The Human Being as a Spirit and Soul Being

GA 71b — 28 March 1918, Berlin

Life in Art and Art in Life from the Point of View of Spiritual Science

From an awareness that was as much borne of rich experience as of deep artistic experience, Goethe coined the eloquent word:

When nature begins to reveal her secrets, one feels an irresistible yearning for her most worthy interpreter, art.

A true understanding of what is meant by such a statement makes it difficult to want to talk about art. Goethe also said that art is the mediator of nature's secrets, but that one should not talk about it through words. On the other hand, one must talk about what can flow from the artistic. I don't want to talk about it the way official science talks about it, but rather like one talks about a dear friend, where one has the need to say what one has to say out of sympathy, out of love.

The artist has an aversion to art history or even to art criticism. When you try to penetrate it, it becomes all too understandable that the artist is afraid to have what he experienced with art burned or singed. If you assume a moral original sin, then you have to assume two original evils for art. One is the taste to create in art only for the senses. Those who do this will reject the spiritual in art. The other is that an equally unrefined taste wants to represent the abstract, the merely conceptual. This symbolic art is no more supported by the artistic than the sensual is. The art of ideas leads to a straw-like, papery representation of the ideal. Both are aberrations from true art. What leads to true art must be grounded in something in the human being. It must also be something that arises from human freedom in human will.

Many see art only as a luxury, not as a condition of daily existence. I would like to recall what I said about the dream life eight days ago, about the relationship between the dream life and the imagination. During sleep, the soul is separated from the body. Through spiritual science, the otherwise dormant consciousness can become so strong that the person perceives the spiritual world, that he not only experiences dull things during sleep, but also undergoes the most diverse entities and experiences. One can say that the dream life comes from the soul approaching the waking life, but not absorbing it.

The polar opposite of the dream life is the soul's inclination towards artistic imagination and artistic creation. It is incorrect to assume a direct relationship between the two, but one can point from one to the other. In the dream it is the soul removed from the body, in artistic creation the soul is in the body – thus the other way round. Here the soul seeks a relationship with the spiritual; it wants to reach out to the spiritual, to the eternal, the imperishable, as in a dream to the corporeal, the temporal. These are two polar opposites. Just as the soul half awakens to the physical body in a dream, so too to the spiritual in artistic fantasy.

Just as sleep can be without dreams, so the artistic element can be added to ordinary life out of freedom, but it can also be left out.

There are moods in life. You visit a friend, are received in a red room, he does not come right away, you expect something; then he comes, tells all sorts of banal stuff, you are disappointed because you were expecting something solemn; that's how it is in the subconscious. Or in a blue room, you are disappointed in the deepest sense of the word because you find that he talks like a wheel. In your subconscious, you expect him to leave you alone in a blue or violet room. But he talks. I'm deliberately choosing grotesque examples. Or at a banquet where the dishes have a reddish tint, you expect that when people eat, they are not only hungry but also gourmets. If the dishes are blue, you expect them not only to eat, but also to have a pleasant conversation. Or you meet a lady on the street who has a frizzy head and are disappointed if you find that she is not snappish. From a lady in a pleasant blue dress, you expect her to be measured; if she is not, you feel lied to. These are inner secret moods, undertones that permeate life. There is a sensual, supersensible element that, in our emotional life, is comparable to dreams and remains hidden from our consciousness, just as the activity of the sleeping person's will includes the element of will.

A supersensible essence is integrated here, and it does not matter whether it is called the connective tissue or the etheric body.

The individual organs differentiate the human being in such a way that the supersensible connecting element no longer resonates so uniformly. The human being experiences as a whole human being what is only seen through the eye. This does not come to light in ordinary consciousness. We can give it nourishment, which satisfies it, like the senses. This is particularly evident in music.

I have shown that the life of imagination is bound up with the nervous system, but the life of feeling is bound up with the whole rhythmic experience. This is more closely related to the sense of hearing than to the other senses, to the sense of feeling, even to the sense of imagination, to thinking. There is an inclination in man to keep focusing on the sense of hearing.

In every healthy, complete human nature, there is a constant urge to bring up in a healthy way what leads to vision, not to physical vision. The vision wants to come up, it appeals to free will, it does not exert any force, but it is there. The artist has a constant tendency towards the visionary, which wants to be satisfied. But it remains latent. What can satisfy it? It is always present, even if a person has only sensory perceptions. But it cannot be satisfied with that. When the musical element strikes the ear, the whole supersensible person takes it in, and so the visionary urge is satisfied.

The same applies to Goethe's theory of metamorphosis, which can lead one into deep, natural secrets: the green leaf transforming itself into the petals of a flower and so on.

When we look at the human being, we can see it falling apart in different ways, for example into the head and the rest of the organism. This can become the head. Just as Goethe sees the whole in the leaf, we can see the whole in every part of the human being; the whole can emerge from every part.

The moving life in nature wants to be grasped by the visionary power.

Music cannot recall anything that is in external life; everything must be demystified by music. In the other arts, everything that belongs to the senses must be accounted for, but music does not need that.

The whole person must first be demystified. All artistic creation is like a demystification. You have to get life out of the surface, you have to bend once or twice what is otherwise dead in the surface, as in life only demarcates itself, [in the painterly the color], for example the red-yellow. A barbarian says: How does it remind us of what is, when the blue-violet merges into the line? But that's how you get into the form, through the red-yellow into the movement, also into the movement in the limbs. Red and blue are not just colors, they desire something. All barbaric taste says: What does it represent? But the artist only reveals something that was in the soul. Everything artistic has an expressionistic element in it.

What stands before us as nature we cannot achieve by imitation; it stands before us only as a larva. Critics are like someone standing behind us as we eat and saying how the food tastes.

The “Group” in Dornach is the artistic expression of the theory of metamorphosis. Here, the attempt has been made to depict the representative of humanity asymmetrically, and to show how the rest of the organism wants to become entirely head. This cannot be achieved by merely caricaturing a head, but only by doing so from the inside out.

Another approach has been tried, in which the head seeks to become the rest of the organism, in which the head pours itself out over the whole organism, a dissolution, a harmonization. Such things evoke a slight horror today, as the Copernican worldview did until 1827 among an influential authority. But that cannot stop the course of development.

A change has taken place with regard to art, for example, in relation to the position of the works of art by Raphael and Michelangelo. One no longer tries to resonate with them, one has a kind of awareness that they must be related to a bygone era and a different consciousness. What one does with regard to today's artists is more closely related to the soul. One would like to accompany Raphael and Michelangelo back to other times, where they were different as artists; one would like to accompany today's artists directly. Such artists have a feeling, as Goethe had, that if one seeks truth, one must seek it in art. If you want to paint a lady today as she is, she will look like a lady in a state of trismus, which is what every photograph looks like. You have to kill and then recreate with what you might call humor, an inner drama; you not only have to kill a pretty woman, you have to abuse her. Perhaps it is part of the artistic essence that the pedant is appalled, that the philistine condemns it as unnecessary. It already sounds so terrible when one says, as if in a civil servant's office, that art should be put in the service of life.

Art is so integrated into the education of life that art is not a servant of life, but is meant to beautify it, and since it is the path to the spiritual, it also imbues life with reality.

One is only able to intervene correctly in social life if one approaches it as the artist approaches his material. New forces constantly want to be incorporated into life; an artistic element should live in everything. When deficiencies arise somewhere, it is because the artistic element in man has been lost. People believe they have found program points and consider them to be the most divine ideals. But all this social talk is of no use, has no foundation, cannot fertilize. Nowadays, people found associations, give them statutes, take up excellent program points, and believe that they can master life with them. But it is all abstract. It is much more important to put the right person in the right place, only then one must not always think that the nephew is the right person.

What wants to gain strength in life is what is in the underground, that wants to be demystified. You can't do that in the abstract. Art can only fertilize life if you strive to find life in art.

A sensual-supernatural lies in art. A person who does not dream does not know about the connection. A life without art resembles pedantry and philistinism. Art must not correspond to necessity, but to human freedom. People do not take into account that the human being has a say in this, that there is a freedom. Man must say: Nothing external can push me towards art, but I myself declare that it is necessary.