# Goethe and the Present

## GA 68c — 21 January 1909, Heidelberg

### XXV. The “Fairytale” of Goethe (Goethe's Secret Revelation Esoteric)

Yesterday I endeavored to show how the material to be presented here regarding Goethe's most intimate opinions and views on the development of the human soul is not arbitrarily worked into his works, and in particular into the material with which we are particularly concerned, his fairy tale of the green snake and the Beautiful Lily, but I have tried to show how the whole basis on which to build, the explanation of this fairy tale and Goethe's more intimate worldview, can be gained from a historical consideration of Goethe's life, from a historical tracing of the most important impulses of Goethe's ideas. I may say that an attempt has been made to establish the foundations for what is to be given today in a more freely developed form on the subject. If we allow the fairy tale we spoke about yesterday to arise before our soul, it appears to be completely immersed in mystery. And one would like to say that either one must assume that Goethe wanted to put a lot of mystery into this fairy tale, as he put a lot of mystery into the second part of his “Faust,” according to his own sayings, or that we could regard this fairy tale — which is quite impossible — as a mere play of the imagination. If the latter were not already excluded by Goethe's whole way of thinking, one would have to say that such an assumption is particularly prohibited by the fact that Goethe placed this fairy tale at the end of his story “Conversations of German Emigrants”. For it is basically the same idea that we found characteristic of Goethe's entire life yesterday, and which also lives in these “Conversations of German Emigrants,” which were written in the last decade of the eighteenth century. And from what immediately precedes the “fairy tale,” we can once again discern the theme of this fairy tale.

We are presented with the conversations of people who have been forced to emigrate due to events in their French homeland, who look back in the most diverse ways on what they have experienced in terms of sadness. We see how the entire story comes to a head to show what people who are, in a sense, uprooted from their circumstances and surroundings can go through in the solitude of their souls; what people in such a situation can gain by reflecting on their emotional experiences, by self-observation. We need only highlight a few examples to show how Goethe brings everything to a head, how a soul that becomes a fighter within itself, that often asks itself through various prompts: What kind of guilt have I accumulated, how have I hindered the soul's development? How such a soul tries to find out about itself. First we meet an Italian singer who is to reveal her fate to us in this story because her destiny can serve to illustrate a human soul that, in a certain respect, must remain on the surface of world observation. A human soul that, although it attentively follows what is going on around it because it is forced to by its circumstances, is not yet mature enough to distinguish between what, in a sense, may be called an accident and the spiritual necessity of things. It does not yet know how the phenomena of life must be connected so that we can assume the presence of spirit and spiritual laws in our environment. This Italian singer behaved in such a way towards a man that he became seriously ill as a result of her repulsive behavior, and that he is actually dying because of her behavior. So she is summoned to his deathbed. She refuses to come to his deathbed. He must die without having seen her. Now, in the time following his death, many things happen that give a soul, which would have to be characterized in the same way as that of the Italian singer, something to think about; so much to think about that she does not really know what to make of what is going on, which could still be seen as connected with my whole behavior, with the whole way in which I behaved towards the dead man in relation to his fate. After death, something very strange happens. She hears all kinds of noises in her rooms, the furniture dances, and she is even slapped in the face by an unknown, invisible hand, so that she is really frightened by the strangeness and horror of these events. Is the dead person somehow there, wanting to assert himself because of the way I behaved towards him?

A cupboard's top breaks open, and it is strangely revealed that at the very moment that cupboard's top broke open in this room, a cupboard in France, made by the same carpenter, burst into flames in its rooms. Mind you, my friends, it would never occur to me to try to explain these things in the light of a spiritual worldview, nor to suggest that Goethe wanted to express that there was something in such events that could give cause, for all I care, to assume all sorts of hidden spirits or the rumbling of the dead.

Goethe merely wanted to show that there are certain souls that are so little enlightened that they do not know what to do with such strange events, that are not enlightened enough not to say: these things are nothing; but they are also not superstitious enough to say: the dead man is certainly stirring, but rather those who, because they are not developed, can only have an indefinite feeling about such things. We see how the soul fares in the external world, depending on its stage of development, which Goethe already demonstrates by steering the stories in “The Sorrows of German Emigrants” in the direction of “fairytales”. He shows us how a person is put in the position of having to heal a lady of her sensuality, her passion. He suggests the path of having her fast, of guiding her through asceticism, so to speak, in order to dampen the ardent passion in this way. This is another indication of what a soul can go through in order to experience development. Continue – and now notice how Goethe does indeed lead the matter upwards in stages. First, he shows a soul that is really digging around in the vague in the Italian singer; he shows an already more real thing in the lady that I just mentioned: It is indeed the case that many people come to a purification of their passions, to an upward development of their soul through fasting. Here we are moving from the indefinite into the definite, into reality, and this is fully the case when we ascend into the reality of human soul development in the physical world, as we see in the third story related by Goethe. He shows how a person is initially somewhat unscrupulous, and thus stands at a subordinate level of soul development, to the point where he says: What belongs to my father also belongs to me. The practical result of this is that he commits theft at his father's checkout. He grows, so to speak, precisely through this act. His soul ascends, and he becomes, precisely by doing this wrong deed, a kind of moral center for all the humanity that then groups around him. Thus, already in his stories, which lead up to the “fairy tale,” Goethe shows us how he wants to depict soul development, the soul's ascent from certain subordinate stages to higher stages of knowledge and world view.

Now, as we saw yesterday, we are dealing with soul forces that are represented by the figures, the beings of the “fairytale”, and with the play of soul forces, which is to gradually purify itself into harmony, even into a symphony of soul forces, as the soul rises higher in the deeds performed by the figures and persons of the “fairytale”. In what happens in the 'Märchens', we are dealing with will-o'-the-wisps that want to be ferried across from the other side of the river to this side by the ferryman. They are initially filled with gold, but the ferryman does not want their gold as a reward because the river would be thrown into wild turmoil if gold pieces were to fall into it. Rather, he must demand fruits of the earth: three onions, three artichokes, and three cabbages. The will-o'-the-wisps have the ability to shake gold around them, and we have seen how they encounter the snake, which they call their aunt from the horizontal line, while they themselves are beings from the vertical line. By sprinkling gold, they give the snake something that becomes fruitful and beneficial within it, because the snake, by connecting the pieces of gold with its own substance, becomes inwardly radiant. That which it could not see before and which has something to do with the secrets of soul development, that it can illuminate that within itself.

When I tried for more than twenty years to gain access to this fairy tale in every possible way, it was above all a liberating thought in the confusion of questions that arise from the “fairy tale” when it became clear that above all I had to pursue the gold. Gold plays a role of the most diverse kind in this fairy tale. First in the will-o'-the-wisp. The will-o'-the-wisp scatter it around; there it shows itself in a certain way as something that we may address as not beneficial in certain respects. In the snake, the gold becomes beneficial. Then again in the golden king, who is made entirely of gold, then we find it again on the walls of the hut where the old man with the lamp lives, and there the will-o'-the-wisp lick it down and make themselves thicker and more substantial by licking the gold down from the walls. So the gold comes up several times, and one time we are pointed to the fact that this gold has something to do with the power of the human soul, by being pointed to the temple, which is first below and then above ground, that the golden king represents the bringer of wisdom. It is something that we do not need to interpret or explain, but where we can say: Here Goethe himself says: the golden king refers to the giver, the bringer of wisdom. So the gold must have something to do with wisdom. It is the gold, by filling the being of the golden king, that makes him a wise being, that leads him to bestow the gift of knowledge

> Know the Highest!

— this is transferred from the golden king to the youth, and the youth is thereby quickened. Gold is therefore something that the Giver of Wisdom is able to instill in man. The will-o'-the-wisps, if they represent a soul-power, must represent the soul-power that is able to receive wisdom, for they have the gold within them, the soul-power that can also cast wisdom aside. We learn how this wisdom can be stored by the fact that on the walls of this symbol of wisdom, gold, was stored for a long, long time before the will-o'-the-wisps licked it. We cannot help but say, since we know how well founded it is to see soul forces in the individual forms, that the will-o'-the wisp represent the abstract intelligence, the pure power of the intellect, which is capable of acquiring a certain amount of wisdom through what is usually called external science, what is called speculation, external experience. And now we also understand why gold, wisdom, plays such a role in the pure intellect of the will-o'-the-wisps: the person who absorbs what knowledge, science and wisdom is with the pure intellect absorbs it above all in order to have something personal with it, in order to be able to use it personally. We can look into Goethe's soul and recognize the way he related to something when we become aware of how he often congratulated himself, so to speak, for never having been in a position to officially represent as a teacher the science to which he so devotedly dedicated his time , that he was only able to give the world some of his wisdom when he was inwardly impelled to do so, was not called upon to cast wisdom aside as one casts aside clothing when one is destined to become a teacher or an abstract bearer of wisdom.

In this way, Goethe presents human wisdom in the Irrlichtern that has developed one-sided intelligence and power of reason, and it is a peculiarity that – however much it may be denied – abstract knowledge, mere intelligence, especially when it increasingly moves into wisdom – and abstract intelligence can absorb vast amounts of wisdom – that this leads to vanity, to wanting to be able to deal with concepts everywhere. We are speaking entirely in Goethe's spirit when we realize why we still contrive such wise thoughts and think so cleverly: abstract concepts and ideas that are not drawn from the depths, from the richness of life, are unsuitable for ultimately leading us into true communion with the eternal riddles of existence. Where we need something that goes straight to our hearts from the eternal riddles of existence, we need something other than abstract ideas and concepts, as products of mere intelligence. When we stand before the boundary that separates the two realms, the realm of the sensually physical world, into which we feel transported, and the realm of spirituality, the realm of the supersensible, when we feel ourselves at this boundary, we are we are repelled by all abstract concepts and ideas. Indeed, these abstract concepts and ideas are not even capable of making comprehensible to us what is closest to us, for they alienate us from what is closest to us. How far removed the abstract thing is from grasping even the most everyday things that surround it; so it is incapable of giving in its concepts and ideas to that stream to which we are drawn when we want to cross over into the supersensible world. For concepts and ideas are not good for that. If you want to get to the very source of life, then it rears up and does not let us get close. Therefore, the river has no use for the gold that the will-o'-the-wisps are able to give, and we are told that none of them have ever confessed or served time. They are from the vertical line, while the old crone is from the horizontal line. This indicates how man removes himself from the ground through abstract concepts and ideas and cannot reach the ground of everyday life, which he is supposed to understand. We see how plastic these abstract figures of the will-o'-the-wisp are. But are ideas and concepts, are philosophical explanations under all circumstances that which separates us from the true source of existence? No, they are not, if man has the capacity to live in such a way that he combines his own life forces with things. Not to go out into the realm of abstract concepts and ideas, but to move correctly within things, to become a spirit, as Faust became one when he said:

> Exalted Spirit, thou gavest me, gave me everything,  
> why I asked. Thou didst not in vain  
> turn thy face to me in fire.  
> Gavest me the glorious nature for a kingdom,  
> the power to feel and enjoy it. Not  
> You only allow coldly amazed visitors, granting me to look into their deep chests as into the bosom of a friend. You lead the line of the living before me, and teach me my brothers in the silent bush, in air and water.

Where man truly enters into an inner communion with the beings of nature, where he does not sever himself with all the powers of his soul from the beings of nature, there the same concepts that alienate him from the world when they become abstract serve him to penetrate ever deeper and deeper into existence. We must not, so to speak, turn things around and say: because abstract concepts and ideas alienate the abstract being from the true essence of things, concepts and ideas are worthless in general. No, on the contrary, where they fall into the soul power that rises, lives in and with things in a certain community, in such a soul power they are full of light at the same time. Therefore, gold, which in a certain sense is without blessing in the will-o'-the-wisps, becomes such a blessing, the light in the snake that lives in the clefts and has the horizontal line, clings to the earth. If man clings to the earth, if he loves all things, if he immerses himself in things, if he, to use the much-maligned word, “mystically” immerses himself in things, then clear ideas serve to guide him through things. Therefore, you can also see – I don't know how many of you have had such an experience, but it can be had – that sometimes scholastically presented philosophies seem cold and sober, but that the same ideas, when they come to us from simple primitive people who live outside as herb gatherers, root gatherers or the like – and who are usually very interested in the secrets of existence – to what lofty ideas such people, mystically united with nature, sometimes come. We shall see how, in the case of primitive people who are in communion with nature, ideas become luminous that are worthless, sober, frosty in the case of abstract people. Thus we are led away from the will-o'-the wisp that abstract intelligence presents to us, to that soul power that is deeply rooted in us and that has the mystical urge to plunge into things, as it were. This is vividly and vividly depicted to us, as the snake moves through the crevices: Man, in fact, even if he does not enlighten himself with concepts, does not live in abstract ideas, comes close to the heart of things, like the snake to an underground temple, where, because it cannot shine, it first perceives only through touching certain forms that it only later examines in the light. Man, when he has only an appreciation of the mysterious workings of the forces of nature, comes to the heart of nature and can experience something of what lives in the things around us. We experience this with the snake, which shows us how it is a representative of those soul forces in man that can live without ideas under certain circumstances, only then not illuminated by the light of knowledge, but which nevertheless lovingly delve into things and come to a certain understanding of the riddles of the world. When the balance is restored by the fact that ideas and concepts are absorbed into these mystical powers of our soul, then the time comes when a person who is lovingly inclined towards things also finds that which he previously only sensed from the sources of existence; that he can also illuminate it through his own inner light. Yes, he is only led deeper into it.

You may recall a significant saying of Goethe's, where he says:

> If the eye were not solar,  
> How could we behold the light?  
> If the power of God does not live in us,  
> How can we be enraptured by the divine?

Where Goethe immediately points out how we must respond to the eye of the light, which is intended to illuminate the secrets of nature, if it is to shine back again, reflecting the secrets of nature within it, as it were. Therefore, we must absorb the preparation for knowledge within us, as the snake absorbs gold, then we penetrate into what otherwise remains dark, as man, when he inwardly preserves the sense, the open heart, for the spiritual, sees the insights more clearly, how he can only then also see the spiritual in his environment.

And so the snake enters the underground temple. Here Goethe indicates to us in a wonderful way that there are subterranean places for the life of the human soul. One can only characterize such things as Goethe presents here if one enters somewhat more intimately into the strange workings of the human soul in its development. It can then be felt how our soul, before it is able to explain the things of the world outside and to prove the divine life and weaving of the spirit in all things, has to be inwardly certain that there is such a divine source, that there is a supersensible behind all that is sensible. She can experience the certainty of this supersensory within herself and yet be unable to see this supersensory shining throughout the universe. Oh, it is a lofty goal to behold the spirit in its form, as it is the creative source of all that surrounds us in the great world, as all that surrounds us in the great world wells up from the spirit. To do this, man must first develop the highest powers of the soul within himself.

The supersensible, which sleeps hidden in the normal human consciousness as a higher self, must first be evoked by man in order to ascend to the higher level of his spirit's development. One can sense that something like this exists. But then one also comes to another realization: if one has any sense of reality, of true existence, one must say to oneself: I can only reach my ultimate goal if I see how everything lives and is permeated by the spirit, how spirit is in all things. But I myself, as I stand in the world with my sensual body, so I am, as it were, crystallized out, born out of the spirit — out of which I am born, without my being involved, which I can ultimately achieve again through the highest knowledge. In a mysterious way, unconscious to myself, I have come from this land of the supersensible, into which I want to penetrate again through my knowledge. There we have the other shore, of which the “fairytale” speaks, the land beyond the river, where the beautiful lily dwells, which represents the highest world and life view, which represents the soul power to which man can develop. From there comes the mysterious being, the ferryman, who brings the will-o'-the-wisps over from the other side. Through real powers, man is transported into this world, where he stands as if surrounded by darkness – hence the mysterious words spoken by the ferryman, who brings us from the transcendental world to the land on this side of the river, who may only bring the beings across, but no one over. In no way can man return to where he came from except through birth. Other paths must be taken.

Then the will-o'-the-wisps ask how they can enter the realm of the beautiful lily, that is, how a single soul power can merge into the harmony of soul powers in such a way that it ascends to the highest. The snake then suggests two means: One is that which can be given by itself, when it allows itself to be transported by the Serpent at midday, when the sun is at its highest point. The will-o'-the-wisps say: 'That is a time when we do not like to travel. Yes, why? It is simply quite beyond the grasp of the Abstract-Lover, who wants to live only in abstract ideas and concepts, who wants to achieve everything only through combinations and conclusions, to make the transition as represented by the snake, through mystical devotion to things, through seeking mystical communion with things. This mystical communion cannot always be attained either. I recall that a great mystic of the Alexandrian school confessed in his old age that he had only experienced that great moment a few times in his life, when the soul feels ripe to delve so deeply that the spirit of the infinite awakens and that mystical moment occurs in which the God in the breast is experienced by the human being himself. These are moments at noon, when the sun of life is at its highest, when something like this can be experienced, and for those who always want to be ready with their abstract ideas, they say: anyone who ever has real thoughts must reach the highest level, for them such midday hours of life, which must be seen as a grace of earthly life, are no time to travel. For such abstract thinkers, there must always be a moment to solve the riddles of the world. Then the snake points out another way they can get across, namely through the shadow of the giant, that strange being that can do nothing for itself, cannot carry the slightest weight, not even a bundle of rice on its shoulder. At dusk, when half-light spreads, when the giant lets the shadow fall over the river that separates the sensual from the supersensual, then people can also cross over. What kind of a strange being is this giant? If we want to understand this giant, we must bear in mind that Goethe was well aware of those powers of the soul that lie, so to speak, below the threshold of consciousness. In the case of normal people, these powers only emerge during dreams. However, if we speak in a spiritual scientific sense, they belong to the subordinate clairvoyant powers that not attained through the development of the soul, but which occur particularly in primitive souls in the form of presentiments, second sight, and all that is connected with a soul that has not yet progressed very far, from which a certain uncontrollable and uncontrolled clairvoyance wells up.

Through such clairvoyant powers, there is no denying that a person can get some ideas about the supernatural world, and many people today still prefer to come to the supernatural world through such ideas or through spiritualistic images than through development, through the real upliftment of the soul into the land of the supernatural. What belongs to the realm of the subconscious, to the realm of the soul, that is not illuminated by what one can call clear mind, what one can call the light of insight, what one can call self-control, what is also like dream-like knowledge in life, is represented to us in this giant. In fact, one cannot truly recognize anything through this subconscious, because it is very weak compared to real knowledge, something that cannot be controlled anywhere, something that cannot be relied upon, so to speak.

If you wanted to personify this subconscious, you couldn't do better than a human being who is unable to carry the slightest weight. Through such subconscious knowledge, man — if he wants to develop it alone — is not able to recognize in a controlled way the slightest thing that stands on a sure basis, that has weight for our world view. But the shadow of this subconscious plays a great role in the whole of cultural life. Oh, that shows through everything — and only one word needs to be spoken to [characterize] the shadow, which for many human souls actually leads satisfactorily into the realm of the supersensible: the word 'superstition'. If countless people did not have superstition, which is the shadow of the subconscious, which prefers to operate not in the light of clear ideas but in the twilight, they would have no idea of the supersensible world, and for countless people today superstition is still the shadow of the subconscious, which leads them in the twilight hours of the soul life into the realm of the supersensible. One need not even enumerate the various manifestations of superstition in the history of civilization; one need only consider how people come to Theosophy, to spiritual science, which seeks to convey something to us from the supersensible world, something that only those people can comprehend who are willing to make great efforts to lift their soul higher. We want to ascend to the higher beings. But many make themselves comfortable, they want the spirits to descend to us instead of us rising to them. They are happy when a medium is found somewhere who, from the realm of the subconscious, testifies to the existence of the supersensible world. Not only inferior minds pay homage to what flourishes so abundantly as “spiritualism,” but even scholars who do not want to admit that the soul can be raised to the heights of the spirit through its own development. It is not said that the things that happen are not true, but distinguishing between truth and error is extremely difficult, and only for the initiated is it possible to exercise scientific control.

Goethe wants to point out this shadow of the subconscious, this whole vast realm that eludes wise self-knowledge and self-control, this power of the soul. But he does not point it out like a polemicist – Goethe was never a polemicist – he is aware that every power of the soul, at its level, even if it has to be suppressed at another level, has its importance, so he does not say: Beware of the giant, but he even finds it useful here to have the snake give the advice to the erring ones that they should have themselves translated by the giant's shadow at dusk. Strangely enough, this advice is repeated today when scholars do not want to bite into theosophy. Then well-meaning people come and say: let a spiritualist session convince you of a supersensible world, then you will be introduced to it in a plausible way. But superstition plays a great role in attracting attention, in directing the human mind to the supersensible world, and it must be clearly understood that Goethe, who wanted to present the entire field of soul forces as in a symphonic harmony, really believed, as this superstition, when it does not degenerate into wild superstition, has its good reason in the soul forces, which do not all come with sober, clear concepts, but first say to themselves: We can penetrate deeply, deeply into the secrets of things - but we would rather first hold it with intuitions of their secrets. First sense these secrets, do not immediately find our way into sharp contours! This intuitive restraint in relation to things is very important, since it should play a part in the entire life and weaving of our soul development.

Goethe wanted to show that what was expressed so clearly in outer nature was expressed in a higher way in the forces of the soul. I do not want to point out how Goethe, if he had not written a poem, a drama, a Wilhelm Meister, a Werther, would have been a shining personality for all time through his scientific discoveries. That in addition to his better-known scientific discoveries, he found a certain law that was not thought up or speculated by him, but which we will see is deeply rooted in the things themselves, like a leitmotif in all of nature's work, and which could be called the law of balance, in all external natural things as well. That nature has a certain measure of development for every being, can alter it on one side or the other, and can allow multiplicity and diversity to emerge from it. Look at the giraffe! Nature has used a certain measure of forces for the giraffe's activity, using more strength for the development of the front body, the neck, which is why the hindquarters are stunted! Look at the mole! Here nature devotes all its forces to the body, which is why the little feet remain stunted. Goethe showed how one can understand the difference in form between a dromedary and a lion and how different organs result from applying uniform measures in one direction one time and in the other direction another time. We see how a typical structure expresses itself in its diversity: in one case, the lower jaw develops teeth; in another, the lower jaw remains toothless and horns develop. When Goethe enunciated this law, it was naturally thought to be the saying of a poet who understood nothing of natural science, who was a layman, a dilettante. But in 1830, in the French Chamber, during his dispute with Cuvier, a French naturalist drew attention to this law under the name “balancement des organes”. The future will have much to say about this “balancement des organes” because it leads deep into the formal properties of the various entities. Goethe also applied this law to spiritual life. He recognized that there is also such a thing in the soul that expresses the individual at a higher level in the individual soul forces, so that he says: There are human beings who develop the special quality that is represented by the will-o'-the-wisps. They represent will-o'-the-wisps in life itself, false prophets who can do no other than communicate what they have learned to others and pour out their gold. Other people who can place a mystical light in nature, like the snakes that submerge themselves in nature. In short, Goethe wanted to show how, in general, normal life in the outer world, souls present themselves in such a way that they develop one-sided powers. How man can reach the higher level of knowledge by inwardly representing the type of the human soul, a balance, a right interaction of all soul forces, linked to the most sober soul force, the sense of foreboding. Not as superstition does, which loses itself in foreboding and lets the power of intelligence be enslaved by the foreboding of the nature of things.

On the one hand, Goethe shows how man can become one-sided, but he also shows how, if he wants to attain higher knowledge, he must strive towards that summit, which is symbolized by the beautiful lily, the inner harmonious balance and the interaction of the individual soul forces.

Now we know that the serpent, having received, so to speak, the inner radiance within, comes into the subterranean temple. Now it can distinguish between those spiritual worlds that approach man, that must inspire man, that can give strength, and those that the human soul must properly have within it if it is to ascend to a higher existence. There are certain powers in the human soul that it must have if it is to ascend to a higher level. But if a person wants to attain this higher level without having found the right path at the right time through the inspiration of these world powers, if he wants to grasp the highest that can be achieved in knowledge and world view prematurely, then this world view is something that can kill, confuse and paralyze him in his soul. Therefore, the youth who wants to unite with the lily before he is ripe, he will first be paralyzed, yes, killed. That is, Goethe has vividly expressed what he once expressed in a short saying:

> Everything that frees our minds without giving us mastery over ourselves is corrupting.

There is a high level of human development through which the human soul can grow together with the fruits of all knowledge. It stands before us like a distant prospect. Our striving must be directed towards maturing, towards shaping ourselves in such a way that we are in the right mood, in the right inner state, and do not receive the highest in an immature way. So the youth is killed first and is to be led first through the endowment of soul powers, represented by the kings. Before he can connect with the beautiful lily, the snake leads him to the three kings. Meaningful conversations surround these kings like secrets. The golden king is the supersensible power that can be kindled in our soul, which gives the right wisdom so that the power of wisdom harmonizes with the other soul forces. The silver king represents piety. And for Goethe, piety means something quite different than in the ordinary sense.

Those who know Goethe also know that for him, the cult of beauty and art were intimately connected with religious feeling; therefore, beauty is what always makes him feel pious, so that for him the king of wisdom is represented by gold. The king who is endowed with the soul power that generates religion through beauty is the silver one. But that which is to permeate our impulses of will, that which wants to penetrate us in the ordered life of the soul as the power of the will, is represented by the brazen king.

Our soul forces must be under our complete control, so that we can distinguish them, so that we see the world in the right way, full of wisdom, and our feelings do not play tricks on us. That the life of feeling is not overcome by the life of wisdom and the life of wisdom in its turn by the life of the will and vice versa, but that the three soul powers arise separately, specified in the higher soul life. As for the fourth king, it may be said that every human being has wisdom, piety and willpower within him, but that they are mixed together in a chaotic way, like gold, silver and ore. Then a higher age of development begins for the soul when this chaotic mixing of soul powers ceases, and man is not even pushed by an impulse of will, at one time his feelings run away with him, at another time he is led by wisdom alone. No, when the non-chaotic, as it happens through the fourth king, is mixed, when man clearly separates within himself the realm of soul power, that of wisdom, that of the feeling of beauty, that of the religious mood, that that is imbued with the good will to do good, so that he rules over this realm and is not driven by it, then he will come to that point in time when one can say: It is time, I must undertake something else. A soul that is led unprepared before the realm of wisdom, beauty and power would hardly see anything of these things.

The man with the lamp represents a soul force that, in a certain sense, prepares people for wisdom, beauty and strength. It is the peculiarity of this lamp that it can only shine where there is already another light. What kind of light comes from the lamp of the old man? The same light, the light of religious world view, which must precede the actual wisdom knowledge, radiates from our hearts, even if we have not yet penetrated into things. It is a light that can only shine where other light is already present. Religions can only produce faith where they arise through this or that preparation, or where they are adapted to what people feel under the climate, certain cultural epochs and so on. There, therefore, the serpent, which wants to penetrate through mere inner mystical soul power to wisdom, piety, power, must encounter the kings, the soul forces, with the light of faith, which leads the soul to higher knowledge, which prepares the soul. Thus Goethe shows how the right time must approach. How it must first be guided by the light of faith and how it can then, when the soul has prepared itself, guided by the light of faith, ascend to an age where it has experienced many things. How it can come to the direct grasp of the soul power in its separateness as well as in its harmonious interaction. It is shown how man can prepare himself here on the physical plane on this side of the river. How on the other side, if man connects himself prematurely with the heights of human emotional life, he suffers damage in his soul, so to speak, perishes.

And now the strange figure of the old man's wife with the lamp. This woman, who is described to us as all too human, who is chosen by the will-o'-the-wisps to pay with fruits of the earth — she represents primitive human nature, which cannot rise to knowledge, but when connected to the man with the lamp, with the light, she can believe. What is the light of faith capable of? It can transform stones into gold, wood into silver, dead animals into precious stones. This is all characterized by the fact that the lamp-black pug that has eaten the gold that the will-o'-the-wisps have shaken off is transformed into precious stones by the old man's lamp. This shows the power of faith, this completely wonderful power of faith, this advancement of higher knowledge. Or how it is able to show us all things in such a way that they really present their divine aspects in a certain way. That they show what is in them even before they have reached the supersensible in them through knowledge. The dead stones show: what is endowed with wisdom is transformed into gold by the light of this lamp. This means that faith is able to already sense in things what wisdom later recognizes in full light, and how all things are not as they appear to us in the sensory world, but that they have a deeper side. This is symbolically indicated by how the light of faith in the old man's lamp transforms all things. Man, if he remains in his healthy nature, cannot attain to science, to knowledge, then he actually has something in him that is much more connected with the mysterious forces that stand at the border of the supersensible. Compared to the person who has come to abstract science and easily becomes a doubter and skeptic. How he loses his footing, becomes insecure, nervous about all knowledge. How secure some original primitive nature is, as represented by this old woman, who is so in touch with nature, who can give what the will-o'-the-wisps cannot give. Such people have an original feeling through which they are aware of the connections with the infinite, the divine, which lives and weaves in all nature as the supernatural. That is why, when learned people with their doubts come to some original people, there comes that compassionate smile that says: No matter how clever you are, no matter how much you know about nature with your learning, we know what you do not know; certain knowledge brings us together with that from which we ourselves originate. The woman can pay, which the will-o'-the-wisps cannot.

The human being must attain not only emotional certainty. He is connected with a supersensible realm, as is represented by the rule of the temple with the kings, where there is not only an inner, mystical sense of security, but the human being must ascend so that he is truly introduced to the realm of the supersensible, sees the spiritual life and activity. The temple must be transported from the underground into the overground. The temple of knowledge itself must rise above the boundary line, above the river between the supersensible and the sensual world. And it is conceivable that a soul which has worked on itself in this way, has gone up the stages of development, has those holy midday moments of life in a certain way in hand, can pass through them into the spiritual and over into the sensual world. That it can draw attention to how the Divine-Spiritual reigns when an event of external nature is shown and can point again to the pure Divine-Spiritual that is in the supersensible realm, so that it is achieved that not only exquisite, particularly favored spirits can cross the river. This is to be achieved through spiritual science in modern culture. Goethe is a prophet of theosophy in his “Fairy Tale,” in that he shows that not only the favored mystical natures, who have innate mysticism, have midday moments of life when they can cross over the river and find the realm of the supersensible in the bright sunshine of life, but that there is a soul development that everyone can undergo. Every soul, naturally, even though it is laborious and full of renunciation, can all wander over and across, from and to the transcendental realm, when what the mystery of faith is has occurred.

> “How many secrets do you know?” – “Three,” replied the old man. “Which is the most important?” asked the silver king. “The revealed,” replied the old man.

This saying [of the revealed secret] often occurs in Goethe because Goethe, like all true mystics, was of the opinion that there is nothing spiritual that does not experience itself externally, materially, somehow, that one can find connections between the material and the spiritual everywhere. It is only a matter of finding the right point, the right place in the universe where the spiritual expresses itself externally, physiognomically. The secret, apparently! Not so much how to seek the spiritual in a roundabout way, but to connect with things, like the snake. And one also finds a way into the spiritual through communion with the material world. The revealed secret is the one that can be found everywhere and to which only a certain maturity of the soul belongs. The three secrets are none other than how wisdom, beauty and piety and virtue should live in us, not separately. Characteristically, a fourth is necessary, which the old man cannot know. But he can know that it is time to say it! What does the snake whisper in the old man's ear? That she is willing to sacrifice herself, that she is willing to sacrifice her own body, just to build a bridge over the river out of what arises from her.

The great secret of the sacrifice of the lower soul forces, which should only be the path to the higher self: I want to sacrifice all that which is connected with the lower entities of nature, which I have sought, obedient to the laws of the world. Those who do not have this dying and becoming remain only a gloomy guest on the dark earth.

First, man must go through all that leads him to the events and facts of nature, in order to then offer up what he has gained and experienced with his lower self as a sensual being, and ascend.

Jakob Böhme expressed this mystery beautifully:

> He who does not die before he dies  
> will perish when he dies.

He who enters the supersensible world through the gate of death without having killed the lower powers of the soul, without having died to the lower self before passing through the physical gate of death, would not prepare himself in this embodiment to see the true spiritual being before death!

The soul saves itself from ruin in the lower self when it becomes like the snake, which does not merely remain in the clefts, but sacrifices itself. This means that there is a power of the soul in us that can connect with all nature beings. This power must first be sacrificed, however, for the sake of higher knowledge, so that what must first be sacrificed is all that is lower egoism, all that base selfishness, in order to attain higher freedom. Thus that which first led us into the realm of this world itself becomes the path to the beyond. We ascend into the supersensible world only over that which we have sacrificed ourselves. The will-o'-the-wisps are only able to unlock the gate. They have the keys. Science has the keys, as Mephistopheles has the keys to the realm of the mothers; he can unlock, but not lead into, the real secrets. We can recognize the value of the sciences, appreciate the intelligent and abstract in human life, for it leads us to the gate. But then the higher soul forces must begin if we want to be admitted into the temple. Thus we see how these will-o'-the-wisp actually play out their role to the end, and how Goethe, in the development of his fairy tale poetry, captures the meaning of the soul forces down to the last details. The “fairytale” is such that with this kind of explanation, every word, every sentence is proof that a deeper meaning is being introduced into the fairy tale. Through the effect of the lamp, the old man's house is lined with gold. What remains of religion, of the different religions? Tradition!

Let us try to imagine the whole thing in concrete terms in our cultural process. Let us go to our libraries and search in the historical works on this and that religion. How much of the gold is stored there, how much is illuminated by the light of the lamp, how the abstractions come in, licking up the gold, gleaning the history of religions from the books and making new ones out of old books. Even where wisdom becomes history, stored up in libraries, the will-o'-the-wisps can nourish themselves on it; they even walk around full of erudition with what comes first from these sources. It agrees less with the pug, the natural creature, the unlearned one, who dies from this wisdom and must first be revived. First, through the light of the lamp, he is transformed into precious stones and can be transformed from precious stone through contact with the lily. The lily can enliven everything that has gone through death, that has undergone this – what does not have this dying and becoming – a bright guest must have become this on this earth. He who wishes to endure the touch of the lily must have passed through the death of the lower self.

Thus the young man only becomes ready to come into contact with the beautiful lily after he has been killed. He can only enter the Temple of Wisdom after the snake has sacrificed itself. When all this has happened, the young man can then be led to the temple. When the sacrifice has been made, the soul is led upwards from its subterranean existence to the realization that everything is permeated and interwoven by the spirit. Then the temple is led from below upwards, and the human being is endowed with that which the individual soul powers can give him. Wisdom gives him that which is expressed in the sentence of the golden king:

> Recognize the Highest.

The symbol is the oak wreath. The silver king gives him the sceptre and says:

> Feed the sheep

as a sign of his endowment with the power of piety. The king of brass hands him the sword and shield and tells him:

> Keep your sword at your left side, and your right hand free.

Right-hand virtue is not aggressive in its approach, but it stands strong and firm on its feet, and when it is a matter of human dignity and human destiny, it is ready to defend these and to work in the world in human love and beneficial human action. Now the young man unites with the beautiful lily. The individual powers of the soul are illuminated by true love. But the soul can only feel this when it has risen above ordinary love, when it is absorbed in love for the spiritual. Wisdom, beauty, piety, virtue, they develop and promote the soul's development. Love not only has to grow, it invigorates, shapes and harmonizes everything. It lifts the soul up a step. There we then see how the human being, when he ascends, when he finds himself in that temple where he can experience knowledge, how he comes to see, but now in holy awe, how the small temple in the large temple sees the highest, the secret of secrets, the human being himself, how he passes over as a spiritual being from the spiritual world to the hut of the , where man is placed as a small world, as a small temple in the larger temple, showing so beautifully when the soul moves up to the steps of higher knowledge, then he attains the secrets of the world through wisdom, piety, and virtue. What Goethe so beautifully felt as the Spinozian love of God, the development of the highest powers of the soul, comes to the riddles, the secrets of the world, but as the highest of the secrets, which we only see again as a small temple in the great, the secret of man himself and his connection with the divine being. The giant comes last, also groping around, and then becomes the hour hand of time. Our knowledge becomes spiritual, it dissipates when we ascend in our soul life, and what is external materialism is the consciousness of those laws that work mechanically. The giant basically stands for the subconscious, for everything that comes from the forces of the soul that also work in the subconscious. This may only remain in one when we look up at what is the utmost for our inwardness, how the times follow one another, what the outer rhythm of time is. This has its ultimate justification, and mere mechanical knowledge has a justification there. One would like to say: Goethe may have had in mind when he came up with this idea of the giant, who finally becomes the hour hand of the world, what superstition has been done with the art of numbers, the various structures in space, what is only a superstitious shadow of a greater knowledge that has remained from the old days of the old worldviews. But one thing remains as justified: to use what has been recognized to form a kind of chronometer for the processes that surround people.

Thus, in a certain respect, we find everything that Goethe felt was necessary for the development of the soul's powers translated into vivid images. If you want to ascend to the highest, then you must develop the soul's powers in such a way that it can only be expressed symbolically in rich, meaningful images. Then you will come close to what Goethe wanted to say when you try to gain an insight into these images from the whole of Goethe's world view. But you must be aware that what is contained in the fairy tale is infinitely richer than I have said, and that all of this is actually only a suggestion of the kind in which Goethe's fairy tale should be sought and felt. But perhaps it is possible to get a sense of the inner wealth and greatness from which Goethe created with such immeasurable productive power. How right he is when he says that the true, the beautiful, the truly artistic can only be an expression of the general truth that permeates the world and that people can recognize. And this was also what lived in Goethe as a conviction, what led him from step to step in restless pursuit; this is what draws us to Goethe, so to speak. Goethe is one of those minds that work like only the very greatest.

You read a work by Goethe once in your life. You think you have understood it. After five years you read it again and realize: I didn't understand it then, but only now. Then again after five years, and you realize how much you have discovered that you couldn't see before because you weren't mature enough. Only now, after you have experienced so much yourself, only now can you understand the work. Five years later you read it again, and then perhaps you are so happy that you say to yourself: At the time you did not understand it; you must, you can wait until you become more mature and more mature, to be completely satisfied as you grow into it more and more. This feeling is only experienced by the most exquisite minds in the development of humanity. In such people we see the leaders of human culture. One gets an inkling of the infinity of the soul's content by being able to penetrate ever deeper into it. Then one counts him among those spirits about whom, summarizing today's reflection, we can say:

> Like stars shining  
> in the sky of eternal being  
> are the spirits sent by God.  
> May all human souls in the realm of becoming on earth  
> succeed in seeing their flames of light!