The Value of Thinking for Satisfying our Quest for Knowledge

GA 164 — 18 September 1915, Dornach

The Value of Thinking II

Yesterday I spoke about a kind of ascending movement that is rooted in human nature. And basically, by contemplating this ascending movement, we have rediscovered everything we already know, namely, at the lowest level, knowledge that is applicable only to the facts of the physical plane, physical knowledge, which is called objective knowledge in “How to Know Higher Worlds”. So today I will call it physical knowledge. We then came to know the next higher stage of knowledge, the so-called imaginative knowledge; but we considered it as archetypally conscious imaginative knowledge; conscious imaginative knowledge can only be present in the human being who tries to work his way up to it in the way described in the book “How to Know Higher Worlds”. The words “physical knowledge”, “unconscious imaginative knowledge”, “conscious imaginative knowledge” were written on the blackboard; see diagram.

But the fact is that the content of imaginative knowledge, that is, imaginations, are in every human being. So that the development of the human soul in this respect is nothing more than an expansion of consciousness to include a realm that is always present in the human soul. We may say, then, that the situation with imaginative knowledge is no different than it would be with objects in a dark room. For in the depths of the human soul all the imaginations that come into question for the human being are present just as the objects of a dark room are. And just as the objects in a dark room are not increased in number when light is brought into the room, but remain as they are, only illuminated, so, after the consciousness for imaginative knowledge has been awakened, there is no different content in the soul than there was before; they are only illuminated by the light of consciousness. So, in a sense, by struggling to the imaginative level of knowledge, we experience nothing other than what has long been present in our soul as a sum of imaginations.

If we look back again at what we were able to understand yesterday, we know that when our perceptions of the objects around us through our physical senses descend into the realm of memory, that is, into the unconscious, , so that we are in a position to be unaware of them for some time, but they have not been lost, but can be brought up again from the soul, then we have to say that we are sinking down into the unconscious that which we have in ordinary physical consciousness. Thus the world of representations that we gain through physical knowledge of the external world is constantly being taken up by our spiritual, by the supersensible; it continually slips into the supersensible. Every moment we gain representations of the external world through physical perceptions, and these representations are handed over to our supersensible nature. It will not be difficult for you to consider this in the light of everything that has been said over the years, because this is the most superficial supersensible process imaginable, a process that takes place continuously: the transition from ordinary perceptions to perceptions that we can remember. So it seems obvious, and this is also true according to spiritual research, that everything that takes place when we perceive the external world is a process of the physical plane. Even when we form ideas about the physical external world, this is still a process of the physical plane. But in the moment when we let the ideas sink down into the unconscious, we are already standing at the entrance to the supersensible world.

This is even a very important point to be taken into account by anyone who, not through all kinds of occult chatter but through serious human soul-searching, wants to gain an understanding of the occult world. For there is a very important fact hidden in the saying I have just applied: When we as human beings face the things of the external world and form ideas, it is a process of the physical plane. At the moment when the idea sinks down into the unconscious and is stored there until it is brought up again by a memory, a supersensible process takes place, a real supersensible process. So that you can say to yourself: If one is able to follow this process, which consists in the fact that a thought that is up in the consciousness sinks down into the subconscious and is present there as an image, one can, in other words, follow an idea as it is down in the subconscious, then one actually begins to glide into the realm of the supersensible. Just think: when you go through the usual process of remembering, the idea must first come up into consciousness, and you perceive it up here in consciousness, never down in the unconscious. You must distinguish between ordinary remembering and pursuing the ideas down into the unconscious. What takes place in remembering can be compared to a swimmer sinking under the water, whom you see until he is completely submerged. Now he is down and you no longer see him. When he comes up again, you see him again! [It was drawn.] It is the same with human perceptions: you have them as long as they are on the physical plane; when they go down, you have forgotten them; when you remember them again, they come up again like the float. But the process I am talking about, which already points to imaginative knowledge, could be compared to you diving under yourself and thereby being able to see the swimmer down in the water, so that he does not disappear when he submerges.

But from this follows nothing less than that the line I drew earlier, the level surface, as it were, below which the imagination sinks into the unconscious, into the realm of memory, is the threshold of the spiritual world itself, the first threshold of the spiritual world. This follows with absolute necessity. It is the first threshold of the spiritual world! Just think how close the human being is to this threshold of the spiritual world. [The words 'threshold of the spiritual world' were written next to the diagram.]

And now take a process by which one can try to really get down there, to submerge. The process would be to try to follow ideas down into the unconscious. This can actually only be done by trial and error. It can be done by doing something like the following. You have formed an idea about the outside world; you try to artificially evoke the process of remembering independently of the outside world. Think of how it is recommended in “How to Know Higher Worlds”, where the very ordinary rule of looking back at the events of the day is given. When one looks back at the experiences of the day, one trains oneself to enter into the paths that the imagination itself takes by descending below the threshold and then ascending again. So the whole process of remembering is designed to follow the images that have sunk below the threshold of consciousness.

But in addition, it is said in “How to Know Higher Worlds” that one does well to trace the ideas one has formed in reverse order, that is, from the end back to the beginning; and if one wants to survey the day, to follow the stream of events backwards from evening to morning. In doing so, one must make a different effort than is made in the way of ordinary recollections. And this different effort of will brings one to grasp, as it were below the threshold of consciousness, what one has had as an experiential image. And in the course of trying, one comes to feel, to experience inwardly, how one runs after the images, runs after them below this threshold of consciousness. It is really a process of inner experiential probing that comes into play here. But it is important to do this review really seriously, not in a way that after a while you lose the seriousness of the matter. But then, if you do this process of looking back for a long time, or in general do the process of bringing up an experience from memory, an experienced world of ideas, so that you imagine the matter in reverse, thus applying a greater force than you when you remember in the usual sequence, then you also experience that you are no longer able to grasp the idea from a certain point on in the same way as you would have grasped it in ordinary life on the physical plane.

On the physical plane, memory expresses itself in such a way – and it is best for memory on the physical plane to express itself in this way – that if one brings up the image that one wants or is supposed to remember, one does so in a way that is true to the context of one's life, one brings it up in the way one has formed it on the physical plane. But if, through the suggested trial, one gradually gets used to chasing the ideas, as it were, under the threshold of consciousness, one does not discover them down there as they are in life. That is the mistake people always make when they believe that they will find a copy of what is in the physical world in the spiritual world. They have to assume that the ideas will look different down there. In reality, they look like this below the threshold of consciousness: they have stripped away everything that is characteristic of the physical plane. Down there they become entirely images; and they become so completely that we feel life in them. We feel life in them. It is very important to keep this sentence in mind: we feel life in them. You can only be convinced that you have really followed an idea down below the threshold of consciousness when you have the feeling that the idea is beginning to live, to stir. When I compared the ascent to imaginative knowledge with sticking one's head into an anthill, I explained it from a different point of view. I said: everything begins to stir, everything becomes active.

Now, for example, let us say you have had an ordinary experience during the day – I will take that – sat at a table and held a book in your hand. Now, at some time in the evening, you vividly imagine what it was like: the table, the book, you sitting there, as if you were outside of yourself. And it is always good to visualize the whole thing pictorially from the outset, not in abstract thoughts, because abstraction, the ability to abstract, has no significance at all for the imaginative world. So you imagine this picture: sitting at a table, with a book in your hand. - With table and book I simply want to say, imagine as vividly as possible some detail from everyday life. Then, if you really let your soul gaze upon this image, if you really imagine it intensely in meditation, then from a certain moment on you will feel differently than usual; yes, I will say comparatively, it is similar to when you would take a living being in your hand.

When you pick up an inanimate object, you have the feeling that the object is still, it does not tingle or crawl in your hand. Even if you have a moving dead object in your hand, you calm down when you feel that this life does not come from the object, but is mechanically assigned to it. It is a different matter if you happen to have a living object, let's say a mouse, in your hand. Let's say, for example, that you reached into a cupboard and thought you were taking some object in your hand and discovered that you had a mouse in your hand. And then, you feel the crawling and tingling of the mouse in your hand! There are people who start screaming at the top of their lungs when they suddenly feel a mouse in their hand. And the screaming is no less when they cannot yet see what is crawling and tingling in their hand. So there is a difference between having a dead or a living object in your hand. You have to get used to the living object first in order to tolerate it to a certain extent. Isn't it true that people are accustomed to touching dogs and cats, but they have to get used to it first. But if you put a living being in someone's hand in the middle of the night, in the dark of night, without their knowing it, they will also be shocked.

You have to realize this difference you feel between touching a dead and a living object. When you touch a dead object, you have a different feeling than when you touch a living one. Now, when you have an idea on the physical plane, you have a feeling that you can compare to touching a dead object. But as soon as you really go below the threshold of consciousness, that changes; so that you get the feeling: the thought has life within, begins to stir. It is the same discovery you have – as a comparison for the feeling of the soul – as when you have grasped a mouse: the thought tingles and crawls.

It is very important that we pay attention to this feeling if we are to get an idea of imaginative knowledge; for we are in the imaginative world at the moment when the thoughts that we bring up from the subconscious begin to tingle and crawl, begin to behave in such a way that we have the feeling: down there, under the threshold, everything is actually swirling and churning. And while it is very quiet up there in the attic and thoughts can be controlled so nicely, just as machines can be controlled, down there one thought follows another, the thoughts tingle and crawl, they churn and roll, down there they suddenly become a very active world. It is important to appropriate this feeling, because at that moment, when you begin to feel the life of the world of thought, you are in the imaginative or elementary world. That is where you are! And one can enter so easily if only one follows the very simplest rules given in “How to Know Higher Worlds”, if only one refrains from trying to enter by the way of all kinds of “practices” hinted at in recent days. One can really enter so easily. Just think that one of the very first things clearly stated in the book “How to Know Higher Worlds” is that one should try to follow the life of a plant, for example: how it gradually grows and gradually fades away. Yes, if you really follow this, you have to go through the life of the plant in your thoughts. First you have the thought of the very small seed, and if you do not make the thought flexible, you will not be able to follow the plant as it grows. You have to make the thought flexible. And then again, when you think of the plant shedding its leaves, gradually dying, withering, you have to think of shrinking and wrinkling. As soon as you begin to think in terms of living things, you have to make the thought itself mobile. The thought must begin to acquire inner mobility through your own power.

There are two beautiful poems by Goethe. One is called “The Metamorphosis of Plants” and the other “The Metamorphosis of Animals”. These two poems can be read, you can find them beautiful, but you can also do the following. You can try to really think the thoughts in these poems as Goethe thought them, from the first line to the last, and then you will find that if you go through with it, the thought can move inwardly from beginning to end. And anyone who does not follow the thought of these poems in this way has not understood the metamorphosis. But anyone who follows the thought in this way and then lets it sink down into the unconscious, and then, after having done this several times, remembers precisely this thought of the metamorphosis – for this is no different from the thinking that you are supposed to follow in 'How to Know Higher Worlds' Knowledge of Higher Worlds?», will sink into the unconscious, and will then, after he has done this often, remember precisely this thought of the metamorphosis. So he who carries this out, who sinks this thought down and then makes the effort to do it fifty, sixty, a hundred times, and a hundred and one times it will perhaps take, will one day bring it up. But then this thought, which he has practiced in this way, will be a mobile one. You will see that it does not come up like a small machine, but forgive me for using this example again, like a small mouse; you will see how it is an inwardly mobile, living element.

I said that it is so easy to delve into this elemental world if you just tear yourself away from the human tendency towards abstract thought. This tendency to have limited, abstract thoughts instead of inwardly mobile thoughts is so terribly great. Isn't it true that people are so eager to say what this or that is and what is meant by it, and are so satisfied when they can say that this or that is meant by it, because it gives them a thought that does not move like a machine. And people become so terribly impatient in their ordinary lives when you try by all means to convey to them flexible and not such abstract boxed thoughts. Because all outer life of the physical plan and all life of outer science consists of such dead boxed thoughts, of nested thoughts. How often have I had to experience that people asked me about this or that: Yes, what about it? What is that? They wanted a complete, rounded thought that they could write down and then read again, repeating it as often as they liked. But the aim should be to have a thought that is flexible within, a thought that lives on, really lives on.

But you see, there is also a very serious side to the mouse. Why do some people scream when they discover that they have reached into a cupboard and are holding a mouse in their hand? Because they are afraid! And this feeling really does arise at the moment when you realize, really realize: the thought is alive! Then you start to be afraid too! And that is precisely what good preparation for the matter consists of: unlearning to be afraid of the living thought. The materialists do not want to come to such living thoughts, I have emphasized this often. Why? Because they are afraid. Yes, the master of materialism, Ahriman, appears once in the Mystery Drama with the expression “fear”. There you have the passage in the Mysteries where it is indicated how one feels when thoughts begin to become mobile. But now, all the indications in “How to Know Higher Worlds”, if followed, lead to getting rid of this fear of the mobile, of the living thought.

So you see, you enter into a completely different world, a world at whose threshold you must truly discard abstract thinking, which dominates the entire physical plane. The endeavor of people who want to enter the occult world with a certain degree of comfort always consists of wanting to take with them the ordinary thinking of the physical plane. You cannot do that. You cannot take ordinary physical thinking into the occult world. You have to take mobile thinking into it. All thinking must become agile and mobile. If you do not feel this within you – and as I said, you are not doing it right if you do not feel it relatively soon – if you do not pay attention to what I have just said, then it is very easy not to grasp the peculiarity of the spiritual world. And one should grasp it if one wants to deal with the spiritual world at all.

You see, it is so difficult to struggle with human abstractness in this field; because once you have grasped this flexibility of thought, you will also understand that a flexible thought cannot occur in any old way, here or there. You cannot, for example, find a land animal in the water; you cannot accustom a bird, which is suited to the air, to live deep down in the water. If you go to the living, you cannot do otherwise than to accept the idea that one must not take it out of its element. You have to keep that in mind.

I once tried, in a very strict way, initially in a small area – I always try to do it this way, but I will just mention it now as an example – with a very important idea, to show vividly, precisely with an example, how things must be when one takes into account the inner life of the thought. In Copenhagen I gave a small lecture cycle on 'The Spiritual Guidance of the Human Being and of Humanity', which is also available in print. At a certain point in this lecture cycle, I drew attention to the mystery of the two Jesus children. Now take it as it is presented there. We have a lecture cycle that begins in a certain way. It draws attention to how man can already acquire certain insights if he tries to look at the first years of a child's development, tries to look back at these things. The whole thing is designed. Then it continues. The part of the hierarchies in human progress is presented - the book is printed, it is probably in everyone's hands, so I am talking about something very well known - then there is a certain connection, at a very specific point, about the two Jesus children. It is part of the discussion of the two Jesus children that it happens at a certain point. And anyone who says, “Well, why shouldn't we be able to take this discussion of the two Jesus children and present it exoterically, even though it has been taken out of context?” is asking the same question as someone who asks, “Why does the hand have to be on the arm, on this part of the body?” They could even say, “Why isn't the hand on the knee?” It could perhaps be there too. He does not understand the whole organism as a living being, he believes that the hand could also be somewhere else, right? The hand cannot be anywhere other than on the arm! So in this context, the thought of the two Jesus children cannot be in a different place because it is tempting to develop the matter in such a way that the living thought is included in the presentation.

Now someone comes along and writes a piece of writing and takes this thought in a crude way and puts it in context with other thoughts that have nothing to do with it! But that means nothing other than: he puts his hand on his knee! What does someone do who puts his hand on his knee? Yes, you can't do it to an organism, but you could draw it. Paper is patient, you could just draw a human figure, supported here, and the two knees so that hands grow out of them. [This drawing has not been handed down.] Not true, you could draw that, but then you would have drawn an impossible organism; you would have proved that you understand nothing of real life! One could also use the comparison: he has placed the eagle, the bird that is meant for the air, in the depths of the sea or something similar.

What did such a person try to do? Yes, you see, what he tried can be done with all things that relate only to knowledge of the physical plane. One professor can write a book by starting with one, another can start with another, and it does not matter so much there: things can be taken out and so on. But there one is not dealing with living beings, but with thought machines. That is the essential point.

A person who does something like this, who tears something out of context and puts it into an impossible context, has proved that he is completely ignorant of the essence that has been the driving force and inspiration of our entire spiritual scientific movement since its inception, because he is trying to apply the very ordinary materialistic scheme to the spiritual as well. This is very essential. It is very important to face these things squarely, otherwise one does not understand the inner significance of higher knowledge. One cannot say everything at any given point. And it is really true with regard to the exoteric, which borders on the esoteric, that Hegel has already said that a thought belongs in its place in context. I hinted at this recently when I tried to make some suggestions in this direction on Hegel's birthday. In this way, one achieves nothing less than to submerge into life with thinking, whereas otherwise one always lives in the dead; one submerges into life.

But through this, something also reveals itself that could not be recognized at all before and that cannot be examined at all on the physical plane, namely, arising and ceasing. You can also see this from “How to Know Higher Worlds.” On the physical plane, nothing else can be observed than what has come into being. The arising cannot be observed at all; only what has come into being can be observed on the physical plane. The passing away cannot be observed either, because when the object passes into the passing away, it is no longer on the physical plane, or at least it moves away from the physical plane.

So one cannot observe arising and ceasing on the physical plane. The consequence of this is that we can say: we enter into a completely new world element when we discover the movable thought, namely into the world of life and that is the world of arising and ceasing.

Occultly speaking, this could also be expressed in the following way: During the old moon time, man was - albeit only in the dream consciousness - in the world of becoming and passing away. It was not that he saw with his senses what was arising, for he had not yet developed the senses to perceive with, but was still immersed in things. He imagined in a dream-like way, but the images that he imagined in a dream-like way allowed him to really follow the arising and passing away. And that is what he must first strive for again by developing mobile thoughts. So the ascent to imaginative knowledge is at the same time a return, only a return to the level of consciousness. We return to something we have outgrown; we return properly.

So that we can say: This imaginative knowledge is the return to the world of becoming and passing away. We discover becoming and passing away when we return. And we cannot learn anything about becoming and passing away if we do not come to imaginative knowledge. It is quite impossible to discern anything about becoming and passing away without coming to imaginative knowledge.

That is why what Goethe wrote about the metamorphosis of plants and animals is so infinitely meaningful, because Goethe really wrote it from the point of view of imaginative knowledge. And that is why people could not understand what was actually meant when I wrote my comments on “Goethe's Scientific Writings”, which, in the most diverse turns of phrase, repeatedly express that it does not depend on the current scientific but to delve into Goethe's scientific knowledge and to see something tremendously outstanding in it, something quite different from current scientific knowledge. That is why I referred to a sentence that Goethe expressed so beautifully and in which he indicates what is important to him. Goethe made the Italian Journey and followed not only art but also nature with interest. When reading the 'Italian Journey', one can see how he gradually immersed himself in everything that the mineral, plant and so on could offer him. And then, when he had arrived in Sicily, he said that, after what he had observed there, he now wanted to make a journey to India, not to discover anything new, but to look at what had already been discovered by others in his way. In other words, to look at it with flexible concepts! That is what is important: to look at what others have discovered with flexible concepts. That is the tremendously significant fact that Goethe introduced these flexible concepts into scientific life.

Therefore, for those who understand occultism, the following is a fact that is otherwise misunderstood. Ernst Haeckel and other materialistic, or as they are also called, monistic scholars, have spoken very appreciatively about Goethe's Metamorphosis of Plants and Animals. But the fact that they were able to express their appreciation is based on a very strange process, which I will also make clear to you through a comparison.

Imagine you have a plant in a flowerpot in front of you, or even better, outside in the garden, and you want to enjoy this plant. You go out into the garden to enjoy it, to enter into a relationship with it. And now imagine that there is a person who cannot do anything with the plant. And if you ask yourself why, you discover: He is actually disturbed by life! And so he makes a cast of the plant very finely, so that the plant is now like the real one, but in papier-mâché. He puts it in his room and now he enjoys it. Life disturbed him; only now does he enjoy it!

I cannot tell you what torments I suffered as a boy when comparing, which is also characteristic of the attitude of people, I often had to hear as a boy that someone wanted to emphasize the beauty of a rose particularly by saying: Truly, as if made of wax! - It's enough to make you want to tear your hair out! But it does exist. It really does exist that someone emphasizes the excellence of a living thing by saying, in his phrase, that it is like a dead thing. It really does exist. For those who have a sense for the matter, it is something terrible. But if you don't have such feelings, you really can't develop according to reality.

Now, the following happened with Ernst Haeckel. Goethe wrote “The Metamorphosis of Plants” and “The Metamorphosis of Animals”, Haeckel reads them and Ahriman transforms what is alive that Goethe has written into mock-ups, into something that is actually made of papier-mâché, and Haeckel grasps that. He actually likes it. So that in what he praises, he has not praised what Goethe really meant, but Haeckel has only translated it into the mechanistic. Ahriman steps between Goethe and Haeckel, transforming the living into a dead one.

Now, as I said, this conscious upward leap to imaginative knowledge is a return. I said at the beginning of the lecture: the imaginations are actually already within us, they have been within us since the time of the moon, and the development on earth consists in the fact that we have covered them with the ordinary layers of consciousness. Now we are returning through what we have acquired in our ordinary earthly consciousness. It is a real return.

And now one can ask: how can one describe the whole thing? One can now say: it is a descent and a re-ascent. Only now is there any justification for drawing this line at all [the words on the blackboard are connected by a line, see diagram]; there would be no sense in drawing it from the outset. And only now can we say: on the level of ordinary physical cognition, there we are below; here is unconscious imaginative cognition, which now sits below in our nature and has to do with the forces of becoming and passing away; and on the other side, in the ascent, is conscious imaginative cognition. [Both were marked on the blackboard.]

If we take Goethe as an obvious example – I will only look at him as an example – we can say that in Goethe's later works, the point has been reached where the outer development of humanity embraces imaginative knowledge, where it is actually introduced into science.

Now one may ask: Now one can study whether or not very strange things are associated with it? Yes, they are associated with it, because basically the whole of Goethe's way of thinking is quite different from that of other people. And Schiller, who was unable to develop this way of thinking, was only able to understand Goethe with the greatest effort, as you can see from the correspondence between Schiller and Goethe at the point I have often quoted, where Schiller writes to Goethe on August 23, 1794:

”...For a long time now, although from a considerable distance, I have observed the course of your mind and noted the path you have mapped out with ever-renewed admiration. You seek what is necessary in nature, but you seek it by the most difficult route, which any weaker force would do well to avoid. You take all of nature together to get light on the individual; in the totality of its manifestations you seek the explanation for the individual. From the simple organization you ascend, step by step, to the more complicated, to finally build the most complicated of all, the human being, genetically from the materials of the whole of nature. By recreating it, as it were, you seek to penetrate its hidden technology. A great and truly heroic idea, which shows sufficiently how much your mind holds the rich totality of its ideas together in a beautiful unity. You could never have hoped that your life would be enough for such a goal, but even just to embark on such a path is worth more than any other ending, and you have chosen, like Achilles in the Iliad between Phthia and immortality. If you had been born a Greek, or even an Italian, and had been surrounded from your cradle by a refined nature and idealizing art, your path would have been infinitely shortened, perhaps even made superfluous. You would have absorbed the form of the necessary into your first view of things, and the great style would have developed in you with your first experiences. Now that you have been born a German, since your Greek spirit has been thrown into this Nordic creation, you had no choice but to either become a Nordic artist yourself or to replace what reality withheld from your imagination by the help of your thinking power, and thus to give birth to a Greece from within and in a rational way, so to speak. In that period of your life when the soul forms its inner world from the outer world, surrounded by imperfect forms, you had already absorbed a wild and Nordic nature into yourself, when your victorious genius, superior to its material, discovered this defect from within, and from without it was confirmed by your acquaintance with Greek nature. Now you had to correct the old, inferior nature, which had already been forced upon your imagination, according to the better model that your creative mind created for itself, and this could not, of course, be done otherwise than according to guiding concepts. But this logical direction, which the mind is compelled to take in reflection, does not go well with the aesthetic one, through which alone it forms. So you had more work to do, because just as you went from intuition to abstraction, you now had to convert concepts back into intuitions, and transform thoughts into feelings, because only through these can the genius bring forth... “

He considers him to be a Greek transplanted to the Nordic world, and so on. Yes, there you see the whole difficulty Schiller had in understanding Goethe! Some people could learn something from this who believe they can understand Goethe in the twinkling of an eye and thereby elevate themselves above Schiller, even though Schiller was not exactly a fool when it came to those people who believe they can understand Goethe so readily!

But the peculiar thing that can be discovered is that Goethe also has a very peculiar and different view in relation to other areas, for example in relation to the ethical development of the human being, namely in the way of thinking about what the human being deserves or does not deserve as reward or punishment.

It is impossible to understand Goethe's work from the very beginning if you do not consider his, I would say his entire environment's, divergent way of thinking about reward and punishment. Read the poem “Prometheus,” where he even rebels against the gods. Prometheus, that is of course a revolt against the way people think about rewards and punishments. For Goethe there is the possibility of forming very special ideas about rewards and punishments. And in his “Wilhelm Meister” he really did try to present this, I would say, in a wonderfully probing way in the secrets of the world. You don't understand “Wilhelm Meister” if you don't consider that.

But where does that come from? It comes from the fact that in the realm of physical knowledge one cannot form any idea at all of what punishment or reward is to be applied to anything human in relation to the world, because that can only arise in the realm of imagination. That is why the occultists always said: When you ascend to imaginative knowledge, you experience not only the elemental world, but also - as they put it - “the world of wrath and punishment”. So it is not only a return to the world of becoming and passing away, but at the same time a climbing up to the world of wrath and punishment. The words “return to the world of becoming and passing away” and “world of wrath and punishment” were written on the blackboard. ]

Therefore, only spiritual science can truly illuminate the peculiar chain of cause and effect between what a person is worthy and unworthy of in relation to the universe. All other “justifications” in the world are preparatory to this.

We have now reached an important point, and I will continue with this tomorrow.