The Human Soul, Fate and Death

GA 70a — 16 June 1915, Düsseldorf

17. The Sustaining Power of the German Spirit in the Light of Spiritual Science and with a View to Our Fateful Times.

Dear attendees! In the past, almost every year I have been able to give a lecture in this city in the field that I have recently taken to calling spiritual science. Since our friends have also requested such a reflection in these fateful times, it shall be given this evening. But you will understand that in our present time, when all our feelings, our emotions and our thoughts are focused on the great events, on those events that claim so many hopes, so much confidence, on the events that undoubtedly most significant events are now unfolding, events that are also causing so much pain and suffering. You will understand that at this time, such a reflection, especially if it is to be based on the spiritual scientific worldview, must also be made in view of the fateful events of our time. But it cannot be my task to add yet another of the numerous reflections that are being set forth today in lectures on the things that are so powerfully moving our time. Rather, it must be my task to say, from the point of view of spiritual science, from which I have always spoken here, what can be said in brief about our time from precisely this point of view.

It has been emphasized many times that the present struggle, the present mighty struggle, in which, in fact, apart from smaller tribal and linguistic differences, 35 different peoples of the earth are at war with each other; it has been said often that this mighty struggle is caused above all by the present-day commercial, economic, social and political antagonisms, and that it is of primary importance to look clearly and energetically at reality and the values in question and not to obscure these considerations with metaphysical speculations. From the standpoint of spiritual science, one can only agree with such a view and never oppose it.

But spiritual science also wants to stand on the standpoint of reality. This is one way in which this evening's meditation will differ from those that are so often practiced, in that it takes into account the realistic admonition of our contemporaries, while also considering that this mighty struggle is, after all, part of the whole course of human development, in which, above all, great impulses are at work that can only be achieved through spiritual contemplation. One could also say: At that time, when the Germanic tribes of Central Europe threatened the southern empires, the Roman Empire at the beginning of the Middle Ages, only the Roman spheres of interest with their social and political intentions were confronted with what was to come from Central Europe. Of course, at the time, one could justifiably speak in this way. But if we look at things today, and judge from a higher point of view, as we must today, because the world has advanced, we would see that if these struggles had not taken place back then, the reorganization of Europe through these struggles, which were initially caused by the Roman spheres of interest, of course, took place in a certain way —, then the whole Western development up to our time would have taken on a different face. That is one thing.

The other thing, however, is that anyone who follows the intellectual development of nations, the intellectual development in history, must really come to the conclusion, without indulging in any fantasies, without speculating, that what is now being fought out between thirty-five nations of the earth is, in fact, certainly the most significant thing imaginable for the present. It is not words that will fight it out, nor thoughts and human philosophies, but the bravery of the armies. But behind all this, one can see another struggle, a struggle of spiritual forces, a struggle of world views. And without going into what has often been said, I should perhaps emphasize that history will one day regard it as the most absurd of claims that Central Europe somehow provided the immediate cause of this world war. It will be seen more and more clearly, especially when viewed from a higher perspective, that Central Europe and particularly the German people are involved in a purely defensive struggle. But if we look at this defensive struggle, then from a certain point of view we can see how this struggle is one part of a great, mighty defensive struggle that German intellectual life, intellectual impulses, have already had to fight out in part, and in part have to fight out with ever-increasing strength, against that which is also a kind of intellectual encirclement of Central European intellectual life. What I mean by this, I would like to characterize it with a symptom that may not seem very meaningful to you. But one could cite many things and one would always find the same thing.

What we in many respects count among the greatest and most significant things that the spiritual life of modern times has taken up, is called the “idea of development,” the “worldview of development.” And no one tires of emphasizing how significant it was for the whole development of the spiritual life of humanity that people learned to see how not the individual entities of the world around us stand side by side, but that they have developed apart; how one can trace a developmental series from the lowest creatures up to humans.

The one who, out of the deepest impulses of the supporting forces of the German spirit, spoke of such a development in a deeply inward sense is none other than Goethe. And it may be said that, since Goethe, German culture has had a wonderful, to use a Goethean expression: a spiritual doctrine of development. This spiritual doctrine of development has not been taken up into the general world view, nor into the European world view. In contrast, it takes five to six decades for the general consciousness of modern cultural humanity to accept the doctrine of development - but in what form - in the form of Darwinism.

When something like this is said, it still seems to have a chauvinistic coloring for many today. But future times will see it in all the power that is inherent in it. Darwinism has given the idea of development a materialistic [utilitarian] slant; and in this slant, which has been forced upon it, the idea of development has been incorporated into modern cultural ideas by an entirely English thinker. And the deeper German developmental idea is definitely faced with the necessity of defending itself. In the future, the world will realize that it is not necessary to say that Darwinism is something wrong, something incorrect, but that it will be necessary to take the deeper foundations, the more vigorous knowledge from the sources of German intellectual life for the developmental idea as well. In other words, it will be necessary to forge weapons that can defend the spiritual goods of Central Europe against the attacks that are being waged in countless fields, as in the field just mentioned, against this Central European intellectual life. And just as it is not important, when one is in the midst of a struggle between nations such as that which exists today, to wage war with these or those words, so to speak, between individual nations, whether words of hatred or sympathy, but rather, as is much more natural, to take the position that one has to defend what one recognizes as one's fatherland, as one defend one's family without disparaging anything else, so in the field of spiritual struggles, which, as everything shows, we will face in the near future in a tremendous way, it is important to be fully imbued with what the forces of this Central European, especially German, intellectual life are. In these forces there will be weapons that will be needed in the future. I cannot go into more detail, but I would like to suggest that the current struggle of external weapons will only be the beginning of what is to come in terms of spiritual struggles, and that the ill-intentioned, malicious, defamatory views that are hurled at German culture from all sides already show us the beginning.

If we now want to talk about these things from the point of view of spiritual science, it is of course incumbent upon us to at least characterize this point of view of spiritual science with a few words. Even though today, as in other lectures that I have also given in this city, I cannot go into the details of this spiritual science, which is to enter the development of time and the world as something new, and even though I will not be able to say anything conclusive in favor of spiritual science, I would still like to indicate with a few words, with a few points of view, what spiritual science wants.

Spiritual science wants to be a real science of the spirit. Above all, it wants to show how the human soul life, that which we call our innermost human nature, is connected with the real and true spirit that flows and weaves through nature and humanity. And just as natural science renewed the world view of humanity a few centuries ago, so spiritual science today wants to enter into the spiritual development of humanity in a very similar way, albeit from a different point of view.

I would like to draw attention to the following: if you were to say to someone who knows nothing about chemistry, who has never heard of chemistry and only knows water – of course, we can only imagine such a person hypothetically – that in this water, which is liquid and extinguishes fire, extinguishes fire, there is a gas in it that can be separated out, that is hydrogen; this hydrogen burns, it is not liquid but gaseous, so the person who has never heard of chemistry may consider this to be a highly fantastic idea. Natural science has made this into a very ordinary, even trivial, idea today. There was certainly a time when those who claimed such things were thought of as fantasists.

Today, on the other hand, anyone who knows nothing of spiritual science is considered a fantasist who says: When we have the human body with its soul before us, it presents itself in such a way that we cannot recognize the essence of what is directly connected to it while this essence is inside the body itself. One must separate it by the spiritual-scientific method, the spiritual-soul from the physical-bodily, as one separates hydrogen from water by chemical methods, if one wants to recognize it. This spiritual-scientific method does not take place in an external laboratory, but in the intimate processes of the human soul itself.

But there are spiritual scientific methods by which man can truly become a spiritual scientist, by which he can come to separate his spiritual soul from the physical body so that it is outside, as hydrogen is outside of water. But then the spiritual researcher lives in this spiritual-soul realm. He learns to recognize the characteristics and nature of this spiritual-soul realm, that which goes through birth and death in man, that which passes through the gate of death into a spiritual world and then, after death, world with a higher consciousness, with a consciousness that the spiritual researcher learns to recognize when he applies the spiritual scientific method to his soul, just as the chemist learns the properties of water when he applies the chemical methods. A time will come when people will speak of these things as they speak today of the Copernican world view, which was also once regarded as fantasy, or of similar things.

Just as today the spiritual researcher has to present to humanity the truth that there is a spiritual core in us that passes through the gate of death to return to repeated lives on earth, to repeated and repeated lives on earth, so one day this will be a truth, as the idea of development in external natural science is considered true today. If today what the spiritual researcher has to say is quite naturally regarded as a dream, as a fantasy, from many sides, then those who have immersed themselves in these things may point out how, at a certain time, Copernicanism, which is generally recognized today, was regarded as contradicting the five senses. And so it is today. What spiritual science has to say about repeated lives on earth, about the independence of the soul, and so on, is said to contradict the five senses. And if you take a materialistic point of view, you say: the life of the soul is enclosed between birth and death.

One must compare such a view with another view that still existed in the Middle Ages: that the blue firmament arches over us, which is a conclusion, a boundary, a spatial boundary. Modern science shows us that this boundary is only formed by our ability to see, that space extends into an infinite world, that we are embedded in infinite space on the earth. When modern science dawned, the blue firmament was broken through and recognized as something that is evoked by human vision. Through spiritual science it will be recognized that the boundaries that seek to enclose life between birth and death are like the blue firmament in relation to space. Through spiritual science, people will learn to look beyond this temporal firmament, which is set by birth and death, and they will find human life embedded in a line of development from which it emerges again and again.

Between earthly lives lie realms of development of a purely spiritual nature. And so, by learning to experience himself in this way, the spiritual researcher has something to proclaim in spiritual science: in the spiritual and soul realm, the human being feels, not through philosophical speculation but through experience, a connection with the real spiritual world, which surrounds the physical, from which the spiritual-soul is released - spiritual science speaks of an experience of the spiritual world, a spiritual world in which spiritual beings are, as physical beings are around us here.

It is perhaps still somewhat unpopular today if one is obliged to present these basic concepts of spiritual science in this way. But we live in a time in which humanity is living in a time of transformation of all thinking. Just as a Copernicus or a Galilei had to be anticipated in the dawn of modern natural science, so one can see something in spiritual science that lies, as it were, in the bosom of our time.

If we now follow German spiritual life and really immerse ourselves in it, then from the point of view of spiritual science we will have to gain a very definite view of German spiritual life, of that which has constantly revealed itself in it. I cannot go into details now, only with regard to the last times of German spiritual life. Thus, I said, the peculiarity of spiritual science is that the spiritual researcher, through his special spiritual-scientific method, learns to experience himself in the spiritual-soul that has been freed from the physical body and now knows itself, not in time but in eternity.

Let us see, by visualizing this spiritual view, how the most German of philosophers, Johann Gottlieb Fichte, I would say, lived out his belief in immortality and his belief in the soul. Fichte, like his contemporaries, was not yet able to have a real spiritual science. But how he drew from the spiritual life and knew this life in connection with the life of his national spirit is shown in the speeches he addressed to his people in one of Germany's most difficult times. But I don't want to talk about that today, but rather about how Fichte expressed himself, for example, where he wanted to give a “directions for a blessed life” philosophically, about his doctrine of immortality and soul. There he says:

I cannot admit that one seeks the main thing in the immortal human life only after death. That which is most important to me is that we become aware in this life of the body within us of that which passes through the gate of death and then goes into a spiritual world and lives on in it. For this invisible element living in us, I want to live through this earthly life.

This is not yet spiritual science, but it is the germ of spiritual science. And this germ of spiritual science can be found wherever we look at the fruits of German intellectual life. Everywhere we find the urge, the longing, not to satisfy ourselves with the abstractions of thought, with the external spirit of science, from which the science of the senses or the combination of the sensual is born. The German does not seek only for concepts and ideas, but also for their connection with the living spirit. The German feels moved when he can realize that science is not an external absorption of knowledge, but that it is the true life of knowledge, which he strives for so that the soul communes with the spirit that pervades and permeates the world. In the real connection with what spiritually permeates and permeates the world, the German wants to see the ideal of his knowledge, that he does not just want to absorb ideas, not just concepts, a science that is like an image of something external. He wants to have something in his soul that flows like a spiritual lifeblood in him, like the God himself who lives in him. And this is expressed more intensely and powerfully in a creation that no nation in the world has; which may not stand at the pinnacle of world creation in an artistic sense, but in the way it expresses itself, in that the German does not strive for a merely external visual connection with the spirit, but for a confrontation, spiritual eye in spiritual eye, with the spirit. You know that by this creation I mean the Goethean “Faust” poetry.

Do we not see in Faust how his consciousness turns away from all that is mere external knowledge, what is mere derivation from something external? Do we not see how he strives for the source of life, the manifestation of the spirit; how he strives to confront this spirit eye to eye? How he turns away from the external and strives to experience supersensible worlds? The German can never be satisfied with something he has achieved as knowledge. This is best seen by looking at the following: the beginning of Goethe's “Faust” has become almost trivial. It reflects the mood of Goethe in the 1770s. We see how Faust wants to get out of a knowledge that is not connected to the living spiritual world. When we grasp its full depth, we are shaken when Faust speaks the words:

Alas, I have now studied philosophy,
jurisprudence and medicine,
and unfortunately also theology
thoroughly, with great endeavor.
There I stand, poor fool,
and am as wise as before!

Now let us see how this German intellectual life unfolds. Let us see how Goethe, in the 1770s, longs for the appearance of the earth spirit, for the sources of intellectual life, for higher self-knowledge, which is achieved by the soul immersing itself in the living spiritual of the transcendental world.

Then we see how greatly the German philosophers strove in this respect after Goethe's time. We see that, after Goethe wrote his “Faust”, German thought, German poetry and German music all seek to look at things from the deepest sources. We see the emergence of thinkers such as Fichte, Schelling and Hegel; we see them connecting with Goethe; we see how they create something from a knowledge that is supposed to be more original than all that has gone before, that is also supposed to come from the very depths of the human soul; we see that they are creating a philosophy; and when we consider that Hegel created a “natural right” and that Schelling published a medical journal, that all these minds were searching for a renewal of science, despairing at Faust! They also sought to renew theology, for they all wanted to be theologians. We see how all this greatness, which has not yet been properly appreciated, springs from the fundamental forces of the German spirit, and we can perhaps say: Goethe could have stood there, after he had seen all this pass him by, and could have said: What I felt in despair back then in the 1770s has been brilliantly brought forth by the German spirit from the sources of life! And let us assume that Goethe had grown even older than he did; let us assume – and I believe that no one would dispute this hypothesis – that Goethe had begun in 1840 [or let us assume that he had been even younger ], to write “Faust” again after all that had happened in the meantime in German intellectual life, can we believe that the beginning of “Faust” around 1840 would have sounded like this:

Now, thank God, I have studied philosophy,
law and medicine, with Fichte, Schelling, Hegel
and, thank God, theology as well
with great zeal and assiduity,
and here I am, a wise man,
as wise as one can be.

Do you think the beginning of “Faust” would have sounded like that? Certainly not. It would have sounded exactly the same as in 1772. Exactly the same!

But what does that tell us? It testifies that it is in the essence of this quintessentially German, Goethean idea of Faust to regard everything that has already been achieved not as something that can satisfy the individual, but that a striving is rooted in this German spiritual life, where it is manifested precisely in its representatives, that every individual, in turn, has to go through, in every age, an eternal becoming, never being complete. This is the case because German intellectual life can only describe the grasping of the spiritual as a true one if the spirit is experienced. But it can never be experienced if one wants to grasp it in an established way. To experience the spirit, one must always approach the spirit in a renewed way. But this is a typically German trait, and at the same time it is what can be called the “supporting force of the German spirit”.

Not concepts, not ideas, not something acquired in reason is what the German strives for, but what is to be striven for is that which can be grasped again at any time in original power. Not the spirit in a coffin, but the ever-living spirit is striven for. So that we may say: Admittedly, we do not see an archetypally German striving in the older times in the same way that we see spiritual science today. But we see the seeds; in what lives in the best, we see the same striving for direct experience of the connection with the spirit. This is always being witnessed anew. That means: a real life of the spirit is presupposed, in which the individual stands. That means: the supporting power of the spirit lives in him in such a way that they hold secret dialogue, that he is touched by what the German spirit wants from him. And this we see continuing to have an effect even where German intellectual life has been pushed back on itself by attacks from left and right, from above and below; we see the original German being carried by the real spirit continuing to have an effect. I would like to mention just one of the many phenomena that could be cited from the second half of the nineteenth century.

One of the most important representatives of the German spirit in the second half of the nineteenth century, who has not yet been fully recognized today, is Herman Grimm, the son of one, the nephew of the other of the Brothers Grimm, the great researchers of myths and legends, the researcher of the German language. Herman Grimm is first known as a German cultural historian, as an art historian. If you now delve into Herman Grimm's art history, you come across something peculiar. There is nothing in Herman Grimm's writings of what could be called pedantic erudition, of external systematics, but there is something that originally springs from the spiritual. The most important thing that one can gain from the works of Herman Grimm must be read between the lines, it must be sensed from what is said. Why? Because in Herman Grimm lives the sustaining power of the German spirit, which is brought to life by him, and through which he lets himself be whispered in each individual case through an inspiration as to what he has to say about an artistic phenomenon. So that one cannot but feel the affinity between the one who writes and the one who inspires him, one feels like a living conversation of the German national spirit with the one who speaks to us through his books in terms of art history. This Herman Grimm, he prepared himself in a peculiar way for his art historical profession. In his youth, he wrote novellas and also a significant novel. The recognition of these things also belongs to the living German intellectual heritage. For it is not because of their German nature that they have been forgotten, but because attacks have been made on German intellectual property from outside.

I will briefly outline one of Herman Grimm's novellas. We will see shortly what the purpose of this is. The novella is called “The Songstress”. We are presented with a very beautiful characterization of a woman. We see a man in the woman's surroundings. The man is deeply in love with the woman; the woman cloaks herself more in a nobly flirtatious being. He suffers terribly. Herman Grimm wrote a so-called first-person novella with this novella. What he writes is as if the story were being told by a person who lives next door to the couple and experiences everything that happens. And so, in the novella, the author – but in reality, of course, his friend – describes the events that transpire. The singer's coquettish behavior finally drives the lover completely mad. He distances himself from her. He cannot bear the situation. Later, his friend meets him again and sees that he has completely fallen apart. He takes him into his house and sees that this person has come to the edge of the grave because of his love. He sees that he is on the verge of suicide at any moment. So he takes him into his house. But he sees that it is necessary to get the singer over there. He fetches her. And lo and behold, as he approaches the house with the singer, who is to come as the unfortunate man's last hope, so to speak, they hear a shot. The unhappy lover has shot himself, he is dead. The content of the novella is wonderfully beautiful in its characteristics; but that is not what matters to me now. What matters to me is what happens to the singer now that she has found only the dead, suicidal lover. The singer stays in the friend's house for some time. She explains to her friend that she cannot remain in this house, that she is experiencing terrible things in this house. The friend to whom she relates her experiences does not believe this, of course; he is a rationalist. He thinks as rationalists of the present day think. So she asks him to watch with her for one night. And there he is convinced of what is happening to this woman as a result of the death of her lover. He sees for himself how the woman straightens up. He sees a figure enter through the door; that is, he only recognizes it from the words, he does not see the figure, but through what the woman sees, he is convinced that this is indeed a subjective but true experience, that the woman is really in contact with the dead, that this is a matter of the working out of destiny, which throws its rays over death.

Not because I want to use a work of fiction to prove spiritual science, but because the spiritual scientist has to say: Herman Grimm describes like a spiritual science expert, Herman Grimm wants to describe that a person's destiny is not only understood between birth and death. This novella is wonderfully moving, deeply moving, because it describes a person's life beyond death.

Now this is not a temporary phenomenon in writing. In his great cultural-historical novel, Herman Grimm again describes a female character who also has to experience the death of her lover. He describes how real the death is, how the death of the hero occurs, how the spiritual figure rises out of the physical figure. Now Herman Grimm describes how - appropriately - this figure enters into the spiritual world and how a connection remains between the dead and what rises out of the physical body of the heroine. I describe these things because they show how, in German literature, where one is confronted with representatives of the Germanic spirit, the supporting power of the German spirit works in such a way that the novellist, the novelist, too, can do so if he wants to rise into the world of real, supersensible reality. We are shown how the best minds do not stop at outward, visible reality, but how they follow the human soul into the spiritual world. These representatives of the German character did not yet have spiritual science, but their souls were so directed that they sensed the supporting power of the German spirit, which wants to lead the German character to the experience of the spiritual. Therefore, one can have the strongest confidence in the development of spiritual science when one looks at what is there as a germ for this spiritual science in German idealism, in the German longing, not for the abstract but to the living spirit that lives in the supersensible world, just as the mineral world, the plant world, and the animal world live in the sensory world around us. This testifies to the fact that to be German means to be connected in a very specific way as an individual human being with a totality of spiritual life. And in this respect, German experience is not only easily misunderstood, but is attacked and will be attacked again and again. It is not easy for German experience, which is more profound than anything that has developed around it, to take up the weapons with which German intellectual life, which has been pushed into a corner, will have to defend itself over the course of millennia against the hostile forces that come from all sides through the conditions of life.

What then springs from these original German spiritual impulses? They can perhaps be best characterized by pointing to an older time. This German spiritual life did not first appear with this character in modern times, but already in the Middle Ages. If we go back to the mystic Angelus Silesius, he has left many sayings. One particularly meaningful saying is where he says: “Not I as a human soul experience death, in the depths of my human soul dwells God, and God experiences death in me.” The depth of such a saying is not immediately apparent. It proves the primal German thinking and feeling and sensing, which experiences in itself a being with the world spirit that permeates and interweaves everything. Let us only think of the words of Faust:

[Ehrlicher Geist, du gabst mir, gabst mir alles,
Warum ich bat. Du hast mir nicht umsonst
Dein Angesicht im Feuer zugewendet.
Gabst mir die herrliche Natur zum Königreich,
Kraft, sie zu fühlen, zu genießen. Nicht
You only allow cold, astonished visitors,
Allow 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.
And when the storm in the forest roars and creaks, The giant spruce topples, crushing neighboring branches, And neighboring trunks, sweeping down, And the hill thunders hollowly with its fall;Then you lead me to the safe cave, show Then myself, and my own chest secret, deep wonders open up.)

That is what the German has always sought in his best representatives. That is what he has sought: to truly find in his soul, to find in his deepest inner being the living spirit, to live together with this living spirit. So that Angelus Silesius, in all his peculiarity, already expounds great ideas of immortality when he speaks of the experience of death. For God can only be felt as alive. But he who experiences God in this way within himself knows that he is immortal. For God must be immortal, therefore death can only be an appearance. From this feeling of the German soul, even the grasp of the immortal life for this German soul emerges. But that is what has given this German soul this certainty, this firm footing in its development. That is what has always brought this German soul, of all national souls, closest to what we today call spiritual science. I would like to bring this home to your souls from a certain point of view.

Let us compare this German spiritual life with Eastern spiritual life, not in its lower regions, but let us go up to the highest regions of Russian spiritual life. Let us try to visualize one of Russia's most outstanding minds, Soloviev. Soloviev, who really took everything that was in Russian intellectual life into his soul and gave it back as a world view – not just as what is called a “philosophical world view”, but in such a way that one feels the Russian life vibrating – gave something that lived in this deep soul. I can only refer here to his works, only a small part of which have been translated, I cannot go into all of them. But I would like to point out that this philosopher, who retained his faith throughout his life – the faith that lives in many Russians, that Western European life, and Central European life as well, is a dying life, the renewal of which can only come from Russia. He lives according to this error. But this error gives his philosophy its special character. And again and again, in rousing speeches, Solowjow assures his people of the creative and sustaining forces within them. Then came the end of his life. Solowjow ended his life by increasingly arriving at a meager worldview, which I will characterize by comparing it to what lives in a similar field in the German worldview.

Let us see what lives in the German world view: it is the certainty that the human soul can live together with the spirit of the world, that it can hold its dialogue with the spirit of the world. We have seen this in the representative figure of Faust. Solowjow does not speak of the certainty of spiritual experience in the way that a human soul speaks out of the Germanic nature. Rather, he speaks thus: Yes, the Russian people have a great mission, but it is fulfilled by a divine being from the other world, who, through grace, takes hold of the Russian people and gives them their mission. God must work in the Russian people. And the Russians are waiting for the miracle, for a god, a kind of manifestation of the light of Christ, to appear and call the Russian people to their task.

In Central European spiritual culture, people know that they can experience their soul, they can experience God in their soul. Soloviev is waiting for that which pushes and drives and urges him from outside; he is waiting for the miracle. But now, in the year of Solowjow's death, the remarkable thing is that Solowjow appeared before the Petersburg public with a speech that must have been wonderfully moving, because something deeply emotional spoke from his words, which so convinced the audience that this power of persuasion passed over to people like a magic breath. He said: “Everything that has ever been believed about humanity being able to find something within itself that would redeem it, that would lead it to a divine state, is a vain deception and illusion. All that is deception, what believes that humanity will ever find the strength within itself to experience the divine through what it is now. No, Solowjow emphasizes, everything that humanity has of strength now, everything that it has of seemingly highest culture, that must perish. “The whole world lies in ruins” - such are his words - for there is nothing in present-day humanity that could lead this humanity to a spiritual goal. Only when everything has perished will the God who redeems souls step in from outside the dissolved earth, the perished earth. We cannot find anything in our souls that points us to something we could seek ourselves.

And he also describes in detail what he expects. As in a powerful vision, he sees the Asian peoples approaching, he sees them waging war on Europe, he sees how, in the twentieth, twenty-first century, Christianity will have declined to such an extent that only one-tenth of those who are on earth will still be Christians, while the whole world will be flooded with a harsh, materialistic worldview, which is pouring over the world, because “the whole world is in a state of decay.” He who listened to what the greatest philosophical mind of the Russian people spoke out of a deep faith shortly before his death, just weeks before his death, might ask: What could have inspired the one who has passed away to say: My soul, through its own power, has lost all eternity.

Let us instead consider the will and testament of a German. There are still people today who scoff at Lessing's momentous will and testament, 'The Education of the Human Race', in which he describes how development continues through all times, how souls keep coming back. For Lessing was the first to incorporate the doctrine of repeated earthly lives into German spiritual life. People often say: Well, yes, Lessing was a great man, but when he wrote this 'Education of the Human Race', he was already an old man. Well, people always arrange what they want to acknowledge as they want. But Lessing did not weaken, rather he had ascended to a deep sense of this direct communion, this speaking of the human soul with the living spirit, which pours out its sustaining strength over the soul of the individual, so that the individual soul can live with it in the sustaining strength of the German spirit. Lessing said something like the following as the closing words of his will: Is it not clear to my soul, from what it experiences within itself, that it must keep coming back to a new life on earth in order to keep learning new things and developing ever higher? That would take a lot of time, well, isn't eternity mine? - That is what Lessing extracts from the depths of the human soul itself, that is what he lays down in his testament. This is a spiritual culture that comes to different words than the one that says: We will never find the strength from the human soul itself.

From such a juxtaposition of different moods, one will understand that in the East, the Russian spiritual mood is asserting itself, which stands without understanding in relation to what is taking place in Central Europe, and which does not overlook everything that is emerging here as a living spiritual life, but always speaks of the decaying culture of the West. Thus, the so-called intellectuals justify, from a spiritual point of view, what they had always intended to do against the West, including politically. The terrible war in which we are engaged was caused as much by the moods of the East as by external interests. But these moods will not disappear with this war. In order to bring German intellectual life to bear, it will be necessary to forge weapons from the spirit, from which the greatest minds of Central Europe have taken their weapons, for this confrontation with the spirit must always be renewed.

And how, by a completely natural process, the enemies of this German intellectual life must be encircled – we can see this if we take a look at how German intellectual life is understood, the German intellectual life that I was able to sketch out in a charcoal drawing, the subject of much discussion. In defense of and in an effort to understand this German intellectual life, I would like to call to mind a Western spirit that truly belongs to the best [Western spirits] of the nineteenth century, an American who wrote in English, Emerson. He is truly not someone to invoke when one wants to describe the contrast between the West and German intellectual life based on prejudice. Emerson portrays the English people as the first world people; but strangely, he places the Germans higher. Despite Emerson's description of the English as the first world people, he says:

The English do not appreciate the depth of German intellectual life.
The German thinks for Europe.

But now I would like to mention something else that is very characteristic from the point of view on which I have based this reflection today. Emerson wrote two wonderful essays, one about Shakespeare and one about Goethe. Unfortunately, people today only read with half a mind, but it could be interesting if a number of people really did what I am about to suggest. It would be interesting to get involved in the essays that Emerson wrote and that bear the title “Representatives of the Human Race,” reading the two essays, one about “Shakespeare, or the Poet,” the other about “Goethe, or the Writer.” You will not believe that I am so brutal, or, one could also say, so “barbaric”, that I want to denigrate Shakespeare in any way, or that I do not revere him to the highest degree as one of the greatest poets of humanity. That is what he is, for Emerson too. And Emerson states that if you want to characterize the poet, you have to name Shakespeare as the representative poet. By comparison, you have to call Goethe the representative writer. Now, one should not just read what is there, but one should feel from the words what passed through the whole soul of the presenter when he gave the characteristics. Emerson tries to present Shakespeare as the representative of the poet in general, based on the characteristics of the English national soul, and then Goethe as the representative of the writer in general. And Emerson seeks to draw out the traits that one must consider if one wants to truly characterize Shakespeare inwardly. And with Emerson it is the case that when he is confronted with an appearance, he characterizes the one appearance with all the power of the word, as if there were nothing else, he immerses himself in the individual appearance. In Shakespeare, when he discusses Shakespeare, in Goethe, when he discusses Goethe. [It is a special gift.] And what is it that he seeks to express when he contemplates Shakespeare, Shakespeare the poet, [whom he regards as the most exquisite poet and this as the most exquisite of the English, and this as the most exquisite of the peoples]? He feels compelled to say, while characterizing Shakespeare: An original mind is not, as is usually thought, one that creates everything out of itself, but one that works as Shakespeare did, who goes everywhere and takes the intellectual property he can find. And now he shows how the whole of England thought like Shakespeare, how he was only the echo of his people. On the other hand, he tries to show how Shakespeare used French and Italian sources, how he gathered everything together to become Shakespeare, how he became the great man by organizing the great intellectual goods from other worlds and other peoples. That is what Emerson comes to through Shakespeare. And I would like to read you a few characteristic words:

Great men are distinguished more by their comprehensive minds [and] by the height of the vantage point from which they look down than by their originality. If we demand that originality which, like a spider, draws its own web from its own entrails, which itself finds the clay, forms stones from it and erects the house, then great men are by no means original. The essence of truly valuable originality does not lie in dissimilarity to others.

Thus Emerson characterizes Shakespeare in such a way as to show: I must show why Shakespeare is so unoriginal. “The essence of truly valuable originality does not lie in dissimilarity to others.”

And one saying, to which particularly much value must be attached in Emerson's characteristics of Shakespeare, is the following, which is not said by me, but Emerson speaks thus about Shakespeare:

It has become a kind of practical rule among writers that once someone has shown themselves capable of creating something original, they may then also discreetly steal the works of others.

So Emerson, when characterizing one of the greatest minds of the world order, needs nothing less than to excuse Shakespeare for being original, even by stealing from others and combining what has been stolen. You have to look a little deeper into what the impulses of human development are when you are standing in such a momentous world period as today.

And then we turn the page, especially in the beautiful translation by Herman Grimm, which he made of Emerson's essays on Shakespeare and Goethe. Let us now turn to Goethe. Again, Emerson delves into Goethe, absorbed in the essence of Goethe, as if nothing else existed. And what comes to Emerson's mind now to characterize Goethe as the representative of writing? He comes up with the following words: All of nature, every stone, everything that is and will be strives to be expressed. The whole world strives for expression. And favored human souls, whom other souls cannot emulate, who therefore stand alone, they find the words to express, in wrestling with the world spirit, what is wrestling with the world spirit.

With Shakespeare, Emerson describes how he [makes references everywhere].

With Goethe, he describes how Goethe himself is connected to the world spirit, which works in the individual realms of nature. Compare the one with the other. About Goethe, Emerson says:

In my eyes, the writer stands as a man whose position was foreseen in the construction of the world.

In direct contrast to the beginning of the world, he brings Goethe. Shakespeare he believes he has to excuse. And further he says of Goethe:

The position he took, he owes nothing, but he entered the world from his birth as a free, [supervising] genius.

About Shakespeare, he says:

It is easy to see that all the best that has ever been written and done in the world was not the work of one man, but the product of a vast, collaborative effort in which a thousand like one, all driven by a single impulse, lent a hand.

Shakespeare is explained entirely out of the environment, out of the world that surrounds him. Regarding Goethe, Emerson says:

He is all eye and instinctively turns to where the truth lies. Say something, and he will immediately know whether it is true or false. It is hateful to him to repeat the old wives' tales, even if they have had the good faith of humanity for a thousand years, and to be made a fool of by them. No one else needs to strain their eyes for him to show them whether something is true or a lie.

I believe, my dear audience, that one can feel something deep and meaningful by comparing Emerson's essay on Shakespeare with his essay on Goethe; one will feel everywhere that this American had a certain right to say: “The English [do not appreciate the depth of German intellectual life. The German thinks for Europe.] He tried to fathom it, but in fathoming it, he sensed something of what I wanted to characterize today as the living forces of the German spirit, which penetrate into every single soul; not that power that flows from the commonality of human beings, but from the direct intercourse of the individual soul with the spirit. And one can feel how Emerson is imbued with this sustaining power of the German spirit when, at the end of his meditation on Goethe, he speaks words that must be taken with feeling, not just with the mind. At the end of his meditation on Shakespeare, Emerson says:

It must be admitted that these were only imperfect histories of imperfect men. The world is still waiting for the poet-priest, the reconciler, who, unlike Shakespeare, does not play, who, unlike the body-burial Swedenborg, does not search in graves, but who will see and speak and act with equal enthusiasm. For knowledge will give splendor to sunshine; justice is more beautiful than secret preference, and love is compatible with all-embracing wisdom.

What feelings does Shakespeare inspire in Emerson? The feeling that we must wait for the coming of the one who will bring reconciliation.

What does the contemplation of Goethe inspire in him? He says at the end of the contemplation:

The secret of genius is not to tolerate a lie, to make everything we are aware of a truth; in the sophistication of modern life, in art and science, in [the] books and in people, to awaken faith , certainty and trust, and to honor each truth, as we begin and as we end, as we go along and as we go forward, by not only knowing it but by making it a rule of action.

Thus, it was not only Goethe but also Shakespeare who inspired Emerson not to wait for anyone. And the words I have just read are preceded by the following:

We too must write sacred writings to reunite heaven and earth.

We would say today: We have to immerse ourselves in spiritual science, in what human science can be. But Emerson does not grasp the depth of German intellectual life, and is fundamentally hostile to it.

This, however, is precisely why German intellectual life will be in a kind of defensive position for a long time to come. For it experiences strange things even with those of whom it is said that they are trying to penetrate into this German intellectual life. I would also like to give you a sample of this.

Those who are reasonably familiar with the intellectual life of the recent past may have been surprised that such high hopes were placed in some German minds before this war taught people, let's say, about someone like Romain Rolland, a different lesson. The people who admired him represent, to a certain extent, a break in the intellectual life of the present. Those who admired him could not really understand how he could speak so contemptuously of the Germans after the outbreak of the war. One has indeed been able to read strange articles in Germany about Romain Rolland. I will only refer to one work by Romain Rolland, “Jean-Christophe”. In this novel, Romain Rolland portrays a German, but you will see in a moment how. Even this description of Jean-Christophe is to be said: it is given by a person who has never been touched by the real inner strength of the spiritual life. What is Jean-Christophe in the two-volume novel? It is a German musician and how he develops in his Germanness. Romain Rolland wants to describe that. And he really does describe something, yes, you can't say otherwise, than a chaotic mixture of the destinies of various Germans such as Beethoven, Richard Strauss, Wagner, Gustav Mahler and so on. All of this is mixed up in the most impossible way, and that gives the completely impossible character of Jean-Christophe, who has been so much admired, but who shows himself to be nothing more than the result of an artist's inability to face reality, which not only records external nature but also penetrates into the depths of existence, and can see the impossibility of mixing up such chaos.

I am well aware that there may be many people who will interpret what I am about to say about Romain Rolland as “barbaric”. But I believe that I can take on what these people defend from their apparent aesthetic high ground when it comes to judging the particular aesthetic and artistic nature of people like Romain Rolland. [It has nothing to do with what Schiller said to Goethe. “People say that there is something immoral in Wilhelm Meister. No, the characters are as they have to be.”] For with Romain Rolland, you never know what the author says and what his characters say. Therefore, what his characters say can be seen as the attitude of Romain Rolland himself. This attitude comes across to us wherever he talks about Germanness. For example, he describes the father of Jean-Christoph.

I will now only quote a few significant things that we can say are a Frenchman's recent judgment of the German character. And I will cite evidence because there were people who said: This novel is the first great act since 1870 that will bring about the reconciliation of Germans and French. No political act is as important for this reconciliation as Romain Rolland's novel, so people said. Well, anyone who reads the novel will agree with me if I disagree. You can't say that Romain Rolland didn't want to say what his characters say, you just have to look at it from an artistic point of view. Because what we are hearing from this Romain Rolland, this “reconciler between Germanness and Frenchness”, has recently been presented to us in the most defamatory way as German “barbarism” from the West. So it is said of the father:

He was a fine speaker, well built, if a little heavy, and the type of what is considered classical beauty in Germany: a broad, expressionless forehead, strong regular features and a curly beard: a Jupiter from the banks of the Rhine.

Then he characterizes a number of chamber musicians, whom he considers typical of German chamber music, in the following way:

They played neither very accurately nor very in time; but they never went off the rails and faithfully followed the indicated expressive markings. They possessed that musical ease that requires little, and that perfection in mediocrity that is abundant in the race that is called the most musical in the world.

Romain Rolland characterizes Uncle Theodor, the stepson of Jean-Christophe's grandfather, as follows:

He was a partner in a large trading house that had business connections with Africa and the Far East. He was a typical example of the new type of German, who mockingly spurn the old idealism of the race and, drunk with victory, practice a cult that proves that they are not accustomed to living under that sign. But since it is impossible to suddenly change the centuries-old nature of a people, the suppressed idealism kept resurfacing in language, behavior, moral views, and Goethe quotes on the occasion of the slightest domestic events; and so, through the bizarre effort to reconcile the honorable principles of the old German bourgeoisie with the cynicism of these new shop-keepers, a strange mixture of conscientiousness and self-interest, a mixture that has a rather nauseating smell of hypocrisy, which amounts to making a symbol of all that is right, of all justice and truth, out of German strength, greed and the pursuit of personal interest.

That is Romain Rolland's description of certain Germans. We have heard it again through Romain Rolland. But then we are told about Jean-Christophe himself:

He lacked that compliant Germanic idealism that refuses to see and does not see what it would find embarrassing to discover, for fear of destroying the comfortable serenity of its judgment and the comfort of its life.

Of course, Romain Rolland sees German idealism, but he wants to show it in the light that, in his opinion, is the true light. He wants to characterize this German idealism somewhat, and there he says about this German idealism – since Romain Rolland is a good musician, his friends claim that he understands German music particularly well, he may refer to it –; Romain Rolland seeks to characterize German idealism as what the Germans delude themselves about as a blue haze that the Germans fear to see and therefore idealize. He sees in it something with which the Germans mask all kinds of things so as not to see reality. Then he says:

The Germans are not idealists for the reason that they falsify feelings.

– he speaks, I beg to be heard, he speaks as if it were a characteristic of Schumann and Wagner – that is not the problematic thing in music, that idealism fakes feelings, but that feelings are fake, that is shown in Schumann. The German feels fake. These are Romain Rolland's own words:

But it was precisely his example that led Christof to the realization that the worst falsity of German art did not lie where artists wanted to express feelings that they did not feel, but rather where they expressed feelings that they felt but that were false in themselves. Music is a relentless mirror of the soul. The more naive and trusting a German musician is, the more he reveals the weaknesses of the German soul, its insecure foundation, its [soft] sensitivity, its lack of candor, its somewhat devious idealism, its inability to see itself, to dare to look itself in the face.

He wants to get to the very heart of this German idealism. That is why he refers to Mrs. von Stael, who once characterized the Germans, as Romain Rolland reports. She said:

They are well-behaved. They use philosophical reason to explain the most unphilosophical thing in the world: respect for power and the habituation to fear that transforms respect into admiration.

Romain Rolland refers to these words of Mrs. von Stael.

Christof found this feeling in the greatest and the smallest [in Germany]

— he says. And then, to say something quite characteristic of the Germans, he adds:

from Wilhelm Tell, the deliberate, small-minded bourgeois with the muscles of a porter, who, as the free Jew Börne says, “to reconcile honor and fear, walks with downcast eyes before the post of ‘dear Lord’ Gessler, so that he can invoke the fact that he who disobeyed who did not see the hat,” up to the portly, seventy-year-old Professor Weiße, one of the most respected scholars in the city, who, when a lieutenant passed him, hastily gave way to him on the footpath and went down to the road. [He hated the brutal militarism that he felt weighing on him, all those sabers clanking on the pavement, those pyramids of rifles and cannons set up in front of the barracks, ready to fire with their muzzles pointed towards the city.

We are hearing all of this again now. The novel already contains the same words that we are hearing again now, with the only difference being that later on, the French no longer thought that the muzzles were only pointed at their own German cities, but sensed that they could be pointed elsewhere.

But it cannot be said that Romain Rolland is entirely unjust towards the Germans, whom he characterizes in this way. He does find that these Germans have nothing of the true esthete. In music, he grants them some talent. He calls thinking “clear but cloudy,” and so on. But in the opinion of this Frenchman, who is considered one of the best minds in France today, the Germans do not have much of a sense of beauty. He describes a German girl: “The nose [gap in the text] up one side, down the other.” That, according to him, is the typical German girl. I also ask you to consider the following words:

The Germans are fortunate in their tolerance when it comes to physical imperfections: they manage not to see them; they can even come to embellish them with benevolent imagination, finding unexpected relationships between the [face] they want to see and the most magnificent examples of human beauty.

This refers to the face with the nose that I just described. It would not have taken too much persuasion to get old Euler to declare that [his] granddaughter had the nose of Juno Ludovisi.

But it cannot be said that Romain Rolland is or wants to be completely unjust. He also praises where he wants to praise and recognizes in the German character what he believes he can acknowledge. For example, after he has shown how this Jean-Christophe, who is such a talented fellow that he cannot stand it in the German world, that he strives outwards, because such a genius cannot flourish in the German world. After showing this, he finally invites him to be a guest of a professor, whom he wants to depict as a typical German. And what unfolds in the presence of this German professor is where Romain Rolland does praise the Germans, finding something praiseworthy in them. You see, the professor takes great pains to have his housekeeper prepare the best meal possible. And she, so convinced that she has achieved great art, leaves the door ajar to see how the gentlemen are enjoying their meal.

It was an exhibition of unforgettable, honest, unadulterated German cuisine, with the aromas of all the herbs, the thick sauces, the nourishing soups, the exemplary meat dishes, the monumental carp, the sauerkraut, the geese, the homemade cakes, the aniseed and caraway breads.

You can see that he also has something good to say about the Germans! And he particularly benefits from the meal that has now been taken and a real German, a singing German, is to be described. He describes him in such a way that you can see; he is actually wondering why this particular specimen can sing, and even sing well. He says that the German actually has no idea how to sing:

They are seized by the power of the song, and the song works through them as through an instrument. The spirit of the songs takes hold of them, and they obey it. For the soul of the German must do so. This soul obeys the song as the soldier obeys the general.

The so-called German militarism has grown deep into the soul of those who speak of it today with voluptuous expressions. He now describes a real singer by saying: He was a fat man who always sweated when walking, but especially when he made sounds. - He describes his nature, his figure. Then he says: He looked like a Bavarian, a particular variety of German. He says that there are many of these Bavarians, because they have “the secret of this human race, which came about through a system of pasta-eating similar to how poultry is fattened.”

He wants to find out what the people who are actually able to practice this German art of singing, which he also admires, look like.

Now, it is no wonder that this mixture of Beethoven, Strauss, Wagner and Mahler, who has the peculiarity of not having a spark of any of the four in his soul, cannot endure this artificial construct in Germany. He must get out of Germanness! It is said that although he did not know it, he is driven by German confusion to “Golden Paris”.

But instinctively his eyes looked towards the Latin South. And first of all to France. To France, the eternal [refuge] from German confusion.

Now it is described how the one who has to leave Germanness has to find his way in Latin culture. There he becomes a great mystic. I hope you will excuse me from pursuing the further paths. But we would find many a characteristic there of what must be called the misunderstanding of that which sustains and carries the individual German from the supporting power of the living spirit, with which the German essence feels connected.

Therefore, it may be said that it must be clear to all those who believe that humanity's future lies in the strong and vigorous representation of intellectual life through a world culture how the German spirit has not yet completed its mission in the world, but how this German spirit has laid the seeds from which it can be seen that they must continue to flourish ever more abundantly.

And that appears to us as the fundamental strength of the German spirit, that we know: we can only hope for the blossoms and fruits of the future. We stand confidently in the midst of it, in the living experience of the German spirit. This must also give us the strength for the necessary defense, for the defense of German intellectual life as well, which, as perhaps few today already suspect, is in a fundamental struggle, just as much as the external life of the immediate present.

It would be out of place to present a reflection that was only meant as a consolation. Who needed weak consolation or who needed words of strength or the like, when a nation that knows how to defend its goods with such strength has shown and has already held out for almost a year with strength and courage and a willingness to make sacrifices?

But we must be aware that the German spirit must be on guard just as much as external German life had to be on guard. And when we look more deeply into this spiritual life of the German, we find something of which we can say: This is the core and the root of Germanness: its yearning for the living spirit, its living together with the living spirit.

Those who revile the Germans today and say: We do not mean this German spirit when we revile them, must be told: You seem to us like someone who says: I know there is a person with strong hands, but when he uses these hands, we do not like it!

The French philosopher Bergson said in a Christmas speech that the German mind today shows that it can no longer grasp the living, it can only grasp the mechanistic. Today, only cannons stand against the French; only mechanisms are seen coming from Germany, and armies.

There is not much logic in what he says, as logic is generally missing today when the world situation is discussed so beautifully. You would have to ask this philosopher Bergson whether he expected the French soldiers to be confronted with recitations of Schiller's poems or with Novalis' works.

But a glance, which I could only hint at with weak words – a glance into the essence and life, into the roots of the German spirit, shows us that, looking at this spirit, we can say:

It has not only not completed; it shows that it is taking its ascending path to a fully blossoming and fruitful spiritual life. And anyone who can trust in inner strength can have the utmost confidence in what the German spirit is willing to accomplish. And anyone who has such an insight into the inner effectiveness of the German spirit also knows what great and powerful things must be defended with external weapons today; he knows that the soul of the German nation still has much, much more to bear.

Therefore, let me express what I wanted to express to you today in a few words, and what I ask you to take more from what underlies my words as feelings and emotions. Finally, let me summarize it in a few words that are based on my feelings, which should be words of confidence for the soul, from what can be known about the sustaining power of the German spirit, in the past and into the future. I would like to say: If you follow through in your thoughts what I have only been able to sketch with a few lines of charcoal, you will increasingly come to the feeling that I would like to express at the end with the words:

The German spirit has not fulfilled
What it should bring to the world.
It lives hopefully in worries about the future,
It hopes for future deeds full of life; —
In the depths of its being, it feels powerfully
Hidden things that must still mature. —
How can a wish for his end arise in the power of the enemy without understanding, so long as life reveals itself to him, which holds him in the roots of his being?

Handwritten summary of contents for the censors.

During the war, public events were subject to the supervision of the censorship authorities. For this purpose, Rudoif Steiner wrote the following table of contents for his lecture scheduled for June 16, 1915 in Düsseldorf (NZ 1564-1566).

Contents of the lecture to be given by Dr. Rudolf Steiner in Düsseldorf. The lecture has already been given in Berlin, Leipzig and in a similar form in Munich.

The lecture begins with the introduction of personalities who, in fateful times within the development of German culture, placed the security, the confidence, the true invincibility of the German being before the soul of the people by evoking the soul's deep permeation with the effective power of the ruling spirit. For them, this “spirit” was not a “concept” or an “idea,” as it is for the naturalistically thinking consciousness; for them, the spirit was a real being with which the soul maintains contact in its deepest interior, from which it draws spiritual life-force, just as the body draws physical life-force from the air through the lungs.

Thus Fichte stood in the midst of his people when they had to work their way up to freedom, supported only by their own strength, by showing how the German people, in contrast to the Romance peoples, already prove through their language that they are connected in their very essence to the innermost roots of the vital impulse of spiritual existence. The German does not feel spiritual life as something that is only recognized in the individual human soul, but as something that reigns over this individual soul as an independent being and that carries the individual soul.

From this consciousness, a creation within German culture has emerged that is only possible within the German people: Goethe's “Faust”. Faust strives out of dead knowledge towards an inner living contact with the essence of the spirit. In Faust, the most ancient German consciousness of nature and the world comes to life again in a newer way. One does not need to deny the great significance of Shakespeare; but one must still say that in Faust, everything human rises to a nobler height than in Hamlet. Consider how, when confronted with the truly spiritual, the latter can only fall back on doubt and uncertainty, on the hopeless question, “To be or not to be?” By contrast, when confronted with the power of evil, of material things, Faust asserts the inner certainty of victory of his connection with the spirit: “In thy nothing I hope to find the All.”

Those who belong to the nations that today do not want to revile German deeds enough, must have come to the same conclusion that Ernest Renan expressed in 1870, when they sensed the nature of this in the development of German culture. 70, that Germany has added something to the development of humanity in terms of “depth and extent” that “for those who have experienced it, it is as if they only know elementary mathematics compared to those who are proficient in differential calculus”.

This connection of the German soul with the sustaining power of the world-ruling spirit has, in minds like Herder's, evoked the consciousness of the world-significant task of German culture, of the fact that this culture has a contribution to make to the overall education of the human race, insofar as this illuminates the lofty goal of working “until everything has happened, until the genius of enlightenment has traversed the earth.”

This consciousness warmed Lessing's soul as he wrote his incomparable testament to the “education of the human race,” which elevated all contemplation of history to an experience of the eternal spiritual activity of the world through the human soul.

And this consciousness lives on to the present day in the most exquisite minds of the German people. It will now be shown how this fundamental strength of the German spirit has led to a deep world view and outlook on life in individual personalities of the nineteenth century. Herman Grimm's genuine German character is characterized; lesser-known personalities are also mentioned to show what particular German character is in thinking, feeling and experiencing.

Finally, it is suggested how, in the present day, the consciousness that comes from the sources, in which the German essence is intimately connected with the power of the spirit, may live in the German mind, and how this consciousness may trust in its power within the world of enemies, in the face of which it has to assert itself in our fateful days.