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STEFFEN Albert translated Arvia MacKaye : Voyage to the other land, a drama of utmost Timeliness

Verlag fur schone wissenschaften, Dornach, 1939

8vo - over 7? - 9? tall. first English edition stated on DW flap, only date present to copyright information is 1939. blue cloth gilt titled spine and cover, some foxing spots to the cloth, fep has pen name and address as well as stamp from a private Anthroposophical library. rear paste down has a card in an affixed pocket .. DW is complete and unclipped, short tear at head of cover down to just above the first text, small two line rubber stamp at top corner. two small and short edge tears to blank lower panel of DW, spine a little browned. Scarce play by the later head of the Anthroposophical Society, this has direct references to the Titanic tragedy. 122 +4 pp adverts "At first glance this may seem one of the more peculiar entries in the Titanic fiction canon, particularly as the opening scene takes place in an Egyptian tomb. However, Steffen was a leading anthroposophist, an exponent of 'spiritual science', so it's no surprise that he was drawn to Titanic as a case study for his faith and philosophy. His concerns regarding man's technological achievements flying in the face of God are perfectly illustrated by through the story of 'the ship that God himself could not sink'. The play uses a heavily mythologised Titanic, combined with the often repeated Titanic myth of the 'mummy's curse' as a vehicle for expounding anthroposophy. The play starts in the tomb of Princess Amen Ra and continues with constant allusions to Egyptian mythology, with some characters see their lives paralleling incidents from the mythos of Horus and Isis. There's no representation of historical Titanic, for Titanic's importance in this work is a metaphor and recognisable symbol of hubris. The mostly unnamed dramatis personae represent archetypes rather than historical figures: Navigation Officer, First Stoker, The Millionaire, The Line Owner, etc. From Titanic's true story, only Captain Smith is named, but Steffen's Captain Smith is not the Captain EJ Smith of history. Presiding over deep spiritual and philosophical discussions in the stokehold is the curiously Luddite engineer, ironically named Ohm, who was with the party in Egypt and resurfaces as one of Titanic's principal engineers/electricians. There's also a simplistic representation of the class struggle through use of the archetype of deserving poor against the idle rich, highlighted by the death of valiant immigrant/stoker Wronski trying to get his wife and child onto a lifeboat that is dedicated to saving the millionaires' gold. Steffen's philosophy, religion and politics are in no doubt throughout the play...themes include the idea of journey as an awakening, with the Egyptologist's son and daughter-in-law (who lost their own child in Egypt) rediscovering a purpose to life in rearing the orphaned Wronski baby, and the Director of the shipping line declaring he will now build 'spiritual lifeboats'. Then there's resurrection, as illustrated in the use of Princess Amen Ra's casket as a 'lifeboat' that saves the Wronski baby, with some help from Engineer Ohm swimming behind. The play ends on Carpathia with the surviving cast proclaiming their sea change, their 'voyage to the other land' ". Book Condition: Very Good. Binding: Hard Cover. Jacket: Very Good

First Edition

STEFFEN Albert translated Arvia MacKaye : Voyage to the other land, a drama of utmost Timeliness

Verlag fur schone wissenschaften, Dornach, 1939

8vo - over 7? - 9? tall. first English edition stated on DW flap, only date present to copyright information is 1939. blue cloth gilt titled spine and cover, fep has a stamp from a private Anthroposophical library. rear paste down has a card in an affixed pocket . DW is complete and unclipped, tiny tear at head of cover. Scarce play by the later head of the Anthroposophical Society, this has direct references to the Titanic tragedy. 122 +4 pp adverts "At first glance this may seem one of the more peculiar entries in the Titanic fiction canon, particularly as the opening scene takes place in an Egyptian tomb. However, Steffen was a leading anthroposophist, an exponent of 'spiritual science', so it's no surprise that he was drawn to Titanic as a case study for his faith and philosophy. His concerns regarding man's technological achievements flying in the face of God are perfectly illustrated by through the story of 'the ship that God himself could not sink'. The play uses a heavily mythologised Titanic, combined with the often repeated Titanic myth of the 'mummy's curse' as a vehicle for expounding anthroposophy. The play starts in the tomb of Princess Amen Ra and continues with constant allusions to Egyptian mythology, with some characters see their lives paralleling incidents from the mythos of Horus and Isis. There's no representation of historical Titanic, for Titanic's importance in this work is a metaphor and recognisable symbol of hubris. The mostly unnamed dramatis personae represent archetypes rather than historical figures: Navigation Officer, First Stoker, The Millionaire, The Line Owner, etc. From Titanic's true story, only Captain Smith is named, but Steffen's Captain Smith is not the Captain EJ Smith of history. Presiding over deep spiritual and philosophical discussions in the stokehold is the curiously Luddite engineer, ironically named Ohm, who was with the party in Egypt and resurfaces as one of Titanic's principal engineers/electricians. There's also a simplistic representation of the class struggle through use of the archetype of deserving poor against the idle rich, highlighted by the death of valiant immigrant/stoker Wronski trying to get his wife and child onto a lifeboat that is dedicated to saving the millionaires' gold. Steffen's philosophy, religion and politics are in no doubt throughout the play...themes include the idea of journey as an awakening, with the Egyptologist's son and daughter-in-law (who lost their own child in Egypt) rediscovering a purpose to life in rearing the orphaned Wronski baby, and the Director of the shipping line declaring he will now build 'spiritual lifeboats'. Then there's resurrection, as illustrated in the use of Princess Amen Ra's casket as a 'lifeboat' that saves the Wronski baby, with some help from Engineer Ohm swimming behind. The play ends on Carpathia with the surviving cast proclaiming their sea change, their 'voyage to the other land' ". Book Condition: Very Good. Binding: Hard Cover. Jacket: Very Good

First Edition

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