In ‘The Guardian of the Threshold’ the nature of the reincarnation is not to be regarded as a law holding good generally, but as something which can only happen at a turning-point of time. Hence, for example, the incidents of Scene 8 between Strader and the twelve others are only possible at such a period. The spiritual entities taking part in this play are by no means to be considered as merely allegory or symbol. For any one who recognizes the spiritual world as reality, the beings there exist, just as much as physical men in the sense-world, and as such they may be portrayed. Spiritual beings do not have human form, as they are bound to have upon the stage. If the writer of these psychic incidents in pictures considered these beings to be allegories, he would not have represented them in the way he has done.
The systematic arrangement of the characters into groups (3 × 4) is not intentional or in the original plan of the play; it is a result—by way of afterthought—of the incidents, which are sketched out quite independently, and fall naturally into such a division. It would never have occurred to the author to include it in the original plan; but it may be permitted to cite it here as a result.
The scheme of stage decoration is in accordance with the planetary signs shown in Dr. Steiner’s Lecture on Occult Seals and Symbols. In Scene 2, the walls and furniture, etc., are decorated with Dr. Steiner’s architectural design for Jupiter. Scene 4 is devoted to Venus. And Dr. Steiner’s symbols for the Sun govern the little wooden hut and all its appurtenances in Scene 5. To the other scenes no architectural design is applicable.
The costumes are as follows:
Except when officiating as Hierophant Benedictus is in black frockcoat and trousers. Hilary, Bellicosus, Torquatus, and Trustworthy are in dark frockcoats etc., except when acting as officers in the Temple or as leaders in the Mystic League. Johannes is in a dark blue velveteen suit, short coat, breeches, and stockings. Capesius, when he is in the soul, e.g., in Scenes 3 and 6, appears quite young, beardless, and in flimsy blue and white robes; at other times in ordinary modern attire.
Theodora, modern with a coloured stole. Strader, modern, short brown jacket; except in Scene 4, where he is in grey lavender.
Maria, modern with stole.
Felix Balde, a blue tunic trimmed with fur.
Felicia Balde, modern with stole.
Lucifer, flowing crimson and red robes, long golden hair, and crowned when on his throne.