The Circular Flow of Man's Life within the World Of Sense, Soul And Spirit

GA 68b — 25 February 1908, Hanover

22. Richard Wagner and the Spirit World

The theosophical worldview seeks to deepen our spiritual life, not arbitrarily, but because it wants to serve, to satisfy the deeply felt yearning of our time. That the theosophical worldview is not arbitrary can be seen by comparing it with other spiritual currents.

Today we want to consider a cultural current in art in relation to Theosophy. We want to talk about Richard Wagner. Richard Wagner always emphasized that he wanted to serve an ideal that could permeate people like any other religious ideal.

Goethe longed for an interpreter of art. Richard Wagner endeavored to be such an interpreter throughout his life. One could say: What is not said about Richard Wagner, what is not thought of him! Richard Wagner himself would not have thought that. Nor is it necessary that he should have consciously thought all this so clearly. Just as a plant cannot itself say what a poet might say about it, so Richard Wagner does not need to have said or thought all that is said about him. The botanist cannot place himself above the forces of the plant. He only knows their laws. The plant, on the other hand, can grow according to these laws without knowing them. The same applies to the artist: he implements the laws of art. Richard Wagner himself was of the opinion that truth comes to light in philosophy and that the secrets of the world are revealed in art. He says of Beethoven's Ninth Symphony that in such a creation there is a revelation of another world, much more than through logical thinking.

Richard Wagner always had the feeling that the spiritual world, as the basis of the sensual world, stands behind this sensual world. He sees beings in the devachanic world, as we call it, that are connected to the physical bodies. An extract of this spiritual world is the physical. One must have what Goethe calls spiritual eyes and ears in order to see and perceive this spiritual world.

The Pythagorean spoke of the harmony of the spheres, which is not an arbitrarily chosen, superficial image. Goethe speaks very clearly about this spiritual world of the music of the spheres. For him, what is around us is the material expression of this spiritual world. He says in Faust:

What a roar brings the light! It trumpets, it trombones, the eye blinks and the ear is amazed, the unheard does not listen.

And elsewhere:

The sun sounds in the ancient manner In the song of the spheres, And it completes its prescribed journey With a thunderclap.

A great artist does not just use images like these as pictures.

Richard Wagner said that the individual musical instruments are like individual organs through which the world expresses itself in primal feelings. He had no theosophical view. However, since he was imbued with a theosophical attitude, he always knew that there are deep relationships between people and what stands behind them. Much of this is contained in old legends, for example in the legend of “Poor Henry”. A maiden must sacrifice herself so that the sick Poor Henry can be healed. The sacrifice acts as a force from one to the other. The outer science can find nothing of the magical power that passes from the redeemer to the redeemed.

In the Flying Dutchman, we have before us a man who has become sinful. The sacrifice of Senta, the power that passes from person to person, must have an effect here.

The whole music drama is imbued with this idea. Richard Wagner felt: In the ordinary drama, only the external action takes place, only the purely external expression of inner experiences. In the symphony, on the other hand, we experience the feeling only inwardly, that is, what is missing in the drama. Beethoven sought a balance in the Ninth Symphony, in which the feeling resonated in the word. Wagner's music drama also arose from the same endeavor.

Richard Wagner saw the ideal human behind the ordinary everyday person. He saw this ideal human in myths and legends, which contain in the imagination what man contains in his nature and in his germs. The saga of the Nibelungs is a particularly vivid expression of this. At the time of the ancient Atlantis, people lived under very different conditions than we do today. Year in, year out, Atlantis was covered by dense masses of fog. Rain and sunshine were not distributed as they are today, so that the rainbow could only appear after the great flood, the Deluge, because only then were the conditions for its appearance present. Noah saw the first rainbow. In myths and legends, the memory of the old conditions has been preserved, for example in the name Niflheim – Mistheim. We receive truer knowledge from the myths than from materialistic science. The state of mind at that time was such that the individual ego did not yet exist. In the course of the migration from the west to the east, the human being developed his ego nature. The Atlanteans had a collective consciousness at that time. The Germanic tribes, for example the Cherusci, still had this collective consciousness as well. Legends and myths depicted this in images.

In the transition from the collective self to the individual self, to the single self, the self contracts more and more around the individual human being. This increasingly contracting individual self was depicted as a ring. Truth and wisdom are interwoven with the image of poetry. The human egoistic self is expressed in the ring. The masses of mist flowed together to form rivers where people now live. In the Rhine, the myth sees what has become of the harmonious, collective consciousness of the self. The last stragglers of those endowed with universal consciousness have been drawn into the waves of the Rhine, as it were. Gold is the symbol of power.

With love, the possibility of selfish love also flows into the soul of the self. What is represented by gold, the symbol of power, is what the egoistic self strives for. Alberich kills love in order to take for himself what used to come to every individual from the All-consciousness. In the long-held E-flat major pedal in the prelude to “Rheingold”, we see the drawing in of the self into the human being.

The relationship between people must be regulated by external law. We find this with Wotan. Through his love for his wife, he loses his only eye, even if it is only slightly clairvoyant. For what the giants have done for him, he wants to give up the representative of love, of that which preserves youth, love for selfish power. Wotan still has connections to the All-consciousness. This emerges in Erda, this ancient consciousness, which is a dim but clairvoyant consciousness. She experiences the depths of the natural world clairvoyantly in what lives and weaves in springs and waters:

Her sleeping is dreaming, her dreaming is sensing, her sensing is prevailing knowledge.

This ancient consciousness cannot be expressed better, and all this is also expressed in drama and music. When the I was locked in the ring, it was locked in the skin. People who have the clairvoyant consciousness and the consciousness of today are called initiates. This was always represented in the image of the feminine. Goethe's words:

The Eternal Feminine

Draws us upward

refers to the higher human consciousness that humanity yearns for. Every nation has leaders who correspond to its character. Here, among the Germanic peoples, bravery is the corresponding characteristic. The soul of the warrior rises above the ordinary consciousness. This is symbolized in a female personality, the Valkyrie. Those who do not die on the battlefield die a death on the battlefield. But those who fall in battle are led up by the Valkyries. The feminine leads into the spiritual realm.

The initiate experiences in life what the ordinary person experiences only after death. Siegfried is an initiate. He unites with the Valkyrie already here. The All-consciousness passes over into the I-consciousness. From close marriage gradually arises distant marriage. The mixing of related blood gave the power of vision. This power passes with distant marriage. When distant blood is brought to distant blood, clairvoyance and ruling knowledge perish.

This transition to long-distance marriage can be found in the world of legends, where a member of the blood relationship goes out and marries outside of it. This is characterized in the saga in such a way that it is always associated with suffering and hardship. Siegmund and Sieglinde are characteristic representatives of close marriage. The child of this marriage, Siegfried, must not know any of this. He must grow up, completely on his own. Fricka, the representative of the new order, rebels against the union of Sieglinde and Siegmund.

In his unfinished drama “Der Sieger”, begun in 1856, Richard Wagner incorporated theosophical teachings. Amander, an Indian prince, is loved by a Jandalah maiden. He does not consider her worthy of him and enters a monastery. The maiden remains behind and later realizes that in a previous incarnation she was a king's daughter and that the present prince was a Jandalah, whom she did not want to marry. A balance had now been struck. She too enters a Buddhist monastery. This would have been a purely theosophical drama with reincarnation in it, but Richard Wagner did not yet feel up to it.

The following year he was invited to stay at Villa Wesendonck. From his window he saw spring outside, the first signs of sprouting, the resurrection of nature. He recognized the connections between this cosmic event and the mystery of resurrection. The “Parsifal” was created from this. The symbol at the center of the Parsifal problem is the Holy Grail. There really was a school of the Holy Grail. It still exists today: the realization of the pure ideal.

What the Grail student and the Rosicrucian student go through is to be reflected in a dialogue that did not take place literally in this form, but in spirit. The pupil was shown: Look at the plant. The root goes down into the soil, the sap – the “blood” – goes up, where the fruit attaches itself. It stretches the calyx towards the sunbeam, the holy lance of love. Compare this with man. Unconscious, the plant is not yet permeated by desires. It develops upwards to become human. Then the plant sap becomes blood, permeated with desires, the plant leaf becomes flesh. By incorporating the desires, the human being acquires day-consciousness in contrast to the sleep-consciousness of the plant.

One also spoke of future development: everything is in development. The human being will develop to ever more perfect levels. Richard Wagner also points this out. An organ that is still developing, that is still at the lowest level – every materialist will find what I am about to say terrible, but that does not matter, it is still true – the heart, it is indeed a real crux for materialistic science; it is an involuntary muscle with striated fibers like the voluntary muscles. This already points to a later stage of development. The human larynx will also have a higher development. It will be productive, it will create the image of man: it will become the future organ of reproduction. Later, like the plant now, man will turn his chalice chastely towards the sun, towards the holy lance of love. This was said to the Grail disciple. One can only arrive at this knowledge through spiritual insight, not through speculation. The Grail disciple should feel and relive it.

In “Parsifal” the one who strives for the Grail ideal is portrayed, the Christian initiate. The pure fool, he knows nothing through his own speculation, but he has felt it, he knows through compassion.

In Kundry, Wagner depicts the lower sensuality that passes from incarnation to incarnation. Kundry is Eve, is Herodias. She mocked the Redeemer. But she must not be lost; she must also be redeemed. This happens through the kiss of Parsifal. Klingsor represents black magic, brute force.

In Siegfried, the old initiation is combined with the Christian initiation. Siegfried is vulnerable only in one place: where the Redeemer later carried the cross. The old can only develop into unselfish free love if Christian love is grasped. This is expressed in Richard Wagner's transition from the “Nibelungen” to “Parsifal”, when he moved from the Nibelung saga to the Parzival saga. Richard Wagner himself felt he was a herald.

Wahnfried shall this house be called,
Where my delusion found peace.

That is written on his house. Man must pass through delusion if he wants to ascend to the spiritual world.

If one wants to interpret the secrets of the world, one must turn to art.