9. The Artistic Composition of the Gospel of St. John

GA 112/1909-07-02/p020 ·1909-07-02 · English HighHigh alignmentThis translation's paragraph count matches the German original — the locus maps cleanly to the same paragraph in DE.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

Such were the people to whom Christ turned, people who had arrived at the point of understanding this, people who, having broken away from the blood ties by intermarriage, needed to find the strong force—not in consanguinity, but in the individual soul: the force that can lead men gradually to express the spiritual in the physical.—Do not ask, Why do we not see things happening today as they happened then? Aside from the fact that he who has the will to see them can see them, we must remember that men have emerged from that state of consciousness and descended into the world of matter; that the period in question represented the boundary line; and that Christ used the last representatives of the previous epoch of human evolution in whom to demonstrate the power of spirit over matter. The signs that were done while the old state of consciousness was still present, but disappearing, were intended as an example and a symbol—a symbol of faith.

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Cite: GA 112/1909-07-02/p020 · edition English