# Faust, the Striving Human Being

## GA 272 — 14 August 1915, Dornach

### 7. Faust's Ascension

Tomorrow we will attempt to present the final scene of Goethe's “Faust” in eurythmy. It will be apparent that my reflections today and tomorrow will be linked to the end of the second part of Goethe's Faust. We are, of course, dealing with one of the greatest poetic attempts in world evolution, with regard to the entire second part of Goethe's Faust, but especially with regard to the final scene, which is based on the most significant spiritual truths. Nevertheless, as true as it is that Goethe's “Faust” allows for different degrees and levels of understanding, it is also true that one can always go further and further in terms of seeking out what has flowed from Goethe's infinitely rich spiritual life into “Faust” and especially into the second part of “Faust”.

Furthermore, we shall see that the very end of the second part has so many occult truths to reveal to us, if we go to the subtleties in the presentation of the same, as hardly any other writer in the world has tried to reveal so far. And we shall see that these truths are enshrined by Goethe in the second part of “Faust” with a wonderful—to use an apparently pedantic expression—occult-appropriate science.

Now I must frankly admit to you that I would not dare to speak about Faust in the way I want to, if I did not have a Faust and Goethe problem that has never been dormant since 1884. Therefore, perhaps I may be permitted to hint at many things in aphorisms, which would require much more detailed substantiation for anyone who does not start from spiritual science. Nevertheless, I must confess that I do not approach the subject without a certain shyness, especially when it comes to linking occult observations to Goethe's “Faust” or to any other work of literature. For then all the lamentable things that have been done by occultists and non-occultists in the interpretation of poetry arise before my eyes.

One must really be somewhat appalled at the occultistic discussion of poetry when one considers what has been done in the world with regard to such interpretations, whether from the side of science or from so-called theosophists! And so please allow me to send a kind of introduction in advance, from which you can see how little inclined I myself am to dream occult truths, occult insights, into any kind of poetry of the spiritual development of humanity, and how hard I try to present only what can really be considered absolutely established.

Now, it is my custom when I have to talk about a subject to first immerse myself in the subject in a broader sense. When taking occult considerations seriously, it is necessary to immerse oneself in the whole atmosphere in which the subject is placed. And so I endeavored to immerse myself in Goetheanism once again.

For this purpose, I had to procure a great deal of literary material that I had studied decades ago. So I took up Goethe's “Prophecies of Bakis” again. These are thirty-two sayings clothed in enigmatic form, so to speak thirty-two riddles. Now you can imagine that an enormous amount has been written about what Goethe called “prophecies” and over which he poured, so to speak, oriental wisdom – it is a particular food for literary historians. Thus, in the thirty-two riddle verses, the most diverse people have seen the most colossal secrets.

I will give you a characteristic example in a moment. It is the twenty-ninth and thirty-third riddle verse that Goethe coined. It is quite good that we delve into these types of riddle verses before we go to the last scene of “Faust”.

> One thing I know and revere, even worship at its feet;  
> Placed on the crown of the head, it is cursed by everyone.  
> I know one thing, and it firmly presses the lip shut;  
> But in the next moment it is the loathing of the world.

It must be said: it sounds quite mysterious! And the thirtieth riddle is:

> This is the highest, and at the same time the basest!  
> Now the most beautiful, and at once the most hideous too.  
> Drink it up, and taste no deeper:  
> Beneath the enticing foam the dregs sink to the bottom.

Before we imagine how a theosophist might “interpret” these mysterious verses, let us look at an exoteric. We will not be able to make sense of what he says, but that does not matter; it shows us what is meant by “science”: “A most remarkable turn! Goethe chose this form to conceal and at the same time reveal his meaning.” Another Goethe interpreter has referred to these verses as “Freedom and Love”. The good man is at a loss and now wants to point out an explanation himself. “The highest, and at the same time the most abominable.” That should be: youth. That is both the highest and the most abominable. He says: That solves the mystery by itself.

That is an exoteric! An esoteric could say: You have to go much deeper than that!

> One I know and venerate, yes, worship at its feet;  
> Placed on the crown of the head, it is cursed by everyone.  
> One I know, and it firmly presses the lips together;  
> But in the next moment it is the loathing of the world.

This refers to the plant, one could say, which represents the inverted human being. It can be associated with the Logos and Lucifer, or with white and black magic, and so on! Such explanations are widespread in the theosophical literature by the thousands.

Now, the art of familiarizing oneself with spiritual science does not consist in knowing how to apply what one has absorbed in spiritual science to anything at all, but in knowing how to relate to it in the right way – in our case, for example, to Goethe. Spiritual science should not lead us to all kinds of craziness, but should take us to where truth flows. And then one finds that the first two lines of the first verse mean — a slipper, and the last two, a cigar. Goethe hated cigar smoke. Yes, that is the truth, it is not profound, but it is as Goethe meant it. And the solution of the second verse is: spirit. As the spirit it is the highest, in alcohol as intoxication it is the most abominable. It is quite good to demonstrate such a process once, because you really should not be blinded by the art of interpretation and all sorts of profound arts, but you should be guided to where the truth is.

Goethe has also been made into a national chauvinist. But he was not at all. Take the fifth verse:

> Two I see! The great one! I see the greater one! The two  
> rubbing with hostile power, one upon the other. Here are rocks and land, there are rocks and waves!  
> Which is the greater one, the fate speaks only.

This was taken to refer to the struggle between France and England for control of the continent. However, the commentator quoted above rejects this and says that the French Revolution and the German people are meant. This is quite foolish! What is really meant is life and death!

Now, this matter must be taken very seriously indeed. Just because something can be proved, that is absolutely no proof that the matter is right.

I wanted to say this in advance so that you do not think that I want to fall into the same error when explaining the final scene of 'Faust'. This final scene presents us with what could be called 'Faust's Ascension'. As is well known, Faust has gone through severe aberration, and also through all the possible madness and confusion of the wider, larger world. This is how it should be shown: Faust is to be led under the influence of Ahriman-Mephistopheles through the aberrations of the world, but the deepest thing that is embodied as the eternal in the human breast should not be able to be corroded by that which comes from Mephisto-Ahriman. In the end, Faust should still be able to be absorbed by the good spiritual worlds. That is what Goethe set out to achieve with his Faust epic.

Anyone who has learned something about the spiritual worlds through spiritual science and has little artistic sense within them can generally form an idea of how they would imagine it. For Goethe, who was an artist in the most intimate and highest sense, it was not so easy. He could not simply depict how Faust ascends to heaven and turn it all into an abstract, allegorical construct. For him, that would have been symbolism, a straw he was not willing to use. He wanted art. He wanted something that would endure and be secure in the face of true reality. That is what he wanted to be there. And so it occurred to him: How should I now present this on the stage, so that Faust is led into heaven? One can only place objects of the physical plane into it, they can only hint at something symbolic, but that would be straw, that would be no art! Even with all kinds of machinery one could only represent straw. Goethe first had to seek the means through which Faust can penetrate as a soul into the spiritual worlds. One cannot penetrate into the spiritual worlds through the air, one cannot penetrate through the external physical elements. Where is something real that can provide the means by which Faust can penetrate? That can only be what the spiritual represents on earth. Yes, where is that on earth? That is the consciousness that receives the spiritual! That is, Goethe first had to create a reality of consciousness that would receive the spiritual. He does this by placing people in his scenes, people in whose consciousness the spiritual can be said to live: monks, anchorites, and he layers them on top of each other. And one can say that a soul's ascent into the spiritual worlds is a real process. To present a spiritual process before an ordinary parquet floor would not be real, it is not rooted there; but it is rooted in the souls that Goethe presents. So he first tried to depict the consciousnesses that observe the spiritual process. So he presents the choir and the echo, which can perceive the elementary world of the spirit in the sensual-physical. They have prepared themselves not only to see the outer physical nature, but also within the physical plan the spiritual world into which the soul of Faust must enter.

And now it is described in such a way that only these monks can feel it. For just take the words, they are really not descriptions of physical processes:

> Forest, it sways along.

It is as if one feels the elemental world emerging from natural things.

> Woods, they sway towards it.  
> Rocks, they press against it.  
> Roots, they cling to it.  
> Trunk close to trunk up to it.  
> Wave after wave splashes against it.  
> Cave, the deepest, protects it.  
> Lions, they slink silently –  
> friendly around us,  
> a place consecrated to honor,  
> a holy love-nest.

There is an echo to this chorus. This is not without significance. It is meant to suggest to us how truly all-encompassing that which comes from elementary nature is.

Now we are led at the same time to something that becomes a wonderful intensification in Goethe. We are presented with three advanced anchorites, the Pater ecstaticus, the Pater profundus and the Pater Seraphicus, three who have attained higher levels than the others, who as anchorites only describe the processes just described. But there is a wonderful progression from the Pater ecstaticus through the Pater profundus to the Pater Seraphicus.

The Pater Ecstaticus is concerned with the lower stages of perfection, with sensory experiences, with being within oneself. The Pater Profundus has already progressed to the point of going from within outwards, of experiencing that which nature lives through as spirit and which is at the same time human spirit. Seen from the spiritual point of view, he stands higher than the Pater Ecstaticus. We can say: the Pater Profundus sees the spirit in the cosmos, which for him simultaneously becomes spirit in man. The Pater Seraphicus sees directly into the world of the spirit; for him it does not reveal itself through nature, but he deals directly with the spirit.

Hence the mysticization of the Pater ecstaticus through inner development. What is said now means nothing but inner states:

> Eternal bliss,  
> glowing bond of love,  
> boiling pain of the chest,  
> foaming divine joy.  
> Arrows, pierce me,  
> Lances, vanquish me,  
> Maces, crush me,  
> Lightning, batter me;  
> That the vain  
> All evaporate,  
> Shine the permanent star,  
> Eternal love's core.

We have already covered the Pater profundus, which leads to the stage of feeling the spirit through nature.

> Like the rocky abyss at my feet  
> It weighs heavily on the deep abyss,  
> Like a thousand streams that flow radiantly  
> To the horror of the foam of the flood,  
> How straight, with its own powerful drive,  
> The trunk carries itself into the air:  
> So it is the almighty love  
> That forms and nurtures everything.  
> There is a wild roar around me,  
> As if the forest and rocky ground were surging!  
> And yet, lovingly in the roar,  
> The water rushes to the gorge,  
> Called to water the valley;  
> The lightning, which struck down in flames,  
> To improve the atmosphere,  
> Which carried poison and haze in its bosom:  
> Are messengers of love, they announce  
> What surrounds us eternally,  
> My innermost being may also ignite it,  
> Where the mind, confused, cold,  
> Tormented in dull senses,  
> A crowd of locked chains of pain.  
> Oh God! Soothe the thoughts,  
> Enlighten my needy heart.

Now, in the Pater Seraphicus, there comes an immediate grasp of the spiritual world into which Faust is to be accepted, that is, of the spirits in whose midst Faust is now to enter. For this, a consciousness must first be presented: that is the Pater Seraphicus; he provides the medium through which the blessed boys can appear. And now, again, wonderfully, I would say expertly and appropriately observed:

> What a morning cloud floats  
> Through the firs' swaying hair!  
> Do I sense what lives within?  
> It is a young ghostly host.

Goethe has children appear who died immediately after they were born; in the vernacular, they are called midnight babies.

Faust is to join the company of such midnight babies first; they know nothing of the world, their consciousness of the past has been clouded by their birth, and they know nothing of the new world yet. This belongs together with the ascension of Faust. As in the physical world there is no lightning without thunder, so in the spiritual world such an ascension of Faust is not without the blessed boy's realization of himself.

> That a lover is present,  
> Do you feel, so just approach;  
> But from rugged earthly ways,  
> Happy ones! you have no trace.

Spiritual beings can only see the physical plane through our eyes and ears, otherwise they see the spiritual. When a ghost sees a hand, it sees the will that moves the hand and the form; if it wants to see the physical of the hand, it must use a physical eye.

> Descend into my eyes  
> world and earthy organ,  
> You can use them as yours,  
> Look at this area!  
> (He takes it in.)  
> These are trees, these are rocks,  
> waterfall that crashes  
> And with tremendous rolling  
> Shortens the steep path.

The blessed boys are now inside with Father Seraphicus. He gives them so much of his spiritual strength that they can ascend to higher spheres. This shows once again the connection between the spiritual and physical worlds. When we meditate, the spirits also benefit, which is why we should read to the dead. In this way, Pater Seraphicus gives the fruit of his meditation to the boys, and through this they ascend.

> Rise to higher spheres,  
> Always grow unnoticed,  
> As, according to an eternally pure way,  
> Strengthen God's presence.  
> For that is the food of the spirits,  
> Which in the freest ether reign:  
> Eternal Love's revelation,  
> That to bliss unfolds.

To know the “Faust” as here in Goethe a deepest occult truth of a world poem has been incorporated, means to be closer to the occult than any number of “occult” explanations can give.

Now the boys are in their own territory. They have crossed over from the realm of the spirits of form into the realm of the spirits of movement.

Now come the angels, bringing Faust's entelechy, that is, his immortality. They have snatched this member of the spirit world from Mephistopheles and bring it up with the words:

> The noble limb  
> Of the spirit world is saved from evil:  
> Whoever strives for it,  
> We can redeem him;  
> And if he has received love  
> From above,  
> The blessed host meets him  
> With a warm welcome.

The younger angels:

> Those roses, from the hands  
> Of loving, holy penitents,  
> Helped us win the victory  
> And complete the great work,  
> To gain this treasure of souls.  
> Evil retreated when we scattered,  
> devils fled when we struck.  
> Instead of the usual punishments of hell  
> the spirits felt the torment of love;  
> even the old master of Satan  
> was permeated with acute pain.

It is an occult sentence: to Mephisto-Ahriman, love is a consuming fire and a terrible gift of darkness.

> Rejoice! It is accomplished.

Now the more perfect angels:

> We are left with a remnant of earth  
> to bear,  
> And if it were made of asbestos,  
> It is not clean.  
> When strong spiritual power  
> The elements  
> Gathered up in itself....

What kind of earthly remnant is this? Our soul, when it lives on earth, absorbs through its perceptions, ideas and feelings what is going on on earth, and in so doing, the soul, as it were, draws to itself what lives in the elements of the physical plane. This cannot be separated immediately. Just as corpses used to be wrapped in a fabric made of asbestos to hold the ashes together, Faust's soul has a remnant of the material world that is not pure, even if it is like the asbestos that withstands fire.

> No angel parted  
> The united dual nature  
> Of the two intimate ones,  
> Only eternal love  
> Can separate them.

The angels cover their faces before the incarnation. This is a secret that can only be seen by those entities that can descend deeper than angels who have not experienced the incarnation. Only love can separate this.

Now the angels become aware of the blessed boys. The blessed boys receive what is being led up:

> Release the flakes.

Here Goethe again draws on physical processes to characterize spiritual processes. When the Benedictine monks die, they are wrapped in a special garment, the “flocca”, which is brown in color; all Benedictines are buried in the same flocca, hence the word “flakes”.

Here I have tried to take a liberty with respect to what is actually there in Faust. I have said: all this must be revealed to us through consciousness. Up to now, everything passes through the consciousness of the choir, the anchorites. Now Faust himself must ascend through consciousness, but he must ascend through full consciousness, he must fill a new consciousness completely, a new consciousness that is, however, identical with him, for he ascends as a fully developed human being.

Much in Faust is still unfinished, and certainly unfinished is the Pater Marianus, whom Goethe later called Doctor Marianus. This Doctor Marianus is there so that Faust may appear through his consciousness, so I simply let Doctor Marianus be Faust himself. The anchorite Doctor Marianus is at the same time Doctor Marianus and Faust.

Now it is a matter of the profound mystery of love, as permeating the world in the fully Christian sense.

Faust, speaking in a profane sense, has seduced Gretchen, Gretchen has even been executed, she has become innocently guilty, in her there is that innocence which rests enclosed in the mystery of man, and her love is an “eternal, enduring star”. If one wants to express this in an image, one comes to the Mater Dolorosa Gloriosa. She brings with her three penitents, she does not look at the guilt of these three, but at what is innocently guilty in them. To Doctor Marianus this secret is revealed.

> Here the view is unobstructed,  
> The spirit is uplifted.  
> There women pass by,  
> Floating upwards;  
> The glorious one in the middle  
> In a wreath of stars,  
> The Queen of Heaven,  
> I see it in the radiance.  
> (Enraptured)  
> Supreme ruler of the world!  
> Let me in the blue  
> Stretched out celestial vault  
> See your secret.  
> Appreciate what moves the man's chest  
> Seriously and tenderly  
> And with holy love  
> Towards you carry.
> Our courage is unconquerable  
> When you command us,  
> Suddenly the heat subsides  
> As you pacify us.  
> Maiden, pure in the most beautiful sense,  
> Mother, worthy of honor,  
> Our chosen queen,  
> Equal to the gods.
> Around her,  
> light clouds swirl.

Goethe quite appropriately allows the soul to emerge first from the nebulous clouds, and then to solidify into a finished form.

The chorus of penitents follows. It is magnificent that Goethe has taken, I would almost say, love in its sensual form and here has given it a religious transfiguration – for the second time; the Bible has already done so for the first time. Mary Magdalene has loved much in the real sense, but she has simply loved, and Christ sees only love, not sin, and so she also belongs to Christ. Then there is Maria Aegyptiaca and Una Poenitentium, otherwise known as Gretchen. It could also be called Doctor Marianus, otherwise known as Faust.

The blessed boys accept Faust into their circle. Faust seeks to find something of Mary in Gretchen through the Queen of Heaven, so a mystic choir may express what has taken place. This mystic choir contains great, succinct 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.

With this skeleton, I wanted to show you that Goethe really did depict this last scene appropriately, based on spiritual insight, and that he knew how to create the real foundations everywhere: the foundations of consciousness.

As one who is familiar with the subject knows, really understands, so has Goethe described. However, one must immerse oneself in what Goethe wanted. One must be in his intentions, as it were, have the dead Goethe standing before you as a living being. Because some things are not so easy to understand.