# From Central European Intellectual Life

## GA 65 — 2 December 1915, Berlin

### 1. Goethe and the World View of German Idealism

For many years now, I have been giving the lectures on spiritual science during the winter season from this very place. I have always tried to begin these lectures with a consideration of the connection between the particular view of the spiritual world that is represented within this spiritual science, as it is meant here, and the general spiritual life. And already last winter, I tried — which must be particularly obvious in our present fateful time — to turn my attention to the feelings that are currently living within the German people, to that time of German spiritual development in which, out of the very core of the German being, a connection, a living together with the spiritual world, was sought in a truly idealistic form. In our time, in which the German nation must defend itself against a world of enemies in its existence, in its hopes for existence, it must be particularly obvious to look to the time of which one of the most popular historians of the German nation says: it is the time in which the idealistic spirits of this German nation have shown that even in times of extreme distress, in times of extreme hostility, the German character is able to salvage that greatness which can be saved by cultivating the spiritual life, as it appears to be inherent in the very deepest characteristics of this nation. We need not fall into the error of our opponents, who today believe, in such a strange and peculiar way, that they must particularly characterize the importance of their own nation by belittling the nature of the opponents. We need not fall into the error, for example, of those of whom we now hear that the German Weltanschauung itself must have seduced them into leading the German people into the most savage warfare. We can, without making the mistake of belittling our opponents, turn our attention to what the German people believe, must believe, according to their very nature: that their world-historical task is rooted in the deepest inwardness of their nature. And there is no need, as so many of Germany's enemies do today, to form an opinion about the popular, be it one's own or that of another people, out of direct hatred and antipathy in the present.

And so let us take as our starting-point for today's consideration an idea which an outstanding mind, relatively calm, was able to form in a time long before our own fateful time. This idea was formed by Wilhelm von Humboldt, Schiller's great friend, who was able to delve so wonderfully into the essence of the development of humanity, who knew how to depict the needs of man within the development of world history in such a subtle way, In 1830, when Wilhelm von Humboldt looked back on what Schiller's friendship meant to him, but also on what Schiller's significance for the development of the German people was, on what Schiller's entire intellectual development was, he expressed himself in the following way about the German essence:

“To view art and all aesthetic activity from its true standpoint is something that no newer nation has achieved to the degree of the Germans, nor have those nations that pride themselves on being poets, who recognize all times as great and outstanding. The deeper and truer direction in the German lies in his greater inwardness, which keeps him closer to the truth of nature, in the tendency to occupy himself with ideas and sensations related to them and in everything that is connected with this. In this respect, it differs from most newer nations and, in a more precise definition of the concept of inwardness, also from the Greeks. It seeks poetry and philosophy; it does not want to separate them, but strives to combine them; and as long as this striving for philosophy, even pure, abstract philosophy, which is often even unrecognized and misinterpreted among us in its indispensable and misunderstood in its indispensable work, lives on in the nation, the impulse will also endure and gain new strength, which powerful minds in the last half of the last century have unmistakably given."

Thus someone who has devoted much thought to the feelings that go with knowing this points to what he had to believe lies in the task and the immediate destiny of the German people.

And when we look at what has shaped the German character from the spiritual side in the great age when German idealism raised Germanness to the stage of thought; and when we point to the end of the eighteenth and the beginning of the nineteenth century with all what had developed up to the immediate phase of development of our time, then we see something that cannot be grasped by the certainly significant but not very lofty concept, let us say, of the internationality of science and the like, which, insofar as it concerns science, is self-evident. But what emerged so powerfully in Germany's greatest periods in terms of intellectual development was that at that time, through those minds that felt so intimately connected to German nationality, such as Fichte, for example, the question of the whole significance of knowledge, of what man can achieve through the knowledge that he develops as science; the question of the relationship of this knowledge to the secret of the world, to the eternal-working, eternal-spiritual in the world itself. That knowledge has been called into question, that knowledge itself has become a mystery, and that it is precisely through this tendency towards the mysteriousness of knowledge that man has had to make the matter of this knowledge a personal and yet objective and factual human interest, that is the tremendously significant thing is how one can feel connected in every fiber of one's being to what man can achieve through an ideal in his striving, through the pursuit of knowledge; how one can strive for knowledge full of light and yet still raise the question: Can one go beyond this knowledge, or rather must one go beyond this knowledge if one wants to arrive at the deepest thing that connects man to the eternal sources of existence? And the reason why this riddle could present itself to the German soul in its best minds in a particularly intense way lies in the fact that during the period of German idealism, the striving asserted itself to have knowledge not only as something that something that teaches you about the world in terms of concepts, something you can stand coolly opposed to in your desire to dissect the phenomena of the world, but to have knowledge as something that lives in the whole soul and sustains the human being. It was precisely out of this yearning for the vitality of knowledge, out of this intimate feeling of connection with knowledge, that the great riddles of knowledge arose. It seems as if one only wants to have knowledge, only wants to cultivate a science, if this science can really live in such a way that one can also find the way to the sources of existence in the experiencing of knowledge.

It is appealing to see how German minds want to live in their knowledge, in their science, in a much higher sense than is usually meant when one speaks of the connection between life and science. Last winter, in a similar context, I tried to characterize Fichte's idiosyncrasy, this noble German spirit who, in one of the most difficult times in the development of the German people, placed his spiritual striving entirely at the service of his people, who, from the depth of his spirit, found the most wonderful words of power to inspire German enthusiasm. The way in which he felt connected with the pursuit of knowledge, and how he strove to rise to German idealism, is part of what Fichte was able to be to his people. A picture that has been preserved for us can illustrate this beautifully. Forberg, who heard Fichte speak when he tried to bring to life, from the depths of his striving for wisdom, what he saw as his connection with the weaving, ruling world spirit, said the following beautiful words about Fichte's way of speaking about spiritual matters:

“Fichte's public address... rushes like a thunderstorm that discharges its fire in single strokes. He does not stir... but he elevates the soul...; he wants to make great men. Fichte's eye is punishing, and his walk is defiant. Fichte wants to guide the spirit of the age through his philosophy... His imagination is not florid, but vigorous and powerful. His images are not charming, but bold and grand. He penetrates into the innermost depths of his subject and moves about in the realm of concepts with such ease that it betrays he not only dwells in this invisible realm, but rules over it.

And if one wants to characterize Fichte's German nature, one must point out how, by wanting to rule in the realm of concepts, he sought within this realm of concepts something that was more than what is often called concepts and ideas, something that was a revival of those forces of the human soul, which are one with the creative powers of all existence, those creative powers that live outside in nature, that have placed man himself in nature, that guide and direct historical life, that interweave and permeate all existence. But in order to gain such a view in full vitality, Fichte could not stop at the abstractness of the concepts, at concepts that are only views. For this he needed concepts that were directly experienced and imbued with soul by an element of activity that not only illuminates the human soul, but also strengthens it, so that this human soul, by first withdrawing from the external world, feels connected to the very innermost part of reality. And so Johann Gottlieb Fichte directed his contemplation to something living in the human soul, something that is being willed into existence. And what he sensed there, as flowing into his will, he experienced as if the divine spiritual forces that permeate and interweave the world were entering the soul, and the soul itself felt at rest within the divine experience. If one wishes to call this trait in Johann Gottlieb Fichte mystical, then one must remove from this expression everything that brings any kind of nebulousness into the world view; one must then bring this concept together with everything that is the highest energy of knowledge in Fichte's entire striving. Then German idealism appears as if compressed into a focal point, not only when Fichte talks about German nationality, but especially when he speaks of the highest matters to which his thinking and, one might say, his inner experience turns. In his attempt to visualize the ruling will in his own soul and to make it come alive before those to whom he speaks, he speaks about this will as if he were aware that the innermost essence of the whole world lives in this will. He speaks as if he himself felt the exalted will of the world pulsating in the human soul's own will, when this human soul, in its striving for knowledge, goes back to the innermost outflow and activity of the will itself. Fichte speaks wonderful words here:

“That exalted will does not go its way alone, separated from the rest of the world of reason. There is a spiritual bond between it and all finite rational beings, and it is this spiritual bond within the world of reason.... I hide my face from you and lay my hand on my mouth, how you are for yourself and appear to yourself, I can never see, as I can never become yourself. After a thousand times a thousand spiritual experiences, I will still understand as little as I do now, in this hut of earth. What I grasp becomes finite through my mere grasping; and this can never be transformed into the infinite, even through infinite increase and elevation. You are different from the finite, not in degree but in kind. That increase makes you only a greater person, and always a greater one; but never a god, the infinite, who is incapable of measure."

Thus Fichte addresses what he senses as the will of the world by deepening his quest for knowledge, so that it may find what, in the innermost part of the soul, holds that soul together with the sources of existence; that from which the soul must create if it wants to feel that its creation in harmony with the historical and eternal powers that guide all existence itself. That science, through an idealistic consideration of life, must lead to such a grasp of human inwardness that in this inwardness, at the same time, the innermost of the world's existence in human striving is embraced, that is the basic feature of German idealism. And with this idealism, Fichte's philosophical comrades basically also face the great riddles of existence.

From a certain point of view, I tried last winter to present this very arena of thought within German idealism and the world view of this German idealism. I undertook to show how Fichte tried to grasp the world through the experience of the innermost nature of the human will itself, by wanting to grasp the human soul where the will can delve into it. I wanted to show how Fichte, in his attempt to penetrate to the human ego in its essence, could not be satisfied with grasping this ego in being or in mere thinking, in the sense of Descartes with his “I think , therefore I am”, but how Fichte wanted to grasp the self, the innermost essence of the human soul, in such a way that there lies in it something that can never lose its existence because it can create this existence anew in every moment. Fichte wanted to show the living, ever creative will as the source of the human ego; not by a judgment of the kind: I think, that is something, therefore I am — not by that did Fichte want to find the essence of the ego, but by showing that even if this ego were not in any given moment, or if it could be said of it, on the basis of some evidence, that it were not, then this judgment would be invalid on the grounds that this ego is a creative one, because it can, in every moment, generate its existence anew out of the depths of this ego. In this perpetual re-creation, in this continuity of the creative, in this connection with the creative of the world, Fichte tried to recognize the essence of the ego in the will, to preserve it in the will, to shape the striving for knowledge in a living way.

And Schelling, Fichte's philosophical companion, who in many respects went so far beyond him, placed himself before nature in such a way that nature was not for him what it otherwise is in many respects for external science: a sum of phenomena that one dissects; rather, for Schelling, nature was to the human spirit in its nature, except that the human spirit stands in the present, experiences itself, but nature has lived through this spirit, so that it now rests enchanted in it, so that it hides behind its veil and reveals itself through its external appearances. Just as one regards a person in relation to his physiognomy, not only describing this physiognomy formally like a statue, but looking through the physiognomy to what is the living soul life, what looks through the physiognomic features, what spiritualizes and warms the outer form. Through the outer phenomena of nature, through the outer revelations as through the physiognomy of nature, Schelling wanted to go back to what is spiritual in nature, to unite the spirit in the soul with the spirit in nature. And from this arose in him that one-sided but bold way of striving for knowledge, which is expressed in Schelling's saying: “To comprehend nature is to create nature!” That in the human soul there could be something that only needs to be dragged into creative, living existence, and by so doing, not creating the outer phenomena of nature, but creating images that are the same as what lives behind nature, is expressed in the words: “To understand nature is to create nature!” Today, there is truly no need to take this philosophy of German idealism dogmatically; one need not be a follower of it, that is not the point. What is important is to get to know the power and inner soul from which such a direction of spiritual life arises. And so someone could be an opponent of the dogmas of German idealism in the fullest sense of the word, but find something resiliently alive, something that carries the future, in the way the human soul wanted to penetrate into the deepest secrets of existence back then.

And in this context, we may refer to Hegel, the third in this series, who was not afraid to ascend into the coldest realms of pure thought. For Hegel believed that when the soul withdraws from all the warmth of external observation, from all direct resting in natural existence, when it is all alone with the concepts that live in the soul in such a way that this soul is no longer present with its arbitrariness in the thinking of the concepts, but the soul abandons itself to the process of how one concept arises from the other, how concepts prevail within her, without her turning in any way to anything other than to these prevailing pure, crystal-clear and transparent concepts, which she lets prevail and weave within her as they themselves want, not as the soul wills, - then, Hegel believed, in this process, in this flowing of concepts, a union of the soul with the ruling world spirit itself, which lives out itself in concepts, which, through the millions of years, by sending its concepts commanding through infinity, allowed the outer world to emerge from the condensation of these concepts and then placed man into it so that man can awaken in his soul these concepts from which the world itself emerged. Is it really one-sided, the way Hegel delves into the world of existence by trying to penetrate to the sources of existence by squeezing out all other reality from the pure world of concepts? Is it one-sided in the sense that the World-Spirit, which flows and weaves through the world as if it were a mere logician, conjure up the world out of pure logic, this striving, which arises directly from the German essence and German nature, also shows how the German spirit, in its striving for knowledge, by its very nature seeks to connect with that which lives in the soul, that which can be directly beheld in the soul in its inwardness and which, by being thus beheld, simultaneously seizes the spirit flowing in the world. The fundamental principle of this striving is the seizing of the world-spirit by the spirit developed in the soul. And even if the right way of relating to world-life and its knowledge can only be solved by the human soul in a reasonably satisfactory way in the farthest, farthest future, the way in which it has been attempted within German idealism , this way of seeking the world spirit is so intimately connected with the German essence and at the same time it is the way in which, in our time, the eternal must be sought in the temporal human soul.

One can see how closely interwoven with German striving this kind of knowledge is when, at the dawn of the newer spiritual striving, one looks at how two phenomena confront each other at the end of the sixteenth and the beginning of the seventeenth century; that is, the time when those forces first emerged that gave the newer world view the impulses for European development. It is interesting to see how the German soul relates to this dawn of intellectual life, for example, by juxtaposing two images from the end of the sixteenth and the beginning of the seventeenth century. Regardless of one's own opinion of this remarkable spirit, let us consider him only in the context of the development of modern spiritual striving, if one places Jakob Böhme and compares him with a contemporary striving spirit in Western Europe, with a spirit who is also characteristic of his people, as Jakob Böhme is characteristic of his people, with Montaigne.

Montaigne is also a great and important figure, expressing one of the elements that arise at the dawn of the modern intellectual life. He is the great doubter. He is the one who, from within French culture, receives the following impulse: Let us look at the world. It reveals its secrets to us through our senses. We will try to reveal these secrets through our thinking. But who can say, in any way, that the senses do not deceive; that what is revealed to the senses from the depths of the world can somehow have a connection, which can be visualized, with the sources of existence. And who can deny, this great doubter asks, that if one does not rely on the senses, but on judgment, on thinking, if one seeks evidence and each piece of evidence in turn demands evidence, and the new proof in turn demands another proof, that one can then proceed along the chain of proofs and must also proceed, because everything that one believes to have proven appears fleeting when one looks at it more closely. Neither thinking nor sensual observation can provide any certainty. Therefore, a wise man, according to Montaigne, is one who does not seek such certainty at all; who has an inner irony about the phenomena of the world and about the knowledge of the sources of existence; who knows that although one can reflect on and observe all things , but that one thereby acquires only a knowledge that one can just as well admit as reject, without having any hope of attaining anything else through spiritual striving than precisely such a thing to which one can only relate doubtfully and ironically.

At the same time, within the German being stands Jakob Böhme, who undertakes the journey into the depths of the human soul by means of mere inner development of soul powers, by mere immersion in what the soul can draw up from its depths. And in the fact that he finds these depths of the human soul in the way he believes he is able to find them, he was clear about it, he was convinced that by descending into the depths of the human soul, he at the same time hears the sources of all existence, natural and spiritual, of all comprehensive existence, flowing into these depths. For Jakob Böhme, descending into the depths of the soul also means reaching out into the divine spiritual life that governs the world. And so Jakob Böhme sought this path; that in this path there can be no question of doubt or of an ironic mood in the Montaignean sense, because Jakob Böhme in his way is clear about the fact that he lives in the spirit, because one cannot doubt that in which one lives, in which one co-creates by immersing oneself in it. And one would like to say: Only a revival of this endeavor of Jakob Böhme's in a higher form lies in what lives on the scene of German idealism through the spirits just mentioned. And these just mentioned spirits basically all turn their gaze to a personality who – however much this has been doubted from a narrow-minded point of view – in her entire being, in her entire nature, emerged from the deepest popular German culture, to Goethe. And Fichte, the philosopher who was only struggling for clarity, who was never satisfied if he could not express what he had to say in concepts with sharp outlines, Fichte, who could be considered a dry, sober man of knowledge — that was not his way, but that is what characterizes his striving characterizes – who could be thought of as far, far removed from Goethe in the nature of his being, – Fichte addressed beautiful words to Goethe in which he wanted to express how he tried to align himself with the highest that he strove to bring forth, with what Goethe was by nature. When Fichte had brought the first, most abstract, one might say coldest, most historical, form of his “Wissenschaftslehre” to print, he presented the book to Goethe and wrote to him:

“I regard you and have always regarded you as the representative (of the purest spirituality of feeling) at the present level of humanity. It is to you that philosophy rightly turns. Your feeling is the same touchstone!”

Words that each of the others could have addressed to Goethe in the same way, and indeed each of them did address to Goethe in one way or another, as history shows.

And when Schiller, in his “Letters on the Aesthetic Education of Man”, which, as I allowed myself to characterize here last winter, have been far too little appreciated, tried to answer the question from the depths of Kantian philosophy: How must the human soul strive in order to truly come to live together with the spirit of the world in freedom in the harmonious interaction of all its powers? And when Schiller turned his gaze to Goethe, he saw in him something like the German spirit in one of its centers, seeking to bring forth before the world, out of the deepest inwardness of his being, the highest that he had come to. Schiller admired the pure, free humanity of the ancient Greeks, that pure, free humanity that, on the one hand, is allowed to turn to external nature, but which does not allow this nature to have such an external hold on it as the more recent spiritual striving, in which man becomes unfree in his striving in the face of the coherence of nature. This Greek nature, which on the other hand became so aware of itself in the depths of its soul that it sensed itself as nature itself, also in its innermost being, this Greek element, which stood before Schiller's soul like a model of all human striving and living, Schiller saw it shine anew in Goethe's nature and life in the face of the newer spirit of the people. And Schiller characterized this at about the same time as Fichte wrote the words just quoted to Goethe, in a letter to Goethe with the following words:

"For a long time now, although from a considerable distance, I have been watching the course of your mind and have noted the path you have set out on with ever-renewed admiration. You seek what is necessary for nature, but you seek it by the most difficult route, which any weaker force would do well to avoid. You take all of nature to get light on the individual; in the totality of its manifestations, you seek the explanatory basis for the individual. Step by step, you ascend from the simple organization to the more complicated, in order to finally build the most complicated of all, the human being, genetically from the materials of the entire structure of nature. By recreating him in nature, as it were, you seek to penetrate his hidden technology. A great and truly heroic idea, which shows sufficiently how much your mind holds the rich totality of its conceptions together in a beautiful unity. You could never have hoped that your life would be enough for such a goal, but even just to embark on such a path is worth more than any other ending – and you have chosen, like Achilles in the Iliad, between Phthia and immortality. If you had been born a Greek, or even an Italian, and if from your cradle you had been surrounded by a refined nature and idealizing art, your path would have been infinitely shortened, perhaps made entirely superfluous. You would have absorbed the form of the necessary into the first view of things, and with your first experiences the great style would have developed in you. Now that you have been born a German, now that your Greek spirit has been thrown into this Nordic creation, you had no choice but to either become a Nordic artist yourself or to replace what reality withheld from your imagination by the application of your powers of thought, and thus to give birth to a Greece from within and in a rational way, so to speak.” The creative force that arises from the deepest inwardness, that not only creates the present, but that even gives birth to the past anew out of its own essence: the Goethean spirit. In this letter, Schiller selflessly characterizes it wonderfully, in which he truly laid the foundation for the friendship between these two minds, Goethe and Schiller; Schiller wonderfully characterizes this inwardness of the creation of the Goethean spirit. And truly, Goethe appears in the image of German idealism with all his striving.

Therefore, out of the striving of Goethe's personality, a poetic figure could arise that – I do not believe that one has to be prejudiced to say this – is uniquely placed in world literature and in the whole of world creation, the figure of Faust. How does he stand there, this Faust? As the highest representative of human striving, but still – after all, he is a university professor at heart – as a representative of the striving for knowledge, for knowledge! And right at the beginning of Faust, what becomes a riddle, what becomes a big question? Knowledge itself, the striving for knowledge becomes a question! Two elements come to life in this Faustian legend. And one must point out this living out of the two elements if one wants to understand the basic character of Goethe's Faustian creation on the one hand and, on the other hand, its connection with the innermost nature of German spiritual striving.

Of course, the term magic and everything connected with it is not exactly popular today. But Goethe was compelled to place his Faust before magic, after knowledge and insight had become a question, a riddle, for Faust. And the fact that today we are able to separate everything that is conventionally associated with the concept of magic from a deeper spiritual striving will be my particular task tomorrow in the lecture where I want to speak about the eternal powers of the human soul. But the way in which Goethe has Faust turn to magic can perhaps be thought of as quite separate from all the wild superstition and nebulous striving associated with the word magic and with magical striving in general. One can overlook secondary matters and look at the main thing, namely, the fundamental human striving as expressed in Faust. Why must Faust, who has really been involved in all human sciences, wanted to gain clarity in all human sciences about that which underlies existence as a source, why must Faust turn to magic, to a completely different way of interacting with nature than is the case with the ordinary pursuit of knowledge? Why? Because Faust has experienced everything that can be experienced in the pursuit of knowledge; because he has experienced everything that can be felt by a person who has a yearning for the depths of the nature of the world; everything that can be felt by a person when he feels alive in himself, which external science can comprehend. This science visualizes the laws of nature in concepts, in ideas. But do I exist with these concepts, or do I only have something in these concepts that weaves itself as a ghost in my own soul and that perhaps, with regard to this image, is clearly, but not with regard to its life, directly connected to the sources of existence? What forces itself into the soul as a question of this kind can be felt in different ways. It can be felt weakly, but it can also be felt strongly, so that the enigma that lives itself into the soul through these feelings becomes like a nightmare from which this human soul wants to free itself. For the soul can say to itself: All this knowledge is only something that one forms on the basis of existence. All this knowledge is something that has been subtracted from existence. But I must still descend into existence with what I experience in myself.

What one might say Schelling believed in his presumptuousness, Faust cannot believe: that by living in concepts, one creates in nature. Rather, he wants to descend into nature. He wants to seek out nature where it lives in creation. He wants to unfold an activity that is such that the human soul accomplishes it, but which, in that this activity is within the soul, is both creating nature and creating soul at the same time. Because Faust cannot do this in any other way, he tries to do it by seeking to invigorate within himself the path that ancient magicians have tried. Faust tries to have something in his soul that does not merely depict nature in terms within him, but that appears to him in what lives and creates behind appearances. He seeks to bring the spiritual in the creative power of nature, which flows and weaves through the world, which surges up and down in the tides of life and the storm of action, not only into knowledge, but seeks to connect with it in a living way. He seeks the path to it in such a way that the spiritual creation of nature stands beside him, as the soul of a human being stands embodied here in physical existence, so that one experiences existence, not just knows about it.

And in this way Faust stands before nature in the same way as—one need only point to a spirit like Jakob Böhme, in his own way, one need only look at that which underlies German philosophical striving in the idealistic period—Faust, yearning , yearning for knowledge, expecting certain achievements, to which he wants to rise, so in the face of nature, so next to nature, as befits the innermost life and weaving of the German spirit: to create nature in the soul and to let it become living science, living knowledge. That is why Goethe has to bring his Faust together with magic.

There is something else that Goethe brings together with his Faust, something that perhaps even more than the magical element that confronts us in the first scenes and then continues in what I would call a directly dramatic way, while it loses itself as a magical element – which seems perhaps even more wonderful than this magical element for this Goethean Faustian poem, which is now also intimately interwoven with the spiritual striving of the German people.

Let us try – as I said, without pronouncing dogmatically or in any way on the value – to place ourselves in the position of Jakob Böhme; let us try to bring to life before our soul one of the aspects of Jakob Böhme's striving. A great question confronts Jakob Böhme with regard to the riddle of existence, the question that arises from the contemplation of the world when one says: The world is governed by the World Spirit in its goodness, in its wisdom. He who is able to immerse himself in the spirit of the world senses the surging of the world's wisdom, the surging of the world's benevolence. But evil intrudes, evil in the form of suffering, evil in the form of human deeds. If we do not look at the abstraction of the thought, but at a striving for knowledge that is based on feeling and emotion, a striving for knowledge that takes hold of the whole person, we stand in awe at the way in which Jakob Böhme raises the question of the origin of evil. He cannot avoid saying to himself: the spirit of the world, the divine spirit of the world, must be thought of as connected with the sources of life; but one does not find the origin of evil by immersing oneself in the spirit of the world. And yet evil is there. — With tremendous intensity, the question of the origin of evil arises in the quest for knowledge of Jakob Böhme. He seeks to answer it by asking about evil, as one might ask about the origin of the deeds of light. What Jakob Böhme has developed in depth can only be illustrated here through this comparison, for the sake of brevity. For, just as one can never derive from the light that which appears as the deeds of light, but always needs darkness for this; just as one can never derive darkness, with which light must appear together, from the light itself, but rather one must go to this source of light if one wants to examine the deeds of light in external nature, Jakob Böhme attempts to find the essence, not merely the principle, of evil, not in the Divine either, but in that which takes its place beside the Divine, like the shadow, like the darkness beside the light, which one does not seek in the light, but for which one does not need reasons in the same way as for the light itself. He seeks to find it by undertaking the previously characterized journey into the depths of the soul and at the same time trying to grasp the existence of the world at its sources in the soul. Thus he does not confront evil as something that can be recognized in a concept, but as something that he tries to grasp in its reality. In his attitude towards evil as something that cannot be grasped conceptually but only in reality, Schelling is followed in his very significant treatise “Philosophical Investigations Concerning the Essence of Human Freedom and the Related Objects”, 1809. Schelling consciously follows Jakob Böhme in his search for evil.

Goethe, from the depths of the German soul, sensed this riddle of evil in a completely different way. Just think what a challenge it was to create a work of poetry in the way that Goethe did in his Faust. On the one hand, Goethe had to present a purely inward striving, which, after all, could only be expressed, one might think, by depicting a person who presents himself to the world lyrically. Goethe seeks to bring it to dramatic life as Faust stands before the world. He does this, however, by allowing what lives in the soul to shine through in such a way that it is inwardly alive in the soul and becomes external. The dramatic not only places the human being in the world as he stands in it lyrically, but also as he stands in it actively. This enables Goethe, as a dramatist must, to lead man out of subjectivity, out of the mere inwardness of the being into the outer world. But one should try to imagine what a challenge lay in what can be characterized in the following way. Now Faust is to strive, as man does when he lets the riddles of existence take effect on him, to go forward in the world, to become a fighter in the world. And yet such struggles, which arise from the riddles of knowledge, are inner struggles. As a rule, man stands alone in this, and as a rule nothing dramatic is connected with it. Dramas proceed differently, in that one simply lets the interior of the human soul unroll. What enabled Goethe to transform what is basically only an internal matter of the human soul into a vivid dramatic image? Simply by the fact that, just as he brings the human soul out into nature through magic on the one hand, on the other hand he brings this human soul out into the big wide world by trying to show that when one seeks out seeks out evil and wants to experience it in its reality, one cannot understand it merely as an inner principle and seek an inner explanation for it, but one must step out into life as it confronts one full of life. Therefore, Goethe cannot direct his attention to evil in such a way that he finds something in him that is mere philosophy, but he must direct his attention to the essence, to one who fights Faust, to one who is the embodiment of evil, who is as alive as the principle of evil as man is alive here in his physical body. And he must be able to feel and show that the fight against evil is not just an abstract, inward struggle, but that it is a struggle that is waged hourly, momentarily, in which man lives. In everything he does, he essentially encounters evil. Thus this obstacle was overcome. What is otherwise an abstract philosophical principle was brought into direct existence, into essential existence. Walking, changing, acting, fighting were brought about, which one otherwise speaks about. For these reasons, on the one hand, the magical element had to be revived in Faust, in that Faust tries to penetrate the shell of nature. On the other hand, evil had to be contrasted with Faust as something essential, something that is much more than what is usually called an idea or a concept; something that is usually conceived as living only within the soul had to be embodied, placed out into the world. And so in poetry, too, there was a need to resort to that deepening of the conception of evil which we find as such a wonderful fundamental trait of the German spiritual striving, from Jakob Böhme up through all the deeper German spirits who cannot satisfy themselves by seeking evil only in philosophical concepts, but who want to go out into the world. And in going out into the world, they encounter evil just as one encounters another human being in the physical world. In order to spiritually unlock the inner world, the striving had to connect with such a view of evil. That is to say, just as nature is to be sensed through magic to its sources, so spiritual life is to be placed in the context of human life by showing evil itself as a spiritually active being. Thus, as a poet, Goethe elevates man to the realm of the ideal, but of the living ideal.

And he was faced with a dilemma in yet another way: he, the great artist, of whom Schiller said that he could give birth to a Greece out of his own inwardness. He was faced with a dilemma in yet another way, one that we may only gradually come to see in its full significance. In Faust, we see the striving human being. Many commentators on Faust have emphasized the fact that Goethe did a great deed in having Faust redeemed, in not allowing Faust to perish, as was the case in earlier representations of Faust, but in having him redeemed, because, in accordance with the newer world view, one must assume that within man lie the forces that can achieve victory over evil. Yes, what this actually means for the overall view of the Faust epic is something that is not usually considered. One says, offhand: Goethe's Faust could only become what it is if Goethe had the idea from the very beginning to take into account the innermost nature of man in such a way that Faust could be redeemed. One imagines a drama, one imagines a work of art that takes place in time and that is supposed to be great, in such a way that one knows from the beginning what must come out in the end. And that is what it should actually be. For man, as one so often says, must bring with him his convictions from the highest riddles of life. Actually, nothing more and nothing less is expressed by this than that “Faust” should, by its very nature, be the most boring piece of writing in the world. After all, every pedant today knows, or at least believes he knows, that if man strives correctly, he should ultimately be redeemed. And now one of the greatest poets is to present a grandiose world poem in order to show this self-evident truth through all possible forms! And yet, Goethe has succeeded in embodying the thought just expressed, not in some abstract way, but in presenting living life before us through a long, long series of images. Why? Simply because he has shown how that which, when inwardly conceived in abstract thoughts, would be a mere truism, a matter of course, is set forth in life in a completely different way; because he attempts to extend life, on the one hand, in the direction of the magical , on the other hand, towards the spiritual side; because the striving for nature is not a striving for knowledge but a magical one; because the striving for evil or the recognition of evil is not just a philosophical matter but a matter of life. How does something become a matter of life that is otherwise only the soul's inner, abstract striving? It becomes a matter of life when the human being, when he stands before nature in the same way that Faust stands before nature in the sense of his striving, wants to go beyond abstract knowledge. He wants to go beyond that which can only live in concepts, which spins itself out as ideas, as concepts. He wants to enter into the sphere of nature, where there is creative life, with which the soul's own creative life connects, in order to go beyond nature's creation through mere abstract conceptual life.

But when you take hold of the matter in full life, you enter into that in man from which man in turn emerges by being able to acquire consciousness in his concepts. One need only go back to what, for example, the Greek Stoics strove for in their earnest quest for knowledge. They wanted a wisdom that would smooth the world, that would survey the world, and that would have nothing to do with human passion. Man should become dispassionate, dispassionate, in order to feel his soul absorbed in the calm conceptual grasping of the wisdom that pervades the world. Why did the Stoics want this? Because they felt that one comes out of a certain intoxication of life, out of a half-unconscious immersion in life, by coming to dispassionate understanding. Stoicism consists precisely in the search for a life free of intoxication.

Now, in the course of human evolution, the personality that is to be represented in Faust stands before nature in such a way that knowledge becomes a question for it, the very thing by which man tries to save himself from the intoxication of life. He can enter into the intoxication of life by immersing himself with the creative powers of the soul, but he does not absorb the same powers with which he has just risen, but rather he submerges himself seeking to connect the foundations of the soul with the foundations of nature. But from this arises what is now the error of Faust in the first part of the story, the submerging into sensuality, into sensual life, even into the outer trivial life, which he must undergo in his own personality because he is to connect what lives in his own personality, what lives in the depths of his soul, with what lives in the depths of world existence. The task of the first part of Faust and also of a large part of the second part is to present in a lively way the error by which man can be tested in his soul.

To what extent man, by wanting to grasp the world personally, the world in its power through knowledge, exposes himself to the danger of being submerged in the personal and being drawn into the whirlpool of life, is depicted in “Faust”. And that does not depend on some abstract doctrine, but on the will, on the character of this Faust. It is only through this that the poem becomes a poem. And on the other hand, since the human being strives for a real knowledge of evil and is not satisfied with a principal, conceptual understanding of evil, he must break through the ordinary life of the soul; for there he finds only concepts, ideas and feelings. He must go through this soul life, he must go to the place where man, without seeing the essential reality through the senses, perceives an essential reality through the pure soul experiences, from the spirit. This becomes the task of the one who wants to recognize evil in its reality through direct experience. This becomes the task of Faust in relation to Mephistopheles. But man cannot approach evil at all as he is at first. It is virtually impossible to approach evil as man is at first; for one must know the world, and one can only know it by knowing it in the soul. One must form concepts. One must have in one's soul that which can be experienced in one's soul. After all, as newer philosophers have so rightly and so wrongly asserted, one cannot transcend one's consciousness. But if one remains in consciousness, evil remains only an abstract concept, does not appear in essence.

Faust is faced with a great, so to speak, impossible task. But great, as it says in “Faust” itself, is “he who desires the impossible”. Faust is faced with the virtually impossible task of going beyond that which is the sole source of his consciousness, of going out of consciousness. This will be his further path, the path out of the ordinary consciousness of the soul. Tomorrow we will speak about the path of knowledge out of the ordinary consciousness to those realms where the spirit is grasped directly as spirit. This stands before Faust as a task. He cannot find evil in its essential nature in the field to which consciousness is initially directed. Therefore, he must again, and now not in a general, trivial, abstract way, come to find the reconciliation of man with existence, but in the way that he is able to do so as an individual human being. It must be shown how he finds his way out of ordinary consciousness to an understanding of life that now comes from deeper forces of the soul.

Thus we see Faust going, I might say, everywhere touching and feeling the existence of the world, feeling it inwardly, to see where he can find the gate through which he can penetrate into the inner being. Thus we see how he soars so high that, having transformed the soul and transformed it more and more, he really descends in experience to those depths towards which Jacob Boehme strove and which are then hinted at to us in the second part of “Faust” that Faust finds something widest, greatest, highest and at the same time deepest, which he had already striven for in his walk to the Mothers, in that his senses fail him, in that he goes blind and in his inner being inner bright light comes to life. Out of the ordinary consciousness, to a different consciousness, to a consciousness that slumbers in the depths of the soul, as the depths of the sources of nature slumber under the shell of nature that one sees with the outer senses, to a deeper consciousness that always accompanies man between birth and death, but that is not present in the ordinary field of consciousness. Faust must be guided in two ways through the strengthening of the spiritual life to the gates that lead from the abstractness of the idea to the livingness of spiritual existence itself: As a magician, Faust knocks at the gate of existence, which leads from mere observation of nature to co-creation with nature; in his dealings, in the living, dramatic dealings with Mephistopheles and with all that is structured by them, Faust knocks at the other gate, at that other gate that leads from the ordinary consciousness of the soul to a superconscious, supersensible consciousness, which opens up a spiritual world, from which evil also really originates, behind the ordinary existence of the soul, just as external natural revelation is only the expression of that which lives and moves entirely in nature.

Through the connection with what, one can say, is peculiar to the German national spirit, Goethe created a piece of writing that could only become a piece of writing in the most difficult sense. For the most non-sensuous, the most distant from the senses, the purely inward, was to be shaped dramatically. But this inwardness can only become dramatic if it is expanded in two directions. And Goethe sensed the necessity of this expansion in two directions. In doing so, he created the possibility of placing this unique poetry, which in a sense no one else in another nation would have conceived in the same way, into the world evolution.

If one has these thoughts, one can perhaps still raise the question: Yes, but did Goethe not actually create a work of art that requires a great deal of preparation to understand? It almost seems that way. For the commentaries that scholars, both German and non-German, have written about Goethe's “Faust” fill several libraries, not just one. But if one were to believe that a great deal of preparation is needed to understand the Faust epic, then the thought must arise: what did Goethe actually make this Faust epic out of? Was it the result of a philosophical quest? Was it speculation about the magical foundations of nature? Or was it speculation about the sources and origins of evil? No, truly not! He saw the puppet show, a pure folk performance, the folk play of Faust, which was presented to the simplest minds. He transformed what lives and breathes in it according to his own mind. The Faust legend, therefore, presents us with a work of art and a work of the spirit in the best sense of the words. If we look only at the most general aspect of its origin, it shows how this summit of German intellectual life has its source in the most direct folklore, that is, in the most elementary of the folk spirit, and how German idealistic intellectual striving is connected with the essence of the German folk spirit. It can also be proved historically from the origin of the highest poetry of mankind from the simplest folk drama. This is a significant world-historical drama, that a spirit that can delve so deeply into the folklore in its inner work, like Goethe, is able to create something supreme out of the most primitive folklore, something supreme that, as we have been able to show, is also connected to the most significant philosophical pursuit, to the philosophical idealistic pursuit in Germany's great intellectual period. In Faust — as I said, these things must not be taken dogmatically — we see the striving Fichte. How? Fichte does not seek to grasp being and the ego by bringing thought to consciousness, as Descartes and Cartesius did. Instead, Fichte seeks to grasp being and the ego by connecting with the world-creating powers that play into the inner soul, so that the ego creates itself in every moment. We see this, only translated into the dramatic will, into the directly living, flashing up again in Faust. Faust is not satisfied with the self that human striving for knowledge was able to convey to him, but he wants to experience his own self directly in the spiritual world. The whole progress of the dramatic action in 'Faust' consists in the fact that the ego, in its dealings with the world, creates itself anew, always elevating itself. Fichte lives in Goethe's Faust; Schelling also lives in Goethe's Faust, in that Faust, on the one hand, seeks to unite the truth of magic with his soul, but also seeks true striving in the depths of the soul seeks the true striving in the depths of the soul; in that which cannot be found in the ordinary life of the soul, in thinking, feeling and willing, he seeks it in his dealings with the representative of evil, as a direct spirit. Faust truly seeks out nature where it lives in creation. Schelling had, I might say, presumptuously explained it when he said: To understand nature is to create nature! Fichte stands on healthier ground when he says: To understand nature is to live with one's own creation in the creation of nature. But one can see how the power for a deeper striving for knowledge, for the sources of existence, also lives in Fichte. Hegel strove for the sober thought, and one cannot be more sober than Hegel. The world spirit with which the soul in Hegelian philosophy seeks to unite itself becomes a mere logical spirit. To think of the divine spirit of the world as a logical soul that only builds the world logically! It must not be taken dogmatically, but it must be taken as an expression of the striving that remains mystical even in the most extreme logic, that seeks a union of the deepest part of the soul with the summit of the whole existence of the world itself in nature and history. Hegel must also be taken in this way, that one cannot find one's own self in what the senses provide us, but only in what the human soul can achieve within itself when it comes out of the sensual world. This is also what Hegel's philosophy strives for. And Faust, after his eyesight has gone, is illuminated by a brighter light within. What Hegel seeks on the right path, only to fail to perceive as the right goal, is what Faust seeks: to let one's own self merge with the world-self, to unite with it, and thus to experience the world-self in one's own self.

As Wilhelm von Humboldt said, can we not say that this German striving has not only tried in a beautiful way to establish harmony between philosophy – if one wants to call the pursuit of a worldview such – and poetry, and art in general, but that the German spirit has also brought this striving to external expression in a very unique way in Faust? Is not the very essence of Germanness characterized in this harmonious blending of the creations of the imagination with the quest of the sense of truth? Is it not otherwise in the world, where one finds that the imagination creates in freedom, but in unreality? The sense of truth creates according to the necessities of existence, but it does not come to a real life through this, only to an objectification, to a representation of experience. To bring fantasy out of its unreality and to animate that which it is able to create in such a way that the created lives together with the living spirit, so that harmony, harmonious harmony between poetry and philosophy can also exist in a work of art for once – that is what Goethe attempts, out of the whole originality and the truly not at all philosophical nature of his being. And when he has achieved this harmonizing of poetry and philosophy, of imagination and philosophy, by connecting with the most popular sources of the German spirit, then we may say: just as this Goethean work (we might also show it in other of his works, but it is most clearly and explicitly shown in his “Faust” — shows itself in connection with what the idealistic German world view has sought; there it is, as it now stands before us, seemingly the spiritual heritage of a few who prepare themselves especially for it. One can also see that, basically, supporters and opponents have tried to come to terms with the paths taken in the Goethe, Schiller, Schelling and Hegel era in the further course of German intellectual life up to our time. Infinite efforts have been made to understand the paths taken at that time along which one can find the sources of existence. But anyone who delves deeper into the ideas of those who lived in the arena of German idealism may come to the conclusion that what was developed there need not remain the property of only a few, of only a few individuals. Of course, if today we want to delve into the world view as presented by Fichte, Schelling and Hegel themselves, if we get involved in their books, it is understandable that we will soon close the books again if we do not want to make a special study of them. For it is understandable to say: All this is quite incomprehensible. Nor is there any criticism to be made of those who claim that it is incomprehensible and indigestible. But there is a possibility, and this possibility is actually offered by human development, that what appears to be an indigestible good for a few can become quite popular, can really find its way into the whole spiritual cultural life of humanity. In order to grasp the cosmic striving of man in the way it was grasped in German idealism, it was necessary that some people should devote themselves entirely to the particular formulation of concepts and ideas, that they should attempt this in a solitude of spiritual life that stands alone as such.

But it does not have to stay that way. It is possible to popularize that which lives in Fichte's thoughts, which are so abstract, so abstruse, and, as many might say from their point of view, so convoluted – I know that for many people I am saying something paradoxical, but time will teach that it is correct – if you live into the spirit and the way of thinking, to present it in such a way that it can be directly conveyed to the boy or girl in earliest youth; that it can be understood in the way one understands something that lies completely in the nature of human life if one wants to grasp this human life. And so with all the other spiritual heroes! It can be done just as it can with the Grimm fairy tales. It takes no more spiritual activity of the soul to recognize, feel and sense Goethe, Fichte, Schelling and Hegel in the depths of their creations than it does to grasp a fairy tale in the right imaginative way, as it is in the Grimm fairy tales. But the path will first have to lead people to live with something that belongs to the highest that humanity has gone through in terms of knowledge and poetry. And that is the significance of this idealistic striving of the German spirit. If one can show how one can grasp the essence of the soul in a simple way by appealing to the creative powers that lie within everyone, if one can show how these powers can be accessed in the right way, then one can bring this to people in a simple, elementary and direct way, whereas Fichte, to find it for the first time, needed a particularly high level of intellect. The same applies to everything else. But is what I am saying really so incredible? I do not think that anyone who remembers how he learned to understand the Pythagorean theorem at school will find it so incredible. But that does not mean that he is inclined to consider himself a Pythagoras, although the spiritual level and power of Pythagoras was necessary to first discover the Pythagorean theorem. An intense stream of spiritual world experience will flow from what the best German minds have sought in lonely, abstruse thoughts within German idealism, down to the most ordinary aspirations and lives of human beings.

And there is much, infinitely much, in this ordinary striving of man, if he is able to relate to the ever-creative and to feel that the human ego is creatively creative in the infinite. It is only by merging with the creative forces of nature that the human soul will be able to experience and feel the great beauties of nature as it reveals itself. And in a similar way, this applies to the other elements of this German intellectual life.

One must feel this, then the right feeling comes over one for the connection of the German striving with the entire world striving. And to revive this feeling in our days, it seems certainly appropriate to our destiny-bearing time. And it already belongs to that in which the German soul finds its strength. In conclusion, an example of this.

Even before the unity of the German people, the new German state, came about out of the context of the world, out of history, an unknown spirit writes beautiful words in his contemplation of Goethe's “Faust”. It was in 1865. I only quote these words of an otherwise quite unknown interpreter of Faust because they express what countless others have felt in exactly the same way. Since the emergence of the elevation in German idealism, which we have spoken of again today, countless of the best German minds have felt the connection between the paths that the idea takes in idealism into the spirit of nature and into the deeper foundations of the soul-spiritual itself. They felt that there is a connection between what the German spirit at its height has created for thought, what it has given to humanity as the sum of thoughts and artistic creations, and a connection between all this and what can also live in the German deed, in what the German people have to do when they have to carry out their world struggles on a different stage than that of thought. The connection between German intellectual life and German action was most deeply felt by those who knew how to place German thought and German idealistic work highest in their way of thinking. And from the contemplation of the past of German idealism, with its ascent to the heights where thought introduces to the life of the spirit—from the contemplation of this sphere of German idealism, there has always emerged the most beautiful hope that the German people will find the impulse for action from the same source when they need it.

What could be shown by many can be exemplified by one – and deliberately by one who is little known, Kreyssig, an explainer of Faust. Kreyssig, in 1865, wrote a paper about Goethe's “Faust” in which he tried to clarify, in his own way, what Goethe actually wanted with his “Faust.” He concludes with the words:

“And so we would then also know the overall impression that the contemplation of this giant monument of our great educational epoch, which after all remained unfinished and fragmentary, leaves behind, here we cannot summarize it better than in the simple memory of a passage from the famous legacy of the then 75-year-old poet to the younger world, which was preparing to take on new paths.”

Kreyssig cites Goethe's own thoughts, where he envisages the way in which Goethe sought a path into the spiritual world into old age. Kreyssig states how the power that leads into this spiritual world seems to him to be connected with the power that German action is to create in distant, distant times, which Goethe, as an old man, could only guess at:

> The earnest style, the high art of the ancients,  
> The primeval secret of eternal forms,  
> It is familiar with men and with gods,  
> It will leaf through books as readily as through rocks.  
> For what Homer created and the Scipios  
> Will never live in the learned hothouse!  
> They wanted to transplant us into the hothouse;  
> But the German oak grew to the whole!  
> A storm of growth has overtaken it,  
> It has taken the glass of the hothouse with it.  
> Now grow, O oak, grow to the delight of the world.  
> I can already see new solar auras flying.  
> And when my gray eyelashes close,  
> a mild light will still pour forth,  
> from whose reflection of those stars  
> the late grandchildren will learn to see,  
> and in prophetically higher visions  
> to accomplish greater things for the world and humanity.

And the “Faust” interpreter adds - in 1865 -:

"Let us add the wish that the words of the master, who looks down on us with a mild light from better stars, may come true for his people, who are seeking their way to clarity in darkness, confusion and struggle, but, God willing, with indestructible strength, and that “in those higher accounts of God and humanity, which the poet of 'Faust' expects from the coming centuries, German action too, no longer as a symbolic shadow, but in beautiful, life-affirming reality, may one day find its place and its glorification alongside German thought and German feeling!"

Thus thought a German personality in 1865 of the German idea in connection with the hoped-for German deed. How the disembodied souls of such personalities may look upon the field in which the German deed is called upon for its realization today!

But precisely in connection with the faith, love and hope of such personalities, and especially of those personalities who, either through creation or understanding, have stood within the world view of German idealism, it may be said: the German need not, if he wants to recognize the impulses that are to inspire him, disparage any opponent. He has only to reflect on what he must believe, according to the innermost part of his being, to be his world-task. He must therefore reflect that he looks up to the way in which it has been handed down by his fathers, his ancestors, to his time; how it has become a force for the present, and how from this force, which is before his eyes, which lives in his soul, from the present hope may spring into the future.

Indeed, in the context of the present with German idealism, one can say from the innermost feeling: By looking to the past of thought or to what he has striven for outside of thought, the German feels feel his world task; he may feel it in this fateful time, he may feel it out of his love for his past and out of his faith in the power of the present, which becomes his when he has the right love for what the past has brought him. And from this love and from this faith, from this dual relationship between past and present, will spring in the right way that which, transcending blood and pain, allows us to glimpse a blessed present: German hope for the future. Thus, by delving into the idealism of the German essence, we can create a triad of love for the German past, faith in the German present, and hope for the German future.