Lecture XI

Richard Wagner has brought to expression both these utterances. He wanted to bring humanity to an intense feeling that where there is true art there must at the same time be elevation above the external sense element. If spiritual science says that something lives in man which goes beyond man, something superhuman that is to appear in ever greater perfection in future incarnations, so does Richard Wagner feel when he says: I want no figures striding over the stage like commonplace men in the earthly sphere.—He wants men exalted above ordinary life and so he takes mythological figures who are formed on a grander scale than normal man. He seeks the superhuman in the human. He wants to represent in art the whole human being with all the spiritual worlds as they shine upon the man of the physical earth. At a relatively early time of life two pictures stood before him—Shakespeare and Beethoven. In his artistically brilliant visions he saw Shakespeare in such a way that he said: If I gather together all that Shakespeare has given to humanity, I see there in Shakespeare figures who move over the stage and perform deeds. Deeds—and words too are deeds in this connection—happen when the soul has felt what cannot be shown externally in space, what lies al-ready behind it. The soul has felt the whole scale from pain and suffering to joy and happiness and has experienced how from this or that nuance this or that deed is performed. In the Shakespearean drama, thinks Richard Wagner, every-thing appears merely in its consequences, where it acquires spatial form, where it becomes deed. That is a dramatic art which alone can display the inner nature externalized; and man can at most guess what lives in the soul, what goes on while the deed is performed.