Beginning with ten short extracts that span twenty years (from the 1880s to 1909), the first lecture sets the tone--Goethe sought spiritual science, Faust is the record of his striving, and we are led to see how Goethe's great drama is filled with embryonic insights that developed and became Anthroposophy. This theme is then developed, in lecture after lecture, with ever-deepening focus. Whether it is a question of the spiritual nature of matter, the reverence for truth and knowledge, reincarnation, the Mystery of Golgotha, evil, the nature of the elemental world, aesthetics, the challenge of our times, human destiny and the nature evolution, these lectures show Goethe as the great initiate and develop Anthroposophy--Spiritual Science--in a profoundly esoteric light.

By late 1916, Rudolf Steiner had become an important interpreter of Goethe and frequently discussed Faust--probably Goethe's greatest work--from the perspective of anthroposophic Spiritual Science. Although Steiner's readings are unconventional and unsystematic, his insights into the text are penetrating and prescient, opening scholarly avenues not discovered or pursued by others until decades later and, in some cases, still await fuller elaboration. Steiner's account is completely unlike those of his contemporaries, including those Goethean scholars he most admired. His approach is not a philological construction of the ideal text, a positivistic account of the biographical genesis of the work or influences on Goethe, an intellectual and historical recasting of the drama as implied philosophical argument, or a view of the tale through the lens of an especially refined sensibility. Steiner's discussions veer into each of these arenas, but, invariably, he steers back to his original course, stressing the least realistic, least historical, and least romantic aspects of Goethe. Steiner contributed to the scholarship on Faust by, above all, opening new aesthetic perspectives; by revealing the centrality of Greek Mystery religion within the archetypal unconscious of Faust; by showing the duality of evil latent within Goethe's text; and by exploring an alchemical transformation of consciousness. In this volume, Steiner anticipates the best of Goethe's Faust by helping us to see the Neoplatonic Faust, the Hermetic Faust, the archetypal Faust--in short, the esoteric Faust.

What is the nature of matter? Within conventional science, the reductionist, materialist view asserts that matter is solely physical. Hauschka shows that open-minded study, based on qualitative observation and quantitative research, can overcome this now standardized view. Without denying the laws of matter, he shows the limitations of a science restricted by them, and points to new research that indicates the primal nature of spirit. This classic work, reprinted in its original form, is the result of Dr Hauschka's many years' research at the Ita Wegman Clinic in Arlesheim, Switzerland. Through decades of experimentation he came to radical conclusions that suggested potential new directions for science. This book includes the detailed results of Hauschka's experiments--although his approach is not restricted to measurement and outer observation. Based on the work of Goethe and Steiner, he encourages a method of seeing nature that has an artistic quality, and calls for direct experience rather than intellectual theorizing. The Nature of Substance is generally accessible. The author deliberately avoids technical terms and academic style in favor of vivid descriptions and lively discussions. His fascinating study takes in many substances, with chapters on plants, animals, oils, proteins, carbohydrates, vitamins, minerals, metals, carbon, oxygen, poisons, high dilutions, and much more. This book is a companion volume to the author's other work, Nutrition.

Faust Adaptations, edited and introduced by Lorna Fitzsimmons, takes a comparative cultural studies approach to the ubiquitous legend of Faust and his infernal dealings. Including readings of English, German, Dutch, and Egyptian adaptations ranging from the early modern period to the contemporary moment, this collection emphasizes the interdisciplinary and transcultural tenets of comparative cultural studies. Authors variously analyze the Faustian theme in contexts such as subjectivity, genre, politics, and identity. Chapters focus on the work of Christopher Marlowe, Johann Wolfgang von Goethe, Adelbert von Chamisso, Lord Byron, Heinrich Heine, Thomas Mann, D. J. Enright, Konrad Boehmer, Mahmoud Aboudoma, Bridge Markland, Andreas Gössling, and Uschi Flacke. Contributors include Frederick Burwick, Christa Knellwolf King, Ehrhard Bahr, Konrad Boehmer, and David G. John. Faust Adaptations demonstrates the enduring meaningfulness of the Faust concept across borders, genres, languages, nations, cultures, and eras. This collection presents innovative approaches to understanding the mediated, translated, and adapted figure of Faust through both culturally specific inquiry and timeless questions.

In the autumn of 1912, Rudolf Steiner presented the first eurythmy performance. It marked the revival, in modern form, of the sacred art of dance, which had been used in the ancient Mysteries to express the movements of the stars and the planets. In the years that followed, Steiner and his wife, Marie von Sivers, developed eurythmy further, broadening it beyond the artistic to encompass healing and educational elements as well. One of the pioneers of this new form of movement was the Russian anthroposophist Tatiana Kisseleff, who became a student of Steiner's and later a celebrated eurythmy teache. In this remarkable book, available for the first time in English, Kisseleff describes the spiritual foundations of eurythmy as they were explored in Steiner's lectures and recounts the instruction she received from him. This is both an eyewitness account of the origins of eurythmy and a record of a deeply personal journey of one person's efforts to master it. The book is illustrated throughout with photographs, drawings, facsimile reproductions from notebooks and posters advertising early eurythmy performances, alongside accounts of performances of various pieces including Shakespeare's The Tempest, Goethe's Faust, and Rudolf Steiner's own Mystery Dramas. This is a fascinating account for eurythmists and anyone who wants to delve more deeply into eurythmy's history and development.

With these fundamental lectures on speech eurythmy – given just months after his course entitled ‘Eurythmy as Visible Singing’ – Rudolf Steiner completed the foundations of the new art of movement. In connecting to the centuries-old esoteric and exoteric Western traditions of ‘the Word’ – the creative power in the sounds of the divine-human alphabet – he gave it concrete form and expression in the performing arts, education and therapy. Although aimed primarily at the professional concerns of eurythmists who perform, teach or work as therapists, the lectures offer a wealth of suggestions and insights to anyone interested in the arts. For this new edition – freshly translated by Matthew Barton and introduced by Coralee Frederickson – the original shorthand transcripts have been compared exhaustively with typed records and the notes of course participants. These notes included numerous sketches of movements, gestures and choreographies, many of which have been reproduced here to complement the text. Also featured is an appendix comprising facsimiles and transcripts of Rudolf Steiner’s preparatory notes, programmes of the eurythmy performances given during the course, and accounts by Steiner published in the Society Newsletter. Finally, there are recollections by course participants, additional sketches of forms and movements, Marie Steiner’s original foreword, and 30 pages of colour plates featuring blackboard drawings and eurythmy forms. New revised and expanded edition; Trans. by M. Barton; Intro. by C. Frederickson (Fifteen lectures, Dornach, Jun.-July 1924, GA 279); 512pp + 32pp colour plates; 23.5 x 15.5 cm

Rudolf Steiner (1861–1925), the Austrian founder of Anthroposophy, is frequently viewed by those familiar with his teaching as unique and separate from other spiritual teachers of our modern era. While, Steiner is thought by anthroposophists to be a scientist and a philosopher, as well as an interpreter of events depicted in Christian scriptures, he is nevertheless generally ignored by scientists and philosophers, as well as by both liberal and fundamentalist scriptural scholars and theologians. In this book, Robert McDermott—the editor of American Philosophy and Rudolf Steiner, which investigates Steiner’s philosophy in the context of American philosophers—places Steiner and his work in the context of a variety of spiritual teachers and teachings, both Western and Eastern. In doing so, the reader is guided to new perspectives that show the similarities and contrasts between Steiner’s Spiritual Science and a number of Christian, Hindu, Buddhist, and secular spiritual worldviews. The kindred spirits in this book include His Holiness the Dalai Lama, C. G. Jung, Teilhard de Chardin, Martin Buber, Sri Aurobindo, Rabindranath Tagore, Gandhians, feminists, ecologists, and more. Steiner went as far up the spiritual ladder as any modern individual but, unlike some enthusiasts for Steiner, McDermott is also impressed by other religious thinkers and spiritual practitioners who have been helpful to those of us in need of encouragement and guidance and whose vistas and insights may not have been researched or explained by Steiner. For those with unbiased, open minds, this book presents a fresh look at Rudolf Steiner, a modern spiritual initiate, and his contributions to the world, along with a generous and appreciative view of his kindred spirits of our time.