all who seek to discover through personal vision the secrets in human nature must follow the golden rule of true spiritual science. This golden rule is as follows: For every one step that you take in the pursuit of higher knowledge, take three steps in the perfection of your own character.
Deeply hidden characteristics in other souls can be perceived by this organ, but their truth depends on the attainment of immunity from the above-mentioned illusions. For this purpose it is necessary that the student should control and dominate everything that seeks to influence him from outside. He should reach the point of really receiving no impressions beyond those he wishes to receive. This can only be achieved by the development of a powerful inner life; by an effort of the will he only allows such things to impress him to which his attention is directed, and he actually evades all impressions to which he does not voluntarily respond. If he sees something it is because he wills to see it, and if he does not voluntarily take notice of something it is actually non-existent for him.
For in penetrating to the higher mysteries he will see things which are concealed from ordinary humanity by the illusion of the senses. If the physical senses do not allow us to perceive the higher truth, they are for this very reason our benefactors. Things are thereby hidden from us which, if realized without due preparation, would throw us into unutterable consternation, and the sight of which would be unendurable.
The Portal of Initiation: A Rosicrucian Mystery Drama & The Fairy Tale of the Green Snake and the Beautiful Lily, by Rudolf Steiner and Johann W von Goethe, respectively, the 1981 second revised edition from Spiritual Literature Library (Garber Communications), is part of the collection at the Reading Room.
“The Portal of Initiation: A Rosicrucian Mystery Drama, can best be described in Rudolf Steiner’s own words:
‘When one has worked one’s way through to an understanding perception of the world, the living need is felt to form ideas no longer, but to create artistically, that is, plastically, or in color, or musically, or poetically. In my Mystery Dramas I myself tried to give what cannot be expressed in ideas about the nature of the human being. … This leads us to enjoy, to seek out, to contemplate what one cannot possibly experience in thoughts, but in living figures, as they appear in the dramatic pictures; then we let the figures of the drama really work upon us. … Art must be added to what is abstractly known if true knowledge of the world is to be attained. Further, when such perception is attained and presses toward creative form, this experience penetrates so deeply into the human soul that this union of art with science produces a religious experience.’
‘Today, humanity may not yet be inclined to absorb into external culture what can spring from the spiritual life. however, at least in artistic pictures we can show how life may develop, and what in the form of thoughts and feelings flows into our souls and permeates them. The result can be the kindling of the presentiment that out of its present, humanity must go toward a future in which it will be able to experience the streaming down of spiritual life into man on earth. For humanity is approaching an age when man will perceive himself as the intermediary between the spiritual world and the physical world. These performances were given in order that this presentiment might be awakened.’
Steiner spoke repeatedly about the importance of Goethe’s Fairy Tale, not only in relation to the spiritual striving of our time in a general sense, but in his first Mystery Drama, The Portal of Initiation, he drew upon many of the basic themes of the Fairy Tale. Steiner also indicated that the way the pictures in Goethe’s Fairy Tale ‘unfold themselves’ shows that they possess the power ‘to transform the human soul’ which opens itself to them. He also once characterized the Goethe Fairy Tale as the ‘archetypal seed’ which offers the possibility of a new order of social life amongst humanity as a whole, and described it as the foundation upon which he based his teaching concerning the modern Science of Spirit, Anthroposophy.
Although they are surrounded by the remarkable conveniences modern technology has placed at our command and the degree of ‘freedom’ this has made possible, many people today would agree with Goethe’s observation, made long ago: “Whatever sets the human spirit free without giving us mastery over ourselves is harmful.’—ANd with this awareness goes the recognition that despite the marvels of technology, designed to set men free to an ever-increasing degree, there nevertheless prevails a widespread feeling, a longing to return ‘home’, to experience the unique guidance of the star of one’s individual destiny. … Goethe’s Fairy Tale offers, in form of artistic images, the first steps on the path which at length will enable a man to come to know himself as a being of body, soul and spirit, with all this implies. Thus the Fairy Tale of Goethe may become ‘everything’ or ‘nothing’ for the reader—and it is left entirely to his own individual freedom to let it ‘speak’ its significance to him.” — back cover
The Temple Legend and the Golden Legend, 20 lectures by Rudolf Steiner, given in Berlin between May, 1904–January, 1906, on Freemasonry and related occult movements from the contents of the Esoteric School, a 2002 reprint edition paperback from Rudolf Steiner Press, is part of the collection at the Reading Room.
“In these unique lectures, give to members of his Esoteric School (1904–14), Rudolf Steiner’s main intention is to throw light on the hidden content of the picture-language of myths, sagas and legends. Pictures, he explains, are the real origin of all things—the primeval spiritual causes. In the ancient past people assimilated these pictures through myths and legends. In order to work in a healthy way with pictures or symbols today, however, it is necessary that one should first become acquainted with their esoteric content—to understand them.
At the time of these lectures Steiner was planning to inaugurate the second section of the Esoteric School, which was to deal in a direct way with a renewal—out of his own spiritual approach—of ritual and symbolism. he gave these lectures as a necessary preparation, to clarify the history and nature of the cultic tradition. he this discusses principally Freemasonry and its background, but also the Rosicrucians, Manichaeism, the Druids, the Prometheus Saga, the Lost Temple, Cain and Abel—and much else besides.” — back cover