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Mieke Mosmuller
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Mieke Mosmuller: physician, writer and philosopher
Mieke Mosmuller: physician, writer and philosopher

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The threefold spiritual ideal of the human being
by Mieke Mosmuller

The encounter of the one I with another I is an art. It is not a technique, not a science, not an economic principle, not based on thoughts about advantage or disadvantage - it is an art. Not everyone is a born artist; it has something to do with the past. But everyone has the talent, because it is the human talent par excellence. The only thing we need to develop this talent to an art is the will.

This will to develop the art makes life a challenging experience. For we can practice this art every day, in every encounter - it will show that it is the practicing of love itself.
The human I is the spirit on earth, it is the only spiritual being that everyone bears in her/himself and that can be recognized with the everyday faculties of will, feeling and thinking. It can be recognised in one's own I and in another's I. Thus, every human being has spiritual knowing practice, even if he is the deepest materialist. The difference between a materialist and a spiritual thinking person is the fact that the materialist has totally forgotten that his mind is a spiritual entity, and the spiritual thinker hasn't forgotten it.

If we could all become aware that the I is the spirit in itself, we wouldn't need any religion anymore, because we would be convinced that the spirit exists in a natural way...

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The Good Samaritan
by Mieke Mosmuller

True brotherhood is care for the physical wellbeing of our fellow man. The fight against poverty is part of this. But priority is the care for the body. 

Parable of The Good Samaritan

Behold, a certain lawyer stood up and tested him, saying, "Teacher, what shall I do to inherit eternal life?"
He said to him, "What is written in the law? How do you read it?"
He answered, "You shall love the Lord your God with all your heart, with all your soul, with all your strength, with all your mind, and your neighbour as yourself."
He said to him, "You have answered correctly. Do this, and you will live."
But he, desiring to justify himself, asked Jesus, "Who is my neighbour?"

Jesus replies with a story:

Jesus answered, "A certain man was going down from Jerusalem to Jericho, and he fell among robbers, who both stripped him and beat him, and departed, leaving him half dead. By chance a certain priest was going down that way. When he saw him, he passed by on the other side. In the same way a Levite also, when he came to the place, and saw him, passed by on the other side. But a certain Samaritan, as he travelled, came where he was. When he saw him, he was moved with compassion, came to him, and bound up his wounds, pouring on oil and wine. He set him on his own animal, and brought him to an inn, and took care of him. On the next day, when he departed, he took out two denarii, and gave them to the host, and said to him, 'Take care of him. Whatever you spend beyond that, I will repay you when I return.' Now which of these three do you think seemed to be a neighbour to him who fell among the robbers?"...

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Amfortas and Parsival - Compassion
by Mieke Mosmuller

The habit of feeling one's own I as completely equal in worth to another I in the encounter, could widen itself to more vast thoughts and feelings that embrace not only one other person, but one's whole family, all one's friends, all one's colleagues ... all the human beings in the whole world.

The great story of Parsival, seeking for the Holy Grail and bringing cure for the wounded Grail-king Amfortas is an image for this process. Amfortas has to guard the Holy Grail, but he has made of it an intensely painful task. He was seduced by Klingsor, the man who longs for the Grail but who isn't able to become a knight of the Grail, because his soul isn't pure and he lacks the courage to go the long way to this purity. Instead of this purification he thinks it will suffice to castrate himself - but of course this is only a materialization of what in fact should be striven for. Thus Klingsor becomes the enemy of the Grail-knights and tries to seduce them to impure acts. Through the help of Kundry, Klingsor makes Amfortas fail and therefore he is wounded and waits for a young man from whom it is said that he is 'knowing through compassion, a pure fool'. This young man is Parsival.
We see in this saga a polarity. Amfortas is worldly wise, but he is not pure. He is the image for the human being who knows much about the world and about life, who is no longer naive, but his knowledge makes him critical out. He cannot be the Grail king, because he is not pure. Parsival is pure, but he doesn't know the world at all - therefore he is 'a fool'. His wisdom sleeps in his feeling life that is pure, he is wise from compassion...

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Trust
by Mieke Mosmuller

In this moment, all the political, scientific, social, economic and religious frameworks are forgotten entirely, I have lost everything but love, and I live only as an I, confronted with another I. Forgotten, too, is our multicultural society; I forget all the ideals that are concerned with social life. Just one ideal is left:  I meeting I, beginning new over and over again. I don't want to say that science isn't important, nor that we couldn't have our inner beliefs and truths. I myself have well-defined ideas; I have studied natural and spiritual sciences. But in the moment when I stand there, encountering another I, all this knowledge and any absolute convictions about truth are forgotten. 

I have been a physician for more than 25 years, sitting at a desk and seeing patients, every day, on and on. I always have tried to encounter them as one I to another I, in the full original forces of the encounter, forgetting what I didn't need in that moment. Of course we fall out of the originality, we fail time after time - but we can always start again.

If I thus forget all political, economical and so on frameworks and I consider a problem in our time that is a huge problem in social life, I get rather unconventional ideas from this emptiness of remembrance. Of course the naivety will strike many people as rather insane. But in my opinion there will never be a possibility to find social solutions if we keep on trying to find them by using the old frames of economic, politic and religious systems. I know that the mighty forces in the world have their motives to keep on to these frames. I certainly don't mean that my point of view will convince the world. But I want to think about these things - they are 'philosophical reflections'...

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The golden cloth of love...
by Mieke Mosmuller

Social optimism can of course not be without boundaries. There has to be the same good intention in the partners in friendship. One cannot be friends on one side only. Still, the power of beginning over and over again has its own effect that is not confined to the one side. True miracles happen when I see the I in the other person and act as I to I. In this kind of relationship there are no judgments that come from past events, because the I is fresh ever again, and will meet another I that is new - even though it has been known for many, many years already.

There is a wonderful legend, told by Selma Lagerlöf in the book 'Christ Legends', The sacred flame. Francesca, in the city of Florence, marries Rainiero di Rainieri, they love each other deeply. It is in the time of the crusades, long ago. But Rainiero is a boaster and doesn't think about the moral aspects of his deeds. Thus he wounds his beloved Francesca time after time. At first she forgives him, she loves him so much. But then she has an imagination of her love, because it isn't endless. She sees it as a golden, shining piece of cloth - and every time Rainiero wounds her by his heartless actions, a little piece of the cloth is gone. At last, before the cloth will be gone totally, she leaves him and goes back to her father, to be sure not to lose her love completely...

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Social optimism
by Mieke Mosmuller

What substance is the material for the social art? The architect uses  physical laws to create buildings of stone, wood or whatever. The sculptor has as his substance materials like marble or wood and must know how to form them with the forces of forming. The painter has as a material the paint, but his substance are the colours. The composer must know musical theory, but his substances are the tones, the intervals, the rhythm and so on. The poet must have knowledge about vowels and consonants, the metre, but his substance is the Word as a speakable and understandable Word. A fairly new art is eurythmy. This artist must know everything possible about the Word, as it is consisted of vowels and consonants, he must know to experience inwardly what these sounds really are, but his substance is the movement of the human body. Herein he will have to express artistically what  human Speech is.

What is the substance of the social art? It must be love, nothing more, and nothing less than true love. It is not physical love, the act of making love with a more or less beloved partner. Not the idealistic magnificent ideas that can never be realized. Not the ideal state of Plato or 'Utopia' of Thomas More. Not a hope of global peace and love. It must be true love, a substance between the You and the I, so it must be very modest, wanting to work in a very small circle - that becomes wider and wider though...

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Social Art
by Mieke Mosmulller

In the 20th century we experienced the awakening of the social feeling in the human being. 'Prior to that, it  had certainly been there in individuals, but had never become a worldwide movement. It developed into communism and socialism. When I think back to the sixties - I was a schoolgirl then - I remember how my classmates had great interest in politics. I grew up in Amsterdam, visited a Gymnasium (high school) there, where this growing social and political involvement found its pioneers. The adolescents were trying to free themselves from authority, there were the revolutions of the students, who wanted to have a say in their education. There were the labourers who wanted to free themselves from the capitalistic predominance, picking up the socialistic and communistic principles of the period before World War II. It was the time of the existentialism of Jean Paul Sartre and Simone de Beauvoir. One could see the words 'God is dead' and 'Make love, not war' everywhere.

On the one hand we felt a growing freedom, all authoritative principles seemed to have been  overcome. On the other hand it turned out to be a strengthening of materialism. The 'God is dead' principle gave a sense of freedom, but also put all thoughts about the spirit in a drawer with the sign 'old-fashioned nonsense' on it. The 'Make love not war' principle was carried out in a pure physical way - in the Vondelpark one could see... read more
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Inner activity
by Mieke Mosmuller

Whenever we wish to be active, we must engage with our will. Whether this action comes about through a personal wish or through a command makes no difference for the nature of willing. When we talk about willing here, we mean becoming active. Willing is force in an even greater measure than feeling. The force of willing condenses itself here to my being, which I call ´I´. I experience every act as my own particular activity. I myself must stir my body to activity, even if it is against my will, if I am forced to work. The result of the activity is always my work. In my willing I live as ‘I’, I experience the reality of my being. Nothing comes into being if I do not become active. Yet it is particularly this area of my being, namely, my will, that lies the most deeply hidden within my consciousness. The results of my willing are concrete, reality, tangible. The willing itself I sleep through completely. I cannot consciously follow how the willing comes about. The mental images of what I want and what I have to do live in my consciousness. There too live the mental images of the feelings which the will does or does not support. But the essential power of the will escapes me entirely. My human powerlessness is characterized by these three areas in consciousness: What I know consciously – thinking - I cannot do. What I do or how I do it – willing – evades my consciousness. Between these two poles live my changing joys and sorrows... read more
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The Valkyries
by Mieke Mosmuller

In reflecting on the theme of the origin of evil, one finds the great sagas of Gods and Heroes. If we have texts, we have to have a vivid imagination to perceive the meaning of the saga. For instance the figures of Hera and Zeus. They easily remain just names, if we don't try to experience them as intense as we can. 

In the forms of art we find marvelous help to animate our images. Artists have the faculty to make perceivable what is the deeper meaning of such figures in for instance mythology. 

Music is perhaps the most impressing way to animate our feeble thoughts and feelings. And we can think about Richard Wagner whatever we want - we should however think about the fact that he lived and died long before the 2nd world war - Wagner was a master in articulating into the finest details the acts and emotions of persons - whether gods or human beings. He handles his theme with great courage. He achieves, by the slowness of action, that the tension is not evoked by speed, but rather by extending the actions. And the music gives it the tension, the emotion, the dramatic undertone.
In the Valkyries the old German mythology is  shown. In the most moving way the division of the God Wotan and his dearest child Brünnhilde is painted. In the dramatic scenes it becomes clear how everything on earth, between people, is guided by the Gods. A man can think that he conquered an enemy - it is only because, while being brave,  he got help from the Gods...

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Modern spiritual self-knowledge
by Mieke Mosmuller

In the medieval poem, Dante's 'Divina Commedia', we find a form of self-knowledge that is based on a certain clairvoyance. The teacher of Dante was Brunetto Latini. Dante meets him in Inferno... It is not clear, why he is burning in Inferno.

Rudolf Steiner has spoken about Latini in several lectures. According to his occult investigations, Brunetto Latini became a sunstroke as he was coming back to Florence. The stroke gave him a vision of the true spiritual world behind nature; he became teachings from a goddess, the goddess 'Natura'. She showed him the path to the clairvoyance. 

Before this time there was a spiritual movement in Chartres, the 'School of Chartres'. The great teachers here (Alanus ab Insulis is the most famous teacher) actually experienced how Natura vanished from the human conscience, which meant that the spiritual vision of nature became more and more impossible. In Brunetto Latini a last glance of Natura was caught...  And he taught his pupil Dante this. So we can see a telling about the spiritual world in the Divina Commedia, in a last glance. The time of the scholastics was already there and after that the development of natural science was emerging. In this science we have no spirit anymore; it is the intellect that has to strive for knowledge, by perception and experiment...

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