[316] symbolized in a castle which rules the village and the countryside and he never can reach it, he is cut off from it; and . . . he becomes guilty without knowing of what, and never knows it, and finally he is executed for a guilt for which he doesn't know, and to which he can never come. Now here we have symbols^a of a character WHICH ΕMBODY IN THEMSELVES a reality which transcends by far the description of Mr. "K". And all that happens to him is an expression of our standing in our world, which we can never understand in the same way if we had NOT encountered, in an experience of artistic character, Mr. "K" in Trial and in The Castle. These are dramatic and

novelistic symbols. SYMBOLS^b IN MUSIC^c: Here the emphasis on the emotional^d is so strong that I have to emphasize a little more than in the others, where I think all of you have followed me comparatively easily, when I speak about this. What happens in music are sounds, movements of our organs of hearing, and the relation of these sounds, the thythm [sic.] which they appear like in poetry. [sic] What do they do? You already heard from me, and I didn't feel there was any resistance against it, that music opens up the levels of the soul which otherwise are not open at all. But I go beyond this, and I say it is as it is in all symbols: they also open up the levels of reality which otherwise are not

manifest. Now this means material reality has in itself the power of sound, and in this power of sound it express something ABOUT ITSELF. The first theory which was based on this idea was the old Pythagorean^e theory of the sounds of the heavenly bodies, usually known as the sounds of the spheres. They discovered the mathematical vibrations which produce sound and their relationships in