4. Goethe's Secret Revelation

On the occasion of his hundred and fiftieth birthday: August 28, 1899

When Johann Gottlieb Fichte sent Goethe the work in which bold intellectual power and the highest ethical seriousness found an incomparable expression, the "Grundlage der gesamten Wissenschaftslehre", he enclosed a letter containing the words: "I regard you, and have always regarded you, as the representative of the purest spirituality of feeling at the presently attained stage of humanity. It is to you that philosophy rightly turns: your feeling is the same touchstone." These sentences were written in 1794. Like the great philosopher, the bearers of the most diverse intellectual currents could have written to Goethe at that time. The poet and thinker Goethe was at the height of his life at this time. Albert Bielschowski, the biographer who most lovingly immerses himself in this personality and provides us with the most intimate picture of him, already felt the same way about Goethe's contemporaries in the 1990s: "Goethe had received a dose of everything human and was therefore the 'most human of all men'. His figure had a great typical character. It was a potentized image of humanity itself. Accordingly, everyone who approached him had the impression that they had never seen such a complete human being before."

This was Goethe's relationship to his spiritual environment when he entered his fiftieth year one hundred years ago. He stood there as an accomplished man. The study of antiquity had given his artistic work the degree of perfection that was demanded by the innermost essence of his personality and beyond which there was no further progress for him; his insight into the workings of nature had come to an end. From then on, all that remained for him was to carry out the ideas of nature that had taken root in his mind. At that time, the "most human of all men" had a completely mature effect on those around him.

Schiller expressed this in eloquent words in the letter he addressed to Goethe on August 23, 1794: "I have long watched the course of your mind, although from quite a distance, and have noticed the path you have marked out for yourself with ever renewed admiration. You seek what is necessary in nature, but you seek it in the most difficult way, from which any weaker force would be wary. You take the whole of nature together in order to shed light on the individual; in the totality of its manifestations you seek the ground of explanation for the individual... If you had been born a Greek, indeed only an Italian, and had been surrounded from the cradle by an exquisite nature and an idealizing art, your path would have been infinitely shortened, perhaps made entirely superfluous. Already in your first view of things you would then have absorbed the form of the necessary, and with your first experiences the great style would have developed in you. Now that you were born a German, since your Greek spirit was thrown into this Nordic creation, you had no choice but either to become a Nordic artist yourself, or to replace your imagination with what reality withheld from it through the help of the power of thought, and thus to give birth to a Greece from within, as it were, and in a rational way." Goethe replied on the 27th: "For my birthday, which comes this week, no more pleasant gift could have been given to me than your letter, in which you, with a friendly hand, draw the sum of my existence and encourage me through your participation to a more diligent and lively use of my powers."

We can expand on this sentence and say: Goethe could not have received a more meaningful gift in the time of his maturity than Schiller's devoted friendship. The latter's philosophical sense led Goethe's pure spirituality of feeling into new spiritual regions.

The beautiful similarity between the two spirits that developed is characterized by Schiller in a letter to Körner: "Each could give the other something that he lacked and receive something in return. Goethe now feels the need to join me in order to continue on the path that he had previously taken alone and without encouragement, in community with me."

Around the time his friendship with Goethe began, Schiller was preoccupied with the ideas expressed in his "Letters on the Aesthetic Education of Man". He reworked these letters, originally written for the Duke of Augustenburg, for the "Horen" in 1794. What Goethe and Schiller discussed orally at the time and what they wrote to each other was always linked to the ideas in these letters. Schiller's reflections concerned the question: What state of the soul's powers corresponds in the highest sense of the word to an existence worthy of man? "Every individual human being, one can say, carries within himself a pure, ideal human being by disposition and destiny, with whose unchanging unity in all his variations it is the great task of his existence to agree," it says in the fourth letter. A bridge is to be built from the man of everyday reality to the ideal man. There are two instincts that hold man back from ideal perfection if they are developed in a one-sided way: the sensual and the rational instinct. If the sensual instinct has the upper hand, man is subject to his instincts and passions. His actions are the result of a lower compulsion. If the rational instinct predominates, man endeavors to suppress instincts and passions and to pursue a purely spiritual virtue. In both cases, man is subject to compulsion. In the former, his sensual nature forces his spiritual nature into submission, in the latter, his spiritual nature forces his sensual nature into submission. Neither the one nor the other can justify a truly humane existence. Rather, this presupposes a perfect harmony of both basic drives. Sensuality should not be suppressed, but ennobled; instincts and passions should be raised to such a high level that they work in the direction prescribed by reason, the highest morality. And moral reason should not rule like a higher law in man, to which one submits reluctantly, but one should feel its commandments like an unconstrained need. "If we embrace with passion someone who is worthy of our contempt, we feel embarrassed by the compulsion of nature. If we are hostile to another who compels our respect, we feel the compulsion of reason. But as soon as he interests our affections and earns our respect, both the compulsion of feeling and the compulsion of reason disappear, and we begin to love him" (Letter 14). A person who experiences no coercion from either sensuality or reason, who acts out of passion in the spirit of the purest morality, is a free personality. And a society of people in which the natural instinct of the individual is so ennobled that it does not need to be restrained by the power of the whole in order to make harmonious coexistence possible is the ideal state towards which the state of power and coercion must strive. Outer freedom in living together presupposes inner freedom of the individual personalities. In this way, Schiller sought to solve the problem of freedom in human coexistence, which was on everyone's mind at the time and which sought a violent solution in the French Revolution. "To give freedom through freedom is the fundamental law" of a humane empire (27th letter).

Goethe found himself deeply satisfied by these ideas. He wrote to Schiller about the "Aesthetic Letters" on October 26, 1794: "I immediately read the manuscript sent to me with great pleasure; I slurped it down in one go. Just as a delicious drink, analogous to our nature, slips down willingly and shows its healing effect on the tongue through the good mood of the nervous system, so these letters were pleasant and beneficial to me; and how could it be otherwise, since I found what I had long recognized as right, what I partly lived and partly wished to live, presented in such a coherent and noble way."

This is the nature of the circle of ideas that Schiller stimulated in Goethe. Out of it has now grown a poem by the former, which, because of its mysterious character, has experienced the most varied interpretations, but which only becomes completely clear and transparent if one understands it from within the circle of imagination described: the enigmatic fairy tale with which Goethe concluded his story "Unterhaltungen deutscher Ausgewanderten", which appeared in the "Horen" in 1795. -- What Schiller expressed in philosophical form in his "Aesthetic Letters", Goethe portrayed in a lively fairy tale filled with rich poetic content. The humane state that man achieves when he has attained the full possession of freedom is symbolized in this fairy tale by the marriage of a young man to the beautiful lily, the representative of the realm of freedom, the ideal man that the man of everyday life carries within himself as his goal.

The largest number of attempts at interpretation undertaken to date can be found in the book "Goethes Märchendichtungen" by Friedrich Meyer von Waldeck (Heidelberg 1879, Carl Wintersche Universitätsbuchhandlung). I have found that these attempts at interpretation give nice suggestions and are in many respects correct, but that none of them is completely satisfactory. I have now sought the roots of the explanation in the soil from which Schiller's "Aesthetic Letters" also grew. Although my interpretation has had a convincing effect on many listeners in several oral lectures - the first time on November 27, 1891 at the Goethe-Verein in Vienna - I have so far hesitated to submit it to print. Nor have I yet added it to my book "Goethe's Weltanschauung", published in 1897. I felt the need to allow the conviction of its correctness to mature in me over a longer period of time. It has only strengthened to this day. The following cannot follow the course of the fairy-tale plot, but must be arranged in such a way that the meaning of the poem is revealed most comfortably.¹

One person who plays an outstanding role in the development of the events in the "fairy tale" is the "old man with the lamp". When he comes into the crevices with his lamp, he is asked which is the most important of the secrets he knows. He replies: "The revealed one." And when asked if he would not reveal this secret, he says: "If he knows the fourth. But the serpent knows this fourth secret and says it in the old man's ear. There can be no doubt that this secret refers to the state that all the characters in the fairy tale long for. This state is described to us at the end of the poem. We must assume that the old man knows this secret, for he is the only person who always stands above the circumstances, who directs and guides everything. So what can the serpent tell the old man? He is the most important being in the whole process. By sacrificing himself, he achieves what ultimately satisfies everyone. The old man obviously knows that he must sacrifice himself in order to bring about this satisfaction. What he does not know is when she will be ready. Because that depends on her. She must come to the realization of her own accord that her sacrifice is necessary for the common good. That she is ready for this sacrifice is the most important secret, and she tells the old man this in his ear. And now he can utter the great word: " It's time!""

The desired goal is brought about by the revival of the youth, by his union with the beautiful lily and by the fact that both realms, the one on this side and the one on the other side of the river, are connected by the magnificent bridge formed from the sacrificed body of the serpent. Even if the serpent is the author of the happy state, he alone could not bestow on the youth the gifts by which he rules the newly founded kingdom. He receives them from the three kings. From the bronze king he receives the sword with the order: "The sword on the left, the right free!" The silver king gives him the sceptre, saying: "Feed the sheep!" The golden one presses the oak wreath on his head with the words: "Recognize the highest! " The three kings are the symbols for the three basic powers of the human soul, and the words they speak indicate how these three basic powers should be expressed in the perfect human being. The sword denotes will, physical strength and power. Man should not hold it in his right hand, where it signifies readiness for conflict and war, but in his left hand for protection and to ward off evil. The right hand should be free for acts of noble humanity. The handing over of the sceptre is accompanied by the words: "Feed the sheep!" They are reminiscent of Christ's words: "Feed my lambs, feed my sheep!" This king is therefore the symbol of piety, of the noble heart. The golden king imparts the gift of knowledge to the young man with the oak wreath. The will, which expresses itself in power, in violence, piety and wisdom in their most perfect form are bestowed on the youth, the representative of a humane existence. These three powers of the soul are symbolized by the three kings. Therefore, when the old man speaks the words: "There are three that reign on earth, Wisdom, Appearance and Violence", the three kings rise up, each at the mention of the soul power of which he is the symbol. There seems to be an ambiguity in the fact that the silver king is presented as the ruler in the realm of appearances, while according to his words he is to signify piety. This contradiction is immediately resolved when one considers the close relationship Goethe establishes between aesthetic feelings - which the beautiful appearance of artistic works creates - and religious feelings. Just think of sentences from him like this: "There are only two true religions: the one that recognizes and worships the sacred that dwells in and around us, completely formless, the other that recognizes and worships it in the most beautiful form." Goethe sees art as just another form of religion. When he was struck by the beauty of Greek works of art, he uttered the sentence: "There is necessity, there is God."

From the meaning of the kings, we can infer other things in the fairy tale. The king of wisdom is made of gold. Where we usually encounter gold in fairy tales, we will therefore see in it the symbol of wisdom, of knowledge. This is the case with the will-o'-the-wisps and the snake. The former know how to acquire this metal easily and then throw it away lavishly and arrogantly. The serpent comes to it with difficulty, but absorbs it organically, processes it in its body and permeates itself completely with it. In the will-o'-the-wisps we undoubtedly have before us a pictorial representation of personalities who gather their wisdom from all sides and then give it away proudly and carelessly without having sufficiently imbued themselves with it. Unproductive spirits are the will-o'-the-wisps who spread undigested knowledge. If their words fall on fertile ground, they can bring about the very best. A person can impart teachings that he himself has no deep understanding of to another, and this other person can recognize a deep meaning in them. The serpent represents the solid human endeavor, the honest striding along the path of knowledge. For her, the gold squandered by the will-o'-the-wisps becomes a precious commodity that she keeps within herself. For Goethe, the thought of someone giving away the wisdom he had absorbed as a teacher was an uncomfortable one. In his opinion, teaching easily leads to appropriating science in order to be able to spend it again. He therefore considers himself fortunate that he can devote himself to research without having to hold a professorship at the same time. Only those who are in the latter position - apart from exceptions, of course - will truly immerse themselves selflessly in things and serve true humanity. Those who acquire wisdom for the sake of teaching easily become false prophets or sophists. The false lights are reminiscent of these. But only selfless knowledge, which is completely absorbed in things and which is visualized in the serpent, can come to the insight that the highest can only be reached through selfless devotion. The man who lets his everyday personality die in order to awaken the ideal man within himself reaches this highest. What a mystic like Jakob Böhme expressed with the words: death is the root of all life, Goethe expressed with the sacrificing snake. In Goethe's view, those who cannot free themselves from their small ego, who are unable to develop the higher ego within themselves, cannot reach perfection. Man must die as an individual in order to revive as a higher personality. The new life is then only the most humane, the same life that, to use Schiller's words, feels no coercion from either reason or sensuality. In "Divan" we read Goethe's beautiful words: "And as long as you do not have this, this: Die and become! You are but a dreary guest on the dark earth." And one of the "Proverbs in Prose" reads: "One must give up one's existence in order to exist." The snake gives up its existence in order to form the bridge that connects the two realms, that of sensuality and that of spirituality. The temple, with its colorful bustle, is the serpent's higher life, which it has purchased through the death of its lower nature. Her words that she wants to sacrifice herself voluntarily in order not to be sacrificed are just another expression of Jakob Böhme's sentence: "He who does not die before he dies, corrupts when he dies"; in other words, he who lives without killing off the lower nature within him, dies in the end without having any idea of the ideal man within him.

The youth is driven by an indomitable desire for the realm of the beautiful lily. Consider the characteristics of this realm. Although people have the deepest longing for the realm of the lily, they can only enter it at certain times. At midday, when the serpent forms a bridge over the river; then in the evening and morning, when the giant's shadow spreads across the river. Anyone who approaches the ruler of this realm, the beautiful lily, without having the inner aptitude for it, can damage his life in the most serious way. Furthermore, the lily itself has a desire for the other realm. Finally, the ferryman can take anyone across, but no one across. So what does the realm of the beautiful lily mean? Goethe says in "Proverbs in Prose": "Everything that liberates our spirit without giving us dominion over ourselves is pernicious." Only those people who are allowed to abandon themselves unreservedly to their inclinations have mastery over themselves, because these are only effective in a moral sense. " Duty, where one loves what one commands oneself", is a saying by Goethe. Those who seize freedom without having control over themselves are like the young man who was paralyzed by the touch of the lily. The realm of the one-sidedly acting instinct of reason, of purely spiritual morality, is that of the lily. That of one-sided sensuality is on the other side of the river. In the still imperfect human being the harmony between sensual instinct and rational instinct is generally not established. Only at certain moments does he act out of passion in such a way that this action is also moral in itself. This is symbolized by the fact that the snake can only form a bridge over the river at certain moments, at midday. The fact that the lily longs for the other realm expresses the fact that the rational instinct only fulfills its nature when it does not act like a strict legislator beyond the desires and instincts and restrains them, but when it penetrates them, connects with them. The ferryman can bring everyone across, but no one across. Men come from the realm of reason without having done anything themselves, but they do not return from the realm of the passions to their true homeland without their intervention. Except in those moments when man reaches the ideal state of life by balancing reason and sensuality, he also seeks to attain it by force, by arbitrariness, which finds expression in political revolutions. Goethe brings the giant and his shadow for this kind of combination of both realms. In revolutions, the urge for the ideal state lives itself out dully, just as the shadow of the giant lies across the river at dusk. There is also historical evidence that this interpretation of the giant is correct. On October 16, 1795, Schiller wrote to Goethe, who was on a journey that was to extend to Frankfurt a. M.: "It is indeed dear to me to know that you are still far away from the Main River. The shadow of the giant could easily touch you a little roughly." What the arbitrariness, the lawless course of historical events has in its wake is thus meant by the shadow of the giant.

Reason and sensuality interpose themselves so that the still imperfect human being is prevented from destroying morality through his passions: Custom, all that is social order of the present. This order finds its symbol in the river. In the third of the "Letters on the Aesthetic Education of Man" Schiller says of the state: "The compulsion of needs threw man into it before he could choose this state in his freedom; necessity arranged him according to mere natural laws before he could do so according to the laws of reason." The river separates the two realms until the serpent sacrifices itself. The ferryman wants to be rewarded by every wanderer with the fruits of the earth; the state and society impose real duties on man; they can no more use the phrase-like chatter of false prophets and people who merely pay with words than the ferryman can use the gold pieces of the will-o'-the-wisps. The old woman confesses herself a debtor to the river and clings to it with her body; her form disappears because she is a debtor. Thus the individual confesses himself a debtor to the state; he is absorbed in the state, surrenders a part of his self to it. As long as man is not at such a height that he acts freely out of himself morally, he must renounce to determine a part of his self of his own accord; he must commit himself to the state.

The lamp of the old has the property of shining only where another light is already present. We must remember the saying of an old mystic repeated by Goethe: "If the eye were not sunny, how could we see the light? If God's own power did not live in us, how could the divine delight us?" Just as the lamp does not shine in the dark, so the light of truth and knowledge does not shine for those who do not have the appropriate organs, the inner light, to meet it. But it is this light of wisdom that leads man to his goal; it brings him to establish the harmony of his instincts. This light allows him to recognize the laws of things. What for him is dead matter is transformed through knowledge into a living thing that is transparent to our spirit. The world stands differently before him who has recognized it than before him who lives without knowledge. The transformation that all things undergo for our spirit when they are illuminated by the light of knowledge is symbolized by the transformation that things undergo through the light of the lamp. This light transforms stones into gold, wood into silver and dead animals into precious stones.

Through the sacrifice of the serpent, the realm of the fourth king, who chaotically carried gold, silver and ore, comes to an end. The harmonious interaction of the three metals that make up the other three kings begins. Through the awakening of the ideal man, the forces of the soul cease to work chaotically and one-sidedly, they achieve perfect harmony. The will-o'-the-wisps lick up the gold of the fourth king. Once the humane state has been reached, the unproductive spirits have the business of scientifically processing the past, in which the imperfect still prevailed, as history. The figure of the pug also sheds light on the nature of the will-o'-the-wisps. They throw him their gold and he dies from eating it. Thus perishes he to whom false prophets and sophists teach their indigestible doctrines.

The temple is erected on the river in which the marriage of the young man with the beautiful lily takes place. The free society will grow out of the coercive state, in which everyone can abandon himself to his inclinations, because they only work in the sense that noble coexistence of people is possible. Then man will no longer experience the satisfying state only in moments, he will no longer seek to attain it by revolutionary force, it will be present for him in every moment. At the end of the fairy tale we find the poetic image for this truth: "The bridge is built; all the people continually cross over and over, to this day the bridge teems with wanderers, and the temple is the most visited on the whole earth."

If one accepts this basis of interpretation, then every event, every person in the fairy tale is self-explanatory. Take the hawk, for example. It catches the sun's rays in order to reflect them back to the earth before the sun itself is able to send its light directly onto the earth. In this way, human intuition can also predict the events of a not-too-distant future. In the servants of the beautiful lily one can see representatives of those happily inclined human beings to whom the harmony of sensuality and reason is given by their nature. They will live on into the new realm without noticing the transition, just as the servants slumber during the moment of transformation. - The fact that the symbol of brute force, the giant, finally plays a role as an hour hand, I would like to interpret as meaning that unreason can also fill its place in the workings of the world, if it is not used for activities that befit the free human spirit, but is brought to unfold its power within strict natural regularity.

So Goethe was inspired by Schiller to express his ethical creed in his own poetic way, as Schiller himself did in a different way in the "Aesthetic Letters". In the letter in which he announces the receipt of the manuscript, Schiller refers to the discussions that took place about these ideas in the period in question: "The "fairy tale" is colorful and funny enough, and I find the idea you once mentioned: "the mutual assistance of forces and the rejection of each other, quite well executed."