5. Spiritual Forces in Education and in National Life

By saying something like this, the world should recognize how radically different this spiritual knowledge is from the one that is believed to be the only possible one today. But imagine that this knowledge of the spirit permeates everything the teacher wants to do, permeating his actions and thoughts when he enters the classroom, just as iron invigorates our blood. Imagine an attitude that comes from a spiritual realization and that knows: you have to approach each individual in a special way, you cannot memorize anything, you have to face each child as a new riddle — only that gives a real pedagogy, a pedagogy full of life. Today there is much talk of educating the individuality. All kinds of fine, abstract principles are also given about it, but nothing will be achieved by this. We will only achieve something in our demanding time by founding a pedagogy as art. This pedagogy as art, which looks into the human being anew each time, forgets the science of knowledge, just as the artist discards all aesthetics and everything when he wants to create positively. What use are all the principles of beauty when we want to shape the clay! Anyone who knows what artistic creation is will agree with me. What use are all pedagogical rules when we begin to unravel and develop what is soul and spiritual in the child? It is a matter of us as educators becoming artists. We can become such artists when spiritual science penetrates our civilization as a living component. Then we will also see how we have to educate the will during the period between the seventh and ninth year, when the sense of imitation balances with the sense of authority. Above all, we must not approach the child in an inartistic way with what is determined by human convention. We must not present to the child as convention that which speaks only to the intellect. This includes the letter forms, and it also includes writing and reading. All of this is based on human convention, as we have it today, because we are no longer in the time of the old pictographic writing. We have to get away from that. That is why we try to develop reading and writing – writing first – from an artistic point of view. We try to draw or paint such forms first, from which the letter forms can then be built; first the artistic, then the intellectual. But in order for what the child's nature actually desires in this age to flourish in the right way, everything must be based on this artistic teaching. And now that we have been teaching at the Waldorf School for only a few months, we can see how it is possible to work from the artistic, how it is possible, above all in music, in song, in eurythmy, in inspired musical art – for that is what eurythmy for the child — how it is possible to give the child something in all of this that his nature demands, that his nature wants, but which at the same time makes the artistic sense pliable, makes the artistic sense inclined to receive the whole world in an artistic way. Then, when the ninth year approaches, when the human being can establish a relationship between the self and the outside world, then one can experimentally steer towards what nature description is, then one can evoke science from the artistic.