# Faust, the Striving Human Being

## GA 272 — 15 August 1915, Dornach

### 8. Mystical Knowledge and Spiritual Revelation of the Nature Perception of Spirits

*after a eurythmy presentation of Faust's Ascension*

We tried to give eurythmy performances related to Goethe's “Faust” at Easter and Whitsun and at the Feast of the Assumption. In a way, we felt the need to have these performances ready by the Feast of the Assumption. You will recall that, in connection with the previous descriptions from Goethe's Faust, I tried to show how the way in which Goethe went through his spiritual development can be highly effective as a model because we can see in him can see how the great personality, in particular, slowly and gradually acquires and slowly and gradually works through the process of arriving at a point of view regarding a matter that can then satisfy him. How many people believe that they are good Christians and understand Christianity. We had to point out that at the time when Goethe wrote the first scenes of his Faust, he basically had, if not an anti-Christian, then, one might say, an un-Christian way of feeling. Just take a look at what has been preserved as the – forgive me for using the distasteful title, but it has become common – so-called “Urfaust” (the “Primal Faust”), and then what was published under the better title “Faust, a Fragment”.

We can see from this that Goethe had to grow quite old before he was able to insert a Christian element into these things in the meaningful way of expressing the most secret impulses of his soul. This soul needed infinite deepening in world knowledge and world feeling. And when the fragment of Faust appeared in 1790, it did not yet contain the scene that Goethe could only write at a much more mature age, the scene where Faust is stopped from taking the step he wants to take, from suicide, by the Easter bells. It was only at a mature age that Goethe felt compelled to introduce this Christian element into the first part of his Faust. A genius must live through and experience much, much more before he feels ripe in his own way, whereas many others feel ripe so soon. And we see that Goethe really felt this way, so that he added something Christian, something of Christianity, to “Faust,” which he had begun in his youth – but also already in his later youth – and had carried out in certain scenes.

It is now characteristic that Goethe, so to speak, needed a new approach to work his way through his way of feeling and the inner workings of his feelings towards the world – I would say through a realm from which the Christian impulses have been torn – before he could approach Christianity in a new way, in a way that would satisfy his later age, and also in a poetic way.

Yesterday I already pointed out to you how appropriate and professional, to use the pedantic expression, the whole structure of the last scene of the Ascension of Faust is. But we look even deeper into the matter when we realize something else from the spiritual considerations.

Let us imagine: in a particularly suitable natural setting – a wilderness, mountain gorge, rocks and everything possible that makes an impression corresponding to mysticism – a choir, we can imagine a monks' choir, approaches and absorbs what is happening in its consciousness. We have heard why this choir of monks is there. To put it on a real footing, Goethe needed this consciousness outside as a medium to absorb the events associated with Faust's soul ascending into the spiritual world. What is happening? The choir first points out to us what is going on. We can say: this choir senses that which is otherwise dormant as movement. The world of the spirits of form is slowly beginning to merge into the world of the spirits of movement. It spiritualizes as it begins to be moved, that which confronts us elementarily – everything initially in motion:

> The forest sways,  
> the rocks press against it,  
> roots cling to it,  
> trunk close to trunk,  
> wave after wave splashes...

Why is that? Yes, that is because we are to be shown how a soul is to rise from this earthly existence, the physical plane, up into the spiritual world. A soul is to be wrested from the physical plane – the physical plane is also nature – a soul is to be wrested from nature. We now know that nature is permeated by the elemental world, that at the moment we pass from the rigid existence of nature to the elemental existence, everything is truly in motion. We cannot imagine that we can conjure up before our soul the idea of the soul of Faust ascending into the spiritual worlds if we cannot vividly visualize for ourselves the coming to life of nature and the release from the life of nature in relation to the soul of Faust. For it must be said: in the face of so much that is unhealthy, especially in mystical and occult movements, we have, in all that is allowed to tie in with Goethe's occultism, something thoroughly healthy, rooted in the solid ground of world reality. Goethe would not be able to present the spiritual world to us in any other way than by linking it to what confronts man on the physical plane, to nature, by showing, as it were, how nature spiritualizes itself before the healthy senses. And Goethe would never have said yes to an occultism that was not intimately connected with a real love of knowledge and of penetrating nature.

We can do an enormous amount to heal our spiritual science by striving to understand the secrets of nature. This is difficult in our time because, as was shown yesterday for research into the wisdom of the bakis or other things that arise before the soul's eyes in spiritual development, nature is approached in such a foolish way. And how is it? Just as those seemingly infinitely profound explanations of Goethe's eight lines, which are supposed to refer to everything possible, while they refer to slippers and cigars, so it is in reality with much of what is said today by science about nature. You see how much of what passes today as natural science bears just as little relation to the truth as what was communicated to you yesterday bears to philological science, and how Goethe's wisdom bears to what it actually refers to. That is why it is difficult in our time to gain from science the relationship to nature that Goethe actually has. But we must strive unceasingly to make our occultism thoroughly healthy. And there is no better, no more dignified starting point for our time than what Goethe has contributed to occultism.

We see how in the consciousness of the choir – whereby this now really enters into the impersonal of nature, in that the echo resonates – the spiritual of nature breaks free. And we can now hope that the same consciousness, which is capable of seeing through nature in such a way that everything comes from deep within nature, can also see the ascending soul. By first seeing it at all, the soul that is ascending in spirit sees it, completely placed in real life. But how do you get to see this spiritual world? I already mentioned yesterday: it is presented to us in a dignified way in three stages, in that the consciousness of the choir, which has a general awareness that spiritual essence is hidden within nature, the consciousness of the Pater ecstaticus, the consciousness of the Pater profundus, the consciousness of the Pater Seraphicus: these are successive stages of soul development. How the mystical development rises from self-absorption and the self to the realization of a further spirituality of nature, than the choir can see through, is shown to us in the transition from Pater ecstaticus to Pater profundus , and then in the transition from Pater profundus to Pater Seraphicus, how the soul can develop healthily, can truly develop into the spiritual world, so that it can see the spiritual world in its depths. Goethe had received guidance on this early in his youth, when he learned of the kind of contact Swedenborg had with the spirit world. We know that we should not overestimate this, but for Goethe it was a powerful stimulus. Swedenborg recounts that he associated with spiritual beings in such a way that they came very close to his mind, that they took possession of his sense organs, that they, guided by his eyes, saw the world and, of course, were able to communicate what they had seen and heard quite differently than the human soul. Thus Swedenborg experiences the spiritual world through those English beings who enter his sense organ. This made a great impression on Goethe, this entering of spirits into the human organism. So that in a certain respect it had become quite familiar to him how such a spirit deals with the spiritual world. These things were quite familiar to Goethe in general. What we have not yet been able to present here - we will do so later when our building is finished - is the fact that the Pater ecstaticus floats up and down. On May 26, 1787, Goethe wrote about Filippo Neri: “In the course of his life, the highest gifts of religious enthusiasm developed in him: the gift of tears, of ecstasy, and finally even of rising from the ground and floating above it, which is considered by all to be the highest.”

I want to emphasize this because I must tell you that Goethe did not write this unconsciously or as a mere fantasy, but because he was very well versed in these things, he knew them, knew them deeply. So he doesn't just let Pater ecstaticus float up and down because it occurs to him; we have to bear in mind that Goethe was a man who spoke of Filippo Neri in this way. This deepens the feeling tremendously. What is needed much less in these matters are clever explanations, and much more the ability to immerse oneself in Goethe's soul, to see how deeply he was connected in his soul with this ascent of the human being on this path of mystical knowledge. And then we see, the Pater ecstaticus shows us how the soul inwardly, in the manner of Meister Eckart or Johannes Tauler or Suso, takes in the divine reign, so that the soul comes to the point of confessing with Meister Eckart: “Not I, but the God in me wills and thinks and feels.” For if the soul continues to ascend, it will perceive spiritual revelation in nature from the elemental world, as we see in the Pater Profundus, whose inner being expands throughout the whole, all-encompassing nature.

Then the human soul, having undergone this, ascends to direct communication with the spiritual world, as we see in the case of Pater Seraphicus, who now really comes to perceive such spirits , such as the blessed boys, the midnight-born, who live as spiritual entities in all the spiritual activity and life that develops here between the dwellings of the anchorites and monks.

Thus, what comes to us most vividly – and it is the presentation of this living reality that is important – is that Goethe guides Faust's soul up into the spiritual world, but that he needs a spiritual setting to do so. We can guess how nature is set in motion, how elemental life rises out of nature, how nature's beings then develop into consciousnesses, which are ever higher, with the soul developing into the embrace of spiritual beings, as is the case with the blessed boys, and how it can then be the souls of penitents and also the soul of Faust himself. The entire spiritual scene contains this. And then there are wonderful increases right up to the end, where the Chorus mysticus expresses the mystery of the world, where we see how our spiritual eye is lifted up into a spiritual world. We make the ascent from standing in nature and on the firm ground of the physical plane to the spiritual worlds, into which the soul of Faust is taken.

During Goethe's lifetime, only the first part of Faust had been published, as we now have it. Then the scene: “Charming Area”, Faust bedded on flowery grass. Then individual parts of the scene at the “Imperial Court” from the first act of the second part. In it, a transition to the “Classical Walpurgis Night”, but not the Walpurgis Night itself, and then the “Helena Scene”.

Even during Goethe's lifetime, many people had thoughts about how Faust could be completed. If you follow these thoughts – and some of them were even printed – you will find that people already knew that Faust's soul must be redeemed, must ascend into the spiritual world. But all the ideas that people have come up with have something - there is no other way to put it - abstractly vague, something extraordinarily vague about them. Goethe once said to Eckermann that he had to call on Christian imagery to help him move from the vague to what he wanted to present as a spiritual reality.

And so, in his very old age, we are once again confronted with this wonder. Consider that Goethe wrote the whole pagan part, the whole pre-Christian part: Faust's connection with Helen. Then again something that is certainly not anti-Christian: the fourth act of “Faust”, that only after he has once more plunged into that in which not directly Christian impulses are at work, after he has once more wriggled through there, he is again to present the riddle of Faust in the highest sense, that only in his very old age, out of all pagan cult, he must plant Christianity in “Faust”. Goethe had to live to be eighty years old so that he could say to himself that he is able to use the Christian ideas in such a way that they are a garment for the path that the soul of Faust has to go.

It was Goethe who really paved the way for us to understand the Christ impulse more and more, a path we refer to in spiritual science. And the beginnings of this understanding, which we have now been able to experience, will be followed by many others in the future, when we are no longer able to be present or can only be present in subsequent incarnations. Goethe was the first to do this through spiritual science: to connect the penetration of reality with what flows in our soul through the Christ impulse. And Goethe has presented this in tremendous depth, but in such a way that it is always vivid and always appropriate.

Nature stands before us. The choir of monks, who initially appear before us pointing to the spiritual, see the elements emerging from nature, and spiritual-soul entities join the elements, that comes out of nature. Goethe already perceived this as a specifically Christian view. Christianity is not about always saying: Christ, Christ and Christ again! Christianity is not about always repeating Christian dogmas. It is a way of feeling, of relating to the world. And this feeling, this relating to the world, comes across in a wonderful way in the way Goethe presents it. The way this feeling lives through and permeates the last scenes of Faust is eminently Christian, and its Christianity is particularly evident to us in that the whole of Faust — despite the fact that some fragments and some parts remain unfinished — is so artistically great and so powerfully conceived that one only gradually comes to understand the tremendous artistic conception.

And before us stands the broad natural existence of the physical plane, which we see, in the truly Christian sense, transformed into the elementary and truly spiritual existence. Faust is led into this after he has gone through his connection with Helena, with the ancient spiritual world. Here, too, we are confronted by spiritual beings. Helena is led up from the underworld. Faust encounters her. She is surrounded by a chorus, twelve choruses surround Helena. When Helena returns to the underworld, the chorus stands there, and at this end of the third act the chorus shows itself to us as not yet fully matured into humanity, as elemental beings. And how does the chorus disappear in the third act of the second part of Goethe's 'Faust'? That is very interesting! There we are also dealing with elemental beings. And when Helen disappears, the chorus of these elemental beings also disappears. The chorus divides into four parts. What happens to one quarter of the chorus? Well, three members of the chorus describe how they disappear: they disappear into nature. Where Goethe presents paganism, he shows us the elemental beings who, as the twelve-voice chorus, surround Helen. They now disappear and merge with nature. Feel how the first part of the choir enters into nature:

> We, in this thousand branches whispering tremors, purring floats,  
> Attracting prancing, luring softly, root of the life sources  
> After the branches; soon with leaves, sometimes with flowers exuberantly  
> we adorn the fluttering hairs freely to airy prosperity.

That is, these beings of the choir become trees, become nature. They may then approach us, out of the Christian impulses, when they approach us again as a

> wood, it sways towards us.

The pagan elemental spirits disappear into nature, and they emerge again where the Christ impulse has come alive on the earth. Oh, how wonderfully this chorus disappears with Helena, and then - we know it from the last scene - when the beings, who have received the Christ impulse as blessed boys, emerge from nature. And take the other part of the chorus:

> We, on this rock wall, smooth as a mirror,  
> nestle, moving in gentle waves, caressing;  
> listening to every sound, birdsong, flutes of the wind.

Truly, these are the same rocks into which these elemental beings have slipped, and then “cling”, and from which the beings of the spiritual world later emerge, after they have received the Christ impulse.

You can see how deeply felt this Faust poem is, how there are other connections in it than those usually observed. And it is these connections that are so important. Goethe was aware of this. That he was aware of this is clear from a very specific suggestion that Goethe wanted to make when he was not quite finished with the third act of the second part of Faust. He had completed it roughly up to the disappearance of Helena and up to the “going out into nature” of these elemental choruses, just up to this scene, roughly as far as I have read now. Then he wanted to do what he did in a sense at the end of the third act, to let Mephisto arise from Phorkyas, and now Mephisto was supposed to express what Goethe actually wanted with this Faust at the conclusion of his “Faust.” That he let it be spoken through the mouth of Mephisto was for reasons of performance, because Mephisto is, so to speak, the one who brings about the third act after all. The third act is incorporated into “Faust” as a classical-romantic phantasmagoria. Mephisto is, so to speak, the one who introduces the third act with a kind of spiritualistic laboratory magic, he is supposed to say what Goethe actually wants by continuing “Faust”. At a time when Goethe already realizes that he must incorporate the Christ impulse into his work, he wants to say through Mephistopheles: “Certainly, there have always been times when people have recognized that at the bottom of sensual existence there is spiritual existence. We can go back to the mysticism of ancient India and ancient Egypt, where it was known and described that at the basis of natural existence there is something spiritual. But it does not befit us, Goethe wanted to say, to understand this spiritual reality today in the same way as it was understood in these ancient mystical systems. The Christ Impulse has brought into the world something completely new in relation to all ancient mysticism and all ancient wisdom. The old can no longer serve us. That is what Goethe wanted to say. And I am not just asserting that he wanted to say it, but the passage has been preserved. It is not in 'Faust' now, but the passage has been preserved, conceived by Goethe, with corrections added by his scribe, as indicated by Goethe. At the end of the third act, it is said how he demands the newer Christ impulse for his “Faust”, how he does not want some ancient wisdom, but something completely new in the sense of the Christ impulse. For Mephisto, when he is to appear before the audience, should speak the following words:

> Enough, you see him,

- Euphorion is meant –

> though much worse  
> than on the British stage, where a little child  
> gradually grows up to become a hero.  
> Here it is even more fantastic. No sooner is he conceived  
> than he is also born,  
> he jumps, dances and speaks a delicate word.  
> Many criticize this,  
> others think that this is not so straightforward  
> and that it is to be understood roughly, that there is something behind it.  
> One can well sense mysteries, perhaps even  
> mystifications, Indian and also  
> Egyptian elements, and anyone who likes to put it all together,  
> brew it up, etymologically back and forth  
> is the right man.

Goethe already senses something of those teachings that have come and have etymologically concocted everything, but he wants nothing to do with any of them, because he says here:

> We also say it, and our deep meaning will be a faithful student of newer symbolism.

Goethe says: not Egyptian, not Indian, but “to be a faithful disciple of newer symbolism”!

Then he came to incorporate the Christ impulse into his “Faust” in this way – not just by adding a Christian element here or there, but by enshrining the entire way in which the soul presents itself in the flow of his creation. And as we can see, he does that. We see how he really does know the development of mysticism in the progression of the three fathers, and on the other hand, we find how he wonderfully separates the initially unified choir of angels into two groups: the choir of younger angels and the choir of more mature angels. And when you read what the younger angels say and what the more mature angels say, we again find something quite remarkable. Take what the younger angels say first:

> Those roses, from the hands  
> of loving, holy penitents

- one must remember the previous scene –

> helped us to win the victory  
> and to complete the high work,  
> This treasure of the soul to win.  
> Evil fled as we scattered,  
> Devils fled as we struck.  
> Instead of the usual punishments of hell  
> The spirits felt the agony of love;  
> Even the old master of Satan  
> Was pierced with acute pain.  
> Rejoice! It has been accomplished.

But the angels can already be perceived in the previous scenes. These are now the younger angels. It is impossible to say how deeply one is touched when one lets the appropriateness of such a representation take effect on one. The younger angels – why that, the younger angels? That means: they are younger, they do not yet have so much connection with the earthly world.

In pre-Christian times, angels are the beings who cover their faces at all before the Incarnation on earth, who do not mix in the pre-Christian times with what is happening down below on earth. They remain at the very top in spiritual spheres.

Now think how characteristic these younger angels are, who have not yet found their way into the Christian sphere, but who are up there, who have not yet descended during the Christian sphere. Consider how the Elohim are characterized at the creation of the world. After the creation is presented to us from day to day, we are then told at the end: “And they saw that it was good,” or “beautiful.” The word that is used is difficult to translate. It means that the Elohim are such spiritual beings that they first make things and then see that it was beautiful. That is what matters. These are the other kind of entities that have attained perfection on the old moon and are now transitioning spiritually into earthly existence, doing first and then seeing and perceiving that it has been successful. These younger angels must have the perception of these spiritual entities; they must first say what they have done. Now they realize that they have strewn roses from the hands of the penitent, that they themselves have caused pain to the old Satan master.

So appropriately, Goethe writes that he knows: beings that have not come into contact with the Christian world only recognize the beauty and goodness of what has been done afterwards:

> Those roses, from the hands  
> of loving, holy penitents,  
> helped us win the victory...

That the victory was won comes afterwards. You see, I'm not delirious!

> Fogging around the rocky heights,  
> I just feel,  
> A ghostly life stirring in the  
> Nearby.  
> The clouds become clear;  
> I see a moving crowd  
> Of blessed boys,  
> Free from the pressure of the earth,  
> In a circle,  
> They refresh themselves  
> With the new spring and adornment  
> the upper world.  
> Be it from the very beginning  
> Increasing full profit  
> These joined!

The blessed boys are there long ago, and they have something to do with the appearance of these angels, but the angels only realize that they are there when the whole scene is set. Goethe is fully aware of all this. They do not carry that which is connected with the earth in the soul of Faust; that must be borne by those who have become a little older, more perfect, who have descended through the Mystery of Golgotha and come into contact with the earthly.

> A remnant of the earth remains for us,

say the more mature angels, not the younger ones.

> To bear it would be embarrassing,  
> and even if it were made of asbestos,  
> it is not clean.

And then they explain that through the Mystery of Golgotha they have now attained an insight for which the other angels veil their faces, how spiritual power connects with the elements that are mixed with the nature of earthly life. It is something quite tremendous to perceive how Goethe describes it, so expertly and appropriately, and how he knows how to characterize the individual members of the spiritual world correctly. When one compares the colorful, characterless stuff that others, who also wanted to represent spirits, concoct, it sometimes looks as if someone wanted to describe the external nature and would say: Oh, I went through the forest and meadow and saw such wonderful blue roses and such wonderful yellow chicory and such beautiful red and yellow violets and the like in the meadows – which is all wrong. Those who know the spiritual world find some descriptions to be extremely inept because everything is wrong. With Goethe, everything is right! That is the essential thing, to perceive not a crazy interpretation, but to perceive how this soul is rooted in the spiritual world at the moment when it decides to describe a spiritual event from within itself, as is the ascent of Faust into the spiritual world. And in doing so, the artistic, artistic compositional element in the spiritual!

I once tried to show you how, quite apart from what the Gospel of John actually is, there is something in the mood of the Gospel of John that makes it one of the greatest works of art. Remember the Kassel cycle on the Gospel of John! Truly, artistic endeavors of this kind, striving for artistic perfection in the spiritual, we find everywhere in Faust, but in such a way that the artistic in it is really, in being artistic, at the same time spiritually right. That is the significant thing. For it is essential that the world should more and more recognize that what is really recognized and experienced out of the spirit is the right thing, even when it is placed in the world. What is spun out of the spiritual usually looks like a house of cards in the world. But what is recognized out of the spiritual can be placed in the world.

This was the aim in the architecture of our building, that it should be truly created out of the spiritual. Therefore everything is feasible. It makes one all the less scrupulous when here and there people come and say: they don't like this and they don't like that. There are people like that who find fault with this or that in our building. But if you know the world a little and know that or to what extent people belong to the choir of those who interpret Goethe in the same way as that gentleman I told you about, you don't care about all the criticism, because that gentleman, for example, who was mentioned, could say whatever he wants about our construction and our way of thinking and so on, you wouldn't need to be impressed. And such is the spirit of the people after all. You just have to know life a little. But that which is born of the spiritual is possible because it is spirit and artistry at the same time.

And today I would like to point out at least one more thing. Three penitent women, together with the penitent woman otherwise called Gretchen, come to meet us. Yes, the artist never does that – the real, true artist – he never says: Now, I will have three penitent women appear. Where can you find three penitent women? – Of course, you can meet all kinds of people in life. There are people, really, such people, who take a rhyming dictionary and make up poetry according to it, you can start at the alphabet – whatever rhymes with that – and then comes the second line and so on. I knew people like that too. But a true poet, an artist, doesn't even do that. He doesn't just take three penitent women in any old way. Instead, as is particularly characteristic of Goethe, he brings us another of those wonderful intensifications, a case of wonderful inner composition that is both factually accurate and correct. What are the three penitent women supposed to be? First Mary Magdalene, then the Samaritan woman at the well, and then Mary of Egypt. Well, I have already hinted at it. They are meant to show us that there is something eternal in the female nature - “an eternal star of love” - that, as it were, cannot be eroded, Goethe wants to say, when it unites with the female soul, even with guilt. The love, the love that Christ brought, despite the fact that in their outer life they were by no means model human beings, but their souls were such that they could understand love. If we think about this correctly, we must say: Yes, something like the Christ impulse spreading throughout the world first seizes what is nearest, then it seizes what is further, then it seizes what is furthest. And it would be wonderful if the Christ's impulse of love spread like a wave, if it also took hold of the guilty and outshone the guilty, drawing ever wider circles. So, Mary Magdalene, the Jewish, the Hebrew woman, directly from the land that was intimately connected with Christ Jesus in Judaism: the closest environment is taken hold of by Christian love. Then He goes beyond the realm of Judaism, but still into the neighboring region, to the Samaritans, who have no ethnic community with the Jews: the second circle. And then He comes to the third circle. You know that what is presented as being very far removed from Christianity is presented as Egyptian: the Egyptian Mary. She comes from what is even more foreign out there in the pagan world, which is now grasped in a distant way, pushed back as if by an invisible hand because of the sin of touching the cross, and only atoning for the guilt through a forty-year penance: how far the waves of love reach out there!

We really see them, the waves of love, as they spread, and we understand something of what gradually crystallizes in Goethe's imagination as that which he then finally describes as the “eternal feminine”, in whose conception every trace of inferiority must be removed.

And the outpouring of love corresponds exactly, I might say, to the tone, the whole manner in which Goethe put the words into his mouth. Just try to find that wonderful intensification which now lies in the peculiar feeling, the rhythmic formation of the words:

> By the love that made  
> of thy Son, transfigured with God,
>
> We feel something like a trickling nearby.
>
> > At the well to which  
> > Abram used to lead his flock,  
> > At the bucket that was allowed to touch the Savior's cool lip;  
> > At the pure, abundant spring,  
> > Which now flows forth from thence,  
> > Abundant, eternally bright,  
> > Through all the worlds it flows —
>
> Imagine how it expands! With this whole presentation, we are actually in the immediate vicinity of the person of Christ. Then whole worlds are included in the presentation of nature. And then, as we come to the Egyptian Mary:
>
> > At the hallowed spot,  
> > Where they laid the Lord;  
> > At the arm that from the. gate  
> > Warned me, repelled me back;
>
> The invisible, the spiritual, is directly addressed. Once again, an intensification! It is not the case that one first needs to intellectually ascertain that these three circles really exist. One must feel them by pronouncing the words. That is the significant thing.
>
> And now let us consider the following. Through years of reflection, we have come to understand that before our evolution on Earth, there was a Saturnian era, then a solar era, then a lunar era, and that we are now at the Earth era. In a sense, the human being has gone through everything that has gone through these stages of development. Where, then, can we read the essence of these stages of development? It lies in the fact that these times were once there and then passed away again, and that the Earth time has emerged. But before the Earth time, man went through the Saturn, Sun and Moon time, and he carries the effect of these times within him. If we now examine modern man with the means of spiritual science, we find that the physical body, having acquired its first disposition on Saturn, then develops further through the sun, through the moon, to the earth, where it has once again connected with cosmic powers in order to take on something new. What the human being's physical body has gone through in these three stages – and here we touch the edge of a momentous mystery – in that the physical body has gone through it, has been most clearly expressed in the constitution of the inner female organs on Earth. The interior of the female organism, both the physical body and everything that is expressed as soul in connection with the physical body, bears the effects of Saturn, the Sun and the Moon in the most eminent sense. It is not without reason that the Bible relates how the Elohim took the dust, that is to say, that which was added to the earth only, like air and water – one thinks of the earthly element when one says 'dust' – to form Adam, the man. From the cosmos, the macrocosm, which the woman carries over from Saturn, Sun and Moon, is first joined with the male principle. There is a profound mystery about what confronts each other on earth as male and female. Of course, what has just been said refers only to what the male and female express in the organization of the human being. And this mystery is connected with the whole earth, is connected with the abilities that are proper to woman only as woman during earthly development, with the fact that the macrocosmic of Saturn, Sun and Moon development is carried over into woman's inner being and is taken up into woman's microcosm, while the macrocosm of the just preceding earthly development is taken up into man's microcosm. In a very special way, the feminine and the masculine carry the whole cosmos within them. And if I have often stated here that the human being carries the whole macrocosm within him, the feminine and the masculine organization carry it within them in a different way.
>
> A cosmic thought dawns on Goethe as he brings the penitentesses close to the Mater gloriosa. For what is the Mater gloriosa to him? She who has most purely carried over into earthly time the eternal effects of the time of Saturn, the time of the sun and the time of the moon, leaving them untouched by the earthly and connecting with the macrocosm by being allowed to prepare the Christ of the earth. The macrocosmic, the eternal aspect of the feminine draws upward. What draws upward? How could we still answer this question? By repeating the mystic chorus.
>
> That is what Goethe meant – only he does not want to use a general term – that is what Goethe meant.
>
> > All that is transient  
> > Is but a parable;  
> > The inadequate,  
> > Here it becomes attainable;  
> > The indescribable,  
> > Here it is done;  
> > The gloriosa Mater  
> > Draws us on.
>
> That which has been done, that which has taken place before us, at the same time draws the entire spiritual world upward.
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> Goethe's poem of life ends with a deeply Christian sentiment. We shall take up these aphoristic remarks (for that is what they should be) again in the following.