only say, “Terrible face!” is addressed by Goethe through Faust, after Goethe himself had reached a higher level after his trip to Italy, after his journey, which I have characterized as one in which he wanted to permeate all of nature and art with his vision. Now Faust is attuned to the same spirit that Goethe himself was attuned to. Now Faust stands before the same spirit, which he thus addresses:

> Eminent Spirit, thou gavest me, gave me everything,  
> Why I asked. Thou didst not in vain  
> Turn thy face to me in fire.  
> Gavest me the glorious Nature's kingdom,  
> Strength to feel it, to enjoy it. Not  
> You only allow cold, amazed visitors,  
> Grant me into their deep chests  
> To look as into the bosom of a friend.  
> You lead the line of the living  
> Before me, and teach me my brothers  
> In the silent bush, in air and water.  
> And when the storm roars and creaks in the forest,  
> The giant spruce topples, brushing neighboring branches  
> And squashing neighboring trunks,  
> And the hill thunders hollowly hollow;  
> Then you lead me to the secure cave,  
> Then you show me myself, and my own breast,  
> Secret, deep wonders open up.  
> And when the pure moon rises before my gaze,  
> Soothingly across: silver figures of primeval times,  
> and ease the strict desire of contemplation.

There Goethe has arrived, and with him Faust, to the heights, no longer turning away from the spirit that he had wanted to reach by leaping. Now the spirit presents itself as such that he no longer needs to turn away from it. Now he recognizes it in all living things, in all realms of nature: in forest and water, in the silent bush, in the giant spruce, in storm and thunder. And not only there. After it has appeared to him in the great outdoors, he also recognizes it in his own heart: its secret, deep wonders open up.

This is a step forward in Goethe's knowledge of the spirit, and Goethe did not rest on his laurels. We then see how, spurred on by Schiller, he sought to deepen his knowledge, particularly in the 1890s. This knowledge enabled him to go beyond the vague characterization of spiritual consciousness that a spirit lives in everything. He succeeded in grasping this spirit in a concrete way. But Goethe needed much preparation before he was able to depict the life of the human spirit in the sense that spiritual and psychological things can only come from spiritual and psychological things. However, the fact that Goethe never failed to attempt to get deeper is shown by some of the works he created before the second part of Faust was completed. The second part of Faust shows the heights to which he has risen. Some have already turned away from him when they got to know the introspective Goethe in Pandora. Even today we hear people say: the first part of Faust is full of life, it breathes direct naturalness, but the second part is a product of Goethe's old age, full of symbols and contrivances. Such people have no idea what is in it, what infinite wisdom is in this second part of “Faust”, which only the Goethe of his rich life could have produced in his old age, leaving it as a testament. Therefore, we also understand when Goethe writes the lines about some works that already breathe the spirit of “Faust”, and we know that he presents Faust as a struggling soul, a soul that has been overtaken by something new. We recognize it in the anger he poured out on those who called “Faust” an inferior work of old age. He says of them:

> They praise Faust,  
> And what else  
> In my writings roars  
> In their favor;
> The old Mick and Mack,  
> That pleases them very much;  
> They think the riffraff,  
> It would no longer be!

Goethe once put into words his feelings towards those who believe that only what Goethe achieved in his younger years has validity, who do not want to ascend to what he achieved in his more mature years.

After Goethe has introduced Faust into the life that directly surrounds us, and has allowed him to experience that wonderful tragedy of Gretchen, he leads him out into the world that is outwardly the great world, first of all into the world that is outwardly the great world: the world of the imperial court. There Goethe now wants to show that Faust should now really penetrate spiritually into the secrets of this world. But then Faust should be introduced to the real spiritual world, to the supersensible world.

Right at the beginning of the second part, we see how Goethe has Faust surrounded by all kinds of spiritual beings. This is to express that Faust is not only to be led into an external physical world, but that he is also to experience what can be experienced by someone whose spiritual eye is open, whose spiritual ear is learning to perceive. Therefore, in the second part, Goethe shows us step by step the nature of the human soul, human development. What is Faust to experience? He is to experience the knowledge of the supersensible world. He is to be initiated into the secrets of the supersensible world. Where is this supersensible world?

When we consider the spiritual content of “Faust”, we can only begin to address the question of Mephistopheles, the spirit that surrounds Faust from the very beginning and plays a part in everything Faust undertakes. But it is only in the second part, where Faust is to be led into the spiritual world, that we see what role Mephistopheles plays. After Faust has gone through the events at the “imperial court”, he begins to see what is no longer there in the sensual world: the spirit of Helen, who lived centuries and centuries ago. She is to be found for Faust. She cannot be found in the physical world. Faust must descend into the spiritual world. Mephistopheles has the key to this world, but he cannot enter this spiritual world himself; he can describe it intellectually. He can say: You will descend. One could also say: You will ascend. He then actually describes the spiritual world into which Faust is to descend in order to get to know it supersensibly, to find in it the spirit, the immortal, the eternal that has been left behind from Helena. A word is spoken, a wonderful word: Faust is to descend to the Mothers. What are the “Mothers”? One could talk for hours if one wanted to characterize exactly what the Mothers are. Here we need only say that the Mothers were for spiritual science at all times what man gets to know when his spiritual eye is opened. When he looks into the physical world, he sees all things limited. When he enters the spiritual world, he comes into something from which all physical things come out as ice comes out of a water pond. As one who could not see the water would say: Nothing is there but ice, it piles up out of nothing — so says he who knows not the spirit: Only physical things are there. He sees not the spirit that is between and behind physical things, out of which all physical things are formed as ice is formed out of water. There, where the source of physical things is, which is no longer visible to the physical eye, are the Mothers. Mephistopheles is the being that is to represent that intellect which only knows what is outwardly formed in space, which knows that there is a spiritual world but cannot penetrate into it. Mephistopheles stands there beside Faust, as the materialistic thinker stands today beside the spiritual researcher, and says: “Ah, you spiritual scientist, you theosophist, you want to see into a spiritual world? There is nothing in there, it is all a dream. It is all nothing. To the materialist, who wants to build firmly on what the microscope and the telescope reveal, but who wants to deny everything that lies behind physical phenomena, the spiritual researcher cries out: “In your nothingness I hope to find the All.” Thus the materialistic thinker stands opposed to the spiritual man, who hopes to find the spirit precisely where the other sees nothing. These two powers will confront each other forever. And from the very beginning, Mephisto confronts Faust as the spirit that can lead to the door, but cannot cross that threshold. The theosophist or spiritual scientist does not say: material science is nothing, is unnecessary. — He says: we must take this science seriously, study it, but it only has the key, it leads us to where the true spiritual life is to be found.

Faust then descends into the realm of the mothers, into the spiritual world; he succeeds in bringing up the spirit of Helen. But he is not yet mature enough to truly connect this spirit with his own soul. Hence the scene where passion stirs in Faust, where he wants to embrace the image of Helen with sensual passion. That is why he is repulsed. This is the fate of everyone who wants to approach the spiritual world from personal, selfish feelings. He is repulsed, as Faust is repulsed when he has brought up from the realm of the mothers the spirit of Helen. Faust must first mature, learn to recognize how the three members of human nature really come together: the immortal spirit that goes from life to life, from embodiment to embodiment; the body that lives between birth and death; and the soul that stands between the two. Faust is to learn how body, soul and spirit are connected and how they belong together. Faust has already sought the archetype of Helen, the immortal, the eternal that passes from embodiment to embodiment, from life to life, but in an immature state. Now he is to mature in order to become worthy of truly entering the spiritual world. To do this, Faust must learn how this immortality first approaches the human being when he can embody himself again in a new life between birth and death in his physical existence. Therefore, Goethe must show how the soul lives between spirit and body, how it places itself between the immortal spirit and the body that stands between birth and death. This is what Goethe shows us in the second part of “Faust”.

In Goethe, the soul is hidden in that wondrous structure about which Goethe researchers do not know much to say, in which spiritual researchers who are well-versed recognize the archetype of the soul. This is nothing other than the wonderful structure of the homunculus, the little human being. This is an image of the human soul. What does this soul do? It is the mediator between body and spirit; it must draw the elements of the body from all realms of nature in order to connect with them. Only then can it be united with the immortal spirit. Thus we see how Faust is led by this homunculus into the realm of the natural philosophers Anaxagoras and Thales, who have been reflecting on the origin of nature and life.

Therein is shown the true doctrine of evolution, which goes back to the fact that not only an animalistic element underlies human development, but also a soul that gathers the elements from nature to gradually build up the body. Hence the advice given to the homunculus: you must start from the lowest realm in order to ascend to higher and higher ones. The human soul is first referred to the mineral kingdom. Then it is told: “You have to go through the plant kingdom.” There is a wonderful expression here: “It grunts so” to describe the passage through the plant world, the juicy green. There the soul gathers all the elements of the natural kingdoms in order to ascend. It is explicitly said: “And you have time until you reach the human being.” Then we see how the spirit of love, Eros, approaches after the soul has formed the body out of all the realms of nature. There it unites with the spirit. Body, soul and spirit are united. Here that which is the soul of the homunculus, that which it organizes into the body, unites with the spirit of Helen. That is why Helen can appear to us in the third act of the second part in the flesh. We see the doctrine of re-embodiment poetically and artistically enshrined in the second part of Faust. One does not unite with Helena by drawing her to oneself in stormy passion, but by truly living through the secrets of existence, truly living through the re-embodiment.

Goethe was not yet able to express the idea of repeated lives on earth in the way we can today, but he did include it in the second part of his “Faust”. That is why he was able to say to Eckermann: “I have written my ‘Faust’ in such a way that it is suitable for the theater; that the images it presents are outwardly sensually interesting for those who only want to see outwardly sensually. But for those who are initiated, it will be evident that the deepest things have been woven into the second part of “Faust”. - Goethe expressly pointed out that one can find his view of life, his spiritual view, in this poetry. And so we now also understand that Goethe was able to illustrate to us in this reconnection of Faust with Helena what true mysticism is.

Faust unites with the spiritual world. Not an ordinary child is born, but Euphorion, who is as true as he is poetic. He represents for us what comes to life in our soul when it unites with the spiritual world. When the soul penetrates into the secrets of the spiritual world, there comes a moment of development in the soul that is of tremendously deep significance for that soul. Before the soul can go further, it must first, for brief moments, gain connection with the spiritual world, to know for a very short time what the spiritual world is. Then it is as if a spiritual child were born out of spiritual knowledge. But then come the moments of life again, when this spiritual child seems to have disappeared into the spiritual world. One must grasp this with the heart, full of life, then one feels, like Euphorion, the mystic's spiritual child, despite all the poetic truth of life, sinks down into the spiritual world, cannot yet fully enter Faust, but as he passes over, something else does. That is an experience of the spiritual researcher, the spiritual seeker, when our soul has the hour when it truly senses its relationship to the spiritual world, and when knowledge appears as a child of a marriage with the spiritual world. Then it experiences it deeply when it sinks into the everyday, and it is as if it takes with it the best that we have. It is as if our own soul were to escape and go with it into the spiritual world. When one has felt this, one feels the spiritual words of Euphorion, who has sunk down, and who cries out from the dark depths: “Let me not alone in the gloomy realm, mother, let me not alone.” The true mystic knows this voice, the voice that calls from the spiritual child to our soul as its mother.

But this soul must go further. It must break away from that which is only personal passion. We must be able to devote ourselves to the spiritual world impersonally. As long as there is still self-interest, self-will, we cannot grasp the spiritual world. Only then can we grasp this spiritual world when all that is personal has been erased before the higher things of the spiritual world; only then can we truly enter the spiritual world permanently. But there are still many moments when we have already experienced that moment that pushes us back into the physical world, moments that take away all mysticism for a long time. These are the moments when we have to say to ourselves: Yes, even if we have overcome all selfishness and self-will, there still remains this or that, as it is left behind in Faust, even after he has said: “I stand here in the open, I only want to work, to gain everything from nature, to do something only for others.” But he has not yet come that far. As he looks at the hut of Philemon and Baucis, something disturbs his view, he shows: he has not yet overcome the selfishness that wants to be pleased by the sight. He wanted to create a possession, selflessly, but he cannot yet bear what disfigures him: the hut of Philemon and Baucis. Then the spirit of evil approaches him once more. The hut is burnt down. Then that appears to him which appears to everyone who undergoes development: the worry that approaches everyone who still has selfish aspirations within them and which does not allow them to ascend into the spiritual world. Here it is, worry, and we learn to recognize it in its true form; then it is something that can lead us to the last of real spiritual knowledge. It is not intended to show that man should become unworldly, hostile to the world, but how man in the world should get to know that which does not let him go from the world. In wise self-knowledge, we should let worry take a back seat so that we can become free from the selfishness of worry, not from worry itself, which is illustrated by the fact that worry says it creeps in through a keyhole. When we get to know this worry, not just feel it, but learn to bear it, then we attain that degree of human development that opens the spiritual eye to us. This is illustrated by the fact that Faust goes blind in old age, can no longer see with his physical senses, but can look into the spiritual world. “The night seems to penetrate deeper and deeper.” It is dark on the outside, but inner bright light, the light that can illuminate the world, shines, the light in which the soul is between death and birth: the realm of the mothers. Only now can Faust begin his journey into the spiritual world, where his ascension is so beautifully described.

Then Goethe can summarize what has become of Faust, from the intuitive striving of that person who despairs of science and turns away, to what he has become from that stage to the highest spiritual knowledge. He can summarize it in the Chorus mysticus, which, as its name indicates, is intended to signify something deeper. In this Chorus mysticus, it is intended to summarize paradigmatically in a few words what holds the key to all the secrets of the world, how everything that is transitory is only a parable for the immortal. That which the physical eye can see is only a parable for the spiritual, the immortal, of which Goethe showed that he even attained the knowledge of re-embodiment when he entered into this spiritual. It shall finally be shown that when man enters into the spiritual kingdom, then all that is present in the physical world as presentiment, as hope, is there a truth. What is striven for in the physical world becomes a presentiment in the spiritual world.

It may appear pedantic when I state here something that one must know to understand the final words.

Goethe spoke somewhat unclearly in his old age because he was toothless. He dictated the second part of his “Faust” to a scribe. Since he still had some of the Frankfurt dialect, some words and sounds came out a bit unclear. So for some words, the scribe used g's where there should have been ch's. For example, “Erreichnis” was written as “Ereignis”. When dictating the final words of Faust, Goethe spoke “Erreichnis”. The inadequate becomes here something that can be achieved, an “Erreichnis”, that is, with two r's and two ch's. Everywhere, in all editions of Goethe's works, you will find “Ereignis” written. Goethe researchers know so little about penetrating into the sense. That which is inadequate in the physical world becomes “achievement” in the spiritual world. What cannot be described in the physical world is done in the spiritual world. There it becomes a living deed.

And finally, we experience the great thing that Goethe is allowed to express in the closing words of the second part of “Faust”: “The eternal feminine”. Oh, it is a sin against Goethe to say that Goethe means the female sex by this. Goethe means that depth which the human soul represents in relation to the mystery of the world, that which longs as the eternal in man: the eternal feminine, that draws the soul up to the eternal immortal, the eternal wisdom, and that gives itself to the eternal masculine. The eternal feminine draws us up to that which is the eternal masculine. It does not refer to something feminine in the ordinary sense. Therefore, we may well seek this eternal feminine in man and woman: the eternal feminine that strives towards the eternal masculine in the cosmos in order to unite, to become one with the divine-spiritual that permeates and interweaves the world, towards which Faust strives. This secret of men of all times, towards which Faust has been striving from the very beginning, this secret to which spiritual science in a modern sense is to lead us, is expressed by Goethe in a paradigmatic and monumental way in those beautiful words at the end of the second part of Faust, which he presents as a mystical spirit-choir, that all physical things which surround us in the world of sense, Maya, illusion, deception, are a parable of the spiritual. But we see this spiritual when we penetrate to what covers it like a veil. In this spiritual we see what cannot be achieved here on earth. We see that which is indescribable for the mind bound to the senses, transformed into real action when the spirit of man unites with the spiritual world. “The indescribable, here it is done.” And we see that which is significant, where the soul unites, lives together with the eternal masculine of the great world, which lives through and weaves through this world. That is the great secret that Goethe expresses with the words:

> All that is transitory  
> Is but a parable;  
> The inadequate,  
> Here it becomes reality;  
> The indescribable,  
> Here it is done;  
> The eternal feminine  
> draws us on.

Goethe was able to say to himself: Now I have done my life's work. It does not really matter now what I accomplish on earth during the rest of the time I have left to live.

Goethe sealed up the second part of his “Faust”. And this second part was not given to mankind until after his death, and mankind will have to draw on all of its spiritual science to penetrate the secrets of this mighty work.

Today, only sketches could be given. One could spend hours and weeks using all the means of wisdom to illuminate what Goethe gave to mankind as a testament. May humanity open up this testament more and more! Seal after seal will fall, the more people will have the will to penetrate the secrets of the second part. The voices of those who say, “You are seeking to find something in there that Goethe never intended to put in his work,” will fall silent. Those who speak thus do not know the depths of Goethe's soul. Only those who see the highest in this work and in what Goethe condenses into the mystical chorus, which can conclude so many reflections that are intended to lead to the spirit, recognize this.