II. Descent into the Physical Body, Goethe and Schiller

And now let us return to Schiller. When we consider the life of Schiller two things strike us above all others, for they are quite remarkable. There exists an unfinished drama by Schiller, a mere sketch, called the Malteser. We see from the concept underlying this sketch that if Schiller had wished to complete this drama, he could only have done so as an initiate, as one who had experienced initiation. It could not have been done otherwise. Up to a certain degree at least he possessed the inner qualities necessary for initiation, but owing to other conditions of his karma these qualities could not get through; they were suppressed, cramped. There was a cramping of his soul life too which can be seen in the sketch of the Malteser. There are long powerful sentences which never manage to get to the full stop. What is in him cannot find its way out. Now it is interesting to observe that with Goethe, too, we have such unfinished sketches, but we see that in his case, whenever he left something unfinished, he did so because he was too easy-going to carry it further. He could have finished it. Only in extreme old age, when a certain condition of sclerosis had set in would this have been impossible for him. With Schiller however we have another picture. An iron will is present in him when he makes the effort to develop the Malteser but he cannot do it. He only gets as far as a slight sketch. For this drama, seen in its reality, contains what, since the time of the Crusades, has been preserved in the way of all kinds of occultism, mysticism, and initiation science. And Schiller sets to work on such a drama, for the completion of which he would have had to bear within him the experience of initiation. Truly a life's destiny which is deeply moving for one who is able to see behind these things and look into the real being of this man. And from the time it became known that Schiller had in mind to write a drama such as the Malteser there was a tremendous increase in the opposition to him in Germany. He was feared. People were afraid that in his drama he might betray all kinds of occult secrets.