# Goethe and the Present

## GA 68c — 22 February 1892, Weimar

### IV. Weimar at the Center of German Intellectual Life

*Report in the “Weimarische Zeitung” of February 26, 1892*

In a series of lectures dealing with the development of the main currents of German intellectual life, the lecture characterizing the high point of this development must naturally claim the main interest. This task was the fifth lecture of the cycle:

“Weimar at the Center of German Intellectual Life,” and the lecturer, Dr. Rudolf Steiner, brilliantly fulfilled this task. In a speech that was as spirited and substantial as it was clear and vivid, he sketched out an image of the main period of German culture that took place on the soil of little Weimar.

Goethe's appearance in Weimar, seemingly a coincidence in his life, has become a necessary factor in cultural history. Goethe and Karl August understood each other, and from the outset each of them appreciated the high human value of the other. When Goethe came to Weimar, he had already passed through a major period of his development. Works such as “Götz” and “Werther” show his gift for bringing to light the most profound source of life, which he had developed to perfection. He had had a teacher in Shakespeare, the poet of pure humanity, whose figures are not influenced by an external destiny, but create their own destinies from within themselves. In the Prometheus fragment, this overwhelming sense of power and individuality finds its most powerful expression.

Artistically, the first ten years in Weimar were the least productive of Goethe's life; but they were significant for his personal development, to which the circle in which he lived contributed greatly: Wieland, the highly gifted Duchess Anna Amalia, the admirable Duchess Luise, the clear-minded, sensible Knebel. Charlotte von Stein replaced for him on earth what his Promethean belief had taken from him in the hereafter: the need for veneration. In view of this, the dispute about the limits of this relationship is simply laughable. Herder, too, was of the greatest value for his self-education. Both encountered each other at that time in the idea of the development of earthly things, each of which is a link in the great world harmony. For Goethe, this idea was the starting point of his scientific work. In place of the exclusively subjective world view of young Goethe, there now arises a more objective one that integrates man into the universe and its eternal laws. This world view and the corresponding ideal of art found their maturity in Italy.

This change can already be seen in “Iphigenia”, in the figure of Orestes. Goethe is Orestes, Frau von Stein is Iphigenia. The man hunted by the Furies does not find redemption within himself, but it is given to him from the outside. The warning that we depend on the iron laws of the outside world, and that the urge for freedom within us has to contend with the forces of life, is also preached by “Tasso”, whose motif is the deep conflict between talent and life. With this objectivism, Goethe had distanced himself from all subjective partisan points of view.

Therefore, when he returned from Italy, he was a stranger to Schiller; and it was only from the moment when Schiller, absorbed in the study of philosophy, also leaned towards the exclusive subjectivism of Goethe's clarified, non-partisan world view that the two men became friends. They developed an idealistic world view together; different in form but arising from the same core, it is set forth in Schiller's “Letters on the Aesthetic Education of Mankind” and in Goethe's “Fairy Tales”. From Kant's rigorous moral law, progress is made here to a free morality that creates good out of its own initiative, not compelled to do so by a categorical imperative. Schiller sought to lead man to freedom through beauty. Many researchers have already tried to find hidden wisdom in Goethe's Fairy Tale and have come to grief on the task. Dr. Steiner has for the first time revealed and explained the deeply symbolic nature of this difficult-to-understand poem in such a way that its great human and ethical content is fully revealed. The “Fairytale” proclaims in symbolic form the same thing that Schiller's letters proclaim in abstract form: only through the sacrifice of a limited ego does man achieve that higher self where he no longer has to obey the command of a moral law coming from outside, but can do out of himself what his personal judgment advises him.

The educational ideal of the classical period was universal: Goethe and Schiller also made a scientific impact. Goethe's scientific outlook is a highly idealistic one, the value of which can only be fully realized again in an idealistic direction of science. At the same time, science, especially philosophy, reached an undreamt-of height in Jena: Fichte and Schelling, in the first place, also had a stimulating effect on Schiller and Goethe. Goethe and Schiller's correspondence is the perfect expression of this universality. It found its productive expression, on the one hand, in the Xenienkampf, and on the other, in Schiller's dramas and Goethe's epic and dramatic works of the following period.

The lecturer then discussed, in broad strokes, but always picking out the essential with a sure hand, the structure and the accomplished poetic form of “Hermann and Dorothea”, where the demand of classical aesthetics that the material must be fully absorbed into the form is fulfilled in the most perfect way. The same is true of the “Natural Daughter”. The accusation that here not individuals but types have been created is rejected. The essence of this work of art is that individuality is only given to the extent that it is also a necessity within the framework of the work of art. Schiller's method of characterization is quite the opposite. It presents the individual as such for his own sake, but in contrast to his youth, now without bias. Schiller's approach to Goethe's style of poetry in The Bride of Messina is only apparent; for the idea of fate is opposed to Goethe's moral world order, and basically to modern and thus also to Schiller's view of the moral demand for human freedom. Schiller's dramas also gave the stage an inner momentum; a new idealistic acting style was also developed through them. Schiller was the link between Goethe and the public; when he died, Goethe was isolated. No one could follow him to the heights that he had reached through an unparalleled self-education. This self-education is most strongly reflected in “Faust,” which accompanied him from the wildest youth to the clarified maturity of old age.

The material for Faust is based on the conflict in the human soul between the positive things it has and the only suspected things it would like to acquire. The ascent to the otherworldly realm does not happen here, as in the Theophilus saga, through the grace of the higher powers, but Faust wants to fight for everything through his own strength. From the very beginning, Goethe had in mind the glorification of the victory of this lofty aspiration. And it was not a unified external action that he was aiming at, but poetic transformation of his own experiences. But just as the subjective individual experience disappears in the clear, objective, general world view in the older Goethe, so in the second part of “Faust” the experience rises far above the visible, the real, it is transformed into images, into symbols and allegories; and it is from this point of view that the second part must be considered. The speaker also touched on the same phenomenon in Wilhelm Meister.

Goethe's mission was to rejuvenate humanity in an aging age. Such a transformation is also taking place in our own day, for time has grown old again. The striving that rejuvenated Goethe's time, the striving for reality, also fulfills our youth. But what a difference! Goethe understood reality to mean the inner, the necessary, the divine in the earthly, while our present sees it in the external, the accidental. But a people with such a past can never forget it without at the same time descending from the height of its culture. And the generation that cannot say of itself: And Goethe's sun, behold, it smiles on us too! With this warm appeal to the present, the speaker concluded his interesting and thoroughly original remarks, through which he gave all his listeners an instructive and enjoyable hour.