Ways to a Knowledge of the Eternal Forces of the Human Soul

GA 70b — 28 November 1915, Munich

3. The World View Of German Idealism. A Consideration Regarding Our Fateful Times

Dear attendees!

In the time of the tremendous struggle for existence in which the German people find themselves, it may perhaps be possible to take a look at what lies within the German soul, within the German spirit, from the point of view, that is, from the perspective of the way of feeling of a spiritual-scientific world view, as the content of the most sacred and highest spiritual task of this soul, of this spirit. I believe, however, that in so doing I am not going beyond the scope of actual spiritual science, because it has become clear from the various observations I have been privileged to make here over the years how closely I must regard a spiritual-scientific world view as connected with what the German spirit, what the German national soul, will and has always strive for by its very nature, by its innermost nature. And so, while tomorrow's lecture will also be directed towards what moves us so deeply in our present time, in a narrower sense it will be devoted to a purely spiritual-scientific theme. Today's lecture serve more as a reflection on what has been thought of the unique character of the development of the German nation by all those who have reflected in a deeper sense on this unique character of the development of the German nation and on its task in the overall development of the German spirit. I believe it would not be German to imitate the methods which are now often used by the enemies of the German people, those methods which are born of hatred, of annoyance or of the desire to justify in some way an undertaking for which one does not want to seek the real reasons for the time being and perhaps cannot immediately seek in the present.

So let the starting point be taken not from something that could push towards a characterization of German idealism from the immediate present, but rather let the starting point be taken from a thought of a German personality who, in relatively quiet times, in memory of great, significant experiences with one of the greatest German minds, wanted to give an account of the German character. The starting point is taken from the words that Wilhelm von Humboldt inserted in 1830, when he wrote down his reflection on Schiller, at that time this reflection on German nature - from those words in which Wilhelm von Humboldt, one of the best Germans, wanted to characterize how German nature, when it works spiritually, in all spheres of human activity from the center of the human soul, the human spirit, from the deepest inwardness of the human , of the human spirit; how German nature cannot think of man in a fragmented way in his spiritual connection with poetry and philosophy and science, but how German nature wants to grasp man in his all-encompassing way and, in summarizing all the forces that express themselves in the great minds of the last century, always wants to bring to revelation that which, in the totality of the human being, moves the soul in its innermost being. It was in this spirit that Wilhelm von Humboldt, Schiller's great friend, sought to characterize the German essence in 1830. He said:

"To view art and all aesthetic activity from their true standpoint is something that no nation has achieved to the same degree as the Germans, not even those who pride themselves on being poets and who recognize all ages as great and outstanding. The deeper and truer direction in the German lies in his greater inwardness, which keeps him closer to the truth of nature, in the tendency to occupy himself with ideas and sensations related to them, and in everything that is connected with this. This is how he differs from most newer nations and, in a more precise definition of the concept of inwardness, also from the Greeks. He seeks poetry and philosophy; he does not want to separate them, but strives to combine them; and as long as this striving for philosophy, even pure, abstract philosophy, which is often even among us in its indispensable essential work, lives on in the nation, the impulse will also endure and gain new strength, which powerful minds unmistakably provided in the last half of the previous century. Poetry and philosophy are by nature at the center of all intellectual endeavors; only they can unite all the individual results; only from them can unity and enthusiasm flow into everything at once; only they truly represent what man is, since all other sciences and skills, if they could be completely separated from them, would only show what he possesses and has appropriated. Without this focus, which both illuminates and sparks enthusiasm, even the most extensive knowledge remains too fragmented and the effect on the ennoblement of the individual, the nation and humanity is inhibited and rendered powerless, which, after all, can be the only purpose of all investigation into nature and man and the inexplicable connection between the two.

Such minds have always sought to fathom what Germanness is by trying to delve into the center of the German character. And they never wanted to fall into the trap of elevating German character at the expense of other characters. If we now seek a characteristic feature of the intellectual development of mankind that also relates to such words as those just quoted, we find it in what is called idealism; a term that can literally only be understood to refer to the German world view.

This is not to say that idealism is something that is only found within the German people; that would, of course, be a ridiculous assertion. Human nature everywhere strives out of the external sensory life into the realm of ideals, and this universal trait of idealism has been emphasized by no one more strongly than by the most German of Germans. But it is another matter entirely when one gains insight into the fact that, within German development, idealism is connected not only with the individual striving of the individual, with that by which the individual stands out from the totality of the people, but when one sees that idealism is something that is connected with the innermost nature of the German people, and gains insight into the fact that German idealism blossoms out of the German national character itself. Today, we will reflect on this and on the fact that, in a very unique way, this German idealism has elevated the German worldview to the realm of ideas, and it can rightly be said – as many of the best of the Germans have stated as their conviction – that life in the realm of ideas in such a way is a distinctly German peculiarity!

How little is needed to disparage anything else when this German idiosyncrasy is mentioned is confirmed in this consideration itself by the fact that the starting point is now taken, perhaps from a comparison of German feeling and German creativity with other feelings and other creations in a field where, from a certain point of view, even foreign feelings and foreign creativity can be given absolute priority.

I would like to start with an image, with a conflicting image. Imagine yourself in front of the painting that everyone knows, at least in reproduction, that Michelangelo created in the Sistine Chapel – the painting of the “Last Judgment”. And compare the experience you can have in front of this painting with the one you can have when you look at the painting “The Last Judgment” by the German artist Cornelius in the Ludwigskirche in Munich. You stand in front of Michelangelo's painting and you have the impression of having a great, powerful sense of humanity's riddle in a comprehensive way. And by looking at the painting, you completely forget yourself. You absorb every detail of this image, you empathize with every line, every color scheme, and when you walk away from this image, you have the feeling, the desire, to be able to stand in front of this image again and again. The impression you take away with you is this: You can only experience this painting if you recreate it in your mind, forgetting all the details and allowing your imagination to run free, so that you see the figures and colors vividly before you.

And if one then imagines the relationship of the human soul to the painting that Cornelius created here for the church in Munich, one will not receive the same dazzling impression of the design, and perhaps will not feel the soul as if one were being drawn into the eye, and the eyes, in turn, with their activity resting in what the painter has created; but one will nevertheless feel transported in the holy realms of an artistic fantasy before the painting, and have an experience that does not go hand in hand with what one sees in the same way as with Michelangelo's painting, but which lives in the soul like a second soul experience alongside what the eyes see – stirring all the deepest and highest feelings through which man is connected to the course of the world. And much that cannot be seen in the picture forces its way out of the depths of the soul, and a wealth of thoughts connects us with those impulses from which the artist created, which comes to life through what he has created, but which perhaps does not lie directly in his picture. And one leaves the picture with a sense of longing to visualize this image again and again through the elevation of sensuality into the imagination, as it is painted on the outside; but one feels transported through the image with one's soul into a living connection with the workings of the world spirit; one feels: not only has the work of artistic imagination, but that what can be experienced by man on the stage of thought, if he is able to enter this stage of thought in such a way that he feels and experiences what connects the soul with the riddles of the world, what connects the soul with the beginning and end of all becoming of the sensual and moral, of the sensual and world events. One must go from the image of Cornelius to the scene of the thoughts, and that is because Cornelius, who is one of the most German painters, had to paint in a German way according to his whole disposition, his whole nature, that is to say: He could not help but go to the scene of the thoughts in art as well. As I said, one may place the Cornelius painting far, far below that of Michelangelo in the absolute artistic sense. That is not the point, but rather that each people has its task in the world, and that even in art - when it is so connected with the German national spirit, as was the case with Cornelius - that even art rises to the arena of thought.

From this image, we will move on to another, one that may also illustrate how one of the most German of Germans moves from the arena of thought to that which affects him from the world around him. We will follow Goethe as he stands in front of the Strasbourg Cathedral. We know from Goethe's own biography how he felt an infinite deepening of his soul when he stood before the Strasbourg Cathedral. What did he feel at that time? What he felt at that time must be characterized, if one wants to characterize it more precisely, by showing the contrast. It may be said that Goethe's German Weltanschauung was then confronted in a natural, elemental way by the way in which the French Weltanschauung appeared to him at that time, which he, Goethe, certainly least of all wanted to belittle in its value for general development. A whole wealth of historical impulses were at work in what Goethe felt in his soul at the time at the sight of Strasbourg Cathedral, at the place where German nature had to fight so hard against French nature, at the place where German blood has to be shed again today to defend German nature against French nature.

The following consideration may perhaps illustrate the historical impulses unconsciously at work in Goethe at that time. When the newer peoples in the last centuries - one might say - emerged from the twilight of human spiritual development with the qualities that have given these peoples their present character, there, in that time, we find a French mind that shows us so clearly what the innermost impulse is in the French world view, insofar as it does not arise from the individual but from the individuality of the people. I am referring to Descartes, who lives on from the sixteenth to the seventeenth century. Descartes also lifts humanity onto the stage of thought from the French essence. As a lonely thinker, emerging entirely from what the education of his people of his time could give him, Descartes stands at the dawn of newer spiritual development with the question: How can one attain certainty about the true reasons for existence? What is really true within that which appears to man in the stream of phenomena before his eyes and soul? The French spirit from which Descartes emerged had, after all, produced one of the greatest and most significant doubters, Montaigne, who had made doubt almost the content of healthy, true human feeling. Only a soul, he believes, over which doubt is poured out, is a wise soul, a soul that says to itself: “The revelations of the external world of space and time appear to my senses; but who dares to say that the senses do not deceive?” Within me, the thoughts that want to prove themselves appear to me, emerging from this inner self. But if you look more closely, as Montaigne says, then for every proof there arises the necessity to find a new proof. There is no source of truth, neither outside nor within. Unwise is he who believes unconditionally in any truth. Only he is wise who approaches everything with doubt, because doubt alone is appropriate to that which can develop as a relationship of the thinking and seeing human being to the world.

And it was out of this doubt, as an intense fighter for the attainment of a certainty of truth, that Descartes developed his thinking. He started from doubt. Now, is there no point to which one can hold when this sea of doubt is poured out? - he asked. He found only one thing in the wide sea of doubt in which the soul initially swims when it enters the world: the certainty of one's own thinking; for we do this ourselves, we can always conjure it up. Therefore, we can believe in thinking; only to that extent are we when we think. Thus, in his own way, Descartes raised humanity to the level of thinking.

But now there is something peculiar about this – and I really don't want to make a one-sided, disparaging criticism – that is peculiarly French about Descartes's world view, that Descartes now experiences in his soul everything that this certainty of one's own thinking can give, that he seeks to show everything in the soul that the soul can get from the certainty of its own thinking, how the soul itself finds God from thinking. But from this point of certainty, Descartes cannot arrive at what holds sway as truth in the nature surrounding man. He does raise humanity to the scene of thoughts; but he limits the scene of thoughts to the boundaries of the soul's experiences.

And it is characteristic, very characteristic, that Descartes, in his quest to explore everything that thinking can find, becomes entangled with this thinking in the merely human inner being, cannot escape from this inner being and, starting from the soul, cannot find a way to what lives and exists in nature. Even animals are, as paradoxical as it may seem to people today, only walking machines for Descartes. A soul can only be attributed to that which thinks; but thinking cannot go beyond the soul, cannot penetrate into that which lives and exists in nature. The animals are mechanisms, the plants too, everything is nothing more than clockwork, because the soul spins itself into itself. But this had consequences, and led to France becoming the classic land of the purely materialistic world view in more recent times, which had broken in when Goethe felt he was part of it. At that time, the French world view was dominated by the inability to see anything but mechanism in the things that surround us in the world and uplift and delight us. Thus was born that materialistic philosophy which so permeates and underlies Voltaire's outlook; that materialistic philosophy which confronted Goethe and of which he says: “If it, in spite of being so barren and desolate, would only make an attempt to explain from the moving atoms something that the human eye beholds.” But not even an attempt has been made. In place of the all-pervading Nature, there is set up a dry, barren, mechanical fabric.

That was how Goethe felt. That was the feeling that settled in his soul when he allowed the world view, which had so characteristically emerged from the French national sentiment at the time, to take effect on him, and it was this that he unconsciously felt weighing on his soul when, with his soul's feeling, he . from the Germanic nature, he turned his eyes to the sky-scraping spire of the Strasbourg Cathedral and felt in his soul, in external spatial forms, the human spirit that strives from space into the spaceless-timeless spiritual-soul. One would like to say: In the Strasbourg Cathedral, Goethe's living worldview of Germanic culture stood out against the mechanical worldview that was pressing against him in the background, weighing on his soul as the then newest French materialism.

And now, in that period, we see precisely within German development the urge of the soul, from the contemplation of nature and of humanity, to push forward out of the depths of the German soul, out of its innermost being – as we shall characterize it in a moment – to push forward to the realm of thought; but not on the scene of thought in such a way that it would be so restricted for the human soul that it could no longer find its way into the great, wide reality of nature, but in such a way that the soul feels the living possibility of immersing itself in everything that creates and lives and works and is in nature. Two minds within the German development should be emphasized, which show especially in that time how German nature is in relation to the search for a worldview at the innermost core of being. One of these minds, who as an external personality places himself in the striving for a worldview, and another who actually does not stand as an external personality, but is again created out of German nature as an ideal figure.

One of them is called Kant. Let us try to imagine Kant, especially in the period of German history when this image, which was created in connection with Goethe, emerged in the course of German development. What was he basically concerned with? It is easy to say that Kant would have tried to make human knowledge doubt any kind of true reality around 1780 – that is, around the time when Goethe had that feeling, when Kant's “Critique of Pure Reason” was published. In truth, whoever delves to the innermost nerve of Kant's endeavor also finds in him the opposite of the innermost nature of Descartes' endeavor. Kant does not assume that the human soul is separate from the innermost source of the world and the world spirit. Kant only stands before the world by asking himself: How can we discover the secrets of the world? Through that which the human being develops in the sensory observation of the world. Kant does not believe that in this way the human being can enter into the true sources of being. Therefore, Kant does not fight knowledge, but rather, by seemingly fighting knowledge, he is actually fighting doubt. In order to divert doubt from the human soul, doubt about that which must be most important to this soul, Kant seeks access to the sources through a different path than that which can be reached through ordinary knowledge. Therefore, the words were spoken from deep within Kant's soul: He had to dethrone knowledge in order to make room for faith. But for him, faith is the inflow into the human soul of the conceptual world of the spirit, of ideas and ideals that come from the divine. And in order for these to live in the human soul, so that they are not disturbed by external knowledge, so that the human soul may have an inner certainty, Kant dethrones external knowledge, ascribing to it only the possibility of arriving at a revelation, not at true reality.

And, we may say, Kant made it difficult for himself to conquer the validity of ideas and ideals for the human soul. Before he began his critique of reason, he dealt with the spiritualist Swedenborg. What Swedenborg had attained as a spiritual vision of what lies behind the sensual world, Kant examined with the intention of gaining an insight into whether there is another way through the gates of nature to the sources of nature and spiritual existence than that which external intellectual knowledge can conquer. And from the contemplation of the spiritualist Swedenborg, Kant emerged with what he had in mind: to expand the arena of thoughts for ideas and ideals by dethroning knowledge that can only deal with the external world of appearances.

Deepened and individualized, this Kantian striving now appears – I would say – in an ideal figure, in the ideal figure that for many people is rightly one of the greatest poetic and artistic creations of human existence to date, in the form of Goethe's Faust. And by looking at Goethe's Faust as Goethe presents him to us, we directly see the path of German idealism to the arena of thought. What does Goethe's Faust actually look like? It is certainly well known how Goethe has his Faust strive for the sources of existence, and it seems almost superfluous to say anything more about Goethe's Faust. But perhaps it is worth reminding ourselves that two traits of human spiritual life are inseparably linked with Goethe's Faust creation, which show in a very special way a kind of human spiritual life that, when examined closely, emerges from the immediate nature of the German character. What two traits, then, are inextricably linked with Goethe's Faust creation, regardless of one's personal opinion of these traits?

One may, so to speak, scoff at these two traits if one regards them separately from this work from the standpoint of a particularly high-minded materialistic worldview. But these two traits are so seriously connected with Goethe's world view and with what Goethe feels is the German world view that one must think of them nevertheless as directly connected with what Goethe felt was at the core of the impulse for a world view, despite the often trivial way in which the materialistic world view dwells on these two traits. The one is the way Faust faces the pursuit of knowledge of nature. And connected with this is the fact that Faust, after feeling unsatisfied by all external sense and intellectual knowledge, reaches for what is called magic. Superstitious notions associated with this word may be dismissed.

How does this magical striving present itself to us? It presents itself to us in such a way that we can say: Faust relates to nature in such a way that he feels: Faust feels at one with everything that can be perceived directly by the human being, and with what can be intellectually grasped on the basis of sensory impressions. But he also feels excluded from the secrets of nature; he feels the necessity to develop something that is not present in the human being, who only directly places himself in the world, but which must first be developed out of the innermost depths of nature. The human being must be expanded in such a way that something germinates within it, which creates living links from within into living nature itself: an expansion of the human being beyond what one finds what is given by the senses, and what lives in thinking, to which Descartes pointed out humanity; make this human nature more alive than it is placed by its own immediate formative power.

Thus, what the senses offer is, for Faust, only a crust that appears to cover the true essence of nature. This crust must be penetrated, and under this crust there must be something within nature that works and lives in it in a soul-spiritual way, just as the soul-spiritual in man himself works and lives. Thus Faust stands as a living protest against what Descartes describes as the scene of thoughts.

And in that Faust seeks the spirit that “rolls up and down in the floods of life”, shaping, working and living everywhere, in that Faust seeks “all power of action and seed”, he is the very opponent of that Cartesian world view, which, quite consistently and out of its own nature and its folklore, looks at nature and, through its folkloric nature, de-animates and de-souls it, turning it into a mechanism. That which could never be found by following the path of Descartes is, for Faust, the direct starting point at a certain point in his life. And with this trait, which we can describe as magical, which does not seek concepts, ideas, thoughts in nature, but through these seeks that which lives and works in nature as the soul lives and works in us — with this trait, there is directly connected another in the Faust legend, which, in turn, can be ridiculed if viewed separately from the Faust legend. Directly connected with this is something that can be described as a special regard of the human soul for evil, which we encounter in the character of Mephisto in the Faust story. This evil in the Faust story is not something that merely enters the human world view conceptually, or is regarded as a mere law, such as a law of nature. Rather, this evil is not in the usual anthropomorphic way, but in the way it consciously emerges from human struggles – this evil is personalized, made into a being that dramatically confronts man. Just as Faust strives on the one hand out of what is provided by the senses and the intellect, as he seeks to pierce the cortex to seek the living, so he must break through what appears to be mere moral legitimacy, to pierce through to what is experienced in living spirituality behind the surface of mental experiences like a personality, like a being.

Thus, on the one hand, Faust strives towards the living behind the sensory world in contrast to nature; on the other hand, Faust strives towards a relationship between the human soul and evil, which now also penetrates – I would say – the shell that rises above the deeper soul than the everyday soul. In both these respects Faust seeks a way out of the straitjacket into which, for example, Descartes and his philosophy have confined the human soul: out into nature, into the spiritual depths of the soul! And that this striving for a relationship to evil, not as a conceptual idea but as a positive experience, is deeply rooted in the spiritual development of the German character can be seen from the fact that in 1809 a German philosopher, Schelling, who was much inspired by Goethe, , Schelling, in 1809 in his treatise “Philosophical Investigations into the Essence of Human Freedom and the Related Objects”, was deeply concerned with the question of the origin of human evil. So that, by raising the question: To what extent is that which enters our world as evil compatible with the wise divine world order and divine goodness? - comes to the answer: In order to recognize evil, one must not only proceed to the very foundations of existence, but one must proceed to what Schelling, in harmony with other minds at the time, called the “unfounded grounds of existence”. Thus the power of evil came to life, so vividly within the German world view that the tragic struggle of the human soul with evil could be understood in its vitality, not from mere concepts.

And if we connect what Goethe embodied in his Faust out of German feeling with what Goethe sometimes said when he wanted to characterize the course of his own mind, we are repeatedly referred back to that wonderful prose hymn by Goethe to nature, written in the 1880s:

“Nature! We are surrounded and embraced by it... Uninvited and unwarned, she takes us into the cycle of her dance”;

then the wonderful words in it:

“She has thought and is constantly pondering; but not as a human being, but as nature.”

This means: Goethe is clear about one thing: weaving a mechanical network of concepts over nature does not provide an understanding of nature. Only such a deeper search in the existence of nature creates knowledge of nature, through which the human soul finds in the depths of this natural existence that which is related to what it can find in the depths of its own being when it penetrates into them.

We may now ask: Is such striving, as it can be characterized by Kant, can be characterized by the ideal figure of Goethe's Faust -, is this striving an isolated, a merely individual one, or does it have anything to do with the overall striving of the German national spirit, the German national soul? Even if one considers Kant, the abstract philosopher, who hardly ventured a few miles beyond Königsberg and spent his whole life in abstract thought, one finds it clear and obvious, precisely in the way he works his way from his earlier world view to his later one, everywhere that he, despite his reclusiveness, develops out of from all that in the German national spirit strives for certainty, and how, by virtue of this national spirit, he did not actually come to a narrowing of the human soul to the realm of merely human thinking, but was led up to the horizon on which the full range of ideas and ideals appeared to him, which give man impulses in the course of his human development. One is tempted to say that what was later expressed by the most German of German philosophers, Fichte, already lives in Kant; that what has become so dear to the German world view, especially from the eighteenth century onwards, already lives in Kant.

This German world view came to value having a view of the world that does not need to be disconcerted by what presents itself to the senses, for the absolute validity of that which is man's duty, love, divine devotion, moral world. When man looks at the world and considers the way in which he is placed in it, he sees himself surrounded by the field of vision of sensual impressions and what he can divine behind them; but he also sees himself placed in such a way that, in the strictest sense, he cannot conceive the value of the world without this second side of the world; he sees himself so placed that behind him, in his soul, the divine ideals are at work, which become his duty and deed, and these ideals do not bear the coarse sensual character that the world of external movement and external revelation has. One would like to say: When the German mind looks at the - symbolically speaking - stiffness and smoothness of natural existence, at the mechanical movement in the unfolding of natural processes, it feels the need to realize: How can one become at home in that which is so indifferent in nature, that which appears in ideals as a demand, as a duty, as a moral life - how can one become at home in that which appears as the highest value of life, as a moral ideal, how does the reality of moral ideals relate to the reality of external nature?

This is a question that can be felt so lightly, but which can also be found in tremendous depth, heart-wrenching. And so it was felt in the best German minds at the time when Kant's worldview was forming. Sensuality had to be presented in such a way that it was no obstacle to the moral world flowing through people into the world. Morality must not be a reality that presents itself indifferently and against which moral ideas must rebound. By becoming an act through people, the moral ideas from the spiritual world must not rebound on the stiff materialistic barrier of the sensual world. This must be taken as a deep feeling, then one understands why Kant wants to dethrone ordinary knowledge so that a real source can be thought for the moral idea. Then one understands Johann Gottlieb Fichte, who coined the paradoxical but which arises from deep German striving: All sensuality, everything we can see and feel outside and think about the external world, is only “the sensitized material of our duty”. The true world is the world of the ruling spirit, which lives itself out by being felt by man in ideas and ideals. And these are the true reality, they are what pulses through the world as a current, what only needs something to which it can apply itself, to illustrate it. For Fichte, sensuality has no independent existence, but is the sensitized material for human fulfillment of duty. From a philosophy that seeks to validate everything spiritual, that must seek to do so from an inherent tendency towards idealism, such words emerged; and one may find such words one-sided – that is not the point, the point is not to turn such words into dogma. But to take them as symptoms of an aspiration that lives in a people is what is significant; and to recognize that such minds, which create in the sense of such a word, elevate Germanness to the arena of thought precisely because of the idealistic character of the German national soul.

In order to give life to thought, human knowledge and striving must go beyond what Cartesius could merely find. And Goethe's “Faust”, this image of the highest human striving, this image, to understand which one must first struggle through it by allowing many German educational elements to take effect, from what did it emerge? It is truly not something that was thought up or created by an individual; rather, it emerged from the legends and poetry of the people themselves. Faust lived in the people, and Goethe was familiar with the puppet show of “Doctor Faust”; and in the simple folk character, he already saw the traits that he only elevated to the realm of thought. Nothing illustrates as clearly as Goethe's Faust how something supreme can arise from what lives most deeply, most intimately and most elementally in the simple folk being. One would like to say: not Goethe and Goethe's nature alone created Faust, but rather Goethe brought forth Faust like a germ that lay within the German national organism, and gave it his essence, embodied it in a sense so that this embodiment corresponds at the same time to the highest striving of the German spirit for the arena of thought.

Not the striving of isolated personalities out of their idiosyncrasy, but precisely when it confronts us in its greatness from the entire national character, then it is the result of German idealism. And how does thought work within this German idealism? One comes to an understanding of how it works precisely by comparing this German idealistic striving of thought with what is also a striving of thought, let us say, for example, in Descartes. In Descartes, thought confines man within the narrowest limits; it works as a mere thought and as such remains confined to the world in which man lives directly with his senses and his mind. Within German Idealism, the personality does not merely seek thought as it enters the soul, but thought becomes a mirror image of that which is alive outside the soul, that which lives and moves through the universe, that which is spiritual outside of man, that which is above and below the spirit of man, of which nature is the outer revelation and the life of the soul is the inner revelation.

Thus thought becomes an image of the spirit itself; and by rising to the level of thought, the German seeks to rise through thought to the living spirit, to penetrate into that world which lives behind the veil of nature in such a way that by penetrating this veil, man not only visualizes something, but penetrates with his own life into a life that is akin to his. And again, since man is not satisfied with what he can experience in his soul, he seeks to penetrate into what lies behind thinking, feeling and willing, for which these three are outer shells, for which even the thought is only an inner revelation, in which man lives and works, in which he knows himself as in a living being that creates the scene of thoughts within him.

And so we can see how, especially in those times when the German mind, seemingly so divorced from external reality, from external experience, strove for a Weltanschauung, this German mind felt itself entirely dominant and weaving within the arena of thought. And there is first of all Johann Gottlieb Fichte, who regards external nature only as an external stimulus to that which he actually wants to seek, to whom, as already mentioned, the whole of the external sense world has become only the sensitized material of our duty; who wants to live only in that which can penetrate from the depths of the world in a mental way and can be directly realized before the human soul. That is the essence of his world view, that only what emerges in a contemplative way from the deepest depths of the soul and announces itself as emerging from the deepest depths of the world is valid for him.

For his follower Schelling, the urge for nature, the Faustian urge, becomes so vivid within that he regards as worthless any knowledge of nature that seeks to express itself only in concepts about nature. Only when the human soul comes to regard the whole of nature as the physiognomy of man, only when nature is regarded in such a way that nature is the physiognomy of the spirit that reigns behind it, only then does one live in true knowledge of nature; but then, by penetrating through the bark, one feels creative in nature. And again, a paradoxical but fitting expression for the essence of Germanness is a saying of Schelling: To recognize nature is actually to create nature! Of course, this is a one-sided saying at first; but a saying that represents a one-sidedness need not remain so; rather, if it is properly recognized, this creative knowledge of nature will lead the mind to reflect inwardly, to awaken slumbering powers within itself that penetrate to the spiritual sources of nature. The source, the germ of that which can be true spiritual science – we can find it precisely within this world view of German idealism!

In the third of the German idealistic philosophers, in Hegel – who is difficult to understand and so far removed from many people – this lively character of the arena of thought appears in the same way within German idealism. In our own time, when the abstract is so much decried and mere thought is so little loved, this world-view strikes us as strange. And yet Hegel feels intimately connected with the spirit-seeking aspect of Goethe's nature. The content of his world-view – what is it if not mere thinking, a progression from one thought to another? With his world-view we are presented with a thought organism; necessity is produced for us, so that we stand face to face with a mere thought organism, which we can only produce by creating it, as we would with any other organism through our senses. But behind this presentation of a thought organism there is consciousness, a certain attitude. This is the attitude that when a person strips away their world view, all sensations, all sensory perception, for a few moments of world viewing, when they strip away everything they want and feel as individuals, when they surrender to what is being, as if the thought itself were taking one step after another, that man then immerses himself in a world that is a thinking world - but no longer his thinking world - so that he no longer says to this world, “I think, therefore I am,” but rather, the spirit of the world thinks in me, and I give myself to the spirit of the world as a theater, so that in what I give as soul to the all-pervading spirit of the world, this spirit can develop its thoughts from stage to stage and show me how it bases its thoughts on world-becoming.

And the deepest religious impulse is connected with the striving to experience in the soul only what this soul can experience when it surrenders all its own being to the thinking that thinks itself in it. One must also look at this Hegelian philosophy, this so idealistic departure from the German essence, in such a way that one does not take it as a dogma, which one can swear by or not, but as something that can stand before us like a symptom of German striving in a certain time. In the Hegelian world view, the world spirit appears, as it were, as a mere thinker.

But as true as it is that much more than thinking alone was needed to shape the world, it is nevertheless true that the path that once led to it, so the logic would have it, is one of those that creates in man an attitude towards the life that reigns behind existence and leads man to the scene not of abstract, intellectual thought, but of living thought, which has world experience in the experience of thought. The three idealists – Fichte, Schelling and Hegel – sought to raise the human spirit to the realm of thought in three different directions: Fichte by trying to shine a light into the depths of the human ego and not saying, like Descartes, “I think, therefore I am!” For if Fichte had only been able to arrive at Descartes' thought, he would have said: I encounter within me a rigid existence, an existence that I have to look at. But that is not an ego. I am only an ego if I can secure my own existence myself at any time. I cannot come to my ego through the act of thought, not through mere thinking, but through an act of action. This is a continuous creative process. It does not rely on looking at its being. It leaves its previous being, but by having the power to create itself again in the next moment, out of the act, it arises again and again in a new way.

Fichte does not grasp the thought in its abstract form, but in its immediate life on the scene of the thought itself, where he creates vividly and lives creatively.

And Schelling, he tries to understand nature, and with genuinely German feeling he immerses himself in the secrets of nature, even though one can of course, if one wants to take his statements as dogma, present them as fantastic. But he immerses himself in natural processes with his deepest emotions, so that he does not feel merely as a passive observer of nature, as a being that merely looks at nature, but as a being that submerges itself in the plant and creates with the plant in order to understand plant creation. He seeks to rise from created nature to creating nature. He seeks to become as intimate with creating nature as with a human being with whom one is friends. This is an archetypally German trait in Schelling's nature.

From his point of view, Goethe sought to approach nature in a similar way, as his Faust expresses it, as to the “bosom of a friend”. Goethe then says – to describe how far removed any abstract observer is from such a contemplation of nature – that he, as an external naturalist in relation to the earth, is a friend of the earth. In Goethe, the German spirit feels so human, so directly alive in the spirit that reigns in nature, in the desire to be scientific, in that he wants to raise science itself to the level of the realm of thought.

And Hegelian logic – abstract, cold, sober thought in Hegel – what becomes of it? When one considers how mere logic often appears to man, and compares that with what prevails in Hegelian idealistic world view, then one first gets the right impression of the world significance of this Hegelian idealism. In Hegel, what appears to be the furthest thing from mysticism, the clear, crystal-clear (one might say) crystal-cold thought itself, is felt and experienced in such a way that although the thought prevails in the soul, what the soul experiences in thought is a direct mystical experience; for what Hegel experiences in thought is a becoming one with the divine world spirit, which itself permeates and lives through the world. Thus, in Hegel, the greatest clarity and conceptual sobriety become the warmest and most vibrant mysticism. This magic is brought about by the way in which the German spirit rises from its direct, living idealism to the realm of thought. In doing so, it proves that what matters is not the individual expressions that arise, but the soul's underlying basis for seeking a worldview. Hegel is said to be a dry logician. In contrast to this, one can say: the one who calls Hegel's logic that is only dry and cold himself. The one who is able to confront this logic in the right way can feel how it pulsates out of German idealism; the one who can feel the seemingly abstract thoughts that are spun out of one another in Hegel's work can feel the most lively warmth of soul that is necessary to let all the individuality of man fall away from man and to connect with the divine, so that in Hegel logic and mysticism can no longer be distinguished; that although nothing nebulous prevails in it, but that a mystical basic feature prevails in all its details.

Even today, the German mind, even the opponents of German idealism, has endeavored time and again to explore the fundamental idealism of this German essence in its significance as a riddle. And the best German minds, even those who are opponents of Fichte, Schelling, Hegel – if you turn to them, you find that German development consists in absorbing more and more of the basic impulses of this idealism. How these basic impulses can lead to a living experience of the spiritual worlds has been discussed often and will be discussed more often.

Attention should only be drawn to how – one might say – German Idealism, after it had reached one of the high points of the German world view, then continued to have an effect on German intellectual life as a different impulse. It was a period within this German intellectual life, and it was lived out in minds of the very, very first order until the middle of the nineteenth century, until the last third of the nineteenth century, when the view was that such creative work as is expressed, for example, in Goethe's Faust, where thought really takes hold of the imagination directly and can unfold dramatic creativity - was the opinion that this was only possible within poetry, but that the development of humanity shows that, for example, music has a different area; that music is, so to speak, the area that does not grasp the highest in man in a roundabout way, as it is sought through such poetry as the poetry of Faust – that music is the area in which sensuality must be grasped directly. One argument, with a certain justification after the experiences that could be had up to that point in the development of humanity, is the contrast between the Don Juan saga and the Faust saga; another is how misguided it is to as the Faust saga; it has been claimed that what this other saga, which shows man completely absorbed in sensual experience, can be correspondingly portrayed only within music that directly gives rise to and seizes sensuality.

The way in which the German does not rise to the scene of thought in the abstract, but in a lively way, has also brought the refutation of this view. In Richard Wagner, we have in more recent times the spirit that has triumphed over the merely external element in music, the spirit that sought to deepen the setting of the thoughts so that the thought itself could take hold of the element that was thought to live only in music. To spiritualize music from the standpoint of thought, to show that, was also only possible for German idealism. One can say: Richard Wagner showed that in the most brittle element for thought there is nothing that could resist or resist the strength of life that prevails in German thought. In his philosophy and his view of nature, the German has tried to present nature to the soul in such a way that what appears to be mechanical and externally rigid loses its mechanical quality and what would otherwise appear in a formal way comes to life and moves as soulfully and vividly as the human soul itself. On the other hand, the element which flows in the immediate sensual sequence of tones, is allowed to seek its connection, its marriage with that which leads the human soul to the highest heights and depths in the realm of thought, in Wagner's music, which has thus effected a raising of an artistic-sensual element into an immediately spiritual atmosphere.

This aspect of German idealism, which leads to a result that can be characterized as the soul standing on the scene of thought – I wanted to characterize this aspect today with a few strokes. This trait of German idealism, this living comprehension of the otherwise dead thought, is one side of the nature of the German people, but it is a remarkable side. It will appear as a remarkable phenomenon to anyone who is able to place themselves within the German national character through the invigoration of thought within themselves. Indeed, the German cannot arrive at the fundamental trait of his people's character other than by penetrating ever deeper into the self-knowledge of the human being. And this the German may, as it seems to me, feel most keenly in our immediate present, where this German essence really has to defend itself in a struggle forced upon it, where this German essence must become aware of itself by waging a struggle that it feels is befitting to it, arising from the task that appears to it as a sacred one, entrusted to it by the world forces and world powers themselves.

And although today, in a different way than in the times of which we have mainly spoken, the German must fight for his world standing, his world importance, it must still come to life before our minds that the German today enters into a world-historical struggle. The deeper connection between the German soul struggling through the course of the world and the bloody events of the day, which, however, bring us bliss out of pain and suffering – a future history will have to establish this deeper connection more and more.

I wanted nothing more from today's reflection than to show that the German has no need to speak out of hatred or outrage when he wants to compare his nature with that of other nations. We do not need to point out the nature of the German soul in order to exalt ourselves, but in order to recognize our duties as conferred by world history, we may point this out. And we do not need, as unfortunately happens today in the camp of our enemies, to invent all sorts of things that can serve to belittle the opponent, but we can point out the positive that works in the German national substance. We can let the facts speak, and they can tell us that the German does not want to, but must, according to his abilities, which are inspired by the world spirit, his nature, his abilities - without any arrogance - in comparison to the nature of other peoples.

From this point of view, we do not need to fall into what so unfortunately many of our opponents fall into. We look over to the West. We certainly do not need to do as the French do, who, in wanting to characterize German nature in its barbarism, as they think, in its baseness, want to elevate themselves; truly, the French needed, as they believe, a new sophistry to do so. And minds that spoke highly of the German character just before the war, even at famous teaching institutions, can now, as we can see, find the opportunity to advocate the view that, given the nature of his world view, the German cannot help but conquer and , as Boutroux says, to assimilate what is around him; for the German does not want to ascend humbly, as Boutroux thinks, to the sources of existence, but claims that he is connected to these sources, that he carries the deity within himself and must therefore also carry all other peoples within himself. This German world view is certainly profound; but it is not conceived immodestly.

Nor perhaps does the German need what is sought today from the British side when German character is to be characterized. The British, in emphasizing the peculiarities of their own national character, have never taken much interest in penetrating the German national character. When the forties in Germany were passing through this development, it was, I might say, the very expression of what the German can experience on the plane of thought. The way in which the disciples of Hegel thought, that of Schelling and his students was felt to be too abstract, too logical, and that on Schelling's side, efforts were made to gain a greater liveliness for the thoughts themselves on the stage of thoughts. While in Hegel one sensed that he allowed one thought to emerge from another with logical rigor, Schelling wanted people to perceive thoughts as active, living things that do not need to be proven in logic, just as what happens from person to person in living interaction cannot be encompassed in logic. He wanted to grasp it in something that is more than logic, wanted to grasp it in a living way, and that is how a great dispute arose on the scene, which the German tries to illuminate with the light he wants to ignite from his living knowledge. The English observed this dispute that arose. A London newspaper wrote what seemed to them a clever article about this dispute, in which it said: These Germans are actually abstruse visionaries. Many are concerned with the question of who is right: Schelling or Hegel. The truth is that Hegel is obscure and Schelling even more obscure; and the one who finds this wisdom, which is roughly equivalent to the point of view of not studying the world when it is illuminated by the sun but in the night when all cats are black or gray, will most easily cope with things.

But anyone who today surveys what has been decided in Britain about the necessity of what is happening within the German nation will perhaps be reminded of such “deeply understanding” words, especially when these words are used primarily to conceal what is actually taking place – and what one does not want to admit to oneself either. A new mask is truly what contemporary Britain needs to characterize its relationship to Germanness, a new sophistry is what the [French] philosophers need to disparage Germany – a new sophistry that they have found themselves in just since the outbreak of war. And the Italians? They also need something to reassure them about their own actions at the present time. Without arrogance, the German may say: it will lift him up within the difficult world situation when he thinks precisely of the duty assigned to him by the world spirit, as he gains self-knowledge and this becomes knowledge of the German essence. What he should do flows from the knowledge of the German essence. When D'Annunzio spoke his ringing words before the Italian war broke out, he truly did not delve as deeply into Italian folklore as he could have. But we Germans, who have gladly immersed ourselves in what the Roman spirit has created, do not dare to believe that d'Annunzio's hollow words really come from the deepest essence of Italian culture, but that they come from the motives that d'Annunzio needs to justify himself. The others needed sophistry, a mask, to get the causes of the war off their own ground, so to speak. The Italian needed something else, a justification that we saw coming in the years to come, a strange justification: He needed a new saint, a saint newly appointed right within the profane, “holy egoism”. We see it recurring again and again, and it is to this that we see the representatives of the Italian character repeatedly appealing. A new saint was needed to justify what had been done.

Perhaps it will be able to lead the objective, unbiased observer of the German character to a place within today's historical events; for German uniqueness does not arise from such “sophistry”, such “masquerade”, nor from the “appointment of a new saint”, but from human nature, from what this human nature allows to speak through itself, what the best minds have revealed to this people, but also what these spirits hoped for the people, because that is also a peculiarity of this German nature, which can be described by saying: the German always sought to direct a soul's gaze to what was aroused in him from the scene of thoughts, and from this he also wanted to recognize what hope he could harbor for what his people could achieve.

And today, when we need to develop love, a great deal of love, for what the ancestors of the German character have established within the German national soul and national strength, in order to place ourselves in today's historical events through this love, today, when we need faith in the strength of the present, today when we need confident hope for the success of that which the German essence must achieve for the future – today we can look in just such a way at what the Germans have always loved, believed, hoped for in the context of their past, present and future. And so let us conclude with the words of a man who is indeed unknown today in the broadest circles, but who, in lonely thought, wanted to fathom the popular and the intellectual of Goethe's Faust in those years of German life in which Germany had not yet produced the German state in its modern form. In those years, which preceded the deeds of German might, in the 1860s, a lonely thinker was pondering the idea that In his imagination, in his soul life, in his idealism, the German wanted to rise to the highest that he could only somehow sense. He had a power to develop that must lie in his nature and that gives us the hope that this power will be realized fruitfully, victoriously in action. A simple German Faust observer, an observer of poetry that truly shows that German character holds future forces, is quoted with his words. By pointing to words that Goethe himself, intuitively projecting himself into the German future, spoke as a sixty-five-year-old old man, he ties his own words to them and says:

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

And the Faust viewer from the sixties continues:

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

We believe that in our own day, out of the blood and the creative energy, the courageous deeds of our own day, such hopes as have been expressed by the best among the Germans and arise from the deepest German national feeling may be fulfilled. We believe that in these difficult days the German can develop to his strength, over which the atmosphere of hatred spreads, still another: that he can vividly grasp to strengthen his strength the love for what has been handed down in spirit and strength, in the life and work of his fathers as a sacred legacy, because he can be convinced that he, by permeating himself with this love for the past, he finds the strength in which to believe; because in this faith and this love he may find the hope for those fruits which must blossom for the German character out of blood and suffering, but also out of the blessed deed of the present, which the German performs not out of bellicosity but out of devotion to a necessity imposed on him by history.

Thus, in the difficult times we are going through, the following must be part of German life, German work, German feeling and thinking: that which may sustain the German, may uplift him, and may lead him through the difficult struggle in which he finds himself: love for the German past, faith in the German present, confident hope for the German future!