[242] each other in all history, which come to a turning point with the appearance of Zoroaster^a as prophet, and which comes to an end, a final catastrophe, in the burning of the world by the "man from above," which is the pattern of the Son of Man in the biblical literature. Then [in] the Jewish interpretation of history, in the Old Testament, we have the same dramatic ^bconflict, dramatized even in conscious poetic forms, in later Jewish apocalyptics, where the powers of good and evil develop stronger and stronger, and the "man from above," the Messiah, the Son of Man, will transform the given reality in a final victory over the evil pwoers [sic.], and the whole world will come to the Mount Zion to adore the true God. And we have the drama in the interpretation of history in Christianity, the drama of fall ^cand salvation, salvation in the center of history, and again going toward the final catastrophe. Now these dramatic motifs are present in all interpretation of history and are logically transformed in the dialectical method ^dapplied to history.^e I want to return to the more poetic-dramatic form, namely man losing himself and finding himself again, which is repeated more than once in Western history. Let me describe it fully. Man is that being which is DEFINED by the possibility of asking the question of himself. Man asks "What am I? and what is the world which l encounter in relation to me?" This is the question of children, this is the question of the primitive mythologically creative mind.