Lecture VI

In this we see again that in order to form concepts for the higher worlds we cannot get on in the comfortable way many people would like to do. It is absolutely correct to say that the ahrimanic element works in architecture and sculpture, the luciferic more in music and poetry, yet it must also be said: as soon as we have to do with concepts that are valid also in the higher worlds, it is not so easy to answer the question once and for all, “In sculpture is Ahriman more active, or is Lucifer?” It is certainly easy in the physical world to answer the question, “What color is common chicory?” with the statement, “It is blue.” People would like things to be as easy as that for the higher worlds, but it is wrong to suppose that one can obtain such quick answers. Still, although all this holds good, the following is true. In architecture it is generally the case that the ahrimanic impulse is the stronger, but in sculpture the luciferic influence opposing Ahriman can be so strong that in some sculptural works Lucifer is more dominant than Ahriman. Nevertheless, what we said before is correct, for in the spiritual world there is not only the faculty of metamorphosis but one can say, everything is everywhere. In truth, every spiritual element tries to permeate everything. There can be luciferic sculpture and though poetry is chiefly under the influence of Lucifer, the ahrimanic influence can work very strongly on music, so that we can find music with more of Ahriman than of Lucifer.