3. Theosophy in Germany a Hundred Years Ago

This is clearly expressed in the writing in which Schiller reached the full height of his world view, in his “Letters on the Aesthetic Education of Man”. The occult dogmatist will perhaps find nothing in these Letters either but the brilliant speculations of a fine artistic mind. In reality, however, they are dominated by the endeavour to give a guide to a different state of consciousness from the ordinary one. They describe one stage on the way to the “higher self”. The state of consciousness that Schiller describes is indeed far removed from the astral or devachanic life of experience; but it does represent something higher than our everyday life. And if we approach it with an open mind, we can very well recognize in what can be called the 'aesthetic state', according to Schiller, a preliminary stage of those higher forms of intuition. Schiller wants to lead people beyond the standpoint of the 'lower self'. This lower self is characterized by two qualities. Firstly, it is necessarily dependent on the influences of the sensual world. Secondly, it is subject to the demands of logical and moral necessity. It is thus unfree in two directions. The sensual world prevails in its drives, instincts, perceptions, passions and so on. In his thinking and in his morality, the necessity of reason prevails. But only the person who has ennobled his feelings, drives, desires, wishes, and so on, so that only the spiritual is expressed in them, and who, on the other hand, has so completely absorbed the necessity of reason in himself that it is the expression of his own being, is free in Schiller's sense. A life led in this way can be characterized as one in which a harmonious balance has been achieved between the lower and higher selves. Man has ennobled his desire nature to such an extent that it is the embodiment of his “higher self”. Schiller sets this high ideal in these “Letters”, and he finds that in artistic creation and in pure aesthetic devotion to a work of art, there is an approach to this ideal. Thus, for him, life in art becomes a genuine means of educating the human being in the development of his “higher self”. For him, the true work of art is a perfect harmony of spirit and sensuality, of higher life and outer form. The sensual is only a means of expression; but the spiritual only becomes a work of art when it has found its expression entirely in the sensual. Thus the creative artist lives in spirit, but he lives in it in a completely sensual way; through him, everything spiritual becomes perceptible through the senses. And the person who immerses himself aesthetically perceives through his external senses; but what he perceives is completely spiritualized sensuality. So we are dealing with a harmony between spirit and sensuality; the sensual appears ennobled to the spirit, the spiritual comes to revelation to the point of sensual vividness. Schiller would also like to make this “aesthetic state” the model for social coexistence. He regards as unfree a social relationship in which people base their mutual relationships only on the desires of the lower self, of egoism. But a state in which mere legislation of reason is called upon to rein in the lower instincts and passions seems no less unfree to him. As an ideal, he posits a social constitution within which the individual feels the 'higher self' of the whole to be so strong as his own being that he acts 'selflessly' out of his innermost urge. The “individual ego” should come to the point where it becomes the expression of the “total ego”. Schiller perceives social action that is driven by such impulses as the action of “beautiful souls”; and such “beautiful souls”, which bring the spirit of the “higher self” to revelation in their everyday nature, are for Schiller also the truly “free souls”. He wants to lead humanity to “truth” through beauty and art. One of his core sayings is: Only through the dawn of the beautiful does man enter the land of knowledge.