Given his energetic involvement in practical initiatives and extensive lecturing, Rudolf Steiner had little time to write books. Of those he did write - belonging almost entirely to the earlier years of his work - four titles form an indispensable introduction to his later teaching: Knowledge of the Higher Worlds, Occult Science, The Philosophy of Freedom and Theosophy. Theosophy focuses on a psychology based not on the usual duality of body and mind, but on the more ancient division of body, soul and spirit. Steiner describes in detail the functions and organs of these three aspects of the human being, and the objective realms to which they belong. Just as the body derives from and belongs to the material world, so do the human soul and spirit belong to their own specific realms. These are the dimensions through which all human beings travel in the life after death, and in which - after passing the 'midnight hour' - we prepare to seek our destiny, or karma, in a new life. Theosophy features one of the most comprehensive and condensed of all Steiner's accounts of these realms, and of the experiences which our immortal being undergoes in passing through them. The book ends with a chapter on the modern 'path of knowledge', in which Steiner describes the exercises through which every person may develop the latent powers of perception which are necessary for a knowledge of metaphysical worlds.

Rudolf Steiner's beautiful meditative verses for the yearly cycle have been used by countless people over the years. Their purpose is to awaken a feeling of unity with nature, and at the same time to stimulate a discovery of self. In listening to the changing language of the year and awakening a profound sympathy for it, we can in turn discover our own individual nature. Steiner's original and unique meditations facilitate this process, leading to a healthy feeling of being at one with the natural world. This edition features Anne Stockton's 52 celebrated and evocative paintings, which are a wonderful complement to Steiner's text. Steiner's words are newly translated for this edition by John Thomson.

As a practising Christian priest, Hermann Beckh was profoundly aware that the mystery of substance - its transmutation in the cosmos and the human being - was a mystical fact to be approached with the greatest reverence, requiring at once ever-deepening scholarship and meditation. He viewed chemistry as a worthy but materialistic science devoid of spirit, while the fullness of spiritual-physical nature could be approached by what he preferred to call 'chymistry' or 'alchymy', thereby taking in millennia of spiritual tradition. In consequence, Beckh's Alchymy, The Mystery of the Material World is not limited to the conventional workings of Western alchemy, nor to what can be found in the Bible from Genesis to Revelation - although he does unveil hidden riches there. Neither should Beckh be considered only as a learned Professor with impeccable academic qualifications and European-wide recognition. Beckh writes about such topics as 'Isis', 'the Golden Fleece', traditional fairy-stories and Wagner's Parsifal in a way that enables the reader to catch glimpses of the Mystery of Substance; to share the writer's authentic experience of the divine substantia - the living reality - of Christ in the world. Beckh's Alchymy set an entirely new standard, and went on to become his most popular publication. This is the first time that it has been translated into English, along with updated footnotes, making his ideas and insights accessible to a wide readership. In addition, this edition features translations of Beckh's 'The New Jerusalem', where theology could best be expressed in verse; his exemplary essay on 'Snow-white'; observations on 'Allerleirauh', and a substantial excerpt from Gundhild Kacer-Bock's biography of Beckh.

In a delightful study - originally comprising two separate booklets - the accomplished artist and teacher Gladys Mayer explains that colour is nothing other than the very substance of the soul. Just as the body is made up of mineral, water, air and warmth, so the soul is made up of colour. This is revealed in the emotions of sadness and joy and the many shades in between, as expressed in human language - for example: `seeing red', `rose-coloured spectacles' and `jaundiced view'. Mayer discusses the basis of colour theory and its methodology, and the importance of colour for everyday life and health. It is as fundamental to the soul as air is to the body. By increasing our awareness of the spiritual laws of colour, we can acquire a balanced and enriched life of soul. Thus, colour can become a healing force in life, enabling us to tackle the deadening, grey aspects of our mechanised civilisation. Based on the work of Rudolf Steiner, which she studied intensively for many years, Mayer offers an approach to colour that is of value to painters and artists, as well as to those interested in psychology, health and healing, spirituality and personal development.

`Be a person of initiative, and take care that the hindrances of your own body, or hindrances that otherwise confront you, do not prevent you from finding the centre of your being, where the source of your initiative lies. Likewise, you will find that all joy and sorrow, all happiness and pain, depend on finding or not finding your own individual initiative. - Rudolf Steiner, Dornach, 4 August 1924 Rudolf Steiner urges those who feel the calling of the Archangel Michael to become people of initiative. The anthroposophist should be aware that, `... initiative lies in his karma, and much of what meets him in this life will depend on the extent to which he can become willingly, actively conscious of it.' In the second half of this inspiring lecture, Steiner describes how the being of Ahriman is able to work through the personal intellect of human beings today. As a consequence, we are called upon to be inwardly awake and vigilant at all times.

`This gave my mother the opportunity of mentioning to Dr Steiner an idea... Could one affect the physical body in a healing, strengthening and regulating way through certain rhythmical movements of the etheric body - which after all was the centre of all that was rhythmical - as well as of health and illness? Dr Steiner not only enthusiastically affirmed this possibility, but spontaneously declared himself ready to give the necessary directions which I could then work out with my mother's help.' - Lory Maier-Smits Alongside original material by Rudolf and Marie Steiner, this volume features unique first-hand accounts of the birth of the art of eurythmy by a number of its early students and practitioners. The practical and artistic stages of its development are chronicled in detail, alongside reports from the first public performance onwards. Rudolf Steiner offers inspiration to the original eurythmists to make their own discoveries - to perceive and fashion in movement their creative `inner voice'. The artistic principles are established for later development and elaboration, to reveal and foster human creativity in many poetic and musical contexts. Through the text, links between eurythmy and temple-dances, that accompanied ancient initiations, gradually emerge. The impulse to dance is rediscovered as inherent in the `lost Word', or the primordial root language still available in `genetic etymology'- the sounds of speech used in all languages. Music eurythmy, we learn, did not start from dancing, but from the archetypal structure of the musical system. Consequently, we can witness directly how an eloquent performing art can properly develop when technique and inspiration meet. The text is supported by extensive supplementary material, including eurythmy forms, a chronological survey, notes and indexes.

In The Persistence of the Sacred in Modern Thought, Chris L. Firestone, Nathan A. Jacobs, and thirteen other contributors examine the role of God in the thought of major European philosophers from the seventeenth to the nineteenth century. The philosophers considered are, by and large, not orthodox theists; they are highly influential freethinkers, emancipated by an age no longer tethered to the authority of church and state. While acknowledging this fact, the contributors are united in arguing that this is only one side of a complex story. To redress the imbalance of attention to secularism among crucial modern thinkers and to consolidate a more theologically informed view of modernity, they focus on the centrality of the sacred (theology and God) in the thought of these philosophers. The essays, each in its own way, argue that the major figures in modernity are theologically astute, bent not on removing God from philosophy but on putting faith and reason on a more sure footing in light of advancements in science and a perceived need to rethink the relationship between God and world. By highlighting and defending the theologically affirmative dimensions of thinkers such as Thomas Hobbes, Gottfried Leibniz, John Locke, Immanuel Kant, F. W. J. Schelling, G. W. F. Hegel, and others, the essayists present a forceful and timely correction of widely accepted interpretations of these philosophers. To ignore or downplay the theological dimensions of the philosophical works they address, they argue, distorts our understanding of modern thought. Contributors: Nicholas Adams, Hubert Bost, Philip Clayton, John Cottingham, Yolanda Estes, Chris L. Firestone, Lee Hardy, Peter C. Hodgson, Nathan A. Jacobs, Jacqueline Marina, A. P. Martinich, Richard A. Muller, Myron B. Penner, Stephen D. Snobelen, Nicholas Wolterstorff.

'These Letters ... aim to make John's Gospel accessible to people today as their own gospel, both as a whole and in the details; to illuminate it with the spiritual knowledge of the age and to make it fruitful for life, not only for meditation but also for practical ordering of destiny.' - Friedrich Rittelmeyer. --- A revitalized Johannine Christianity stands at the heart of the work of Christian renewal that was led by Rudolf Steiner in the early twentieth century. Friedrich Rittelmeyer, a Lutheran minister and theologian who helped found The Christian Community in 1922, was a leading figure within this new Johannine movement. Rittelmeyer described John's Gospel as encapsulating '...an indescribable glory of revelation of love. This glory has such purity, delicacy and spiritual power that in it one has the material with which a marvellous new world may be built.' --- Without doubt his most powerful work, Rittelmeyer's Letters on John's Gospel first appeared in a series of publications by the Stuttgart seminary of The Christian Community between 1930 and 1932. Whilst these Letters were originally written with students and local congregations in mind, they provide manifold insights for anyone seeking to glimpse the majesty of John's Gospel. Margaret Mitchell's translation from 1937 has never before been published in book form. Revised here and expanded by editors Alan Stott and Neil Franklin, this volume features additional contributions by Rudolf Frieling and Emil Bock.

`The study of music is the study of the human being. The two are inseparable, and eurythmy is the art which brings this most clearly to expression. In these lectures, Rudolf Steiner guides us along a path toward an understanding of the human form as music comes to rest - the movements of eurythmy bringing this music back to life.' - Dorothea Mier `Fundamentally speaking, music is the human being, and indeed it is from music that we rightly learn how to free ourselves from matter.' - Rudolf Steiner The focus of these eight lectures is the source of movement and gesture in the human being. The movement in musical experience is thus traced back to its origin in the human instrument itself. Like the degrees of the musical scale, Rudolf Steiner leads his select audience of young artists through eight stages, focusing on the living principles of discovery and renewal. Eurythmy was born in the turbulent decades of the early twentieth century. From an individual question as to whether it was possible to create an art based on meaningful movement, Rudolf Steiner responded with fresh creative possibilities for a renewal of the arts in their totality. The new art of eurythmy was an unexpected gift. Today, music eurythmy, along with its counterpart based on speech, is practiced as an art, taught as a subject in schools, enjoyed as a social activity and applied as a therapy. This definitive translation of Steiner's original lecture course on eurythmy includes a facsimile, transcription and translation of the lecturer's notes, together with an introduction and index. The volume is supplemented with an extensive `companion', featuring full commentary and notes compiled by Alan Stott, as well as a translation of Josef Matthias Hauer's Interpreting Melos.