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.

"Rudolf Steiner's perspectives on technology are manifold and prophetic. He not only critiqued the technology of his day, but foretold new forms of technology that would inevitably arise, technologies that would be connected to the makers' very attitudes of soul, either the good or bad within them --in other words, their deepest motivations. How we, as evolving human beings, approach technology and its development will be instrumental in determining how ultimately human evolution will turn out. Our future as human beings and the future of technology are intimately connected." --Gary Lamb Illuminating, compelling, challenging, at times staggering in its breadth, A Road to Sacred Creation is above all the definitive text for gaining a hold on Rudolf Steiner's nuanced perspectives on technology. Charting both an inner and outer course --part pilgrimage toward greater perception and knowledge, part dramatic, unfolding plot line of the future of humans and machines, the metaphoric "road" of the title is exactly where humanity finds itself today, though the exact route and destination are still to be determined. The map is not yet drawn, but here is a beginning. Taken together, the relevant concepts, ideas, and insights of Steiner --deftly brought into sequence and dialogue as the editor has done in this book --reveal how the work to arrive at a more spiritually imbued technological future not only involves all domains and fields of spiritual science and anthroposophic work, but has its origins in the very core of our being, fundamentally entwined with our moral progress toward freedom and selfless love.

‘There will be a resurrection – a resurrection that should not be imagined politically… but it will be a resurrection. Goetheanism still rests in the grave as far as external culture is concerned. But Goetheanism must rise again.’ In the first winter following the Great War, Rudolf Steiner appealed to the spirit of Central Europe – which he characterized as Goetheanism – that had been languishing for decades. Only such a spiritual force could provide answers to the pressing social, national and international questions of the time. A new constellation of polar, hostile opposition had emerged after the war, with the East and Bolshevism on one side, and the victorious West and Americanism on the other. In the middle, with no apparent role or hope for the future, was the defeated Central Europe. But this ‘centre’, beseeched Steiner, should not become a vacuum. Rather, it needs to discover its true, world-historical task. In this context, with deep seriousness and urgency, Rudolf Steiner speaks of the work of Goetheanism, which begins with understanding the threefold human being and leads to threefolding the social organism. Steiner goes on to describe the decisive role of the consciousness soul in the present epoch, and how Schiller’s Aesthetic Letters and Goethe’s Fairy Tale relate to contemporary challenges. He discusses a multitude of seemingly diverse but interrelated themes, such as the migration of peoples in the past and present, the thinking of John of the Cross, and the modern path of spirit cognition. The first English publication of these lectures features an introduction by Christian von Arnim, notes and an index. Twelve lectures, Dornach, Jan.–Feb. 1919, GA 188

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

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.

Underlying Sergei O. Prokofieff’s life’s work was a fundamental research-theme to which he returned to repeatedly: the individuality of Rudolf Steiner as manifested through his past incarnations on Earth. Beginning in 1982, inspired by a visit to an exhibition on The Epic of Gilgamesh, Prokofieff planned a full-scale spiritual biography with the intention of finding an answer to the question: Who is Rudolf Steiner? In a sequence of five past incarnations – as indicated by Steiner himself – and culminating in the life of Rudolf Steiner, Prokofieff searched for the inner thread between the six stages of this great, all-encompassing life. His intention was to find not only the outer connections in this sequence but also the deeper, more esoteric stream that offers the key to the unique significance of this individuality. In 1984, Prokofieff began to write the first chapter about Rudolf Steiner’s incarnation as Enkidu in Sumer. Sadly, many obstacles in his path were to prevent him finalising the project. However, the author returned to the book in his final months, preparing a Preface that outlines its conception together with a summary chapter on Rudolf Steiner’s evolutionary journey. This precious ‘fragment’ of a biography features valuable additional material, including: a full introduction to the relationship of the anthroposophical movement to other occult streams of esoteric Christianity and their Masters; a detailed spiritual-scientific interpretation of the Epic of Gilgamesh that establishes Rudolf Steiner’s connection with the being of Jesus of Nazareth, and an exploration of Steiner’s relationship to the Nathan soul, the Luke Jesus child. Serious students of anthroposophy will welcome these final writings from the pen of one of Rudolf Steiner’s most faithful and insightful disciples.