Lecture III

So it is in respect of the sciences of our time and so it is in respect of art. The art we characterise as that of ancient Greece which contemplated the human being in a simpler, more direct way, always presenting the purely human, the working of the ego with the ego in so far as the ego expresses itself in the physical material—this art has had its day. In our time the urge has arisen instinctively in personalities of great artistic gifts, to present art as a kind of offering to the divine-spiritual worlds; that is to say, to regard what is clothed in musical tones, for example, as an interpretation of spiritual mysteries. In the history of culture viewed from its occult aspect, Richard Wagner will one day have to be so regarded, down to the very details of his art. He, particularly, will have to be regarded as a representative man of our fifth culture-epoch, as one who always felt the urge to express in what lived in him in the form of musical tones, the impetus towards the spiritual world; who looked upon a work of art as the outer language of the spiritual world. In him the remains of ancient culture and the dawn of a new culture face each other in sharp, even discordant, contrast in our time. Have we not witnessed how the purely human arrangement of the tones, the purely formal music which Richard Wagner wanted to surmount, was vigorously defended by his opponents because they were incapable of feeling that in him a new impulse was rising instinctively, like the dawn of a new day?