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• Title: Problem of Faust: Lecture I: The Problem of Faust
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  • laboratory scene in Goethe's Faust just represented,
  • be seen in Faust in the scene preceding the one produced
  • word he shows us in a most masterly fashion how in this scene
  • which such a scene may give rise, the wonderful spiritual
  • say about this scene? Well, you can rend it; they say:
  • profoundly indeed, here in this scene of the translation of
  • scene.
  • lines. This scene shows us too how Goethe was striving for
• Title: Problem of Faust: Lecture II: The Romantic Walpurgis-Night
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  • irony. The underlying idea of linking this scene with the
  • it was then he began to write the first scenes. In 1800 or so
  • scene.
  • given an accurate picture by Goethe of a scene taking place
  • Goethe originally planned the whole scene quite differently
  • might have conjured up the scene before Faust. But Faust has
  • scene to show how Mephisto wishes to get hold of Faust. This
• Title: Problem of Faust: Lecture III: Goethe's Feeling for the Concrete.
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  • (Representation of a scene from
  • hoped that the scenes just witnessed may have effect and meet
  • today. For these scenes contain many germs of the evolution
  • can say that, in writing the scenes out of his long and
  • will spring up through Spiritual Science. These scenes from
  • of these two scenes, above all, we have an important account
  • was developing at the time when the scenes were living in
  • in a very witty way. It is because the scenes are based on
  • scene were forthcoming. For just think what was involved.
  • writing the scene Johann Jakob Wagner, in Wurzburg, was
  • existence. This scene was first written down when Johann
  • Goethe by this scene, might be continued on into what should
  • the Homunculus scene in the second Part of Goethe's
• Title: Problem of Faust: Lecture IV: Faust and the "Mothers"
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  • the scenes we have just witnessed. And what can be said in
  • ‘Mothers scene’ in the second part of Goethe's
  • “Faust”; this scene, however, is of such a nature
  • in present day life. And if this ‘Mothers scene’
  • by this scene where Faust is offered by Mephistopeles the
  • scene, and also upon what takes place in the next, we shall
  • clearly shown here in the way this scene is handled by Goethe
  • Goethe wants to indicate. In this scene of Faust: he wishes
  • Mothers; and the following particular scene in Plutarch seems
  • this scene nothing in connection with the matter in question
  • Mothers scene. And by all this you can see from what a what
  • such supreme significance, what is spoken in this scene is
  • the conjuration scene can be demonstrated by experiment. Out
  • has definately plaed a part. If you take this scene seriously
  • scene.
• Title: Problem of Faust: Lecture V: Faust and the Problem of Evil
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  • thought, of feeling. The Witches' Kitchen Scene in
  • interesting to put the different Scenes together in this
  • Invocation Scene at the Imperial Court, and then the Scene
  • where Helena herself appears. For these three scenes
  • the scene at the Emperor's Court, and finally appears in its
  • the Witches' Kitchen Scene we have an Idea that has become
  • Invocation Scene at the Emperor's Court, the thing goes
  • Invocation Scene, the entire scale of emotions and feelings
  • emerges in the Invocation Scene is no longer merely an idea
  • the Invocation Scene in the Emperor's Court —
  • himself recognised by him. You will recall the closing scene
  • the Scene at the Emperor's Court? What is it really at this
  • prototype for this Scene at the Emperor's Court. I refer to
  • separated from his body. Yet there now follows the Scene
  • the Scene of Zeus, of Leda with the Swan. Faust is led over
• Title: Problem of Faust: Lecture VI: The Helena Saga and the Riddle of Freedom
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  • Invocation Scene — forgive the trite expression, I do
  • politician appears upon the scenes to-day, wishing to speak
• Title: Problem of Faust: Lecture VII: Some Spiritual-Scientific Observations
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  • the artistic point of view about the scenes from
  • will have to do with the scene to be given next Sunday, but I
  • is more that to the presentation of the scene as Goethean
  • allowing this scene — “On the Upper Peneus as
  • look deeply into Goethe's soul, in that this scene — as
  • Science would certainly never have created these scenes in
  • to be able to give this scene the form it has. It is true
  • Hierophant, in the first scene of the second Mystery Play,
  • called Seismos. By bringing Sirens into the relevant scene,
  • scene Goethe introduces what can actually only be experienced
  • scene to Greece, thinking that with ideas taken from Greek
  • And the only way to understand the scene beginning here, is
  • them into my soul, embody them into the scene of
  • scene.
  • appear in this scene. In the first part of the scene, Goethe
  • clearly. When he makes his re-appearance in the scene, he
  • first part of this scene in which he is describing things out
  • the scene open with the Sirens. We are in the world of sleep,
  • the Greek Lamiae. Then the scene rises into conscious life,
• Title: Problem of Faust: Lecture VIII: Spiritual Science Considered with the Classical Walpurgis-Night
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  • to you yesterday how, in the first half of the scene in the
  • scene in the second part of Faust, which we are now to
  • wisdom. Everything said by Anaxagoras in this scene, however,
  • clearly in this scene Goethe actually points to all these
  • Empusa who appears in this scene among the Lamiae around
  • how, while he was writing this scene, Goethe was steeping
  • scenes of Faust were being created, Goethe occupied
  • his descriptions from inside knowledge! In this scene we may
• Title: Problem of Faust: Lecture IX: Goethe's Life of the Soul from the Standpoint of Spiritual Science
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  • the actual scene to be represented. many turn away from
• Title: Problem of Faust: Lecture X: Faust's Knowledge and Understanding of Himself
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  • The scene
  • profound, most significant scene. In this second part of
  • life. If we start with what the pictures give us, this scene
  • scene begins, we see the ‘alluring
  • Sirens.’ Goethe presents a scene that, though
  • Samothracian sanctuary into this scene, Goethe shows that he
  • the scene begins. The Nereids and Tritons are on their way to
  • but quite real world. This is one of the most profound scenes
  • life, writing such scenes as are now being shown. For sixty
  • Homunculus can become Homo. (You know how, in this scene,
  • the world. Into this scene he puts all that was to have led
  • Goethe in this scene most delicately and sublimely. Take, for
  • watches this scene with true understanding. It is this that
  • again tomorrow of this conclusion of the scene, in connection
• Title: Problem of Faust: Lecture XI: The Vision of Reality in the Greek Myths
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  • spoke to you of the scene from Part II of Goethe's
  • For in this scene we are dealing with one of the most
  • significant of Goethe's creation, with a scene he added to
  • with a scene through which we can look deep into Goethe's
  • then touch upon. I mean, the conclusion of the scene.
  • yesterday that this scene shows clearly how Goethe was
  • scene just presented, we may say: Goethe wanted to show how a
  • he wrote this scene just witnessed (a scene written in the
  • scene. We do not understand it at all if we wish to explain
  • pictures, do we really enter into what in this scene was
  • scene contains if we try to grasp it with our bald, abstract
  • Dorides thus ushering in the sailor lads in this scene. The
  • end of this scene we ar confronted by this wonderful picture.
  • of the scene? A flashing-up, a flaming forth, a manifestation
  • finale of this scene where it runs:
  • after the performance, we will say more about this scene, in
• Title: Problem of Faust: Lecture XII: Goetheanism In Place of Homunculism and Mephistophelianism
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  • Walpurgis-night scene, from the second part of Faust, I hoped
  • scenes where he is developing his life with Mephistopheles.
  • visibly, in the external drama, precisely in this scene with
  • Manto — Mephistopheles in the scene with the Phorkyads.
  • terrible scene where Mephistopheles is among the Phorkyads we
  • expressed in the last scene of my first Mystery Play,
  • Walpurgis-night. Thus, this end scene is taken from actual,
  • we enter into such profound scenes with a language that makes
  • deeply into such a profound scene as the one we are now