The Rudolf Steiner Archive

Gesture which is to be used for the expression of music must be gesture rising out of actual experience, and this can only be an experienced gesture if the underlying experience is there first.

You will understand this if you once more place before your soul the origin of music and speech in the human being. [7] Music and language, that is to say, the sounds of music and of speech, are connected with the whole human being. When the human being sings or speaks, the experience of the singing or speaking is in the astral body and ego.

Now everything that lives in the astral body and ego has its physical manifestation in air and warmth. Let us suppose that someone is singing or speaking. Imagine to yourselves as vividly as possible how the sound-formation of speech or music comes about. The formations of speech and music live purely as soul-element in the astral body and ego. Along with the astral body and ego they are then imparted to the air, to the organs of breathing and everything connected with them; they are imparted to the air and the organs of breathing by and through the astral body.

But you know that when any body, [like] a volume of air, is compressed, it becomes warmer. It becomes inwardly warmer. Compression causes an increase of inner warmth. When such a body expands, it uses this warmth again in the process of expansion. In the oscillating air, that is to say, in the alternation between condensed and rarefied air, there are continual fluctuations of temperature: warm, cold; warm, cold; warm, cold.

Thus there enters into the stream of singing or speaking the element of warmth. The ego lives in this element of warmth, and singing and speech gain their inwardness through this. Musical sound and the sounds of speech actually acquire their inner quality of soul from the warmth that, as it were, is carried on the waves of this air (which form the sound purely outwardly); warmth is carried on the actual flowing waves of the air. The astral body is active in the flowing air itself, and the ego lives in the warmth which flows on the waves of the air. But the astral body and ego are not only present in the air and warmth, they are also present in the fluid and solid elements of the human body. When a human being speaks or sings, the astral body and ego are partially withdrawn from there, and limit themselves to the air and warmth. Singing and speaking do in fact entail a withdrawal of the astral body and ego from the structure of the human body, but not completely, as in sleep. This is a partial withdrawal from the solid and fluid elements of the human body, which then remain behind. From this you will see that when someone speaks or sings, something takes place in his whole body.

We will now try to become aware of how the human being perceives what is taking place here. We know that the sounds of speech and of singing are activated by the larynx and all that is connected with it. The human being perceives by means of the ear. Here we have two organs clearly placed at the periphery of the body. Feeling is poured into these organs. In the senses there is the actual active feeling, active feeling of the soul. We feel with the eye; we feel with the ear. But it is also feeling which stimulates activity in the larynx and its neighbouring organs. Feeling is at work here. The imagination (Vorstellung) is merely pushed into the feeling. It is feeling which is at work. The human being, as it were, is specialized in the organs connected with hearing, speech and singing when he sings or takes in what is sung, or speaks or takes in what is spoken. Hence the actual experiences remain in the ear and larynx, and do not really enter into consciousness. [8]

Everything that can be laid hold of by the senses, and everything that can be expressed through the organs of speech, can also be expressed by the entire body, by the entire human being. In the movements of eurythmy, the whole human being becomes a sense-organ. The whole range of feeling, as it streams and strongly pulsates through the body, becomes incitement and an organ of perception—the whole range of feeling with the human being as the instrument. And so what otherwise remains an experience of the ear or larynx only, now has to become an experience of the whole human being. When it becomes an experience of the whole human being, it quite naturally becomes gesture. Once the experience is understood, is laid hold of, then the experience becomes gesture. Let us make this clear with a few examples. Think of a musical sound as such, and in order to have a starting point, take any note as keynote.

The connection of the sound with feeling will become clear to you when you recall that the animal (which is of a lower order than man) breaks forth into sound as the result of a sensation of well-being, of pleasure, or of some sort of pain. Now pleasure, comfort and pain are experiences of feeling. Ultimately every sound uttered by the human being originates from some such basic source. When the human being experiences pleasure or well-being, he feels impelled to utter sounds. Why? Why does the human being utter sound? You might say he could also remain silent. Why does the human being break out into sound when he is overcome with delight?

What does a feeling of pleasure imply? To be overcome with pleasure really means that we lose ourselves in our surroundings. Everything which induces pleasure means that the human being is losing himself. And everything painful means an excessive awareness of himself. You are aware of yourself too strongly when you are in pain. Just think how much more aware of yourself you are when you are ill, or experience some kind of pain, than you are when the whole body is free from pain. When we are in pain we are too strongly within ourselves, and we are excessively aware of ourselves. In pleasure, on the other hand, we nearly, or even utterly, are losing ourselves. Harmonious feeling is brought about by the balance between pleasure and pain, by giving ourselves up entirely to neither the pleasure nor the pain.

Why does the human being give vent to sound when experiencing pleasure, pain, or any other nuance of feeling—each of which in the last resort leads back either to pleasure or pain? Why does he produce sound? He does so in order to keep a hold on himself when he is at the point of losing himself in pleasure. The sound enables him to keep hold of himself; otherwise in this pleasure his astral body with his ego would leave him. By giving vent to sound he is able to keep hold of himself. This is at the root of all phenomena in which sound is produced by a living being. (For instance, the moon works very strongly upon certain creatures, such as dogs. It threatens to tear away a dog's astral body. And the dog barks at the moon because by this means it anchors its astral body.)

When the human being gives vent to sound for itself (and any note may be regarded as the keynote) it means that he is resisting this tendency to lose himself in pleasure. He is holding fast to his astral body.

And when the ego and astral body sink down into pain, then, because the human being is too intensely aware of himself, he quite rightly tries to tear himself away from himself by the utterance of some note or sound. In the plaintive sound of the minor mood there is an effort to tear free from an excessive awareness of self.

When we think of it, by saying this we are already speaking in gesture. There is not the least need to interpret anything artificially, because we speak in gesture. We need only to understand what occurs here, and we speak in gesture. If I say: ‘I have sunk too deeply into myself and must tear myself out of myself- then indeed it is beyond doubt that some sort of gesture which proceeds from me is a natural gesture, and is the actual expression of what I experience. It expresses what the experience is. And so the understanding of such an experience already indicates the gesture. You cannot do otherwise when describing the experience than to describe the gesture. For this reason the movements of eurythmy are not arbitrary, but actually reveal what is experienced.

Now let us suppose that someone, either in pleasure or pain, has produced a sound which we will regard as the keynote. The underlying mood is unfinished; it cannot stay like that, for if it did, the person in question would be constantly obliged to sing the keynote or to utter a sound. When experiencing pleasure he would never be able to cease uttering this sound; he would have to sustain it forever if the sound itself did not exert a certain calming influence. The human being cries out into the world as a result of pleasure or pain, and here is an incomplete condition of human experience, an unfinished condition of soul for human experience.

Let us now take the transition from keynote to octave. In the transition from keynote to octave, the octave simply falls into the keynote. It is as if you stretched out your hand and came into contact with an object. Through this external touch the longing you felt for something outside yourself is satisfied. In the same way the octave comes to meet you from the world in order to calm the prime within itself. That which was unfinished to begin with is now complete. When the octave is added to the prime, a wholeness is created again. In the course of these lectures you will see how the gestures come about by themselves if we penetrate to a true understanding of the underlying experience. [9]

Let us consider [the interval of] the fifth—the fifth which is united in some way to the keynote. It is essential here truly to acquire the experience of the fifth. The remarkable thing about the fifth is that when the human being holds the keynote and the interval of the fifth from it, he feels he is a completed human being. The fifth is the human being.

Naturally such things can only be expressed in the language of feeling—nevertheless, [we can say] the fifth is the human being. It is exactly as if the human being inwardly extended as far as his skin, as if he laid hold of his own skin and enclosed himself off within it. The fifth is the skin as it encloses the human being. And never, in the realm of musical sounds, can the human being feel his humanity so strongly as he does when he is experiencing the fifth in relation to the keynote. What I have just said may be more intelligible in the following considerations.

Let us now compare the experience of the fifth with that of the seventh and the third. The experience of the seventh (sounding either harmonically or melodically) involves those sounds which were especially favoured in the world of ancient Atlantis; it was the interval that gave them special delight. [10] Why was this? It was because in the epoch of ancient Atlantis, people's experience of going outside themselves was still a positive one. In the seventh we really do go out of ourselves. In the fifth we go as far as the skin; in the seventh we are outside ourselves. We leave ourselves in the seventh. Indeed in the seventh as such there is absolutely nothing soothing. It might be said that when a person cries out in the keynote because he is being hurt, and then adds the seventh to it, he is really crying out about the crying, in order to escape from it again. He is quite outside himself. Whereas the fifth is experienced at the surface of the skin, and the human being feels his humanity, in the seventh there is the feeling of breaking through the skin and going into his surroundings. He goes out of himself; he feels he is in his surroundings.

In the third there is a distinct feeling of not reaching as far as the skin, but of remaining within yourself. The experience of the third is very intimate. You know that what you settle with the third you settle with yourself alone. Just try out how unfamiliar the experience of the fifth is compared to the experience of the third. The feeling of the third is an intimate one which you settle with yourself in your heart. In the fifth you feel that other people too can see what you experience, because you go as far as the skin. It is only by means of feeling that such things can be experienced. And in the experience of the seventh you are outside yourself.

And now recollect what I said yesterday. The gesture which characterizes the keynote is the step. This step gives us the position. The third is characterized either by an accompanying or a following gesture of one arm, indicating an entering into movement, while following in the direction of this gesture. The direction of the gesture is followed in such a way that if it is the major third, you still remain within your arm. You remain within it. I have characterized the fifth as something that you form. You return, just as the skin forms the human being on all sides. In the triad, regardless of whether it is major or minor, we have:

Inner activity: the step
Remaining within yourself: the movement
Closing off what is outside: the formation

Now the point is this: When trying to give clear expression to the remaining-within-yourself in the third, it is possible to vary the movement. In order to introduce some variety, you might, for instance, stretch out your arm and, while continuing the direction of the gesture, move in some way such as this (right arm stretched out, the hand moving up and down). Now you are within yourself. Thus the interval of the third is well expressed when you first take up the position, and then make the movement—continuing, however, to move within the movement. Now you have inwardness.

Suppose that you are dealing with a major third. Then you will show inwardness by making the arm movement go away (out) from yourself. If you express the minor third, you remain more within yourself, which you indicate with your arm back towards yourself (inwards). You have a gesture that really expresses the experience of the third. [11]

If you want to experience these things you must repeatedly practise the corresponding gesture and try to see how the experiences of the intervals actually flow from the gesture, and how they are within it. Then the corresponding experience will grow together with the gesture, and you will possess that which makes the matter artistic. The experience will grow with the gesture. Only then will the matter become artistic.

In the experience of the seventh this is especially apparent. With the seventh, the essential thing is that you go out of yourself, for it is a going-out-of-yourself. Somehow the gesture has to show that you go out of yourself (you stretch out the arm, turning the hand while shaking it). The natural expression of the seventh is a movement which you do not follow, but in which the hand is allowed to be shaken. And when you compare the experience of the fifth with that of the seventh, you will feel in the fifth the necessity of closing off, of giving it form, of making so to speak an enclosing movement. This is not possible in the experience of the seventh, for in the seventh it is as if your skin disappears while experiencing the seventh, and you stand there as a sort of flayed Marsyas. [12] The skin flies away and the whole soul goes out into the surroundings. If you want to introduce the other arm as well into the movement to support the seventh experience, you can do so, of course, for there is never a question of pedantry or retaining something schematic. In such a case you would have somehow to indicate the seventh with the other hand. Of course this must be beautifully done.

Thereby you will experience, when you enter deeply into the matter in this way, that the experience itself becomes gesture. And eurythmy will only prosper when the experience itself becomes gesture.

A eurythmist must become in some respects a new human being compared to what he or she was before, because in general, through the fact that we speak or sing, we have brought about a certain attentiveness to what we actually want in the gesture. We lead over what we want in gesture into speech and song. When we retrieve it, gesture arises. And a professional eurythmist (if I may use such a philistine expression)* has to feel it absolutely natural to translate everything into gesture. Indeed, when mixing in ordinary, polite society, a eurythmist cannot help feeling a sense of restraint and restriction at not being able to eurythmize all sorts of things in front of people. Isn't it true, that just as the painter itches to paint when he sees something and is unable to (for he would like to paint everything but cannot always be at it, and thus has to restrain himself), so too a tired eurythmist is actually something terrible? A eurythmist cannot manifest fatigue as something natural. It is really dreadful to see a eurythmist sitting down tired during a rehearsal, for it is exactly (isn't it?) as if someone suddenly became rigid or got paralysed. I have sometimes observed in eurythmy rehearsals that eurythmists sit down when there is a little pause. Such things do not, I believe, happen in Dornach, but here and there it does occur. I probably turn quite pale, for my blood runs cold at this quite impossible sight of a tired eurythmist. There is no such thing! In life, of course, there is such a thing, that is the paradox, but you must sense that this is so. So I do not say you must not sit down if you are tired, but I do say: If you do, you must regard yourself as a caricature of a eurythmist!

These things must be said in order that the fundamental mood of the artistic process may be brought into the matter, for art has to be based upon the mood, upon that which runs through everything like a connecting thread. And especially such an art as eurythmy, where the whole human being is involved, can never prosper if this mood is lacking, if this mood does not permeate everything.

When these things have become real experiences, you will simply and truly feel eurythmy as you do speaking and singing. You must accustom yourselves, however, just as you experience the sounds of language, to experience singing too for the activity of eurythmy. It is quite true to say that the eurythmist must experience the musical element in a fuller sense than, for instance, a singer does. With a singer it depends upon his entering right into the musical sound, taking hold of it, being able to hear it, and living in an element in which his body comes to his assistance to a marked degree. The body does not come to the assistance of the eurythmist; for in eurythmy it is the soul which must engage in the gesture what the senses or larynx have to do in singing and speaking.

It is necessary to preface the description of the actual movements by this somewhat lengthy introduction, for these things are especially important for the whole feeling of the eurythmic element. The eurythmic element will not be understood if such things are not entered into with intensity. An understanding must be acquired by the eurythmist for all that I have stressed when giving introductions to performances, but which in the present time is rarely correctly understood. I often say that the prose content of the words do not make for the poetical element, the artistic and poetic element. There are people today who read a poem as though it were prose. You do not have the poem there. The prose content does not constitute the poem. The poem is what lives in the musical, sculptural and pictorial element of the words, in their melodic motifs, rhythm and beat, and so on. Anyone who wishes to express what should be expressed in poetical form, must be vividly aware that the words must not be used merely on account of their meaning, but arranged according to the beat, the rhythm, the melodic motifs, or that which is pictorial in the formation of the sounds, and similar things.

We have, consequently, to go one stage beyond the mere content of language, for in so far as its actual content is concerned, language is inartistic. It exists for prose. This is the inartistic element in language. Not until language is fashioned, not until it is given shape and form, does it become artistic.

What has been said here about language is quite obvious for singing, of course. We can see that our age does not care much for real artistic creation, for it happens that modern music [1924] too exhibits the tendency that does not allow the actual music, the progression of notes, to speak for itself, but tries to express something quite different by this means.

Now you must not misunderstand me, for it is not my intention to make any anti-Wagnerian propaganda. Time and again I have emphasized Wagner's significance in the culture of our age. This, however, is not because I regard his music as being ‘musical music’, but rather because we have to admit the demand of the present age for ‘unmusical music’. It is apparent to me that unmusical music has its justification in our age. Fundamentally speaking, Wagner's music is unmusical. [13] And it is really necessary in an age like ours, when music should also become gesture, to point the way to musical experience as such, when musical experience is to be expressed in gesture, and to show how the interval of the third represents inwardness, and the fifth a boundary, the seventh a going-out-of-yourself. And what is it that gives the feeling of inner satisfaction in the octave? The inner satisfaction in the octave is due to the fact that here, I would like to say, we get away from the danger inherent in the seventh. We escape from this danger inherent in the seventh and re-find ourselves outside.

With the octave it is like this, as if—with the seventh—you had become a flayed Marsyas, without your skin, the soul departing, the skin flying off and is getting away; but now you feel in the octave: ‘I am stripped of my skin, but it is coming, returning, I'll have it in a moment, it is about to return, it is there approaching and yet it is still outside.’ You have indeed grown somewhat, you have expanded and become fuller. It is as though you grow while experiencing the octave.

Obviously, then, the movement for the experience of the octave is not the same as that for experiencing the seventh. The experience is attained by turning round the whole hand outside yourself. The interval of the octave is expressed by turning the hand, starting with the palm facing outwards. If you wish to give full expression to the octave, you can of course make the same movement in this way too (in the same way, but carried out with both arms and hands). Here again it is self-evident that these things must be practised so well that they become second nature. Just as the musician has to get the producing of the notes into his fingers, so the eurythmist must get the corresponding gestures into his or her whole body.

This is why it is so necessary for the basic elements of eurythmy to be repeatedly practised. Such elementary movements as those I have briefly indicated (and shall develop further in the course of the next few days) must become second nature so it is no longer necessary to think about them, any more than it is necessary to think about the letters of a word that is spoken. If we say the word ‘letter’ we do not need to think, for we know quite well how its component sounds have to be pronounced. And so we have to reach the point where the movements for the intervals, triads, and so on, are produced out of ourselves quite naturally. You will then see how easily the other things arise. And above all you will increasingly realize how the experience passes over into gesture.

In order to understand this, let us deal with the difference between concords and discords. As you know, triads are concordant or discordant; a four-note chord is actually always discordant.

You will have realized yesterday from the movements for the triads, that in order to give expression to the experiences of the triad, the assistance of the whole human being must be invoked. In the first place we have what I characterized as the step. The step essentially entails the use of one leg. Then, with both major and minor chords, we have the movement with one arm, and the forming with the other. You may say: ‘I have nothing else to use.’ Well, as you do have two legs, you have a means of expressing a chord of four notes. And now you may say: I really cannot step forwards with one leg and backward with the other, simultaneously. And yet you can do this if you jump. You see, we arrive at this quite naturally.

There is no other means of presenting a four-note chord than by jumping somewhat, moving one leg forwards and the other backwards. This is how a four-note chord is presented. But think for a moment what happens here. It would be difficult, as well as not looking particularly beautiful, to jump without bending the knees. You cannot jump easily with totally stiff legs, quite apart from the ungraceful appearance. In jumping you must bend at the knees, so that in the jumping movement necessary for the four-note discord (because of the nature of the body and its relation to the environment) you really get the bending of the knees as the gesture for the discord. The natural movement for a discord is the bending of the knees entailed by jumping.

From this, however, something else arises. If you have a discordant triad you can again apply the same principle. With a concordant triad you take a step forwards; with a discordant triad you must also make a bending movement. There is no necessity to bend as with jumping, but you can bend. And so you express the discordant triad by moving with bended knees. You can discover this from the fact that a four-note chord (which is always a discord) can only be done by a jump in order to set both legs into movement; for you just do not have four members of your body in order to express a discord of four notes, so you have to jump, coupled with bending. This gives us, therefore, bending as the expression of the discord.

Now just as a musician has to practise his exercises, a tremendous inner liveliness is attained by practising the alternation between discords and concords, passing from one to the other simply with a view to experiencing in their gestures the change of mood, the change in the actual feeling.

If you think of all I have just said, you will find the experience of the fourth of particular interest. In the third we are intimately within ourselves. In the fifth we come just to the boundary of the body. The fourth lies between. And the fourth has this striking characteristic, that here the human being experiences himself inwardly, although not so intimately as in the third. But he does not even reach his surface. He experiences himself beneath this surface. He remains, as it were, just beneath it. He separates himself from the surrounding world, and creates himself within himself. He does not form himself, as in the fifth, where the external world also compels this forming, but he forms himself out of the needs of his own soul. The experience of the fourth is such that the human being feels his humanity through his own inner strength, whereas in the fifth it is through the world that he feels his humanity. In the fourth he says to himself ‘You are really too big; you cannot experience yourself because you are so big. Make yourself a little smaller, yet stay as important as your size.’ In the fourth you make yourself into a snug, comfortable dwarf Thus the fourth demands a very strong relation to yourself. You can achieve this when, instead of simply going outwards or inwards as in the third, you draw the fingers sharply together as if to concentrate the strength of the hand in itself In this way the fourth is expressed and revealed.

These, then, are the principles which have to be considered before entering more deeply into the gestures of the musical element, for without the experience of these principles no truly artistic gestures can come about. I am sure you will have plenty to do when you come to work through all these details. It is better therefore not to give too many gestures in one session, for what has been given must first be assimilated. So we shall continue tomorrow.

#160;

Notes:

1. It has a bourgeois ring in German. Translator's note.

Let us first see if you can manage the following exercise. With the right arm, try to make a movement similar to the one I gave for the forming of the seventh; now try to hold the arm still whilst stepping forwards, so that the arm remains stationary, the body following the direction of the arm. To do this you must bend your arm as you step. The arm, the hand that is, must remain in the same place while you step forwards. This exercise must be carried out in such a way that the arm, the hand, remains where it is, while you come up and join it. This must be practised.

Now try another exercise: While stepping forwards try to draw the hand back somewhat—not too strongly, however. Now we have two exercises. Try to experience in succession seventh and prime, and sixth and prime. The first movement just shown expresses the succession of notes: seventh—prime; and the second movement for the experience sixth—prime; the sound [of each interval] imagined in succession. They can, however, also be imagined simultaneously; I will speak about this a little later on. In this way you are able to bring movement into the gesture.

The movement first shown is one which, in a certain way, throws life back into the lifeless. And indeed, as may be seen from yesterday's description of the seventh, this is also the case in regard to its relationship to the keynote. If you picture the keynote as the embodiment of calmness and quiet, and the seventh as actually lying outside the physical body, so that in the seventh the human being goes out of himself, then it will be possible for you to imagine that by your going out, the seventh brings back the spiritual quickening element into the resting, bodily part.

You see, these things become vividly real when we pass over from the musical element to the eurythmical element. Music naturally is something perceived, as it is produced in the first place in order to be heard, whereas eurythmy brings the whole human being into movement. And you will best recognize the inner reality of what has just been said about the relationship of the seventh to the keynote, from the fact that this can be therapeutically effective. When for instance a hardening process in the lungs or some other organ in the chest is diagnosed, it will be found that this very exercise, as it has now been demonstrated, will have a healing, re-vitalizing effect, helping to bring the condition back to normal.

It is precisely tone eurythmy in all its elements, when suitably carried out, which is a factor in eurythmy therapy. Only it is necessary to penetrate into the nature of the musical sounds in a really living way, as we endeavoured to do yesterday, and as we shall try to continue.

In this connection let me also say the following. If, in a similar way to that which I have just indicated, you go on from the seventh to the sixth in relation to the keynote, you will find in this interval a noticeably weakened relationship, and it is strikingly characteristic that the hand, which is held stationary from outside in the case of the seventh, here goes backwards. This does not express the relation of the living to the lifeless, but the sixth in relation to the keynote is so expressed that you feel it merely as motion, as a setting into activity. It may be compared to a stimulation of feeling rather than to something which imparts life. The sixth in relation to the keynote induces a picture of feeling. The seventh in relation to the keynote induces a picture of life; it imparts life to the lifeless.

And now, bearing in mind these gestures (which will have shown you that in its essential being, tone eurythmy must be movement), I will ask you to consider how tone eurythmy, just as speech eurythmy, may after all provide a correcting influence upon art as a whole.

It was necessary to tell you that speech eurythmy has a corrective artistic influence upon recitation and declamation. In introductions to public performances, for instance, it is difficult to make use of the necessary drastic expressions which are demanded if we are to describe the inartistic nature of our modern age, for people would only be shocked, and very little would be gained. Things have to be put mildly, as indeed I try to do. But the truth of the matter is that in our inartistic age, recitation and declamation have become completely degenerate. The laws of true art are no longer observed in recitation and declamation. Everything is read like prose in a thoroughly materialistic way. People think it must be felt out of the gut instinctively; emphasis is determined by pathos, or something of the sort, indeed by anything that makes an appeal to sensation or sense-impression. Now true recitation and declamation must be based upon the forming and shaping of the actual language, upon making speech musical, and upon a sculptural, pictorial treatment of speech. And when on the one hand we have a eurythmy performance, and on the other hand recitation, then it is not possible to make use of recitation and declamation in their present degenerate state. Attention must be paid to speech.formation. I always describe this as a ‘hidden eurythmy’, for eurythmy is indicated in recitation and declamation. Attention must be paid to the shaping and forming of speech. In such a way eurythmy can also exert a corrective influence upon everything that is musical.

We are actually living (this is naturally still more shocking) in a terribly inartistic age where music is concerned, too. This cannot be denied—we are living in a terribly inartistic age. For today there is an exceedingly widespread tendency to drive music as such into mere noise. [14] We have gradually ceased to be musical in the real sense, and instead we now make use of music in order to portray all sorts of sounds which are meant to represent something or other; the listener cannot always be sure what actually is intended, but at any rate it is a question of portraying something or other. Now please do not regard me as one of those Philistines who are only out to denegrate all that is being produced today in the sphere of music—doubtless with the most honest intentions! But it is necessary, when dealing with an art such as eurythmy, to raise it upon the foundations of what is really artistic, and to be able to speak about such things radically, too. It is impossible to do otherwise. Thus it is easy to see how eurythmy can work correctively upon musical taste.

You must forgive me if I now introduce something in the nature of an exercise; I have to do so in order to show how something can be built out of the fundamentals of art. Try first of all to become inwardly completely quiet, indifferent to sense impressions, as well as to any inward passions. Having achieved this state of indifference, sit down at the piano and play one of the middle notes (any note will do) and try while going up the scale to the octave really to experience the progression of notes. [15]

Having experienced this in peace and quiet, stand up and try to realize in eurythmy gestures what you have experienced. You will arrive at much, both in regard to what I have already mentioned and to those things about which I have still to speak. Endeavour, when attempting to reproduce in gesture what you have just played (single notes in an ascending progression) to bring into the eurythmy gestures (into the gestures for the triad, for instance) something similar to the gestures we have been discussing during these last few days. You will find it comparatively easy to feel a very strong connection between what you produce, feel and experience as gesture, and the notes as you play them successively on the piano.

Try striking a chord and try to reproduce in eurythmy the harmony of the notes. You will now discover that something within you does not want to go along with this. When striking a chord you are faced with the problem of having to carry out the step and movements of both arms simultaneously, as I indicated, let's say, for the movements for the major triad. You are impelled to do this, but it will certainly arouse in you a feeling of inner opposition. A certain tendency will become apparent in your soul to transform the chordal, harmonic element into the melodic element, to transform the notes sounding simultaneously into a progression. And you will only feel really satisfied when, as it were, you release the chord, when you actually lead it over into Melos, making three movements for the three notes, one after the other.

It may be plainly stated as a law that eurythmy actually compels us to release continually the harmonic element into Melos. This is the corrective element about which I now want to speak. When you feel this in the right way you will come to the conclusion that, drastic as it sounds, the chord is really a burial. The chord may be likened to a burial. The three notes which are played together, and which are thus dependent upon space and not upon time—these notes have died in the chord. They only live when they appear as melody. When you really feel this you will discover the actual musical element is only to be found in the melodic element, the effect of the notes living in time.

You will then realize how senseless it is to ask: ‘What do the notes express?’ Today people have gone so far in this direction that they try to make music represent the rippling of water, the sighing of the wind, the rustling of leaves, and all sorts of things. This, of course, is really apalling. Naturally, it is not my intention to campaign against this kind of thing, nor to detract from the pleasure anyone may take in it; I am only concerned that we correctly understand the matter out of the fundamentals. The notes, or progressions of notes, speak for themselves. They are indeed only there to speak for themselves, to express what the third says to the fifth, what the third says to the prime, or what the three of them say together when played in succession. Otherwise we find ourselves in the position of the distinguished European musician who once played a most complicated piece of many voices to an Arab. The Arab got into a terrible state of agitation, and said: ‘But why go so quickly? I should like to hear each song in its turn.’ He wanted each voice to be played separately, for he could not take in that the piece represents something quite other than a basically unmusical, noisy conglomeration of quite different things. [ 16]

I want to make clear to you the fact that in the musical element a real world is present, wherein we rediscover the impulses of the rest of the world.

Let us consider one fact. We die. The physical body remains, but it disintegrates. Why does it disintegrate? Why does it dissolve? The process of dissolution begins after death; up to that point the body does not disintegrate but remains intact. Why? Because previously we bore time within ourselves. From the moment when death occurs, the corpse lives only in space; it cannot participate in time. Because it can no longer participate in time, because it exists only in space and is subject to the laws of space, this fact makes it dead, this makes it fade away. We become a corpse because of the impossibility of bearing time within ourselves; we live, during earthly existence, because we are able to carry time within ourselves, to allow time to work within ourselves, because time is active in the material which extends in space. Melody is manifest in time. The chord is the corpse of melody. Melody dies in the chord.

As far as the understanding of music is concerned, our present age is in a sorry state. All these discussions about tone-colour in the overtones, and so on, are really only an attempt to make the single note into a kind of chord. People today have an innate tendency to find the harmonic element even in a single note. In reply to various questions as to how music ought to be developed, I have frequently answered that we must become aware of the melody in the single note; [ 17] in the single note we must become aware of the melody, not of the chord, but of the melody. One note conceals within itself a number of notes—every note at all events contains three. With the one note that you actually hear as sound, which is produced by an instrument and is actually audible, we have the present. Then there is another note within it, which is as if we recalled this second note. And there is a third note within it, which is as if we expected this third note. Every note really calls forth recollection and expectation as adjacent, melodic notes. This will come to be presented one day. [18] People will surely discover the possibility to deepen music by the single note becoming deepened into melody. Today people look for the chord in a single note and think about how this chord exists in the overtones. This, however, actually points to their materialistic conception of music.

Now the following question is unusual, but from the point of view of eurythmy it is fully justified: Where does the musical element really lie? Today there would be no doubt that the musical element lies in the notes, because such a terrific effort is required in the schools to put down these notes correctly, to arrange them in the right way. As you know, it all depends on mastering the notes. But the notes are not the music! Just as the human body is not the soul, so the notes are not the music. The interesting thing is that the music lies between the notes. We only need the notes in order that something may lie between them. The notes are necessary, of course, but the music lies between them. It is not the C nor the E which is essential, but what lies between the two. Such an element lying in-between, however, is only possible in the melodic element. In the chord it would be quite senseless. In harmony, such a lying in- between would be quite senseless. The transition from Melos to the harmonic element is really a stepwise transition from the musical to the unmusical realm. For through this the music is buried, through this the music is killed.

I could give you a somewhat peculiar definition of music. Naturally I should not want to give it in a music school, but I have to give it to eurythmists, for anyone really wishing to promote tone eurythmy has to understand these things. It is a negative definition, certainly, but nevertheless correct: What is the musical element? It is what you do not hear! [19] That which you hear is never musical. If you take the experience which exists in time, which lies between two notes of a melody, then you hear nothing, for it is only the notes themselves which are audible. What you inaudibly experience between the notes, that is music in reality, for that is the spiritual element of the matter, whereas the other is the sensory manifestation of it.

You see, this enables you in the most eminent sense to bring the human personality, the human personality as soul, into the musical element. [20] The more you are able to bring out that which cannot be heard, the more you use the audible as the vehicle for the inaudible, so much the more is the music permeated with the soul. To feel this in the musical element is precisely the task of the eurythmist. And this is why, in the gestures of eurythmy, in the manner we saw earlier (or as we have otherwise already seen them, or shall be showing them) with these gestures he or she should feel delight not in the position, but in the bringing about of the positions, that is, in the movement. In the whole extent of eurythmy, the essential thing is not in the making of poses, but in the movement.

You may never say (I have frequently emphasized this, but frequently see the opposite conception in practice), you may never say: This is an ee (stretched arm). For now it is an ee no longer. It is only an ee as long as it is being formed, as long as the arm is in movement; so long is it ee. Nothing in eurythmy ever retains its meaning once it has come into being. In eurythmy, the significance lies in the process of coming into being.

Consequently, the eurythmist has to pay great attention to the forming of the movement, directing the greatest care to that movement through which a form arises. And consideration must be taken, as soon as one form arises, to transform it as quickly as possible, to lead it over into the subsequent form. The eurythmist regards movement as his element, neither standing in, nor holding on to, the form.

Anyone sensitive to these things in eurythmy will especially feel the sort of things which we have already done, in the following way. Some piece of music has just finished; the piece is over and you stand in the last position until the curtain falls. (I have asked for this to be done in performances, but it must be felt too.) It is quite finished. The final position, the final figure has come to rest, and the curtain is drawn. What feeling should live here; what should we feel? That the eurythmist seizes up! We actually arrive at the annulling of the artistic, eurythmic activity. It is finished. We say, as it were, to the audience: [21] ‘Friends, we have now killed the performance so that you may come to yourselves and think about it a little.’ Standing still may certainly have this significance. That is why it is justified in relationship to the audience, but only in this relationship.

All this serves to show you how much it matters in every possible form to make a study of the human being in movement. There are three observations we can make about the human being. We know the human being exists in space, but that which is spatial in him does not belong to eurythmy. But what can manifest in space as movement; that is what belongs to eurythmy. And it is clear that the human being lives in space in a threefold manner.

We have thus the human being extended from above downwards, and from below upwards. But we have also the human being extended in the directions right-left and front-back, back-front. The other directions of space may be related to these three directions, which are so clearly to be distinguished in the human being. [23]

When the human being carries musical experience over into eurythmy, he carries it into movement. And he has no choice in his movements but to enter, in some way or other, into these three different directions. He has to find some way of making use of these three directions if the musical element is to be carried into movement, for they represent him and [all] his possibilities of movement. In eurythmy [all] the human possibilities of movement should become apparent.

When you take the directions of up-down and down-up (you will have gathered this from the still relatively primitive tone eurythmy we have had hitherto), when you take the directions up-down and down-up (also taking into account what I have said about the major and the minor triads, and so on, and in connection with the foot and the head), then you will be able to feel: The height of the human being, the up-down and the down-up, corresponds to pitch. We have no other means of expressing pitch than the upwards and downwards movement of the arms, of the hands, and indeed, if you like, the upwards and downwards movement of the legs or head. When making pitch visible, we move in the vertical direction (see Fig. 3).

[IMAGE REMOVED FROM PREVIEW]

Now let us take right-left. This direction immediately carries us over into the gesture of movement. Where is it that the direction right-left makes itself especially apparent? The right-left is especially apparent when someone walks. Walking really is the bringing-into-movement of the right-left: right leg, left leg, right leg, left leg. And the direction right-left will remain lifeless just so long as you walk in life in a philistine manner; there will be no life in the right-left. But life is immediately introduced when we make some differentiation between the right-left, as nature does in that people usually write with the right hand and not with the left. A differentiation may also be shown simply by taking a strong step with the right leg, the left leg being drawn back, before placing it again. Everything that comes about in this way through the differentiation between right and left is connected with beat (see Fig. 3). Beat in music is carried over into eurythmic movement by means of the right-left.

There still remains the front-back. The point here is that the front- back is inwardly taken hold of, and in order to do so we must look at the human being a little more closely.

Now, you know, the front-back is not merely, let's say, as if some signpost is written with ‘front’ on the one side and ‘back’ on the other. The essential element of the front-back is that we see in front of us, but do not see behind us. Behind us is a world of darkness, in fact, of which we have scarcely an inkling, whereas in front of us lies the whole visible world opening out. And in our movement, we can turn the ‘front’ to the whole visible world, and then we are dealing with that which is in front. And when we turn to this ‘front’, it means that we make the movement short. We are right in the midst of the world. We make the movement short.

When we are not able to enter this world, when we are held back, stuck, as it were, to the darkness lying behind us and unable to get out of it, we make the movement long. And so we may simply differentiate the relationship between front and back by means of ‘short-long’. We have then u—or—u, iambus and trochee (see rhythm in Fig. 3). That means, we have rhythm; front-back confers the rhythm.

Now we possess three of the musical elements, and these may be used in your musical forms. If I may thus express it: you step the beat, you express the rhythm by means of quick-slow, and you express the actual musical element, Melos, leading the movements up or down accordingly. The entire human being is engaged in eurythmy by means of beat, rhythm and Melos.

Fundamentally speaking, music is the human being. And indeed it is from music that we may rightly learn how to free ourselves from matter. For if music were to become materialistic, it would actually be lying: it is not ‘there’ Every other form of matter is present in the world and is insistent. But musical sounds originally were not to be found in the material world. [8] We have to devise a means of producing them; they must first be made. The soul element, which lies between the notes, this lives in the human being. But today, because the world has become so unmusical, people are scarcely aware of it.

This will once again be taken into account when people realize that the note corresponds to the calm posture of the eurythmist. Let us now look at the major triad. (This was demonstrated.) Now you are no longer engaged in eurythmy, for eurythmy lies in the process of arriving at this position. The major triad lies in the going forwards, in the tending-towards, the coming-into-being, not in the accomplished fact. But the note as such corresponds to the completed posture. That means, the very moment a note is completed, the musical element ceases.

In this connection the following is of special interest: We have to be able to feel a relationship between the musical element and speech. If you endeavour in your listening to draw out the scale from the main vowels, most interesting things result:

C may be said to correspond to u (‘oo’ )
D to o (‘o’)
E to a (‘ah’ )
F to ö (‘ir’) (English equivalent as in: birth)
G to e (‘a’)
A to ü (‘eu’) (English equivalent as in: feud)
B to i (‘ee’)

This is the approximate correspondence between the scale and the main vowels, purely according to their sound. [24]

Now I would like you to make an oo with the legs. That is the keynote, as you all know. And now try to make the movement of a major or minor triad in the way we have already discussed, marking the third with its completing fifth. If you relate the movements and push them somewhat across, the fifth will be expressed in the movement of the a; it will become an a of its own accord.

After this try to make an ah; and now try most strongly to make a third, not with one hand as we otherwise do, but do the movement for the third with both arms, after imagining the keynote. Then you will find yourself in the eurythmy movement for the sound ah, with the third.

You see something very striking from this. If we listen very attentively it is almost possible to hear approximately this correspondence between the main vowels and the scale; if the sounds are articulated properly they do approximate to the scale. The movements of eurythmy bring this about of themselves. These movements rendering the formations of the musical sounds, also indicate those of the formations for the sounds of speech. This means that we cannot do otherwise in eurythmy than, when doing the right movements, to introduce the right conditions between the musical sounds and the sounds of speech, too.

We have never considered this other aspect of the movements that we have been studying all these years from the point of view of the sounds of speech and their formation; now we must try to realize them in their relationship to the form of the musical sounds. We have to become clear about the approximate correspondence between the scale and the formation of the sounds of speech. And when we compare the formation of the musical sounds with those for the sounds of speech, we find that their resemblance corresponds to the same degree as that between the musical sounds and the speech sounds as such. Of course, it's not the same; there is simply a resemblance. Neither in eurythmy are the two identical.

You see from this how naturally what we call eurythmy arises out of the very essence of speech on the one hand, and of the musical element on the other. That is quite plainly to be seen. And when you have entered into these things, you will be able to feel in no other way than: A musical sound or sound of speech can have only one gesture; it cannot be expressed in a variety of ways.

Let us continue tomorrow.

As you will have gathered from yesterday's lecture, a proper presentation of eurythmy has to take its start from Melos, from the melodic element, or we could also say, from the motif or phrase. [25] It is the progression of the motif, the musical motif in time, which indicates the path which eurythmy must take on the basis of the musical element.

Let us concentrate on this today. Here again you will see how necessary it is to pay special attention to the actual musical element. Now, the musical element makes sense in the progression of the motifs—that is, the musical element as such, not as it manifests in expression. And this sense has absolutely to be brought out in a presentation of eurythmy. The question, then, is how the progression of a musical phrase must be treated in eurythmy.

Usually in music itself, even when listening.to it, people fail to observe the musical sense progressing within the motif itself You all know that a motif frequently includes the bar line [American: bar]; indeed this is generally the case. The bar, the change of bar that is, interrupts the motif And when passing from one completed motif to the following formation you often feel that something like a ‘dead interval’ lies between them (musicians frequently even use this expression). It is further said that such a dead interval corresponds to the progression from the end of one spoken word to the beginning of the next. The matter is frequently regarded in this way. But this very comparison, as I said yesterday, demonstrates that people have no feeling for the fact that the true musical element actually is that which is inaudible. When the dead interval is spoken about, and is compared with what lies between two spoken words, the comparison is not valid. Anyone wishing to speak out of an understanding of art really should not speak of the ‘dead interval’ between two words, but on the contrary should place the greatest value upon the way the transition proceeds from one word to another.

Just think that in speech, in the treatment of speech, we can observe the following fundamental difference between good and bad treatment. You can treat each word separately, but this is quite different from a clear feeling that one word ends in a specific way and the next begins in a specific way. And you look for meaning between what is apparent to the senses (that is to say, between the end of one word and the beginning of the next), where the spirit lies, which you are endeavouring to express. The spirit also lies between the words. Furthermore, the sounds we hear in words are only the sensory impression; when we speak, too, the spirit lies in the inaudible realm. It is sad that people today have so little feeling for the inaudible realm, and are no longer able to listen between the words. A lecture on spiritual science can never be understood when you follow merely the actual words; you have to listen between the words, even listen into the words, discovering in the words what lies behind them. In this case words at all times are an aid to express what cannot be heard.

The question, then, is to find some means of differentiating in eurythmic movement the position of a bar line in a motif, and the transition from one motif to the next. This difference may be shown by holding the movement at the bar line, so that whoever carries the movement does it, so to speak, within himself, wherever possible indicating through the position of the arms and hands that he is pushed together, and especially in moving a form by contracting the movement of the form into himself—in other words, becoming stuck whilst in the form. Conversely, in the transition from one motif-metamorphosis to the next, we are dealing with a swinging-over (Schwung) from the one metamorphosed motif to the other. We swing in a spirited manner from one metamorphosed motif to the next; in the actual bodily movement itself we have a kind of upward swing. And where the bar line appears within a motif we aim for a rigidly upright posture.

Try to practise this until it becomes a matter of course when moving. This will be of great significance. It would be quite good to make sure that the matter is clear. Let us take the following to clarify this. (It is important to make a beginning with the very simplest of examples, and it is no matter if this simplicity is somewhat home-baked.)

Here, then, we will select as simple a phrase as possible to make clear to ourselves the real significance of what I have been speaking about. The phrase starts with a G and progresses to B, returns to G, progresses to F#, and so on. Thus we have the first motif, then the second, third, fourth, fifth and sixth, and the question is: How should this progression of motifs be carried out in eurythmy? In the first motif we hold ourselves back, in the second we boldly swing onwards to the next motif: the curve is first up, then down, and between we have the bar lines. The phrase continues (see Fig. 4) with holding ourselves back, boldly swinging onwards, holding ourselves back.

[IMAGE REMOVED FROM PREVIEW]

Thus, if I draw the whole thing: up, down, up, down, up, down—we always find the bar line in between, and in the fifth and sixth motifs, two bar lines each. The progression is one, two, three, four, five, six, seven, eight restraining-ourselves, and one, two, three, four, five swinging-onwards. Try to be quite upright, but go together with the whole movement; to be upright at the bar line and boldly swinging onwards at the transition from one motif to its following metamorphosis. The bar line must be strongly indicated by means of a strong holding-on to yourself. This may never take place simultaneously with the notes, however, but must always occur between them.

This, hopefully, is clearly understandable. Always show the bar line, and its holding-on movement, very distinctly. This, of course, is something I ask you to ponder about, what it means for the various forms of phrasing. I wanted to show you this with as simple an example as possible. You see, the presentation of eurythmy reveals that the melody receives the actual spirit and carries it on. Fundamentally speaking, everything else does not add the spirit of the musical element, being at all events a more or less illustrative element. But in order to gain a real conviction of this for yourselves, I ask you to try first and foremost to seek the whole human being in the musical element. The eurythmist is really obliged to study the way in which the human being streams out, as it were, into the musical element.

It is a fact that when we stand with our physical form, whether slim or short, fat or thin (that part of us which is actually visible), this is really the very least part of us. It even remains, in fact, for a short period after we have gone through the portal of death. But yet how much of the human being is present in the corpse? When we look at the human being as he stands before us in the physical world it is only the corpse, or hardly more than the corpse, that may be seen. Now in music, the physical form of man corresponds to what may be called the least significant of the musical elements; it represents the beat. It is therefore quite natural that with the bar line there should be an emphasis of the physical form, a holding-on to yourself. [26]

When you pass over to rhythm, presenting the ‘short-long’, you already go beyond what is represented by the human bodily form. In rhythm you already show a very considerable part of the life of your soul. With beat in eurythmy, you always feel that a person's heaviness is the determining factor in its expression. When the beat is shown in eurythmy, you always feel (as you just saw from these attempts) that it becomes evident how heavy a person is. A heavier person will be able to mark the beat in eurythmy better than a lighter person. This is less apparent in the case of rhythm. Rhythm brings the human being into movement. And here already it is quite easy to differentiate whether the movement has artistic taste or is tasteless, whether the movement is permeated with soul: slow—quick, slow—quick. You see, here the etheric element in the human being makes its appearance. It is the etheric human being which is revealed in rhythm.

If, however, we turn our attention to melody, which conveys the actual spirit in the musical element, then the astral being of man is revealed. When you are active in the musical element the whole human being, with the exception of the ego, is brought into play. It is really true to say: ‘As physical human being I mark the beat; as etheric human being, the rhythm; as astral human being I am the evolver of Melos: it is thus that I appear before the world.’ And, you see, the moment when you pass over from the musical realm to that of speech, the ego steps in. Naturally, speech is then transmitted into the astral element and even into the etheric, but its original impulse lies in the ego. [27]

At the end of yesterday's lecture I indicated the hidden parallel between the scale and the vowels, and we even saw how the musical element enters eurythmically into the vowel element. Now we must also be clear about the fact that in singing the realm of the pure musical element is already exceeded. The pure and real musical element is expressed in the astral make-up of the human being. This is why singing becomes more essentially musical in proportion to the degree in which it holds to what is purely musical—the more it follows Melos. And indeed this following of Melos will be the most sympathetic in singing.

Passing from singing to speech (to declamation and recitation), we find marked disharmony between Melos and something that has also to be borne in mind by the reciter, namely the sense of the words. It ought to be emphasized that the musical element has to be active in recitation and declamation, but an inner conflict will always exist, a conflict which the singer can only solve in the musical element. The more musical a singer, the more he will enter into the sphere of the astral, into Melos, thus solving for himself the problem of how to remain musical in singing. Consequently it requires greater skill to remain musical in singing than for instance it is to remain musical in instrumental music.

But now let us consider the following. I think everyone must feel that a certain poem of Goethe's produces an extraordinarily musical effect. I refer to the poem:

Über allen Gipfeln
Ist Ruh;
In allen Wipfeln
Spürest du
Kaum einen Hauch;
Die Vögelein schweigen im Walde.
Warte nur, balde
Ruhest du auch. [28]

Let us take the principal words from this poem: Über allen Gipfeln ist Ruh: Gipfeln, ist Ruh, Wipfeln, Hauch, auch, warte, balde.

If you enter into this poem with your feeling, you will find that what is appealing and musical (for it is extraordinarily appealing and musical) lies in the use of the words Gipfel, Wipfel, ist Ruh, Hauch, auch, warte, balde. It is in these words that the actual musical element lies. Now I ask you, what have we got here? Let us compare this with what I told you yesterday of the correspondence of the vowel sounds, with the scale. I always write the scale thus (naturally any note can be written on a C [i.e. tonic]) but I write C in the usual way, as the note from which the scale starts. Of course, the matter is not dependent on this way of writing it, but when you write in the way I did yesterday, then we have in the word Gipfel B G, BAG—a descending third. It has the effect of a minor third (Moll-Terz). It is the mirror image of a third. And it is the repetition of this mirrored third in Wipfel and Gipfel which initially renders this wonderfully subtle musical effect.

Going further, we have ist Ruh. In ist Ruh, according to the model I described yesterday, we first have a B, and the u [‘oo’] represents C: B C. We find the seventh relating back to the prime, and in this relationship we have an example of everything I said both yesterday and the day before. When the human being enters into the seventh he goes out of himself. There is a relating back when he returns from the seventh to the keynote; he regains himself, as it were. You can feel this in ist Ruh, because it is inherent in the words.

Now it is especially interesting that in balde and warte we have E G—once more a kind of third, but the other third which moves in the opposite direction; it is the mirror image of the previous third, a kind of major third (Dur-Terz). Consequently we have a marvellous correspondance here: thirds which relate to each other as mirror images and the descending seventh chord, seventh harmony, in which the human being is given back to himself.

And now we will go further. Hauch and auch are words in which the diphthong makes its appearance. What are diphthongs? Where may we look for them in music? Here, you see, we may reverse our usual process. We have often found a transition from music to speech, and now we will pass over from speech into the diphthong element, into the musical element. If you possess an ear for such things, applying the principle about which I have often spoken, you will ask: Where does the essence of the diphthong lie? - of ei, for instance, or au? Does it lie in the e or the i, in the a or the u?[1] No, it lies between them. The actual sounds ei, au, are uttered (Ausgesprochene), but the ‘essence’ (Ausgegeisterte, ‘spirited out’) of the diphthong lies between them, and for this reason we must look in the diphthong not for notes, but for intervals. Diphthongs are always intervals. And the interesting thing about Goethe's poem is that Hauch (au, that is to say) is truly the interval of the third. You only need call to mind yesterday's model Wipfel—B G, ist Ruh—B C, Gipfel—B G, Hauch—third, auch—third, warte—E G, balde—E G. In this way Goethe not only makes use of clear thirds and their mirror images, but in order to employ every possibility in this matter, he adds true intervals of the third in the diphthongs. Here you have what matters.

When someone reads or recites this poem of Goethes, it does not matter that he should think it contains intervals of the third and even the seventh. Of course he does not think about it! Nevertheless, when the poem is rightly felt, something of this will be expressed by the reciter. It will find its way through. But what have we here? What is it that is almost as spiritual as the meaningful utterance of the ego, and which yet remains unknown? It is the astral element. And so behind the meaning of the poem there is a deeper, unconscious meaning for the human being, which is the musical meaning to be found in the astral element; this is especially effective in this poem. In this poem Goethe has transferred the effect of the poem, as far as this is possible, from the ego back into the astral realm.

Now you will best express this poem in eurythmy when you actually manage to emphasize the separate sounds less, but rather to indicate them wherever possible, without finishing them. Thus the i (‘ee’) in Wipfel and Gipfel is not quite finished, but left hovering in the air. This whole poem is most beautifully expressed, both eurythmically and musically, when the movements for the vowels are left hovering, and the eurythmist pulls back before completing them.

These are the things I have in mind when I say that eurythmy should be studied with feeling. Feeling should not be allowed to disappear while you are engaged in eurythmy, but rather cultivated. For the onlooker can clearly differentiate (he is not aware of this, for it does not reach his consciousness, but unconsciously the onlooker can tell quite clearly) whether a eurythmist automatically goes through the motions in eurythmy, or whether feeling is poured into the forms he or she creates. And two eurythmists, one of whom is an intellectual, only presenting the meaning of what has been learned, whereas the other feels through everything down to the details of curved or stretched arm movements, feeling through the finger movements—two such eurythmists will really be as different as the virtuoso is from the artist. A person can know perfectly well how to be a virtuoso, but is not therefore an artist. These things, when brought to full consciousness, will be apparent in the beauty of your eurythmic movements. Consequently it should not be a matter of indifference whether or not you know the relationship that exists between a eurythmic presentation of music and a eurythmic presentation of recitation. Through a knowledge derived from feeling- experience you will assume the attitude which must be embraced if eurythmy is increasingly to develop into a real art.

Just consider how the sense of the words actually destroys melody. It might be said that the necessity of attending to the meaning of the words entails a certain fear lest the melody be destroyed. The result is that speech does violence, as it were, to the musical element. These words are naturally somewhat drastic, but speech does do violence to the musical element. Must this be so? Can it be confirmed anywhere in the world?

Yes, how this is confirmed in the world may be seen from the following: Speech consists, on the one hand, of the vowel sounds, which mainly serve to express what lives within. In the vowel sounds, as we have seen, it is easy to see that the musical element leaves its mark, whereas in the consonants this is very difficult to find. But you also know how often I have emphasized the fact that the vowels have been wrested from man's inner being. They are the direct expression of feeling, of the inner essence of the soul; wonder, amazement, shrinking back in fear, holding yourself in relation to the outer world, self- assertion, giving way, loving embrace—all this is clearly expressed in the vowels.

The consonants are entirely adapted to the outer world. If you study a consonant you will find that it always imitates some thing or process existing in the outer world. When someone speaks i [‘ee’], you can feel quite definitely that here someone asserts himself. Certain German dialects even use i instead of ich, and here the human being feels his own being the strongest, as I know, for until my fourteenth or fifteenth year I myself spoke in dialect: ‘Na, nit du, i!’ [‘No, not you, me!’]; I know how one's own being asserts itself when one says i [‘ee’]. When speaking this sound i, you first jump into the air and then you stand on the ground. This is what has to be felt.

Now for the consonants—let us take l—you can picture the sound, but i has to be heard; ah has also to be heard. At most they may be pictured astrally. But you can quite well picture l or r. L—if someone creeps along, you straightaway have l. The r. someone skips while running; you have r, which is a process. An ordinary wheel creeps along, it l’s, so to speak, but a cog-wheel r’s along! You can immediately picture it. If you have ever noticed a stake being driven into the ground with a hammer, you cannot picture anything else but a t; it is a t. An external process is a consonant. It is always an external process. Thus the consonantal formations of speech plainly point to the world outside. The vowels fit themselves into the consonants.

You know, of course, that in [certain] languages the consonants are interchangeable with the vowels. Every consonant has something of the vowel about it, and every vowel something of the consonant. We need only remember that in some languages the l becomes i; a consonant becomes a vowel. In certain German dialects, for instance, the final l is always pronounced i. When speaking dialect ‘Dörfl’ is always pronounced ‘Dörfi’, [approximately, ‘Dirfee’]. The sound is i, and the l is very softly indicated in it; it is the i which is really pronounced.

But this also brings the vowel sounds towards the outside, towards the outer world. Speech is something which comes into contact with the outer world; in a certain sense it may be said to be an image of the outer world.

This is why speech does violence to the musical element, and why great skill is necessary if we are to retrieve the musical element in recitation. Great skill is necessary in order to strive back to the musical element, and we will only find the melodic element in speech if the musical element in the poet comes to meet us; indeed rhythm and beat have to be taken into account when reciting any passage of poetic language. If we neglect this, we sin against rhythm and beat (which in the musical realm itself do tend, of course, more towards the outside), and this results in incorrect recitation. The nearer you approach the musical element itself, the more you enter into Melos. Melos is the musical element.

When you examine everything I have just said, you will find that in the world outside the human being, the musical element is only present to a limited degree. By proceeding from within outwards, passing from musical experience to the experience of speech, we ourselves retreat ever further from the realm of music. Why do we retreat ever further? Because speech has to lean on external nature. But external nature can only be laid hold of by speech when an element is introduced into speech which is really foreign. For nature scorns beat, rhythm, and indeed our melodic speech. And a purely naturalistic materialist deems poetic speech of any sort, that is, artistic speech, affected and sentimental.

I once knew a fellow student, for example, who regarded himself as highly gifted. This was at the time of certain lectures held by Schröer, of which I wrote in The Course of My Life. [29] The classes took the form of practical exercises in lecturing and essay-writing. This student arrived one day, saying that he was prepared with subject-matter of the very greatest, indeed world-shaking, importance. He went on to tell us what these world-shaking ideas were. They amounted to the following: All metrical, poetic language is fundamentally wrong. People write in iambic, trochaic rhythms; they write in rhyme. This, however, is entirely wrong, for it is not natural but artificial. It must all be abolished from poetry. Such was the discovery he had made. He declared that a new poetry must make its appearance—without rhythm, without iambus or trochee, and without rhyme. Later on I even experienced that such poetry is actually written. At that time my fellow student only put it forward as theory. We thrashed him so thoroughly that he never held his lecture!

You will see from all this that it is perfectly obvious that what comes from nature does not form the basis of the musical element, for the musical element itself is a creation of the human being. And if we examine the inner nature of music and speech, we shall realize why it is that the musical element is so far removed from anything naturalistic. It is the self-creating force in the human being, and imitating nature is an aberration of the musical path.

As I said before, I do not mean to cast aspersions on the imitation of ‘rustling forests’, soughing winds, bubbling springs, ‘a brook in March’, [30] and so on. It is far from my intention to criticize these things in any way; but there does lie behind them the urge to pass out of the actual musical element, to enrich music by the introduction of something unmusical. In certain circumstances the result may be very agreeable, for it is possible to enlarge the sphere of every art in every direction, but because eurythmy demands that music be taken still more musically than it already is, terrible difficulties will arise if attempts are made to express in the right way in eurythmy something that is not purely musical.

Yet another thing can be understood from this, and that is the beneficial effect of tone eurythmy therapy; for this must gradually be developed side by side with usual tone eurythmy. Why is this? Fundamentally speaking, a large number of illnesses are caused by the fact that people have an inward tendency to turn into nature in some way, instead of remaining human. We always turn into a piece of nature when we are ill. Now we are human beings through the very fact that we inwardly do not tolerate natural processes to remain as they are, but instantly subject them to an inner transformation; we instantly make them inwardly human. There is no process in the human being (with the exception of the dissolving of salt, the metamorphosis of salt) [31] which is not a transformation of some process of nature. We become ill when we are powerless against natural processes in this inner transformation, if we cannot metamorphose them (a process they have to undergo within the human being), and when they still run their course as natural processes. If in any part of the human organism a natural process preponderates over the human, and we then make the person practise tone eurythmy, this is a therapeutic factor; for by this means we lead the part of the body in question away from nature and back into the human realm. When we let someone do tone eurvthmy because nature in him is too strong, it is as though we said to the natural process in the organ: ‘Out you go!’—for these movements are solely human and have nothing of nature about them. The musical element belongs only to man, not to nature. [32]

In earlier times the musical element itself was recognized as a means of healing, and music in such times did bring about many cures. But because the musical element comes especially to the fore in eurythmy, so the therapeutic forces of the musical element must also come to the fore with an efficient therapy. This is what I wanted to tell you today. Tomorrow at the same time we shall continue.

Notes:

1. For pronunciation of German vowels, see p. xiv. (Translator's note.)

You will have seen that it is quite possible for a single individual to express in eurythmy the essence of the musical element as musical element. We have tried to show how, for instance, the triad and the progression of the phrase may be mastered by a single person.

But the eurythmical expression of the musical element by a single person, from a certain point of view, is necessarily rather primitive, and is somewhat meagre when presented on the stage—although most beautiful and impressive performances can be given by a solo eurythmist. It is to be hoped that these solo performances will be valued, for they are a means whereby the actual essence of musical eurythmy may be revealed. In spite of this, it cannot be denied that a musical impression can also be given by means of the concerted working of a number of people, in other words by means of choral eurythmy. The point, however, is that we must not merely take these things schematically, but also enter somewhat into the quality of working together in artistic presentation.

I have emphasized what doing eurythmy entails: it is work to raise (heraufarbeiten) the physical human being (which really only ‘sounds’ in beat) to the etheric and the astral human being [see Appendix 2, final quotations]. And if we seek for Melos as such in the astral organization of the human being (and we seek for speech in the ego-organization), then we can perceive that which forms the fundamental basis of musical eurythmy. What you experience as astral human being usually remains stuck in a state of repose. But when you proceed a step further and present to the world that which otherwise remains in repose in the astral human being, you show, as it were, your spirit and soul nature. And it is this power of making things manifest which constitutes the most predominant element of all artistic endeavour.

At this point I will take the opportunity of alluding to a very, very remarkable contemporary phenomenon. My reason for doing so is, that if as eurythmists you can awaken a feeling for it, it would do much to help you in the actual artistic development of eurythmy.

During this course of lectures on tone eurythmy, I have often found myself thinking of a very significant Austrian musician of the present day. This musician, who was born in Wiener-Neustadt, opposes all modern music with extraordinary vehemence, denouncing it as ‘bad European music’. This in itself is an interesting phenomenon, and should be of special interest to eurythmists. Hauer [33] began to study music at a very early age, between his fifth and eighth to ninth years, by playing the zither, and he progressed far, coming to the view that it does not take much to acquire all that we presently call music. We can feel in Hauer's whole manner of expression that in a certain respect he is inwardly extraordinarily honest. On the one hand, he came to the conclusion that what goes by the name of music today is exceptionally easily come by, but, on the other hand, that precisely the musical element is missing, that we are led away from the musical realm. Indeed, very much of what I have to say about the eurythmic presentation of the musical realm can be found in Hauer's writings, although he expresses it in a stark and radical way. He speaks, for example, about atonal music.

I have said that the actual musical element, the spiritual element in music, lies between the notes, in the intervals, constituting that which we do not hear. In speaking about atonal music Hauer touches on something that is very significant and true. He is of the opinion that the production of a note or chord is nothing more than an appeal to the emotions or the senses—merely a means to express externally the inaudible Melos, which presents the inmost life of the human soul.

Now there is something so decadent and chaotic in the culture and civilization of the present day, especially where the arts are concerned, that your heart may well warm towards anyone who, with a certain instinctive flair, realizes that the music of today [1924] is not really music, but simply noise, and perceives that on which the musical element depends. It is, moreover, not difficult to understand that a man who has developed by himself out of all this can be absolutely furious with all European art. And this is true of Hauer. European art is absolutely repugnant to him.

All this is very interesting, and I have long been interested in this man Hauer. At the time when I was trying to lead over the musical element into eurythmy, I had to seek for some things that appear in Hauer, and I had to say to myself ‘It is certain that you could never take Hauer's atonal Melos as a basis for the gestures of eurythmy.’ The movements of eurythmy could not be found in this way. I had to ask myself: ‘Why is this so? Why is it not possible to come to eurythmic movements in this way, when Hauer undoubtedly feels the movement of Melos with such inwardness, and sees so clearly what is essential in the musical realm?’ In the case of Hauer, the explanation is simple. Hauer hates that civilization which marks the beginning of European culture—a civilization which the rest of humanity admires tremendously. He hates the civilization of Greece. He is a man who hates to excess the civilization of Greece.

Now it is interesting for once to come across a man who honestly and truly hates Greek civilization. There are any number of people who venerate it insincerely, by which I do not mean to imply that there are not others who venerate it with sincerity. To honour Sophocles and Aeschylus is a matter of course today, whereas to find anyone abusing Sophocles and Aeschylus as destroyers of art is an interesting phenomenon, and one which should not be overlooked. Hauer's view of the Greeks is based on the fact that, in his opinion, they brought everything that is related to art into the theatre, thus pouring everything that is audible into visibility: Now, after all, that is quite true. The question is whether we can also love the visible realm. If we are to find our way to eurythmy, we must of course be able to love what is visible. If we do not love the visible realm, honestly do not love it, preferring to remain in the audible realm, to stop with Melos, then we shall never be able to find any satisfaction in Greek culture, where everything was transferred into the sphere of what can be seen and understood.

Now among the orientals there were inspired teachers who truly wanted to listen to the audible realm. Oriental architecture was really music in space; it has within it a great deal of eurythmy. You actually see Melos pouring itself into movement. Europe possesses very little understanding for a musical architecture, as has been built with the Goetheanum here in Dornach, for the Goetheanum was, in a sense, a revolt against Greek architecture. There was very little suggestion of Greek architecture about it; but the Goetheanum was musical, it was eurythmic. [34]

Now, you see, Hauer actually hates speech, too, because speech does not stop with Melos, but (as I have already shown) does violence to it, pushing it into the outer world. For from the moment we utter sounds (and in so doing give ourselves up to what is demanded of us by the meaning of the sounds), from that moment onwards we become in a certain sense unmusical. The speaking of sounds is an art that in fact can only indicate a sounding of Melos. Melos may thus peep through, but it cannot be fully developed. You cannot form words according to the arrangement I proposed, as if the vowel sounds contained in them were really thirds or other intervals. You cannot do this, for the world does not permit it.

When (let us say) you feel wonder, an ah, and just after experiencing this sound you experience some feeling (let's say) which lies in the interval of the third compared to the former feeling, the world does not allow you to feel it. It's not possible, wouldn't you agree?—Life continually destroys that which is musical. Nature too is unmusical, and it is not from nature that we are able to derive that which is musical.

This destruction of what is musical extends to recitation and declamation. If there were only vowel sounds in speech, there would be no recitation or declamation, for the human being would always be yielding up his inner being (through pronouncing the vowels) to the outer world. There would be no declamation or recitation, for we would have to go along with the experiences of the world, and it would not be possible to conserve the musical element. That is why we have the consonants. The consonants are, as it were, the apology for the vowels. Man apologises to himself for the fact that, in the vowel sounds, he follows his own experiences. And when he fits in the consonants between the vowels, it is an apology for having become so foreign to himself. When you make the sound a follow an ah, forming thus either warte or balde (I have already spoken about these things) you have at the same time, in the consonants fitting themselves in between the ah and the a, an apology for the succession of the vowels.

In the case of that particular poem by Goethe, however, the vowels really make a musical effect, and consequently this apology of the consonants is not so much needed. When listening to this poem, a subtle, musical impression would be received if the speaker could achieve a swallowing of the consonants as much as possible, so that only the vowels were audible, with the consonants merely indicated.

Many other poems, however, really need the consonants. It may be said that the less musical a poem is, the more careful you must be to make the right use of the consonantal instrument (palate, mouth, lips, teeth, and so on). Then, in recitation and declamation, we have the apology for the offence committed by the vowels.

This will demonstrate that with the vowel sounds, which are an externalization of what is inward, the human being places a kind of caricature into the world. He is no longer himself. The human being is himself as long as he remains musical. When he becomes a vowel sound, he places a caricature in the world. With the consonants he once again recasts this caricature into the human form, and is then outside. He lays hold of an image of himself This corresponds to the vowel when framed by the consonants. In music we go more and more inwards. In speech we go further and further outwards. It is infinitely important for eurythmists to feel and experience these things, to develop a rounding-off of the artistic process, which is more than simply making or copying movements.

Taking this as your starting-point you will also be able to feel how choral eurythmy can be effective. In choral eurythmy we are dealing with a number of people. Let us first take the musical case: We have a metamorphosis of the motif, or phrase. We might express this metamorphosis of motifs in choral form by somehow grouping people together—three, let us say. We will let the first person present the first motif in eurythmy by moving in the form to the place of the second person, who will now take over the second metamorphosis of the motif. The first person remains standing. The second person moves on, passing the next metamorphosis of the motif over to the third person, who now continues the form to the place of the first (see Fig. 5). A kind of round dance can be brought about in this way.

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It is only necessary in such a case for those who remain to continue to carry out the corresponding motifs while standing. In this simple way (where one person develops the motifs by moving, while the others retain their original motifs in standing), we have introduced a new variation into the motifs by means of eurythmy. By means of the motif which is in motion and the motif which is formed, in eurythmy we are able to introduee into the musical realm something which could never be expressed by the pure musical element, for in the pure musical element the previous chord or motif can no longer be retained after the new one has begun to sound.

Only think how often I have observed that, in the spiritual world, the past remains. In this development of the motifs through the chorus, the past remains (becomes engraved, so to speak, hardened), through the fact that the bearer of the motif in question carries out the movements while standing. This is one way.

Another variation appears when we have chords in the progressions of the motif. Here you can arrange the chorus in such a way that the chord is carried out by several people, and the motif is carried over to another group of people. In this way, one group expresses the harmonic element, and the harmonic development is then expressed by letting the harmony flow over from one group to another. Here we reach something very significant and totally different in its effect. When the progression of the motif is expressed in movement (the chord can also be represented by a single person, and the progression of the motif can also be expressed in movement by an individual), the space in which the movement occurs, and all the metamorphoses and transformations of the music, are filled out by the physical human being.

When making use of a chorus, however (we will suppose that you have one group of three people, and three more, and a further three, each carrying the progression of the motif from one group to the next), the element of visibility ceases to be [paramount], for when the motif is passed from one group to the next an invisible element wends its way through this choral dance. Here we approach very near to making this invisible element musical, very near especially to atonal music. Thus, by transferring to a chorus, the whole matter takes on quite a different aspect [from a solo performance]. In this way the aspect of the musical element which is becoming progressively unmusical, may be made musical once again by means of eurythmy, because movement makes it possible to appeal to that which is invisible. Thus, in this direction too, we shall possibly find that tone eurythmy is able to exert a corrective influence upon the musical element.

Now in the continuation of a motif everything will naturally depend upon the movement, but when the chord is being represented by a group, the relative positions of the people are of importance. The people in question (even when their group is moving) must endeavour to retain their relative positions. Your feelings will have to tell you this. Let us now suppose that we have to represent a triad. You can't place yourselves one behind the other (left of the diagram). You can and have to feel that you place yourselves in such a way that the first person stands here, the second here and the third in the middle (see Fig. 6).

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Then, when the lowest note is taken by the first person, the next highest note by the second person, and the third note (if you wish, the fifth) by the third person, then you can tell by looking at it that the right thing has happened. The motif, when brought into movement, is carried over to the next group of people. And when the whole chorus is moving, each individual must endeavour to retain the right position in relationship to the others, so the whole design of the form (which is determinded by the relative positions of the people) may be expressed through this.

If we have a combination of two notes, the people can only be placed in this way:

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We can feel that this is incomplete.

But now for the four-note discord. When you consider the artistic effect of placing three people as we did for the triad, and observe the complete grouping (which really does make the triad stand before us), then you will say to yourself: Where shall I put the fourth person? Whoever has artistic feeling will not find a place for a fourth person. Indeed no such place can be found. The fourth person can only be provided for by letting him or her move around the third person. There is no other way of doing it. You come to this by direct intuition. So now you already have an indication for the discord in the grouping. The group, the fixed configuration, can only express concords. The moment a discord enters, movement must be introduced into the grouping.

When you introduce movement into the grouping, you bring a challenge, and you can no longer remain still. The movement made by the fourth person (a movement necessary to the progression, to the resolution of the discord) is disclosed by its own nature.

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You see, we have to look at things in this way if we are to gain insight into the gestures as the essential matter. Having gained this insight, you will say to yourselves: ‘What we do is the outcome of an intrinsic necessity.’ This is no infringement of freedom, although it does not open the door for purely arbitrary ideas. What always remains is the freedom to carry out the movements beautifully.

Choral eurythmy may be developed from the usual eurythmy which the individual presents. In particular, however, the following can be done. Let us suppose that in some piece of music we have the tonic, the dominant and the subdominant. To present this we take three groups of people and place the tonic with the first group, the dominant with the second group and the subdominant with the third, making those presenting the tonic have larger movements, whereas those presenting the dominant and subdominant make smaller ones. Now try to imagine how this would look. The frequent recurrence of the tonic is shown by the larger forms. The tonic is given prominence by the larger movements. It follows that the eurythmist who is moving these larger forms will quite naturally make larger gestures too, prompted by his or her feeling. The tonic, which recurs time and again, also recurs in the eurythmy forms. If these things are well practised in the way that has been explained, you will find that the character of each individual key [35] will be revealed, for you will be obliged to make the corresponding movements in the transitions.

The difference between major and minor keys appears very clearly with this interplay between the different groups [see Steiner's lecture notes, p. 24]. And when, in addition, you take into consideration the fact that every time a sound goes higher there should be the feeling that the eurythmist has to approach nearer to the audience, whereas when the sound goes lower the eurythmist has to move more towards the back of the stage—when all this is added you will have the whole musical element in a visual image.

There is still another point which belongs to this, that when a group comes to high notes, there must be a feeling that the movement has to be made more pointed, whereas when it is a question of lower notes, then it has to become rounder. Thus it may be said that a movement carried out with this gesture is lower, and a movement with this gesture is higher.

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You will say: ‘These things present us with a great deal to learn, for in actual practice they are very complicated.’ Quite true! But they are no more complicated than learning to play the piano, or learning to sing.

I have indicated how the transition can be made from solo eurythmy to choral eurythmy. Real difficulties only make their appearance when we come to polyphonic music, but we shall speak about this tomorrow. In movement the whole affair will become even more disjointed than in the musical element as such. When we have a piece with many voices, therefore, we also have to make use of different people, and the quality of belonging together can only be achieved by means of a certain relationship in the form.

At this point I should like to develop a brief, esoteric ‘intermezzo’ for you. It has to do with the fact that the eurythmist has to use his or her body as an instrument. Only think of all that goes into the making of an instrument and how we appreciate certain violins which today can actually no longer be made. [Instruments made by Stradivarius, Guarnerius, and so on. (Translator's note.)] Think of everything that is involved in an external musical instrument. Now it is true that the human being is, in a certain way, exempt from these demands, for the divine-spiritual powers have already built him as an exceedingly good instrument. But actually the case is not so rosy, for otherwise every individual would find his body were the most perfectly suitable instrument. The eurythmists sitting here will be well aware of the great difficulties they have in overcoming bodily hindrances and impediments, if it is a question of arriving at eurythmy that is really worthy of the art.

The fact is that quite a bit can be done in order to work inwardly upon your body so that eurythmy to the sounds of speech and of music may gradually appear out of this body in a truly artistic, complete form. There is very little opportunity for this in the civilized life of Europe. European civilization has developed a view towards outer nature, but has not developed that which is necessary to give the human being a place in the world commensurate with true human dignity. And so people today have great difficulty feeling their real humanity within themselves.

Now what I have to say in this direction will not be immediately clear. It will become apparent through doing it. What I want to say in this connection is as follows. Listen to this progression of notes, which will at first seem very strange to you:

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And now (to the pianist): Play the first two notes together and the next two notes consecutively, sustaining the last note for a long time. The first two notes, accordingly, played together and the last two notes one after the other, the final note sustained for a long time.

Now will someone who can do it well show this in eurythmy, simply in standing: B, A, along with E and D; the E short, and sustaining the last note for a long time.

And now I need somebody who will sing a word to this progression of notes; for there is a word which rings true when sung to this peculiar progression of notes, namely, the word ‘T A 0’. We are dealing here with the following: When expressing this in eurythmy (and here you must apply what has been given in these lectures) you have the seventh, the sixth, and only then the other notes. But you also have to feel the descending progression of notes, and then try to express this in eurythmy, not merely the notes. Hitherto you have become stuck in what is elementary, but you really have to express what I have said and then you will see that in the TAO you have a wonderful means of making your inner bodily nature flexible, inwardly supple, and able to be artistically fashioned for eurythmy. For when you lead the seventh and the sixth, as I have indicated them, down into the E and the D (that is to say you come into this second), you will see how by carrying this out you will gain an inner strength which you will be able to carry over into all your eurythmy. This is an esoteric exercise, and when it is carried out it means meditation in eurythmy.

And when you ask someone else (either singing or speaking in a reciting or declamatory way) to accompany these gestures with declamation or singing of TAO, you will see that in connection with singing, eurythmy and recitation, this is something like that which meditation is for general human life.

What I have given here is indeed an esoteric ‘intermezzo’, and it points the way to eurythmic meditation. We must go very far back, back to the ancient civilization of China, if we are to find our way into this meditation in eurythmy. [36] And you will understand that we can exercise a certain sympathy for someone who wants to get back to the ancient Orient in order to re-discover music, and whose feeling leads him to say: The Greeks have totally ruined music, and that is why the Greeks really had no proper musician—with the exception of the mythological figure, Orpheus. [12, end]

On the other hand, we can love the Greek civilization for its way of entering into the sculptural, plastic element. But one thing is true, that the Greek culture with its sculpture gradually was led away from eurythmy. Here we must compare the forms of oriental architecture, which really did transpose music into movement, with the forms of Greek architecture, which basically exhibit a dreadful symmetry. Here this dreadful symmetry rules. This, too, had to make its appearance in the world at some point.

The Greek culture did (I might almost say) tragically suffer the consequences of its civilization. It was a short-lived civilization, bringing about its own dissolution. The fault does not lie in the Greek culture: the fault lies in the fact that Greek culture is supposed to be forever reproduced in European civilization. It is, however, a kind of dissolution of this Greek element when we derive our movements directly from speech and singing, from the realms of speech and of music themselves. The difficulty people have in understanding eurythmy lies in the fact that European understanding has been, as it were, frozen into the reposing form, and is fundamentally no longer able to live in movement. The reposing form, however, should be left to. nature. When we come to the human being, we have to enter into movement, because the human being transcends the reposing, purely sense-perceptibly visible form.

That is what I wanted to say to you today.

If, in the forthcoming lectures, we are to become acquainted with a few things in further detail, today we have to put the question: If music essentially is the flow of Melos, and if it is Melos in particular which should be expressed in the gestures of eurythmy, what then is the musical element as such, the music shown in eurythmy, meant to express?

Here we meet with two extremes. On the one hand it may be said that the melodic element is tending more and more towards what is thematic, towards the expression of something which is not in itself musical. I have often mentioned that, especially in recent times through a Wagnerian influence, as well as other influences, music on the one hand has become expression, expression of something that is not music. On the other hand, especially in the beginning of the age of Wagner, we also find pure, absolute music (the musical element as such, simply the weaving of musical sounds)—of which it was said (not without a certain justification) that it made music into a tonal arabesque, a progression of notes without content.

Naturally these are both extreme cases. To put forward the idea that music embodies nothing and is merely a tonal arabesque [37] is nonsense, utter nonsense. But such nonsense may very easily arise when there is no real understanding of where the essential musical element lies. It cannot lie in the notes themselves, as I have repeatedly emphasized. The person engaged in tone eurythmy has constantly to bear in mind the necessity for expressing in the movements, in the actual gestures themselves, that which lies between the notes, regarding the notes as merely giving him the occasion for the movement.

It may help you to carry out these gestures I have already indicated, with inner correctness, and the right inner feeling, if we make a certain basic provision. And the provision should consist that you, as eurythmists, regard the actual note, and in a certain sense the chord too, as that which pushes you into movement, causes you to move, and gives the impetus (Ruck: ‘jolt’) towards movement. You must continue the impetus between two notes and again regard the next note as the impetus which is given to you. In this way the movement will not express the note, and will not emphasize the note, but will express in the fullest possible way everything that lies between the notes and what comes to the fore, for instance, in the intervals. This is of great importance.

Now, why is there such a strong urge in our modern age to deviate from the purely musical realm? Something quite beautiful may sometimes result from this deviation from what is purely musical, but why is the urge to deviate from it so strong? It is because the contemporary person has gradually acquired an attitude of mind in which he is no longer able to dream, no longer able to meditate. He has nothing within to set him into movement, and wants to be set into movement from outside. But this being-set-into-movement from outside can never produce a musical mood. In order that modern civilization could furnish proof of its unmusical nature, it has laid hold of a drastic means to do so. It is really as though, in its concealed depths of soul, modern civilization wanted to provide the clearest proof that it is unmusical. And the proof is given in that it has produced the film. The film is the clearest proof that those who like it are unmusical. For the whole basis of films is that they only permit those things to be active in the soul which do not arise out of the inner life of the soul, but which are stimulated from outside [See Appendix 6].

It must be admitted that a lot of modern music-making [1924] tends to lay special stress upon that which is stimulated from outside. Attempts are made to imitate what is external—not by means of the pure melodic element, but rather by employing some subject matter as far remote from the melodic element as possible.

There is a very simple way, once more a kind of meditation (I recently spoke to you about the TAO meditation, which may be helpful to eurythmists in the way I have already explained), whereby you may gradually accustom yourself to seek for that which is musical even in what lies outside the musical sphere. It consists in comparing a sequence of vowels, such as: Lieb ist viel or Eden geht grell. There need be no meaning. Compare these for instance with: Gab man Manna or Ob Olaf warm war.

And now repeat such sentences one after the other:

Lieb ist viel ... Eden geht grell ... : does not resonate
Gab man Manna ... Ob Olaf warm war ... : musical

You will most certainly feel that the second examples are musical, whereas the first exist as if they would not resound. Just try to repeat these sentences one after the other: Lieb ist viel. Gab man Manna. Eden geht grell. Ob Olaf warm war. You will easily recognize that the vowels ah[1] and o lie within the musical sphere, whereas the vowels ee and a depart from it. This is an important matter for eurythmists to observe, for eurythmy must, of course, represent a wholeness. When in tone eurythmy you wish to express something very inward, the movements may be led over into ah or o, or likewise into oo. But the gestures of tone eurythmy may not readily be led over into e or a. Thus the sounds ah, o, oo may be employed in pieces of music for eurythmy in order to emphasize the mood, but a and ee should only be used when it is definitely intended to pass, at some point or other, out of the musical realm. This is important.

These things are of such a nature that we have to acquire a consciousness of them above all. It is interesting, for example, when we follow the German language through several centuries, to observe that it has gradually dropped many ah, o, and oo sounds, and has taken on many ee and a sounds. In other words, the German language has become progressively more unmusical in the course of centuries. (I am speaking now of the vowels, not of the intervals.)

It is really important to bear this in mind in tone eurythmy, and indeed in other eurythmy too. For the knowledge that the German language has a marked tendency towards a distorted phonetic imagination may be quite valuable. With the western Germanic languages this is even more the case. But all this rightly leads us to put the question: ‘What does music really express?’ This question cannot easily be answered by anyone who is unable to dream. For, you see, in very truth the poet, the artist, must basically be able to dream, to dream consciously—that is to say, to meditate. Either he must hold dream- pictures in recollection, or be able to find dream-pictures of the realities of the spiritual world.

But what does this mean? It means leaving behind everything that makes sense in the sensory world. Take a dream (I have often spoken of these matters). Take a dream: if we are to get at its nature, we must not look at it as an interpreter of dreams does. For the interpreter of dreams takes the dream's content. Anyone who really understands the nature of dreams does not take the dream's content, but considers whether the dream rises up in fear and calms down, whether the dream stirs up an inner uneasiness which is intensified to anxiety, ending perhaps in this anxiety, or whether there is a state of tension which is afterwards resolved. This is really the decisive thing in a dream. And in the description of spiritual processes this becomes even more necessary.

It is, of course, exceedingly difficult today to speak to humanity about the things which spiritual science has to impart. For instance, when I described the progression of world-evolution (Saturn, Sun, Moon and so on), people thought the very things important that were unimportant to me. It is certainly correct that the processes on Saturn were as I described them. But that is not the essential point. The essential point is the inner movement which is described. And I have always been most delighted when somebody said that he would like to compose in music what has been described in the evolution of Saturn, Sun and Moon. Of course, he would have to leave out some of it, leave out the colour element, as I described, the warmth phenomena, even the smells on Saturn (for apart from the ‘smelling-harmonium’ [38] we have no musical instrument functioning to smells, do we!). Even so, particularly Saturn evolution is such that its essence could be expressed quite well in music and could be composed. [39]

When anyone dreams, and (setting aside its content) takes the tension and relaxation, the culmination of the picture sequence, or the culmination of bliss when flying, and so on; if he takes all this movement and says: ‘I am quite indifferent to the meaning of the dream; for me it all depends on how its movements take place’—then the dream already is a piece of music, then you cannot write it down except in musical notation. Once you feel that the dream can only be written down in musical notation, then you are just beginning to understand the dream, I mean really to understand it by looking at it directly.

From this you will see that the musical element has content: not the thematic content, which is taken from the sensory world, but a content which appears everywhere when something is expressed in terms of the senses, but in such a manner that everything sensory can be left aside, revealing the essence of the matter. You have to treat the musical element precisely in this way. And the eurythmist has above all things to bear this strongly in mind. And he will bear it strongly in mind when he pays more attention than is usual in listening, when he pays attention to the sustained notes and the rests.

For the eurythmist, the sustained note (the pedal-point) and the rest are of special importance. And it is a serious question whether a pedal- point or anything that recalls in some way the sustained note (this really is of great importance) is being adequately treated. It will be adequately treated if, every time he or she comes to a held note, or to something which either is a pedal-point in germ, or might become such, the eurythmist carries out the eurythmy in the greatest possible calmness, emphasizing standing calmly, in other words not proceeding further in space as long as the sustained note is heard.

On the other hand, it is important for the eurythmist to penetrate inwardly into the musical significance of everything connected to the rest. And so it will be good to take an example. Here (see musical example) you have the opportunity of moving up after the descending mood, with a corresponding rest which even contains a bar line, something which may seem a contradiction, from the point of view of the eurythmist.

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I mention this because after what I just said it must appear contradictory to the eurythmist. I previously said that the bar line signifies a holding-on, doing the movement in yourself; that the transition from one motif to another signifies moving in space, if possible with a swinging movement—naturally suited to the notes in question. As a eurythmist you may say: ‘Now here I really do not know what to do. I am supposed to move forwards and yet at the same time remain standing.’ That is in fact just what you should do! You should move forwards two steps and remain standing between them. You should accomplish this when you want to express anything similar to this example, taken from Mozart's Piano Sonata in F major, where you can have a longer rest during which the bar line occurs—then you should move with a swing from one note to the other, but calmly stand still in yourself in the middle of this swinging movement, in the rest. Here you will see how you radically indicate, precisely through eurythmy, that the musical element lies between the notes, for in such a case it is the rest which you specially emphasize through eurythmy. It is this that is so very important.

And now consider I said on the one hand that when a note is sustained, you should try as far as possible to stand still, remaining within yourself. Now, the pedal-point, the sustained note, frequently lies in a second voice and of course it may be aesthetically expressed when the two parts are taken (as they always have to be) by two people, each moving a different form. In this way a very beautiful interplay (Variation) may result between the two people. When the one proceeds in the movement, the other remains standing with the sustained note. The movements are carried out so that the person remaining standing moves a shorter curve, during which time the person moving onwards in the form makes a fuller curve—and they re-encounter each other. In this way the whole thing is brought into a satisfactory movement, which on the one hand may be shown between the swinging over, between the interval (which may go as far as the rest), and on the other hand in the pedal-point or the sustained note in general.

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It is in this way that the actual quality of tone eurythmy has gradually to develop. Only when you feel things in this way will you be able to bring out the actual quality of tone eurythmy.

This shows you at the same time that music of several parts will essentially be expressed by a number of people moving a number of forms. The forms must be carried out in such a way that they really correspond to each other, just as the different voices correspond in the music itself.

When you further develop the feeling of which I have spoken (the realization that the musical element lies in the tension, relaxation, in the rising and falling of the movement), you will indeed have something which the music expresses. For music does not express that which creates the meaning of words, but it expresses the spiritual element itself living in the movement of musical sound. It is consequently specially important for eurythmists to pay great heed to what the movement expresses quite inwardly in the greatest sense, that is discord and concord. Now, you know, a composer will never make use of a discord unintentionally, and indeed music without discords is not really music, because it is without inner movement. Composers and musicians in general make use of discords. Concords are actually there in order to calm the discords, to bring the discord to some sort of completion.

In the experience of discords and concords something makes its appearance which approaches the mysteries of the world closer than we can put into words. Let us suppose that we hear a discordant phrase which resolves into a concord. Let us observe what the eurythmist does. He or she of course can bear in mind all that I have indicated, and shall possibly still indicate, with regard to forms. He or she will go on to a concord and may use as form the various intervals that I have indicated. But the transition from a discord to a concord, or vice versa, should be brought out in the presentation. It should be that the eurythmist, while moving on in a discord, at the moment of going over from a discord to a concord, must insert an abrupt movement (Ruck) into the movement itself.

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Something very significant is expressed in this way. By this means we express the fact that here, with the transition from discord to concord, or vice versa, something is brought about which the human being places outside of himself. What I have drawn above could also be drawn like this:

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Observe how I erase a small part. That is where you go back. You will feel that a small part has been erased. It is a passing over into the spiritual. When you erase a piece of your path you annul all musical sound [that is present] in the movement, and you indicate: ‘Something is present that is no longer possible to express in the sensory realm. Here I [the eurythmist] can only suggest the bounds to you [the onlooker]; your imagination must take you further.’

You see, it is only when we come so far in doing such things that we reach the point where the arts should be. Philistines may think, when they see something of this kind (see Fig. 15, drawing on the left), that it is a face. It is not a face; it is a line. A face is as follows: I must manage in such a way that no actual line is drawn, but a line, as it is, is allowed to arise out of the light and shade (see drawing on the right). Anyone who draws these lines, from the very moment he begins to draw, is no painter, indeed no artist at all. Only someone who allows the lines to arise either out of the colour, or out of the chiaroscuro [light and shade], is an artist.

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You can draw in a philistine fashion, like this:

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This represents the boundary between sea and sky. But in reality it does not exist! It is absolutely non-existent. The sky exists: blue. The sea exists: green. The boundary between them both comes about because they touch each other (see Fig. 17).

If you want to paint a house, surrounded as it is by air, leave room for your colours within the area which the air leaves free. The house will come about. That's what art has to work for! In this matter one can indeed sometimes reach a fine state of despair. [40]

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You see, such despair is very difficult for someone of today to understand. Now, many and various are the types of people who apply for teaching posts at the Waldorf School [Stuttgart], amongst them, teachers of drawing. They have certainly learned something (namely drawing) that is quite useless at the Waldorf School. They say: ‘I can draw.’ Indeed there is no such thing as drawing! It is damaging when children are taught to draw, for there really is no such thing as drawing.

When you reach the point of understanding this erasing of your line in eurythmy, you will also have reached the point when this understanding of the musical element in doing eurythmy really leads into the artistic realm. Thus whenever transitions occur, try (once again without being pedantic) to develop a movement which goes back over itself so that the onlooker is obliged to go back, so that he says to himself: ‘He or she was already further and is now going back.’ He will notice all this unconsciously, but he will at that moment be urged out of the sensory realm, to enter into the spiritual realm where everything to do with the senses is erased.

In this way you will discover the possibility of looking for the essential nature of eurythmic movement in the rest, (Pause: ‘rest’, ‘pause’), even bringing more and more into the rest. Let us once more consider our example (see Fig. 11). Here you have a transition which, in its note values, already presents a marked feeling of going-out-of-yourself, of going with your inner being out of your skin. With the interval of the fifth there is still the feeling of being just at the boundary of the skin.

The fifth is the human being. Going further, we actually pass over into what lies beyond the human realm, but in this case, because we are dealing with music, into the spiritual realm. If you achieve this emphasis of the rest by means of specially pronounced movement, and yet introduce into this movement a momentary calmness (as I have indicated), you will express the whole meaning of this ascending passage in a really satisfactory eurythmical way.

When you are practising, try to find examples of musical phrases containing long rests and very pronounced leaps in pitch, and then try to make the movement as characteristic as possible. This will result in a eurythmy perfectly adapted to the expression of instrumental music; I might say, a singing eurythmy. This will also affect your eurythmy as a whole. For by this means you will feel the very marked contrast which lies between the vowels and the consonants for eurythmic expression. Even if it is true that ee and a actually tend towards a distortion of phonetic imagination, they are nevertheless vowels, and remain within the sphere of music, whereas the consonants are merely noises and lead away from the musical realm.

I have also said that the consonants are really the apology for using the vowel sounds for something in the outer world. This will closely concern you, for in speech eurythmy it will cause you to introduce as much of the vowel element as possible into the consonants. This means, in other words, that you should try in eurythmy to make the consonants as short and the vowels as long as possible.

Now this is not what I wanted to impress on you (for this will arise from your feelings) that there must be a certain parallel between declamation and recitation, and eurythmy. What I do want you especially to take to heart is that for speech eurythmy, too, it is most important to bear in mind that it is also the task of the speaker not only to say something when he speaks, but at times to say something even more essential when he doesn't speak. I do not mean by this those dashes of which recent poets are so enamoured, presumably because they have so much spiritual matter to communicate that they are compelled to express it in continual dashes! I expect you are acquainted with an ironical poem by Morgenstern, consisting only of dashes. [41] It does not contain a single sound, not a single word—simply dashes. I do not mean these dashes, then, but rather the fact that, in order to bring out certain effects in a poem, it is absolutely necessary, just as necessary in declamation as in eurythmy, to understand how to make proper pauses.

Think of the hexameter, with its caesura, where a pause has to be made, and you will realize that something is actually said by means of the pause. Sometimes the pauses need only be short, but it is important that they should also be given their place in declamation and recitation. Imagine the phrase: Was hör ich draussen vor dem Tor was auf der Brücke schallen? recited without any pause—appalling!

Was hör' ich draussen vor dem Tor—
Was auf der Brücke schallen?

is correct. Now as eurythmists, when you are concerned with the expression of a rest, and in speech eurythmy too, the effect will be eminently correct and aesthetically good as well as intrinsically justified, if you cultivate the goingback-into-yourself (going back in the form) which you have been able to learn from tone eurythmy. So that at times even in the short pauses of speech eurythmy, this retracing, this erasing the form, should by all means be seen.

In conclusion I only want to add something which will serve to complete what was left out in the preceding lectures. It is this: You know that the keynote is best expressed by the position, or also by means of the step: position, step (as I explained in connection with the triad). Now imagine that you have to form the interval of the second. The second in music is something which actually does not quite express the musical element, but in which the musical element makes a beginning. It stands at the gateway of the musical realm. The second is a musical question. Thus it is necessary (and you will feel the necessity) when forming a second, which follows any keynote, that you as second (whilst the second follows from another note) strive to turn the palms of the hands upwards. Any sort of movement you like can be produced while trying to arrive with the palms of the hands turned upwards, when ascending from one note to the next, or just a movement upwards, straightening the palm of the hand. Of course you must see to it that the hand does not appear in this position beforehand. The important thing is always to acquire a view of the whole. Through this, it [the second] manifests itself

Now, on the basis of what I have said, we have still to arrange the next two sessions.

Notes:

1. Phonetic spelling, see p. xiv. (Translator's note.)

I have often stressed that eurythmy is drawn from the nature of the human organization, from the possibilities of movement prefigured in the human organism. The human organism on the one hand contains the musical element, which in fact is built into it, and on the other hand (as should be especially mentioned in connection with tone eurythmy) it contains music translated into movement. It will doubtless be obvious to you that the musical element is situated, so to speak, in the human chest structure, above the chest. If we put the question: ‘How are we to find in the actual human organization the transition from singing, and from the inner musical organization upon which the human being is founded, to the “organism of movement” of eurythmy?’—then (as is immediately apparent) we must turn to the limbs attached to the chest structure, which reveal themselves as limbs of movement out of the chest organism. [42]

Now in regard to the whole human organization, the hands and arms are the most wonderful human ‘organs’. And you need only exert your intuitive vision a little to recognize that that which is latent in the human singing apparatus through the palate, jaw, and so on appears as limbs. In a certain respect it is like arms and hands which have become solidified and brought to rest. Try the following: Bring your arms and hands into movement before you by means of an interlocking of the fingers (folded hands), and now compare this with what happens when the lower and upper jaws are interlocked, as may be observed in the skeleton. If you take into account the muscles stretched across this, you will easily begin to discern the process of metamorphosis from a mobile state to a state of rest.

Now we see how that which serves the musical element in singing is continued below. That which is connected to voice production and to initiating the sound is actually surrounded by the muscles and bones which end in the arms and hands. And because movement depends upon making use of these muscles and bones, it is consequently a question of learning to feel how the muscles and bones have to be used in order to do eurythmy in the musical sense.

In voice production, the singer seeks the point of departure for initiating the sound. Can we too find a point of departure in eurythmy, where we make use of those most expressive ‘organs’, the arms and hands?

The human being possesses a singular ‘organ’ which may be said to form the anatomical, physiological starting point between the chest and the arms. This is the collar-bone. It is S-shaped—truly a most wonderful bone. At one end it is connected with the human middle system, and at the other end (after making the S-form) it goes out towards the periphery, towards directing the movements of the arms and hands. Now I must ask you to consider the following. Animals which make use of their fore-legs and their fore-paws for dexterous climbing (the bat, for instance, or the monkey) have quite an ingeniously formed collar-bone. Beasts of prey, animals such as cats or lions, which do not exactly climb but make use of their fore-paws when tearing their spoil to pieces, possess a less well-formed collar-bone, but they do have one. The horse, which only makes use of its fore-legs for the purpose of running, has developed no skill in their use, and their formation permits no mobility in itself; the horse has no collar-bone. Now, it is in the collar-bone that we may feel the starting point from which tone eurythmy originates. It is located there. And when you become conscious that a force goes out from your collar-bone with its muscles into the arms and hands, then vitality will be brought into your tone eurythmy. Then you have the point of departure. It really has to do with livingly feeling your limbs so that they can be used for such movements as we have done. Anyone who is unable to feel at a specific place will never discover the right point of departure.

The most necessary preparation for tone eurythmy, therefore, is a concentration of your consciousness to the left and the right sides of the collar-bone. And when starting to do tone eurythmy, with the first step, [42] transfer your consciousness to the left and right of the collar-bone. Feel that all the subtle possibilities of movement which you pour into your arms and hands really proceed from your collar-bone, just as the voice proceeds from its starting point. [43]

Then feel that you pour this feeling, which you consciously stimulate in the collar-bone, first into the socket of the upper arm. And feel too when you express the keynote with the legs, with the step, the following:

Already while unfolding the arm, the force which causes the arm to be unfolded goes to the keynote from up here, proceeding from the point of departure of the arm. Feel as if the whole forearm (and indeed the upper arm too) together with the hand and fingers were quite light, as if they had no weight, as if they really were not there, as if you were dealing with them quite usually. But here, at the point of departure, feel a strong unfolding of force; then you have held fast the keynote in the arm.

And now feel a raising or turning of the upper arm, in connection with the movement I have already shown for the second. Feel the second itself, by holding the hand in a certain way so that the force enabling you to retain this position of the hand starts in the upper arm. Then you have the right unfolding of the second; then it really is a second.

The stream flowing out from the collar-bone passes by way of the upper arm and on into the forearm; and only then does the flowing into the forearm become the third. And here something extremely remarkable makes its appearance. In order to form the third, you unfold the movement as I described it in the first lecture. For this, you need the forearm, both hands [probably Austrian dialect for ‘arms’. Translator's note], and the right or left hand [arm], depending on where you will form the third. When you allow the feeling which you have already made use of in the upper arm to stream on further, it will pass over the elbow and flow into the back part of the forearm. This is possible. When you go by way of the elbow, you come to the starting point for the third. Now you can ask yourself: ‘Can I also allow the feeling to stream hither (along the inside of the arm towards the hand)?’ Here, if your feeling is sound, you will say: ‘This is not possible. I can let the feeling stream forth up to the back part of the hand. But if I try to let it flow down the inner part of the arm, this is not possible. I have to imagine it as coming towards me, from below upwards. I have to imagine to myself as though I were laying hold somewhere with my hand, as though the feeling were flowing over along this side.’ And so we have two possibilities. If the beginning of the upper arm is here (see Fig. 18), the feeling streams in this direction (downwards). We pass from the second to the third. We can also unfold the feeling that comes towards us, and here we have to think of it as flowing from the hand inwards (direction of the arrow).

Now, you see, isn't this something wonderful! The human arm possesses one bone in the upper arm, for [the interval of] the second, and it possesses two bones in the forearm (radius and ulna) because there are two thirds. The bone at the back of the forearm [ulna] presents the major third, and the inner bone of the forearm [radius] the minor third. The way the scale is active in the bones and muscles of the arm is simply marvellous. When you now reach the place where the hand begins (where the small bones are) you still feel exactly as if you were inside yourself.

It is only when coming to the hand itself that you go out of yourself. The fourth is still within. It is here at the place where the hand begins. Here you have to feel the movement that gives you the fourth. The fifth is here on the hand itself. Feel the sixth here in the base of the fingers [proximal phalanges], and the seventh (as I showed you) you can produce in particular with the ends of the fingers [distal phalanges]. You must send your feeling into the ends of the fingers.

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You see, it is not a mere figure of speech to say that eurythmy has been drawn out of the organization of the human being. So strongly is this the case that you can keep completely to the structure of the human form. There are the two bones in the forearm for the major and minor thirds, and here too you have to develop the feeling corresponding to a major key and a minor key. The major key is felt in the feeling flowing downward, passing by way of the elbow into the ulna and from there into the back of the hand. [44] When you feel this stream as flowing down into the back of the hand, the feeling is of the major mood.

When, however, you feel a slight current of air or a feeling coming towards you, passing through the palm of the hand and here at the lower arm into the inner bones, then you have the feeling of the minor mood. If you acquire a sensitivity for this transference of feeling in the human organism you will find yourself becoming inwardly musical, for you yourself are really living the scale.

Take some opportunity of observing two people engaged in eurythmy, of whom one makes the movements as if they were being carried out by an artificial, papier mache, mechanical person, whereas the other really feels the origin in the collar-bone, feels the keynote at the point of departure of the upper arm, the second proceeding from here (upper arm), the third in the forearm, and further out in the hand itself the fourth, fifth, sixth and seventh. We have to get out of ourselves in the hands. We are out of ourselves the most at the ends of the fingers. It is here that the seventh arises. The goal in eurythmy is not to invent worked-out movements, but rather to draw out the possibilities of movement that are inherent in the human form itself. This is where eurythmy differs from every other modern attempt to develop an art of movement. In none of these attempts do we find in what is practised the movements drawn out in this way from the human being himself. For it is necessary, in the first place, to know that the human arm with the human hand, from the point of departure through the collar-bone, is precisely the scale itself.

If you look at a horse, you will feel that it actually could not do eurythmy. A horse engaged in eurythmy would be an appalling sight! A kitten would make a more charming impression, and a little monkey better still. The eurythmy of a little monkey might be quite pleasing. Why? Because the horse has no collar-bone. A kitten has a collar-bone, even if less perfectly formed than that of a monkey, which possesses the most perfect collar-bone [of the three]. The eurythmic movements of an animal, if you could imagine them, would be pleasing in proportion to the development of its collar-bone.

Everything arising from the appendage of lungs, larynx, and so on, when metamorphosed and correspondingly projected outwards, is represented in the conglomeration of collar-bone (the shoulder blade serves as a completion) collar-bone, shoulder-blades, upper arm, forearm, and the bones of the fingers.

Now when the first four notes of the scale are played, or shown in eurythmy, you will undoubtedly feel them as a progression. Play the scale up to the fourth: prime, second, third, fourth; it is a progression. With the fifth you feel that something is changing. And with the sixth and seventh you will distinctly notice at the same time a spreading out; the whole scale expands. Even this is reproduced in the hand. If you consider the simple structure of the upper arm and the two bones of the forearm, you find there the entire musical image of the first stages of the scale. When the scale widens out (from the fourth onwards), everything is indeed situated in the hand itself; and here there are twenty-seven bones designed for inner mobility. Thus, when you ascend to the upper notes of the scale, you can develop considerable powers of expression, especially in the use of the hands.

You know, however, that from the anatomical point of view there is much similarity between the arm and the hand, and the leg and the foot even if such points of departure are not present. And it is possible to transfer the movements (which we have used to express the notes) to the legs and feet, harder though they are to carry out, and necessarily remaining as an indication. When you transfer the gestures for the notes to the legs and feet, the effect will be less beautiful, but you have here a different means of expression for the legs and feet from dancing, as we have already tried in the most various ways in speech eurythmy and the like. Now you will easily gather that in the case of legs and feet, the beginning of the thigh-bone, the whole thigh-bone, corresponds to the keynote, when you flex the muscles. When you try to produce a movement in which the lower part of the leg hangs, to a certain extent, while strong movements are made by the upper part of the leg, then you are in the sphere of the keynote and the second. Passing over the lower part of the leg to the fibula and tibia (shin-bone and splint-bone), you again find the major and minor thirds—the major third in the tibia and the minor third in the fibula. In this way the thirds may be expressed once again by means of the leg. But essentially such movements will be differentiated very strongly from those most expressive movements the human being is capable of (the movements, that is to say, of the arms and hands), just as the double-bass differs from the violin.

When, with two people, a piece of music is so carried out that the notes down to the C two octaves below middle C are strongly articulated with the arms, while the bass notes beyond the C two octaves below middle C are correspondingly expressed by the legs (either by the same or another person) you will find this renders a remarkably expressive possibility.

Thus it is really possible today that all the musical elements may be included in eurythmy. It is, of course, impossible to work out the actual exercises during these lectures; you will, however, understand how matters lie, and in the future it will be a question of thoroughly practising all the things which I am putting before you. It is only through practising that you really get into it. Then you will see that this is precisely the method of tone eurythmy.

Now if a person wishes to show the lower notes (the notes two octaves or more below middle C) by emphasizing them as strongly as can be done with feet and legs, at the same time only slightly indicating the same notes with the arms, the effect will certainly be fine, too. This is one possibility.

Another possibility is this. While carrying out the movements with feet and legs, the arms may in a certain way retain confirming movements enveloping the whole thing, varying according to the degree of liveliness in movement that you wish to express (a) (see Fig. 19), or, when stronger and more lively, a movement of this sort (b), or, when specially lively in mood, a movement of this sort (c). You see, it is quite possible to say to yourself: ‘Yes, there are different possibilities of expressing the notes.’ For this is the case. Eurythmy will never lead anyone into pedantry.

If you have thoroughly practised the things we are here discussing, many different variations and possibilities of expression will be revealed—but only if you base your work on the realization that everything does actually depend upon being conscious of the point of departure, of developing the consciousness: seconds are in the upper arm, thirds are in the forearm. With your awareness correspondingly transferred to the upper arm or forearm, you will create aesthetically beautiful movements. Then your soul is brought into play.

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Just imagine one of you carrying out the movements of eurythmy. Eurythmy is a singing through movement; it is singing. It is not dancing; it is not mime; it is singing. This is why you cannot sing and do eurythmy at the same time. Instrumental music can be expressed in tone eurythmy, but not singing. Anyone who imagines that this is possible has not yet grasped what eurythmy is. He is not looking upon it as an autonomous art, but is making use of it in order to illustrate what is being sung. In such a case eurythmy would only be an art of illustration, and this, of course, is a complete misunderstanding. A better understanding may perhaps be furthered by mentioning something in this connection. Imagine that one person is expressing in eurythmy something that another person is singing, both exactly the same thing. Anyone possessing spiritual vision would see in the etheric body of the singer precisely the same movements; it would be as though a spirit were perched on the singer's shoulders, making the very movements that are being made by the eurythmist. Singing is nothing other than a carrying out with the etheric body of the same movements resonating in the vocal organs, which you permit the physical organism to perform in eurythmy. That is why it is difficult to bear the sight of anyone doing eurythmy whilst singing to it at the same time. For then you are aware of the same thing duplicated; you perceive with the physical eyes, and then you see another, etheric being, with his legs dangling on the shoulders doing these movements up there, doing the very same thing! [45]

Should you ever have the opportunity of examining a collar-bone (perhaps managing to acquire some knowledge of the surrounding muscles, and especially studying the direction they take) then you will notice something very remarkable about this S-shaped collar-bone. The form of that part of the collar-bone which tends outwards will give you the feeling that it is receiving something, that it allows things from outside to approach it. In that part which goes out from the middle you will feel an out-streaming tendency. In the collar-bone (see diagram) you really have an out-streaming and an in-streaming. The outward stream passes through the back part of the arm, via the ulna, down into the back of the hand. The inward stream passes through the palm of the hand, up the radius and back again here [to the collar-bone]. Here two streams continually exist, the one flowing upwards this way, and the other outwards (see arrow). The one gives something out, the other is receptive. Following this, you arrive directly at a real understanding of the major (Dur) and minor (Moll) moods.

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The things that are said about major and minor and which are found in books on music are actually appalling. [46] Many such theories with regard to major and minor have been put forward in recent times. If people, in such a case, did not listen in a sounder way than they think, the fate of music would be the same as the fate that would undoubtedly overtake the art of eating if the numerous physiological theories had to be followed instead of the instincts. It is a mercy that in music (and consequently in eurythmy) we can, up to a point, follow the instincts; for the real secret of the difference between major and minor lies in the fact that everything of the nature of major streams out from the will, that is, a streaming out from the fullness of the human being. Everything that is major is related to action (Tat). Thus a certain activity must be introduced into all motifs in the major mood. All phrases in the minor mood are receptive. They possess something of recognition, of acceptance, of laying hold of something. All phrases in the minor mood are related to feeling. When passing over from a phrase in the major mood to a phrase in the minor mood, we must definitely show that this is a transference of activity from the outer structure of muscle and bone to the manipulation of the inner structure of muscle and bone in the arm and hand of the eurythmist. It is from feeling and experience of the impulse towards action that all eurythmy has to proceed.

It is a fact that anything based on the musical element may be expressed in tone eurythmy. To be convinced of this, you need but to remind yourselves, for instance, not only of how this or that occurs in the musical phrase, but also in the musical element that which brings about a close for musical feeling as such (where the progression of a phrase leads in a certain direction, resulting in a feeling of being checked). In the cadence we have something (the expression is somewhat crude, but I think it is applicable) which dams up the flow of the music.

When you experience the cadence and the whole progression towards the cadence, you will find the following to be quite obvious. As an example, let us take the cadence in the major mood (see Fig. 21).

How would you express this in eurythmy? In the fashioning of your movement you have to bring it to a conclusion, and you will certainly feel a tendency to lead the movement over towards the right, stopping it.

This gives the effect of a close. Thus a cadence in the major mood leads you to move in a turning from left to right; the eurythmic movement is made in this way, towards the right side.

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If, instead of this, we have a cadence in the minor mood, the process is reversed; the stopping movement would then proceed from right to left, for now the element of feeling has to be present. It is only the ignorance of our civilization which gives rise to the wish to teach children to write with both right and left hands. This differentiation in the human organism is fundamental. For there is a great difference, is there not, whether the heart is situated on the right side or the left. (Cases are known in which the heart lies on the right side, but they are exceedingly rare; in such a case the person in question would differ from all his fellow-men.) Now, this fundamental difference does indeed exist. It is based upon the inner organization of the human being. And so, when approaching a close it is necessary that you feel: cadence in the major mood (towards the right side), cadence in the minor mood (towards the left side). And when, in the progression of the music, at the moment when you reach a close in the music itself (where you cannot imagine continuing), then at this point you have to introduce something into your movement whereby this movement is inwardly brought to a conclusion. You will feel the necessity of expressing the cadence in eurythmy in just this way.

You see, in this course of lectures it has been my full intention to direct your attention precisely to those things relating to the inner feeling of the movement. For I have been struck by the slight attention paid by eurythmists to that aspect of the eurythmy figures designated as ‘character’. [47] I have always emphasized that a real attempt has to be made to concentrate the feeling and to stimulate a strong muscular tension at those parts of the eurythmy figures where the ‘character’ is applied. This makes quite a different impression upon the audience from that which is created when (if you will pardon the expression) the matter is carried out phlegmatically to the utmost. Eurythmy is fundamentally based on the possibility that these things can be used.

Now, because speech eurythmy is more bound up with the sense of the words, it will not be quite so noticeable if feeling does not accompany the activity. But if the movements of tone eurythmy are not permeated through and through with feeling the whole thing becomes utterly meaningless. If your feelings are not incorporated just as I have indicated today for the scale, the audience will feel the movements as arbitrary and disjointed. Everything depends upon your feeling: Here the upper arm begins, and you form the keynote—or whether you feel: A humanly-felt impulse is situated here in the upper arm, and you fashion the second in the way I told you yesterday. These feelings determine whether the movements which you carry out for any progression of notes appear filled with human motivation or whether they appear unmotivated. For in everything artistic, nothing is as important as motivation.

From this, however, you see (and this is a point I would like to touch on at the end of this lecture) that eurythmy has to develop gradually in such a way that auxiliary subjects are studied, just as in other forms of art. [48] The painter and sculptor are obliged to acquaint themselves with sculptors' and painters' anatomy. They cannot get on without it. The eurythmist should endeavour to acquire a thorough knowledge of the human being, and should study such things as the physiology of the collar-bone, and so on, as an auxiliary study (or whatever you'd like to call it).

When you now consider this intimate connection between eurythmy and the whole organization of the human being, it will no longer seem strange to you that in the case of tone eurythmy too (although perhaps with occasional variations) we are able to speak of a eurythmy therapy. Only think of all that lies behind what I have discussed today! We have realized that there is both an inner and outer organization in the formation of arms and hands (see Fig. 22). They fit each other as does the nut to the nutshell; they are built up out of the same forces. Consequently, if we have to treat a diseased lung, it is possible to work back on this lung by encouraging the patient to do tone eurythmy in a certain way, as eurythmy therapy.

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It is in afflictions of the throat, however, that tone eurythmy can work with particularly far-reaching results. For the whole muscular and bony structure of hand and arm is in reality nothing but an outer, concave image of what exists in inner, convex form in the lungs, and proceeding further, in the heart-organization and in everything concerned with speaking and singing right out as far as the lips.

And so, a really practical awakening of the eurythmy that is within you, will enable you to gain deep insight into the human organization; indeed, I would like to say, the study of eurythmy may lead over into the esoteric realm if a practice is made of transferring the inner impulse of feeling from collar-bone to upper arm, radius, ulna, and so on, or correspondingly in the legs and feet.

Tomorrow, then, at the same time, we shall begin by adding what is still lacking, and in retrospect complement our studies.

Today, I will try to pass on some things which will bring our studies of tone eurythmy to a provisional conclusion, so that a stimulation for the advance of the substance of tone eurythmy will have been given. The first step in this direction will be to digest those things I have given. Then, a little later on, it will be necessary to hold a further series of lectures, either on tone eurythmy or speech eurythmy, [50] for it is quite clear that a living stream of development has to be maintained. I have frequently said that eurythmy is only just beginning (perhaps only an attempted beginning), and it must be developed further.

From yesterday's study, which dealt more with the bodily aspect of the human being, and with the way in which the body is brought into activity in the movements of eurythmy, I should like to pass over today to the aspect of soul, and make clear to you how the life of the soul is brought to expression in every single movement or gesture. Your attitude to eurythmy must always be such as to prevent any form of pedantry. You will realize more and more that many things can be expressed either in one way or another, and that in art it is a question of taste. And with several things you will have to consult your own feelings: ‘What special means must I employ to bring this or that to expression?’

Let us consider an effectual means of expressing that most essential element of music, the phrase in Melos. Let us consider the progression of the phrase (since it really is the phrase which truly carries music into being), and direct our attention to that which gives the phrase its actual content, and makes it a true means of expressing the musical element: pitch. Further, we must distinguish note values and dynamics. The three elements of pitch, note values and dynamics really give us the inner content of the musical phrase. The more external aspect will be considered later.

Now everything musical, in so far as it is wrought out of the inner nature of the human being, comes from feeling, from the realm of feeling. And it is true to say that nothing is musical which is not in some way rooted in human feeling. Similarly, when music streams over into eurythmic movement, everything which is brought to life in this movement must also be rooted in feeling. When we studied the anatomical, physiological aspect of the matter yesterday, we saw that in its more physical, bodily aspect, movement springs from feeling. The scale is the human being, but actually the human being as he encloses his chest, or in so far as his chest is able to be revealed outwards via the collar-bone. The chest is connected with feeling, and carries within it the central organ of feeling, the heart. And the physical characteristic we touched upon yesterday simply points to the fact that in music we have to do with feeling.

If I may put it in this way, feeling can be coloured either more towards the head- or more towards the limb-organization. Should feeling tend in the direction of the head, it is expressed so to speak in the roundabout way of the intellect. Now I must beg you not to misunderstand this, and think that it is my intention to intellectualize the musical element. I have no such intention! It is a fact, however, that precisely in the element of pitch, something is manifest which causes feeling to tend in the direction of the intellect, only it does not reach the intellect, but remains in the realm of feeling. And so a musician need not in the least be interested when the intellectual physicist comes along and speaks of the frequency and the pattern of sound-waves. The musician can justifiably answer: ‘This may be all very well, and so on, but it has nothing to do with me. I am not interested in this.’ An intellectual conception of music leads away from the sphere of music. It may be left to the physicist. [51] That element of music which tends towards the intellect is also felt. Pitch, in all its differing manifestations, is an experience of feeling. And it is just because music inclines away from the intellect that the head has so little to do in tone eurythmy. Indeed in speech eurythmy, too, the head should play practically no part, though naturally it should humanly accompany the movements carried out by the speech eurythmist.

Of course, in a humorous poem it would not be good for a eurythmist to make a face as if he had drunk a pint or so of vinegar! This would obviously be out of place. Generally speaking, the whole mental attitude should be suited to the content of the words. But if anyone attempted to do eurythmy with the face (and some people miss mime or a special play of the facial features) we could well answer that this would be equivalent in real speech eurythmy to someone accompanying his speaking with grimaces.

In tone eurythmy, exactly the same as in speech eurythmy, the head need not remain inactive. But just where it is a concern of manifesting the intellectual tendency of the musical element, that is pitch, the activity of the head should be restrained as much as possible. Otherwise interpretation, or the element of seeking meaning, enters into the musical element, and this is its ruination. This introduces thinking into art, and the moment you begin to think, artistic activity ceases. I am not saying that art may not present thoughts, but thoughts must be there already in finished form, they cannot just be made up on the spot. A majestic, elevated thought may, for instance, be contrasted with lesser thoughts, or an idea may frequently recur in a train of thought, just as a musical motif may recur, for then the musical element is effective in the . train of thought. This is certainly possible. But you must not be thinking! [52] The same even applies to poetry. When a poet begins thinking he ceases to be a poet. Certainly he may embody thought in artistic form—but that is a very different matter.

Now as we have already seen, pitch (which lives in the musical phrase) initially finds expression in movements made in the upward-downward direction. The expression of pitch is up, down. Why should the movements be upwards and downwards? What lives in pitch?

You see, in the case of ascending pitch we feel a rising up into the spiritual element, in the musical element a rising up into the spiritual, rising with the ascending pitch. This is exceedingly significant. What really happens here is that the astral body and ego ascend. The human being is freed from his physical and etheric bodies. If he were to do this in an inartistic or even an anti-artistic manner, then he would faint. If he were to go out of his physical body without sufficient preparation, he would faint. The experience of musical sound (so long as it remains an experience of musical sound, of Melos) permits us to pass out of the physical body. Then we instantly come back into it. In ascending pitch there is a continuous rising out of the physical body, an identification of the human being with the spiritual element. In tone eurythmy every ascending movement basically signifies ethos. Ethos of the human being is a uniting of the soul with the spiritual weaving and essence. Ascending pitch: ethos.

When, alternatively, pitch descends, and we are consequently obliged to follow, to make the movements lower in space (making each movement lower than the one preceding), we sink more deeply into the physical body with the astral body and ego. We are united more with the physical element. Descending pitch signifies a closer connection than normal with the physical element. This is pathos. Ascending pitch: ethos. Descending pitch: pathos.

If you observe the unfolding of a piece of music with sound musical feeling, you will see that this is always the case. You will always experience ethos, that is to say, a uniting with the spiritual element, when the pitch carries you upwards. You will always feel something of the nature of pathos present in the music when the pitch causes you to descend. This can find expression in change of posture, and may indeed be specially clearly expressed by the movements of tone eurythmy.

Note values: note values are the feeling element as such. The faculty of feeling tends neither in the direction of the intellect nor in the direction of the will, but lives in its own element in note values. From what I have said about the way in which rests, for instance, or the pedal- point may be expressed in eurythmy, you will already have realized that feeling is active in note values. For it is indeed a fact that feeling is active to the greatest extent in note values. You need only recall in a feeling-way what you experience concerning a semibreve (whole-note), let us say, or a minim, crotchet or quaver (half-note, quarter-note or eighth-note). The shorter the length of the notes, the more your soul becomes inwardly filled, inwardly more formed and shaped. A vivid means of musical expression is made possible to a high degree by the contradistinction between notes which are short and those of longer duration. Long, slow notes denote a certain indifferent emptiness of soul (to put things baldly), an indifferent emptiness of soul. And in this fullness in the soul or this emptiness in the soul, the second factor, the actual feeling element, is active. The feeling concerning long notes may be likened (there is a real resemblance here) to that of waiting for something which still does not want to come. pn the other hand, when someone continually seeks to stimulate us to activity, this is akin to the feeling- experience underlying short notes.

The head may be brought to our assistance when it is a question of experiencing note values; indeed, a certain use of the head in eurythmy now becomes necessary. But the question is: How may this be done?

You see, in pitch, the soul is purely concerned with itself. Consequently in pitch, the soul rises up to God or sinks down to the Devil, [53] living to the extreme completely within its own essence.

In note values a certain enjoyment and participation in the world outside, a contact with the world, exists. A relationship of the human being with the outer world is expressed in note values. For this reason an aesthetic and pleasing impression will be created when, in the case of short notes (beginning perhaps with minims, or half-notes, [54] and working up in ever-increased activity) you look in the direction of what you are doing with your arm, fingers or hand, looking at your own eurythmy, carefully following your own movements with your eyes.

When, alternatively, you have long semibreves (whole-notes), do not look towards but rather away from your movement, either straight in front of you or in some other direction. You will see that although this does not fully express the feeling involved here (this must be expressed through sustaining the note or through moving on), it will be accompanied in the right manner. There can be no doubt about the fact that in note values we have to do with feeling. That is why the head may be brought to our aid. The head is not used here as a little interpreter; it simply expresses its participation in the feelings, and that looks quite pleasing.

The third element is dynamics. In the phrase, dynamics, the realm of feeling (which is always the source of the musical element), are coloured towards the element of will. The will as such does not come into play in the musical element, for the musical element always remains in the sphere of feeling. But just as in pitch, where feeling tends to be coloured towards the intellectual element, so in dynamics, feeling tends to be coloured towards the will. Here it is somewhat different than with the head. In the head, that which is manifested in the arms as movement is brought to rest. The jaws can only move a little; they are at rest. Indeed the head is entirely at rest. On the other hand, the legs and feet do retain a certain similarity to the arms and hands, so the movements of the arms and hands might possibly be accompanied with parallel movements of the feet when expressing a certain emphasis, or a certain dynamic marking. If this were not so, there would be no dancing. Eurythmy should not become dancing, but there may be times when a tendency towards dancing may be a justifiable means of expression (when the dynamics demand that feeling be coloured through the element of will). In musical dynamics, the human being's relationship with the world is even more relevant. Only pitch remains entirely inward. Note values bring the human being into a certain connection with the outer world. Dynamics make this complete, for forte gains its strength from the will, whereas in piano the will-impulse is lacking. Here, then, the movements of hand and arm can be reinforced by corresponding leg movements. These movements, of course, have to be graceful in the highest sense of the word; they should not be awkward, but have to be similar in style to what the arms and hands do. You will feel then what the legs have to do.

Dynamics may be substantially supported if you are aware of the fact that increased dynamics find is expressed by pointing the fingers, and a weakening of the sound makes the fingers rounded, so you can achieve something very expressive. Just think how much expression can be brought into the phrase which is already very expressive from a musical point of view. Think, in the first place, how we are able to express the phrase by emphasizing varied pitch in the way we have learned. This may be accompanied by bringing out note values by a use of the head, looking either towards or away. The dynamics of the phrase may be lit up by a pointing or rounding of the fingers. This gives you the possibility of becoming a very expressive being within the phrase. You will be able to express much when you observe this variety in the phrase, in the continuation of the phrase, and so on.

There is another way of accompaniment which can increase your means of expression. You see, with certain very high notes (notes which ascend two octaves or more above middle C) [55] you may follow the movements with your eyes. Try, however, not to conjure up an active gesture of looking (looking gives an impression of note lengths), but let your eyes be swept up with the movement. And so when you would especially like to express very high notes, you will follow the movement with your eyes, too. You will try, though, not to produce the gesture of looking, but of being swept up with your eyes. Produce the gesture of being swept up with your eyes, as if they [56] would do this movement—and they should be swept up with the movement! In such a case the eyes do not look, but turn in the direction of the movement. Here we have still another means of expressing the things that are present in the phrase.

These things are initially bound up with the inner essence of the phrase, with the actual life of the phrase. And if you concern yourselves further with the phrase you will actually find, fundamentally, when you use these things; that you will be able to follow transforming and developing phrases.

I should just like to add the following. It is, of course, necessary that everything we have studied in these lectures (which have aimed at deepening eurythmy) should be developed with particular inner activity.

Let us now take the development of a phrase as it progresses through various musical sentences. Here we are able to differentiate whether it is developed in the form of repetition—so that the development signifies a certain intensification, a confirmation of the original phrase. In such a case, if other aspects do not indicate the contrary, much can be expressed by the treatment of the form.

Let us suppose that you have to carry out some form such as this (a) in a certain piece of music. Quite apart from what you express by means

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of your body, this form has to be carried out. If you follow your musical feelings you will be able to add, according to the progression of the phrase, certain steps backwards and forwards, still following the direction of the form (b)

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If, however, the progression of the phrase is such that a second phrase follows the previous one similar to that between question and answer, it would be good if the progression of the form were treated in this way (c)—with a more complicated development introduced into the form.

Another means of expressing either a sequence or an answering phrase, the repetitive sequence or the contrast of phrases, is this. At specific points in the progression of a phrase, where the progression of the phrase is specially felt (where, let us say, a new metamorphosis of the phrase commences), the direction of the form can be directed towards the right (b). If another phrase is brought into conjunction with the first, at the point where this second phrase begins, make a turn towards the left.

Such things make the movements exceedingly expressive. And further, if you make the movements of this latter type stronger in a four-bar phrase, let's say, and bring out the eight-bar phrase (which has four main accents) by clearly showing the alternating direction of left-right, then you will succeed in expressing in eurythmy this plastically-formed development in the progression of the phrase.

When you come to apply the things we have been discussing, you will invariably reach a point where, in some way or other, the essential nature of the musical element is revealed in its onward progression. Here you actually pass out of the inner experience inherent in the soul of Melos (as I'd like to put it) and you approach instead the life of Melos. We can certainly differentiate between the soul and the life of Melos. And the element which is less bound up with the soul and more with the life of Melos is tempo, especially tempo changes. The human being, by living in time, has to live either at a quicker or slower pace. This is something which exerts a certain influence on his or her life from outside. A person certainly does not become someone else if circumstances compel him or her to do something in a shorter time than usual. It is not a question of becoming cleverer, or more stupid, but simply of becoming quicker. It is, then, the external element of time which causes increase of tempo

Now it is a fact that in the musical element nearly everything depends upon changes, just as in movement generally everything depends upon changes. For this reason, change of tempo must be given special consideration in eurythmy. Let us suppose that we have an increase in tempo. An increase in tempo may not be shown simply by increased speed of movement, as this may be applied for pitch, for note values, and so on, but the body must make an abrupt movement (Ruck) towards the right. When you change to a retarded tempo, the body must be drawn (Zug) towards the left. Here you have a means of expressing change of tempo in such a way that the external element in it is given its adequate place in the moulding of the phrase.

You will say: ‘What a terrible amount there is to do!’ But bring imagination to your aid and think how beautiful it will be when you carry out all this detail, how articulated and expressive a piece of music will become when interpreted in this way. A tempo remaining either quick or slow may be particularly well expressed when, with a quick tempo, the head is turned forwards to the right, and, with a slow tempo, backwards to the left. Naturally this cannot be intellectually proved, but, as with everything in art, has to be felt and experienced.

You will, then, have to do many different things simultaneously, and by means of this simultaneous attention to one thing and another, it will be possible for you in the whole management of your body to go beyond yourself and enter into the movement in such a way that you will succeed in giving a perfectly adequate revelation of the musical element.

Now, in doing all these things just feel how far we remove ourselves especially in tone eurythmy from anything of the nature of mime. Mime can have no place in tone eurythmy, and anything in the nature of dance is only permissible at most as a faint undercurrent. It is only with deep bass notes that the eurythmist may be tempted to add dance-like movements to colour his eurythmy. In this way eurythmy will really be kept in a sphere which justifies the name of ‘visible singing’. Eurythmy is not dancing, not mime, but visible singing—a visible singing by means of which everything sounding in one way or another in instrumental music may be expressed. The feeling must never arise that we are dealing with anything other than visible singing. Here we come across something very instructive. With the means given here you will have no difficulty expressing anything that is purely musical. Certain difficulties will only appear when you have a musical phrase which you cannot bring to a conclusion. I am not going to rail against what is called ‘continuous melody’, but you will invariably experience difficulty when you try to express this in eurythmy. As we saw yesterday, genuine cadences can be expressed in eurythmy. But what always wants to move on (and not to come to a close) will hold great difficulty in store for you when you try to find a means of expression for it. I will suggest, then, that you accompany the passage where a melody fades away, which just meanders on (as is frequently the case with Wagner's ‘continuous melodic phrases’) [57] with some sort of movement, but this, when you pursue it eurythmically, will in fact appear extraordinary, will appear forced. In eurythmy it will appear laboured and artificial. It cannot be otherwise.

It may well be said that by its very nature, eurythmy will oblige people to return more and more to the pure musical element. When you come to apply all the means of expression of which I have been speaking, it will be necessary to engage your feeling for phrasing in music to the utmost. If you do not divide the separate phrases correctly, and are not clearly aware of how the notes should be grouped together, and then try to apply what I have discussed for a rest or a sustained note, it will appear ugly. Wrong phrasing, or a note falsely grouped and included wrongly in a phrase or allowed to remain isolated, will instantly be apparent. The very moment you phrase wrongly, the movement will become uncouth and clumsy. This is why it is of primary importance, when practising tone eurythmy, first to come to terms with the larger matters. As soon, then, as you have determined upon the phrasing and made up your mind about the progression of the music, the next step will be to discuss the phrasing with your pianist. [58] This simply belongs to the matter. When you are practising it will be necessary first Co experiment and find your way into the experience of the music. Only then will you realize what the effect of this or that kind of movement will be. You will be filled with inner warmth or inner cold. This is what the inner life is. A eurythmist may often be able to feel how notes are grouped even better than the person sitting at the instrument. It is really necessary to come to an understanding with the musician so that the phrasing may be correspondingly carried out. Of course, people do generally phrase correctly, but in eurythmy it will be frequently noticeable that an accepted phrasing must be altered, owing to the very nature of eurythmy. You will discover that several matters need correction.

Now, these are the things I wanted to give you in this course of lectures. In the first place it should be a stimulus to deepen tone eurythmy, and eurythmy in general. If in the near future it is shown that, through this, much in eurythmy (in tone eurythmy in particular) achieves a greater degree of perfection, and if it may be seen that speech eurythmy too receives fresh life through what has been said, we will hold another course. In this way we shall be able to develop ever further what today is still only a beginning. But if, instead of the eight lectures, I had given fourteen, I would have been concerned that the subject matter be properly assimilated. Then let us stay with what we have now received as a stimulus.

Herr Stuten: [59] Dear Herr Doctor, I know that I speak for everyone when I express our heartfelt thanks to you at the close of these lectures. Once again you have cast light on so many questions which we all carried within us, and given us much stimulus, that we see a great but completely unconstrained work before us. It is a great joy especially today to be allowed to express our thanks.

Dr Steiner. Thank you very much. I have intentionally not asked for questions because I think the material needs to be worked through and in the course of time there will be many opportunities where the one or other question can be dealt with. Very little comes when questions are asked after the first hearing, and everything becomes hurried and mixed up.

These lectures dealing with the nature of eurhythmy are given in response to a request from Frau Dr. Steiner, who believes it to be necessary, in order to lay the foundation of an exact eurhythmic tradition, to recapitulate in the first place all that has been given in the domain of speech-eurhythmy at different times to different people. To this repetition fresh material will be added in order to widen the field of eurhythmic expression. Such material will, however, not be set apart in separate chapters, but will be given in connection with each individual point as this comes under discussion.

I shall endeavour to deal with eurhythmy from its various aspects; not only from the artistic side which naturally calls for our first consideration here, but also from the point of view of education and healing.

The first lecture will be in the nature of an introduction and this will be followed by a lecture dealing with the first elements of speech-eurhythmy. In every branch of eurhythmic activity it is necessary above all that the personality, the whole human being of the eurhythmist should be brought into play, so that eurhythmy may become an expression of life itself. This cannot he achieved unless one enters into the spirit of eurhythmy, feeling it actually as visible speech. As in the case of all artistic appreciation, it is quite possible for anyone to enjoy eurhythmy as a spectator, without having acquired any knowledge of its essential basis, just as it is quite unnecessary to have studied harmony or counterpoint to be able to appreciate music. For it is an accepted fact of human evolution that the healthily developed human being carries within him a natural appreciation and understanding of art.

Art must work through its own inherent power. Art must explain itself. Those, however, who are studying eurhythmy, whose duty it is in some way or another to bring eurhythmy before the world, must penetrate into the actual essence and nature of eurhythmy in just the same way as, let us say, the musician, the painter or the sculptor must enter into the nature of his own particular art. If we wish to enter into the true nature of eurhythmy we must perforce enter into the true nature of the human being. For eurhythmy, to a far greater extent than any other art, makes use of what lies in the nature of man himself. Take for example various other arts, arts which need instruments or tools for their expression. You find no instrument or tool so nearly akin to the human being as the instrument made use of by the eurhythmist. The art of mime and the art of dancing do indeed to some extent make use of the human being as a means of artistic expression. With the art of mime, however, that which is expressed through the mime itself is merely subordinate to the performance as a whole, for such a performance does not depend entirely upon the artistic, plastic use of the human being. In such a case this same human being is made use of in order to imitate something or other which is already represented in man here upon the earth.

Further, in the case of the art of mime, we find as a rule that the gestures are used mainly to emphasize and render clearer something which is made use of by man in everyday life; that is to say, mime emphasizes speech. In order to bring a more intimate note into speech, gesture is added. Thus we are here concerned with something which merely adds in some small measure to the scope of that which is already present in man on the physical plane.

In the art of dancing—if we may use the word ‘art’ in such a connection—we have to do with an outpouring of the emotions, of the will, into movements of the human body, whereby are only further developed those possibilities of movement inherent in the human being and already present elsewhere on the physical plane. In eurhythmy we have to do with something which can nowhere be found in the human being in ordinary physical life, but which must be through and through a creation out of the spiritual worlds. We have to do with something which makes use of the human being, which makes use of the human form and its possibilities of movement as a means of expression.

Now the question arises:—What is really expressed in eurhythmy?—This you will only understand when you begin to realize that eurhythmy is actually a visible speech. With regard to speech itself the following must be said. When we give form to speech by means of mime, the ordinary speech itself provides us with a picture, with an image; when, however, we give form to speech itself, to sound as such, we find that the latter contains within it no such image. Speech arises as a separate, independent product from out of the human being himself. Nowhere in Nature do we find that which reveals itself in speech, that which comes into being through speech.

For this reason eurhythmy must, in its very nature, be something which represents a primeval creation. Speech—let us take this as our starting point—speech appears as a production of the human larynx and of those organs of speech which are more or less connected with it. What is the nature of the larynx? This question must eventually be brought forward, for I have often shown how in eurhythmy the whole human being must become a sort of larynx. We must therefore put to ourselves the question: Of what significance is the larynx? Now if you look upon speech merely as a production of the larynx, you will gain no conception of what is really proceeding from it, of what is being fashioned within it. Here it would perhaps be well to remind ourselves of a remarkable tradition which to-day is little understood, and of which you find some indication when you take the beginning of St. John’s Gospel: ‘In the Beginning was the Word, and the Word was with God, and a God was the Word’. The Word.—Of course that which we to-day imagine to be the Word is something which gives not the slightest sense to the opening sentences of this Gospel. Nevertheless they are continually quoted. People believe they can make something out of them. They do not, however, succeed. For it is an undeniable fact that the conception of a word as held by the man of to-day is often truly expressed by his saying something of this kind:—What is a name but mere sound and smoke, mist and vapour?—In a certain sense he values the word itself little in comparison with its underlying concept. He feels a certain superiority in thus being able to value the word little in comparison with the thought. When, therefore, one puts oneself in the position of the man of to-day, and considers his conception of a word, the beginning of St. John’s Gospel has indeed no meaning. For consider the Word?—we have so many words, which word? It can only be a definite, concrete word. And what is the nature of this Word? That is the question.

Now behind this tradition which is indicated in the beginning of this Gospel lies the fact that man once had an instinctive knowledge of the true nature of the Word. To-day, however, this knowledge has been lost. To primeval human understanding the idea, the conception, ‘the Word’ comprised the whole human being as an etheric creation.

All of you, as Anthroposophists, know what we mean by the etheric man. We have the physical man and we have the etheric man. Physical man, as he is described to-day by modern physiology and anatomy, consists, both outwardly and inwardly, of certain forms of which one is able to make diagrams. Here, however, one naturally does not take into consideration the fact that what one draws is only the very smallest part of the physical human being, for the physical body is at the same time fluidic; it consists also of air and warmth. These constituents are naturally not included when one is speaking of the human being in physiology and anatomy. Nevertheless it is possible to gain some idea of the nature of the physical body of man.

We have, however, the second member of the human being,—the etheric body. If we were to attempt to draw the etheric body something extraordinarily complicated would come to expression. For the etheric body can just as little be represented as something static as can lightning. It is impossible to paint lightning; for lightning is in continual movement, lightning is in continual flow. In portraying lightning one must attempt to show it in continual flow and movement. And the same holds good with the etheric body. The etheric body is in continual motion, in continual activity.

Now these movements, these gestures which are continually in movement,—of which the etheric body does not indeed consist, but out of which it continually arises and again passes away,—do we find them anywhere in the world, do we come up against them anywhere? Yes, we do. This was no secret to a primeval and intuitive knowledge. We have these movements,—and here, my dear friends, I must ask you to take what I am saying quite literally,—we have these movements in the sound formations which embody the content of speech.

Now review mentally all the sounds of speech to which your larynx gives form and utterance, inasmuch as this formative principle is applied to the entire range of articulate speech. Bear in mind all the component elements which issue from the larynx for the purpose of speech. You must realize that all these elements, proceeding as they do from the larynx, really form the component parts of that which is brought to outer expression in speech. You must realize that these sound-formations consist of definite movements, the origin of which lies in the structure and form of the larynx and its neighbouring organs. They proceed from the larynx.

But these movements do not of course appear simultaneously. We cannot utter all the sounds which make up the content of speech at the same moment. How then could we utter all that makes up the content of speech? We could do so,—paradoxical us this may sound it is nevertheless a fact,—we could do so if for once we were to utter one after the other all the possible sounds from a, b, c, down to z. Try to imagine this. Imagine that someone were to say the alphabet aloud, beginning with a, b and continuing as far as z, with only the necessary pauses for breathing. Every spoken sound describes a certain form in the air, which one does not see but the existence of which must be presupposed. It is possible, indeed, to think of these forms being retained, fixed by scientific means, without actually making a physical drawing of them.

When we utter any particular word aloud,—‘tree’ for example, or ‘sun’,—we produce a quite definite form in the air. If we were to say the whole alphabet aloud from a to z, we should produce a very complicated form. Let us put this question to ourselves:—What really would be the result if someone were actually to do this? It would have to take place within a certain time,—as you will learn in the course of these lectures. It would have to take place within a certain time, so that, on reaching z, the first sound would not have completely disintegrated, that is to say the a-sound must still retain its plastic form when we have reached the sound z. If it were actually possible in this creation of air-forms to pass from a to z in such a way that the a-sound remained when the z-sound were reached, thus creating in the air an image of the whole alphabet, what would be the result? What sort of form should we have made? We should have created the form of the human etheric body. In this way we should have reproduced the human etheric body. If you were to repeat the alphabet aloud from a to z—(one would have to do this in exactly the right way; the alphabetical order of sounds in general use to-day is no longer quite correct—but I am speaking now of the underlying principle)—the human etheric body would stand before you.

What then would really have taken place? The human etheric body is always present. Every man bears it within himself. What do you do therefore when you speak, when you say the alphabet aloud? You sink into the form of your own etheric body. What happens then, when we utter a single word, which of course does not consist of all the sounds? Let us picture to ourselves the human being as he stands before us. He consists of physical body, etheric body, astral body and ego. He speaks some word. He sinks his consciousness into his etheric body. He forms some part of the etheric body in the air as an image, in much the same way as you, standing before a physical body, might for instance copy the form of a hand, so that the form of the hand were made visible in the air. Now the etheric body does not consist of the same forms as those which make up the physical body, but in this case it is the forms of the etheric body which are impressed into the air. When we learn to understand this rightly, my dear friends, we gain an insight into the most wonderful metamorphosis of the human form, an insight into the evolution of man. For what is this etheric body? It is the vehicle of the forces of growth; it contains within it all those forces bound up with the processes of nourishment, and also those forces connected with the power of memory. All this is imparted to the airy formations when we speak.

The inner being of man, in so far as this is expressed in the etheric body, is impressed into the air when we speak. When we put sounds together, words arise. When we put together the whole alphabet from beginning to end, there arises a very complicated word. This word contains every possibility of word-formation. It also contains at the same time the human being in his etheric nature. Before man appeared on the earth as a physical being he already existed as an etheric being. For the etheric man underlies the physical man. How then may the etheric man be described? The etheric man is the Word which contains within it the entire alphabet.

Thus when we are able to speak of the formation of this primeval Word, which existed from the beginning before physical man came into being, we find that that which arises in connection with speech may indeed be called a birth,—a birth of the whole etheric man when the alphabet is spoken aloud. Otherwise, in the single words, it is a partial birth, a birth of fragments, of parts of the human being. In every single word as it is uttered there lies something of the being of man. Let us take the word ‘tree’ for instance,—what does it mean when we say the word ‘tree’?

When we say the word ‘tree’ it means that we describe the tree in some such way as this. We say: That which stands there in the outer world, to which we give the name ‘tree’ is a part of ourselves, a part of our own etheric being. Everything in the world is a part of ourselves; nothing exists which cannot he expressed through the being of man. Just as the human being when he gives utterance to the whole alphabet really gives utterance to himself, and consequently to the whole universe, so, when uttering single words, which represent fragments of the Collective Word, of the alphabet, he gives expression to something which is a part of the universe. The entire universe is expressed when the whole alphabet is repeated from beginning to end. Parts of the universe are expressed in the single words.

There is one thing, however, about which we must be quite clear when we think over all that lies behind sound as such. Behind sound as such there lies everything that is comprised in the inner being of man. The activity manifested by the etheric body is representative of inner experiences of the soul in the nature of feeling. We must now find our way to these feelings themselves which are experienced in the human soul.

Let us take the sound a as a beginning.¹ To-day one learns to utter the sound a when one is in that unconscious dreamy condition in which one lives as a very small child. This experience is later submerged when the child suffers harm at school as a result of receiving wrong teaching in sound and language. When one learns to speak as a child there is really present something of the great mystery of speech. It remains, however, in a state of dreamy unconsciousness.

When we utter the sound a we feel, if our instinct is at all healthy, that this sound really proceeds from our inmost being when we are in a state of wonder and amazement.

 German English a, ah (as in father) e, a (as in say) i, ee (as in feet) ei, i (as in light) au, ow (as in how) eu, oi (as in joy 

Now this wonder is of course again only a part of the human being. Man is no abstraction. At every waking moment of his life he is something or other. One can of course allow oneself to become sluggish or stupefied, in which case one cannot be said to be anything very definite. But the human being must always be something, even when he reduces himself to a state of torpor; at every minute of the day he must be something or other. Now he is filled with wonder, now with fear, or again, let us say, with aggressive activity. The human being is no abstraction; every second he must be something definite. Thus there are times when man is a being of wonder, a being filled with amazement. The processes at work in the etheric body when man experiences wonder are imprinted into the air with the help of the larynx when he utters the sound a. When man utters the sound a he sends forth out of himself a part of his own being, namely the quality of wonder. This he imprints into the air.

We know that when a physical man appears upon the earth, he appears,—if he is born in accordance with the ordinary possibilities of development,—as a complete human being. This complete human being comes forth from the womb of the mother. He is born as physical man with a physical form. If all the sounds of the alphabet were uttered from a to z there would arise an etheric man, only this etheric man would be imprinted into the air, born from out of the human larynx and its neighbouring organs.

In the same way, when the child is brought into the world, when the child first sees the light, we must say: From out of the womb and its neighbouring organs there has arisen a physical man.

But the larynx differs from the womb of the mother in that it is in a continual state of creation. So that in a single word fragments of the human being arise; and indeed, if one were to bring together all the words of a language (which even in the case of a poet of such rich vocabulary as Shakespeare never actually occurs) the entire etheric man as an air-form would be produced by means of the creative larynx, but it would be a succession of births, a continuous becoming. It would be a birth continually taking place during the process of speech. Speech is always the bringing to birth of parts of the etheric man.

Again the physical larynx is only the external sheath of that most wonderful organ which is present in the etheric body, and which is, as it were, the womb of the Word. And here again we are confronted with a wonderful metamorphosis. Everything which is present in the human being is a metamorphosis of certain fundamental forms. The etheric larynx and its sheath, the physical larynx, are a metamorphosis of the uterus. In speech we have to do with the creation of man, with the creation of man as an etheric being.

This mystery of speech, my dear friends, is indicated by the connection which we find between the vocal and sexual functions, a connection clearly illustrated in the breaking of the male voice.

We have therefore to do with a creative activity which, welling up from the depths of cosmic life, flows outwards through the medium of speech. We see revealed in a fluctuating, ever-changing form that which otherwise withdraws itself into the mysterious depths of the human organization at the moment of physical birth. Thus we gain something which is essential for us in our artistic creative activity. We gain respect, reverence, for that creative element into which we, as artists, are placed. Theoretical discussion is useless in the realm of art. We cannot do with it; it merely leads us into abstraction. In art we need something which places us with our whole human being into the cosmic being. And how could we penetrate more deeply into the cosmic being than by becoming conscious of the relation existing between speech and the genesis of man. Every time that a man speaks he produces out of himself some part of that which existed in primeval times, when the human being was created out of cosmic depths, out of the etheric forces, and received form as a being of air before he acquired fluidic form, and, later still, his solid physical form. Every time we speak we transpose ourselves into the cosmic evolution of man as it was in primeval ages.

Let us take an example. Let us go back once more to the sound a, this sound which calls up within us the human being in a state of wonder. We must realize that every time the sound a appears in language there lies behind it the element of wonder. Let us take the word Wasser (water), or the word Pfahl (post), any word you like in which the sound a occurs. In every instance, when you lay stress on the sound a in speech, there lies in the background a feeling of wonder; the human being filled with wonder is brought to expression in this way by means of speech. There was a time when this was known. It was, for example, known to the Hebraic people. For what really lay behind the a, the Aleph, in the Hebrew language? What was the Aleph? It was wonder as manifested in the human being.

Now I should like to remind you of something which could lead you to an understanding of all that is really indicated by the sound a, all that the sound a really signifies. In ancient Greece there was a saying: Philosophy begins with wonder. Philosophy, the love of wisdom, the love of knowledge, begins with wonder.—Had one spoken absolutely organically, really in accordance with primeval understanding, with primeval instinctive—clairvoyant understanding, one might equally well have said:—Philosophy begins with a.—To a primeval humanity this would have meant exactly the same thing.—Philosophy, love of wisdom begins with a.

But what is it that one is really investigating when one studies philosophy? When all is said and done one is really investigating man. Philosophy strives after self-knowledge, and this self-observation begins with the sound a. It is, however, at the same time a most profound mystery, for it requires great effort, great activity, to attain to such knowledge of the human being. When man approaches his own being and sees how it is formed out of body, soul and spirit, when he looks upon his own being in its entirety, then he is confronted by something before which he may say a with the deepest wonder. For this reason a corresponds to man in a state of wonder, to man filled with wonder at his own true being, that is to say, man looked at from the highest, most ideal aspect.

The realization that man, as he stands before us as a physical being, is but a part of the complete human being, and that we only have the real man before us when we perceive the full measure of the divinity within him,—this realization, this wonder called up in us by a contemplation of our own being, was called by a primeval humanity: A. A corresponds to man in his highest perfection. Thus man strives towards the a, and in the sound a we are expressing something which is felt in the depths of the human soul. Let us pass over from a to b, in order to give at least some indication of that which might lead to an understanding of this primeval word, which is made up of the entire alphabet. Let us pass over to b. In b we have a so-called consonant; in a we have to do with a vowel sound. You will feel, if you pronounce a vowel sound, that you are giving expression to something coming from the inmost depths of your own being. Every vowel, as we have already seen in the case of the vowel a, is bound up with an experience of the soul. In every case where the sound a makes its appearance, we have the feeling of wonder. In every case where an e makes its appearance we have an experience which can be expressed somewhat as follows:—I become aware that something has been done to me.

Just think for a moment what creatures of abstraction we have become, how withered and lifeless our nature. Just as an apple or a plum may shrivel up, so have we become shrivelled up as regards our experience of language. Let us consider how, in speaking, when we pronounce the sound a and proceed from this sound to the sound e (which constantly happens) we have no idea that we are passing over from the feeling of wonder to the feeling: I become aware that something has been done to me.

Let us now enter into the feeling of the i-sound. With i we have, as it were, the feeling that we have been curious about something and that our curiosity has been satisfied. A wonderful and far from simple experience lies at the back of every vowel sound. When we allow the five vowel sounds to work upon us we receive the impression of man in his primeval strength and vigour. Man is, as it were, born again in his true dignity when he allows these five sounds consciously to work upon him, that is to say when he allows these sounds to proceed out of his inmost being in full consciousness. Therefore it is true to say:—We have become quite shrivelled up and think only of the meaning of a word, utterly disregarding the experience behind it. We think only of the meaning. The word ‘water’ for instance means some particular thing and so on. We have become utterly shrivelled up.

The consonants are quite different in their nature from the vowels. With the consonants we do not feel that the sounds arise from our inmost experience, but we feel that they are images of that which is outside our own being.

Let us suppose that I am filled with wonder, that I say a. I cannot make an outer image of the sound a, I must give utterance to it. If, however, I would give expression to something which is round in its form, like this table, for example, what must I do if I do not wish to express it in words? I must imitate it, I must copy its form, (corresponding gesture). If I would describe a nose without speaking, without actually saying the word ‘nose’ but still wishing to make myself understood, I can, as it were, copy its form, (corresponding gesture). And it is just the same in the forming of the consonants. In the consonants we have an imitation of that which exists in the external world. They are always an imitation of external forms. But we express these forms by constructing them in the air, producing them by means of the larynx and its neighbouring organs, the palate, for example. With the help of these organs we create a form which imitates, copies something which exists outside ourselves. This is even carried into the actual form of the letters, but of this we shall speak later.

When we form a b (it is, by the way, impossible to pronounce this sound without the addition of some vowel) when we form a b it is the imitation of something in the external world. If we were able to hold fast the air-form which is created by b (we must, of course, speak the sound aloud) we should have something in the nature of a shelter. A protecting, sheltering form would be produced. Something would be produced which might be likened to a hut or a house. B is an imitation of a house. Thus when we begin with a, b, we have, as it were, the human being in his perfection, and the human being in his house: a, b.

And so, if we were to go through the whole alphabet, we should, in the consecutive sounds, unfold the mystery of man. We should express the human being as he lives in the cosmos, the human being in his house, his physical sheath. If we were to pass from a, b to c, d, and so on, every sound would tell us something about the human being. And on reaching z we should have pictured in sound the whole of human wisdom, for this is contained in the etheric body of man.

We see from this that something of the very greatest significance takes place in speech. In speech the human being himself is fashioned. And one can indeed give a fairly complete picture of the soul life of man when one brings to expression his most fundamental feelings. I, O, A. These sounds represent practically the whole content of the human soul in its aspect of feeling: I, O, A.

Let us for a moment consider all that proceeds from the human being when he speaks. Let us suppose that somebody repeats the alphabet; when this is done the entire etheric body of man comes into being, proceeding from the larynx, as from the womb. The etheric body is brought into being. When we look at the physical body of man we know that it has come forth from the organism of the mother, it has come forth from a metamorphosis of the larynx, that is to say, from the mother’s womb.

But now let us picture to ourselves the complete human being as he comes into the world with all his different attributes; for that which is brought forth from the organism of the mother cannot remain unchanged. If the human being were to remain unchanged through his whole life, he could not be said to be a man in the true sense of the word; there must be a continual development. The human being at the age of thirty-five, let us say, has gained more from the universal, cosmic being than was his as a child. We may picture the whole human being in some such way as this. Just as speech proceeds from out of the larynx, the child from out of the womb, so the fully developed human being at about the age of thirty-five is born, as it were, from out of the cosmos in the same way in which the words which we speak are spoken out of us. Thus we have the form of man, the complete human form, as a spoken word.

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The human form stands before us,—that most wonderful of earthly forms,—the human form stands before us and we ask the divine spiritual powers which have existed from the beginning: How then did you create man? Did you create him in some such way as the spoken word is created when we speak? How did you create man? What really took place when you created man?—And if we were to receive an answer to our question from out of universal space, it would be some such answer as this: All around us there is movement, form, constantly changing and of infinite variety: such a form (a was here shown in eurhythmy), such a form (e was shown), such a form (i was shown)—all possibilities of form in movement proceed from out of the universe, every possibility of movement that we out of the nature of our being are able to conceive and to bring into connection with the human organization.

My dear friends, one can indeed say that these possibilities of movement are those which, becoming fixed, give man his physical form as it is when he reaches full maturity. What then would the gods do if they really wished to form man out of a lump of earth? The gods would make movements, and as a result of these movements, capable of giving form to the dust of the earth, the human form would eventually arise.

Now once more let us picture the eurhythmy movements for a, for b, for c, and so on. Let us imagine that the gods, out of their divine primeval activity were to make those eurhythmic movements which correspond to the sounds of the alphabet. Then, if these movements were impressed into physical matter, the human being would stand before us. This is what really lies behind eurhythmy. The human being as we see him is a completed form. But the form has been created out of movement. It has arisen from those primeval forms which were continually taking shape and again passing away. Movement does not proceed from quiescence; on the contrary, that which is in a state of rest originates in movement. In eurhythmy we are really going back to primordial movement.

What is it that my Creator, working out of primeval, cosmic being, does in me as man?

If you would give the answer to this question you must make the eurhythmic movements. God eurhythmetizes, and as the result of His eurhythmy there arises the form of man.

What I have said here about eurhythmy can indeed be said about any of the arts, for in some way or another every art springs from a divine origin. But in eurhythmy most especially, because it makes use of the human being as its instrument, one is able to penetrate most deeply into the connection existing between the human being and the cosmic being. For this reason one cannot fail to appreciate eurhythmy. For just suppose that one had no real conception of the nature of human beauty, as this is expressed in the outward human form, and then suppose that one had the opportunity of being shown how in the beginning, God created the beautiful human form out of movement, and one saw the repetition of those divine creative movements in the eurhythmic gestures, then one would receive the answer to the question: How did human beauty come into being?

Let us think of the child, the incomplete human being, who has not yet attained to his full manhood. How shall we help the gods, so that the physical form of the child shall be rightly furthered in its development? What shall we bring to the child in the way of movement? We must teach him eurythmy, for this is a continuation of divine movement, of the divine creation of man.

And when illness of some kind or another overtakes the human being, then the forms corresponding to his divine archetype receive injury; here, in the physical world, they become different. What shall we do then? We must go back to those divine movements; we must help the sick human being to make those movements for himself. This will work upon him in such a way that the harm his bodily form may have received will be remedied.

Thus we have to look upon eurhythmy as an art of healing, just as in ancient clairvoyant times it was known that certain sounds, uttered with a special intonation, reacted upon the health of man. But in those days one was shown how to affect the health by a more or less roundabout way, by means of the air, which worked back again into the etheric body. If one works more directly, if one makes the patient actually do the movements corresponding to the formation of his organs,—the point being, of course, that one knows what these movements really are,—(e.g. certain movements of the foot and leg correspond to certain formations right up in the head),—when one reproduces all this, then there arises this third aspect of eurhythmy, curative eurhythmy.

This introduction was necessary in order that all of you, as active eurhythmists, may gain a fundamental feeling and perception of what you are doing. You must not take eurhythmy as something which can be learned in the ordinary conventional way, but you must think of it as something which brings the human being nearer to the Divine than would otherwise be possible. The same applies indeed to all art. You must permeate yourselves through and through with this feeling. What then must be considered as an essential part of all eurhythmic teaching? The right atmosphere must enter into it, the feeling for the connection between man and the divine spiritual powers. This is essential if you would become eurhythmists in the true sense.

• 1. Owing to the fact that a number of German examples and quotations have had to be retained in the translation of these lectures, the German pronunciation of the vowel sounds has been consistently used throughout.

Yesterday I attempted to portray the general character of speech as such and the character of this visible speech of eurhythmy in particular. To-day I should like to describe the characteristics of the individual sounds, for only when the character and inner nature of these sounds reveal themselves to us shall we be able to understand the elements of eurhythmy. To begin with I should like to draw attention to the fact that in the life of humanity, in the course of human evolution, there has always been a more or less definite consciousness of these things. It is only in our time that, as I said yesterday, we have become so shrivelled up with regard to our attitude towards speech. There has always existed a certain consciousness of all that lies in the progression of sounds as they occur in language, an understanding of the fact that in the consonants there lies an imitation of outer forms and that an inward experience is contained in the vowel sounds.

This consciousness has been carried over more or less into the forms of the letters, so that in the formation of the letters in ancient languages,—in the Hebrew language, for example, particularly in the case of the consonants,—we may still see a sort of imitation of what takes place in the air, of what forms itself in the air when we speak. To a great extent this has been lost in all the more modern languages. (Among these I naturally include all those which, let us say, begin with the Latin language; the Greek language still retains something of what I mean.) Many things, however, still recall the time when an attempt was made to imitate in the forming of the letters that which actually lies in the formation, in the structure of the word; when a word was fashioned out of the consonantal element,—that is to say, the imitation of the external,—and out of the inner experience which had its source in the life of the soul. To-day it is only in certain interjections that we can still see dearly an instance of such imitation. Let us take an example which may serve to lead us more deeply into the real nature of eurhythmy.

When we pronounce the sound h,—clearly, not merely as a breath,—we have a sound which really lies midway between the consonants and the vowels. This is always the case with sounds which have a special relation to breathing. Breathing was always felt to be something in which the human being lives partly in an inner experience and partly in an out-going experience. Now the h-sound, this simple breath sound, may be felt,—and was indeed felt by primitive man,—as the imitation, the forming in the air of a wafting process, as the imitation of the way in which the breath is wafted into the surrounding atmosphere. Everything which is experienced as a wafting process is expressed through some word in which the h-sound is present, because the h itself is felt as the wafting process.

The vowel sound u can be felt as something which inwardly chills the soul, so that it takes on a certain rigidity and numbness. That is the inward experience lying behind u. U is the expression of something which chills, stiffens, benumbs; it is the sound which gives one the feeling of coldness. U, then, is the chilling, stiffening process.

And the sch,—that is the blowing away of something. It is the sound in which one feels that something is blowing past.

Now it is a fact that in certain districts, when an icy wind is blowing and one is numbed and stiff with the cold, people make use of the expression: husch-husch, husch-husch. In this interjection we still have an absolute experience of the h-u-sch: husch-husch. In primeval language all words were really interjections, ejaculations.

Let us take another combination of sounds. You all know the sound r. If one experiences the r-sound in the right way, one feels it as a turning wheel: r-r-r-r. Thus the r expresses a rolling, a revolving; it is the imitation of anything which gives the impression of turning, rolling, revolving. We must think of it, picture it, like this:

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Yesterday I spoke already of the sound a. I told you that a expresses wonder. The sch-sound has already been described; it is the blowing past of something. And now we are able to feel the word ‘rasch’ (swift). It is easy to picture it. When anything rushes past it creates a certain wonder and disappears, is blown away: rasch.

So you see there is good reason for regarding the consonants as being an imitation. Here we have in the r the revolving, rolling, turning of something; in the vowel sound a the inner feeling of wonder: in the sch-sound something which goes away, which passes by.

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From these examples you can already see that there is a certain justification for speaking of a primeval language, for you can feel that if human beings really experienced the sounds absolutely truly they would all speak in the same way; they would quite naturally, out of their own organization, describe things exactly in the same way.

It is a fact, as Spiritual Science teaches us, that there was once upon the earth a primeval language. You all know myths and legends dealing with this, - but it is much more than a myth or a legend. There is really something which lies at the back of all languages, and which is, in the way I have described, the primeval language from which all other languages have been built up.

When one turns one’s attention to certain facts of life and sees how, out of an infinite wisdom, they have been given similar names, then one is quite overwhelmed with the wisdom which reigns in the whole evolution of man, indeed in the whole evolution of the world. Consider the following, my dear friends,—and what I am now going to bring forward is no mere triviality, but it proceeds from out of a true and fundamental perception of the nature of man.

For people who think deeply over the problems which present themselves to the understanding, certain things that bear somewhat intimate relationship to life itself become riddles,—riddles which are simply passed over by the more blunted sensibilities of the average man. The fact that there is a similarity between the words ‘mother-milk’ and ‘mother-tongue’ may well be looked upon as a riddle of this kind. It is clear that one would not say ‘father-milk’, but the reason for not saying ‘father-tongue’ is less apparent. Where are we to seek for this parallel between ‘mother-milk’ and ‘mother-tongue’?

There are always inner reasons for such things. It is true that the external reason may frequently prove deceptive, but for these intimate facts of human evolution inner reasons are always to be discovered. When the child comes into the world the mother’s milk is the best nourishment for the physical body. Such things do not properly belong to lectures on eurhythmy, but if we had the necessary time, and if we were to analyse the mother’s milk in the right way,—not with the dead methods of chemistry but with a living chemistry,—we should find out why it is that the mother’s milk is the best nourishment for the physical body of man during the first stages of life.—Indeed, speaking from the medical-scientific point of view, one may go so far as to say that the milk of the mother is the best means of building up, of actually giving form to the physical body. This is the first thing we have to realize. It is the mother’s milk which gives form to the physical body. And it is the ‘mother-tongue’,—we said yesterday that the mother-tongue corresponds to the etheric body,—it is the mother-tongue which develops and gives form to the etheric body. For this reason we have a similarity between the words. First there appears the physical body with its need for the mother’s milk and then the etheric body with its need for the mother-tongue.

A deep wisdom lies hidden in such things. We find the deepest wisdom, not only in these word formations which can be traced back to ancient times, but also in many proverbial sayings and ideas. We should not look upon the wisdom concealed in old sayings and proverbs merely as superstition, but should recognize that very often wonderful and significant traditions are contained within them.

Having said this, having made my meaning clear to you, let us now proceed to a description of the nature of the sounds. When we understand what the sounds represent, how the vowels are the expression of inward experiences and the consonants the imitation of the external world,—when we understand how this is the case in every, single instance,—then we are led to a threefold study of eurhythmy,—artistic, educational and curative. I shall make use of everything which could possibly serve to give you a vivid picture of the individual sounds as they really are, so that tomorrow you will be able fully to understand the plastic gestures which we make use of in eurhythmy.

In a there lies a feeling of wonder, astonishment. In b, as I told you yesterday, we have the imitation of something which protects and shelters us from what is outside ourselves. In b we feel that we are enveloped in something. This can even be seen in the way that the letter is formed, only in modern writing the sheath is, as it were, doubled: B. B is always an enveloping, a kind of shelter. To put it somewhat crudely b might be said to be the house in which one lives. B is a house.

In my characterization of the various sounds in speech-eurhythmy I shall take the German language as my starting point. I could just as easily take the sounds of more ancient languages, but we will make a beginning with the German sounds and see how these reveal themselves to us in their true nature.[1]

Coming now to the sound c (ts),—I shall naturally not go into the formation of the written letters as these have mostly become degenerate and in any case, eurhythmists do not need to interest themselves so much in language from this point of view,—coming now to the sound c you will feel it to be some-thing which is in movement. It would be impossible to feel that with the sound c one would try to imitate anything which is in a state of rest. There is a certain force in the sound c; nevertheless, when you really experience what lies behind it, you will realize how impossible it would be to picture anything heavy in connection with it. It would never occur to you that with c you would wish to imitate something which would make you get into a great heat if you tried to lift it. On the contrary, the feeling that one has is that here is the imitation of something which is the reverse of heavy, which is really very light. It is the quality of lightness that is really imitated in the sound c. Thus one can say quite simply: In c we have the imitation of lightness.

If you enter into the intimate nature of the different sounds, you will, in the case of c, have much the same feeling as if in a circus you saw weights,—apparently made of iron and marked so and so many hundredweight,—lifted up quickly and easily by the clown. Imagine that you were to approach such a weight, in the belief that it were made of iron and immensely heavy, and that you were to lift it up. You would approach it, and in suddenly raising it, you would produce a movement very similar to the sound c. We have the same thing in Nature; for sneezing is not at all unlike a c. Sneezing is a lightening process.

It was said by the old occultists that the sound c in primeval language was the Regent of Health. And in Austria, when a person sneezes, we still have a saying: Zur Gesundheit (Your very good health). These are feelings which must be taken into consideration when studying the sounds, otherwise we shall not be able to come to any understanding of them in their reality.

D,—how should we most naturally express d? d. d. d. If someone were to ask you where a thing was, and you knew, the movement you would make to show him would very nearly approach the eurhythmic movement for the sound d. And if you wished to indicate that you expected your questioner to be astonished at getting such a speedy answer, then you would say: da (there). If you leave out the astonishment, the wonder, then there remains just the d. In such a case you are not so conceited us to wish to call up in your questioner the feeling of wonder; you simply show him where the thing is. In expressing d in eurhythmy one makes what may be called an indicating movement raying out in all directions. It is not difficult to feel this. So that we may say: D is the pointing towards something, the raying out towards something. The imitation of this pointing, of this raying out, of this drawing attention to something, all this lies in the sound d.

E is a sound which has always been of very special interest. As you already know e is the sound which gives expression to the feeling that something has been done to us and that we have to stand up against it. E: me will not allow what has been done to trouble us.

Here it may be well to introduce the sound t, Tao, and to explain its significance. You are perhaps already aware that a deep reverence rises up in those who begin to understand what lies in this sound. This Tao, t, is really the sound which has to be felt as representing something of the greatest importance. We may even go so fir as to say that it contains within it creative forces, forces which also have a radiating, indicating quality, but with t it is more especially a radiance which streams from heaven down on to the earth. There is a weightiness about the sound, and at the same time also a radiance. Thus we can say: T is the streaming of forces from above downwards.

Now it is, of course, possible for something which under certain conditions has to be felt as having great and majestic qualities also to make its appearance in ordinary everyday life. Let us take three sounds. Let us first take e as we have learned to know it. E expresses the feeling: Something has been done to me, but I stand up against it and assert myself. T, Tao: Something has burst in upon me. Let us try to show what is contained in this experience: Something has been done to me but I stand up against it—e. An event has taken place; it has suddenly burst in upon me—t: but it is soon over, it passes over; the blowing away of something—st. In this way we get the following combination of sounds: etsch. When do we make use of this expression? We use it when, for instance, somebody makes an important statement, which is, however, false, and we immediately jump to the conclusion that it is false. Now when we are in a position immediately to get rid of what has affected us, when this statement or whatever it is has burst in upon us like a flash of lightning but we destroy it and blow it away, then we say: etsch. Here you have an explanation of this combination of sounds. One feels the e particularly strongly, the being affected by something. One could not imagine saying itsch or atsch in such a case. But in an experience of this kind, when one has been affected by something but has been able immediately to get rid of it, then one obviously must use the expression: etsch.

Now out of the way in which you form the movement for e, out of your knowledge of eurhythmy, you will be able fully to enter into the gesture that in many districts accompanies this expression. This gesture is really very similar to the eurhythmic movement for e. Etsch, etsch (showing the corresponding movement). Here we actually have the eurhythmic movement for e. Such movements are absolutely natural and instinctive.

Thus behind the sound e there lies the experience of being affected by something and of withstanding it. Naturally when one describes such things the description tends to be awkward and inadequate. Everything depends on being able to feel what is meant.

F is a sound which is somewhat difficult to experience in an age which has such a lifeless, dried-up conception of language. But it may perhaps be of assistance to us, my dear friends, if I remind you of a phrase which you will know and which is in fairly general use. People say, when somebody knows a thing upside down and inside out: Er kennt die Sache aus dern ff. (He knows it out of the ff.) An extraordinarily interesting experience lies behind this phrase. When one finds the man in the street making use of such an expression and compares it: with what was said in the old Mysteries the result is truly remarkable. (You remember I said that I should make use of everything which could help us to gain a true understanding of the sounds, whether my examples were drawn from a cultured or from a more primitive source,—the latter being the more fruitful, naturally.) In the ancient Mysteries there was still a living understanding of the words: ‘In the beginning was the Word, and the Word was with God’; there was still a living feeling for the creative power of the Word, of the Logos. (Logos is not to be translated ‘wisdom’; indeed, by doing so many modern scholars have betrayed their lack of understanding for these things. Logos must unquestionably be translated ‘Verbum’, ‘Word’,—only the word ‘Word’ must be understood in the right way, in the way in which I explained it yesterday.)

Now, in the old Mysteries of Western Asia, Southern Asia and Africa it was said, when speaking about the sound f: When man utters the sound f he expels out of himself the whole stream of his breath. It was by means of the breath that the Gods created humanity, and the whole of human wisdom is contained m the air, in the breath. So that all the Indian was able to learn when through Yoga Philosophy he learned to control his breathing and as a result was able to fill himself with inner wisdom,—all this he felt when he uttered the sound f. In the old Indian Yoga practices the pupil had the following experience: he practised Yoga exercises, the technique of which consisted in this, that he became inwardly aware of the organization of man, inwardly aware of the fullness of wisdom. In uttering the sound f he became conscious of the wisdom contained in the Word. F can therefore only be rightly understood when one tries even to-day to understand a certain formula, which is very little known in the world, but which nevertheless did once exist and in the old I? Egyptian Mysteries ran somewhat as follows: If thou wouldst proclaim the nature of Isis, of Isis who contains within herself the knowledge of the past, present and future and from whom the veil can never entirely be lifted, then thou must do this in the sound f.—

The making use of the process of breathing in order to fill oneself with the being of Isis, the experiencing of Isis in the out-going breath-stream,—this it is that lies in the sound f. So that f—not indeed exactly, but at any rate to some extent—can be felt as the expression of: I know.—But more lies in it than this. ‘I know’ is really only a feeble expression of what we should feel in the sound f. For this very reason the feeling for f was soonest lost. F may be felt somewhat as follows: Know thou, to whom I speak, when I say f to thee I would make thee aware that I can teach thee. Thou must know that I myself have knowledge.—

It would therefore seem natural to you, absolutely natural, if, someone desirous of putting another right were suddenly to approach him giving vent to a sound similar to f. There are many interesting words, words which would well repay study, in which the sound f occurs in some connection or other. This study, however, you can carry out for yourselves; and you will continually be reminded of all that I have told you about the inner nature of the sound f.

I have already spoken about the sound h; we know that it is the blowing, the wafting past of something.

And now i. It is easy to feel i as an assertion of oneself, as positive self-assertion. In the German language there is a very happy example of this. It is our word for the expression of the; affirmation or the assertion of something: Ja (yes). Here certainly there is the indication of a consonantal element, but the i is nevertheless present and is followed by wonder, by amazement. Assent, affirmation, cannot be better expressed than by an assertion coloured by wonder. We said yesterday that the quality of wonder really represented man in his true being; and when we add to this the assertion of oneself: Ja, then we could not have a dearer, more definite expression of the affirmative. Thus in i we have the assertion of self. We shall see how important it is for eurhythmists to understand that behind the sound i there is always a vindication of oneself, an assertion of oneself.

L is a very remarkable sound,—as I am pronouncing it now it contains a hint of e,—but I mean the pure sound l. Try to realize what you really do when you pronounce l. Try to, realize especially what you do with your tongue. You use your tongue in a very skilful way when you pronounce the sound l, l, l, l. You become aware of a creative, form-giving element when saying this sound. Indeed, if one were not too, terribly hungry, one might almost satisfy one’s hunger by, simply saying the sound l very distinctly and over and over again. We feel l to be something absolutely real, as real, for, example, as if we were to eat a dumpling—a specially nice, soft dumpling—and were to allow it to melt on the tongue with a feeling of great satisfaction. We can have a like experience, when we pronounce the sound l, l, l, very distinctly. There is: something creative, something form-giving in this sound. And the sculptor is very much tempted when working on the figures which he is creating to make a movement of the tongue similar to the movement which the tongue makes when forming the sound l. Though of course the sculptor does not say l aloud; he only makes a similar movement with his tongue. And anyone able to feel the shape of a nose, for instance, with his tongue,—where the feeling for form, the feeling of l is so strong,—such a one would undoubtedly be very successful in modelling noses! It was said in the old Mysteries that l is the creative, form-giving element in all things and beings,—the force which overcomes matter in the creation of form.

You will easily feel that the diphthong ei (German ri, English i (as in sight)) corresponds to an affectionate caress. When dealing with a child one often makes use of this sound. Ei, ei—an affectionate caress.

I shall next have to describe the sound m, and we shall see that m has the quality of entering right into something, of taking on the form of something outside itself. Let us now suppose, my dear friends,—and here again I am not merely trifling but what I have to say is drawn from out of the history of the ages,—let us suppose that we had some sort of substance and determined that this substance should be the means of transforming matter, of giving form to matter. Let us put the story together. In the first place we demand of this substance that it shall transform matters and give it form and shape. That la to be its main attribute. It is to give form to matter, but in such a way that it clings closely and lovingly to something other than itself, in much the same way as when one caresses a little child: ei, ei,—this is the expression of a caressing quality. The substance must cling to something. And this clinging quality must be retained; the substance must as it were take on a form which is foreign to it, so that it appears exactly the same as this external form; it imitates this form quite exactly. And now let us suppose that we express this transformation of matter into form by means of a combination of sounds. We say l. The clinging quality, ei. The taking on of some external form: m. Thus we have a word: Leim (putty) which is quite specially characteristic of the German language, quite apart from any other consideration. It is upon such combinations of sound behind which there lies hidden the active, evolving genius of language, that the life of this genius of language really depends. It occurs from time to time that when in some language or other a word already exists, although perhaps in a vague, indefinite form, that this word is metamorphosed and introduced again into a language of a later development. The original feeling: underlying the word, however, remains unchanged, and is retained by the people speaking the later language. An understanding of language is a much more complicated matter than is usually supposed. To-day people treat language in a really terrible fashion. In ordinary everyday life which rests upon superficiality and convention such a treatment of language is perhaps not out of place; but its effect upon the human soul is nothing short of devastating, how utterly devastating it is impossible to say. For instance, somebody wishes to translate a book or a poem. So he proceeds to hunt in the dictionary or to search his memory in order to discover the corresponding words. And having more or less transposed it in this way he calls it a translation. But it would really be more correct to call it a mistranslation,—for this is a wrong track altogether. Nothing is more appalling than this method of transferring something from one language into another.

Let us therefore study this question from the following point of view. Assuming that there was once a primeval language (alike of course for all men),—and there is no doubt that this language did exist,—assuming that there was once a primeval language, then the question naturally arises: How is it that the, many different languages came into being? How does it come about that if we take a German word, the word ‘Kopf’ (head) for instance, and translate this into Italian, we have to say ‘testa’? We have the German word ‘Kopf’ and the Italian word ‘testa’. When we begin to enter into the true nature of language we must ask ourselves the question: How is it that the Italian feels the sounds in ‘testa’ which are totally different from those felt by the German when he makes use of the word: ‘Kopf’? According to the rules of translation the two words should have the same significance. If the word ‘Kopf’ were really to be experienced, then the Italian, and even the Chinese would perforce have to say ‘Kopf’ also. How then can the origin of the different languages be explained?

What I am now going to say may make you double up with laughter, but it is nevertheless true. The German makes use of the word ‘Kopf’; the Italian would also make use of this word if he wished to designate the same thing. But he does not wish to do so. The German point of view lies outside his field of vision. What the German expresses in the word ‘Kopf’, that to which he gives the name ‘Kopf’ does not occur in the vocabulary of the Italian language. Were the Italian desirous of expressing the same thing, he, like the German would say: ‘Kopf’. What then does the German mean when he says: ‘Kopf’? He means to describe the form, the rounded form of the head. It is easy to feel this rounded form in the word ‘Kopf’. Later on when we have studied the sound k and all that we need in this connection, we shall be able to realize more dearly that it is the rounded form which is meant here. Now when the word ‘Kopf’ is shown in eurhythmy try to see how this rounding appears in the middle of the word. (Demonstration). The German describes as ‘Kopf’ the round form of the head as it rests on the shoulders.

Were the Italian to have the same experience, he also would say ‘Kopf’ not ‘testa’. What then does he experience? The Italian does not experience the rounded form, but he feels what is implied in a statement, in a testimony; he is more aware of what underlies the word ‘testament’. Thus the act of making a testimony, making a declaration, an affirmation, this it is which is felt by the Italian and for this reason he says: ‘testa’. He means something totally different from the German. The words ‘Kopf’ and ‘testa’ only appear to describe the same thing; in reality they are fundamentally different. In the one case, in the German word, the form of the head is described as it rests upon the shoulders. And in German, if one wishes to lay emphasis upon the roundness of the form one can make use of an expression which has in it at the same time a certain element of contempt and say: ‘Kohlkopf’. (Cabbage-head. Block-head.) You will agree with me that here there can be no shadow of doubt that the rounded form is meant.

But the head as it rests upon the shoulders is not felt as a round form by the Italian; he feels it to be something which makes an assertion, a declaration. For this reason he says: ‘testa’, and feels in this word all that I have described.

This lack of understanding is very general among translators. As a rule we translate without paying any attention to the fact that we should transpose ourselves into the whole atmosphere of the other language in order to catch its exact shades of meaning. Just think how external it is when one translates according to a dictionary. One misses just those things which are most essential and passes them by in sublime unconsciousness.

Let us now return to the sound m,—that sound which makes such a wonderful ending to the sacred Indian word Aum. M contains within it the element of comprehension, of understanding. In the way in which the sound is carried on the stream of the breath we feel that it conforms itself to everything and understands everything. M signifies that which is deeply felt and understood. I remember that my village schoolmaster said mhn when he wanted to show that I had answered a question rightly. At such times he always said mhn,—i.e., he understood; it, he agreed with it; the hn was only the expression of his satisfaction. M, therefore, may be said to be the expression of, agreement. It clings to something and is in agreement with it, as the m at the end of the word Leim.

It is clear from these few examples that in each sound there lies concealed a whole world of experience. And we can easily:, realize that if we were to express ourselves by means of sounds only, instead of using our ordinary words, we should indeed have a simpler and more primitive language, but it would be one which would combine with this simplicity a much deeper intimacy and understanding.

As eurhythmists it is very necessary that you should gradually feel your way into the real nature of the sounds; for eurhythmy does indeed consist of a plastic formation of movement and gesture. Such movements are, however, in no way arbitrary nor transient. On the contrary the movements of eurhythmy are cosmic in their nature, they are full of significance, they, could in no way be other than they are.

In the next lecture I shall describe to you the other sounds which I have not touched upon to-day, and then gradually we shall consider the main characteristics of the actual movements which we use in eurhythmy. We shall see how these movements express in their very essence exactly the same as is expressed by the sounds themselves as they are breathed into the air, as they take shape in the air.

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To-day it is my intention to describe those sounds which have not yet been considered. To begin with I shall take s and z, for the nature of these sounds is such that they may almost be said to be in a category by themselves. Later, as opportunity arises, I can deal with any of the sounds which up to now have been omitted.

S was always felt, at a time when such things had not yet been lost, as a sound penetrating specially deeply into the very essence of language. The experience of the s-sound is connected with the feelings and experiences which, in the earliest times of human evolution, were bound up with the symbol of the serpent, and also, from a certain point of view, with the symbol of the Staff of Mercury,—not with the symbol of Mercury itself, but with the symbol of the staff of Mercury. We must look for the Mercury symbol itself in the sound e. On the other hand the symbol of the staff of Mercury, which plays so great a part in certain Eastern writings, is very closely connected with the sound s; and the s-form which we still preserve to-day in our written letter reminds us strongly of the symbol of the serpent. The feeling lying behind the curved and sinuous line of s is really extraordinarily complicated, but primarily it may perhaps be said to consist of a peace-bringing element. Behind s there lies a power capable of bringing calm and peace into that which is in a state of unrest, and this force carries with it the feeling of certainty, the feeling of being able to penetrate into the hidden nature of some—: thing and in so doing to bring about a state of calmness and rest.

The S-symbol, and the z which is closely related to it, were always referred to in the Mysteries with great solemnity. Such things, as we saw yesterday when studying the sound t, Tao, were always spoken of with a fitting ceremony and reverence. S, on the other hand,—and here I am bound to express myself very inadequately,—s always produced an element of fear in, those who were being instructed in the nature of this symbol. There was a feeling of fear; it was felt as something before which one had to protect oneself, but which was nevertheless essential to life, something which could not be dispensed with. The s-symbol is so complicated that I cannot easily tell you how it was spoken of in the Mysteries. The most I can do is to try and describe it for you in other words.

People to-day would be astonished if they could know how entirely free from sentimentality the true pupils of the old Mysteries really were. They had a sense of humour and although none knew better than they how to pay reverence where reverence was due, they knew also how to clothe such things in humoristic form. Thus, when a pupil of the Mysteries was once asked by one not initiated about the nature of the sound s—(naturally such questions were often asked, for people of those earlier times were not without curiosity any more than they are now)—when this question was put, the pupil replied somewhat humorously: Well, you know, when one understands the secret of the s-sound, then one can perceive the hidden qualities in the hearts of men and one can fathom the hearts of women: such a one can bring calm to the restlessness of the human heart, and can at the same time penetrate into its hidden depths.—That was, as I said, a very exoteric explanation, but it nevertheless gives some indication of what lies in the sound s. S —a bringing of calm into that which is agitated, and the certainty that the means employed will have the desired effect.

When all that I have just described is carried over into gesture, then we get the eurhythmic movement for the sound s. We have still to consider the sound z, and the feeling, the experience, that it expresses. The movement for z is naturally somewhat similar to the movement for c (ts), but with more of an attack behind it. You will be able to feel for yourselves, if you try to do so with the necessary earnestness and enthusiasm, that this sound induces a certain feeling of gaiety, for the very reason that it is not heavy and can be taken lightly; it is, however, gay with a certain intention.

We ought now to have realized to some extent the meaning of most of the sounds, and to have reached a point at which it should be possible for each individual sound to call up in our souls a corresponding experience. I said earlier that these first lectures were to be in the nature of a recapitulation in order to establish a tradition which may be regarded as permanent. Now once again let us call up in our minds each separate sound in its eurhythmic significance.

It is above all things important that everything I have said about the nature of the various sounds should be experienced artistically as gesture.

There is one thing about which we must be quite clear: the human being is formed out of those cosmic elements which I have mentioned in connection with the sounds of speech. If you take all that we have connected with these sounds, you will get, roughly speaking, in a perfectly natural way, those impulses which lead the human being out of the pre-earthly existence into, earthly existence, and which guide him further until he reaches mature age, that is to say until about his thirty-fifth year.

This whole process, with the forces which separate one human being from another, which urge him forward and bring him to the point he finally reaches as an adult human being,—all this lies in the gestures expressing the sounds. That is why the Word, the spoken sound, must be felt as of such tremendous significance.

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Now let us begin by referring once more to that quality, which is most intimately bound up with the human being, and which was described by the Greeks when they said that it was experienced by man when he was confronted by the riddles of existence, when they said that Philosophy, love of wisdom, could only proceed from a feeling of wonder and amazement. Let us think of this and remind ourselves that the human feeling of wonder is something purely human and belongs to those qualities which raise man above the level of the animal. And when we ask ourselves: What faculty is it in the human being which raises him above the level of the animal?—then we must say: It is the possibility, inherent in the human being, of influencing matter, of bringing movement into certain substances whereas the same substances impose upon the animal its definite form. Man must therefore be looked upon as a centre towards which certain forces gravitate and in which they are finally merged. There would be a sense of monotony in the idea that the origin of man, which should call up in him a feeling of wonder and awe, must be looked for as proceeding from one single point of the universe,—which is indeed the case with the plants and, the animals. That which calls up in man the feeling of wonder with regard to his own being can only be felt by him as coming from different directions of cosmic space. And we only understand ourselves as men, in our true human dignity when we begin to realize that the Gods are radiating their forces into us, from the surrounding cosmos.

Let us make some sort of diagram of the cosmic sphere (see drawing) showing how forces are streaming from the circumstances towards the centre, towards the earth (arrows).

We can only feel our own dignity as human beings on the earth when we understand how these forces are flowing into us from out of the different directions of the cosmos.

Make the eurhythmic movement for a. The fundamental nature of this movement lies in the fact that you reach out, as it were, with your hands and arms into two different directions of space. A does not really consist in making a free, swinging movement, but one has to imagine oneself as man coming from two different directions of cosmic space,—nay, more, as being created, differentiated, determined, as it were, by forces proceeding from these two directions. In the movement for a one reaches out towards these two directions, and it is this reaching out and grasping at something which is the essential feature of the a as such.

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This feeling is inseparable from the true experience of a. The way in which one holds the arms is of no consequence; the point is that one should reach out into these two directions, at the same time stretching the muscles so that a certain tension is induced. One must have the feeling of going right out into these two directions. This feeling must be brought down into the muscles themselves, and the stretched movement of the arms must be made as soon as possible after the preceding sound. This is the a as such.

Thus the essential nature of the a-movement could be expressed somewhat as follows: O man, you have derived your being from two different points of universal space. You must stretch out your arms in order to lay hold of the forces streaming from these two directions, and in so doing you take into yourself that which gave you birth. You must feel how these forces are streaming through your arms, meeting together in your breast. This will give you a real experience of the sound a.

From this we see the nature of the eurhythmic movement for a. And taking all I have said into account, it will not be difficult to feel that in this movement we have embodied the sound a in its relationship to man.

We have already said that e may be explained somewhat in this way: Something has been done to me, but I hold myself erect and confront it.—What lies in this experience? In this experience we really have the polar opposite of the a-experience. Man feels a as coming to him from out of the cosmos. A totally different experience lies behind the e. With e we feel that something has happened, and the effects of this happening we experience in the eurhythmic movement. One can only experience the e when something has happened and one feels its effect. This experience is shown in the movement when one part of the organism is brought into direct contact with another part.

Now this cannot be done in very many ways. Man is differently built from the elephant, for instance, and is therefore not able to make his nose so long and flexible that with its tip he could touch his own back. Were he able to do this it would be a most excellent example of the movement for e. He cannot do it, however. And so the movement for e, as it occurs in our eurhythmy, can only be made by one limb actually touching the other, laying a certain emphasis on this contact. This at the same time expresses the feeling of confronting something and resisting it. The touching indicates the feeling that something has happened to one; the holding the position which must be in the nature of two crossed lines, corresponds to the feeling of resistance. With e one arm is laid upon the other; or one finger can be laid upon the other; or the possibility exists, if one is able to manage it, of so using the eyes that the direction of the gaze of one eye crosses the direction of the gaze of the other. Any movement, therefore, in which this experience of touching one part of the organism with another is really present, may be said to be the eurhythmic expression for the sound e. When, however, the gesture is held fast, thus showing that something has been done to one and one gathers one’s forces together in order to withstand it, then the complete experience is brought to visible expression. Just consider what an immense difference there is between the a and the e-sounds as these are expressed in the movements of eurhythmy.

The a-experience carries with it the necessity of a conscious stretching of the muscles. It is essential that you really feel this tension. The e-experience carries with it the necessity of resting one arm upon the other; and here the consciousness should mainly be centred at the point where the arms cross.

Thus it is not the stretching of the muscles which is the chief thing about the experience of the e-sound, but the resting, the pressing of one arm upon the other. Of course it is also possible to form the e by crossing the right leg over the left, at the same time pressing one against the other. In this way we experience the e, we feel the movement for e.

Now, in our modern civilization one may easily get the impression that the world is always ‘doing something’ to people, is always affecting them, for they usually sit with crossed legs, and by so doing are of course continually making the movement for e! This attitude betrays the fact that the great majority of people believe that the world has indeed done something to them and that they must stand up against it. It is in such ways as this that one may learn to understand the artistic nature of the movements.

When we now pass on to the movement for o, to the gesture for o, we shall feel what a world of experience is contained in this sound. A is the absolute expression of wonder and amazement. O expresses the feeling which we have when we, place ourselves in an intelligent relationship to something which at the same time calls forth our wonder. And indeed, if we are human beings in the true sense, everything which enters into our field of vision must call up in us a feeling of wonder. But o brings us into a more intimate relationship with our perceptions. So that the essential nature of o can be shown in eurhythmy when the human being does not only feel himself, but, going out from himself, feels some other being or object which he wishes to embrace.

You can most clearly get a picture of this when, out of love for another person, you put your arms around him. You get the absolutely natural movement for the sound o when, in embracing another person, the arms are rounded and bent, each taking on the form of a half-circle.

Thus, in the movement for a, we feel that we receive something. We reach out towards those regions of the cosmos from which man derives his being. In the e we have an indication of a direct experience. The human being experiences something coming from the outer world. In o we have the movement whereby the world experiences something through man himself, for in this movement man lays hold of something belonging to the outer world. You must try to make the movement for o in such a way that, from the very beginning, and right through to the very end, the arms are really rounded. The arms must be very flexible; they must really be rounded. This is the true movement for o. We have to feel the rounded form from the very beginning.

Now we come to that sound which makes a still more direct impression on man than does the sound e,—we come to that around which is the absolute expression of the assertion of self, that is to say the i-sound. I is self-assertion pure and simple, I have often drawn attention to the fact that in the every day speech of educated people we find the word ‘ich’ (I). In this word we have the feeling of self-assertion as expressed in the i, and to this is added a breath-sound (eh) whereby an indication is given that we, as human beings, live in the breathing. But in certain districts where the simple people speak in dialect things are not carried as far as this. Such people remain satisfied with plain, straight-forward self-assertion. For this reason, in the place where I was brought up, people said, for instance, not ‘ich’, but ‘i’. There it would have occurred to nobody to say ‘Ich haue dich durch’ (I will give you a jolly good thrashing);—this expression occurs to me because in the place where I grew up one heard it on all sides, and because, with certain people, it really sums up their conception of the ego:—in my birth-place people do not say ‘Ich haue dich durch’, but ‘I hau di durch’! Pure self-assertion! This is a real example of pure self-assertion. Now, as we know, with a, forces stream from two points of the circumference inwards; with i they stream from the centre outwards. With the i-sound we do not feel as if we are grasping at something, but we feel the stretching, we feel that the stream has its source in us, starting, as it were, from the heart and flowing through the arm, or through both arms, or through the: legs. We can also feel i with the eyes, when we consciously look more through one eye, leaving the other passive. This gives us a very definite feeling of i.

There is nothing of the a-character about i, but both the arms should as a rule be used in such a way that one is the continuation of the other, although of course we can also make use of one arm only. The chief thing to remember is that with i the main feeling must be that of stretching, whereas with a there is more the feeling of grasping at something. These nuances are of importance if we are to get the right inner attitude towards the individual sounds.

It is only when such shades of feeling are brought into the abounds of speech,—and indeed into the tones of music also, as I made clear in the course of lectures on tone-eurhythmy which I gave here recently,—it is only then that eurhythmy becomes truly artistic. The point is not so much, my dear friends, that you merely imitate the form, but that you inwardly experience the form; that is to say you must really get the feeling In both your arms that a is the taking hold of something which comes towards you, while you must feel i as a stretched movement, as a stretching out away from yourself.

Then again we have the u-sound about which I have already spoken. U is not the assertion of self; on the contrary, behind u there is the feeling of becoming smaller, of being chilled and stiffened with cold. There is the feeling of drawing back into, oneself, of holding fast to oneself. Whereas with the sound e the principal thing is that one limb touches another quite precisely, with u the principal feeling is one of holding back.

The u is most clearly expressed by holding the arms as near together as possible, but this need only be indicated. There need only be an indication of this pressing together of the arms. When we stand with our legs together, touching one another we are also expressing the sound u. And, as we have already, seen, all the movements can be made backwards as well as forwards.

Ei,—the ei-sound can best be felt—and this will also throw light on what I said yesterday—when one realizes that behind this sound there lies the same caressing, affectionate feeling that one has for a very little child: ei, ei,—it is as if one were stroking something, as if one were becoming intimate with something through one’s feeling. (Frau L....will show us a beautiful e-i.) Hold the body quite still; do not move the body in any way, but hold it quite still. You will notice at once that in this gesture there is expressed the feeling of becoming intimate with something, but you will notice at the same time that our manner of writing, the way in which (in the German language) we form the ei out of the e-i, does not naturally lie in the ei-sound itself. On the contrary the ei-sound must be felt as a unity. We enter into the nature of ei when we join together e and i, but in fact lies midway between the two, and the connection between them is not really organic. I shall speak later about the more subtle nuances of feeling lying in this sound.

Let us now proceed to the consonants, and let us try to feel the consonantal element as this comes to expression in movements. You will remember that I said: b is the sound which represents everything of an enveloping nature, it expresses the wrapping round of something and its corresponding movement is one of protection. Naturally the gesture as such does not express this fully; there must also be the actual experience of which the movement is the copy, is the imitation. (We ask Frau F... to show us the movement.) Now we have the true movement for b; let us hold it fast.

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Thus we have the true movement for b, and in this movement we feel what really lies behind the position of each arm. Anyone experiencing what is contained in this movement might well say: I will picture to myself that I have something before me, something that I wish to take hold of,—let us say a little child. I will imagine that I have such a little child sitting before me and that I wish to take it up. I shall be able to do this most easily when I take hold of it so, drawing it to me with a protecting gesture (movement for b).—What then must one really feel here if one would have the true experience? One must really feel that one holds something—here, in the space enclosed by the arms. If at this juncture I may introduce a point of educational interest, I would say that the best way to make the sound b comprehensible to small children in the eurhythmy lesson is to take something or other and let the child clasp it in its arms. In this way you can teach the little child to understand that it should feel that its arms are the protecting shelter for the animal or object which it holds, and in this way it will learn fully to comprehend the nature of the b-movement.

All this is really essential to eurhythmy. The forms, the movements, must not be imitated in a purely abstract manner, but the corresponding experiences must be felt; the experience is inseparable from the movement.

Now, I told you yesterday that c (ts) is a specially interesting sound. C, as it were, raises matter into the realm of the spirit. I said that it contains within it a feeling of lightness; it indicates that matter can be conquered by spirit and raised to a higher level. Fundamentally speaking we may say that c can best be experienced when one observes a child who is learning to stand, to raise itself from the crawling to the upright position. One could wish always to connect this wonderful experience—(for it is indeed a wonderful experience)—with the sound c. In this sound one approaches very nearly to what takes place in the child when it lifts itself from the crawling into the upright position, c, c, c: this lightening process, this raising of matters by means of spirit,—how beautifully it is expressed here! Try to feel all this in the sound c; feel that it has a lightness that matter is raised up by means of spirit. You will most easily have the right feeling for the movement c when you imagine that in some inexplicable way something is lying on the surface of your arms and in making the movement you toss it upwards. When you have the feeling that something is lying on the surface of your arms, and that it flies up into the air when you make the movement for c, then you have something which can lead you to a more or less true experience of the c-movement.

D, as I told you, is a pointing downwards, or indeed a pointing in any direction: d; if one now adds to this sound the sound a, so that wonder is aroused by that towards which one points, then, one gets the word da.

Now imagine for a moment that we wished to express the nature of the Oriental teacher. The Oriental teacher—particularly the older Oriental teacher—is indeed quite different from the European teacher. To-day, in the case of the European one always has the feeling that his whole educational system is based on the idea of pumping his pupils, of drawing all manner of things out of them. He meddles with them. To-day people talk about the necessity of ‘developing’ the pupil, although this idle talk for the most part. When one hears these mode educators expounding their pedagogic theories, one gets the feeling that one is, to use an Austrian expression, a Zmirnskhauer (a ball of thread), and that one is being unwound. Indeed when education is spoken of to-day one feels as if one were being absolutely torn to pieces. One is driven, crammed, in short, there is no end to what is being done to those who are being educated. The European educator feels that he must make the human being into something utterly different from what he really is. If it were possible to carry out all that one hears talked about on all sides by those interested in the art of education, then the human being who finally emerged from the hand would indeed be a strange being! The attitude of Oriental towards the teacher is different. He feels that the teacher, the educator, is one who points things out to his pupils, who draws their attention to things and says: ‘Das ist das’ (That is that). The Oriental teacher leaves his pupils unmolested because he assumes that they develop out of their own being and may, therefore, safely be let alone. Things are only pointed out to them. For this reason the Oriental teacher is one who, whatever he is doing, always says, as it were, ‘da’; da-da—der Dada. And this is what he is called. The oriental teacher is called the ‘Dada’. It is his mission to point everything out: da-da!

Now looking at modern civilization,—which, from a certain point of view, is progressing in a way that I can only describe as opposite to Darwinism,—we see that humanity, having satisfactorily arrived at the theory of man’s descent from the ape, desires to return to the ape once more, thus progressing quite clearly in a contrary direction to Darwinism. The tendency is to return once again to the primitive, to the primeval. In consequence there has arisen a sort of ‘Dada-ism’. Some years ago, when I was in Berlin, I received a letter in which the writer signed himself ‘Der Ober-Dada’ (the Head Dada). This is a retrogression, a principle of imitation, such as is found in this inverse Darwinism, this returning once more to the ape. You see how it is; one just imitates. And so, in founding this sort of ‘Dada-ism’ in Europe one is really imitating the more primitive methods of the Oriental.

In the word ‘dada’, however, there does actually lie some expression of this educating gesture, of this drawing attention to something, pointing to something. (Frl. S.... will you show us the movement for d? Try to enter right into the nature of the d-sound.) What is really the nature of the d-sound? In it there lies the indicating movement. Thus you must have the feeling: There is something; there is some-thing else; d,—when you finally land on it.—For this reason you must carry out the movement in such a way that there is a certain harmony between the two arms. One arm must reach a definite point just a moment before the other. The arm that starts later, however, must follow on quickly as though being drawn by the arm which started earlier. The direction of the movement may be either towards the left or towards the right. It is very necessary to study these things in detail, and you must learn really to feel this indicating, this pointing towards something. But first, in order to express the d-sound successfully, you must accustom yourselves to this pointing; you must introduce this pointing. The hands must be held in this way; (pointing with the finger).

I told you yesterday that f is really Isis. In f there is the consciousness of being permeated with wisdom. When one first feels one’s own inner being and then experiences this inner being in the process of out-breathing, in the out-going breath stream,— f,—then one has the true f. Man experiences the wisdom of his own being, that is to say, of his own etheric body in the out-breathing process. This feeling must be present in the movement which represents the f-sound. (Frau P.... will you make an f.) This movement corresponds exactly to the movement which the utterance of the f-sound produces in the air as it is breathed outwards. You must make the movement: for f in such a way that there is a break in it; then only will you feel what I have indicated with regard to the nature of f. You must show that there is, as it were, a second attack in the sound. But do not make the movement so quickly; it must be gentler. That is the f. In the movement for f we have a very exact imitation of this conscious out-breathing process which is of such great significance.

Now I have already told you that in the l we have the sound, which actually forms something, the sound in which we feel the form-giving process with the tongue. l-l-l. In order to make this clear I took the word leim (putty) as an example; I pointed out the adhesive quality of this substance, its formative quality in the capacity it has for imitating form, in other words, the way in which it strives to represent the fundamental nature of the: l-sound. L was looked upon in the Mysteries as a sound possessing special magical qualities, for when one gives form to something it follows that one has power over it. And it was just this aspect of l, this quality of mastering something, of gaining power over something which, in the Mysteries, caused this sound to be looked upon as one containing demonic forces. All this must be embodied in the movement for l. And when added to this, you feel as if your arms are quite supple, flexible in themselves; when you feel that something takes place in the arms which is similar to the movement of your tongue when, you say l,—then you will experience l in the right way, and you will discover that there is something truly fascinating in this movement.

Then we have the sound m. I said yesterday that m signifies the understanding of something, the capacity for entering into something with intelligence. I told you that in the place where I was brought up it was customary to say mhn; hn, when one had heard something said and wished to emphasize the fact that one had understood it. Mhn; hn—we will discuss this further; it expresses the feeling of joy and satisfaction aroused by having understood something. And one really has the feeling of being absolutely devoured by the intelligence and understanding of the person to whom one is speaking when he says mhn. Hence, in the m of the sacred Indian word Aum, m, we have a marvellous expression of the understanding of the universe. Thus m may be said to signify the grasp of a thing: first there is the feeling of grasping something, then there is the penetration into it and lastly there follows the understanding of it. The position should be held for a moment so that this intelligent comprehension which comes about as a matter of course is shown by the movement. (The arms should be held slightly in front of the body.)

It would indeed be wonderful if this movement could also be taught to the elephant. The elephant could make a wonderful m by stretching its trunk outwards and then turning it under. One could not have a more perfect example of an m. An m carried out in this way would really be the best m one could possibly imagine. I mention all these things as they may help you really to experience the sounds.

The uneasy sort of feeling which one has when meeting a person with a nose like an eagle’s beak will not be unknown to you. You will realize that a nose of this type really is the unconscious expression of the m-movement. The nose takes on the form of m. People with such a nose often cause a certain embarrassment to their fellows, because they give the impression of an absolute understanding of those with whom they come in contact, and it is not always pleasant to feel that one is being so completely understood. We get this feeling with people having an eagle-like nose for the simple reason that such a nose is really the m-movement held fast and frozen into a set form.

But there is another kind of understanding, an understanding mingled with a feeling of repulsion, an understanding tinged with irony. Here one comprehends the matter in question, at the same time, however, revealing this attitude of mind: Why make such a fuss about it? Of course, it is absolutely obvious!—n. If you should happen to be in Berlin you could not fail to notice this. The impression that one has in Berlin is that people are not altogether pleased with one’s affairs, but that they understand them perfectly! They immediately put everything on one side: ne. Indeed, the people of Berlin, if they know you well, say precious little besides ne! They really have not much else to say. This expression gives some indication of the attitude of mind of those who have a tendency to despise anything and everything which they feel they can understand as a matter of course.

One feels at once, when seeing this movement: The thing is of no importance. I understand it perfectly. And the eurhythmist also must have this feeling. In order to get into the right mood for the n-movement, you should imagine that you are dealing with someone who is quite stupid, someone who in his conversation keeps laying great emphasis upon the most ordinary things. You want to make him realize that he really is too stupid, that you can understand the matter very quickly and wish to get away from the whole thing as soon as possible. That is the experience.

I have already told you that r is the sound which expresses the complete turning over of something; it is the expression of something which is not itself round, but which takes on a rounded form. One always has the feeling that this is difficult, to imitate, because the most natural way to make the movement for r would be to turn a complete somersault, and this, of course, we cannot do! Frl. S... will you show us the movement for r? That is a very strenuous r. It is one way of doing it. Now Frl. S.... will you show us another r? That is another way of doing it. So you see there are various ways of expressing the movement very beautifully; it is a turning, revolving movement, which takes place in the breath-process also, for there is indeed a rolling movement when the sound r is uttered.

Such, then, are the things which I believe may show you to some extent, and in an introductory way, how the feelings and experiences lying behind the gestures may through eurhythmy be carried over into plastic movements, into movements which really have form and shape.