# 3. Theosophy in Germany a Hundred Years Ago

Those who describe the intellectual life of Germany from the end of the eighteenth and the beginning of the nineteenth century usually see, alongside the high point of art in Lessing, Herder, Schiller, Goethe, Mozart, Beethoven and others, only an epoch of purely speculative thought in Kant, Fichte, Schelling, Hegel, Schopenhauer and a few less important philosophers. It is widely believed that the latter personalities should be recognized merely as workers in the field of *thought*. It is admitted that they have done extraordinary work in the speculative field, but one is all too easily inclined to say that these thinkers were quite remote from actual occult research, from real spiritual experience. And so it happens that the theosophically striving person expects little profit from delving into their works.

Many who attempt to penetrate the thought-web of these philosophers give up the work after a time, because they find it unproductive. The scientific investigator says to himself: These thinkers have lost the solid ground of experience under their feet; they have built up in the nebulous heights the chimeras of systems, without any regard to positive reality. And for those interested in occultism, they lack the truly spiritual foundations. He comes to the conclusion: They knew nothing of spiritual experiences, of supersensible facts, and merely devised intellectual constructs.

As long as one stops at merely observing the outer aspects of the spiritual development, one will not easily come to a different opinion. But if one penetrates to the *underlying currents*, then the whole epoch presents itself in a different light. The apparent airy constructs of mere thought can be recognized as the expression of a deeper occult life. And Theosophy can then provide the key to understanding what these sixty to seventy years of spiritual life mean in the development of humanity.

In Germany at this time, there are two sets of facts, one of which represents the surface, but the other must be regarded as a deeper foundation. The whole thing gives the impression of a flowing stream, on the surface of which the waves ripple in the most diverse ways. And what is presented in the usual literary histories is only these rising and falling waves; but what lives in the depths and from which the waves actually draw their nourishment is ignored.

This depth contains a rich and fertile occult life. And this is none other than that which once pulsated in the works of the great German mystics, Paracelsus, Jakob Böhme and Angelus Silesius. Like a hidden power, this life was contained in the worlds of thought that Lessing, Herder, Schiller, Goethe, Fichte, Schelling and Hegel found there. The way in which, for example, Jakob Böhme had expressed his great spiritual experiences was no longer at the forefront of the prevailing literary discussion, but the *spirit* of these experiences continued to live on. One can see how, for example, this spirit lived on in Herder. Public discussion led Herder, like Goethe, to the study of Spinoza. In the work which he called “God,” Herder sought to deepen the conception of God in Spinozism. What he contributed to Spinozism was nothing other than the spirit of German mysticism. One could say that, unconsciously to himself, Jakob Böhme and Angelus Silesius were his guides. It is from such hidden sources that we can explain how, in the “Education of the Human Race”, a rationalist spirit such as Lessing was, could have incorporated ideas about reincarnation. The term “unconscious” is, however, only half accurate, because such ideas and intuitions may not have been on the surface of literary discussion in Germany, but they certainly lived a full life in the most diverse “occult societies” and “fraternities”. But of the above, only *Goethe* can be considered as having been initiated into the most intimate life of such “fraternities”; the others had only a more superficial connection with them. Much of it found its way into their lives and work as inspiration, without their being fully aware of the real sources.

In this respect, *Schiller* represents an interesting phenomenon of intellectual development. We cannot understand the real intellectual nerve of his life if we do not delve into his youthful works, which can be found in his writings as “Correspondence between Julius and Raphael”. Some of the material contained in it was written by Schiller while he was still at the Karls School in Stuttgart, while some of it was only written in 1785 and 1786. It contains what Schiller calls the “ *theosophy* of Julius” and by which he refers to the sum of ideas to which he had risen at that time. It is only necessary to cite the most important thoughts from this “theosophy” to characterize the way in which this genius assembled his own edifice of ideas from the rudiments of German mysticism that were accessible to him. Such essential thoughts are, for example, the following: “The universe is a thought of God. After this ideal image of the spirit had passed over into reality and the born world fulfilled the design of its creator – allow me this human conception – so the vocation of all thinking beings is to seek out in this existing whole the first drawing, the rule in the machine, the unity in the composition, the law in the phenomenon, and to transfer the building backwards to its ground plan... The great composition that we call the world now remains strange to me only because it exists, symbolically describing to me the manifold expressions of that being. Everything in and outside of me is only a hieroglyph of a force that is similar to me. The laws of nature are the ciphers that the thinking being puts together to make itself understood to the thinking being – the alphabet by means of which all spirits negotiate with the most perfect spirit and with themselves... A new experience in this realm of truth, gravity, the discovery of blood circulation, the Linnaean system of nature, mean to me originally just what an antique, excavated in the Herculaneum - both only a reflection of a spirit, a new acquaintance with a similar being to me ... There is no longer any wilderness for me in all of nature. Where I discover a body, I sense a spirit. Where I perceive movement, I divine a thought... We have concepts of the wisdom of the supreme being, of his goodness, of his justice – but none of his omnipotence. To describe his omnipotence, we help ourselves with the piecemeal notion of three successions: Nothing, His Will, and Something. It is waste and dark – God calls: Light – and there is Light. If we had a real idea of His active omnipotence, then we would be creators, like He is...

Such were the ideas of Schiller's *theosophy* when he was in his early twenties. And from this basis he rises to the comprehension of human spiritual life itself, which he places in the context of cosmic forces: “ *Love*, therefore, - the most beautiful phenomenon in the creation of the soul, the almighty magnet in the spiritual world, the source of devotion and the loftiest virtue – love is only the reflection of this one power, an attraction of excellence, based on an instantaneous exchange of personality, a confusion of beings. When I hate, I take something away; when I love, I become richer by what I love. Forgiveness is the recovery of a lost possession—hatred of men is prolonged suicide; selfishness is the greatest poverty of a created being.” From there, Schiller then seeks a *God idea* that corresponds to his feelings, which he presents in the following sentences: “All perfection in the universe is united in God. God and nature are two forces that are completely equal... It is a truth that, like a fixed axis, runs through all religions and systems - ‘Draw near to God, you who believe’.”

If we compare these statements of the young Schiller with the teachings of the German mystics, we will find that the latter have sharply defined thought contours that appear in his work as the exuberant expression of a more general world of feeling. Paracelsus, Jakob Böhme, Angelus Silesius have as a definite view of their intuitive mind what Schiller has in mind in the vague presentiment of feeling.

What comes to light in such a characteristic way in Schiller is also present in other of his contemporaries. Intellectual history only has to describe it *in his case*, because in his epoch-making works it has become a driving force for the nation. One can say that in Schiller's time, the spiritual world of facts of German mysticism as intuition, as direct experience of spiritual life, was hidden as if under a veil; but it lived on in the realm of feeling, in intuitive perceptions. People had retained devotion and enthusiasm for that which they no longer directly *saw* with the “spiritual senses.” We are dealing with an epoch in which spiritual vision was veiled, but in which feeling and intuitive sensing of this world were not.

All this process is now based on a certain lawful necessity. What entered into seclusion as spiritual vision emerged as artistic life in this period of German intellectual life. In occultism, one speaks of successive cycles of involution and evolution. Here we are dealing with such a cycle on a small scale. The art of Germany in the epoch of Schiller and Goethe is nothing more than the evolution of German mysticism in the realm of outer *sensuous form*. But in the creations of the German poets, the deeper insight recognizes the intuitions of the great mystical age of Germany. The mystical life of the past now takes on an entirely aesthetic, artistic character.

This is clearly expressed in the writing in which Schiller reached the full height of his world view, in his “Letters on the Aesthetic Education of Man”. The occult dogmatist will perhaps find nothing in these Letters either but the brilliant speculations of a fine artistic mind. In reality, however, they are dominated by the endeavour to give a guide to a different state of consciousness from the ordinary one. They describe one stage on the way to the “higher self”. The state of consciousness that Schiller describes is indeed far removed from the astral or devachanic life of experience; but it does represent something higher than our everyday life. And if we approach it with an open mind, we can very well recognize in what can be called the 'aesthetic state', according to Schiller, a preliminary stage of those higher forms of intuition. Schiller wants to lead people beyond the standpoint of the 'lower self'. This lower self is characterized by two qualities. Firstly, it is necessarily dependent on the influences of the sensual world. Secondly, it is subject to the demands of logical and moral necessity. It is thus *unfree* in two directions. The sensual world *prevails* in its drives, instincts, perceptions, passions and so on. In his thinking and in his morality, the necessity of reason prevails. But only the person who has ennobled his feelings, drives, desires, wishes, and so on, so that only the spiritual is expressed in them, and who, on the other hand, has so completely absorbed the necessity of reason in himself that it is the expression of his own being, is *free* in Schiller's sense. A life led in this way can be characterized as one in which a harmonious balance has been achieved between the lower and higher selves. Man has ennobled his *desire nature* to such an extent that it is the embodiment of his “higher self”. Schiller sets this high ideal in these “Letters”, and he finds that in *artistic creation* and in pure aesthetic devotion to a work of art, there is an approach to this ideal. Thus, for him, life in art becomes a genuine means of educating the human being in the development of his “higher self”. For him, the true work of art is a perfect harmony of spirit and sensuality, of higher life and outer form. The sensual is only a means of expression; but the spiritual only becomes a work of art when it has found its expression entirely in the sensual. Thus the creative artist lives *in spirit*, but he lives in it in a completely sensual way; through him, everything spiritual becomes perceptible through the senses. And the person who immerses himself aesthetically perceives through his external senses; but what he perceives is completely spiritualized sensuality. So we are dealing with a harmony between spirit and sensuality; the sensual appears ennobled to the spirit, the spiritual comes to revelation to the point of sensual vividness. Schiller would also like to make this “aesthetic state” the model for social coexistence. He regards as unfree a social relationship in which people base their mutual relationships only on the desires of the lower self, of egoism. But a state in which mere legislation of reason is called upon to rein in the lower instincts and passions seems no less unfree to him. As an ideal, he posits a social constitution within which the individual feels the 'higher self' of the whole to be so strong as his own being that he acts 'selflessly' out of his innermost urge. The “individual ego” should come to the point where it becomes the expression of the “total ego”. Schiller perceives social action that is driven by such impulses as the action of “beautiful souls”; and such “beautiful souls”, which bring the spirit of the “higher self” to revelation in their everyday nature, are for Schiller also the truly “free souls”. He wants to lead humanity to “truth” through beauty and art. One of his core sayings is: Only through the dawn of the beautiful does man enter the land of knowledge.

Thus, from Schiller's world view, art is assigned a high educational mission in the evolutionary process of humanity. One could say that what Schiller presents here is the *aesthetic-artistic mysticism* of the earlier period of German intellectual life.

It might now appear that it is difficult to build a bridge from Schiller's aestheticism to another personality of the same period, but who is no less to be understood as coming from an occult undercurrent, namely *Johann Gottlieb Fichte*. On superficial examination, Fichte will be seen as a mere speculative thinker, as an intellectual. It is true that his domain is that of thought, and that those who want to seek out spiritual heights that lie above the world of thought will not find them with Fichte. Those who want a description of “higher worlds” will look for them in vain with him. Fichte has no experience of an astral or mental world. According to the *content* of his philosophy, he is concerned only with ideas that belong to the physical world. But the matter presents itself quite differently when one looks at his treatment of the world of thought. This treatment is by no means a merely speculative one. It is one that corresponds entirely to occult experience. Fichte only considers thoughts that relate to the physical world; but he considers these as an occultist would. Therefore, he himself is quite aware of leading a life in higher worlds. One need only see how he expresses himself in the lectures he gave in Berlin in 1813: “Imagine a world of the blind-born, to whom only those things and their relationships are known that exist through the sense of touch. Stand among them and speak to them of colors and the other qualities that are perceived only through the light of sight. Either you speak to them of nothing, and this is fortunate if they say so; for in this way you will soon notice the error and, if you are unable to open their eyes, you will stop talking to no avail... Or, for some reason, they want to give your teaching reason after all: so they can understand it only in terms of what they know through touch: they will want to feel light and colors and the other relationships of visibility, assume they feel it, contrive something within the feeling and lie to themselves about what they call color. Then they misunderstand, distort, and misinterpret.” At another time, Fichte says directly that for him his contemplation of the world is not merely a speculation about that which the ordinary senses give, but that a higher sense, reaching beyond these, is necessary for it: ”The new sense is is the sense for the spirit; for the one who is only spirit and absolutely nothing else, and to whom even the other, the given being, takes on the form of the spirit and is transformed into it, to whom therefore being in its own form has indeed disappeared... This sense has been seen in this way since the beginning of time, and everything great and excellent in the world, which alone makes humanity endure, comes from the visions of this sense. But that this sense should have seen itself in its difference and contrast to the other ordinary sense was not the case. The impressions of the two senses merged, and life disintegrated into these two halves without a unifying bond.” These last words are extremely characteristic of Fichte's place in the world of spiritual life. For the merely external (exoteric) *philosophical* striving of the West, it is indeed true that the sense of which Fichte speaks “did not see itself”. In all mystical currents of spiritual life that are based on occult experience and esoteric contemplation, it is clearly expressed; but, as already mentioned, the deeper basis for this was unknown in the prevailing literary and scholarly discussions of Fichte's time. In the terminology of contemporary German philosophy, Fichte was indeed the scout and discoverer of this higher meaning. That is why he started from something quite different than other philosophers. As a teacher he demanded of his students, and as a writer of his readers, that they should first of all perform an *inner deed of the soul*. He did not want to impart knowledge of anything outside of themselves, but he did make the *demand* that they perform an *inner act*. And through this inner act they were to ignite the true light *of self-awareness* within themselves. Like most philosophers of his time, he started from Kant's philosophy. Therefore, he expressed himself in the form of Kant's terminology, just as Schiller did in his mature years. But in terms of the height of inner, spiritual life, he surpassed Kantian philosophy very far, just as Schiller did. If one attempts to translate Fichte's demands on his listeners and readers from the difficult philosophical language into a more popular form, it might be expressed something like this: Every thing and every fact perceived by man imposes its existence on him. It is there without any action on the part of man, as far as his deepest inner being is concerned. The table, the flower, the dog, a light phenomenon and so on are there through something foreign to man; and it is only for man to determine the existence that has come about without him. For Fichte, the situation is different with the “I” of man. It is only there in so far as it attains being itself through its own activity. Therefore the sentence “I am” means something quite different from any other sentence. Fichte demanded that one should become conscious of this self-creative process as the starting point for any spiritual contemplation of the world. In every other realization, man can only be receptive; in the case of the “I” he must be creative. And he can perceive his “I” only by looking at himself *as the creator of this “I.* Thus Fichte demands a completely different way of looking at the ‘I’ than at all other things. And he is as strict as possible in this demand. He says, ”Most people would be more easily persuaded to consider themselves a piece of lava in the moon than an *I*...” He who is not yet at peace with himself on this point does not understand fundamental philosophy, and does not need it. Nature, of which he is a machine, will guide him without any effort of his own in all the business he has to carry out. To philosophize requires independence: and this one can only give oneself. - We should not want to see without the eye; but we should not claim that the eye sees either."

This very sharply delineates the boundary between ordinary experience and the occult. Ordinary perception and experience extend no further than the organs of perception that are objectively built into the human being. The occult begins where man begins to build higher organs of perception for himself through the dormant powers within him. Within ordinary experience, man can only feel himself to be a *creature*. When he begins to feel himself as the creator of his being, he enters the realm of the so-called occult life. The way Fichte characterizes the “I am” is entirely in line with occultism. Even though he remains in the realm of pure thought, his contemplation is not mere *speculation*, but true inner experience. But for this very reason it is also all too easy to mistake his world view for mere speculation. Those who are driven by curiosity into the higher worlds will not find what they are looking for by delving into Fichte's philosophy. But for those who want to work on themselves, to discover the abilities slumbering in their souls, Fichte can be a good guide. He will realize that what matters is not the content of his teachings or dogmas, but the *power* that grows in the soul when one devotedly follows Fichte's thought paths. One might compare this thinker to the prophet who did not enter the promised land himself, but led his people to a summit from which they could see its glories. Fichte leads *thinking* to the summit from which entry into the land of the occult can be made. And the preparation that one acquires through him is as pure as can be imagined. For it completely transcends the realm of sense perception and the realm of that which originates from the desire and covetousness of man (from his astral body). Through Fichte, one learns to live and move in the very pure element of thought. One retains nothing of the physical world in the soul except what has been implanted from higher regions, namely thoughts. And these form a better bridge to spiritual experiences than the training of other psychic abilities. For thought is the same everywhere, whether it occurs in the physical, astral or mental world. Only its *content* is different in each of these worlds. And the supersensible worlds remain hidden from man only as long as he cannot completely remove sensual content from his thoughts. When the thought becomes free of sensuality, then only one step remains to be taken, and the supersensible world can be entered.

The contemplation of one's own self in Fichte's sense is so significant because, with regard to this “self”, man remains *without* all thought content if he does not give himself such from within. For all the rest of the world, for all perception, feeling, will and so on, which make up the content of ordinary existence, the outer world fills the human being. He needs - in Fichte's words - basically to be nothing more than the “machine of nature”, which “manages its business without his intervention”. But the “I” remains empty, no outer world fills it with content if it does not come from within. Therefore, the realization “I am” can never be anything other than man's most intimate inner experience. Thus, there is something speaking in this sentence within the soul that can only speak from within. But the way this seemingly empty *affirmation* of one's own self occurs is how *all* higher occult experiences take place. They become richer in content and more vital, but they retain the same *form*. Through the experience of the I, as presented by Fichte, one can get to know the type of all occult experiences, at least in the purely mental sphere. It is therefore correct to say that with the “I am” God begins to speak in man. And it is only because this happens in a purely mental form that so many people do not want to recognize it.

But now, precisely with the keenest minds, which walked in such ways as Fichte, a limit of knowledge had to occur. Pure thinking is namely only an activity of the personality, not of the individuality, which passes through the various personalities in recurring reincarnations. The laws of even the highest logic never change, even if in the stages of re-embodiments the human individuality ascends to the stage of the highest sage. The spiritual perception increases, the perceptive faculty expands when an individuality that was highly developed in one incarnation is re-embodied, but the logic of thought remains the same even for a higher level of consciousness. Therefore, that which goes beyond the individual incarnation can never be grasped by any experience of thought, no matter how subtle, even if it rises to the highest levels. This is the reason why Fichte's way of looking at things, and also that of his contemporaries who followed in his footsteps, could not bring them to a realization of the laws of reincarnation and karma. Although various indications can be found in the works of the thinkers of this epoch, they arise more from a general feeling and are not necessarily and organically connected with their thought-structures. It may be said that the mission of these personalities in the history of thought was to present pure thought experiences as they can take place within an incarnation, excluding everything that reaches beyond this *one* embodiment of the human being.

The evolution of the human spirit proceeds in such a way that in certain epochs *portions* of the original esoteric wisdom are transferred into the consciousness of the people. And at the end of the eighteenth and the beginning of the nineteenth century, it fell to the German national consciousness to shape the spiritual life of pure thought in its relationship to the *individual* personal existence. If we consider what has already been said in connection with Schiller's personality, that at this time *art* was to be placed at the center of intellectual life, then we will find the emphasis on the personal point of view all the more understandable. Art is, after all, the living out of the spirit in sensuous, physical forms. But the perception of these forms is conditioned by the organization of the individual personality living within the one incarnation. What projects beyond the personality into the supersensible realm will no longer be able to find expression in art *directly*. Art does reflect the supersensible, but this reflection is only carried over as the *fruit* of artistic creation and experience by the abiding essence of the soul from one reincarnation to another. That which enters into existence directly as art and aesthetic experience is bound to the personality. Therefore, in the case of a personality from the characterized epoch, a theosophical world view in the most eminent sense also has a thoroughly *personal character*. This is the case with *Friedrich von Hardenberg*, who as a poet bears the name *Novalis*. He was born in 1772 and died as early as 1801. What lived in this soul, which was entirely permeated by theosophical sentiment, is contained in a few poems and a series of poetic-philosophical fragments. From every page of his creations, this attitude flows towards the reader; but everything is such that the highest spirituality is coupled with an immediate sensual passion, with very personal drives and instincts. A truly Pythagorean way of thinking lives in this young nature, which was further nourished by the fact that Novalis worked his way up to become a mining engineer through a thorough mathematical and scientific education. The way in which the human mind develops the laws of pure mathematics out of itself, without the help of any sensory perception, became for him the model for all supersensible knowledge in general. Just as the world is harmoniously structured according to the mathematical laws that the soul finds within itself, so he thought this could be applied to *all* the ideas underlying the world. That is why man's relationship to mathematics took on an almost devotional, religious character for him. Sayings like the following reveal the peculiarly Pythagorean nature of his disposition: “True mathematics is the actual element of the magician. ... The highest life is mathematics... The true mathematician is an enthusiast per se. Without enthusiasm, there is no mathematics. The life of the gods is mathematics. All divine messengers must be mathematicians. Pure mathematics is religion. One can only attain to mathematics through a theophany. Mathematicians are the only happy people. The mathematician knows everything. He could do it even if he didn't know it... In the East, true mathematics is at home. In Europe, it has degenerated into mere technique. He who does not grasp a mathematical book with reverence and read it as the word of God does not understand it... Miracles as unnatural facts are amathematical – but there is no miracle in this sense, and what is called a miracle is precisely understandable through mathematics, because there is nothing miraculous about mathematics."

In such sayings, Novalis has in mind not merely a glorification of the science of numbers and spatial magnitudes, but the idea that all inner soul experiences should relate to the cosmos as the pure, sensuality-free, mathematical construction of the mind relates to the outer, numerically and spatially ordered harmony of the world. This is beautifully expressed when he says: “Humanity is, as it were, the higher meaning of our planet, the eye that it raises to heaven, the nerve that connects this limb to the upper world.” The identity of the human ego with the essence of the objective world is the leitmotif in all of Novalis's work. Among his “fragments” is the saying: “Among people, one must seek God. In human affairs, in human thoughts and feelings, the spirit of heaven reveals itself most brightly.” And he expresses the unity of the ‘higher self’ in all of humanity in the following way: ”In the I, in the point of freedom, we are all in fact completely identical - only from there does each individual separate. I is the absolute total place, the central point.” In Novalis, the position that the consciousness of the time assigned to art and artistic feeling is particularly evident. For him, art is something through which man grows beyond his narrowly defined “lower self” and through which he relates to the creative forces of the world. In the creative artistic imagination, he sees a reflection of the magical forces of action. Thus he can say: “The artist stands on man as the statue stands on the pedestal.” “Nature will be moral when, out of true love for art, it surrenders to art and does what art wills; art, when, out of true love for nature, it lives for nature and works for nature. Both must do it at the same time, of their own choosing, for their own sake, and of the other's choosing, for the sake of the other... When our intelligence and our world are in harmony, we are equal to God.” Novalis's lyric poems, especially his ‘Hymns to the Night,’ are imbued with such sentiments, as are his unfinished novel ‘Heinrich von Ofterdingen’ and the little work ‘The Apprentices at Sais,’ which is rooted entirely in mystical thinking and feeling.

These few personalities show how German poetry and thought in that period was based on a theosophical-mystical undercurrent. The examples could be multiplied by numerous others. Therefore, it is not even possible to attempt to give a complete picture here, but only to characterize the basic note of this spiritual epoch with a few lines.

It will not be difficult to see, however, that individual mystical and theosophical natures with a spiritual-intuitive mind found the theosophical basic ideas themselves in part in their own way from this whole life. Thus, theosophy shines out beautifully for us from the creations of some personalities of this epoch. Many could be cited where this is the case. *Lorenz Oken* could be mentioned, who founded a natural philosophy that, on the one hand, points back to Paracelsus and Jakob Böhme through its mystical spirit, and, on the other hand, is a forerunner of the justified parts of Darwinism through ingenious conceptions about evolution and the connection between living beings. *Steffens* could be cited, who sought in the processes of the development of the earth reflections of a cosmic spiritual life. One could refer to *Eckartshausen* (1752-1803), who sought to explain the abnormal phenomena of nature and soul life in a theosophical-mystical way. *Ennemoser* (1787-1854) with his “History of Magic”, *Gotthilf Heinrich Schubert* with his works on dream phenomena and the hidden facts in nature and the spirited explanations of *Justinus Kerner*, and *Karl Gustav Carus* are also rooted in the same school of thought. *Schelling* went from pure Fichteanism more and more to theosophy, and then in his “Philosophy of Mythology” and “Philosophy of Revelation,” which were not published until after his death, traced the developmental history of the human spirit and the connection between religions to their starting point in the mysteries. *Hegel's* philosophy should also be viewed in theosophical light, and then one would see how wrong it is in the history of philosophy to consider this profound spiritual experience of the soul to be mere speculation. All this requires, if it is to be treated exhaustively, a detailed work. Here, however, only a little-known personality is to be mentioned, who, in the focus of his mind, combined the rays of theosophical world-view and created a structure of ideas that in many respects completely coincides with the thoughts of theosophy that are being revived today. It is *J. P. V. Troxler*, who lived from 1780 to 1866 and whose works include, in particular, “Glimpses into the Essence of Man”, published in 1812. Troxler objects to the usual division of human nature into soul and body, which he finds misleading because it does not exhaust nature. He initially distinguishes between *four* elements of human nature: spirit, higher soul, soul (which he considers the lower soul) and body. One need only see this classification in the right light to recognize how close it is to the one commonly found in theosophical books today. The body as he understands it coincides completely with what is now called the physical body. The lower soul, or what he, in contrast to the body, calls the body, is nothing other than the so-called astral body. This is not something that has been inserted into his world of thought, but he himself says that what is subjectively the lower soul should be characterized objectively by resorting to the term astral body used by the ancient researchers. “There is therefore,” he explains, ”necessarily something in man which the sages of ancient times sensed and proclaimed as a σῶμα αστροειδες (Soma astroeides) and οὐρανόν σῶμα (Uranion soma), or as a σχῆμα πνευματικόν (schema pneumatikon), and what is the substrate of the middle sphere of life, the bond of the immortal and the mortal life?” Among the poets and philosophers who were Troxler's contemporaries, theosophy was alive as an undercurrent; but Troxler himself became keenly aware of this theosophy in the intellectual world around him and developed it in an original way. Thus, he comes to many of the ancient wisdom teachings through his own efforts. It is all the more appealing to delve into his thought processes, since he does not directly build on old traditions, but rather creates something like an *original* theosophy out of the thinking and attitudes of his time.