Scene 6: The Spirit World. The same remarks apply. Capesius is struck by the figures of his previous incarnations, as shown in the former plays. The Guardian of the Threshold will allow an even earlier incarnation to appear. (Scenes 7 and 8: The earlier incarnations in Egypt giving the key to the four plays, and showing the origin of development of the different characters.) Scene 7: Shows in a remarkable way how the future development of the Baldes and Capesius is going to proceed. The concluding speech of the hierophant foreshadows the approach of a new Era when candidates for initiation will get the hidden light independently and not under the hypnotic suggestion of the guiding priest. Scene 8: Drop scene. Egyptian woman (otherwise Johannes Thomasius) is in love with a man who is a neophyte or candidate for mysticism and about to retire from the world. This mystic is known to us otherwise as Maria. Scene 8: About 2000 B.C. The hierophant (Capesius) has refused to use his thought power to suggest to the candidate what his vision should be. The candidate has a free vision looking far into the future. A breath of love and freedom is wafted into the closely sealed precincts. 'The truth shall make thee free.' But with this rebellion against the old order, there is a consequence. Lucifer and Ahriman hitherto chained within the temple break their chains and begin to work their will. The ancient temple has been invaded, but the Ego begins to wake. The reader will not overlook, in all this cosmic development, the individual development of the different characters which are difficult to understand from the other plays without this glimpse into their previous incarnation. The author has presented it in this order, because it corresponds to the reader's own experience. Scene 9: Maria's awakening. The reminiscence in waking of what has happened in a psychic condition. Scene 10: Johannes' awakening. The quotations refer to Scenes 7 and 8. Scene 11: Strader's awakening. Benedictus' vision is again clouded. The reason here is probably Strader's approaching death. The quotations refer to Scene 3. Scene 12: Ahriman's manner, shape, and speech betray the fact that he is being found out by the followers of Benedictus. Ahriman hopes, however, to catch Strader. Note the satire indulged in at the expense of those occultists, theosophists, and others whose air of superiority makes them a laughing stock. Note also the last line showing the importance of remembering the dead. Scene 13: Hilary and Romanus. Scene 14: Strader's death is announced and Hilary's manager is converted. Scene 15: Secretary and Nurse. The Secretary's speech. Ahriman's shape is here even more that of the conventional devil than in Scene 12. This is to show that his true nature is now fully grasped by Benedictus and his followers. This is seen in Ahriman's last speech. Note Benedictus' speech about the dead and their messages.