Rudolf Steiner

Eurythmy as visible speech

15 lectures given in Dornach in 1924

GA 279

The man is a form that has taken place in the movement.

Eurythmy is an extension of God ­ governmental movement, the divine human

form of education.

Through her man comes closer to the divine than he could have done without evrit

mission.

M. Steiner Preface to the first edition (1927)

It was especially difficult task to combine these lectures, which appeared to interact

with a live lecturer and representing.

They cheat ­ were no intention to give an encyclopedic overview of the entire field

of Eurythmy at the time when the survey was the need for all that was done for a

number of years and entered the world of various teacher of.All this is subject to

testing and correcting, and "should be given the sum of the main areas derived

entirely from the nature of eurythmy." Rudolf Steiner in the last lecture of this series

said that he wanted to give lectures, mainly a form that would show how eurythmy

techniques must be developed in the love of Eurythmy how things should proceed

from love. His words came pouring out of love and, carrying aid produced work,

which itself required a detailed inspection. Until now, there were no verbatim

record of the individual instruction with which Rudolf Steiner introduced the art to

life. In 1912, he was engaged in 9:00 with a seventeen year old girl who was his job

to help his younger sisters after the death of his father. She wanted to devote

himself to some art that is associated with a movement that did not come from a

modern materialistic impulses ­ nancy.This fact was the impetus for the bringing of

gifts from which sprang the eurythmy. I was invited to take part in these lessons.

They contain the basic elements of sound production, and some of the exercises

that are included in the educational part of eurythmy Education: wasps basic

proposition of standing, walking, running, some of the specifics of how to keep

themselves and take up space, a lot of exercises with a stick, you derzhivanie beat

and rhythm.Some ladies have made the first disciples evritmistki, these provisions

have developed teaching part eurythmy. They then moved to the sound

development of poems. This was the first phase of eurythmy education. From time

to time he shows anything Wali, R. Steiner gave encouraging reviews, corrected,

answered to the questions.The second phase began with the development of

eurythmy study youth ­ Dogo art in Dornach, at the Goetheanum.The first group of

young teaching Telnice requested and received further instructions, which

concerned mainly the dismemberment of words, word association, speech

formation, constructed eniya stanzas new group forms, and so on.With all of this,

they began to speak, but the war was soon cut short their activities. To save the

young art and forced to withdraw from the exercise of inactivity, it became

necessary to my participation in them. This task was in front of me, as a matter of

course, as something connected with fate, because eurythmy required a new

reading (recitation), the path to which I was to find and develop. It became clear as

the high value of Eurythmy use ­ source for the revival of all the arts.And IT Hurts to

See That the zeal of Young eurythmists was paralyzed for A number of years of War.

For a ­ temporary perverted taste was not the best healing agents, as is the new art,

which reverts back to the original source to the creative forces and the forces of

nature.It is a tremendous blessing to humans. So, for one half of the year, I worked

with several ­ E young ladies in Germany, and for the other half of the year - at the

Goetheanum in Dornach, to give support and assistance of R. Steiner, to which we

have always been able to handle all of our questions.All instruction R. Steiner,

united in the form of a book, written Annemarie Dubach-Donath - one of the most

experienced and prominent eurythmists, the second in a series of young women

who have devoted themselves to the study of eurythmy.In the near future, this

book will appear in the philosophical and anthroposophic edition ­ ment entitled

"Basic elements of eurythmy."It is needed to evaluate the premise, the foundation

for this work, which it needs in order to be understood, and that without this

foundation does not have the necessary completeness.

This series of lectures, we gather as a general celebration. Rudolf Steiner was asked

a lot of questions. Were Undergo ­ you review and set the consensual views on a

number of issues which have caused different interpretations.Thus, whole bore

characterized ­ ter some improvisation.The board quickly pounced drawings, youth

­ Dyje ladies played with demonstration exercises.All took place in the form ­ IU

exchange views and work together, rather than teaching.The teaching of Rudolf

Steiner often had this form. But it never was not of such a nature as far as during

the reading of this course eurythmy. It is likely, he would demand that the content

of these lectures was the construction superintendent ­ ted, experienced, handled

and transferred to other persons.Now, however, when he left us, all expressed

directly to them, for us is extremely valuable. Even in the case where the words may

be transferred only fragmentary and distorted (as in the course of which time all

interrupt ­ Xia gestures and exercises), reach us glimpses of the various links, and

we connect the top and the depth that would be lost if it were transferred to the

words of another person.Due to the transfer of his message in the first ­ original

form of podosnov translucent world of mystery.Thus, he and after his death brings

the sacrifice that had to bear throughout his life: to tell people scattered pieces of

his spirit in the records of others. Those whose lives have fed his spirit, extorted

from him the sacrifice. No one knows what it cost him. But the sacrifice was. It

contains that necessary for the wisdom of our time, which is down to the smallest

detail reveals the links between the world and the human ­ com.It gives a modern

mankind, which can not be without a solid record store in memory the words of the

spirit - that treasure Mudros tee, which gives him the opportunity to ascend to a

more specific re majoring spirit.It contains a fiery, life-awakening spark.

Eurythmy was one of the most beloved spiritual children of Rudolf Steiner. From

small beginnings it has developed quite organically, the germ for the growth of

com, and turned into a sturdy trunk, due to its inherent healthy ones full of life and

as a result of diligent work of representing it.She imposing razhivala every person

she was given, and compelled them more and more from all brasyvat private.The

arbitrariness had no place in it. Its inherent dimension legislation stemmed from

the spiritual necessities, and it readily accepted, by the fact that these experienced

it necessary, have experienced God.Because of this she has awakened such

enthusiasm and attracted a lot of samootver mately give her labors, which had in

turn possibilities of the increasingly expanding the scope of their activities.Along

with the recitation, she expanded into music and opened her own ways and

possibilities of expression. , A new illuminating art, subordinate ­ nennoe eurythmy

laws style.Art in simplicity, ennobled tion, devoid of arbitrariness, the art apparel,

built on the base color and the color moods O eurythmy.In conjunction with the

drama it created something that expresses the essence of what is usually on the

right eludes sensitivity ­ venous method of expression.It became possible to depict

the impact on life on earth and transcendental that is inferior sense. So, over the

years, we have been able to work on the stage, which arose in large carpentry shop

at the Goetheanum, all the scenes from Faust, which manifests ­ Xia extrasensory

and which are usually omitted or distorted.Novel ­ cally Walpurgis Night bloomed

unexpectedly colorful life, as well as the classical Walpurgis Night, with its wealth of

different visions.Elves, angels and heavenly hordes began to appear in these

statements simply sublime and convincing. The more we worked and worked, the

more we receive. Each new desire, turned into action generated ­ given new gifts

from a benevolent benefactor.Opportunities to work was so much that the time we

had, did not have enough lo.

After years of incessant training and performing on stage with fellow like-minded

evritmisty eurythmy could make available to the public. Got a very strong

impression. She met or inspiration, or a passionate reaction. Nobody remained

indifferent. She threatened to ostracism of those in power in the field of culture. In

most cases, the order was given to the press to write against it, even when they

themselves, by their admission, treated her often in the animation

of.Representatives of the neighboring arts were part of a deep entrainment ­

Chena and partly treated her aggressively ironic.Comrades in the shop who wanted

to reform, have felt that their contrived systems yr ­ gives birth to some unknown

and the future of full power.Treat her open mind - I thank God that there was such

a pure and benefit ­ native art.Children in most cases asked the question, whether it

is not angels, which they were told, and the loud "Oh!" and "Oh", expressing their

delight, served as a living testimony of their experiences. In the ballets on ­ necks of

modern civilization is the art produced the same effect as light and flame.Many

princes night sizzled and emitted a poison, and vice versa, as if bathed in the

healing waters, sighing those who sought to extricate himself from the lowlands of

our culture. The spirit of his way in this art and has provided cleansing and

revitalizing experience ...

The occasion would have it, I wrote these words in London. London, the world

capital of life, only that I had on impact. This kvintes Sentsov that created our

modern civilization in the sense zhizneu confirm, in the sense of the use of material

life.Everyday life of a world city and its business is booming and traffic is insane. It is

now taken for granted. However, threatening to our human Humanity is:

everywhere roars radio, phonograph bleats, stranded repents film.The car won on

all fronts. Even through art ­ properties of each attempt to make something alive

quickly glossed over and mechanized.Picture of ancient times is the performance of

early music on old instruments, staged in the beautiful Hall. Rudolf Steiner in

London. Representing (not Anthroposophists) in costumes marching about being

played soulful, heartfelt quiet muse ku, which is not in a hurry, spends as much time

as she needs and is committed to deepening the contemplative life.It has an

antique effect, and if once again raise its modern nerves to the same oschu ­

perturbations of the drop and all affectation, it will impact positively.From the time

of the music industry, it has as many similarities as are its long, wide dress

sborennye previous years, which to this day touches painters, with long legs stilted,

over which E is high at the knees begin modern dress.These foot on the stage,

when viewed from the bottom of the stalls, produce terribly persuasive impression

­ tion.They are set on purpose to attract the eyes. The fact that this is in addition to

the treatment of women, are attracted to the modern salon play less attention. If

she is still young, this lady is willing to fall apart on upholstered furniture, scoring

his legs so that the knee is visible just above the small cap or helmet-shingled

boyish head. If this show is repeated pairs of legs, the case with the aesthetics of

situation, of course, is truly quite bad. However, all this is just ugly. Ca ­ mine is bad

is that the mechanical noisy music that rumbles on all gramophones world, various

mechanical devices, already occupied even in many theaters of London's elegant

place the orchestra has an impact on the language and gesture.At intermission she

religiously abruptly and rudely dudit in the head and kills self-consciousness. And

when in the end of the performance the audience gets up, then, immediately after,

without any break, wild jazz breaks. But this lack of any transition between two

opposite oschu ­ driven beans acts per otuplyayusche.Young girls now stand on

the stage or in the community, even in Paris, with the wobble motion in the hips

and shoulders, which he instilled in boogie-woogie, and similar Negro dances,

having become second nature to them. This eternal wobbling members they

Sauveur ­ entirely overlooked.It comes as a clockwork toy factory as ka ­ Coy any

hypnosis or epidemic.In the woods, on the beach - everywhere you do ­ dried

gramophones; roam everywhere, pushing each other couples.Social dancing -

which seemed to have been buried after the decorative elegant French dancing

ceased to attract our athletes after the waltz and polka ceased to be interesting -

now reborn again, in this rough and primitive form of simulated Negro dances. "We

like to beat them," - said the young girl, when I asked what attracts them to these

dances. But after all this rhythm, in fact, not rhythm. It is incredible, he protivoritm,

earthly power, raised vortex ­ rem, just hammer otkolochenny or, conversely,

crouching, pushing the beat, increased blood throbbing in blunting of

consciousness.Just look at those figures on the dance floor, these blurring,

dimming the face, especially in men, suddenly eager at all age levels the field ­

bivshy dancing.These dances have an impact on the lower instincts you and

conquered falling into the desolation jaded soul of humanity Islands.However, the

fact that the Negro was a lively, we have become mechanical ­ Coy.Demons cars

rush through it all and take possession of the human ­ lump in his movements, his

vitality.And not only in the brain but also in the life ­ TION terms of what should be

a soulful mood.Machine Music, rubbing, makes its killing the spirit of the impact

and eliminates all some spirits.Arrhythmic mechanics is reflected even in the

language of modern man on the scene. Thoughts rush rough, sketchy, just do not

relate to the person, and the skeleton. Man is there. There is only an intelligent

machine with sensual departures. If all this still harassed nerves, hysteria, of course,

the director does not require anything to be desired. All this affects the soul of our

youth, empties it. However, what's next? What will happen in a few generations, if

not frozen snow ­ pit no coup?Before me lies a room of a London gas ­ You and me

in the eye catches the picture: street boy, cheeky, miserable, with their elderly

person.It is not written «Urching humanity».He drags the car, sit on it from above:

Science with a gun in his hand, poisonous gas on the sides of two figures -

Literature (she looks at the book "Criminal novel"), then Isaiah ­ kusstvo (it is

holding a movie camera), under it with the gramophone music in her lap.This - our

time. This image is self-intersection ­ knowledge and self-awareness - the only path

to salvation.It would be possible to come to the verge of despair.

It would be possible to fall into the most radical shpenglerianstvo if at this time of

extreme need not have been sent rescue. Salvation lies in the spirit ­ act Nations

High R. Steiner.It is the call that wakes in humanity, it separates him from falling

into the animal state of sleep and mechanization.

What was once in the ancient Mysteries were given to mankind as to allowance is

on the path to personal development, now that we could come to the loss of their

identity, it is given to him again.It is given to him at the time when humanity is

threatened - get caught up in what is below the human, if it does not catch its

foundation, the essence. One only intel ­ Lect can not at the same time provide

assistance.Left to itself races ­ cruet led us to agnosticism, to shpenglerianstvu.If,

however, the intel Lect will reveal himself to the spirit and will go on the road, this

spirit, his creative forces will fight germs cause of death and the transformation of

the decadent forces that are showing at the moment its influence in the "urching

humanity».

To be able to see something very big, you must still wander out pneumometric

machine, otherwise it will be seen as little as without a microscope quite

small.However, the missing telescope can replace the distance in time. In our time,

the case of Rudolf Steiner's pre ceeding all the available understanding of such

immeasurable extent that the only apparent waves of time with their distant

prospect can bring it to the standing assessment.For our share of the task falls to

point to various parts of his work, and gradually make it transparent. Throughout,

however, are life preservers for which we can grasp of the surrounding Ruhi times

and spraying.

What appears to be insignificant, can in this case acquired rösti greatest value.Let's

start with education in the arts and in arts. Back on the path leading to the sources,

of which the art originated. Beginning it was, however, important - it was a cycle of

stars and its reflection in the field of human in the form of a planetary dance,

Temple ­ On the dance.After that, the flow of creative forces rushed into the human

body, forming a shape, giving direction and making those forces and human-

century forced to be creative.

Of these forces in man emerged ability to translate that manifests lo it operates, in

the creation of art as visual and musical.Art also caught the Divine, causing it to

light ­ tomer matter and reflecting a Cosmos.When the burst and materialism in

human silent divine powers, and his brain was turned into a coffin with the dead ­

Vym thoughts that could no longer grasp the spiritual, then was the savior.He

prooduhotvoril intelligence, tore it out of his stupor and brought him life

movement.

In every field of human activity has made it a go. However, we have forgotten what

a spiritual movement, because we are caught up in the flow of satisfaction and

osilennoy us matter is we opya ­ nyalo and drove.We did not notice that at the

same time became passive, and that through sports we only created the illusion of

its own motion. And because of this we are increasingly moving away from the

spiritual impulse.

We need to return to it with awakened consciousness and podslushi Vat in

themselves, derive their power from the motor because of its impact and trends of

their destinations.Then, in the knowledge creatively effective we will be able to feel

the force forming organs and develop in themselves the new spiritual bodies.

Because of this we will overcome numbness, woodiness, drying, which drives even

now chosen intellectuals in extreme pessimism.

Incidentally, when I (now in Hannover) is to write the Foreword to this conclusion, I

fall into the hands sheet of newspaper. In it, I read: "Culture has an unconscious

effect until it is strong and full of movement ­ tives forces.We deliberately designed

to preserve and promote cultural tour.Is it already in the beginning is not a sign of

weakness incurable and barren? Is this not called zahirenie all creative forces are

already in the bud, so that in the best case, you can only expect a weak remnant of

flowering of what we call culture? Is it already over a circle of true culture, so that

we are left with only the civilization and the mechanism with some romantic sheen

that has survived from the extinct world best days, which itself will soon fade away?

" (From «Niederrsachsenbuch 1927").

Lower Saxon, obedient spirit dictates, delivered once and zavoe shaft country Celtic

Britons.As it has been Englishman performed ­ thread cultural and historic task - to

develop the consciousness soul, since it is aimed at the person and the surrounding

terrestrial world.If a German RETURN sieves conscious power of God to the "I" in

man, will perform the task of Germans and give humanity a new culture for which

humanity will be in it gratefully.Instead, however, he turned away from the task and

forget it - he began to develop a mechanical civilization and bring it to the extreme

point of aggravation.

This was during the catastrophe of World War II all the time appealed to the

Germans the most prominent herald of the German spirit. He spoke such words of

encouragement:

Der deutsche Geist hat nicht vollendet,

Was er im Weltenwerden schaffen soll.

Er lebt in Zukunftssorgen hoffnungsvoll,

Er hofft auf Zukunftstaten lebensvoll.

In seines Wesens Tiefenfuehlt er maechtig

Verborgenes, das noch reifend wirken muss.

Wie darf in Feindesmacht verstdndnislos

Der Wunsch nach seinem Ende sich beleben,

Solang das Leben sich ihm offenbart,

Das ihn in Wesenstiefen schaffend haelt!

German spirit has not completed

That is to create a world becoming

He lives full of hope, lost in caring about the future,

He hopes, full of life, on the things that will make in the future.

In the depths of his being he is experiencing strong feelings

Togo hidden influence that still maturing.

How can u enemy forces foolish desire to revive its end

While he still gets a revelation of life,

That keeps him, displaying the creative work

In the depths of his being.

It is for this way of life has to go German (deutsch).But this is not the way to "keep

the race clean," as a slogan, but to reach your hand, "I", the divine power of the

"I".You can also achieve this through the mind. The transformation of personal

consciousness, elevated to the immortal "I" has creative power, consists in the spirit

and causes behind not faint remnants of flowering, and powerful culture.

I, apparently, far deviated from the subject of the book, which was a must to do the

introduction.Yet this path takes us back inside the temple, from which emanated

the ancient culture, emanated not unconscious ­ Indeed, and led through the

consciousness of selected spirits with a word and art.They will help us to continue,

as it is now essential that the ­ to our spiritual consciousness we had the active help

and gradually became universal self-consciousness.If we go to meet this help, then

open ourselves to the spirit in all fields, in particular, and to the Oblasov ­ ty of

spiritual revelation and human knowledge, to which this book.Then we will not

need more decadent Negro dancing to whip up lingering nerves, which are driven

into the car and we converted schayut ourselves into gear, slowly killing us all in our

best human cal.Then we, on the contrary, will gain an understanding of the noble,

spiritual, understanding of the art of movement, which is a reflection of the circular

rotation of the round dance of the stars and stars language that created us, which

again makes it visibly clean, sound in us.

Lecture One

Dornach, June 24, 1924

Eurythmy as visible speech

My dear friends!

The lectures, which I guess is to read, devoted to the discussion of eurythmy and

stem primarily from Madame Steiner expressed the views that precise registration

of eurythmy, so to speak, traditional tion is necessary first to repeat in order to

inform all that relates to speech and eurythmy that for a number years has been

referred to the relevant persons.Then my task will attach to these repetitions

explanations, each time touching (not in order of division into chapters) individual

singularities eurythmy.

However, I will try to address eurythmy in its various aspects: as in the artistic

aspect, which is, of course, be taken into account for the most part, so is the

pedagogical and healing.

Today I would like to preface lectures kind of introduction, which then will join the

consideration of the first elements of eurythmy word. First of all evritmistu need to

live in the art of eurythmy, eurythmy work in his personality, his human being, so

that eurythmy became an expression of life. This can not be achieved without a pro

­ penetration into the spirit of what the Eurythmy as visible speech.The one who

just looks at eurythmy who sees it only as an artistic ­ vennoe pleasure to know

anything about the substance of Eurythmy - as it should be generally in artistic

enjoyment - do not.As little need it to him, no matter how small the need to learn a

musical harmony, counterpoint, etc. wanting to enjoy the music. To artwork on

neem, enough understanding, which has generated a healthy person.

Art should have an impact on its own. Its influence should be taken for granted. In

order, however, those involved evrit ­ Mia wants in one form or another to make it

in life, you must likewise penetrate into the essence of it as, say, a musician or

painter or sculptor to penetrate into the essence of the business.In eurythmy, when

we penetrate into its essence, we are at the same time insight into human ­ some

creature at all.Because there is no other art that in such an outstanding degree as

eurythmy, would enjoy the fact that there is in man himself. Take all the arts that

require any weapons diya, they have no money, no guns - who were marching to a

person as close as eurythmy.

Mimic and dance art fit (of course, to a certain extent) is close to a person in his use

of artistic means thereof; mostly the same way, the use of the individual as a

weapon.In mimic art, however, is that mimic expressed, plays only a subordinate,

auxiliary role in integral image, it does not dissolve in the xy dozhestvennaya image

of the man himself, but in some cases the use of proper person to emulate that

here on Earth already napechatleno the man himself.

But in the mimic art we are dealing with the fact that (to some extent) in a more

distinct form, pass on what people usually favor etsya in life, that is, make it more

distinct.To make it clearer, more soulful, we add to it a variety of gestures

(Gebaerdenhaftes).As said, our task here is, at most, to continue what already exists

on the physical plane from the man himself.

In the art of dance, if dance is elevated to art, we are dealing with an emotional

outpouring, will in human movement, and again, the dance is expressed and

developed further only that inherent in man as opportunities such movements,

which are available on the physical plane. In eurythmy we are dealing with

something so that in man in ordinary physical life in any respect is not what should

be ­ but to be through creativity that comes from the spiritual.We are dealing here

with something that only using man as he is in his usual way in the physical world,

using it only as a means of expression, and specifically the human movement as a

means of expression tion.

The question is, what is actually portrayed in this case? You will understand what is

portrayed in eurythmy, only if take into account that eurythmy wants to be visible

language. So much, in fact, and with the speech, when we express it mimic, then we

take a sample of ordinary speech, but when we express samoyu question, then, as

such, does not have a sample. It comes out of a man, as an independent work.

Nowhere in nature de not have what is revealed in a speech that it shows up.

Similarly, eurythmy should be something that is certain primary creativity. Speech -

take its starting point - is a manifestation of the human larynx and the fact that one

way or another linked ­ but with the larynx.A throat that it actually is? This question

must be put, because I have often pointed out: in eurythmy whole person becomes

­ becomes a kind of larynx.We must therefore ask ourselves: what is generally

important to the larynx? You see, if we look at it as simply a manifestation of the

larynx, it escapes our notice, that, in fact, comes from the larynx, which is given in ­

dimensional case is formed.You may, however, be remembered that there is a

wonderful tradition that is now little understood and which ­ swarm you touch,

when you read the beginning of the Gospel of John: "In the beginning was the

Word, and the Word was with God, and the Word was God."Word. The word (what

now appears to be a "word") is not it, something that in connection with the

beginning of the Gospel of John does not give the slightest sense. This is the

beginning of John's Gospel is exposed, however, the constant discussions. People

believe that they have with some thoughts. They do not mind, if we look at what is

currently the modern man, the word "word" that he was at the same time says it is

sound and smoke, fog and heavenly steam, etc., which he, in a certain respect puts

thoughts below, we can see that he puts himself on a pedestal in this and believes

that it can be treated with contempt by the way, as opposed to thought. If we thus

get into the idea of the modern man, "the word", it would appear that, in fact, the

beginning of the Gospel of John does not have the slightest sense. Thus, "the

Word." We have a lot of words, what is it? After all, it can only be one any definite

specific word. What is the essence of this "Word"? That's the question, and to ask

yourself.

At the heart of this tradition, which is celebrated at the beginning of the Gospel of

John on the lies that had once been known from the instinctive knowledge of what

the word, but that is now no longer known.You see, the idea, the concept of the

"Word" was once covered in ancient, primordial human Český beliefs just as

essential human creation.

So as you all Anthroposophists, then you know what an ethereal human age.There

is a physical person, and there is ethereal. The physical man, as it describes a

common physiology or anatomy, and has from the outside and the inside of some

forms of which are depicted in the figure ­ kyo.It does not take, of course, note that

this pattern image zhaet only a tiny part of the physical man, as he is both a liquid,

air and heat, which is usually, of course, is not represented in the figure, when in

physiology or anatomy talk about human ka.All the same, however, can form an

idea of what something physical body of man.

In this case, we have the second member of the human nature - the etheric body. If

his draw, it would represent the etheric body is something extremely complex. In

the stable form of this essential body may be, in fact, drawn in as small an extent as

lightning. When the draw lightning, then do not draw the lightning, because it is in

motion, is covered by a stream. Therefore, when the lightning bolt would have to

represent the flow of the movement. How little it would be possible to draw

lightning, if you wanted it SDE ­ lat, as little can be fixed and the etheric body.The

etheric body locat ditsya in constant motion, incessant mobility.

Meet me, but somewhere in the world, these people are in motion forms, of which

the etheric body is not "is", and continuous stanno appears and disappears?Do we

meet them somewhere so that one could approach them? Yes, we meet them! The

fact that they exist, then it has been known for the ancient intuitive knowledge. We

have them in that - I beg you, my dear friends, note that I express myself exactly

why things have to be taken as accurate as I say - we have them, when by means of

sound give shape to all that flows into the con content of the speech.

Okinte now in the eye of the spirit of all the things you are in the sounds of speech

gives shape of your throat; these sound forms used for anything that finds perfect

expression in the whole volume of language. So you embrace the eye of all that is a

part of that whatsoever relating to speech and coming from the throat to her

(speech) needs. Realize further, that all these elements coming from the throat, is of

­ integral part of all manifested in the speech.Realize that all of this with the ­ Cost

of certain movements that are based on the form of the larynx and surrounding

organs.Hence, all the proceeds.

It comes, of course, not immediately. We did not immediately say all that lies at the

heart of the question. What, though, if we could say all that lies at the heart of the

question? We would have uttered it - as paradoxical as it sounds, but it is - if

possible at the same time sound all sound stone from A, B, C and Z. Imagine

this.Imagine that someone from A and moving on, the sound of the sound, of

course, without a break, but only with appropriate respite, would make all the

sounds sound to Z. All that we say, enter into some form of air, which is invisible,

but which, however, we must assume there is available, and about which one would

think that it is fixed by scientific means, without the mark of her man.

When we pronounce the word - the tree, the sun ... - We are absolutely certain we

derive the form of air. And when we say it all, from A to Z, we get a very complex

shape.Let us ask ourselves the question: what would be formed if a man did it really?

This should be done within a certain period of time - during our lectures we hear

why - it would have to occur within a certain time so that the beginning is not

broke completely, until we got to Z, so that A dwelt more plastic in its form, when

we reached the Z. If the air in the form of education that we can actually get the

entire alphabet from A to Z, and if I made it so that A would retain its shape until

the utterance of us F and all this would have generated in the air, what would

happen then?

You see, it would be the shape of the human etheric body, thus contribute sobom

would create the human etheric body.The human etheric body would stand in front

of you, if the whole alphabet (it should be just right to make it, as at present, as it is

usually pronounced, he is not quite correct, but here it is only in principle) if once

simultaneously sounded the entire alphabet, from A to F, - would stand in front of

you people.

That there would actually happen? After all, people in the form of the etheric body

is always there, you always carry it in ourselves. What do you do when you

pronounce the alphabet? You will then be immersed in some way shape of your

etheric body and tell her the air. You form in the air image of your etheric body.

When we utter a word one who does not have, of course, in itself all the sounds,

then what happens? Imagine that you face the people. It is in the form of physical,

etheric, astral body and "I". He says a word. We see it as our consciousness is

immersed in the etheric body. Part of this etheric body he represents in the air, as if

you were faced with the physical body and would show, for example, the arm so

that the hand would have been visible in the air. It aired tion of the body do not

have these forms, which has a physical body, but the body shape of the ether

appear in the air.If we understand this well, then our eyes will penetrate into the

wonderful metamorphosis of the human form, human development. What, exactly,

is this etheric body? It is that which contains the vigor, the strength needed to

power, but at the same time as the forces that are required to correct the PA ­

myatyu.All that it contains. And all this we will inform the shape of the air, when we

speak.

The inner person (as it expresses itself in the inner etheric body), we are imprinted

in the air while talking. When we combine the sounds form words. When we

combine the sounds from the beginning to the end of the alphabet, there is a very

complicated word. This word contains all possible verbal ­ ABILITY.But this word

contains at the same person in his ether suschnos ­ tee.First, however, than on

Earth appeared physical man was ether tion man, because ethereal man lies at the

heart of human physical century.What is, however, ethereal man? The ethereal man

- is a word that covers the entire alphabet.

If we are talking about the education of the primary word, the former first to the

physical person, that can be called that occurs with speech (when the alphabet is

pronounced individual sounds) birth - birth it essential rights.Otherwise (if we say

not the whole alphabet) it is only the birth of separate fragments of a person from ­

individual words.What sounds in every single word, is a Total ­ but something of

the man.Say the word "tree." What does it mean when we say "tree"?

When we say "tree", so that it denotes that say Tsey of us, our etheric body is that it

is here - the tree.Every thing in the world is part of us, there is nothing that can not

be expressed through man. As the pronunciation of the sounds of alphabet ­ vita

man pronounces himself, and thus the whole world, and in the individual words,

which are fragments of the particles of the Word-the alphabet, he always utters

something that is a part of the world.The whole universe would be reprimanded if

the man said: A, B, C, etc.The individual parts of the universe ITATION utters the

pronunciation of individual words.

All this we must realize if we want to think about what lies at the heart of the sound

itself. At the core of the sound, as such, is all referring ­ scheesya to the human

inner.This is all that is lived out through the etheric body, the inner person that is

experienced in the soul in the form of feelings. Here we need to focus on what is

experienced in the soul of the human ka as feelings.

Let's start with A. When we first learn to speak Oh, we do so in appreciation Besso

dream state, when he was still quite a young child.All this can be buried when

subsequently subjected to come to school ­ gatsya torture related to further the

teaching of sounds.When re benok learning to speak, then there is already a

particle that is the great mystery of speech, but it is still immersed in the sleepy,

unconscious.

And when we say, you have to feel it And (if we have to some extent a healthy

sense) as emanating from such of our inner state when we are in some kind of

surprise or amazement.

Yes, it is a surprise, again a part of a person. Man is not in fact something abstract.

Every minute, every waking moment, he is in fact something.You can, of course,

locat ditsya in the flaccid, half asleep (hindoesen) - then there is nothing

definite.But then, is something. The man, in fact, every minute is something. It is

something I am astonished that experiencing fear, then, say, something that strikes.

It is not just an abstract person. It is every single minute is anything. At times he is

amaze, astound. And here is what happens in the etheric body with experience of

surprise, astonishment, clearly relates to the air in a certain shape by the larynx: A.

In this case, making the air of my human being, that is to surprise people.

You see, when on earth there is a physical person, it occurs in the form of a

(complete, perfect) man, if it meets the general Arise venie development

opportunities.He appears intact (complete) man from the body of the parent body,

which is called the womb (Uterus).Here there is a physical person in their financial

ical form.

And the fact that there would be in the pronunciation of the alphabet from A to Z,

it is essential, however, only etched in the air and get the shape of the human

larynx and the neighboring organs.

The same thing we have to say and then, when the world is born a child, when he is

said to be "beginning to see the light of the world": from the uterus, and the

neighboring organs arises physical man.

The action of the larynx, however, is not as the other parent (generated giver) of the

body.She is in constant work. As a result, the pronunciation of words, constantly

having fragments of human exists, and if we embraced in his speech all the words

of the language (which, however, does not even have such a wealth of different

words of poets like Shakespeare, although the latter can be said to have ), the

creative larynx would constitute all air rights in the form of an air forms, but in a

consistent manner in the development, woulda birth, constantly committed in the

Techa of speech.It is always a part of the birth of broadcasting rights.

Physical larynx is only the outer shell of that wonderful body that is in the etheric

body and is in a way giving birth to the word mother.And here in front of us that

wonderful transformation ­ tion, I was talking about when he mentioned about the

metamorphosis (transformation).All that is in man, is a metamorphosis of some of

the basics ­ forms.Ethereal larynx and its shell - physical larynx - represents the

metamorphosis of maternal uterus. When we speak, we create human-century, we

create essential rights.

On the mystery of speech, my dear friends, indicating the relationship between

speech and sexual function, which manifests itself, for example, the male changing

voice.

We have here, therefore, deal with the creative work, which is poured out of heaven

in it from the deepest depths of the world's life.We see before us, streaming,

unfolds the revelation of what is usually in physical ­ Český occurrence man hidden

in the mysterious depths of the body.We gain by this is that we need for artistic and

creative cooperation. We gain respect and attention to the creativity with which we

are associated, as artists. In the fine arts we do not need for something that

involves us in the essence of the world to all of our cal human being.And what

other way we could be more of degree being included in the world, if not the

realization of the connection that there exists between the occurrence of human

speech.Each time, saying the person creates a part of what was once, in the right

time, it was the creation of man, when he was separated from the ether as a form of

air, even before he accepted those ­ kuchuyu, and later - a solid form.Speaking, we

are transported back to the world becoming a man in the form in which it took

place in ancient times.

We turn now to some isolated examples. Let us come back to it And that creates a

person in front of us are surprised.We need to realize that in all cases where the

speech is heard A, it is based on some surprise.Take the word Wasser (water) or a

word Pfahl (count), or whatever you like another word, in which an A. In cases

where you are on the A linger in his speech, everywhere is the basis of any

surprise.In all these cases, the speech manifests itself wondering human ­

century.In the distant past it was known. This knowledge had still those who owned

the Hebrew language. Which means in Hebrew A - "Aleph"?What is it? This is -

surprising people.

Now I would like to remind you of something that could bring you to what, in fact,

there is indication in A that if A is meant.You see, in Greece, said philosophy begins

with a Surprise ­ tion, amazement.Philosophy - the love of wisdom, love of

knowledge starting ­ naetsya with surprise, astonishment.If to speak in the spirit of

izna initial knowledge, the original instinctive and clairvoyant knowledge, then we

could also say that philosophy begins with A - is for the ancient man would have

meant the same thing.

What, in fact, investigate when doing philosophy? Explore because it is human. All

in fact tends to self-knowledge. In the end, people want to know. Thus, the

knowledge of human rights begins with consideration of A. At the same time,

however, it is the knowledge and self mym hidden because you have to put a lot of

effort to do a lot to achieve this human cognition.Only when we come to the man

so that he stands before us in all its fullness as it is formed of a spirit-soul-body,

only then, in fact, we find ourselves before that - as a person - makes us the

greatest A surprise to say wondering why a man who is surprised at himself for his

true being, and is, in fact, the person in the highest, perfect development - is A.

If one feel that the people in the form in which it is in the physical body is only part

of a person and that we can have it in front of him as a person only when he stands

before us in all its fullness existing in him divine, the ancient, original humanity call

such a person a sense of wonder to yourself: A. And - there is a man in its highest

perfection.And - there is, therefore, a person and we express in A that is

experienced in a person in a sense.

Let us then from A to B, even though at first to be about to establish some

reference points that can lead us to an understanding of right words, extending

from A to Z. As we have in the so-called consonant, in A - vowel.When you

pronounce the vowel sound, you have the feeling: you express yourself outside of

your innermost. For each vowel, as well as in A, you feel full of a sense of the

experience.In all cases where the acts Oh, you flabbergasted set.In all cases where E

stands, we have what I would have expressed the words: "It has made me

something that I feel."

Just think of what we have become distracted by people what people dread but

dried up; just shriveled apple or plum - so we have to respect the experience of

language.Just think: we just Govo rim, not paying attention, when A is found

somewhere, we stay on it - and we do it constantly - and then going from A to E,

we turn to a sense of amazement, "it made me that -what I oschu schayu. "Let us

feel now, what is the I [And] be curious and then guess.Experience a vowel sound,

and you will see that it is based on is always wonderful, very complex experience.

When given to the ­ eshsya exposed at least five consecutive (vowels) sounds, then

get a fresh impression, the first man.Man is born is itself anew in all its dignity

(Wuerdigkeit), when fully conscious, that is, with full awareness allows them to

radiate from its internally first.That is why I say that we are so dried up

(verschrumpelt), that before us only that the sound is him, and do not see anything

out of the experience, we see only what it stands for: water (Wasser) - it means

that- then ... etc.We are completely dried up (wrinkled).

The situation is different consonant sounds. Here we do not feel that something

comes out of our inner being, in accordance with our sensitivity ­ you.We, on the

contrary, copy the image of what is outside of us.

Let's say that I'm surprised, I say A. Then I do not display the image of something,

then I express myself.If I want to express what round is beyond me, that is rounded,

for example - a round table that I do then if I do not want to talk about? I reproduce

it, framed (nachforme) is (appropriate gesture).When I want to outline the nose,

without saying it, without naming the nose, but giving only understand what I

mean, I can picture him, drawing (making the appropriate hand movements). Such

is the case when I was forming with ­ vowels.They are a display of something

external. They always follow the shape of something external. Once we pass these

forms in the generators of the air coming from the neighboring organs, larynx

(Nachbarorgane ...) - out of the sky, etc.With our bodies, we create an image that

transmission ­ is, reproduces the shape similar to that which is outside.This process

comes down to fixing (fixing) in a letter in the letters. Pos we once again talk about

it.

When we form V [B] (to give him a sound one, we can not, we are compelled we

add E), it is always an imitation of something.If you could keep in the air image that

forms the Xia B (it lies in the fact that we are pronounced as in), it showed to be a

cross enveloping covering.Going enveloping form, it turns out that might be called

"home."As it is always displaying the hut-house.When we thus recite A, B, we get: "a

man in his complete form" and "a man in his house": A, B.

And so we could go through the whole alphabet, and successive sounds were of a

mystery man: that he represents in the universe, Noah, in his house, in his physical

shell.And if we have moved on to C, D, etc., then each letter would tell us

something about the person.And when we came at last to Z, then we would be in a

sound revealed the wisdom of man, because the etheric body is the wisdom of man.

You see, when we say that there is something very significant tion - a man.And you

can have with a certain fullness of form, such as peace, when taking a

comprehensive sense. I, O, A reproduce a lot of peace, we can say, almost all in

accordance with the peace experienced by human senses.I, O, and A.

One can thus say, take a look at what comes out of a man in form of speech. Utter

before us someone, say, A, B, C, - and that's before us all the etheric body, now out

of the larynx, of the Uterus (womb).That's it. We look at the physical person who is

within the earth you walk out of the mother's body, of this cancer, which is a

metamorphosis of the larynx.

Now imagine yourself in front of the whole person as he is in the world, with

everything in it is because it is what comes out of the mother's body can not remain

unchanged. If it had remained the same ­ mennym, it would not give the whole

person.Everything must constantly dostra ivatsya (hinfugefuegt) (evolve).For a

person, for example, a 35-year ­ It was the age, of course, more of the essence of

the world than the one that has a child.And if we imagine a person (represented

here schematically tion) released throughout the completion of 35 years of the

universe, just as it comes out of the larynx, and the physical person is a child from

the womb, if we were to imagine a man of vygovorennym Universe as of the larynx

uttered a word - then we would have a man in front of him in his uniform, in all his

education in the form of the spoken word.

And here he is in front of us, this man, which is the most wonderful thing in the

world phenomenon, is in its appearance. We can inquire izna ­ initial Divine Powers:

how do you create man?Not such a way that creates the word when talking about?

How do you create man? What actually happened at the time, when you create a

person? .. And if we got an answer from the universe, it would be this: "We have

come otovsyu do movement, various forms of labor - a form (evritmizirovannoe A),

this form (evritmizirovannoe E), this form (evritmizirovannoe /) - all possible forms

in motion, coming from all the universe.All sorts of movements that can conceive of

themselves in relation to the human body, which we have at present. "

Yes, my dear friends, but the possibility of movement, freezing, tsepeneya give

physical form of a man, just as it would be in about the middle of the earthly life of

man. What would make the Divine, if Zakho ­ body actually created man from the

dust of the earth?Deity might have ensued movement, and from the fact that

emerges from these movements, just as in the movements of the earth's dust is

formed, would be formed as a result of the earth's human form.

Now we can imagine A. All of you know And in eurythmy form, in the form of a

eurythmy, eurythmy C shape and so on.Imagine what would be the Divine and in

series, one after the other gim, would produce from the right of what you eurythmy

- now eurythmy - known for A, B and C. If this could take the form of a physical

matter, would be standing in front of you people.At the heart of Eurythmy is a

principle that we express this: a man in the form as it stands before us, is a

complete form. But the final form of WHO ­ Nickle of traffic generated from the

right and changing forms.Not moving ­ scheesya comes out at rest and at rest

comes from moving.And developing eurythmy, we return to the right movements.

What makes me as a person from the world's great-being my Creator?

If you want to answer this question, we must form a evrit nomic form.Evritmiziruet

God, the result is a human face.

Here I am talking about eurythmy, but we can talk about any artificial ve, because in

this way every art can be obtained from the Divine.However, it is at Eurhythmy get

the most profound insight into the link between the human and the universe there

­ tion because eurythmy accept the person as a part as his weapon.So should you

like eurythmy. If at first, judging by the human image, you do not know well what a

beauty of a person, and then see how God created a perfect human form of

movement by repeating eurythmy forms of the Divine creative movements, then

you get the answer to the question: how to create ksasofa man?

If we have a small person - the child is not yet finished, which should still be a

whole (complete) person, it is necessary to help the Divine to the human form

properly developed further in the direction to which the Deity predisposed child.

What form should be used in teaching and in training?Eurythmy ­ cal form.They

are an extension of God's movement, Bo divine human form.

And when a person is sick in one form or another, the forms corresponding to its

divine archetype, damaged. What should we do? We go back to the divine forms,

help them, we force people back in ­ Nima these divine forms.This causes the

correction of corrupted forms.

We are dealing with eurythmy and how the art of healing. B clairvoyant ancient

times it was known that the utterance of a man ­ known to those sounds with the

appropriate intonation effect on his health.In those days, however, had to have an

impact on the health of an indirect way - through the air, which in turn has a

reverse effect on the etheric body. When going the right way and give people to do

the movements corresponding to the structure of his organs (for example, some of

the moves but gami and feet correspond to specific entities (influences), rising up

to the head), just need to know what they are, these movements, then there is this

third aspect of eurythmy - Healing eurythmy.

I'd like to do today is to join to each occupy schiysya eurhythmy had a main feeling,

a sense of what it actually does.That he did not take eurythmy as something that

can just be learned, but would take it as something, so that people can come closer

to the Divine than he can do without eurythmy, for ­ example, using any art.This

entry should prompt us to penetrate such a feeling such a feeling. What refers to

the right ­ mu teaching eurythmy?It must be the atmosphere should be a sense of

human connection with the Divine. That's when it really eurythmy. This - is

necessary.

Lecture Two

Dornach, June 25 є924 g

The nature of individual sounds

My dear friends!

After my yesterday's attempt to explain to you in general terms the nature of the

speech itself, and especially the visible language Eurythmy, I would like today to

find you the character of individual sounds, because only by clarifying the inner

essence of the individual sounds we can really adopt elements for eurythmy.I draw

your attention at the same time that a human life, in the course of its development,

has always been about more or less clear consciousness. Only in our time, as I said

yesterday, we are dried up in respect of speech and use it. Always more or less

clearly the presence isting knowledge that is in this flow of sounds, is the word,

namely, that the consonant sounds is a reflection of the image of the external

forms, that is, of what is happening outside, and a vowel - the inner experience.

This realization that we consonants external, and vowels - internal transmits have a

greater or lesser extent and forms (confusable) letters, so that in the initial tracings

(especially, for example, a Jew Sgiach letters) can be seen as a kind of imitation

what is happening in the air form in the air formations.The Hebrew alphabet is

about ­ also been observed, mainly in accordance with the letter.In more modern

languages, to which I refer are those that start with the same time with no armor -

Greek is still something of what I'm talking about - all this in the corresponding

tracings are more or less lost.Still, much like Bezout still recalls that attempts were

made to imitate NADI Sania letters that lies in the form in the form of words, when

it is formed from the consonants, that is, follow the outside - on the one hand, and

those coming from within (originating from the heart) sensations that one

experiences - on the other side.We can say that now something similar can be

found in a more or less distinct form only in certain layers ­ Islands, some sounds

that express feelings.Let us follow the example of this, because it is such an

example we can best bring into being eurythmy.

You see, when we say the sound of H [xa], not only by breathing in, it is something

that, in fact, is between consonants and vowels.It occurs in all cases, standing in the

known ­ Mr. regard to the breath.Breathing has always felt like something that is

going through a part of human age internally and partly already stands out.

That is H, a simple breathing sound, it can be felt and felt the old man, as an

imitation of education in the form of air that rises to the man in the form of trends

similar to the trend of breath or air they breathe - coming trend.Thus, H can be

experienced as a kind of coming trend.And all that is experienced, will be expressed

by any word that contains the sound of H, because H is itself perceived as

something privevayuschee (Heranwehende).

U [V] - vowel - can be felt as something internally (mentally) cooling, making you

stiffen, numb, this is the inner experience of U. It makes harden, stiffen, numb, so

that people feel cold.Thus, U - cooling, otsepenyayuschee.

Sch (W) - it blows away (Wegblasende), anything that blows away all that is felt as

blown away by the away like blowing by.

When the cold wind blows and causes numbness, in some places ABILITY say Hush-

Hush, Hush-Hush.In this way, this is expressed by the interjection sense and are

entirely permeated the sensation and sounds of H Sch: husch-husch.In the right

language (Urspache) all the words were interjections expressing feeling.

Now let's take a different combination of sounds. Is not it, you know the R [R], who

pronounced RRR. Properly experienced R, when it felt like something swivel, rolling,

all that gives the impression of sound RRR. Swivel, rolling, with a roar of whirling.To

imagine it must be like this:

On yesterday I was talking about.I said that A - is a surprise.Sch we also already

have - it blows away away, blowing by.Now we have to feel the possibilities of the

word «rasch» (soon).See how that «rasch», past the proc Tuva, is a sense of wonder

and leaves, blown away ...This rasch - soon.So you can see that the consonants can

always feel the imitation of something: in the R - rolling in A (vowel) - Inland

surprise, Sch - that goes away, goes away.

And now you have the feeling that with some justification can talk about a great-

language, because you feel, if people felt it sounds right, it would say exactly the

same, then they would have designated all the same way, according to the nature,

based on the their own organization.

And really, that was once the world. It shows us do Nations High science, and it's

not a myth, the legend is not familiar to you, it's something that really is the basis of

all languages, it is - right language, built in this manner.

When you look at some of the facts of life and see what they come out with

extraordinary wisdom, a parallel names, then one is struck by the wisdom which is

evident throughout development as a human ka, and in general in the

development of the world.

Just think, my dear friends, it's not a game - what I'm telling you. No, it's really prois

follows from the right sense of the person.

For someone who truly ponders the problems of knowledge, not things that are

intimately penetrate into the very life becomes a problem, puzzles, by which

another man casually walks by.So, already may present a mystery that there is a

parallel in the names: mate maternal milk (Muttermilch) and maternal (native)

language (Muttersprache).That does not say "father's milk", it is certainly

understandable, but that does not Govo ­ ryat "father tongue" - this is less

clear.What's the overlap of names? «Muttermilch» and «Muttersprache»?

FOR such things, of course, there are always internal reasons.External causes,

however, can be dazzling conclusive, but this subtle, intimate process of human

evolution, there are always internal reasons.When a child comes into the world, the

best food for the formation of the physical body is the mother's milk. It is all the

more ­ suitable for the formation of the body.

If we had time, we could consider the matter, even though it does not apply to the

lectures on eurythmy. We could make this study of breast milk, and not chemically

dead, and we would have found a reason why breast milk is best suited to feeding

the physical body during the first period of life, to a radical form of it. It would be

correct to say, with medical and natural science point of view - to the pro

formirovyvaniyu (durchgestaltet) it ...This is the first - the mother's milk - forms a

physical body. A mother tongue - we said yesterday - this is the etheric body, it

forms a further essential body.Here - parallel designation. Here the first physical

body.

B such things is deep wisdom. We find her in bed ­ neoplasms, relating to the early

days of mankind, as well, and in many of the views expressed in proverbs.No way

can not be attributed simply to the superstition that there is wisdom in sayings like

languages ­ ka.Often, they are ambitious, full of tradition values.

After all is said and after I demonstrated to you that we must bear in mind, let us

return to the characteristic sounds of creatures. If we can understand what

constitutes sound (namely, that the vowels represent the inner experience and the

consonants are imitating external), and if we understand it in relation to individual

cases, we can come up - on the one hand, to the artistic eurythmy, with another

one ­ hand - a pedagogically-eurythmy, and with a third party - a medical-

pedagogical value of individual sounds.Now, I will call on the assistance are all

available at my disposal and I will try to show you some sounds from their essence,

that tomorrow you never took a full meniem the images that we are looking for

eurythmy for these sounds.

With respect to A, we have said: Surprise, Amazement.In respect to [B] Yesterday I

also already said that it is always an imitation of something enveloping, which gives

protection from the outside, is in the enveloping covering.This can be seen in the

tracings of B. Only in a new modern letters in double envelopment: once again

enveloped and enveloped.As is always the covering (wrapping) (Einhuellen),

providing protection.If we assume that ­ put quite rough - this is a house in which

they reside.Thus in - a house.

Now I'll take the German characters. With the same success could take over the old

letters. But Let us eurhythmy words, basing the German letters and sounds, and

shows the characteristics in accordance with the revelation that, in fact, gives us the

essence of German letters and sounds Cove.

When you get to the austere C [C] - I certainly did not think to go into the study of

the form of letters, because they are largely skewed; lettering us Eurhythmy not

interested - then the sound you feel (c-c-c ) imitation of what is in motion.We do

not have a sense of what is portrayed with sound, is at rest. From there pushing

(Stossen).But if you get a feeling internally that it is, you'll notice: production ­

Carrying On, you can not imagine something heavy.You will not have thought of

using the show with something that would force you to sweat off stress tion.This

sound can not portray this. They can convey something that is not just difficult, but

on the contrary - only light. Property ease portrayed in sound C. I just want to say:

the sound is portrayed with state ease (Leichtsein).

Going into the details of the sound, you can offer you imagine the feeling of what

you would experience if you had the balls before, fake iron balls (as we sometimes

see in the circus), which would be designated: "1000 kg"; clown easily cope with it.

Imagine what you would come up to these balls, weighing, say, 10 kg (with full

confidence that before you balls weighing 1000 kg).You would come up to him,

would have raised them from a distance would be something similar to the sound

[tsk, tsk] (a feeling of lightness balls).With that we come across in nature, because it

is almost like sneezing C. After sneezing is a relief.

And the old occultists say, in the primordial sound of the word with playing the role

of regent health. In Austria, yet still say when someone sneezes, "health." Here it is

necessary to associate these feelings with sounds, or sounds being remains unclear.

Sound D [D].Under what conditions will you say the D naturally?I think that you can

feel it. When you ask where there is an object, and you well know, your gesture

when you specify will likely be accompanied by the sound of D. If you want to

express in this, that someone else should be amazed of your awareness, you will

say " da »(therein).Omitting a surprise - D. Then you do not have a sense of pride

that you have brought a man in amazement, you give him just a decree.With the D

you just scatter the rays of your instructions in all directions.And you feel it. Thus,

we can say: D is an indication (Hindeuten), spreading rays (Hinstrahlen).Picture this

guidance, paying attention to something, just brasyvaniya rays - and is D.

E [E] is such a sound, which is always very interested in the person.I have already

pointed out yesterday that E a sound that indicates: someone did something to

someone, and the second at the same time steadfastly holding on.E - "I do not

obey that with me happens (I'm not giving up in front of him, do not back down). "

You can add an audio T [T], Tao-T. You may be aware that the sound of the Tao-T is

a deep reverence for people who understand what it is.This is the Tao, in fact, that

should raise the idea of something weighty, even creative, and that throws Pointing

beams and the beams are sent (rush) while from the sky to the earth.This is the Tao

is full of deep meaning throwing rays. So, we say that F - is full of deep significance

radiation from above downwards.

However, the fact that at a certain combination feels like something velichest-tively

large, and can act in an ordinary life.Take these three sounds: E, as we have seen

above, means: "He did something to me, but I'm holding firmly," is such an

experience.T - "Tao": "he acted, entered, stabbed (er hat eingeschlagen)».To

express this now, according to our experience. Something touched me, but I am

firmly against this lyus - E, it is an event that has flown as a blow - T, but it passed

by - blow away the off Sch.We get a combination of sounds «etsch» [etsh].When do

we say etsch?We pronounce this sound when someone wants to say something

significant that, however, is not such false, and all at once it comes to the head. It

happens when you can quickly whisk (blow) away that you touched that hit just as

considerably as lightning, but you break it into pieces, blows it: «etsch».Here in

these cases, you feel it is a combination of sounds. In it you feel affects you sound

Ye can not imagine that, in such cases, it might be said «itsch» or «atsch».On the

contrary, just goes without saying that when there is a phenomenon affecting us,

and we CDS Vai away, it will be «etsch».

In fact, as we form E, eurythmy you feel full, which is thus still done in some

areas.Eurythmy E is a form of our very gesture (Gebaerde), gestures («etsch,

etsch»).Here E is evritmiziruetsya.Perfectly natural, self-evident phenomenon. We

have thus encompassing E and cross bone resistance when touched.When

describing such things, it is, of course, is always somewhat awkward. But they

should feel about it.

F [F].It is perhaps hard to feel in the present life, so withered in respect of the

question. But then we can come to the aid of a saying that all of you know, because

there are quite widely used: COH yes anybody knows the business, it is said: "He

knows the deal on ff».It's a very interesting feeling. We compare our current

popular saying: "He knows it's ff», (a fact I said that I would use everything that is

possible to put together to inform a sense of the sounds, let it be scientific or

unscientific, and in most cases it will be unscientific ), so compare this colloquial

expression that spoke of F in the ancient Mysteries, where the words "In the

beginning was the Word, and the Word was with God, and the Word was God" -

were alive, which was vividly what I explained to you yesterday, when Indeed felt all

creative, lies in the word, in the Logos."Logos" can not be translated: "Wisdom", as

some contemporaries, suggesting that their lack of understanding of the ancient

realities, "Logos" should be translated, "The Word" and "Word" is understood to

mean, as we have connectors ­ yasnili yesterday.So, when mentioned in the ancient

Mysteries of the Word, the (singular especially in the anterior-Asian, African and

South Asian Mysteries) said rilos following.When someone says, F, then release the

breath from him; same breath - this is whereby the Deity created the human being,

and that, therefore, in the air, the breath, the breeze has concluded all the wisdom

of human growth.All of that which could learn from yoga, for example, a Hindu,

when mastered breathing and performed with the inner wisdom - all of which he

felt when exhaled from itself F. and during exercise drevnein dussky yoga people

really felt it.Tech ancient yoga was a person inwardly felt human organization, full

of wisdom. Pronouncing F, an ancient Hindu felt that the Word came to his mind

Wisdom.Therefore, F can be properly test only when you will feel the meaning of

the formula, which has now become a little-known world, but is used in the

Egyptian Mysteries, "If you want to show what Isis, who knows the past, present

and future, that can never be fully exposed, it shall do so at the sound of F ».

Filling Isis herself through breathing techniques, the experience of Isis at

exhalation - that is F. Thus, it is not exactly, but close to F can be felt: "I know» (Ich

weiss).However, in this sound a lot more than "I know." "I know" is still too poor to

describe the essence of sound F. Therefore, F, and the feeling was lost in the first

place.The sound of this should, in fact, to feel this way: "Know you (that is, one

other that is being accessed, and I told him, F, to draw his attention to the fact that I

can teach him), know that I know."

Therefore, I will feel like a natural, if anyone, wanting someone to teach, come up to

him and in some way it dies F. There are many interesting for the study of words in

which F occurs in a particular combination, but this is I give yourself.You are at the

time they call to mind what I have just reported on the intimate feeling of F.

Regarding the H I've just mentioned.This privevayuschee (Heranwehende).

Well, now I [And].You can feel it as self-affirmation as a strong affirmation (Selbst-

behauptung).In German, there is one good luck ­ th word.It means a statement:

«ja» (yes), which is expressed by I, the truth turned into a consonant, and after it

should be And - surprise, amazement.Approval can not be expressed better than

using samout ­ assertion and amazement.We talked yesterday that amazed - it is

proper ­ but, man.If we add it to the self-affirmation (ja), we get the report livoe

approval; /, therefore, is self-assertion.Next, you will see how important for

eurythmy images that circumstance that / always portrays protects self-assertion.

Amazing sound is L [A], it is heard the sound of E, but we need to take a clean L.

Imagine that you are doing, get a sound when the L?Do you use your tongue very

skillfully, get a sound when L: LLL. You feel something creative, image, get a sound

when L. One would say this: if a person is not hungry, and is particularly strong

reprimand very long and distinctly LLL, it is its almost saturate.Thus, the sound feels

like the real thing, it is as if we were eating some dumplings, very tasty, which we

view the fact that it is not hard, but on the contrary, very soft, as if dissolved in a

language with a special internal pleasure. Such an experience can be at a distinct

speaking the: LLL. There is something creative, something forming.And the sculptor,

plastic image form, too, perhaps, will want to try as they formed the shape of the

movement of the language, which he does when he utters sound Tho L.

Whoever language may well feel the nose, and in this sense is to a large extent the

formation of L, that is, of course, may well represent the shape of the nose plastic.

In the ancient Mysteries were told that L is in all things and beings creative, forming

the beginning, this is the winning matter forming force.

You will easily understand that EI [Ay] - diphthong - it sounds as if someone with a

love clings to someone.Caressing the children enjoy this sound «EI-EI».Love

penetration, snuggling (liebevolles Angchmiegen).

After that we'll talk about M [M].We will see that it is something that all goes, takes

the form of everything. Now suppose, my dear friends (and this is not some kind of

fiction, a joke, a game that I'm going to tell you, it is taken from one of the real, very

distant past), assume that we have some substance and we assume that it reports

form of matter. Let us follow this story. This substance we make first requirement,

she reported the matter to the form. That is its essence. It should inform the shape

of the matter, but to do so, though lovingly pressed her to something like stroking

a child clinging to him - «EI-HER."It must nestle. And it must, in order to keep it in ­

adopt a certain way and this strange form to have the same form, that is, it is

reasonable to imitate someone else's form.Well, now let's say that we want to give

all this sound, that is, we say, let the form of matter: - L; cuddle - EI; take another

form - M. So we have done the word «Leim» (glue), which extraordinary

characteristic in the German language, regardless of any side flowing from it layers

neoplasms.The fact that it is generally formed and that this is a clandestine activity,

which forms the language of genius - that's exactly what we conclude ­ etsya basis

of the life of this genius of the language.It sometimes happens that in any language

is any word yet sufficiently clear (took shape). It is then inserted in a modified form

in the language, which was formed later, but still in a form corresponding to the

initial feeling (if only for the people of this feeling with this word exists at all). After

all, understanding language knowledge ­ considerably more complex than is

commonly thought.In terms of language in the present ­ rently going on

something terrifying.For a modern outer life pokoyuscheysya Surface conditional, it

is certainly appropriate. But the human soul has such a provision, downright,

monstrous opus ­ Tosha influence.It is impossible to express how much it is. Take,

say, a book or a poem in one language and try to express them in any other

language. Take care in the dictionary, or look for a word in a different language

from memory. It is believed here that re ­ Water is made.Actually, that was

supposed to translate - translated ­ Deno, but, strictly speaking, to be transferred at

the same time just skim lightly.Here's a way to translate from one language to

another, and is the worst thing that can happen here.

Then take a look at this issue from another perspective, if we admit the possibility

that there was once a primary language - one for all (and I must say that this

language existed), whence, then, there was such a mass of languages? How it could

happen that, for example, the German word «Kopf» (head) in Italian sounds

«testa»?If we say that every thing in the language of felt, how could it happen that

the Italian felt completely different sounds? He felt «testa», while the German felt

«Kopf».After all, in translation it means the same thing. If you head over there now,

the Italian would have to say «Kopf», as a German.Why is there a difference of

languages?

Now I'll tell you something, from what you might just burst out laughing, but it is

true: in relation to the fact that the Germans called head - «Kopf», the Italian would

have said the same word «Kopf», if he did mean it, but he calls the brand is not

something that is a German word «Kopf».It lies outside the scope of his attention.

What we have in German denote it, or at least call the word «Kopf», the Italian in his

speech did not quite meet.If it occurred, it would have said exactly the same way as

a German, - «Kopf».What does mean a German, when you say rit «Kopf»?My dear

friends, when the German says «Kopf», he is referring to the shape, round shape.In

the word «Kopf» - «head" - the right prochuvst Vova round shape.When we come

to K, and we have all of the remainder would be that we need, then I will be able to

draw your attention to it again.German assumes thus circular. Let's see, as in the

present eurythmy word «Kopf» round in the middle.(Is). Here you have a round (das

Runde), in the middle.That round, which is at the top body, is a German word

«Kopf» (head).

If the Italian also felt near the top of the roundness of the body, as a German, he

would have said, too «Kopf», not «testa». What is oschu schaet Italian?The Italian

feels no roundness, he feels that, as we speak bequeaths (testiert), that lies in the

word «testament» (testament, covenant), that is what settles, states, confirms - that

it feels the Italian and calls «testa».It implies, therefore, is something quite different

from the German. It just seems that this is one and the same. In fact, the words are

quite different from each other in their base ­ ve.In one case in German is

expressed that sits at the top of the trunk in a circular shape. And if I had to put it

very clearly, and in other cases, even with a shade of contempt, it would be possible

to say: «Kohlkopf» (cabbage).Then there would be a perfectly clear that they mean

round, is not it?

Italian feel, however, that is at the top of the trunk, not as something round, but as

something willed evidence establishing present.And then he says so «testa».This is

what is felt in these words.

And as always happens when we translate. We translate not knowingly ­ account

that we must first pay attention to the meaning that must be caught in another

language.Think of how many in this translation dictionary outside! We thus omit

bypass the most significant. And all of this is out of our consciousness.

Joined by M - is the sound that is so majestically completes the sacred word of

India "Aum."That the extent breathing becomes that the entire pressed

(anschmiegt) and understands.M felt deep to.You see, when my country teacher

wanted to express that I said something true, then spoke: «mhn!» - He understood

it, it's true; «hn» has expressed that he is happy about this, M is also the expression

"It's the same it fits ", it is pressed as M to the word« Leim »(glue).

From this example, we first of all it is clear that each sound is actually a lifetime. And

you can feel as if we were the words uttered sounds, it would be expressed,

however, are more primitive and easier, but much more intimate for both things

and ourselves.

Would have, so feel just sounds if you want to penetrate into the essence of

evritmizirovaniya because evritmizirovanie is, to a certain extent, the formation of

gestures, movements of the body, but not transient, not random, arbitrary gestures

and space, deeply significant, that can not be different and do not have a source of

outrage of the human soul.

Tomorrow I will feature more of those sounds that do not currently have been

identified, and then gradually we will find the transition to the characterization of

the forms that we use in eurythmy and who in their movements and gestures

(geberdenhaft) quite accurately express my being that by the sounds of is blown

into the air in the air generated by them.

Lecture third

Dornach, June 26, 1924

Gestures experienced and decorated

My dear friends!

I would like to add to yesterday's sounds that we have not yet discussed. It sounds

S and Z, which are there in a self.If, in addition, to identify one or another related to

the field of pure sound, then we might, on occasion, an explanation in later

chapters.

Sound S always felt (still experience these substances exist ing) as being particularly

deep penetration in the speech.One can say that the experience of sound S is

associated with the sensations in the initial days of human development have been

tested with respect to the symbol "snake", or, in a sense, the same as the symbol of

"the rod Mercury Riya," but not in relation to Mercury stands for itself, namely, the

symbol of the rod of Mercury.The very symbol of Mercury, we have to look at the

sound of the same symbol E. Merkurieva wand plays a big role in some of the

Eastern manuscripts, where the mark of S (the mark, and now we keep and which

clearly resembles the symbol of a snake) is the basis.It will survive of S, feeling like

she hesitates and meanders - it is, in fact, to the extremely complex and in its

elementary form is accompanied by a sense of powerful, domineering calm all in a

state of excitement, and at the same time feel confident that in the most intimate

thing gets kind of calming influence.

In the Mysteries symbol S was always something so what, how and the like Z,

indicated with a special sense of dignity.When pointed to such things as "Tao"

(Tao), it was done with a solemn awe-known ­ it.Note also on S, on the contrary, to

put it trivially linked with some awakening of fear among those who pointed to the

sign, awakening fear of something that had to look out for and what, at the same

time, it was impossible to avoid in life so I do not Can you tell a good and just, as

discussed in S mysteries, but try to put it into a different form.

Now would be in amazement, if you could just see how little sentimental were true

disciples of the ancient mission criterion.They were not the ones Anthroposophists,

one of whom our friend - not from Germany - once said that their fasting person to

extend alive ­ that.This was not the mood to have a mystery schools. They had a

sense of humor, and sometimes what they are revered as sacred, oble ­ potassium

humorous to some extent, shape.So, I would like to say, if true disciple asked any of

the mysteries is not appropriate for the members of the mysteries of people how to

understand S (similar questions, of course, asked because curiosity - a property

which people had long since) then Mysteries student would meet with some humor:

"Yes, you see, when you know the secret of S, we can see the hidden features of a

man of heart and explore the feminine, you can reassure all that in them is hidden

and sneak into their innermost of depth."As said, this would be quite an exoteric

explanation, but all the same it would point to the fact that the letter is S. Sedation

moving, agitated (das Bewegten) with confidence that the use of this tool will make

peace.

If you put what we have determined that, in gesture, you get exactly the sound

evritmizirovanny S. Now there was another sound of Z; sense of F we have to make

to the experience.F is a gesture, a gesture similar to S, but with one addition.He felt

similarly, if you lo ­ rezno immerse yourself in it, you will find that it is the feeling.It

feels like something that causes a cheerful mood, thanks to what is perceived not

only hard, but it's easy and especially wants you ­ call a cheerful mood.It may also

be an inanimate object.

At the same time, we seemed to end our explanation of the meaning of certain

sounds and approach to what we can put these individual sounds in front of our

soul. I have already told you that the first will be a kind of repetition is something

on which we can gain a foothold, both on the stand. Now we come to the fact that

once again put eurythmy individual sounds in front of our soul.

The main thing here is this: you need to ensure that we have identified the creature

sounds we experience in the art as being a gesture.

Need to understand myself quite clearly that man is formed from the elements of

space, I have to separate sounds. If you take all the things that I spoke about the

sounds, it is natural, I would say, naturally, will get approximately the driving forces

that cause rye convergence of human existence in the pre-earthly existence of the

Earth and then take him on, until it becomes a mature man 35 years.

All this way with all the forces that build, involve and lead people to where it

becomes what is actually an adult, all of these forces are related to the sounds of

gestures. Therefore, the word, the sound is felt by us as something quite special.

Let's start with the fact that a person belongs to the most intimate, so to speak, a

way, as in Greece said that man is going through when facing riddles of existence,

namely, with surprise, astonishment.Thus, the philosophy - the love of wisdom -

can only come from the astonishment of amazement. Perceive it and remember

that the human ability to surprise is in fact a purely human, and yet it is what

elevates man above the animals. If we then ask ourselves, what is this man, that

elevates him above the animal, it must be said: this is the ability to keep a human

being at some distance from the moving streams, or rather, the direction of flow,

which in the stomach falls back to the frozen form.So a person can be regarded as a

kind of a confluence of forces that fuse is in it. If a man were forced to look for its

origin, which it should huddle time, which should cause in him a sense of wonder in

any one point in the sky, as we must do for the plants and for Ms mals, that he had

the sense to something very monotonous.On ­ against a person feels that what he

is surprised at himself, comes from different directions of the sky.This is expressed

in a nascent sense we, if we want to reach the consciousness of our own being in us,

as in humans, it should look at themselves as if the gods have given their forces to

merge into us from the surrounding universe.

Imagine a schematic surrounding universe: the forces that penetrate into the

middle of it in the direction of the Earth, represented by the arrows.

When we, as a "man" now feel in the earth, then we must go through it to feel our

existence as a shed forth from various points of the universe.

Imagine A: in fact it is for you to embrace both of these areas through the wrists

and hands - hands.And is thus not that you do swing, and that you yourself as a

person imagine, say, create will define (bestimmt, determiniert - «certain») in two

different areas in the universe and that you grasp something in these two

directions.This grasping both directions is itself A.

A refers to himself just that.Indifferent with where you place your hands, but A is

that you grab something in both of these directions (grasp the two lines), and the

strain of your muscles feel as though entering into these two areas.You have to feel

it in your muscles, and, if possible, immediately, on the basis of just the spoken

sound, move on to the pulling hand. This is the A-confidence.

Thus, in essence, A is what you say to yourself: "Man, you are derived from two

different points of the universe, you stretch them his hands to grab these two

directions.You cover what, from what's going on. Can you feel the force, streaming

through your hands, blend into your chest. " The result is A.

This is the eurythmy A. And this merger will already be so that a person also feels

the gesture made but human.

With respect to E, we have said that it is the approximate value of Covo, "I caused

something something, but I do not accept it bravely."What is this experience? It is

the opposite of experiencing the NIJ A. In A man is experienced from the

cosmos.The experience of E has been something of an incident.Something

happened and what is happening is experienced in the gesture. This can be

overcome only when the event is, when it is something you feel. It can survive in the

gesture in which one part of the human body in contact with another.

In many ways this can be done, because it's not the elephant man and his nose is

not as agile, able to touch the tip of his cheeks. Could it is - and great gesture E

would be done in different ways.Aude ­ however one can not do that.And so the

gesture E can only be made in such a manner as shown in our eurythmy, and then

touch is a member of the human body to another, and this touching expressed

opposition against the incident.Touching is playing with that something happened,

and of crossed hands depicts resistance.One hand on the other hand, even one can

lay a finger on the other. If anyone is able to do, the direction ­ of sight of one eye

can interbreed with each other.Each position that gives a real touch of one part of

the body On the other, it expresses a sense of E, and if you made a gesture delayed,

achieved the highest expression of feelings resistance to the fact that someone else

had done.Just imagine what a large difference between the experience of gesture

sample A and the experience of gesture E.

A gesture of experience based on the assumption that you cover your

consciousness stretching muscles.You should, therefore, cover stretched (stretched)

muscle. The experience, however, E is based on the assumption that you cover your

consciousness crossed hands resting state, so that the main focuses your attention

on this intersection.

Thus, not pulling (drawing) is the main muscle in experiencing E, and stay alone one

hand to another, or of pressing them together.You can, after all, and E do this: put

your right foot on the left and the press, then you feel the movement of E, E.

experience

In terms of our present civilization get the impression that the world is always

something that causes a person, because in most cases people are sitting with legs

crossed and thus make a gesture of E! Thus, the gesture is something that most

people think that they did something to the world and that they should stand firm

against it. So artistic tively, in a gesture can comprehend things.

Turning then to move on to the gesture Oh, feel the only kind of world experience

lies in the sound of Oh! And there are surprisingly clean, pure amazement, O is

performed by understanding the position (ein verstaendnissvolles Sichstellen) in

relation to that, mainly, is surprising.Because surprise is all that we embrace

consciousness, if only we are real people. But O puts us in a more intimate

relationship to the fact that we embrace consciousness. Thus, being expressed in a

gesture Oh, if a person feels not only themselves, but on the basis of itself, feels

another object or another creature, which he wants to reach consciousness.In its

purest form it can you imagine if, say, pochuv ­ corresponds to somebody love and

embrace the creature with his hands.Then get the appropriate nature etsya rigid

motion on - bent a semicircle hands covering something else, depicting the

movement Oh, gesture O.

We have thus something image A susceptor.Human rights takes (greifhinein) that

makes it out of the universe.In E we have a hint, an indication of the experience

itself.A person experiences something in connection with the world. In about we

have such a gesture in which the world is going through something through a man

because man embraces something in the world.He must try to make a gesture on

so that from the very beginning to enter into the final round, that is, round hand

from the beginning with ­ completion flexible.That's when it's really about the

movement! From the beginning, go to rounding.

Now we come to the sound that rises to a person closer than E, which is to say,

completely and perfectly depicts the self-assertion of rights: it is / [And].This is the

clearest affirmation. I'm often called your attention to the «Ich» (I), which we use in

everyday language.It primarily self-affirmation / and then adding a whiff but that

shows: "We represent a cross consisting of breath (ein in Atem-Bestehendes)».But

so far the people leading the conversation, do not go. They are based on pure self-

assertion. So, for example, in my country do not say «Ich», a «i».There is not anyone

would ever think to say: «Ich haue dich durch (I beat you)."I receive this expression

in the head, because it is often associated with the concept of "I", in my country,

this expression is used every day. So, there's not saying: «Ich haue dich durch», and

said: «I hau di durch!»Obtain a purely self-assertion. Il this is pure self-assertion is

felt now that we do gesture /.And when we go centripetal from two different sides,

/ going from the center to the outside and do not have the feeling that something

is covered, but instead feel a certain extent, we feel like something coming from the

heart for a hand through his hands or through the legs, or a vision - with the help

of you can, too prodelyvat I, through the direction of the eye, when consciously

look with one eye and the other is left in a passive state research institutes.This

clearly appears I.

As I do not have to be anything from L. On the contrary, both hands should be

against the chickpeas so that they are a continuation of one another.But enough

and one hand. Significant in this sense is a stretch, elongated or drawn, while at A

should be a sense of scope, so that the sound, which then repeated having been

there right internal focus.

If all of these features will be included in the way we do the sounds (Laute) as well

as in the fact that I recently passed relatively short musical eurythmy (Ton-

eurythmie), should enter what is expressed in musical tones, then it all becomes

really artistic.You should, therefore, my dear friends, to watch not so much so as to

imitate the outward form, but for the fact that this form has been internally

reactivated so that you experienced when A pleasant ohbatyvanie in both hands

for something coming towards you, and when I stretch (stretch) of the inner hand.

Then there is a U [y], which we have already spoken.This is not self-assertion, on the

contrary, the feeling of understatement, chilled, numb, its remoteness, its holding

for himself (ein Sich-an-sich-halten).If E has exactly one member tested touch to

another, it must be tested at U restraint (das Zurueckhaltende).

It is best to do a U, bringing together the hands closely as possible to one another,

but this movement can also consist in indicating that this compound is only IME

etsya in mind.It is also possible, for example, up and squeeze legs to one another.

We have seen, in some cases, such a move can be done and back.

Ei [Ai] - This sound can best be tested, as I told you yesterday, if feel a sense of

affection towards quite a small child: ei, ei, that is, to do ei-ei, as if at the same time

stroking the child.It is unconditional ­ conventionally, the feeling of an intimate

relationship to anything.(Ms L., Follow-ka good Ei.Keep your body straight,

absolutely do not move them, village residents it still.)Is not it true that when you

feel that this is a gesture of intimate relationship to things, but at the same time

you can see that our manner of writing sound Ei, making it out of the E and I, of

course, is the sound of Ei .Sound Ei must, however, be felt as something absolutely

uniform.We are coming close to Ei, if you combine the E and / but the sound of ei

lies between E and I, and here, in fact, is not an organic compound.With respect to

the finer shades we'll talk.

Well, now for the consonant. Try to imagine a consonant as in the gesture. I told

you that in [B] expresses everything that surrounds that is around some things,

protecting gesture.This, of course, so just in a gesture not portray. It is necessary to

go through it by imitation. (Mrs. F., show us pretty B. This is a real gesture B. Hold it

in memory).

That is a real gesture B, when we feel that it is in this position, and one of the other

hand.If you are truly experiencing all that is in the gesture, then say to yourself, "I

can imagine that the transition ­ to me is something that I want to embrace, say, a

small child who is sitting somewhere in front of me.I want to hug him (think so). The

best way I embrace it, if I took this way, as if guarding the movement (makes a

gesture). " What do you have to feel if you have the right ­ priate experience?You

will feel that something really hold ­ the ones here in this empty space.It would be

best - if I may be allowed to do a little teaching box - it would be best to make this

sound in a eurythmy for young children, to teach children to this sound, showing

them that something is made out, and saying that you have to embrace it's

something.In this case, he says, is that you should feel that your hands if it is

guarded by a creature or this subject, we should have to imagine that all of this

space, which is protected by a gesture to the full.

Everything that I have stated, is relevant. You do not just abstract Undermining

reap these forms, but to experience all of these feelings.

Yesterday I told you the exciting sound of a C [C].It is certain ­ ring adopts the

material to the spiritual and elevates it.He decrees Vaeth on the state of lightness,

indicates that something is easy, mate rial that can be overcome by spiritual, can be

raised to a height.In fact, with the best advocates when a child goes from crawling

to standing position when he learns to stand up straight. This is a wonderful re ­

nance.Can best be observed by the sound of C-C-C. This comes close to the way a

child goes from crawling to pryamostoya NIJ.In this so beautifully expressed

becoming light and spiritual elevation of the material! Feel what it is in it.

Something to make an easy, matter is raised up a spiritual! Best of all you will feel ki

evritmiches C, if we imagine the following.Some odd way something is on the

respective plane of your hands and at the time, as you do with a gesture,

something to make it fly up.Or, equivalently, if you feel like something lying in the

plane of your hands under the flies up through your movement S. then you have

about what makes the experience S.

I start with a leisurely such things, that you have entered into this experience.

Because the experience - this is exactly what is lacking in our Eurhythmy dosing.

D as I told you, is the fact that points to something located at the bottom, or even

by pointing in any direction: D. If we add to it And saying that we are surprised, as

indicated, we get «da» ( there).Imagine that we wanted to express the creature

Eastern Sun ­ feeder.After all, eastern educator is something quite different than a

European teacher, particularly the more ancient oriental teacher. Regarding the

European educator because we constantly have sensitivity to what he wants from

you as mites or something to pull you into the roll Lepesh ku, or do anything like

that.After all, they say, that we should be "time ­ twisted ", although in most cases,

what they say - talk.And with so much talk about education and that of the modern

teacher, then there is a feeling, just a ball of thread, we (as they say in Austria) and

that we need to unravel (to develop). You feel generally quite tormented apart

when it comes to current education. You dumb, rolled, stuffed, filled, in short, are

you committing all sorts of things. European teacher feels that his job is to make

the person totally different than what he is. If you could do all that is now an art

teacher says, if it were reached, the coming out of this mess a person would be very

strange creature! At the eastern person concerned in the upbringing ­ NIJ.He feels

that the teacher - the one who points to something, who always draws our

attention to something: this is something, that is what ... He did not comb cuts

under the student because he believes that it is necessary to develop of itself that

can remain uncut, you just have to you all pointed out. Therefore eastern teacher

always says «da» (there), da-da-da; «der Dada» - as it is called.Dada - this is the

east teacher. This is the one which ­ ry points to all things: yes!Yea!

In a certain part of modern civilization, which, as I would say ... developing in the

opposite direction of Darwinism, humanity, Wait tlivo reaching from monkey to

man, moves back toward the monkey contrary to Darwinism.It wants to go back to

pervoistochni ­ Ku.Therefore, there exists for as Dadaism. A few years ago I got in

Berlin, a letter signed by "The Supreme Dada!" This is just before the ­ constitute a

reversion, the principle of imitation, which is determined by the reverse Darwinism

- a return to the monkey.And when Europe are basing Dadaism, then imitate

Orientalism in its primary expression.

However, the word "Dada" is actually pronounced rigid designation, paying

attention to anything, an indication in any direction. (With Fraulein, do we D).Sign

in well being of sound D!What we conclude ­ etsya creature that sound?In the

index movement. You have to have the feeling that there's something there, that

there is something on D, to which you will eventually come.You therefore have to

make a move D so as to obtain accord on one point advance at the time of the

delayed (Landung) making hand intended position, but they must follow quickly

one after the other, so that just one movement entailed more.You can do them and

to the left and right.

It is essential that we have specified these things and actually felt this selection,

designation.But before getting accustom clear sound D purely receive a pointing

motion (finger pointing).

Yesterday I told you that F [C] - is, in fact, Isis.F-consciousness pervaded

wisdom.When feeling his own essence and survived vayut her into a breath in

exhaling, then get re F. The exhalation is alive wisdom of himself, so to speak, its

own etheric body.All of this should be put in that gesture, movement, which

portrays F. (Mrs. P, follow us F!)This is exactly the movement, which is the breath

when they speak F. It is necessary to do so, with stops, then you will feel that I have

regarding this sound F. Take note that we should start twice: FF, just not so soon ,

softer.Here it is - F. Here we have an extremely unambiguous pointedly conscious

imitation of exhalation.

Next, I told you that L [A] expresses something forming (forming), and we feel the

formation of the language: (LLL).For clarity, I gave you the word «Leim» (glue): the

ability of the adhesive to cling to something, shaping, forming or shaping imitative

imitation. L is what was believed in the mysteries of special magical sound, because

when something is formed, then hold it in their power.And that's gripping the

power was the aspect in which the mysteries saw as demonic force L. This is what

needs to be invested in a gesture of L. If this is combined with the still feel as if your

hands are at this time flexible, flexible, in themselves, If you feel that your hand is

something similar to what happens with the language when you are doing LLL,

then you have the right experience L, and you will feel that this gesture is

something fascinating (Faszinierendes).

Then we have M [m].Yesterday I said that the M - is the understanding a reasonable

understanding, insight into the business.I pointed out to you that in my country,

when someone listen and want to confirm they understood what utter «mhn».On

«hn» we still dwell.It expresses the joy and satisfaction that everything is clear, and

felt that the words «mhn» just one absorbs the other.From this understanding of

the world, which is so magnificently expressed in the sacred syllable of India "Aum",

M. So, first you have something to reception ­ summer, then you pierce it and after

you understand it.Move so in a gesture-motion expressed granted acceptance

(vzya ­ The term) and ultimately acknowledgment.(Hands slightly forward).

It would be great if you could teach this as elephants. They would have done well:

straightening the trunk that is inverted them to the front. It would then be the

perfect expression of M. If it were possible to do it that way, then it would be

perfect M. I say this to you all are well experienced.

May have to go through it is an unpleasant feeling that you arises when you

encounter someone with an aquiline nose.Note that aquiline nose appears because

unconsciously made a gesture-movement M. nose then becomes the "M-M-M '.In

the presence of people with an aquiline nose, always feel constrained because

there is a feeling he understands you through, and it's frustrating when you're

through to understand.So aquiline nose - it is hard to define, for styvshy, frozen

gesture of M. But the one who is going through a gesture of understanding with M,

that does not strike even if he met someone with an aquiline nose, and that he

predpodneset eurythmy M, so to speak, in his own nose.And before we would feel

embarrassed.

But there is a different understanding, which is, so to speak, deflecting pony

Maniema, understanding where the stick is slightly ironic in which understand the

subject, but at the same time show: what's wrong with that!It's, of course! N [H]!

When you come to Berlin immediately confronted with this. With someone,

something happened, there is an unpleasant sensitivity ­ in, but the story is quite

clear!At the same time, however, once all this is debarred from himself, saying,

«ne»!In the end, that, in fact, says Berliner, except «ne!», When someone he

knows?He did not say. This contemptuous attitude of a person to the fact that it is

self-evident, it is known, that it is planned in the sound of «ne».

When the master by this gesture, it felt as follows: "There is nothing special, it's all

clear to me! "You, however, have to go through this sound like that. To achieve the

correct image of gesture N, imagine that in front of you some stupid person with

great enthusiasm RASSC shows you all sorts of things.You want him to understand

that he is too stupid to you that all of this is well understood and brush aside. That's

what has to be the experience of N.

Regarding R [P] I told you, it's something whirling, whirling wheel.It is an expression

of everything that is not round, but it takes a rounded shape. All this is

accompanied by a feeling that is difficult to imitate it, because, in fact, a natural

gesture it would be if we spun the wheel. And it can be done. Fraulein Sh, do we R.

It's pretty intense expression of R. Let us assume that this is one way of

expression.With too Fraulein R. It will do us another way.That's so different The

methods have a nice image R - revolving, spinning wheel, which is also reflected in

the breath, which is also cool when pronounced R.

That is what are the things which, in my opinion, can give you a preliminary idea of

how experienced by gesture can go to Eurythmy in a gesture designed (taken the

form).

Lecture Four

Dornach, June 27, 1924

Individual sounds and their relation to each other

My dear friends!

It seems we have come to the image of yesterday R. As for the rest of the sounds

that we now need to portray, I have already developed their essence in front of you.

Mostly the same way, we need to understand the sound of S [C].The sound of this,

as I indicated yesterday, was considered extremely important in the mysteries. It, in

fact, saw as something magical. It can feel like something confidently AFS

kaivayuschee because the sound momentum of S gives to penetrate into the

depths of being.

So I told you that when a student asked a stranger mysteries, what he learned with

the sound S, then he answered, as usual, in a humorous tone, "who possessed a

sound S, one may read in the depths of men's souls, and women's hearts . "As you

know, if you look at their depth, in both cases you need something to calm. And

that is what caused the AFS kaivanie humorous message pupil.

If the sound of the F feels "wisdom in me, I created from the wisdom, the wisdom

that lives in me - I breathe it, it's here," then the sound of S there is something

behind what lurks the fear of light, something that should be feared .Poe fact, as I

told you, fonts, in which both the base is different letters S, snake line, seem a bit

creepy, so, with the help of which catches the light in the innermost depths.And to

this day the people who can not write (eg, however, is small), see the font

something terrible. When the euro peytsy, these "best" people of civilization, came

to North American Institute deytsam, and the Indians very much in these "best"

people find unpleasant for myself, it was an uncomfortable feeling for them and

with respect to the shape of the letters.They explained that these "white man," as

they called them, those creepy white man also has conjured on paper "little

demons". This view that the printed characters are little demons, village zhalos

some Native American tribes until the XIX century.

Now think about these two sounds - F and S. In eurythmy they should be presented

in such a way that it clearly was seen a huge difference between them.When is F,

then it should express a calm dominance (Beherrschung) over what

vcharovyvaetsya (magically infused) into the world.Vcharovyvaetsya it with

calmness. When you give the image F, we only have to bend down a few hands to

the hands, but actively bend down and not let them hang.You must do it as if you

wanted something close, protecting.

Now S. See how sound is something powerfully S, gospodstvuyusche

(Beherrschung) rejected (making S).This is vividly expressed in the movement,

including the relationship between both hands, which occurs when driving.

Now go to the Sch [W].There is hardly anyone can make a mistake. Sch - it blows

away away, blowing, stainless past.I gave you yesterday visibility tion explanation of

this sound when pointed to the feeling associated with «huschhusch».The breeze

blows by and flies away: husch-husch.In all cases where the words included

interjection, you perceive that Sch - blows away anything away.We can mention the

word, very typical in this respect.

Now please, please note that it has a deeper meaning of what I said the other day,

namely the verbal names, designations of the same items in different languages are

different. Thus, if we, as I pointed out, speak German «Kopf», this indicates a form

on the plastic head and if we are talking in Italian «testa», then this point to the fact

that the head does, it confirmation of activity.The fact that in German is called

«Kopf», would be called «Kopf» and Italian, if in Italian would designate the same as

denoted in German.

In this respect, languages are quite different from each other. The relative ­

relatively German we have to say that it is extremely visual language.The genius of

the German language, in fact, a sculptor. This is something exceedingly tea

characteristic: the genius of the German language - the sculptor.

At the genius of Romance languages is something of the legal profession, from the

law, they argue, confirm evidence.

This is not a criticism on my part, but only characteristic. Thus, in each language

affects the temperament and character of the genius of the language. It is up to ­

walks up to the fact that, for example, at the sound of the Hungarian, Magyar or

Finnish languages inevitably there is a feeling that something is missing.You can

not hear the Magyar language without feeling that every third word is something

absence ­ exists.At every third word, in fact, should be killed deer, because the

genius of the Hungarian language - the hunter. All words Magyar language, not

related ­ schiesya to Game hunting, strictly speaking, borrowed.Magyar language

has borrowed an awful lot, and when you come to Budapest, then in every street

you meet wonderful names, such as, Kaveha'z (in German «Kaffeehaus» - coffee

shop).Of course, there is the Magyar words that are not, as I have described.

Magyar language, as such, has an awful lot of borrowed words. But when you hear

the Magyar language, it is clear that there is something hunting. There is nothing

wrong with that. Agriculture, Game hunting, herding - this is all the elements that

came out all of humanity. In a language such as Magyar, more strongly affects the

initial forces. The genius of the Magyar language - hunter, say, or a hunter, if you

will - Diana.

We can thus say that it is in the German language appears plastic, forms of

education. THIS it most strongly expressed.Therefore, we are in it we meet a lot of

words related to the interjections, which is very characteristic. Let us examine the

word «rascheln» (murmur, murmur).Yes, there is absolutely no need for it to be a

snake. Even if the mouse is under foliage and restless running up and down, then

heard: something with a whirling noise IOM (R), then it becomes uncomfortable,

one wonders (B-A), then it is blown away (Sch).The matter does not end at that.

Noise affects us, but we steadfastly stand a (E).It is, however, pressed, clings,

protiski ­ It turns out snuggling.Where there is only white space, there is slipping,

the deeper, higher (L).And when it was over, then we understand: (N).Well, I

showed you the plastic words «rascheln».

So you can find a great deal that meets the plastic language, plas ticity of language,

and this is a wonderful feature of the German language.Eurythmy that most easily

could arise is in German - it probably matters is the fact that eurythmy is plasticity

in the movement, and that before that time the plastic in motion can be created

with the greatest of ease it out of the German language. Lane ­ tially all languages

have a mobile plasticity.Some languages are IME ­ are, of course, very musical in

nature, such as Magyar.In no metskom same musical language a little bit, but it is

much more of a plastically.And it is in this word «rascheln», as in «husch-husch»

you can get the distinct feeling deflated svevayuschego character of the sound Sch.

The ancient Jews felt Jehovah's breath in the wind: Seh.It's called, of course, the fact

that there is a plastic sound Sch.This should be a fast pace, then it is a real

«rascheln», and then you will feel exactly what is in the words, hear the rustle

shaped.

I also told you yesterday how to understand the sound of Z. I said that in the

experience of F is a sense of something as easy to come close to you.And this

experience - in the gathering, in the beginning of takers cvoe ease - is plastic J. If

we look to M, then we will have the it, as if in front of us had a child who has lost

just bought him a thing feels so awful miserable and crying.And instead of

punishment we want to calm him down. Suppose, for example, that the child is not

the father or mother, aunt or grandmother and tries, as is usually done aunt or

grandmother, to take a certain attitude to the child (which ­ ry just crazy!)Gesture,

especially right hand: "my child, well, nothing!". Well, if you remember these little

stories. You should feel Z, mainly in the hand (in Arm), not in the hand, namely the

lower arm.

Well, my dear friends, we are at this, in fact, completed the examination of

individual sounds, as such.Our next task is to get the right way in the way in which

one can imagine the relationship between the sounds themselves.At the same time

I would like to touch on from time to time, and other areas. In appropriate places,

I'll move on to teaching art and eurythmy therapy. You will then find that the

teacher follows from the nature of the sounds that we just passed. It is clear that for

pedagogical purposes it is necessary to use the words that, if possible, are still a

sensation, feeling fulfilled. Really, really enter into this fullness feeling, and due to

this cause something that should be experienced: it eurythmy - a language that can

be understood perfectly, if only to surrender directly rectly sensation.If you do this

more clearly as possible, eventually, you will find it is already in the word

«rascheln».You have to remember all the time mja and imagine that this is not just

an objective process, but about the process, full of feeling.I will say more in the

future that lies in the word «rascheln», when it evritmiziruyut.You will then feel how

many ­ On it is.(Eurythmy display of the word). Pay attention to the nose, which by

the Sch E and turns to the rustling!

You see, therefore, that including subjective feelings, you can reach all of eurythmy.

Take another word characteristic has an effect. I told you, is not it, that in C [t] - and

even more in R - is the power over matter, coming from the spiritual.Imagine that

in front of you or what- ­ whether screamer, well, say, a real rascal who appears to

you very material and you feel towards him some anxiety.You're not very good at it,

though, and try to resist it, but would like to remove - to blow him away, you tell

him eurythmy: «rusch»!It is always possible - to feel these things: you nasty, you're

trying hard to get away from a person to whom you are talking «Rusch!», But at the

same time, you feel like you have known him power over you.This is done because

it is necessary, to make it clear at the end of Sch.You see, the calm is «rusch!», It is

that you want it to blow away.

If you want to do educationally, you should try to choose those words, which, of

course, you can still feel the plastic forming, on the one hand, and the inner life,

which at the same time feel - on the other.

But the sounds are in fact separate elementary components of eurythmy. Of them

should then be drawn up words. If you are in any word, say the word «rascheln»

(whisper), or otherwise connect one after another of these basic components, these

sounds only intellectually, then it has not yet received word.The word is in fact

much more a unit than imagine. And if the word is not represented something

integral, it could not have happened that we have become so dried out on the

substance of the language, what are the ­ emsya now.When we read, then read

some sounds perfect ­ but vaguely, we would rather slide the words and the

sounds we heard faintly, so that one merges with another, one sound in normal

speech into the next.And we must therefore pay attention not only to the image of

individual sounds, but mainly, the image transition from one sound to another.

And therefore it is necessary to pay attention to a method and a view of how the

sound is generated from one another. It would be to trace how the sound is

coming from one another. To do so would, for example, take the character ­

ITATION often repeated words that are sure to be made to feel as a whole, because

they could not be decomposed into elementary components.Take, for example, a

word like «und» (Russian word "and"), simply «und», and try now continuous,

ongoing transition to portray him try before you start to have done U N. This can

be done well in Eurythmy: before you finish the U, N, and proceed to immediately

go to the D: «und».

Now you can learn eurythmy as creates internal noun ABILITY intentions of the

genius of language.I told you that D is indicating movement.What the hell does the

word «und», when it is used?To empty: «Sonne und Mond» (sun and moon).We

have on the one hand with ­ lntse, and with the sun - is indicated on the moon.Thus

eurythmy opens you to the original gestures, lying in the language. Here it should

be felt.

Let's see, from this point of view, one word, it is in the German language has long

lost its plasticity, which it once possessed in the highest degree. If I say "once»

(einstmals), it means not "for centuries", and "in very recent times."He had a

ductility. The word is, of course, is relatively new in its present form, but when it

appeared for the first time, it possessed plasticity. But even now, as a slang term, it

retains its plasticity. We must, of course, to say that we do not have in our

sensations of these things feel cramped (with ­ completion, however, is lawful,

reasonable) instructions philology.So, let us take the word «Mensch» (people),

eurythmy and present it to fall slightly Sch, so that it sounded briefly:

«Mensch».Here we have clearly heard blows away in the end.

On what points us to a picture of a man? It affects transience, fragility of human life

as a human being pre ­ he who walks.Next, the man - figuratively - insignificant

creature. That's what we said eurythmy gesture depicting the word «Mensch».

There are, however, in a street slang word «Mensch».It means "simple girl", not in

the bad sense of the word, but simply having no value women well: «das

Mensch».Here insignificance expressed very strongly, and then the tragic sense,

which is being tested at the word «der Mensch», slips into a contemptuous

meaning when they say «das Mensch».Hence the witty wordplay beautiful classic

sayings related to some kind of woman: «Nehmt alles nur im allem, sie ist ein

Mensch gewesen».(If you take everything as a whole, it was just a man (whore). «Ein

Mensch» is possible in this case to understand or "man" or "whore."

Thanks eurythmy plastic we have, therefore, an opportunity with a deep sense of

gesture meaning and essence of which lie in the word.

But we have to understand ourselves as a eurythmy consisting of the sounds of the

word makes move to the inner essence of what the word is relative relates, and

again to move to the word.Eurythmy difference manifests itself in a character of

languages you can best absorb it if you look close lennye supplied images,

apparently of the same phenomenon.(Frey ­ Flax B. and Miss B., stand next to each

other and proevritmiziruyte us: first, fr.B. the word «Kopf», then Fr.V. «testa»).You

can see that when evritmizirovanii «Kopf» you have the feeling that she wants to

pass something round, she wants to sculpt, with «testa» you can see that it wishes

to remain certainly certainly right!So you perceive the deepest char ter that wants

to express merits of each word.

And we need to stick to this line. Then you can see how daunting a degree intimate

acts eurythmy terms, directly in front of your eyes, the nature of language. You can

always with sensitivity Vova that stands in front of your eyes the nature of language.

For a visual expression we can fulfill short eurythmy one after the other poems in

German, English, French, perhaps, also in Hungarian and Russian, highlighting

opportunities for all sounds so could not reveal their character. (Operate a

representative of the corresponding ­ corresponding nationalities).Have you

noticed that, for example, in English, one can see its relation to the raging sea.

That's dominance over the bush yuschim sea, so strongly expressed in the

character of the English language, you are most clearly as you see in the image

eurythmy.

In the Magyar language is expressed that the Magyar can not imagine otherwise

how firmly put into the world, and, in addition, the Magyar language you can

express snaking through forests and groves.

Russian is the language that gives just a hint of the inner being of speech, giving

only an echo of the inner essence of the word. It is a language that has not yet

reached the being of things that should be only a feeling of being all over the place

pointing to the future.

And I would like to see you compare two things that show how pronounced

character of the language. All this must feel, otherwise you can not pa ­ zobratsya

in eurythmy.Then you type in eurythmy, there can be only theoretical, intellectual, it

must be felt, expressed in sen ­ stve.Compare evritmizirovannoe Russian poem with

the French. According try to feel how they are different (portrayed by Russian verse

creation).You can see that the Russian language is only in the wake of existing

words.Try to perceive, as in the other, the French, the language prois goes exactly

pritantsovyvanie front - before there is a word (image zhaetsya French poem).You

can see that the characters of these languages are to each other as the day to the

night, as the two opposite poles.

If you will think about everything so clearly stands out, you'll have to say to yourself,

well eurythmy has the property that is directed at the crystal-clear expression of the

essence, as embodied in language and speech in general in nature.Therefore, it is

best to express what lies beyond speech and the need to identify.

Let us take as the main point of this provision something quite definite.

Let's say you want to express affirmation and negation. Do you want to Eurhythmy

ized and thus particularly hard to express approval (das Bejahung).

Let us assume that the son is leaving the parental home. You are sure that he will

come back, come back. "You come back to me!" - Says the father. Make-ka "you

see me come back!" and clearly express approval. What you express your approval?

In step. Steps forward to the right express approval, introducing him - surely - as a

kind of I. So, the proposition go forward from the rear.

Negation. Suppose that a child wants to ban something to do: "You're not going to

do that!". If you want to make the denial was expressed strongly the need to

express it, moving back to the left. These are the things about the stye.

So you can go from that revelation essence that lies in a single word, to lying in the

language, I would like to say, the internal logic. The character ­ ter first detected

with even stronger.If you pay attention to individual sounds, then when

evritmizirovanii poem in some language reveals more character of the language,

but if the move, on the other hand, the logic of which is expressed in the language

(with which we are acquainted closer), the more is revealed character of the

people .

Let us turn to the logic of language, we take the surprise. If found anywhere

communication, expressing surprise, you make a gesture of surprise A and need to

merge it with other sounds, so that he was in them.It already provides a good basis

for learning, what is the relationship of sounds with this characteristic Coy logical

and linguistic sensory content (sprachlogisches Gefuehlsinhalt): «Ax, how

wonderful!".So, connect both of these things - what you have done as a gesture of

surprise and the sound mix of "oh, how beautiful ­ But!"- So that the one and the

other was here together. (Depending on the sensitivity Islands, accounting and

okrashivayusche in the sound mix could be merged with other vowels.)

A gesture of surprise, of course, should be associated with individual sounds. The

surprise should be included in the education of sounds.

Such a movement, we will analyze tomorrow.

Lecture fifth

Dornach, June 27 1924

Mental attitude in the poetic work

Mon dear friends!

We will continue this investigation. We have moved from the fact that both

the mood, the mood is the content of sounds to a more general character ­ ters

that is expressed in speech.This, in turn, is the transition from a purely audio or

semantic that corresponds to speech vaniyu sense.

Today we will discuss what defines the outside sounds sincere spirit in the

poetic work. Here we are, first of all, we have to deal with that, to a certain extent,

can serve to indicate the nuances and shading that played in the word (that is,

through the organization of sound ­ kovogo element).And that's saying something,

at the very vygovari ­ tion of speech, we can show the intonation is a state of mind

that we had when we were talking about.After all, the intonation is very important,

and when the spell is something that requires a special intonation, it notes the

issues of real or an exclamation point, etc.

What is important intonation can be seen from the following simple example.

It seems to Segedin, in Hungary, was a company of actors representing Schiller's

"The Robbers." Presentation given at the barn adjoining the cowshed. The actor

knew the role of bad, and the prompter can be hard to understand. In general, it

was delivered primitive. The primitive exacerbated by the fact that there was a

uniform in public dis bonds.He was due to the fact that suddenly broke through the

wall of a bull, so that the horns and face were on the scene and began to watch.

Then a few scared the actor said, "Do you really from my ets? '.Prompter corrected

him, saying that it is necessary to say, "Do you really my father? '.The director did

not like it and that, and he corrected: it is necessary to say, "Is it in my father s true?".

You see, so it's all about Stress. And since eurythmy we can express all that is

the basis of language, it should be possible ­ ABILITY express therein and that in

the designated speech intonation, and letter question and exclamation marks.For

this purpose we used the gesture, which is something that represents an

exclamation or question.This can be represented as follows.

Evritmiziruyuschy gives his right hand a position left - such as holding a brush

as follows (some inward-facing, with a free E fingers).Here's a gesture to be done in

the appropriate place. About the color I will speak later. It is important in this case,

of course, to evritmiziruyuschy always correctly found, in what place he can to

make this gesture in relation to the rest ­ GOVERNMENTAL.We must, of course,

first study the thing, that is, up commandment ­ imagine where in the reader does

in his speech delay, a small pause.Then evritmiziruyuschy clearly goes against the

movement, which lies in the proposal, first to a relative, and then to a complete rest,

so that the action ­ Indeed stops when making the gesture.If I'm on the ­ example,

he said: "How beautiful the sun is shining today!Rejoice at it! "- Then you have to

eurythmy appropriately express these exclamations. To do this, we delay it started

in a place where there is an exclamation make this gesture and quietly move on. So

we have to make in the possibilities of the gesture underscores the strong (strong

articulation).

Especially it would be good to introduce it, for example, in a poem as

"Sorcerer's Apprentice," in which many exclamations. It would take a while this kind,

which from a purely artistic point of view can be called a sense of humor. For

example, this passage: "In the corner! Brooms, brooms were you! ". Here it is

necessary to put an exclamation point after "were." What follows is a stanza:

"Because in the form of spirits ..." etc. For the sorcerer himself it would not be good

because he is a respectable person, but if you added an exclamation gestures

student action, it would be very good. The same gesture exclamations to do and

after the words: "deftly by ­ fell!"And" I breathe freely! ".

We turn then to the other movements of the soul, which we can zit expression

- to the hilarity.The characteristic movement is cheerfulness that under ­ nyavshis

on your toes, you're trying to make the appropriate gesture.Thus, when a suitable

point, you have to go up on your toes. Then, if it is positive ­ Suppose your head

(see fig.), you can make hands here is a situation and, if possible, push your

fingers.This will be the movement of gaiety.

If you try to strengthen what is expressed rastopyrivanim your fingers CET,

vibrating them, you will get even more gaiety expression.Such a gesture -

movement of gaiety - extremely pleasant and acts exactly like a laugh.

Take the following sentence: "He went up to the podium, but before he had

time began to report a fly sat on his nose! Everyone was amazed. " After the "nose"

is necessary to make a gesture. Now, even you (addressing the evritmistke),

engaged in this business, somehow naturally become, infected with a cheerful

mood. And the weight cavity expressed in this gesture, I think, very well.

In too many cases, it is dramatic (not liriches cue).When you evritmiziruete

anything dramatic, it can be expressed ­ mately next gesture.Imagine that you're

dropped down predple ­ whose your right hand and show up at the same time

(index finger), and run into the left hand side.Imagine this gesture. And then before

­ place that someone says, "Did I do that would be smarter than you are."These

words can be evritmizirovat by such a gesture: the left hand strongly curved hook,

right - shows up, Takao gesture to express the "damn nerd» (Verflucht

gescheit)."Exclamation mark", "gaiety" and a gesture of "pro ­ Darn clever

man!"You can see in these forms eurythmy gestures.

The following figure shows the gesture that you should be well studied

disconnect.Upper arm attached to a position (see fig.). The index finger is pulled up.

The peculiarity of this gesture is that it indicates, in fact, on the judgment

(«Einsicht» - thoughtfulness, by understanding of).In all cases, when the gesture is

used, it shows the distribution ­ suditelnost, but only when the finger does not

point, but just stretched.But the gesture of judgment and goes into a serious

gesture of knowledge.

If you are making the right hand moving up and the left hand hold as though

cut off from the bottom of human rights and rhythmic head (which are mainly

engaged in cognition) with the hand supporting the elbow, that is, doing so (see

Fig.), It turns gesture of knowledge. With this gesture, the knowledge can be used,

in fact, in many cases, because every word that indicates that you perceive that you

have taken something of themselves, can be considered as knowledge. And the

mood of the poetic work can be extremely stressed if, say, at the end of the lines to

make such a gesture, which expresses that the corresponding perceived. A lot of

POE ­ cal work will benefit greatly from this.But they can win and then if, for

example, in such works as "The Curse of the singer's" Uhland: «Es stand in alten

Zeiten ein Schloss, so hoch und hehr (castle once stood tall and beautiful) ... "- To

make the gesture of knowledge before you Priest pita bread for execution.You will

see how the poem benefits from it. Make it so that your whole body gesture

expression of knowledge. Go to first position to a position of indifference,

expressing knowledge. Then the whole poem is a consequence of something that

indicates: it is all over for sveem ­ structure should be taken thoughtfully.You then

will attach all the elements of creation a certain basic tone.

Other mental attitude is something that has value obschepoznavatelnoe

chenie.This mood is associated with a gesture I - self-assertion.I - always samout

assertion.But when affirmation is not sound and beyond becomes distinct sound

and mental expression, whereas it is possible to express the fact that they take a

position in which the right leg with ­ bend in the knee.You are standing on the left

foot with both hands outstretched, but so few hands is pulled back. Here is a

dramatic gesture of self-assertion.Fr. B, do the gesture, a gesture of megalomania,

at the end of the proposition, which I'll say, "Did I not Chinese emperor?"This is a

real gesture. We, therefore, we make a life depicted in us, and a substantial and

significant is that life was introduced into these things.

I want to give you today are full of expressions gestures in order to get you in

the next few days could still much to behold this.

We must also specify the gesture, in which you can take a wide stance and do

with the movement of greed (gluttony) (see fig.) When they want more and more,

that is a gesture that expresses a strong desire.

Take for example the following sentence, and in the end make it a gesture of

wanting more: "You gave me, gave me everything I asked for." But do not push out

the hands, otherwise it turns out that you decline. You want more, and the gesture

of the desire for more, should be directed inward to ourselves, and you have to

stand wide, strongly pushing his both feet.

Does not require that I take this gesture of gluttony was himself a hearty

Nena.It is used when there is something that causes a sense of unre ­ satiety,

frustration, wanting more.Well, now finish the gesture phrase, I would say, so that

between them there was a pause to this gesture by gesture immediately followed

the text: "Do not be bogged down the whole house? "- And so must go on! This

expresses an insatiable.

Now we come to the things that we have to enter more deeply into the man.

Here we have such a gesture that expresses warmth, that is the state of mind that is

associated with heart (sincerity), penetration of feeling (Innigkeit des Fuehlens).This

warmth of feeling locat ­ DIT expression in the fact that we rely on the forefoot,

heel lift a few from the floor (but not high, because if it is too high, there will be no

warmth, so that the heel should be raised slightly) do remain standing, and then

gently make the movement of both hands forward so that, with the thumb

touching the index.This expresses the warmth, intimacy sensitivity ­ Vovan, and

then get the next gesture.Imagine that here, on the hands, you lay a baby and you

want to develop in yourself, so to speak, a heartfelt sentiment, addressed to the

guardian angel of the child. Then you'll der ­ reap the child so and you have a

gesture of intimacy.Take for example some particularly solemn verse, and in the

end you make the gesture. Try evritmizirovat: "Let burdened with sorrow will come

to me." And now to do this gesture. Well, it came out lyrically. Try removing lyrics

and do, so to speak, a monumental gesture. Then, after a gesture of warmth you

can at the end of an exclamation mark. It's now penetrated ­ novena.Make an

exclamation mark! That's right, at an appropriate pace, it is possible to express all of

this very monumental.

Akin cordiality (intimacy), but at the same time, and totally different from a

friendly attitude toward someone, courtesy, emotional mood courtesy.This could

be expressed, slightly when lifting the heel, then easily picking up round his left arm

so that the gesture, which we have done before, was going up and the other

gesture (left hand) down to the right.Then it would be a gesture of courtesy, by

doing so, you should certainly feel a sense that this is a gesture of courtesy. It is

important to der

This gesture message is this: on one leg you should, of course, stand, other foot

you should be easy to put to the front of the heel, you raise your right hand up,

pointing forward thumb, index and middle fingers particles, the left hand is slightly

lower and also easily stretched forward, his hand several ajar.Then you make a

gesture as if you stretch any gift. But you do not make any gift, and make a

community ­ tion.Would thus be set at the same time you may bring as a gift, but

here, in his left hand, a gesture of the message "I'm telling." Both, these words

express the gesture.

Suppose we have the following words: "Truly, truly, I say to you ...". They will lie

to the message and it is a phrase which perfectly possible to finish it by this gesture.

Now comes a gesture whose character outlines when an appropriate mental

frame of mind we stand firmly on his feet, clutching mentioned elongated hands

with clenched fists (fingers closed without voltage) to the body and keeping your

head straight.His eyes evritmiziruyuschy must keep with it in such a state that he

had a feeling that he does not see them, they froze. Then the movement will come

good. Such a move should be done several times while reading the following text:

Wan was sick,

His eyes went out,

Sobs around him.

Particularly expressive you can do these words, if evritmiziruyuschemu able to

make a gesture, which I pointed out in the places that I designate points:

Pale lay ... patient,

His eyes ... extinguished,

Sob ... surrounded him.

Think about what this individual color can give him, as it highlights the

nuances. So this is - a gesture of sorrow.

Then we come to the gesture, which consists in the fact that we are stepping

firmly on his feet, his hands outstretched (folded out), back, hands back but

perfect.It is a gesture of despair.You have to have a sense of affecting mainly the

muscles of the hands, the gesture expresses despair.

Do the gesture of despair with regard to the first verse monologue of Faust.

After the word «studiert» make a gesture of despair:

Habe ich, ach, Philosophie,

Juristerei und Medizin

und leider auch Theologie!

Durchaus studiert -

(I understood the philosophy, I became a lawyer, became a doctor ... Alas!

With diligence and labor. And in theology I have got ... ") - you can see that when

some gesture really expresses the mood of mind, it is adjacent to the previous

dramatically.

Our study of mental gestures, I would like some more shade, saying: Learn

These gestures, they teach you to express the emotional mood of plastic, eurythmy.

Then you will be able to absorb the internal ­ tions lyric or epic poems of the

course.Imbued with a sense of underlying gestures, and then you can give

evritmizirovaniyu true spirituality. 'll Talk about it tomorrow.

Lecture Six

Dornach, July 1 1924

Mental attitude and characteristics of the individual states of the soul.

Color as the content of mental attitudes

My dear friends!

Yesterday, we finished work on some mental moods and show how they are

expressed in gestures with eurythmy. Today, we first make some additions. Here,

first of all, we have the benefit of ­ Lenten Retreat.Reverence - that with this

attitude of mind, we must realize that eurythmy is not seeking to convey what she

wants with an ordinary mimetic gesture. Like the voice of education forms TION

and consonants, all of it is directed to ensure that the take of the whole human

being stylistically (in character) that is an imitation of mental gesture, which, thanks

to all the human organization is the basis for the respective mental damage.We

can see that when it comes to sound, it is necessary to attach the motion tions

shaped to superficially (apparently) already play there sponding in reality as a kind

of gesture of air when a person says.After all, when we say we are a known way to

attach the air form. If we were in any way that could hold on to what is thus formed,

we would have a sample of the gesture, showing the first sound.

If we are dealing with a certain attitude of the soul, then, of course, come

closer to spontaneous, spontaneous gesture, that is, such a gesture that arises

when we are in our everyday life are in this peace of mind.

Currently, most people avoid gestures, thinking maybe, | that ignoble gesture.

The more people "coming out of himself," for some mental attitude, the more the

desire to make gestures, leaves itself because there is not in the ordinary everyday

state, but in the mental attitude that meets the emergency life-polo zheniyam.But

such an unusual attitude and a reverence.

Reverence is in a person need to do a famous gesture. Gesture, which is done

with a sense of awe is, in fact, so, to ­ tory responsible natural way to keep yourself

in this emotional sentiment.And just because you can see that when a gesture of

reverence becomes natural numbers ­ General to, whereas in most cases it can not

be natural.Reverential attitude of the soul accompanied, so gesture, in which the

upper part of the arms are kept drooping down along the body and arms from the

elbow facing up, then - the position corresponding to the mood of kako-some of

the vowels U or A. Thus, hands, or rather, we have to keep the fingers in any of

these forms, depending on what we wish to give the group reverence.

It is necessary to highlight the spirit of reverence of all that will be further

informed concerning shaping gestures. So stylistically we best guide them things

so that when it comes to reverence, let's start with the gesture again and finish it. If

the case is to touch anything longer, for example, any long can Lithuanian, then we

can make this gesture at the beginning and at the end of each stanza.

If you want to use this gesture to such words:

"O Divine Spirit, hear the call of my heart" -

you should make a gesture before and after these words. You just need to make

sure that the arm was folded down, pressed, and then it will make a gesture of

reverence.

Bole certain high degree of reverence expressed in solemnity.This mood of

solemnity in a way similar to the mood of cognition, only with the difference that

the gesture of knowledge symmetrically complementary gesture of solemnity.With

a gesture of knowledge we do the same gesture to the right, what we do with the

solemnity of the left. You can feel it in the event that at first grasps what takes place

knowledge in relation to the solemnity.

You see, the knowledge - this inner mastery that is outside of us and that we

want to connect with our own being.

It is necessary that we in the gesture did not take away from the knowledge of

its nature, has a profound meaning. If the person did not have cognition, it would

not be a man. The man, in fact, for the first time becomes a man only because of

the ability of cognition. So that knowledge should only be ­ yes perceived as

something solemn tune, but on the other hand, as something which encompasses

the activity of the soul.Activity is expressed, however, is always that we turn to the

right.The same attitude that we are developing with the knowledge, turned into a

passive passive form in awe, gives solemnity.

In all cases where we do not advocate actively and passively surrender

ourselves to something, we turn to the left.And we solemnity, so express that

appeal, so to speak, with the sign of knowing the left.Now, take for example

something that has a gesture of solemnity, for example:

"Over the human destinies

Saints stars shine ... "

Make a gesture of solemnity before and after these words. Start with only a

gesture of "knowledge", keep it up and move to the left in a ceremonial gesture

ABILITY.

The fact that all the states of mind - and with an expression of a state of mind

with the revelation of emotional states we tend to deal in and evrit mission - all

mental states can be divided into three categories, thinking, feeling and willing.So,

it is important to wanting to give eurythmy tatsiyu interpretation to some poem,

we really express the main character of the poem, that is, that if you change this

basic nature - the transition to the feeling of thinking or feeling in volition - we

expressed throughout this transition staging evritmizirovaniya.

Take, for example, as a point of contrast, to Thoraya exists between thinking

and willing.They are the opposite ­ GOVERNMENTAL activity of human

beings.When a person thinks - I Undermining ­ zumevayu thinking in a broad sense

- it then undergoes a process in which the head is in the rest position.External

sensual way not seen that man thinks. Thinking going on in my head, finding ­

scheysya at rest.The opposite is the expression of the will. If somehow it does not

manifest in the external world, then it is simply intention. Currently, the same will,

which manifests itself in the outside world, it may be visible. For the inside of the

human life on earth, it remains, however, as dark as what happens to a man but

inwardly ­ whose.After all, people do not know what happens with it internally at

night. Just as little does he know about what's going on between his soul and the

muscles or bones when there is movement as an expression of volition.

If a straight line in front of you, then you can determine in advance the whole

line. Suffice it to have at least a small segment of a straight line - and has all the

straight line, as such, is certain. Straight line - it's something in relation to what is

known, what it is.

The curve - what we entails, in relation to what, in fact, you never know what it

is and where is.

There are, of course, well-formed curves, but their accuracy is not as

experienced as felt to be correct straight lines. It is because of these deep

foundations in a straight line Eurhythmy characterizes thinking, and the curve

characterizes volition. So when you would have to use the direct evritmizirovanii

possible, lines of thinking in Britain and the curves at volition.

It is important here, however, solve the question of how we understand things.

You could say, "I want to express some poem volition" - and other goy said: "I want

to express to him thinking, to make it as clear schenie community."One

understands things the other way. If things are not quite certain expression in one

or another way, the solution of this problem is ­ sa must, of course, given the

choice of one or the other party.Prepared to present some poem, you have to POE

­ to ask yourself, as you understand a thing?What is it - a thought-anything telling

a poem or not? Let's say, for example:

"B Aachen in regal splendor,

in the old hall

King Rudolf sat sacred power

for the solemn coronation feast.

Meals brought a Palatine of the Rhine,

Bohemian pearls of sparks pouring wine

and all the electors, all seven,

as a crowd of stars around the Sun,

were busily around the lord of the world,

with the advantage of doing his job. "

In this poem, only the serial number of thoughts like this, eigenvalues, usually

in pure epic.But if the thought suddenly crossed into volition, then we immediately

had to express eurythmy. However, I have cited the verse can be best expressed if

its conduct in straight lines.But straight lines appear after all and when built

rectilinear shapes, so if you are coming from any other character istic features of

the things you can express thinking, using the triangle, quadrilateral, pentagon:

if thinking is somewhat more complicated way, that even such a line:

In all sorts of curves lines you are expressing, on the contrary, everything that

relates to volition:

Feeling we should portray, connecting lines, and curves to SRI.Here you have a

very wide field:

Our challenge will be to build the first such forms. After all, they you can

always form themselves. And it is education that shapes if you try to help you

create a relationship between the internal and evritmizirovaniem poem. It was only

natural to ask: how are these forms to those given in the form of a standard, that is,

those who have already developed in order to somehow express the individuality

of the poem? Then you will see that is these forms have been developed in a broad

sense. You'll always see.

You will also find that the development of such forms is drawn in the

corresponding field and focus on a more intimate (penetration) side of the

poem.Which means, drawn attention to the more intimate aspects of the poem?

You see, the fact is that the vast majority cal poetic works, which are called as such,

in fact, they are not quite, because the poem requires that all significant tion lay in

the language, in a well-nuanced language, not as rough as in prose but, with the

help of properly prorated language.If ka ­ somebody poem to express surprise: "Oh,

how I surprised!"- That this will not be anything artistic. Tion truly artistic expression

of surprise you get when you insert the sounds of A, if possible in the one month in

which to be expressed surprise.Just when you want to express that opinion thrown

in the past, it is desirable to insert on five opportunities a lot of sounds U. And

when it comes to internal consolidation after we touched anything, it is necessary

to use the sounds of E.

So, we can say that the real poet who wants to express something mental,

should be possible to use a lot of sounds E. I'm talking, of course, only in the sense

of ideas, because it is not always possible to adhere strictly to what is required from

a really artistic, otherwise the light will be very small (one might say, thank God), STI

hotvoreny, because then it would take a long time until the poet would be a

corresponding intuition.Eat a lot of sounds E, and sometimes the sound of I,

thought to be a poet, that is, more prone to epic.As for the poet who uses the

sounds of A, O, U (the poet, whom we we find them) then it is more likely to express

feelings.So use a little vowel and consonant sounds pile up, growing mainly in the

direction of volition. And you have to follow the poet to create forms.

If you do so, notice that the poem comes mainly from intelligence - smart in a

good way - that you contact a rectilinear forms.If you notice that thing comes the

pain ­ above from a feeling that the forms that combine straight and curved.Finally,

if the poem is a lot of strong-willed, even if expressed conjugated emotionally, then

you go to the curvilinear forms.

If you, in accordance with the above, will produce an analysis of those forms

which have already been given along the way, only then realize, in fact, more

intimate structure of a poem, to which must be created corresponding form.

Well, now it will be interesting to take some poem and try, regardless of its

content, which it will find expression, if it is considered, in one case, from the point

of view of thinking, in the second case - from the point of view of feeling, soul, and

in the third - in terms of volition.One can certainly imagine and is content to be

expressed by all three methods and will be in all three cases have its own

beauty.Both, for example, the well-known poem:

«Ich ging im Walde

So fuer mich hin,

Und nichts zu suchen,

Das war mein Sinn.

Im Schatten sah ich

Ein Bluemchen steh'n,

Wie Sterne leuchtend,

Wie Aeuglein schoen.

Ich wollt'es brechen,

Da sagt'es fein:

Soll ich zum Welken

Gebrochen seia?

I was walking through the woods

Just like that (anything not thinking)

And do not set out to look for.

In the shadows I saw

Flower stands

Glowing like a star,

Perfect as a peephole

I wanted to break it,

But subtly 'he said:

"In order to withering I

Must be broken? "

Do this poem as a simple statement as a simple train of thought. Try to do it in

ways that you would come to mind, with straight figures, but, if possible, not

rounded at the same motions, gait and making them just in straight lines: «Ich ging

im Walde ...».

If we perform in this way, we get the immediate impression that something is

reported to us.

Well, now try to do the same in a purely circular forms: «Ich ging im Walde ...».

Y ou can see that this vanishes all that apply just to the message, as well as the

fact that depicts peace movement.After all, in the poem expressed a strong move

when flowered says, "Do I have to be broken to fade?" - And on the other hand, we

see a strong peace movement of the poet when he says: "Glowing like a star,

perfect as eye" . In each ­ Doi eurythmy form is expressed that the poem is in

respect of, or the will, or spiritual movement, or feeling.Now try to use alternate

lines and curves: «Ich ging im Walde ...».

Then it turns out exactly what it is experienced internally. Straight lines and

curves, taken together, make evritmiziruyuschego keep returning to himself and

straight lines become, in a way, invisible mym, abstract.Thus, the whole then there

is more internal. When transferred to the curved lines, I always go outside more.

Now I'd like to talk to you about that in respect of mood can really give a lot of

in-depth at evritmizirovanii, the significance of the fact that here - that's for

eurythmy these figurines - finds expression in paint.

Here on the individual eurythmy gestures, each letter (A, O, and so on) is

expressed in the color of clothing.

As yet, my dear friends, we certainly do not have the opportunity to express

our Eurhythmy colors as shown here. Otherwise, when in one line meets A and O,

would have had to replace during the reading of this line one suit after

another.Now we do not yet able to do. We then will encounter difficulties when you

have to change the performance of the two STI ­ hotvoreny.If the performance of

the four stanzas would have to change 21 or 28 times, then we would not have

happened.However, all that is presented here is certainly correct, because to really

get into any sound you can only feel as well as its color.

Imagine, say, sound A: Surprise, Surprise!Actually, the color is just the fact that

the external is our sincere con ­ content of.Color outside us - conveys our sincere

content. Therefore, comes about because a lot of debate about the essence of

flowers, they do not notice that the color is, in fact, the content of the soul,

imprinted in the outside world.

Let us now take a surprise amazement. In the form, you will feel the gesture

was surprised tion, as a gesture And then you have to wonder: what has prompted

me dit can form the same gesture - but only in color?And then, based on the

sensitivity Islands, you will come to the exact combination of colors that is

produced out of the blue, and purple, that is, from the so-called dark colors.

Consider, however, the mood O. O is engulfing mood, perception in yourself,

connect to each other.Need for this bright color. Here they are here (pointing to

eurythmy figure O).

First, because of the above reasons, you can not use the flowers as they are

presented here, but it is very important for you to be an attempt to work out to get

a sense - than the color will be A or I, or U - expressing fearfulness because you

then grows together with the intimate nature of the gesture.Thus, when exercises ­

tions to conduct business as well, so even if only in the representation of dress as

defined herein.Especially good dressing it mentally.

Imagine the mood E - in which a pale yellow color with a slightly greenish

tinge in the middle, pale yellow to greenish.Feels ­ camping, as the red and blue are

lost in the green.B while in the blue and violet color tion we return ourselves - A

and U, which is reflected in the bright color of all that is self-assertion or in

perception itself.For all that is representable an E (to be touched and to be

persistent after a touch on) - the color green.You do get a green color when mixing

yellow and blue, that is, join in the color of dark and light. In this case, you are

expressing the color of the sound. So, choosing a color, you grow together with the

gesture.

Now assume that you caught - reason can not grasp such things, they can be

caught only mentally - that some mental attitude, for example, the mood of E, is

like this in color (indicating eurythmy figure E).Then you have themselves come to

the conclusion that the whole mood of the poem breathe E. It can be a variety of

vowels, but it is imbued with spirit E. Take, for example, some poem for eurythmy

performance, or anything else, where we always feel unpleasantly affected and still

can not get rid of this sen properties.This is the mood in the poem E. If we want

evritmizirovat, is this mood, it's good for him to choose appropriate attire.It would

be good to get used to the colors on the sounds, then we could get to putting on

the color of entire poems.

What I am saying, I am particularly stress for one reason: we should not think

that if anyone learned A, U, E, I, O, then, and he already knows how to do.We can

say that he can, but this skill for themselves, because not yet proven that a person

could look at this. You should not forget us, that as soon as it comes to gestures, as

the impression turns out to be a huge impact subliminal force.And there is a big

difference is when someone thinks that he made a gesture / (the ones who want to

learn eurythmy with plaque think they make a gesture I, when they simply hold

hands in this direction, in fact, because they are absolutely do I, they will do it only

when the gesture will make a visible pulling it, so that was visible to stretch) ... there

is a big difference if I do it anyway, if I do it or just so that my gesture is seen

pulling.Make a time different - like arms stretching out in philistine and as is the

case with the free art /.(Sung). What we used to do normally - it does not I. And

now we'll do a free-artistic.

Free artistic gesture should in all its flow is accompanied by a feeling and a

sense of being given, as they are in separate sounds.Yes, my dear friends, this can

only be achieved also really studying individual sounds. And we need to study

them, pondering the robe. Therefore, the very kind of eurythmy and way of dealing

with speech must be imbued with color, and a person must have a tendency to

color the experience.

Experience in color was common for people in times of ancient clear vision,

and now it is lost.Only a few neurotics it is, in a perverted way, manifested by the

end of Kali Yuga. And while there were people who spoke that Vienna has a dark

purple color, Czernowitz - yellow, Prague - yellow-orange, Berlin - gray-yellow,

reddish-Paris-sirenevato-iridescent and so on. There were people, which ­ rye as

saying.If at all there was a sense of something similar to what the city has its own

color, it would be possible to come to something relative to what they have to say.

Similarly, each person has a different color. Of course, however, in fact, and its

color is astral body, but the astral body color varies in accordance with emotions,

etc. And yet every man has a primary color. And, actually, you could ask people that

­ Kia questions: "Were you there?What the man you saw? " And you would be

responsible, "I saw the blue man." And the other would say, "I saw a red human ­ ka

".All this, of course, quite reasonably. So you can feel, because that's exactly the

same impression as that which occurs when we see a simple, ordinary physical

paint.

So it is good to combine certain movements with the character of The

corresponding colors shown here (eurythmy figures).So pack razhneniya can be

made as follows: practice in A, U, E, G, I, but the way to get going with a blue-violet,

yellow-green, yellow-green, reddish-yellow, reddish-orangish color

zhelotovato .These often involve the same movements: they give ­ are of sound,

that is how they are received and of the colors.With this eurythmy movements are

particularly flexible, and you'll see that in this statement they will be really filled

with taste.

At the same time, we will finish today, and tomorrow will continue to feature

some of the mental states.

Lecture Seven

Dornach, July 2, 1924

Plastic design of speech

My dear friends!

Eurythmy only get inside the art form, COH yes every single evritmist will in all

particulars, the details of his work does come from the nature of the question.T o

evritmizirovaniya inner understanding speech sound is almost as necessary as the

need may familiarity with the movements that are enforceable.Therefore behold ­

Available-I want to show you that the plastic design of speech has a certain

influence on the performance of eurythmy.The center of gravity always eigenvalues

speaking, comes to plastic, to take shape due to the fact that in eurythmy our

challenge is to express in visible form in the visible image of that in the language

couched in the form, but apparently did not manifest as goes into sound.

Take, consonants, because they are the most suited for the interpretation of

the plastic, as imitating the external process and the external things.From the point

of view of plastics sounds different: IME we eat first, sounds that are quite clearly

modeled upon, say, the sound or the sound F S, then the sound will be clearly

formed on the model of B or P, or the sounds of D & T. If you compared the two

groups Nita with each other, you will find that they are very different from each

other.Sounds S, F are such that the flow of air from the inside to the outside

sees.Other sounds - D, T, B, P, in which the flow of air internally connected, it is not

blown and ejected.Thus, it is necessary to make a clear distinction between the

blown out and pushes sounds.

This difference results in a very big difference, and in the very existence of

these sounds. Blown sounds pass, so to speak, the inner man to the outside world

is more or less passive. They enjoy the flow of air expiration emogo to make "air-

breathing" of the body and thereby liberate the whole body image bodily form (die

ganze Gestalt des Koerpers).Thus, the blown sound calculates that outputs DIT

outside air.

However, the flow of air being blown out always takes the form of the body. It

is not stored in the external world, and is scattered, so blown sounds always have

this character, like they give themselves, they just go along with the outside world.

Thus, we must consider the blown sounds like the sounds coming together with

the outside world, accompanying him.A person can do with the outside world is

what the world wants, but certainly not with the physical body, and with the bodily

form, which he donated to the blown air.

Propelling the sound is quite different. If you pull out ­ Kiva sounds we

possess a form of breathing.In the end, we contributions ­ dyval some way our "I"

in this form of breathing and how to give orders to the sound that it does not

dissipate immediately, while falls to the outside world, but that there is a one

form.Thus, in relation SRI outside world ejected man becomes master of sounds, so

you can not then have to say, "to go along with the world," and I must say: "n

royavlyat its internal."

These instructions apply to the most important, the most numerous sounds

that are the sounds of consonants. It should also be said that in this case expressed

sympathy to the outside world with the blowing sounds and Simpa ­ ment to

himself while pulling sounds.Blown sounds are not selfish, pull out ­ Kiva same

sounds selfish.We also find that when we use the buoyant sounds Xia, always sharp

outlines the contours of what we want to identify.

You've already learned that the German language has a high plasticity. Take,

for example, a word that begins with the sound ejected: In, «Baum» (tree).You will

notice that wherever there is expelled sound, sharply delineated contours, and

where there is a blown sound, sharp contour ditch is not required, but must, on the

contrary, the mark of something, avoiding sharp outlines, for example, «sei» -

(whether) , S - blown sound.

In order to acquire these good things, we must, of course, always with

substantial refrain.You will certainly find a lot of words, with respect to which we

can say that they have to express something sharply defined tion, and in them,

meanwhile, will be blown sounds.But even in these cases, we should still look for,

how could represent something raseivayu scheesya no clear outlines.

Thus, sounds exhaled following: H, CH, J, SCH, S, F, W, and, of course, V - this is

the same as F. Pushed sounds (Stosslaute) include: D, T, B, F, G, K, M, N. This all

sounds selfish state of mind, the sound of his own manifestation of the human

essence that want to keep the outside world.

Then we have a sound that stands out completely. It's R. It manifests itself

spinning.This sound is shaking when he pronounced. R is thus vibrating (shaking)

sound (Zitterlaut).

And then we have a sound that, if properly pronounced, ranging years

through our internal movements of the tongue and makes it look like the sea, the

variability of the storm.L. This language should we do with the same movement as

the sea.This is a worrying sound: L (Wellenlaut).

What do we give these two sounds? We need them when we want to express

not only the return itself or the manifestation of its internal, but we want to express

what is on the move in the currently.Motion and shape are fully expressed in

blown and ejected sounds. Is located in the Movement in itself is not expressed

well.

If we want to cover all the creature R, we have to say that it is something that

lies midway between the returns themselves and self-assertion.R is something that

is self-restraint, reticence in the soul-spiritual nature of man.Therefore, by R we

express that covers just as we cover ourselves yet - we recommend.«Raten»

(advising) - it is a word in which the sound of R is particularly characteristic

value.«Raten» (advise) means that we will turn and start fiddling with our judgment

that it is not ready yet.When we are dealing with R, we always get it spinning and

turning judgment.Anything that looks like a spinning and turning, we will be

denoted by words, which is the sound of R. It is, therefore, somewhat selfish, not

wishing to transfer to the outside world to stay in it that is generated by them, and

wish to keep it for yourself.

And in L, and this, again, sound thinking, but with the impact itself.Instead of

eigenvalues solutions prefer to be told, offer to solve another, waiting, inwardly

experiencing L.

Now the problem is that fact that you live through this plastic nature of

speech sounds really see in eurythmy. That which is blown into the sounds we

eurythmy driven out, so if we move our bodies that move along with it sounds, that

is, if we try to make our body move followed the sound ­ E.Suppose you make the

sound S and bring your body into a movement of like if you wanted to get it to run

after the sound that you form your hands.Try to make the first S calmly, and after

that, make it perfectly clear, so that you can see what you want your body to go to

him in a track.When moving ahead run after it the top part of his body, when

moving back and go back upper part of your body. All you need to keep the body

in his power, and by vibrating them fall into the sound (in den Laut

hineinschwingen).Do this also with the F, force it (the body) to run after the sound.

Suppose you say the sound is pushed out. The challenge is to make the sound

being ejected in the gesture. When ejection ­ Vai sound body should act not by the

movement, the action of the body should in this case be manifested in how it keeps

itself.It should be clear that it wants to hold, to fix the motion, which passed in the

sound. Make the first B as necessary, and now hardened, keeping your

position.Freeze (zastynte) so as to make it clear that you were detained sound that

you froze in your body so that you feel it in your muscles petrification. That's

petrification in itself and gives the buoyant sound of his true character.

It is important as it should look for such things, because with blown sounds, in

fact, say: "With Lucifer I would not want to have anything to do, let it be gone, that

is the Luciferic." When expelled make a sound, expressed the following: "I want to

keep Ahriman, it should be kept, because if he leaves, then all the poison, it should

be withheld." Thus, these sounds and imbedded something Luciferic ahrimanic.

R will be performed completely, when they try to make the traffic is light, with

a rocking body and a good moving to and fro.

Movement of L will truly, if the body rocking back and forth, not leaning,

however, following the movement of the sound.We must show: these are the two

movements ­ of (sound and body).If you like the sound of being blown out to run

after the motion, the body makes, so to speak, the same movement as the sound.

When you make a sound wave motion of the body itself, swaying rhythmically

(forward, backward, forward, backward), so that the body does move when you re ­

step on your toes with heels.You do it well, if we imagine that the stick is a round,

rotating and moving that it is under your feet and between the toes and heels that

you swing on it. Best of all you do is come out, if, rocking, you'll almost fall forward,

just to keep from falling. If you are in this once did fall, it does not mean anything,

then you are just truly internalize the movement.

If you do so, these movements will gradually enter you into the habit and you

will be able to perform them so much that the fall will look Nastola to complete

that the viewer will always be the feeling: "deftly, however, that he did not

flopped" .Here it is necessary to reach to the viewer when you make L, was such an

experience, "but he does it deftly, because otherwise he would have fallen!"

That's the way you really get to cover the entire inner nature of speech sounds.

Knowledge of speech, we can expand if you try to understand the diphthongs

(diphthong sounds).Diphthongs are produced when connecting their components.

With Fraulein, do-us some EU.

What is it? The components of its E and U. They're both in it locat dyatsya, but

both are not fully formed.Now try to make the E and E U. Try to keep it in a state of

emergence.What would have happened if it were a fully formed? Suppose that you

would have given him experience in its totality. Stop him now in the middle of the

occurrence ­ tion.Well, now it is not yet manifested, and we have to move on to the

U. If we did U entirely, to the end, what would have happened?We would have led

him to a state almost incessant touch. And POE that you do not just cross your

hands, as in E, but designate a desire to move up to the head (die Beruerung

dadurch andeuten, dass Sie bis an den Kopf heraus wollen).Now you get EU.

Thus, we realized being diphthongs. We connect them with the component

parts, giving them, however, be final.

We also understand that being part of the general sound of speech. On

diphthongs you can best see the transition from one sound to another. Well, now

let's talk about this transition. When is the best evritmizirovat some text? There is

such an Austrian philosophy Sof, which in later years he wrote his most difficult

philosopher skie works, written in such a way that they can be evritmizirovat.It

Bartholomew Kerner (Bartholomaeus Carneri).He reached right up to the madness,

if someone wrote, for example, the following sentence: «Lebe echte

Empfindungen» (Long live the true feeling-feeling).For him it was terrible that one

word terminates ­ valos vowel and vowel also started the next word.He demanded

that this has never happened in the end to avoid the voice ­ tion when the

following word begins with a vowel, too.He even wrote Tse lye newspaper articles,

in which he tried to not connect the vowels, so touching words only according to

the letter.

If you are in eurythmy performance vowels will face each other, or if you move

from one word to another voice ITATION will be faced with consonants, it is

necessary for the transition of one word to another to make a soft movement.If a

word ends in a consonant, and the next begins with a consonant, then your

movement made decisive ­ GOVERNMENTAL, you are making a determined

movement.In eurythmy is of great value ­ of how the sounds are facing various

kinds, and it is necessary to pay attention.A study is best for diphthongs, because

they may be formed only in this way that the first sound is taken in the first half and

the second sound in the second half.

Now we make under this Act El.If we are to have an El, then first make a point

of it elements of E and I. Now, try not to let E be formed completely, hold it at the

beginning, and apprehended him in the beginning, go straight to the final gesture

of the sound /.Here you have it turned EI. Example, «Mein Leib ist meiner Seele

Schrein» (My body, my soul's tomb).Proevritmiziruyte this phrase so that you have

drawn the attention of what it consists of sounds ejected, ejected, the waves are

pushed out, blown out, ejected, ejected, ejected, vibrant, blown, waves, blown,

vibrant, ejected, and thus perform well El.

You can see how the case was revived and was moving! But all that is

necessary to really explore.

Look what effect the El, if it really do with a proper force.Miss T., take for

example the movement: «Weiden neigen weit und breit» (Willow slope and wide

throughout).You see, it is necessary to express a certain "paradigmatic" language

that willow clones ­ everywhere.I throw «Sich» (-be).You see W - blown sound, D -

expelled, N, N, G - ejected, W - blown, F-expelled, H, D, B - ejected, R - trembling, F

- expelled.

Try to make a evritmizirovanie all that lies in these sounds, and notice how

everything again and again appears this distinctive sound EI: «Weiden neigen weit

und breit».

You can use the example of another diphthong - AU. This is also a differential

tong, in which the first can be simply translated into the other.And try to keep in

the stage of its origin, that is, in the first part of it, then put it in the U. Make A point

of going forward.Now you have to deviate nitsya, and before will receive the

desired position, turn the A to U. Go directly to A to U, then you will have the AU.

However, when a moving, then regardless of what is currently AU, it still

remains uncharacteristic sound.On the contrary, if you are up to stignete that will

start to make a move And with one hand and then, starting to lead his other hand

in contact with the body, making a U with his body and just touching it, you will

only have the characteristic AU. However, we do U, not only in the case where both

hands touch the body, but also when the stand, and we just touching the left hand

to the body, it is slowly lowered.Proevritmiziruyte, for example: «Laut baut rauch»

(sound builds roughly).The case is now not in a sense. We just want to proevritmi

ized these three words one after the other.

That's all you need to explore the AU you can do, of course, many different

ways it can be done only touching the body (right arm in position A, the left -

across the chest).Try to get into the spirit of things.

In order to penetrate into the inner formation of sounds that make it, do the

gesture Ö. To do this jump movement Ö. Make it very gracefully, it's tearing motion

O. Now add to this shift: it turns a lovely, well-marked Ö.

Make Ä. Take A and E. With the legs do A and B in such a way that the

movement went from front to back, set aside one leg, E - hands.Thus you get Ä.

There are still Ü. U. Do It is interesting that the external surfaces of the hands

are placed at each other, U, I, and U and I, we need to have it at the same time.U in

the legs, I will get you because it is the movement of the hands you somehow

fraziruete.Thus, mind you: instead of immediately I do this (pulling) make it so

(press the brush to each other, to others on the other), then it will be Ü.

To be seen how well it will turn out when you've done this, proevritmiziruyte,

such as the following: «Prüfe dich, Schler, / Übe mit Mühe» (student test yourself,

practice your hard).

Do it all with the motto: «Prüfe dich, Schüler, / Übe mit Mühe».

In so doing, we penetrate into the essence of the sounds that we feel are

composed of elements.

What are the general diphthongs? When do we meet diphthongs and public

umlauts (reduced vowel)? That represent a ­ Battle in the language of diphthongs

and umlauts?You see, in all cases where the meeting are diphthongs and umlauts,

there is a feeling: it is becoming fog nym, inaccurate, vague.Inaccurate things are all

in the plural. For example, when there is only one brother, all is clear. Consider,

however, the plural and once in our inspection reveals some inaccuracy: Brüder

(Brothers).And always, when something becomes inaccurate consideration (which

is very important for any consideration), and there are umlauts. Diphthongs, there

is always something that consideration is not sharply defined. «Baum, Raum, Zaun»

- everywhere you encounter the need to combine separate items and are generally

an essential element of education is the word diphthong.

If you follow the diphthongs, you will notice that they call The necessity not

only to consider certain thing, but considered in conjunction with something else,

or as one gets to the other, or that something needs to be connected, or, on the

contrary, is separated from something else.We are in it (diphthong), we find a kind

of penetration.

That is why in eurythmy and is so wonderful is that it is directly observable

movements that we have in A or I, are diphthongs in fluid movements that differ

grace and fluidity.Eurythmy has the property to reflect the nature of the deep

sound, all related to the question.

Well, now I will do the following: ask Frau W. and Miss C, do one after the

other: I, E, U. For you will still Frau S. A, O. Try to do so, to give the clearest

expression of these sounds: you, Miss S. - i, Frau S. - A Miss S. - E, fr.W - Oh, fr. C - U.

We will do so in order to put the character sounds more clearly.

Well, now look what happens. Miss S. - I, Frau S. - A. We can see that Miss C,

making I, goes to form, and Frau S., making A, defines the shape.Miss S. throws out

the sparkling flame (you can do it with one hand).

Frau W, making the A, draws from outside the clouds or wind.You can see that

one is fire, flame, and the other - a form. Here, you will always have radiation, and

here flexible formation. Here, at the Miss C, you are so pure Dionysus, Dionysus

vowels, and Frau S. - pure Apollo, Apollonian vowels. All this should detect with

certainty ­ camping, if the movements are done correctly.Thus, if you have a poem

in which mostly come across O and A, then this verse ­ the creation of a generator,

quiet, Apollonian.If you have I, U and E, then they will fire this poem Dionysian.

You see, therefore, that between the lines can be expressed emergency but

many.It is necessary to tell Miss C: make us I or E, and Frau S.: make us A or O, and

we, in fact, the most say, you - the favorite of Dionysus, and you - the favorite of

Apollo, Dionysus Sacrifice, Sacrifice to Apollo .

If you get used to all this, thanks to the Eurythmy can be a wonderful way to

comprehend the nature of what the language is capable of, and totally get into

what is the attributes of man.

Blown: B, CH, J, SCH, S, F, W - to go along with the outside world

Pushed: D, T, B, F, G, K, M, H - show its internal

Vibrating: R

Worrying: L.

Lecture eighth

Dornach, 3 iyum 1924

Word as a symbol and the word in its relationships

My dear friends!

How was it with the tone and the sound should make a distinction between

what goes down B the physical world, and that rises up in the spiritual world.Up to

now, we have, in fact, little heed to this distinction. Just yesterday, at the end of the

report, I could have pointed out that when the sound becomes a umlaut, we are

entering into what sensually in solid outline is no longer about ­ is, as manifested in

a vague form of dissipating.And it is already getting into the spirit. Separate

brother (Bruder), I decree the shaft is visible.The important thing is sensual with

solid outlines the impression we get from it. The word "brothers» (Bruder) denotes

a not so much what is each brother individually, but the fact that they are all

together.It turns out the perfect combination and it's become the ideal of this

spiritual formation and is umlaut.

However, this fact forces us to turn to the diphthong They offer us something

experienced as much more spiritual than what is experienced in the individual

components of the diphthong sounds Because exactly the same as in the music

eurythmy spiritual element of music is, in fact, did not play in the tone , and in that

lies between the tones, which is not a tone (tone is, of course, in the tone, but the

music itself is between tones), and all that is in question refers to the spiritual, is not

where it is sharp emphasis on the sound, where the sound is released, which makes

some stops on the sound, and where one sound into the next.The spiritual is, so to

speak, between the sounds. You, therefore, will never achieve spirituality in

eurythmy, if you settle for the release of sounds. Spiritual you will achieve in

eurythmy when you manage to make a certain kind of transitions from one sound

to another. Thus, that outputs a sound from the other, this gives a true spiritual

eurythmy movement.

Added to this is also another factor.The word has, in fact, a dual nature.On

the one hand, it seeks to ensure that the external appear imitation, on the other

hand, it wants to express it took a certain place in the overall world order.If it has

now been more inclination to learn languages in a spiritual attitude research

institutes, ie, in the form in which they come from the genius of language, it is very

important to have lent an interesting fact that in the configuration of the words

referred not only to the individual values, but Also the ratio of some of the process,

in any words designated items to the totality, integrity, or at least a significant part

thereof.All that we have unconditional conventionally taken into account.

Because, you see, the speaker, that is, the one who wants to use any phrase in

a particular word correctly in a particular relationship must have a purely instinctive

(intuitive) sense with respect to sound. He must feel that he is referred to in the

whole communication with the rest. Well, that we shall speak in detail. Now I would

like to show, or rather talk about how the word is, on the one hand, referred to

them, and on the other hand, - the possibility of going beyond the words in those

relationships that are in the word. Here it is best to start with some examples. Take

the first word with a well-expressed zhennym value of, say, personal

pronouns.From the beginning, you clearly denoted put you in some kind of

communication or, on the contrary, makes it stand out from the context that, in fact,

one and the same. Let's say that someone standing expresses «Ich» (I).Fr. V., make

standing «Ich».That these gestures I and CH you have an expression for «Ich» - «I

am."

Immediate sense would thus appear that in these movements s something

missing.Gesture absolutely correct. «Ich» is expressed with visible language, but

there is something missing.There is a feeling that is made in such a way tion «Ich»,

in fact, is depicted schematically, but so perfect, as indicated by the person in the

portrait.Such «Ich» not vital, because it lies beyond the opening of the "I" the spirit

of man can not find full expression.That same spirit is the word «Ich»?The return to

yourself attitude, presentation of himself, representation ­ tion, returning back to

himself.And if you want to express the reflexive attitude to yourself, you can do it

perfectly in that calm state leave here to go into motion. So, you take two steps

forward and then two steps back, forward, back, forward, backward.

The path traversed by you forward, you repeat in the opposite direction and

return to the starting point. Now, when you go two steps forward, do I, but when

you go back, do CH, and then you will have the «Ich» in motion (Schwung,

Bewegung), and, moreover, in a move that returns to itself, similar to the as a

representation of «Ich» is the right to representation, which finds itself again in

himself.

You do that when I go two steps forward, two steps back, CH.Then you will

find the necessary form and exactly the form that follows from the fact that a sense

of the whole.

We now turn from «Ich» to «Du» (you).Here we see an entirely different

meaning entirely different relationship with the rest. Fr. Since, follow us «Du»,

remaining standing still: D and U. Of course, if you do «Du», standing still, you will

again not satisfied, because the image will turn out just the image of «Du», a not

self «Du».There is no life. It is not the spiritual that is produced in this combination

of sounds. Let us try to find the transition to the spiritual, his meaning.

At the word «Ich», as it is already quite clear, we return backward but to

themselves.At the word «Du», if really enter into it, if really keep in mind the other,

on the contrary, you come out of yourself.Then can no longer go back again on the

same line that was, do not touch the same points, which concerned the first move

in one hand ­ Well, because otherwise we would come back to him.And this can not

be done. On the other hand, however, one can not quite get out of yourself,

because if we were completely out of yourself, then we would have no «Du», a «Er»

(it).Feel it carefully. If you are completely slip out of yourself, before you will not

«Du», a «Er» or «Sie» (it).You should, therefore, little point back on itself, and it can

be done if the move «Du» back to only one point from those that have been

passed in your movement.

Here (crossing), this point to which you're back. If you do so, instead of

moving back and forth go so that the return to one of the Tes passed you points,

then you will move «Du».Well, do, going in one direction, D, going back, U, but so

to touch one point passed.Now you got all the «Du» in motion and made sure that

it was neither «Er», or «Sie», and that you still have some connection with them.This

relationship can be strengthened if we wanted to do more and more strong

emphasis on self (to highlight, so to speak, an aspect of the first person), so that the

output of himself getting weaker and weaker, it would be possible to do more with

U such a move (ie cross at two points).

In this case, however, it would not be gentle «Du».If you do that, you get a

«Du» more restrained (verkniffeneres).All this, however, things that can be covered

only by the feeling. But the sense of possibility makes it possible to comprehend it

very well.

We have already pointed out how you can go to «Er» (it).«Er» can be

expressed, if during the return shall not affect any terms, which forms a

forward.Best of all you can do it, if you walk on the line forming a circle, then going

back, we absolutely do not touch upon the path that paved, so to speak, in the

form of certain points, when there were impres ­ Ed.It turns completely returning to

the line itself, circular Vai line.

Back to you with no return, and if the back, the movement of already

exhausted.We are thus a line that does not touch any point of its path twice. And

that you are expressing «Er».Miss Z., come here and make us «Er», standing in one

place.If you stand still, it does not «Er», it does not even feel like the reflected

image.It turns out, in fact, only selfish contemplation of another ­ second, of itself

while not quite come out.Take now the same form, describing a circle and stay

ahead of the point from which you started. Sde LITE E, slipping to one side and

then the R, sliding into the other, and you will see how great it will present at «Er».

This exercise «Er» I gave to do in certain combinations of sounds and in such a

way that it begins with the words like «Er», namely «Der», and then went «Er» so as

not to return to any of the points made line.Fraulein III., Perform our «Der

Wolkendurchleuchter» - «Pro svechivayuschy the clouds."Make it so that

everywhere it is what we're talking about.

Der Wolkendurchleuchter,

Er durchleuchte,

Er durchsonne,

Er durchglhe,

Er durchwarme

Auch mich.

Translucent clouds (clouds)

Yes, he pierces the light

Yes, he impales the sun,

Yes, it will penetrate the heat,

Yes, it will penetrate the heat

Me also.

You see, this is done so that the whole nature of the data «Er» from the

beginning to the end, because there is predominant «Er».This is done so that «Er»

passes on the move through the entire poem.

One could, however, make it another way, namely as follows: each time it

encounters a "Er», do circle and generally make the circle again.Thus, at each

occurrence «Er» do circle then go further back circle again on again circle again

on.Thanks to it all as a whole takes on an entirely different character, completely

different movement.

I would like to say this: in the first case we have a feeling that we no longer

have to stick to what is in the whole phenomenon as whole.

In the second case, we have a feeling that we must adhere to certain

processes - threading the sun, radiographic, calcining, warm.

If we are then on «Ich» go to the «Wir» (us) on a solo dance move on to the

round dance (as «Wir» - this is always a certain amount of at least two).If, for

example, we will have two of them, then we express by means tion range of

belonging to each other, that is, the loss of self in «Er».We stand in a circle and

«Ich» everyone to express the fact that each will take a few steps to the center, and

the sounds we are at the same time express the «Wir»; then back, forward and

back.So on implied «Wir» contrast In particular, opposed to each other.You can do

it like this: if the two are facing each other, the first approach, then removed,

approximate huddle, deleted, expressing the inner meaning of «Wir».

If you will have four, the range will be more perfect. And so on time, stepping

forward and stepping back, you signify «Wir» (we are).The connection to each

other can be expressed in the fact that you are connected with each other wrists. If

the two parties, it is more difficult to do. It turns out very beautiful movement «Wir»,

when four stand in a circle to the center and back away, indicating that «Wir».

Let the four evritmistov become in a circle and do «Wir» in a way that I

have.Start with a circle, holding each other's hands now, holding hands, take two

steps to the center: W. When you're in the middle, then go to /, stepping back, you

turn movement in R, and again take each other's hands - «Wir».But I need to be in

front.Thus, we get «Wir».In this image you can get very interesting from ­

Tenko.You just need to always feel «Ich» and «Wir».

Now you will learn something that can be extremely beautiful. What happens

when we get up in the figure specified way (but do not we take ­ memsya each

other) will make these sounds back, and all four of them perform this

movement?Will «Ihr» (you)!Here we have a «Du» in the plural!And at the same time

this will be signed and the indication 'away from you »(das Wegweisen von sich

selber):« Ihr ».

Now intoning (ie voicing eurythmy movement.. - Ed.)«Ihr».From the beginning,

you do «Ihr» with the direction of py kami ago.Thus, it is possible to put into

motion a very large sense. It is important that we all felt this good in a poem. All

this is very characteristic. And that is experienced in these specific layers ­ wah,

what are the personal pronouns have to worry all over again, when these words are

found in the construction of sentences.Suppose now that the three of you and you

do the following:

You get up and make such a move. Then it turns plural «Sie» (they) because a

lot of "Er" give «Sie».

These movements should be given a special characteristic expression, guiding

his hands to one side, all in the same direction. Hence it is necessary to begin and

here you come again. Thus: «Sie», «Sie», «Sie».That's when you will be in direct

«Sie».

Now, there must be a natural question: "How. all application thread?"-

Because to do all these movements on individual words but can not be perfect, but

on the other hand, at a certain speed and agility, which can be achieved through

exercise, with single words will come out« Du »,« Er »,« Wir », «Ihr», «Sie» and it will

be very nice.

In some poems directly distinctive character «Ich», in others, particularly love -

the character of «Du».A number of poems in general clearly expressed character

«Er».I recall in passing that these are all the elements of creation of Martin Greif

(Martin Greif).True character of the poem you catch only when you feel it the

character «Ich», or «Du», or «Er» and give the poem in an appropriate

form.Especially perfectly possible to do this if the objective character, the character

«Er», «you move out of myself" translate into subjective.Take for example a poem ­

tion, which in many respects is useful to us that in all of its features exactly

designed to study eurythmy.We take this famous (we) poem:

lieber allen Gipfeln

Ist Ruh;

In allen Wipfeln

Spuerest du

Kaum einen Hauch;

Die Voegelein schweigen im Walde

Warte nur, balde

Ruhest du auch.

Above all vertices

Silence.

For all the tops of trees

You pochuesh

Hardly a breath.

The birds are silent in the woods.

Wait just soon

And you can rest.

Analyze this poem completely objectively, "Above all vertices of silence" -

gives this character «Er».

"In all the treetops you hardly feel the slightest breath" - go to the «Du»; «The

birds are silent in the forest»: - «Er»; «Wait just a rest and you will soon."

Now you have to ask the question: what is the character creation to give this

verse - "I" or "you"?Goethe said it himself.

You can try to do this in two ways. Do it prezh de everything so that you had

"Above all vertices of silence" - "He", "In all the treetops you hardly feel the

slightest breath" - "You", "The birds are silent in the forest" - "He" "Wait just a rest

and soon you" - "you."

Thus giving the poem sequence, one after the other gim, the character "He",

"you", "he", "You" and see the entire process of Tsaki feelings expressed in this

poem, poured some form.Personal pronouns when they pronounce the certainly

are presented ­ are a condensed, crystallized a feeling that can be poured out of

the entire poem.In this poem, the first line of the vi melts "he," on the second "you",

"back then" he "once" you "or, as we shall see, on the last line can be" me. "Now do

the same poem on a different form, "it", "you", "he", "I".

Here you can see that given the character of the poem "I," that there tively

changes the nature of the poem as a whole.If, however, try to execute Vat poem,

performing it as one, and on the other MUs way, we can see that the second

method will return.Then of course you feel that the right is the second method. And

you can at least in this poem is quite wonderful way to learn how to survive the Vat

as a form emerges from the poem itself.To do this, you just have to learn to feel the

connection of things in the relationship of sounds as well as in the personal

pronouns TION.

Think of how well the development of meaning may be, for example, a brief

little poem, if it applied to what we said:

Schlummer und Schlaf, zwei Brueder, zum Dienste der Goetter berufen, Bat

sich Prometheus herab, seinem Geschlechte zum Trost Aber den Goettern so leicht,

doch schwer zu ertragen den Menschen, Ward nun ihr Schlummer uns Schlaf, ward

nun ihr Schlaf uns zum Tod.

Drowsiness and sleep, two brothers, called to the ministry of the Gods

Prometheus begged to send down to comfort his old,

But so easy for the Gods, it is difficult borne by human beings:

Snooze them become our dream, and the dream has become for us their

death.

It meets twice «Uns» - for us, although it is case of «Wir», but we will consider

this word, giving the nature of the form of the poem «Wir» (we are).When viewed

from this perspective, it is possible to make such analysis:

"Nap and Sleep, two brothers, called to serve the Gods" - a pure «Er» (it).

"Prometheus begged to send down to comfort his generation of people (old)"

- a request to the kind of "you" is always there, "You."

"But so easy for the Gods, it is difficult carried by people," - here we must

move on to something that is felt deep inside. Complete knowledge can priobres ­

Only five developing this thing really in keeping with the knowledge.It is necessary

here, so apply what I told you about the "Knowledge" (a gesture of knowledge).

"Slumber of us has a dream, and the dream has become for us their death" -

here we are facing a fate common to all men, because they are human. We have,

therefore, «Wir» - «We" - the form of a poem by far the quickening we get if

applicable forms obtained, first, from a place of personal estates, and secondly,

when we apply the cognitive forms wherever really there is a spiritual one.So, I

must say that we act of a regular, if the forms, which met, will be considered as

basic and applied them freely, but have to use them at the same time it was quite

meaningful.

Miss C, try to make the first line, giving it the character of «Er», then spread the

movement «Er» outside the lines, corresponding to the dance with the character of

the whole picture.The second line given the character «Du».The third line, do this:

during the pause between the second and third lowercase Coy - a gesture of

knowledge, after learning the lines moving again, and then you finish the

movement «Wir».One you do all this, of course, you can not. Poe due to the right

and left wings go on stage the other two, and then poured the last line in the

movement «Wir».Here you can see how to build it all.

So get a form from the poem.

I would like to see from all this, you understand, as it should go study chenie

eurythmy.Of course, I can only show some simple examples. When eurythmy want

to sound poem, you have to know not only the text word for word, but all of its

content with all the means at its shades and configuration experience. And no one

should take up evritmizirovanie poem without specifying a preliminary question:

what is the main character of this poem? What is the nature of his art?

Take, for example, the following poem of Goethe: Seid, about Geister des

Hains, of seid, ihr Nymphen des Flusses, Eurer Entfernten gedenk, euerer Nahen zur

Lust!

Weihend feierten sie im Stillen die Laendlichen Feste;

Wir, dem gebahnten Pfad folgen, beschleichen das Glueck.

Amor wohne mit uns; es macht der himmliche Knabe GegefnwaertTgl lieb und

die Entfernten euch nah.

"You groves of perfume, you're on the river nymphs, remember distant from

you, will be happy for loved ones, connected with the initiations, they celebrated in

the quiet countryside, holidays, and we follow the paved path, strive for happiness.

God be with us Love, the divine boy! Makes Liu beat those present and distant

relatives do. "

Do this poem eurythmy. "Oh, the spirits of trees, oh, the nymph of the river" -

what else but do not appeal to the "you"? If this poem will ev ­ rhythmical many, in

the beginning you can give it the character of "you" or "you", as we are supposed

to do.So we'll start with "You." "Remember them that are far away from you, be

happy for your loved ones" - then again, "You." "With the dedications they

celebrated rural holidays" - "they". "And we follow the path blazed by stealing of

happiness" - "we". "Long live with Love us, the divine boy "-" He "."Makes you love

the presence of existing and does remotely close to you." - "You."

Repeats «Ihr» and «Euch».

Put three evritmistov and do this poem, giving it the specified character.

Understand yourself said, "You", "You", "they", "we", "he", "you". Each line added

the relevant character.

But it can be done differently: the two can not stand, and the third makes the

movement «Er», then it will also be released well.So, "Let Cupid is with us, the divine

boy" - this must be done separately, and now all three of them make the move

«Ihr» (you): "Makes you love the present and makes remotely close to you."

We thus see that with eurythmy forms is always the opportunity to learn and

also a poem.

Lecture ninth

Dornach, July 4, 1924

Die gestaltete Rede - decorated it

My dear friends!

Today we need to discuss some issues related to the decorated tion speech, a

speech, gradually becoming art.Eurythmy movement ­ tion we can do standing still,

or move in a space walk.We have already seen how, in fact, the value is in use.

Boating is, in essence, the expiration of volitional impulse. B evrit ­ business

mission is to penetrate into the essence of which is associated with speech, and in

consequence of this and a speech visible.In walking can clearly distinguish three

different phases:

1) lifting legs

2) bearing legs and

3) setting up.

It is necessary to bring to his mind that these three phases can be displayed

whole composition (Gestaltung).First of all - a raise. After a while the foot remains

undelivered. She Carried. The second phase thus is the bearing leg. Third - this

statement. When walking in ordinary life, the details stop its attention to all this, of

course, is not necessary. But Eurhythmy must reach outward:

1) separation;

2) transfer;

3) production.

So, is there a big difference between the manner in which the three phases.

Take the first turning up his feet. It clearly indicates the volitional impulse,

lying in the act of walking (heel separation from the floor - focus on detachment ­

ve - will).Thus, when lifting the legs, we are dealing with a strong impulse, lying in

the act of walking. If we then look closely to what is to move your feet, you will see

that we are dealing with the idea that underlies every volitional act.

Thus, we have to deal, first, with a strong momentum, as such Vym, and

secondly, by transferring feet, we are dealing with the fact that depicts an idea that

finds its expression in the volitional impulse.And in the post ­ Installing feet

volitional act is completed.In the statement, we are dealing with fact.

1) Lifting: volitional impulse.

2) Carrying: the thought.

3) Production fact.

This movement can be diversified in that middle phase you make shorter or

longer, can go further or closer. Thus, le taining in the middle phase should

preferably be of the idea that expresses itself in the volitional impulse, should give

this idea image.

In the formulation of the same foot you can express achieved or not achieved

its goal your volitional impulse. Put your foot uncertainly, as if you stepped ­

Whether on thin ice, and this approach you express uncertainty purpose.Place your

foot firmly, precisely, with the certainty that will meet the firm ground, and it will

show you that before you a definite goal.

When it comes to the poem, which must comply, then you should us first

analyze it and ask yourself which of these two sentiments it enfolds.All this, of

course, can become clear only after the application in practice. Let us now turn to

the other singularities ­ tyam walking.Here we are confronted with the rhythmic

gait and thus a general picture of poetry, poetry of which must integrate into

eurythmy - in its movement, its shape.

Here we are, above all, must realize that because of the accent, giving the

benefit of long and short syllables in speech input rhythm.The rhythm must also

come to light that we produce eurythmy. Skill with which we are concerned, we can

not be called eurythmy, if it was not considered a rhythm.

In this case, we immediately come up against something that is non-

negotiable when it comes to performance Eurhythmy word. It should ­ but be

deeply imprinted in the soul of everyone who in one way or another, has an artistic

point of dealing with language.In our civilized society ­ ve are prosaic and poetic

language.But the further we fall back into the depths of human development, the

more we see that in fact is the only poetic language and that when a person says, it

always lives striving to penetrate the poetic, artistic element of the language. The

essence of language lies in the fact that he always lies midway between thought

and feeling. On the one hand - a thought, on the other - feeling. And, both we as

humans are going through inside. When we express ourselves outside when we

open ourselves outside, then put between thought and feeling tion speech.

The man, who was standing at an earlier stage of development, has not been

this recess within, the inherent sense of our lives in the present. When people feel

something when he is in his spiritual standing with experienced any sense, he has,

in fact, has always been a desire to intuit the words that did not have such a clear

image as ours, but that certainly had an internal articulate tion sound.He heard

internally, when he felt.

But he did not think so, this ancient people, the way we think now. He thought

the words. Only words that he thought were definitively than those in which he

felt.He had, therefore, internal rennee sound in words, but is not as abstract

thinking, as we do now.For him, the word embodied the internal sound, but does

not delve into the feeling that needs no words, as we see in our present time.Only

he who imagines how closely at this stage of development has been associated

with the spiritual life of the primitive internal configuration of her words, the

configuration of sounds will understand that the basis for the development of

language, thoughts and feelings lie inside recitation, speaking in the thoughts and

feelings of the person.This is an internal statement then, being differentiated,

divided, on the one hand, the language remains in the art, and the other - on the

music, pure music, endless verbal sound tones that affects only its sound that

high.This second way we view the music eurythmy.

Then, as a third otchlenilas actually thought. And today, we'll just that the

language of the dismemberment of art and language, becoming Chille is now quite

prosaic, which are expressed only in the meaning and content of thought and

completely manifested the desire to give the language as such, form.

Over the last century, becoming more and more materialistic - in fact

associated with materialism prose abstract thinking - that a real sense of artistic

design language but completely lost.Currently, there is a huge number of people

who have absolutely no sense of artistic design language, which language ke see

only the expression of ideas.

I would not say so in detail about these things if they did not have a huge real

value is to understand eurythmy. Because in eurythmy we should have at

rbsuzhdenii sounds come out of something that embodies an artistic element. We

had to express the inner peace of the content of sounds, had to go back to the

time when, in word, in him, it was felt that the soul experiences in the sound when

the person speaking another zvukorechi (Lautsprache).Indeed, in the present

zvukorechi no more. Now there are only smyslorech, we sense in which captured

only the content of thought. Hence it is misleading, because of which the recitation

in December acclamation and do not look at the artistry of the language in its

musicality, imagery, and pay attention to the logical side of the language, which is

also in prose;

This distinction between the prosaic and poetic, or artistic speech evritmist

must learn all my being. Because, in the final mately, to understand it does not

matter, said in a dye or terrible, sublime or not.For artistic design is important is the

nature of the speech internal feelings.Therefore, we must vrabotatsya in

understanding the structure of artistic speech.

First of all, there must learn to survive iambic and trochaic. Today we still do

not care to consider whether the pentameter is when doing a weak stress on the

syllable before the Procession, and a strong emphasis on the following or

preceding RELEVANT when syllable is short and the subsequent - long.About these

features, which are responsible for the difference between the imaginative rapping

and recitation, we'll still be talking. We must feel that, in fact, means when first

syllable is without accent, and then accented syllable, and it continues to go on this

pace: «Auf Bergen flammen Feuer» (lights blaze in the mountains).Here we have a

syllable without an accent, and then accented syllable, then, without an accent, and

then accented with and so on. At the end of a syllable without the accent (the last

syllable) is eliminated. We start with a quieter, with less elevated, go to the stronger.

From the weaker to the stronger. It gives the whole ha ­ rakter exactly are we going

to something exactly we want to achieve something.And if we go on this rhythm

(and it is produced by itself, is only to begin with the first or second syllable), then

we feel that we have to deal with internal ­ rennim element of volition.Strong-

willed character noted there NESS iambic language.

We take the opposite: we start with the accented syllable followed by a

syllable without an accent: «Trag mir Wasser herab» (blew my water down).There is

just the opposite - the outcome of something strong and meaningful transition to

a weaker, less significant. You feel that if you go beyond that rhythm, you just

izoydet of something specific. But this definition ­ can be divided in you only if you

have a clear idea, a clear thought.You either do not aspire to anything, but right dik

­ Tuyet your distinct idea.Thus, we are dealing here with the thinking tion, which is

naturally expressed in doing, but thinking prevails.

Volition, desire to dominate in iambic verse size.Thinking, design,

implementation thinking in fact prevail in the amount of chorea.

Of course, these characters can not be imposed by force. Of course, this or

that person descent from the mountain may seem energetic, and he may come to

mind to call it a volition, while the other would call it a poem desire. However, if you

are deeply imbued with these mi things, you will find that the reduced value that

we correctly.

The challenge is thus to actually enter the iambic and trochaic in our work. In

doing so, we also have practiced. Miss C, selling LITE us first pentameter.

And then now, to show the difference of characters, you can do ferrets. «Trag

mir Wasser herab».Thus strongly tread. It is necessary, in such a time, with an

unstressed syllable (Tiefton) make an easy step, and at impact (Hochton), with

power to come forward.And besides, as a step? Step is necessary so that the first to

touch the toe, and then put the whole foot. Evritmist ­ stone should definitely pay

attention to it.The challenge is to first touch the toe, and then put the whole leg.

But you can not mince (forttrippelt) on his toes: we must step on the toes, and then

put the whole leg.

The fact that such performance does state gait characteristics of a meter, you

will see the meter giving a stronger radio configuration.Desire, volition, desire we

will present not as if raschity Vai immediately implement them, what will it cost per

fulfill desires, we will be able to express by means of two unstressed syllables

(Tieftoene), one stroke (Hochton), two unstressed, one of shock and t . etc.As a

result we get, we anapaest:

When compared with the iambic rhythm anapest everyone will notice the

difference. Time ­ the difference is enormous.Let's say that you need to express

through anapest:

You see, we had a hard time with the weight of a certain approach to the

stressed syllables. Here is the weight to achieve and there is an intimate, made out

in the speech.This is a more intimate design language oduho ­ satisfies it.Thus, the

nature of speech anapaestic we first inspiration, ovnutrenie speech.

Miss C, do we need such a anapaest: «Von mir bist du zum Menschen

gebildet».

That's a distinct anapaest.

For eurythmy is necessary that something was visible.Eurythmy should be

visible language.Equally important to be heard. And for this it is necessary that you

are accustomed to allocate strong, then will manifest itself weak, falling to

unstressed syllable.If you do it will show with the raising and lowering of the body,

only then it will be quite evritmichno.

Changing on ferrets, we dactyl: accented syllable, no impact of two.Take this

example. (You can, of course, make icons and vice versa)

Try to apply the dactyl rhythm and you'll see that it's likely dictation, saying

approval. To make this form of extending the present character, should not follow

the rhythm, but rather keep up.

You have seen here is that with Eurythmy can be expressed in relation shenii

time.Here with eurythmy found expression over time. Eurythmy has such an

expression means and time, and for about ­ space.Of course, it is fully achieves this

is not solo, but ensembles ­ Blevio performance, however, to some extent it is

available, and individual performers.One person can build a symmetric manner

with his right hand and right foot or left hand and left foot. To form an image in

space and one person can, but certainly for group performance can be up to ­

Stitch a stronger, clearly defined.Such spatial forms provide an opportunity to enter

into a poetic part of the language. Enter with greater ease and flexibility than you

can enter in the readings and recitations.

Driven to complete recitation and reading of expression must, however, strive

to embrace that inner-art, which revealed it possible by means of language.But

eurythmy easier to achieve that. In about zaicheskom language thing is to ensure

that, where possible clearly cover what must be expressed in a word or sentence.It

is necessary, at least that was thought that covers. And in order to achieve the

clarity as much as possible, use the language in a prose so-called ­ mym

definition.This definition, of course, a terrible thing, because for ­ gives rise to the

idea that something is clearly expressed, whereas in fact achieve a pedantic

expression.If someone is not clear knowledge ­ chenie Word, that no definition will

help.In addition, even in the simple subject exhaustive definition would represent

something zhuscheesya motion by endless convolutions.Because otherwise the

outcome would be, as I once spoke for an example: once led the definition of "what

is man" and found that it is "an object which has two legs, but no feathers." The

next day someone brought a goose, and said that according to a determination is

made - this man, because he has two legs and no feathers (goose that has been

plucked). I must say that the goose is not always a man. Therefore, this definition is

not apt.

You can see that when dealing with the prosaic language, tend to give

expression to direct a sharp outline defining the data subject tion.In this method of

verbal expression can not, and do not need to stop on the decoration of language.

When making the same language of art is always referred to the imagination, and

the search should be, in fact, has always aimed at making a really fancy handle, that

is, to provide the imagination to make something. This is attained by the fact that

do not resort to gross definitions and generate a representation of giving fantasy

opportunity to approach things implied in the inner kneading, design.

If someone says, "This water lily" - and will at the same time on the water lily,

he spoke in prose. But if he says, 'Oh, blooming swan! "- That is expressed

poetically, because water lily white CEE one rising out of the water, you can imagine

as a" blossoming Leba AH. "You can, however, proceed in reverse, as did Geibel. Is

pos ­ lui, the most beautiful thing he had written.Can be represented in the form of

a swan floating lily:

About Wasserrose, du bluehender Schwan,

About Schwan, du schwimmende Rose!

(Oh, Water rose, thou blooming swan

Oh, swan, you're floating rose!)

But at the same ambiguous expressions are obtained. Obtained only

approximate expression, approaching each other, but they always lead us to what

they want to identify.

What is, for example, that image IS BASED - "blooming Swan"?Flowering Swan

shows us his way of character of something that is not in direct ­ tion of reality.It

should have a look. We need to feel that he is not anything directly existence. But

on the other ­ hand, we must at the same time, feel the urge to go beyond that

image.It was then that the swan does not bloom and makes our words The samples

­ E, when we say, "Blooming swan."It is when we are feeling it, we specify leading to

something beyond the subject, that's when we strive for what is to be said.

The internal construction, design language rests on the ability to find

images.And you, my dear friends, will be able to find these images, if vzhivetes in

the fact that the sound itself is always an image that is not worth a closer relation to

what he describes as compared to what I say, referring to water the rose, "Oh,

you're blooming swan." This is because the connection sound so that it is resting

on no abstraction, and directly vennoy life.

And thus, any use of sounds based on the fact that the sound is an image of

what it must designate.When taught to see the images in the sounds, while at the

same time learn the experience that you want to use figurative expressions. Arises

is with the understanding that the poetic, artistic language, being the language of

registration, must have images.

You see, when I say a swan, "O thou, floating rose" - or formation schayus to

Lily: "O thou blooming Swan" - then I take something characteristic inherent to

both of them - a dazzling whiteness.Actually, the only common thing between

them dazzling white, everything else is different in both. If I want to express their

spatial relationship, then it can only identify with the words: dazzling whiteness

they shared, and all the rest are different.

Such images can be created. They always are metaphors. Meta handicap is in

fact such a way that utilizes one or more of the signs that show affinity ing image is

subject to two items, one item you have in mind, is portrayed by another object,

which do not have in mind.From one subject is taken for something other object.

Thus we get the metaphor.

I purposely did not give such a characterization, which is usually given

because that feature is not artistic. I do not characterize in terms of logic, and try to

uncover characteristics of metaphors, based on its own elements.

Come on. You can also do the following: You can take a picture of something

narrow, meaning something widely encompassing.For example, referring to all

the beasts of prey in general and wanting to be possibly indicative, we're not

talking "predators" and "lions" or "what is the lion."And when we mean all

predatory animals by "what is the lion," we say, the picture. It is only necessary to

be clear from the context that is used instead of an extended limited. Keep in mind

the wider, and use the expression, which means they ­ sponding limited.It should

lead us to advanced. We are in real life often use these imaginative shapes. For

example, if I say, 'S. - Great music head "- then of course I do not mean only one

head. I use only part of the body to refer to the entire S. C. Yet this is a more convex,

turned to fantasy The methods ­ bong, figuratively speaking that can be expressed

in the words of prosaic: "C. - A great musician!"It will, of course, fiction. To some dry

Pedan that can perhaps get away with literally anyone to attribute something that

is said in this way.

It may be the opposite: it is possible to use the wide-ranging to designate a

limited, it happens when they want to express something singular particularly

strong.Used this case we are dealing with a synecdoche.

There is, for example, a perfect image made Byron. He wanted to show that is

a lady that has, to a certain extent, ha ­ rakter Xanthippe.He said: «Sie blickt

Gardinenpredigten» - «It has the form of sermons for the curtains."(That is, it is

immediately evident that behind the curtain kami in the home, she is lecturing,

scolding, and no one is haunted. - Ed.).Here's a sample usage

shirokoohvatyvayuschego for adoption."Teaching behind the curtains" are used

here instead of describing what can be seen in his eyes. This is a synecdoche, by

which we can express what lies in looking worst Xanthippe - swearing, cursing,

noise. Here, therefore, is given instead of embracing the concept of a limited

concept.

But it also must be expressed in eurythmy. First of all, we give about ­ simplest

way of the image.In all cases, when you need to use a metaphor, you can do it,

stepping aside so or so (right or left). When the metaphor is expressed, it will flow

into the mold.

When you want to express eurythmy synecdoche, using widely embracing

instead the notion of limited, then retreat back. If, on the contrary, is used instead

of a limited shirokoohvatyvayuschego, then you step forward.This is a form. Thus,

you will express "She look sermons for curtains" stepping back. When you instead

of "predatory beasts ITATION" will put the "lions" that express the fact that stepped

forward.

You, therefore, understand that any movement back to the spatial relationship

is in eurythmy climbing to a broader scope, and any movement forward is less

widely encompassing concept.

To you all this clearer, express in the following movements: «Zu

Himmelsmaechten streb 'ich» - «I aspire to heavenly forces."Thus it is necessary to

step back. To give you a better saw the difference, I mapped to this following: «In

mein Kaemmerchen verschliess' ich mich» - «I'm locked up in his room."Now

express your steps as in the first case you are aiming ­ tact your widely covered,

while in the second case - to a limited (back and forth).We have, therefore, the

possibility of stepping forward and retreated back of the unit, to express a common

internal sense of what we want to show.

All this is particularly important for the performing arts in general. If we

understand the meaning of the movement left and right, forward and back, then

we will learn to walk on stage. In the opposite case, it may, for example, happen is

for stage pronounce anything of the nature of prayer, and you you step forward -

that is a terrible thing - while padding tion is back in prayer for granted.If we want

to learn something, that is, we want to call to mind some of the representation,

then we must not retreat, but on the contrary, to come forward.

In ordinary conversation, we may not come forward or retreat, and we will do

the movements to and fro, because a normal conversation, in this sense, consists of

metaphors.

I gave you some indication today that in the future, the application must be

made to the eurythmy some finality, completeness and make it an art form.

Lecture tenth

Dornach, July 7, 1924

Forms obtained from human beings

My dear friends!

Until now, when describing the eurythmy gestures, we proceeded from the

language sounds zvukorechi. We must, however, clearly realize that everything

which is able to be expressed in eurythmy gestures and which is, therefore, a

revelation person (just as the word spoken by man, it is a revelation) that all this is

inherent in the possibility of and movement of the human body shapes. We can,

therefore, from now to take a different starting point: to take the essence of a

person such as it is, and based on it, develop opportunities for movement and form,

and see what kind of shape derived from the human body, and then try to come to

that, as some forms take on the character of visible sounds.

So, we will try today, based on human beings, find the forms that can be

derived from it, and then go ahead and ask ourselves: what sounds can be thought

of using these forms?

To do this, we need a number of eurythmists whom I ask to get on stage.

Stand in a circle at equal distance from each other.

1. Raise your two hands up, palms open, fingers rastopyrte all.

2. Keep your right arm along the body, easy to rest against the left-hand side.

3. Both arms forward, his right to the left (one above the other).

14. Both arms along the body, the left slightly forward.

5. Place one foot forward, left hand grab the right elbow.

{0}6.{/0} {1} {/1} Easy to squeeze his left hand into a fist, enter it to his

forehead with the other hand outstretched, make such a gesture.

7. Both arms forward, left down, right up, palms facing each other.

8. Stand on your left leg, right hold a few raised, right hand straight up, left a

few bent down.

{0}9.{/0}{1} {/1} Head straight forward down the right hand touch the chin,

left, leave to hang.

10. Reach your right hand the head, and then close the left larynx.

11. Become feet (toes) inside and cross your arms.

12. The left arm across his chest, right over his back (according to the left).

Here are a number of gestures. Taken together, these gestures represent,

in fact, the whole human being. We can say that all human being split into 12

elements, but it is all that is human existence NESS.

One can imagine that one person does all these gestures, one after another. If

you imagine it, you would see that due to the fact that the person doing all these

gestures, his whole being is expressed particularly strongly.

Go through all the elements of the human being. Chnem on the fourth.

Since this element is represented by a human being, which is primarily a

reason, intellect.Capture is good in your soul.

And now look at this gesture (I): in it, like the sun, pouring what can be called

the element of excitement, it is an element, the source of which is cerned mainly in

the chest.We can thus say that gesture IV - head, a gesture I - breast lift.

Now comes the gesture X. Then before you head is covered by the right hand

and the left hand covers the larynx.We have before us an image of what is in the

expression of the will of man (the word should be silent when a person stands up

and is a depiction of the will). We have here all that is image of the will, which can

turn into action.It is possible, Thus, say members of the body, will and action.

Thus, we have three members of the human nature that reason, the feeling

will.

We then have such a gesture, which brings together all of that. See how it

expresses the desire to reach equilibrium (VII).

It seeks to achieve a balance between everything else. You can imagine

present, and so that the hands are pointing up and down, and that is thanks to this

balance.We can say that the entire balance is looking for a man as such. In other

words, it is - a man who has found the balance of his three forces: the thinking

mind and will.I will outline the gesture as follows: in equilibrium people. Look for

these signs as something quite considerably.

We now turn to the other gestures. When thinking of the person you go to the

person looking for balance, you have to them is what comes from thinking when

something ponder. Why come in this case from the thinking? The solution.Thus

gesture V is a solution, a thought which wants to turn into a reality.

So, you have come to the gesture VI. In this gesture, you can discern

something significant.Gesture IV depicts the idea that can be very smart, but that

does not mean that it has to be realized, it does not even mean that it will go on,

she comes to solutions.She's always could collapse under the influence of external

circumstances. In a gesture of VI portrayed the struggle with external

circumstances, the confrontation with the world of ideas.During the whole person

should be subjected to processing these meetings, conversations, explaining to the

world. Only then, in equilibrium, the procession on terrestrial way people will be

able to perform the acts, but when he pre eliminate their disagreement with the

world (revise its encounter with the world.)

Now, from the mind go the other way. What happens before the train of

thought? After all, we have to be brought to reason. Before we formed the idea is

weighing assumptions that thought. So here we see the weighting assumptions

that thought.

How does it weigh? To answer this question, it is necessary to correctly

understand the gesture II. How is it done?Imagine that you are coming out of a

sense of inspiration (I), it is - a flaming voodushev tion - to the extent it is not in our

society, but here at least it appears in the image.First, however, than I come from a

gesture to calm weighting (III), on the way from the gesture I to III gesture must

come reasonable sobering.Gesture II: sobering.

We have been inspiring, concluded in the chest (I).Now podoy dem gesture to

XII.

This is not inspiring, or rather, it's inspiring, not passing along this line of

weighing into the discussion: it goes into action, in the will. Here between the

enthusiasm and the will is the motivation which makes a person act swarm of self,

motivation to act.When the man ­ century inspired, he previously only burns.When

then the case should ­ but come to act, the first impulse is to appear, the

motivation to act.So we have here (gesture XII) desire to act.

Now come on. Let's see what comes next. There is already (gesture XI) the

whole man is convinced that no matter what will make all the same thing.After all, it

took almost Napoleonic pose. At the same time expressed his feet sustainability,

because it is not like The remaining, but firmly, firmly.So are the admirals on ships.

In general, I advise you, if you happen to walk on the deck of the ship, always go

that way. Then you will not be so hard to swing, and you will not be so easily

exposed to marine diseases ­ no.This is not the only motivation - the ability to

perform an action.So, here we have the ability to perform an action.

Finally, in a gesture of X we have the deed.

But we go further. What is happening in the world due to human actions? You

see, the man is in the world. He looks at what has happened due to perfect their act.

This is not the only thing to do. People have moved away from him, he can

contemplate it. This is the event that fact.The event, which occurred over it, which

arose due to his act. So, we IX gesture event.

Now on to the gesture VIII.

This gesture shows that the incident affected the event of the century man.He

called the event and the event has impressed him, it was destiny. We can thus say

that what happened was fate.

Well, we now have a man in the circle of elements who are creating it. You see,

a man can be represented in 12 elements and you can certainly nai ti such gestures

that meet these 12 items.

Now I need, however, another 7 eurythmists. Let's start from the middle: pull

your hands - right up ahead, a left back, then you need both hands at the same

time making a circular motion. You have to, however, is to do when all will receive

instructions.

I have given you so that not only the first indication that a certain ill -

regulations, but also the associated movement.It is a gesture that we can use to

express to the man.All the people manifests itself in it.

Now the second: the left arm back, right forward. With his left hand you are

doing a circular motion, the right remains calm.

This second movement is an expression of all that in man there is a sense of

loving, loyal nature.So, loving, loyal nature.

Now the third, right hand forward, left back. The right hand is doing Kru ­

pulling motion.It is, thus, the exact opposite is preceded ­ yuschemu.It is the

opposite of loving devotional character entities. It's selfish nature.

Fourth - stretch your arms forward, cross the lower part of the arms. This - in

the spiritual. It is thus possible to remain calm. It's all the things of a man is creative

- creative ability.

Now we come to the fifth element of the human being: you hold up your

hands outstretched, fingers retract, then do cor pusom rakachivayas rapid

movement from the waist down and up.This reflects etsya that property rights,

which is aggressive.

Fulfilling the sixth element, the left hand hold calmly bent inwards, right hand

revolves around the left. You give it to understand what is not being actively

aggressive and wise action.

And now more recently. Bring hands to his forehead, one on the other hand,

lower them, pick up again, down to the heart. Do this movement. This is expressed

in everything that expresses a deep penetration, a deepening of the closed, we

have here a sense of groove.

We have thus established, the large and small circle. In the external, the pain ­

shem, round 12 of gestures that express the position of the body shape.In the inner

circle of seven gestures that express movement, with the exception of only one

gesture that expresses only the form, namely, the movement, which came to rest

(the Moon).

Look, what harmony is obtained when the inner circle makes motions and

gestures depicts external form. Now, however, we go further. The Inner Circle

makes their movements, and the external slowly moves from left to right in a circle,

keeping the provisions adopted. During this time, the inner circle makes its

movement. You see, is obtained entirely a position as if the person gazed peace on

all sides, led to the movement of all its properties.

And now again become in the outer circle and take your position (shape). I

draw your attention to the fact that in eurythmy everything going from left to right

is thought the opposite (that is, it is conceived from the point of view of the viewer),

and everything going right to left, too, thought the opposite. The outer circle

moves from left to right at a moderate rate, domestic, making their movement,

movement ­ zhetsya a circle with a greater speed than external.Internal dance that

­ Thus in a circle rather than external.Well, now making the gesture. See how

everything is in harmony! This expresses the desire for possible ­ ABILITY.If we take

into account the whole person, we will be here for the first extraction element

possibilities of movement and form of the human ­ of the body.We shall see how

these features and forms of motion gradually develop from this item.

The person in fact - there was not just one of those forces which are known

teperesh her science.He, however, arose from the entire world as a whole, and we

can understand it ­ but only if you know it is actually coming from the entire

universe.And if we do a good look closely to what we see here in front of you in this

image, we realize that this man is dissected into different abilities, the members of

his being and strength.

But even there, outside, in the world, the individual units are parts of the

human being. There we have animals. But in man locat ­ dyatsya all the properties

of the most important animals.Properties of animals in human smooth out ­

were.They are combined in it as if in a higher synthesis.

Here we are, first of all, we see four main animals (see diagram). Leo is

inspiring, the item chest.A one-way characteristic of a lion is that you have the

appropriate gesture (I).

Next - Taurus (X), is the element that sided externally realized that he himself

izbyvaet external action and will.

Here (VII) then you have something that tends to process all over his forehead

century of experience, behavior.Image that was shown to you. This is something

that unites all the individual parts, just as the etheric body covers a member of the

physical body. In the past, air su ­ exists also called "water creature."Here it would

be necessary, proper ­ but write "ethereal man."He was called Aquarius.It is about

the value of an antique, so I can safely write Aquarius.You now know that this

ethereal man.

Then we have what has the appeal of intelligence that gives the impression of

(IV).Here in the transmission from generation to generation was allowed greatest

mistake. In fact, here it is for all that is associated with the depths of the parent

organization.So I actually had to write the "Eagle". However, the relatively more

recent exchange time was mixing with Scorpio Eagle.So here (see fig.) Must

represent yourself Eagle.At present it, however, called the Scorpion.This is not to

say that the reason was regarded as something that stings.

Well, before you, so that the main property of the person. Everything else lies

therebetween. Because it does not pass that enthusiasm ­ hour to act.Between

them is another. Here (XII) is enticing set.Motivation makes us move from

inspiration to the Act. It forces us to go outside of ourselves and embodied in the

sensations of the chest. In the ancient language of physiological chest las called

"Cancer".That's why I can not write here "Cancer".In ancient zoology to cancers

attributed not only to our present cancers, but all those animals in which highly

developed chest. Initially, these were cancers. Everything that has a strongly

developed chest, called cancer.

If we then go on to act, we will have decent fluctuate (schweifen), leaning in

one direction and then the other, would have to do to move the two halves of the

body, the left and right-hand man, who should be the same (to connect,

communicate, approach each other).Here we see the properties of animals, in

relation to which the animals must be constantly synthesized ­ Rui lead in tune left

and right half of his body.Some animals forced to do so especially when running:

Gemini.

I say we go out to the act, and the act of an event (Ereignis).And if we will seek

passage of the act to the event, in the animal kingdom to find that perfect symbol

in the shape of the animals, which have curved horns ryh: Aries.So, here goes act in

the event. I would have to say very much, if I wanted to give it a full justification.

Then we come to the moment when the man is completely spreads Vaeth in

the outside world when he goes to the outside world, when what he is doing, it

becomes destiny.Then the person is living in a completely moral element as well as

fish live in water. As the fish are merged in the water with the water and almost

become one with it, so the man lives with his moral destiny in the outside world. So:

Pisces (VIII).

I have already told you that inspiration should gradually move to contribute

Coyne thought when sobered up flaming enthusiasm.Schiysya cooling element

that has not yet caught fire, is present in the animal kingdom, called in ancient

times, a Virgin (II).

And then comes the sobering calm weighing, balancing calm: Balance

(III).Those animals that are over all deliberate, whether called in ancient times Libra.

And now we go from IV to VII, from the Scorpion (or Eagle) to Aquarius, the

etheric man.First in our lives intent - a decision when thought tries to go outside

into the world. We point out, incidentally, that those insects which are anxiously

running around, rapidly worn like some forest animals nym that because of some

nervousness ever worn in ancient times was called "Archers".

This is not what was represented by that later: this is a beast NESS.So,

Sagittarius (V).Now only in some dialects preserved the name "Archer" for those

little insects that are so worn in the kitchens.

Well, now for a clarification of the relations. Then, before you come to that

unites all human, we come to the Capricorn, and through it come to that which

corresponds to fate. So, here it is necessary to write "Capricorn".Thus, as we can see,

the whole range of people covered by the zodiac. All these, however, only as a

human being, and human qualities are expressed through gestures, again, when

administered to rest.

In the inner circle, we now have an expression of the whole person - the sun,

then we go to a loving, loyal nature - Venus, to a more selfish nature - Mercury, a

creative productive essence - the moon.Then we have the aggressive nature -

Mars.Next is the radiant essence of wisdom - Jupiter.Finally we have something

that goes into melancholy, the internal closed-confidence, self-control, in-depth -

Saturn.

Going from the outer circle to expressing human activities inside rennemu

circle, we make the transition from the gestures that are at rest, to gestures that are

in motion.If we want to have the whole picture, we can combine the two terms, as I

have just yet ­ Hall, namely bringing the two circles in motion.Then in the outer

circle the floor chitsya that is the whole human being, the union of all the qualities

of the animal characters.

In the teaching of the color (Farbenlehre) produce such an experience: on the

circle divided into sectors, impose all seven colors (red, orange, yellow, green, blue,

indigo, violet and so on), and then lead into a circle-rotational movement and twirl

all faster and faster, until all the colors do not merge into a gray color.Physicists say

that's white. But White is not here, there is se ­ ry.None of the paint alone does not

distinguish between visible only gray.

If there ladies and moved with such speed that some gestures could not be

discerned, and it would be seen only Bind gestures, you would open something

extremely interesting, namely the image of the human being, expressing their

identity through their shape.

Here in the inner circle in front of you all that there is in human affairs when

going outside, which expresses itself in the planetary, all that depicts the internal

capabilities of, and the beast fasting gradually translated into a human.Thus, in the

outer circle all SUs ri - in the form of a man, and in the inner circle - embrace the

animal in man using semiritsy.

Now you need to add more to the above as follows: A, E, I, O, U, El, AU - seven

vowels.If we then take the consonants in the corresponding dance with their inner

nature, and join those that are known from the sound to the extent monotonously,

you will get 12 consonants.So now we have 12 consonants and 7 vowels. If we then

put in the zodiacal circle ITATION consent, and in terms of reflecting the dance of

the planets (domestic) vowels, then we get 19 of sonic possibilities.Sky says, every

time a planet is locat ­ ditsya between the two signs of the zodiac, is a vowel

between two consonants.Sky says with constellations, planets formed. It says in

very different ways. And then, it gives - that being human ­ ka.It is not surprising,

therefore, that human gestures and movement capabilities expressed cosmic.

As a result of all the above, we can imagine that in evrit mission we update

what was the temple dances of the ancient Mysteries.Dancing was an imitation

round dance stars, imitating the fact that after the Gods from heaven said the man.

To do this, in our time, it is only necessary to find a new element of the spiritual

knowledge of the real inner meaning of the relevant gestures.

So, now we have 19 sign, 12 of them at rest, and 7 to dvizhnyh.Of the latter,

only one gesture is at rest, because peace is the opposite of movement (between

us, the moon is in motion, is equal to zero). We, therefore, met with gesture ­ E, and

showed how these gestures are introduced into sound, sound.We now have taken

the starting point of human and walked the other way. Before we started with

sounds and gestures searched based on the sounds, and today we started on the

possibility of movement and were on the way to a man, apparently the language to

sound stone.

Lecture Eleven

Dopnah, July 8, 1924

Getting used to the gestures and forms

My dear friends!

Today we'll some of the difficulties arising in the performance of eurythmy,

difficulty, which must occur if the work does not come from the deepest inner

essence movements and forms.Difficulties arise, for example, transition ­ During

some consonants and the other on the other hand, some other vowels.From the

indications made by me yesterday, you know that for the spiritual in a speech the

most important is that it is between sounds.This is exactly the same as that

observed in music: real music, real spiritual element in music is what stands

between sound ­ kami.The sounds are something physical, to a certain degree of

material nym, and that goes from one to another sound of music is spiritual.

Similarly, in a speech: the spiritual is where the transition from sound to

sound.If I, therefore, am aware that in all material is spiritual, but on the other hand,

realize that the sound is a natural material nym designation, then I can easily see

that the spiritual must lie in the transition from one sound to another.

Yesterday we met with spiritual significance, spiritual essence, hiding behind

some gestures and movements. Something with which we cognition komilis

yesterday, will now try to combine with what we have learned as a eurythmy design

sounds.

To do this, we will do the following. Eurythmists those who portrayed the

zodiacal circle yesterday, I'll ask one more time to get on stage and be in the same

position they occupied yesterday. Now, ask those who belonged to the planets.

You already took out of the spiritual, which figures out ­ shown in a Zodiac.Now I

ask myself * note the following. The figures of the zodiac we will provide the

relevant consonants:

Aries - W,

Taurus - R.

This semivowel - vowels, consonants are perceived as; W akin U, R akin to A.

Gemini - H

Cancer - V (or it could be F)

Sagittarius - G

Capricorn - L

Aquarius - M

Fish - N

Leo - F (Tao)

Virgo - In

Libra - From

Scorpio - J.

It is essential that you have learned this correspondence with sounds.

Now middle - planets:

Sun - AU

Venus - A

Mercury - /

Moon - El

Mars - E

Jupiter - About

Saturn - U

And now I ask you to do the following: Try to take your yester Rashnu position

or make the appropriate movement, gesture, which you did yesterday, and now

move on to the sound, which I mentioned to you today.And from the sound go

back to the gesture.

You see, therefore, that the appropriate sound gesture (prior to a sound or

following it) can be understood as the same gesture transition from one sound to

another.

You must, of course, see to it that lies between the sounds was not too long.

Today we will focus on the fact that the floor can ­ ourselves of our existing

constellation.Each of you knows their sound. Now I'll read a little poem, and ask

you to pay attention to how the sounds follow each other and make their sound

when it will be pronounced. Thus, the entire poem is a consequence of the 12 plus

7, and we'll see how you can evritmizirovat poem based on a constellation. You do

first original gesture or the original motion. In them you are staying. And now we

are slowly starting to. Thus, only those of you, to which this sound, making it the

basis of its motion ­ tion, and returned again to his movement.But you should, of

course, about to reveal "sensitive sniffer" because the poem arises from a complex

sounds:

Edel sei der Mensch,

Hilfreich und gut!

Denn das allein

Unterschiedet ihn

Von allen Wesen,

Die wir kennen.

Heil den unbekannten

Hoehern Wesen,

Die wir ahnen!

Ihnen gleiche der Mensch;

Sein Beispiel lehr 'uns

Jene glauben.

Let it be a noble man,

Coming to the rescue and kind,

Because it is the only

Distinguishes it

Of all beings,

That we know of.

Glory unknown

High entities

We chuem!

Let them be like a man.

Its (their) example let us teach

Believe in them.

I will say a poem, and you'll make gestures, movements that made yesterday

in a circle. And, moving with their gestures, movements in a circle, you will depict

the appropriate sounds when they are vstre be to the text and relate to you.You will

see that it will come out even more beautiful.

Denn unfuehlend

Ist die Natur:

Es leuchtet sie Sonne

Ueber Boes' und Gute,

Und dem Verbrecher

Gldnzen, wie dem Bester,

Der Mond und die Sterne.

Wind und Stroeme,

Donner und Hagel

Rauschen ihren Weg

Und ergreifen,

Vorueber eilend,

Einen um den andern.

Auch so das Glueck

Tappt unter die Menge,

Fasst bald des Knaben

Lockige Unschuld,

Bald auch den kahlen

Schuldigen Scheitel.

Because unfeeling

Is nature,

The sun is shining

And the evil and the good,

And the criminal

Shine as the best of people

The moon and the stars.

Wind River and

Thunder and hail

Noise, going his own way,

And grab,

Hurrying past,

One or the other.

Also, happiness

Breaks into the crowd,

Enough that boy

Curly and innocent,

That bald head sinner.

Now, if only you will be treated with attention to these exercises, you will see

that it is due to the fact that we draw from this, the circular motion of the real and

of a spiritual gesture that due to this certain sounds occur against the background

that their entire inspires.

What I'm telling you, it is extremely important, especially for those who have

(to some extent) are able evritmizirovat and reached a level that enables them to

do about the fact that, for example, was introduced in "The Sorcerer's

Apprentice" .Then we have a sufficient ­ accurate measure, finished, completed

execution.When you reach a Eurhythmy about this degree of skill, then the next

problem is to do a lot of exercises in the direction that we are still ­ hour stupa.For,

thanks to the fact that you practice in these you yesterday gestures, movements

and transitions of these gestures, movements in individual sounds, you will gain

more and, at the same time, the flexibility in the formation of sounds.

Look how beautiful it is when the "Capricorn" is framed as a sound! Let your

sounds come from your gestures, and then return back to the gesture, then you get

the gesture, framing the letter. In other words, the sound is put eurythmy right

when it around (I say this purpose the word "about") grows out of the gesture, and

may again impact the gate to the gesture.Necessary, of course, that this movement

was made possible in fluent.

Extremely many you win, not only for the performance (which I still will not

say), but also in terms of training, if all the above will perform a solo Eurhythmy or

in duets, trios, etc. Then the task will consist of the following. Take a Capricorn, if it

has one, and he will be told that he must express some poem in consonants, vowels

are dropping, it must then leaving his place and finding the shortest path in the

zodiac circle, the place where the relevant consonant, and there to do it. In the

transition from one to the other, he should do just that gesture, which corresponds

to the following sound. These things are important, mainly because they do

eurythmy thanks gradually transformed into a man, because these gestures by ­

structed based on the nature of man.Thus, we get the opportunity to build a form

of impact (eurythmy forms of poetry), so that there was not only the internal law of

each individual artist, but also determined the ratio of one artist to another (if more

than one) or to space.

Well, today we are still, of course, be able to play anything besides the fact

that you yourself received, in addition to the sound that you have been given. We

allowed ourselves, however, does not stand up facing the audience, and his face to

the center, so you can see who is doing the appropriate place consonant. And then

the one who did this to consonant (we'll leave the vowels), moves to the place of

the next consonant and makes him meet his own movement. See how well it

outputs CIO.

Twelve standing in the outer circle is now being followed closely behind them

its sounds.The first person to receive a sound, does it. Then, you (whoever motion ­

zhetsya), make sure the following consonant and move towards the region, which

this consonant.That, in turn, also monitors and is doing it in front of you. And then

you face to face with him doing this, too, agree. You see what you get is a very

beautiful movement.

In the future, however, it is necessary to do so without anyone standing in

front of you. It is necessary to do so, as if this place had a vision in front of you and

you would see these movements in this vision.

I read it very slowly brief little poem, and you execute those.Others remain

standing, all this will do Fraulein C:

Ach, ihr Goetter! grosse Goetter!

(C R is the case that R - as B.)

In dem weiter Himmel droben!

Gaebet ihr uns auf der Erde

Festen Sinn und guten Mut:

O, wir Hessen euch, ihr Guten,

Euren weiten Himmel droben!

Oh! You are Gods! Great Gods!

In the distant sky overhead!

Give us the world

Solid intelligence and fortitude.

Oh, we left you, good gods,

Your deep sky up there!

Here you have there is an understanding that the forms that you make can not

be arbitrary, which they, on the contrary, it is extremely reasonable, and, moreover,

do not generally trivial sense. So, if in any poem meet the expression «Bauch»

(abdomen), then do not do this form, it would not serve our purpose.Our task is

that of speech itself (in this case, therefore, of the form itself) lies with the sounds

and gestures in spiritual, which we reviewed yesterday, to form these shapes.

Look how beautiful it is out, if we now take more and vowels. Do now (other

evritmist) is the same, and the other will do in the realm of the vowels.

You know where the appropriate sounds to which you should go:

Ach, ihr Goetter! grosse Goetter!

In between, do not make any movements, remain standing, if there is no

vowel. It turns out very beautiful picture when directly tively to each other are two

of the same vowel sound, and at the appropriate place remain at rest:

Ach, ihr Goetter! grosse Goetter!

Gaebet ihr uns auf der Erde.

This is a powerful tool for exercise. This is evident from the fact that where

you're staying on the vowel, you should stop once vatsya, when the vowels are

repeated.

That, however, is a good experience, we should feel the fact that he lives in the

language. For this I would like the first three lines are not proretsi ented not recite,

and prointonirovat in two ways, so that you could see that it is in the language and

that evritmist should certainly feel it, because otherwise will not work that must to

express.

ai n e n e c e

ie ei eieoe

de ai i and e ee

Just think that the feeling is completely different look when we are in the

words «der Erde» three "e", as opposed to when the voice tion follows a vowel.Is

that you feel particularly strong when you do these exercises. ._

But in the consonant sounds is the same thing, and that's the beauty of the

poem is based. In fact, it is impossible to acquire speech, if you do not prepare the

poem as follows: first sound vowels and the consonants fall by half, and then - half

drop vowels and consonant sounds. Previous set yourself what the character is

obtained when you have the following:

ch hr g tt r gr ss g tt r

s dmwtnh mm l dr bn

gbt hr nsfdr rd

fst ns nn nd gtnmt

So you felt the vowels and, after them, the consonants. This evritmist, in fact,

must exercise, then it becomes flexible, then his body becomes what it should be.

You truly feel the need to respect the known (Achtung) to eurythmy, if you

evritmizirovat.This respect should be a conviction (Gesinnung).If you really properly

imitate all the movements that make your throat when she pronounces a more or

less complex sentence, you have to learn a lot. All that you have learned in your

pre-earthly existence. When the larynx is in what she imitates the sounds that are

heard in the outside world, then it would only be a slight repetition in the earthly

existence of what you learned in the pre-earthly existence. But this kind of teaching

that takes place in the spiritual, it's not intellectually, it is that vyte ­ follows from

the senses.Therefore, thanks to the exercises that you do now, acquired the right

feeling.

There is no need now to depict dance of the planets. To do this, take 12 +7,

that is, 19 people, and the people who have come Eurhythmy cal performances, say,

perhaps, that can lead exercise only with 7 showing because of a greater number

they can not afford.And how do we do in this case? We need to understand that

our job is not to immediately proceed to the image of the circle dance, but the fact

that so imbued with all that last two hours you informed about the transition from

gesture to gesture in the spirit of the sound so that your body has become pliable,

flexible. This will help you become imbued with the sense of the tone of Kim, which

is necessary for eurythmy.

In this course, we do not just want to repeat, but glance over all the things that

can contribute to the promotion of eurythmy.

On the way of eurythmy is, however, that (I think it happens quite often), that

people understand it, do not think they still need to learn. There exist even some

people who are viewing the two or three weeks, as the product are found eurythmy

movement, and then want to do school teacher.Think how it would be unheard of if

the same claims are made in music or painting! The question is how to learn to

understand that eurythmy is something that makes all the means of expression of

impact ­ possibilities inherent in the human body.And this can be achieved only

when performed well and such exercises, which are then not apply to performances,

but contribute to the acquisition of the relevant ­ ing flexibility.Just think, just as is

done in other arts. Of course, you all know the famous Liszt piano without strings,

but with a keyboard. Vero ­ yatno, it was used, and other composers.On this Piano

Sheet exercised ­ Xia constantly.It has always been with him. These exercises he did,

of course, is not to create music, and to develop in the body mobility. Neighbors do

not stop. Thus, when the exercises were done this The methods ­ bong, then all was

well.No need to disturb your neighbors at night, and at such a piano because you

can play all night and not to disturb anyone. Before it is scheduled only for the

development of mobility in the body.

What we have now passed over the two hours is, in fact, the basis for

eurythmy, in the sense that it gives the body eV rhythmic setting and mobility.Now

back a few back and go through the more recent lines of the poem:

«Festen Sinn und guten Mut»

Solid intelligence and good spirit.

In these words lies a number of facts that we perceive: «Und gu (on and we

have to stop) - ten (return to its original location) Mut», - is finding itself (Sich-

Hineinfinden) in a move that we feel like the natural movement when moving from

one vowel to another, or as a natural when two identical vowels follow each other,

or when repeated the same vowel.This is what causes the true sense.

Oh, wir Hessen euch, ihr Guten Oh, we left you, good gods,

Euren weiten Himmel

droben! Your deep sky up there!

We pointed out in this way, the ability to feel, and in accordance ITATION

vowels in their relation to each other.However, I would certainly need to emphasize

­ be emphasized that the place does not matter.I could, for example, that this lady,

who with their sound D was here ("Lion"), put here. Others have taken to such

places respectively, then ... After all, when the circle starting ­ naet move all change

their positions.Thus, the absolute position is not matter relative importance place,

ie as a stand relative to each other.From this you can conclude how many

opportunities there ­ children of various forms of education.These forms of

education opportunities vyte cabins from the fact that in a certain place is

beginning, for example, that at some point we begin a poem with the F and get the

basic (original) point for the formation of the appropriate forms, and then know

which direction we should go for other forms of education.

You should now be clear that, in fact, what we learned yesterday and today, is

getting used to the gesture and form.

Lecture Twelve

Dornach, July 9, 1924

Arising due to the outpouring of the soul in the form and movement of

healing

effects and their impact on the whole person

My dear friends!

By having our material we add now that opened in the basics eurythmy, and

discuss some of the issues that you have already been partially met. And then

establish a connection between what is familiar to you, and that what we are

talking about. The first thing I want to discuss the fact that we have seen: as some

like to say, the moral impulses that we are among the 12-and-7 and depicted in

front of your heart, these impulses were expressed in a gesture (in a gesture to

quiet location and in a gesture of moving) and in eurythmy movement can be

perfectly achieved enlightenment from the fact that the human soul responds

(urteilt), worrying - because this is the whole point - or, also, that the human soul

experiences, responding (urteilt), and that then translates into sound.

And just the opposite effect on the whole person has that of the human soul is

poured into a mold and set in motion. And in this lies the healing effect of

eurythmy. This influence can manifest itself in the moral and spiritual, as well as, of

course, and in the psycho-physical terms.

Moral and spiritual healing effect is especially strong in the case where the

eurythmy exercises conducted during childhood.

From this point of view, based on the fact that the shapes and movements

arise from the mental attitudes and a warehouse and have the opposite effect on

the soul, I want to discuss once again some of the things with which we have met

before, so you can get a more cohesive picture and then move in the coming days

eurythmy word further.

Because you are familiar with the exercise, which combines one person to

another (his neighbor), that is, the so-called exercise "I and Thou." In this exercise,

you get four of them, but taking into account the spectators in A, it is necessary to

couple standing back turned, not really, one however, is strong.Test out this

exercise as follows: "Me and You, You and Me, Me and You, You and I - that's us." It

turns out this "we". Thus, the exercise ends with the union of a circle - "We". Facing

each other diagonally considered "and" You. " When they are approaching ­ are to

each other, then express it, they want to connect with each other and that others

want to be associated with them.In the diagonal reflects the transition from "I" to

"you", from "you" to "I". This can be repeated several times, and then contact all

together, aware: it is - "We." If this exercise should be repeated, then the "You and

I", "You and I" can go back to their original location.

The further challenge will be to do the same exercise in different ways, based

on the sentiments that we saw the other day.

You, Miss B., can you imagine that you - "Eagle", and you, Frau Art., -

"Aquarius", you are Miss C - "Taurus", and you, Miss N., - 'Lion' . Make the

appropriate gestures. Based on these gestures and, having done all, go back to him

again.

Please note that this is expressed Through this exercise we can see that the

person encompasses all four of these beasts in the form of four moral qualities, and

in the consciousness of his own "I" it contains, strictly speaking, the whole of

humanity, but a person has at the same time "we".

Now, with this initial gesture begin exercise. Then you Gratsi ­ ozno past the

initial gesture.Here you will be able to apply the decree of which just received.

Thus, it is correct, complete exercise: "exodus tion gesture," Me and You ","

You and I "," Me and You "," You and I "," this is - we ", the original gesture."You are

so right start - an introduction and conclusion correct, so all in all enclosed in a

frame. This exercise can be perfectly applied in eurythmy for pedagogical purposes.

Thus, if de ­ children there is jealousy or ambition - this is such properties that must

be corrected in childhood - it is necessary to give them to perform these exercises

especially hard.And then we get the following. Arts education does not allow

because, needless to say, there are no tricks to torye could be called magical,

because all the magic lo proved to be in the education of inspiring effect.It would

impact on a child's unconscious. And this can only be done with respect to the

weak-minded, handicapped children, and it is allowed to do only as applied ­ but

inferior to children.Until then, however, until the abnormal singularity child mental

properties are certainly necessary, mouth ranyaya what else magical suggestion,

have at it purely emotional impact.As it turns out, when four children forced selling

­ lyvat this exercise?They hear all the time, as saying: "I" and "Thou." With this in

mind the child enters an element belonging to each other, community, mutual

relationship with each other. It comes to consciousness ­ of the child in the words:

"This is - we".And in a gesture that at that is, (hold hands), expressed that the child's

attention is directed to the prois ­ he who walks with and have an emotional

impact.In all this there is the slightest suggestion. And yet, we can say that in this

movement laid a means to counteract false envy and ambition. This can only be

applied to healthy children. We must give them to do this exercise with the

knowledge that there is no suggestion and no magic.

You may ask, however: what to do with the pathology of children? When

pathology ­ gies, we often have to reckon with a vague, low-

consciousness.Therefore, if children show these pathological features, you have to

remember that this exercise can be used with success. But they can not be used in

children if consciousness is pathologically instituted.

All, however, that relates to healing, can be used only on medical prescription

because wherever manifest pathological features, a judge can only be a doctor.

Let us turn to another tantseobraznomu movement, the source of which is a

certain emotional mood. We have called this movement "Peace nym dance»

(Friedenstanz).In combination with another dance this "peace" dance shows how a

particular shade of mental attitudes crystallize.

Suppose that you form a triangle. You can form it so that it will be as follows:

Let us assume that some people will go on a triangle in this direction (see

Fig.).Or there may be three, the first of which will go on this way, on the second, the

third on this.

If you then take a shape of a triangle and compare with the first one, you'll see

the difference.

The first triangle of the front line differs from the other two of its length tion,

second, it is characterized in that it is shorter than the other two.If the second case

we do the same movement as the first, the other will experience.

In the first case we experience the world, second - the impression of energy. It

can thus be said that in one case we are dealing with the peaceful dance, and in the

other - with a vigorous dance (Energietanz).

The essential thing here is that it is selling lyvaetsya eurythmy movement in

the rhythm.And if we ask the question: "How should we implement this

movement?"- We must remember what I told you. In lowering the rhythm ( )

We have something commanding, administrative, and an up beat ( )

Desiring something, achieve something.

However, as a prelude to a peaceful mood and join the energetic mood is in

both cases, something that is associated with the desire for something that, of

course, can not find the application of, say, the military command.I have in mind

here is nothing wrong with that, as it could be, perhaps, appear, but that the

military komandova ­ tion could also consist in the fact that teach children to obey

using known movements.However, all related to the orders, loca ­ Costumed can

not be expressed in the presence of spirits.Here it comes a rising theme, rhythm

anapest.

Now I'll ask Miss C do we exercise in the first triangle as I described it. Suppose

you are going on a triangle anapest, and I at the same time saying (first triangle)

Strebe nach Frieden,

Lebe in Frieden,

Liebe den Frieden.

Strive for peace

Live in the world,

Love the world.

Do this so that the long side lying in front of the audience and the case lived

ascent.So you have to start from here (1). Once you go back (facing the audience),

because we have to make sure that the audience as a ­ Whether you.For your

hearing unpleasant that I have read the words anapest not built, but it does not

matter, through the rhythm you need to enter in the analysis ­ pestle, although he

was not in the words spoken by me.Then, in the language of Eurythmy is a direct

expression of the fact that the rhythm of the speech can not be completely

expressed, because, for example, in the German language there are no words that

would mean «Frieden» (world) and would end with the syllable accented with

it.Thus, again:

Strebe nach Frieden ...

Do anapest movement clearly. In the words spoken by me dactyl rhythm, but

you have yet to do the movements anapest, it is not the same as speech, but still

we do the dance to the rhythm of this anapest, undeterred speech. We ought to

find the text, built anapest because otherwise likely yes will be disharmony, which,

of course, unpleasant hearing.

Now do the next triangle. Anapaests here to do a triangle with short base.

Begin again with the first triangle ­ ka.Try to note the shape of a triangle that the

long lines at the side will pass quickly, and on the front lines - slow anapes

volume.So this is what is called a "vigorous" dance.

Movement of these may be, however, and have done a bunch of people. Take

the first three. Let them stand up and draw a triangle "peace that ­ Finally, "each

one line.You can, of course, read some text anapaestic.

You can in fact, however, to do all this in another way: standing on the corners

form a triangle having the same shape, but a small measure of time, in other

corners of the triangle are made the same.So, this exercise can be done in many

different ways, and each way will possess ­ give its beauty.Best of all, if the

movement will those who stood at the point (1). Each in a separate small triangle

does the same thing as before performed all over the stage, all at the same time

move along its eigenvalues form.Now, all standing in a triangle back, that is, which I

have put in the corners, doing a second movement, "I and Thou" - exercise.

Standing just a middle of the turn. Triangles you formed so otherwise. Those who

now form a square, slipped ­ vayut again this "peace dance" where they stand.This

movement is selling ­ lyvaetsya thrice.If you've done really cleverly, it forms a

coherent exercise.

This exercise is good to use for teaching, as well as for medical and

educational purposes. Can participate and fewer groups. You can do the same with

two or three groups, and you can carry it with them in this way:

Particularly well done this exercise with the class in which many of choleric

children that are difficult to control. Let them do it every day, or how much will be

learned Eurhythmy for two to three weeks, and you will achieve success is to deal

with them. Thus, all the children who are fighting, noise and so on, should be

forced to Do this exercise and you will see that it will have on them is extremely

calming effect.

Now we can play the "energetic" dance. Then you need ­ Dimo make a

triangle, but sharper.Now, again, do the movements three times the triangle. At the

corners are four ladies (see figure). These ladies do the following exercise: they

begin to move with U, «Du und Ich», now in «Ich» they are in the center.

He did not make a gesture as if «Du», a gesture, instead showing when they

stand together, they occupy an attacking each other's position.Woz then from the

gates of «Ich» to «Du» and do this three times.And here you have taken the

position from which we will go further. First of all, make a motion, the opposite

«Ich-und-Du», ie, «Du-und-Ich».«Du und Ich, Ich und Du, Du und Ich, Ich und Du,

Du und Ich, Ich und Du». Now you're standing at the back. Now take another way:

go crosswise past each other (four external switch places). Do this exercise towards

the center «Du und Ich, Ich und Du ... streiten heftig miteinander, streiten heftig

miteinander!(Furiously arguing with each other). " And now again three times on

the initial exercise in the triangle (see Figure).

Repeat one more time exercise: exercise three times in a triangle, then the

exercise of divergence, then again in the triangle.

To you, however, it was clear that these exercises can be even more diversity

zit, do so now: the first exercise in the triangle, then the second in a triangle, and

the third, then - look at all the challenges in the triangle, as in fighting with each

other.Do so the motion «Du und Ich, Ich und Du ...Streiten heftig miteinander! », All

as there are there, then get up and do the exercise triangle in a triangle.

Can certainly be found a poem of three stanzas, constructed so that the

shapes of these exercises can be done.

I would like to add the following: anything that you've seen in recent times, of

course you can use for teacher educators and health-cal purposes.All this has a

very beneficial effect on the phlegm ­ tical, sleepy children.It awakens them, they

become internally quickened lennee.

Today I would like to quote only what is created more out of shape. A shape is

then possible to feel that it entered. Mrs. W., try to make a spiral, going from the

inside to the outside.

You have done quite right. Your first impulse was: put your hands on the heart,

and you have completed the movement, with his hands behind his back. If you are

at ­ see to that movement, you will find that it is a good expression for the output

of the human soul itself, to awake interest in the world of the soul, eventually

leading to the fact that a man totally given to the world, and this is expressed

zakidyvaniem hands back.Selling ­ LITE this exercise again, keeping in mind that

understanding.You see, this is exactly the first quest in itself, and then the

awakening of attention ­ of the world, the return to the world.Now, going back to

do the spiral - from outside to inside, though, in the first half of the movement

keep your hands Tym let down the back, and in the second half - the position of the

heart, you see - this is the opposite to the first, it is - the closure in itself, it is - going

from the outside world .

The first exercise can be applied to medical teaching purposes not to anemic,

and a full-blooded children. It is a means of struggle with selfishness. The second -

the same applies to the healing of children anemic.

Lecture Thirteen

Dornach, July 10, 1924

The mood of the soul, which can be found in a gesture of sound

My dear friends!

We continue to build those forms, which we discussed yesterday. Here I would

like, first of all, to discuss the forms that are used for installation ­ tion known

relation to dialogue speech.Yesterday I talked about the fact spirals, and we saw

one spiral - directing outwards - causes Vaeth feeling of stepping outside of man,

and the other - a sense of human rights in the care of yourself.These two spiral can,

however, combine to form. Make them, say, walking anapest, and him go so that

complete one spiral after another. Try it. Miss C, make a spiral that goes from the

inside out, and you, Miss B., make one that goes inside, and now reverse. We put six

anapests. It will come true.

If we have, however, coherent speech, say, in some Dramaten Český work, any

conversation - questions and answers - well then do a spiral, going from the inside

out and the appropriate response.Instead of the last two anapests to do just two

long strides, while stepping as hard as if we wanted to get a lengthened ­ nenny or

raised voice.You do that by four anapest, two strong colors. You will receive, so a

shape corresponding to the dialogue in the drama or no dialogue, expressed

eurythmy. However, this exercise can play a significant role in the treatment and

pedagogically. Mr. yester I said that you can use one coil for unruly children, for

pranksters, loose, bullies, and another - for children phlegmatic that sluggish taken

for the cause.

If you give this exercise in both groups of children separately, then the floor

Chita some favorable results.If you divide the children into holerich ­ TION and

phlegmatic and will force both groups to make the spirals together in such a way

that they stared into each other's eyes, then they will have on each other corrective

influence.So, using this corrects the influence, you can do this exercise is

particularly effective.

On the basis of these podosnov we used a number of quite specific eurythmy

movements. Mrs. K., do us a form that depicts «Hallelujah (Hallelujah)."It can be

made of ultra first ­ Nochka in the form of a pentagram.You get on at the far points

of the pentagram and use for movement, depicting the «Hallelujah» tion of one

side of the pentagram.Would start with N, go to A, then do seven times L, go to E,

making the second time L three times, and then - U, I, A. And during this exercise,

you are going down the line, then go through the same on the second line.So, if

you are one, then you need to do this exercise five times.

And now we take five people and everyone will do the same exercises

set.Then get «Hallelujah».Mrs. K. is on the first line, Miss S. - on the next one, Frau S.

- on the third, Mrs. S. on next and Miss B. - at last.

Start all at once. You must properly calculate that, having done all, to return to

his seat.

Thus, you get out of the pentagram have a complex financial guru.If it is good

to practice this exercise, it takes emergency but a majestic view and you really can

not express the whole character of «Hallelujah».

There is, however, an opportunity to feel the same otherwise. The first is here

(see picture), the second here, and then the third, fourth, fifth, in addition, has the

sixth and seventh. All move in the direction of the arrow.

One gets the impression with the other. Standing in front of performers

should always be so that standing behind them in the middle, in order to be able to

see everything. Well, now try this: first to second, second to third, third to the fourth,

the fourth to the fifth, the fifth to the sixth, seventh to the sixth and seventh (behind

the arc) to the first. All simultaneously.

As you can see, at a slow pace, "Hallelujah" is especially sublime character.

You can still add a variation: each returning to his seat, makes it even further

this movement (arc). It should be you too embarked simultaneously. Both of these

movements must be connected to the same gestures. The result is a need to give a

"Hallelujah" is somewhat more rapid cadence. This exercise can be developed and

the distance above.

Do it, put this: take Miss S. and S. Frau, others are in the form of a pentagram.

Frau S. (A) makes the "sun", as we did yesterday, and Miss S. (B) makes quiet

"gesture moon." Both of them make a gesture, while others are moving pentagram.

It turns out the form ~ "Hallelujah" with a certain intonation.

If we then move on to the second exercise (no arcs), we have the floor chitsya

very majestic "Hallelujah."And then, moving from the first to the second of motion,

enter into it, as before, the Sun and the Moon.

And then you can go to the latest require a more rapid pace of."Hallelujah"

can be expressed in various ways. You can get a form of expression that will have

on the viewer a very serious impact. Let's try, "Hallelujah." As you can see, you have

to find the possibilities of the form, reaching down to the individual relationship to

the subject.

Now we will try to express in the same way «Evoe». Mrs. F., you can do the

same: when you take a step E, as V - stretch one hand and keep the other as if you

want something to touch: the O - hands close to your body and yourself is rectified,

with E - steps back.If you've done this, you will get the necessary form of expression.

Now look at what effect the exercise, if it's all done together. Doing this form

way, you can approach each other so closely that kasnetsya each other's hands (at

V).The more people take part in this exercise, so it will be more beautiful.

Here are sample forms Retrieving mental attitude in the gestures of sound,

forms that are obtained due to the fact that we go to the mood associated with

gestures, while maintaining the character of eurythmy.

It is from these gestures obtained from the states of mind, just as a gesture of

Eurythmy get the sound, you can see how to pass perfectly adequate mental

attitude.Miss C, we do the following ­ given to: Dr. B. takes place on the stage, fr.C.

looking at him, becomes Xia to the left toe and makes a gesture S. I think that there

can be no doubt - she mocks him.Playful irony is expressed as if by itself, if all this is

doing eurythmy correctly.

Suppose now that Miss S. wants to take the next gesture she first wants to

express an ironic perception, and then use the internal her will more actively

express playfulness.Then what she had done, should come first, and only then,

having fallen from the toe to the floor and keeping the gesture S, it has to mow the

eyes and chin.So take the first and second: the irony and then a fun playfulness.

Here you have an adequate gesture certainly one that we of finding

something.The example shows you that. I wanted to show you this example of how

things felt real.

In eurythmy only reach the proper point, when they want to represent the

artistic eurythmy when they have every opportunity to the motion of a - a gesture

of the vowel, consonant, or other movement indicated by us - feel like as you need,

no matter how necessary, we feel it is somewhat risky move or gesture.Just this

gesture will teach you to penetrate deep into things.

Now I'd like you to once again show how to use the form. Remember how

yesterday, several people were standing at the top of the stage, singing "Dance of

Peace", which were interwoven "I and Thou." Remember how the others were

grouped into four groups of three. I ask these people to rise up again and line up

the same way. We proceed as ­ following.Instead of having to go through this form

of silence, as of yesterday, today we will conduct this first form - the form of a

triangle - three times while reading the verses, such as the following:

Es keimen der Seele Wuensche (nascent desire of the soul).

Then the second stanza and the second movement, and the third verse of the

third movement.Then we come to the place where yesterday began «Ich und

Du».This «Ich und Du» should not be today «Ich und Du», but instead must also go

stanza, in which you take what we have done in the form of a "tan sample the

world."Thus,

Es keimen der Seele Wuensche, nascent desire in my heart,

Es wachsen des Willens Taten, Grow volitional acts

Es reifen des Lebens Fruechte ripen the fruit of life.

Ich fuehle mein Schicksal, I feel my fate (approaching)

Mein Schicksal findet mich. My fate is me (backing

away)

Ich fuehle meinen Stern, I feel its star, (approached)

Mein Stern findet mich. My star finds me

(stepped)

Ich fuehle meine Ziele, I feel your goals, (approached)

Meine Ziele finden mich. My goals are me

(retreating)

Meine Seele und die Welt My soul and world

Sind eines nur. The essence of just

one.

(Put your hands crosswise)

Now go to the last three stanzas of the "peace dance":

Das Leben, es wird heller um mich, life becomes brighter around me,

Das Leben, es wird schwerer fuer mich, Life is getting harder for me

Das Leben, es wird reicher in mir. Life becomes

richer in me.

As you can see, you get so connected whole, which includes not only the

scheme to exercise «Ich und Du», etc., which, however, is also not a dry form, but

the whole building is in stanzas although not perfect, shows that these forms can

be used razhnenie We do this pack again.Now, you have to be more clear, you will

see that it is fully balanced form, and what is contained in these verses.

However, for this example, I have shown you that between eurythmy and

ordinary language there is a true deep inner connection.

I tried - it was, of course, pale attempt that was just to give an example - I was

trying to answer the question of how some of the Mysteries, which in fact certainly

practiced the art of movement that we want to resume Eurhythmy how, in some ryh

places Mysteries arose poetry?There was not a first language, not a form of poetic

work, no - it was the first oschu ­ schenie, pledged in what was then a man, there

was a sense of movement, gesture and form.And the form of a gesture displays a

form of a poem. Thus, eurythmy form of movement and gesture preceded the

formation of the poem.

This is what, in fact, points to the inner connection between the earth and do

eurhythmy language.Evritmist should have known sen stvom, which he will tell you

that you can not actually evritmizirovat each milking poem.You see, from the

poems that are all there and there, 99% is not quite art. In the best case, is 1%. The

history of literature is not swollen would be if she had to deal only with the fact that

this is poetry .. Real poetry is constantly soaking up a eurythmy and folded so that

those who engaged in poetic creativity to produce first in his etheric body

eurythmy appropriate movements and gestures, as if their physical body lo

existence only to translate the language of sounds eurythmy laws and eurythmy

movement.Only in this way may present a poem.

This process should not, of course, be reflected in the minds of intelligent

nom.One can thus say that currently su ­ exist poets who dance in his etheric body

before a poetic form.And in the old days were poets such as Schiller in his poems

are really beautiful (I am not referring to those works of Schiller's poems, which also

must be discarded, and the ones that BU \ YAYUTSYA this poetic creativity).Goethe,

for example, in most of his works is such that they are being felt eurythmy gestures.

So, there are a number of poets, about which you can say is that they made it there

unconsciously. It is essentially unconscious.

By the nature and type of the action that this poem has on the body, evritmist

should feel, whether it be a poem full of eurythmy or not. In other words, it shows

that pony ­ May I as a poet evritmista or not?Is there a poet is what I want to

express in the form or not? When you feel so, then you install some swarm internal

relation to the poem, which you want evritmizirovat.

Do not, of course, to bring the matter to the extreme. On the basis of

anthroposophy should never be a fanatic, you can not go to extremes. One can not,

for example, require that evritmizirovalis only mystery-verse ­ creations or those

that are modeled on mysteriological art.But at the same time, one can not resist the

temptation to portray eurythmy, say, a poem Vildenbruha, is not it? All these are

things to torye evritmist must surely feel, otherwise it will not penetrate truly the

essence of eurythmy.

From the above you can understand this deep inner relationship between

eurythmy and speech. Now I would like to ask Miss S. proevrit minimize the

following:

Mein Freund, kannst du es nicht lassen,

Mir das Traurige immer wieder

In die Seele zu rufen?

My friend, can not you stop

Calling all over the sad images

Before my soul?

Do this by using a simple wave-like motion. Saying, "My friend, do not you ...

"Start up the pace significantly so that it is clear that after the word« lassen »(to

stop, to leave) the rate of acceleration ren.And the whole second half, perform

significantly accelerated pace. Do it again. Now do the opposite, evritmpziruya the

following sentence:

Was seh 'ich? Es ist der Morgensonne Glanz!

What do I see? This - the morning sun shine!

After the "I" that you have done at a fast pace, try the essential but slow it

down.We have thus transition from slow to rapidly mu rate in the first example and

the transition from slow to fast - in the second.

If, as in the first example of something expressing the will, the desire to

remove anything, expressed a desire, "I do not want it to all be invoked again in

front of my spiritual vision", then it is necessary to make the transition from slow to

fast tempo .

If, however, in the words expressed that some external event had a impact on

someone, so that there was a need to focus their attention on something, if so, how

in the second sentence, it comes to perception, then it is necessary to move from

the accelerated the rate of slow.

Do you feel that these two transitions rate appears again that, on the one

hand, in a sense, can be called "making the will in motion" and, on the other -

"making sense of perception or in motion." And if you want to express some

movement poem, then you need to examine it in order to understand whether the

poem is a char ter will, the confrontation with something deviation of something

from him, or, on the contrary, self-giving, reverence, awe.

Lecture Fourteen

Dornach, July 11, 1924.

Articulation of words. Internal division of the stanzas

Moi dear friends!

TO clarify THE internal structure of the currently spoken speech, we have to

divide it into words, so divide, it follows from thinking - on the subject, supplement,

etc., and in the same way we have to pay attention to it and eurythmy image.It goes

without saying that this is necessary to avoid any kind of pedantry, and teaching

evrit mission, we have to develop, should not degenerate as in the present rently

degenerates teaching of grammar in schools.Evritmist dollars wives, however,

relate consciously to the way he portrays every single word, every single noun, as

they are given in the various aspects of thought are in a holistic context veniya

revelation of the human being in question.Thus, while we must first make a

distinction between words that express the quality of a thing, and those words that

express action. Words that express the properties of things, we express our

eurythmy that detain his move to the point where you need to open some property,

and make a gesture to the dispute ­ Coyne position, that is, do it by being alone.In

contrast, when we express the state of mind, which in ordinary speech is

transmitted "word in Time" - a verb, you should make a gesture in motion. That is,

the gesture made by a person in motion, depicts a verb, that is the word for the

movement.

Now, however, also: what is expressed "word in Time" - scrap verbs can be

divided into, in terms of passive and active form or expressing continuing (long-

term) activity.Instant activity sequences or instant passive state, persisting figure

values and lasting passive state - accordingly may differ eurythmy verbs of motion

in the image ...Passive activity, passive attitude we express the fact that making a

gesture, we stand forward, but not backward. Any kind of activity we are expressed

­ eat that step back.All that is an ongoing activity or ongoing long-term passive, we

express the fact that we do it by going to the right or to the left, as if passing on the

go.

We have the opportunity to really make a verb in this way is an expression that

actually causes the viewer experience that this verb is.

Let's try what I said to apply to the image of a little poem in which he tried to

express these three forms of internal relations, as indicated by a verb.Let's go verbs,

we conclude in this little poem:

Konnt 'schlafen nicht.

Could not sleep.

Sleep is action, long, at least, in healthy people. We need, therefore, to express

the action of the ongoing internal.

Konnt 'traeumen nicht.

I could not dream.

At the word «traeumen (dream)" can ask ourselves - if evritmizirovanii poem

should always make training - "dreaming" refers, of course, is also something going

on, but at the same time, and on light passive (Erleiden). We are trying, so the

passing of a link with the performance ahead. This means that we are not straight

forward, and pass obliquely, that is, in some ways go diagonally ­ there.So you

express the word «traeumen (dream)."Then further goes like this:

Konnt 'schlafen nicht, I could not sleep.

Konnt 'traeumen nicht, I could not dream,

Da hoert 'ich drauss' Then I heard the outside

Wie das Eis zerbricht. How to break the ice.

«Hoert (heard)" is a verb again."Heard" - this is from ­ distinctly passive,

passive attitude-performance forward."How to break the ice" - here you can

ponder: what does it say relative ­ but the ice?You can ask yourself the question:

what is it? Passive or long-term condition? Let us feel good if we have a word, we

come to what we have in this case to deal with a prolonged state of expressing,

however, some activity, something active, because that circumstance ­ in that

breaks the ice, is an occasion to what we hear.It is, therefore, opposed to mere

passive attitude. It's not even something aggressive towards us. We say "zerbricht

(broken)," this crack of breaking the ice there is something going on.We express

this by saying that back down diagonally backward.

Then there is one line without a verb. Used it only auxiliary Chapter goal (war),

on which we will not stop.

'S war, als ob aus der Ferne, It was exactly what it is (something) from a

distance

Ob es sich nahete, was approaching,

Wehete, lueftete, breathed, muzzle,

Und in den Lueften es And whiff

Atmete, dueftete, breathe, fragrant.

«Nahete, wehete, lueftete» - all are expressions of the ongoing relationship in

which, however, is partially or activities.We, therefore, express «wehete, lueftete»

diagonally stepping back (sm.shemu), «und den Lueften es» - there is no verb,

«atmete, dueftete» - the same way. as in «wehete, lufetete».If in doing so we must

step back, then step back further and further (see diagram).

Ueber die Felder her through the field,

Talherab, berghinaf: Down in the valley, up the mountains.

Wenn das der Fruehling waer But what if it's spring

In vollem Lauf?! In full swing!

Now do the entire poem with the notation of verbs that I have.

Konnt 'schlafen nicht,

Konnt 'traeumen nicht,

Da hoert 'ich drauss

Wie das Eis zerbricht,

'S war als ob aus der Ferne,

Ob es sich nahete,

Wehete, lueftete,

Und in den Lueften es

Almete, dueftete.

Ueber die Felder her,

Talherab, berghinauft

Wenn das der Fruehling waer

In vollem Lauf?!

Could not sleep

I could not dream (nap)

Then I heard

How to break the ice on the outside.

It was just something from afar

As if approached,

Breathed, the muzzle

And a whiff

Breathing, fragrant.

Through the fields,

Down in the valley, up to the mountains,

But what if it's spring in full swing!

Now let us turn to the designation of nouns. Here we first of all have those

nouns that have an impression on the senses in everyday life are called concrete

objects.

Concrete and abstract - this is not it, something very uncertain tion,

depending on the spiritual make-up man.Hegel, for example, arguing against the

usual understanding of the word "concrete" and "abstract", said: "The Laundress -

something very abstract, and wisdom - something very specific." After all, it really is,

if anyone feels its domestic stared Institute wisdom in all its concreteness, and may

it be as a way to feel completely abstract being a laundress.For a person to whom

wisdom of velocity is something concrete, "laundress" is an something that really

only consider that this can only imagine that after all has no reality.A person living

in wisdom - action flax, but the laundress - has no reality.

Therefore it is better to say: things that produce sensory impressions tion,

indicated by the words that we express the angular movements going back.Thus,

all things sensual - angular motion tion, going backwards.

On the contrary, the fact that in real life is called abstract, that is something

that has no impression on the senses, and is experienced in the shower, for

example, the wisdom, the power of thought, genius, imagination and a great

number of the like - all of this is expressed rounded movements ( arcs) with a

performance ahead.

So, we can say: "spiritually contemplative." In this case, we doubly thus

described what can be expressed noun (in the earlier guidance, Dr. Steiner has

shown the movements that have de lat, when expressed in the words of the

spiritual and essential, for example.God, Zeus, Dionysus, and so on. In these cases,

it is necessary to make rounded back).

Nouns can also be something that means a state, for example, knowledge,

beauty, size and so on.The states are accepted in this case for the items. We express

their movements opposed to those that are obvious to sense objects. We do this in

a corner, moving forward.

Now there is something that expresses pure soul remaining in the shower.

Then we rounded the movement do little more complicated way.

What remains in the shower. We get the opportunity to express this is that a

sincere, such as desire, suffering, compassion, blah ­ gozhelatelnost and so on.Thus,

we have to say: if the aid soup corner, going forward, we express condition

manifested by these external objects.And all that is held subject to the soul, we

denote by a wavy line.

The above methods you get a movement that, in the end, of course cause a

modulation in the viewer the feeling that he will suffer those internal grounds that

it is in certain sound combinations give rise to certain states of the soul, the state of

sensory objects, etc.

In eurythmy is no need to pay attention to all the parts of speech. So, for

example, hardly need to reckon with what is called the pronoun mi.For Eurhythmy

they are adjectives and should therefore be expressed with gestures that are made

by standing still.The names of the numerals must also do as adjectives. From the

viewpoint Eurhythmy these include not only as to any property.

On the contrary, a special significance for eurythmy images are between

Dometius, such as "ah" or oh ".They give the opportunity to make known to the

eurythmy of the beauty and grace. All interjection expressing the fact that the case

etsya or inclination of the body, or a graceful leap, or a light pryzhochek.

Regarding the jump, I must once again draw attention to the fact that it must

be done by jumping on the toe, and then put your foot on the heel. Each jump,

made by the whole foot, it is something unhealthy. It should be noted especially

myself. Due to this fact should again be noted that it is necessary to pay a lot of

attention (and it was not done sufficiently, despite the fact that we have always

strongly emphasized) the fact that the jump or small pryzhochek was made not

only as the toe and even after you get the whole foot.

Here we come to the section, my dear friends, who probably will be

challenged with a materialistic point of view. This section, however, is ex-tremely

important for Eurythmy and, moreover, in all its ways - for pedal gogiki, art and

eurythmy therapy.The case concerns the fact that all the movements of which are

made in relation to these three areas of need is accompanied by what is called

grace.And if eurythmy eurythmy movement or teaching somewhere, at least in the

corner, not hunkering grace (I mean, of course, "lurk" spiritually), such a motion or

teaching can not be considered legitimate. It is necessary that we had such a

feeling: every evritmizirovanie as a pedagogical and in artistic ways, should be such

that Grace could not be ashamed to be present at it and look at it.

And from this it follows that with every kind of awkward to fight for eurythmy

images in the most energetic manner. The most are more uncomfortable, however,

jumps on the whole foot. Jumping to do, as mentioned above, on the toe. In

pedagogical eurythmy grace leads to the all-round development of children. And

the teacher Eurhythmy us should pay attention to the fact that it was designed to

achieve the children of wealth spiritual experiences.

All the artwork in the Eurythmy is such that gains access to the beauty only

through grace. In the curative education - this is hard to believe, but it is definitely

true - this is the case, that should grace by at ­ necks as if only to listen, eavesdrop,

without even being visible.It should at least listen because everything in eurythmy

therapy is not done gracefully, causes stiffness of the etheric body, that is not what

is obtained, which usually want to achieve.

Miss C, do something for us eurythmy with a graceful inclination of the body.

You can do the movements perfectly in line with their sensations ­ tions.And do

while also graceful leap, say, in the third line, when I read it, try to do at the first line

of clever, brilliantly thought-out slopes. I'm going to read you three lines, you

proevritmiziruyte them in relation shenii vowels and do with the movements of

which I spoke.

«Der Hund macht wau-wau!»

The dog does wow, wow!

Try to get a slope that would transmit "wow, wow"

«Die Katze macht miau-miau!»

The cat does meow, meow!

And now, on the third line you do three graceful leap, the third jump will be

accompanied by a graceful inclination of the body: «Der Hahn macht kikeriki!»

Monkey doodle-do!

These are interjections.

Then, there are prepositions (Verhaeltnisswoerter - words expressing of

use).We must, of course, to know these things, we must understand that these

words (before logging) express the relationships between things, such as: aus

(from), ausser (except), bei (y), entgegen (front), mit (s) nach (after), naechst (wake),

nebst (together), von (from), zu (k).All these relative words, prepositions, which, as

of voryat, manage dative - always stands behind them dative pas Dej, the so-called

third case, but there are other prepositions.All prepositions express the fact that

the body and the head tilted to the side.

But here it is necessary to make a distinction. For those of prepositions, which

are required dative, the body should be easily tilted forward and to the side

(diagonally if) the right and left.At the same time, with the prepositions governing

the accusative case, the case should be perfectly straight tilt to the left or to the

right. When the logs before requiring a genitive, slightly tilt the body back and to

the side.

These differences need to do when prepositions. Suppose we want to express

prepositions in the next little poem. I'll Lane N. Frey express prepositions

appropriately when I name them:

«Was mag es bedeuten?»

What could this mean?

This is a question we had a spiral question that in this case you can apply.

Was mag es bedeuten?

Mein Herz pocht so geschwind,

Die Glocken sie laeuten

Im Morgenwind

(Tilt forward direction)

What does this mean?

My heart is beating so fast

The bells are ringing

In the morning wind.

(Tilt forward direction)

So excuse is expressed, and when you move your head along the axis of the

body, it is an expression for the unions, that is, the words that are used to connect:

and, but, etc.

Also today, I wanted to let you know how evritmizirovat stihotvo rhenium

according to their own form should in fact that our course was as complete as

possible, and then have to add another explanation as evritmizirovat respectively

own form of a poem.And here I am, first of all, I'll show you how you should handle

the stanza, when both the form and the internal division of their constantly

repeated. Suppose we have a stanza of four lines. This stanza of four lines we can

construct the following:

There are, of course, and other construction. I'm not saying that everyone is

building F of four lines should be built that way, but it can be constructed so.

Here we are primarily evritmista which is here (I). He de barks out this form ...In

it, he tries to express the first row. Second evritmist here is (II) and makes this

form ...He's trying to get used to this form ­ th and express it in second place.He's

trying to learn his second stro ­ Coy and at the same time the string is pronounced,

it is assimilated with the movement.Third evritmist is here (III) and then how to

pronounce his line, mastering this movement (forward).Fourth evritmist does

during the fourth line is the motion (in the foreground). Next, we see that the

rhyme in the poem are arranged so that rhyme with the first and third rows, and

then the second and fourth. This we express the fact that, by making the first line,

we stop at a gesture I. Just have to do with the gesture and the one I evritmist,

which makes the third row.Making the second line remains navlivaetsya in a

gesture of U, then so does the fourth.

I wish to point out to you only on the principle of eurythmy forms, based on

the shape of the poem. And now stand four. By ­ course you can take a look at what

is drawn on the board.You remember it immediately. And I'm going to read you a

poem that meets this form. You will be clear how to build a form.In this case, of

course you need to understand that it is impossible to form shapes with various

punditry or quirks of thoughts or feelings, and the formation of the forms you need

primo Cach closely to what really is in the text, taking into account that all that has

been said by me.

First of all, you'll do just the form, but when you play around properly, you

should try to make these forms and also the fact that today I spoke on grammar. It

may also be logged in shape. It should not, however, think that when we do move

forward, we must do ten steps. You only mention this in advance and it will even

extremely beautiful, if this advance will only be scheduled. I have a burden so at

first only one difficulty - SDE lat only the form, leaving aside all the grammatical

features of the poems of creation.Then, although it is relatively difficult, but with

appropriate yn ­ razhnenii it is possible to specify and also all that grammar that we

have discussed today.The poem reads:

Scheiden

Was mag es bedeuted?

Mein Herz pocht so geschwind,

Die Glocken, sie laeuten

In Morgenwind.

Was mag es bedeutea?

Mein Herz ist wund:

Die Glocken, sie lauten

Die Abschiedsstund.

Die Glocken, sie klagen,

Mein Herz tut mir weh,

Die Stund hat geschlagen:

Ade! Ade!

Die Stund hat geschlagen,

Das Herz klopft so sehr,

Ich sitz in die Wagen

Komm nimmer mehr!

Parting

What could this mean?

My heart is beating so fast

Bells are ringing

At the morning wind.

What could this mean?

In my heart wound

Bells are ringing

Hour of separation.

Bells complain

My heart hurts,

The hour had struck.

Goodbye... Goodbye...

The hour had struck,

My heart beats so hard

I'm sitting in the wagon,

Do not ever come back!

So, that's how it is necessary to construct a poem. Tomorrow, we will discuss ­

Dim the construction of a few more details.Today, I would like to say

following.Evritmist must strive constantly prompting a determined ­ divided mental

attitude and become susceptible to feeling a sense of fulfillment and expressive

gestures.And here it may be that in order to enter into this subtle feeling through

meditation concerning the mysteries of the human organization. This can be

achieved if you are with full penetration, strong domestic prochuvstvovaniem that

lies in these words, to meditate, but to that on which you meditate, it would be

simple words or abstract concepts, and that is in you really happened that lies in

these words. This way you will achieve what exactly what I'm talking about.

Ich suche im Innern

Der schaffenden Kraefte Wirken,

Der schaffenden Maechte Leben.

Es sagt mir

Der Erde Schweremacht

Durch meiner Fuesse Wort,

Es sagt mir

Der Luefte Formgewalt

urch meiner Haende Singen,

Es sagt mir

Des Himmels Lichteskraft

Durch meines Hauptes Sinnen,

ie die Welt im Menschen

Spricht, singt, sinnt.

I'm looking for inside

Creative forces action

Creative forces of life.

I said

Earth's gravity power

Through my feet word

I said

Forms of air power

Singing my hands,

I said

Heavenly light force

In the thoughts of my head,

As the world of man

Speaks, sings, thinks.

If you have done this meditation, you will find that you can say about myself:

You just woke up in the sky Eurythmy from the world of sleep. And always, just like

waking up, you go from night to day, just be you, arousing in itself is the mood to

go and eurythmy.

Lecture Fifteen

Dornach, July 12 1924

The whole body should be the soul in eurythmy performance

My dear friends!

Today, it will be necessary to complete this course. And it goes without saying

that it could be identified only some significant areas, ka ­ Eurythmy saving

HIV.Much remains undiscussed. It remains for the next cycle. It seemed to me that

instead of giving encyclopedic overview of the entire Eurhythmy better develop

some basic directions arising from the substance itself eurythmy.

The problem lies in the fact that it is this inner creativity eurythmy gesture

strengthened more and more in each evritmiste, so more and more growing real

understanding of eurythmy.

Today I would like to discuss as a kind of add-two sounds: G (Russian [g]), and

W (Russian [a]).The letter G is not in our modern guage or, say, in the language

used in the Europe of the importance that it once had in the old days.It is therefore,

to a greater or lesser degree, and fell out of our discussions. G, where the sound is

produced, showing the internal self-reinforcing (Sich-Befestigen), strengthening

both in terms of mental strength, so mainly in respect of all that is natural (natural)

firming spread varies in person.It is, therefore, a sound that encompasses some

human being, but a human being who, as it were internally filled with nature.That is

the G.

Maybe we will do Fraulein V. G, so that we can also see how much the gesture

G has the ability to transmit internal reinforcement.Thus, the removal of all external

and internal organization of the whole gives a gesture G.

And now we come to the amazing sound of the sound of W. W - this is the

sound, which in ancient languages and, in particular, in the languages of the

eastern Hsia rarely meets.This is a sound that becomes a necessity of the human

soul, when she was not used to have a hard shell (shelter), but on the contrary, feels

the need to wander and instead settled home, which can to some extent feel the

sound in, instead of lasting shelter wants to have a tent or what -or any other -

wood or other protective outer cover.Sound denoting extending to some extent

mobile shell manifests itself in W.

Because when W is always naturally have the feeling that something you carry

on yourself, just some all updated protection (cover).And all that roams where the

creature is on the move - all of this is felt in the sound ke W. Eager stream - it is

actually something that is a strongly pronounced W. Quiet splashing water -

something that shows weak W. I drew so your attention to the fact that you need to

have a sense of W. It is also remarkable that when one way or another would be

forced into paying attention to this well-known, say the sound of W, then it is

always in an entirely naturally tends to repeat the sound.Man exists sen himself

compelled to mention W, use it again.Similarly, to say something prevents: «es

wallet (boils)," I want to say: «es wallet und woget (worried)», «es weht und windet

(blowing and blowing)», «es wirkt und webt (weaves and spins) "and so forth.In

short, no matter what the sound is not as naturally flow into the alliteration, like

when they say W. Alliteration can happen when using other sounds, but for any

other sound alliteration does not feel as natural as the sound of W.

Maybe we will do a Miss S. W. sound you can see, it is the need for a gesture

that made the move.It is, therefore, something which results in movement of the

human being. Make us without expressing even more alliteration - we will do it

later - only allite radio W, just moving around, so that at all times acted W. As said,

the alliteration is created and when other sounds, but note how little touches you

alliteration of other sounds, compared with alliteration W. So:

Alas!

The ruling God,

The bitter fate coming.

I wandered

Summers and winters

Sixty out of the country

Where I picked up

Wehe nun,

Waltender Gott,

Wehgeschir naht

Ich wallete

Der Sommer und Winter

Sechzig ausser Landes,

Wo man mich immer scharte

There appears another alliteration:

In die Schar der Schuetzen,

Doch vor keiner Burg

Man den Tod mir brachte

In the crowd of shooters

But not before some strength

I did not bring death.

Next is a very strong alliteration, but in the sound of M. You will feel it too, do

not so much feel like the alliteration in the sound of W.

Nun soll mein eigenes Kind And now my own child

Mich mit dem Schwerte hauen, hit me with a sword,

Morden mich mit der Mordaxt! Battle ax to kill me!

Oder soll ich zum Moerder werden? Or I'll have to make a

killer?

You feel that all alliteration acts as a matter of course when the alliterative W.

And she always acts as something recovering from W even where the acts different

sound.

As a form of poetic alliteration, of course, justified in its very origins, justified

where there is the most vivid sense of sound W. And we need to feel

ambiguous.First, that alliteration, expressed ­ panying the initial letters of the

rhyme, is the need to travel back to ancient European times.Jordan Wilhelm

(Wilhelm Jordan) attempted to restore Xia alliteration, and he was able to use it

with a certain inner conviction.At present, however, she felt in the north-German

dialect as something not quite natural. But if there is little ability to be transported

to the old days, it will still have its effect. That little excerpt that I have about ­

person is taken from a song Hildebrand.Hildebrand, who was a long time away

from home, met on the way back to his son, Hadubranda, and entered into an

argument with him. And that is a related argument, expressed in that in those days

vividly feel, alliterative form.

We can express eurythmy alliteration that put evritmistov in a circle, and as

alliteration, if not all, then essentially related to the W, or, at least, with the

consonants, we propose to allocate alliteration to make her accent so evritmistam

that go in a circle.Since alliteration in the main is not to vowel sounds, we will offer

to represent vowels to those who will be inside the circle.

Let us now try to portray eurythmy alliteration read by my passage. Stand in a

circle. For the image of vowels, three persons are becoming Xia middle of the circle.

Alliteration is to be expressed in that at least the appearance of a new

alliterative sound, it expresses the next person, and the preceding present

reiterates its previous sound.Vowels immediately following consonant alliteration,

do those who stand in a circle. Others voice ­ ITATION accompanying, do those

who are in the center.Try to clear quite slow shutter speed to do the read me,

moving on the outer circle. Allitiriruyuschy consonant and immediately following

vowel goes around from one to another.

You see, therefore, that alliteration brings movement and creates a kind of

isolation (Geschlossenheit), unity and integrity.

Well, now, here are some things that can make our own organization

essentially serve as eurythmy. Here it is necessary, first of all, to learn to really feel

the difference of which are for eurythmy standing still and walking.

Standing always shows that we have something to reflect that we are the

image of something.Boating also shows that we ourselves want to be

something.So, if you are preparing for any poem evrit ­ mizirovaniya, you must first

get a feel for what is more important to point out something or vividly portray the

essence of something.In line with this it turns out, it is necessary to go to standing

or vice versa, to walking.Standing is used to a lesser extent than walking because

poetry as typical vividly express what something is (what it is, not what something

means something).It is therefore important to know how important the general

human ­ some body in connection with the universe being.Person's feet represent

Earth ­ Liu, because fully adapted to the Earth.Thus, if found anywhere weight, the

severity of the Earth (Erdenschwere) - Earth's gravity and is found in almost all

passive, experiencing a man - then the problem will be how to develop eurythmy

mainly by special grace of feet and legs.

Hands and arms signify peace. Spiritual because the most important of what is

expressed in eurythmy. Therefore Eurhythmy must lead the movement of arms and

hands. Then to turn to the spiritual. However spirit still be especially pronounced in

the transition from one sound to another. In the speech, for example, the spiritual is

expressed in irony, sarcasm, in all that comes from the human "spirit» («Spirit»),

that a man gives to himself precisely because of the fact that he - the spirit (Geist),

he is witty ( geistreich) in the best sense of the word.All this should be expressed by

the head, because the head is for the spirit of something very significant.

It should be perfectly aware of all this, and then get a proper picture. It is

particularly important that the head was used to perfection with his organization in

various ways.

Miss C, turn-ka your head to the right. Turning the head of eg can always

express the "I want", of course, these two words, and all what is the concept of "I

want".

Now turn your head to the left, "I feel." Thus, in all cases where the poem want

to express, "I feel," head turned out to left.

Tilt your head to the right. When you tilt your head so, then this means that ­

chaet: "I do not want" (to the right, face forward).Tilt it to the left as: "I do not feel

like I do not understand something, I do not feel I do not feel anything."

Now put your head up and tilt it. This gesture you will be able to feel and

understand that it means the when do the following: Frau S., stand in front of Miss

C, and it will be in profile and will make such a gesture. Now imagine that Frau S.

says, "The gods will to invest in the human heart." And Miss S. responds to this

eurythmy The methods ­ bong: "You're too smart, I do not understand you."At

these words, you are making this gesture, but clearly. In various combinations, it is

very common, countless times. It means that people just settle in itself due to the

fact that he could not understand anything.

Then I would like to mention the following: of the 12 and gestures that we

have made in connection with the signs of the zodiac and 7 and gestures, which

were due to the circular motion of the planets, we can take the necessary gestures

and use them to conduct other . For example, you can specify that instead of what

we did yesterday in the final rhyme, you can do this and then it will be felt: Miss B.

makes the sign of Leo, and Frau S. - the sign of Aquarius.Now try proevritmizirovat

one small STI ­ hotvorenie, which I am about to say.When hard-sounding rhymes,

that is, those that result in high sound, make the sign of Leo, and with weak rhymes

that slide, do not have high-end sound and low sound, make the sign of Aquarius.

Evritmiziruyte standing in one place, and if you want, by vowel sounds, and in the

end make this gesture, so we can see what effect it has in connection with the

rhyme.

Es rauschet das Baechlein ueber Gestein -

Ein Weidenbaum drueber gebogen,

Drauf sitzt des Muellers Bueblein klein,

Im Schosse ein kleines Zitherlein,

Die Fuesschen bespuelt von den Wogen.

Es kommt ein Mann des Wegs zu gehn,

Er bleibt so still so schweigsam stehn,

Sieht zu dem sinnigen Knabea:

«Hatt 'auch einmal ein Bueblein klein,

War auch so still und auch so fein;

Das liegt nun draussen, begrabea »

Babbling brook on the pebbles,

Willow leaned over him,

On it sits a small little boy miller

On lap small zither,

Foot is washed by waves.

This road takes one person

Quietly, he stops, stands silently,

Looks at the clever boy.

I was also a little boy,

He was also the same in the same quiet and gentle

Now lies buried there.

Y ou see, therefore, that the sign of the zodiac can be learned rhymes.I draw

your attention to the ton. you can also enjoy the varied and these gestures, and you

will feel like you are in a growing confidence in the development of eurythmy

gestures. Then you can not take an arbitrary gesture, but you have to look for it

adequately in the structure of the verse.

Now I would like to make a few evritmistov different kinds of gestures.Take

the following: the first is, with your feet together and your hands about pulling

horizontally to the sides.

The second is a few feet apart and keep your hands where they are located

approximately at the height of the larynx.

Third spreads her legs a few more in the hand and raises his arms so that their

connecting line passed under the heart.

Fourth puts legs even wider, more broadly, holding his hands high above his

head (from the hands to the feet to walk a straight vertical line).

The fifth leg raises, about how a third, and raises his hands so that the line

joining them, passed over his head.

This line passes through the larynx, at first completely horizontal but, at the

fourth high over his head, while the fifth is just in your head.Memorize all these

gestures.

Sixth keep both feet together, arms stretched perpendicular to the top. Now

mind you these gestures at the following:

1. Ich denke die Rede I Think it

2. Ich rede I say

3. Ich habe geredet I said,

14. Ich suche mich im Geiste I'm looking for myself in the spirit of

(Meinen geistigen Ursprung) (My spiritual source)

5. Ich fuehle mich in mir I feel myself

{0}6.{/0} {1} {/1} Ich bin auf dem I'm

geistigen Wege on the spiritual path

7. Ich bin auf dem Weg On the Road

zum Geiste (zu mir) Spirit (to himself)

Now, about that. Now try to move on from one ­ Annex to the other.Miss B.,

become by turns in front of each of the evritmiziruyuschih and try to feel a desire to

express that. I say that you make a gesture that evritmiziruyuschey that stands

before you.So, first of all, you are the very first:

"I think it» (Ich denke die Rede) -

Turning then to the next and stopping in front of her:

Ich rede

Ich habe geredet

Ich suche mich im Geiste

Ich fuehle mich in mir

Ich bin auf dem Geistwege.

Here, these are the gestures alone.

If eurythmy teach adults and begin with, give them to do these exercises, they

are very well get used to eurythmy.

Also, if you do these exercises one after the other several times, then it

belongs to the most harmonizing the soul and healing eurythmy gestures. If

people are so inherently unscrewed in his heart that this is reflected in the body - in

a variety of diseases of metabolism, these gestures are, in all cases excellent healing

eurythmy exercise.

In conclusion, I would like my dear friends, that you mentally noted that only

then can you really well Eurhythmy lized, when there is a strong will to start

evritmizirovat only after a thorough analysis of what is supposed to fulfill.So, take

some poem and pay attention primarily on what chapters ­ ITATION sounds are in

this poem.If this will find that in THIS poem, which should express admiration of the

poet, there is a lot of sounds And then you can say to yourself, this poem is well-

suited for evritmizirovaniya because the sound of A expresses admiration.The poet

himself felt that for the expression of feelings of admiration special importance

belongs to the sound of A. And in eurythmy gesture emphasis should be placed on

it to identify precisely the sound A. When evritmizirovanii more important to raise

your soul, audio content, because the semantic content - is in fact prose.And more

than any poem has the property to influence their semantic content, the less it is a

poem. And, conversely, the more some poem affects their sound content, the more

likely it is a poem.And the more impressive poem and operates its audio content,

the more it really is poetry.

Therefore evritmist should not come from the prosaic content, but must, on

the contrary, to go into the content of the sound. Need to say to yourself: if the

poem there is a large amount of A, then it must be evritmizirovat as a poem,

imbued with a sense of admiration, emerald tion.All of this points to the need for us

to always pay attention to the fact that it is associated with the language. And then

the poem must seek out those related to language features, which I pointed out.

Thus, it is necessary to determine whether there is anything specific in a poem or

something abstract, where it is, or has any other relationship. I want, therefore, to

say that we must first go through wholly stihotvo renie and, moreover, according to

how it is built it, and even after his evritmizirovat.

When evritmizirovanii you should first of all try to express this in figures of the

movement, feeling and character.This is what evritmist should pay attention to.

The movement should feel like going on the basis of color and gesture. The

movement depicted. The movement should be done as evritmist. But when you are

shrouded shlyaerom (shlyaer - fine for opens, used to emphasize the spatial

eurythmy movement.. - Ed.), And also (and especially) if they do not we wrapped,

we have to imagine how the aura that expressed in shlyaere (during this lecture

Rudolf Steiner uses as an illustration of figures carved from wood.. - Ed.).And only

when we think it will provide, we will achieve the necessary grace. Look, for

example, L (eurythmy figure).Imagine it and you will see that it itself is already in

motion. Everything else that he can give in the form of sensitivity ­ Islands, feelings

- all of this is that the aura around the hands is in the form: here is wider at the top,

then narrowed, hangs down.Imagine that your hands express your feeling,

expressing the fact that something like this auric like hanging with you, as a

smooth dress to the bottom of several ­ to expand.Such feeling must have. We

must feel as evritmist dressed and breezed in this way.

And special importance is the character. It would be really stretching out his

hands experience is a kind of feeling that the muscles are tense.In all the places

where the character is designated a special color, it would have strained muscles.

Here it should be, of course, DO.So, for example, there would have to put their feet

so as to feel the muscle tension, and this is exactly where it came from (the color) is

drawn. Poe tomu-to these figures and are configured.

When you first learn the individual sounds, the experience so much go down

in your organization, that when working on a poem you through the entire poem

will be felt: this is, for example, set up at the sound of L, or the sound of B. And then,

based on the sound, you'll be able to evritmizirovat entire poem.

It is without a doubt something that you should pay special attention when

you ask a people to teach eurythmy. In pedagogical eurythmy goal is, of course, is

to do with the body eurythmy things that would impact on the soul and propelled

her forward in the moral, cognitive terms and in respect of feelings.

In the art of eurythmy need to shower as she eV ritmiziruet, it has learned to

live in the body.Thus, these movements, these gestures have to be completely

natural. We have to have the feeling that when it comes to this artistic motif of

artistic content, that no other sign can not be done for the art may perform this

content.

Should certainly pay attention to the fact that the study evrit mission actually

due to the fact that the human body becomes different.And every image in

Eurythmy is imperfect, if the person is still struggling with something that is still in

his body "body" and does not become a soul. When eurythmy image the entire

body should be the soul.

This, you see, and is the biggest difference that must feel when, say, any group

evritmistov by a lot of it developed the program proceeds to its image.You can not

Narada ­ vatsya as it all fresh, even if the soul has to contend with the form.If the

hand is not moving, but only as a rush and appear even to the soul with something

heavy, as if they were falling to the ground instead of move away, or if they are cut,

rather than "to push, or just hang out. All this is so fresh, and you feel the joy when I

go on a trip eshsya.

And the trip covers a dozen cities. This is perhaps not yet happened, but it

could have been. And in all of the two dozen cities deployment ­ Vaeth all the same

program.And then evritmisty return. They demonstrated, so its program two dozen

times.And those now suppose as Mrs. Steiner could not immediately work out a

new program we are, what in fact is quite natural, then this program is that six

weeks ago was still fresh in the child's condition, placed here again, after the two

had played a dozen times .Here again is the heart rejoices, but for a different

reason: everything was as it were a matter of course, and it is immediately evident.

Evritmisty after seeing the new city, meet new conditions ­ ditions, have developed

the well-known domestic growth, due to the fact that they had received from the

outside world.Their movements are therefore free. And then comes a feeling of joy

and lively talk only: ah, if they lost even fifty times, how would it then was perfect!

All of these things should be understood. What I'm talking to you now, will

assess each stage artistic figure. This feature stseniches cue figure and does not

think that it is possible to act before he proig ral her fifty times!Only fifty-first

playing time, he thinks he can really play this role, because only then it was his

taken for granted. Here it must be constantly borne in mind, my dear friends. In

addition, you want to represent, it is necessary first of all to feel so much love that

you can not give up for anything from the role, and then find boring that conveys

the artist can only external publications ­ ka.Because it is in the art of special

importance is the circumstance ­ NESS, so that we focus on is definitely something

artistic that we get away from it all fresh and new.I, for example, was once possible ­

Property in the same area where I live, watch every night the same thing a summer

theater staged fifty times in a row.I was smot ­ ret it every night and let her work on

me.And it turned out that I was bored only fifth presentation. When I watched it

five ­ tens first time, I was no longer bored.Although the presentation in the

summer theater was very mediocre, but still under the supervision of imperfect

could learn so much, so very much, that from this procedure, which is considered

by many to be a very strange, I acquired rel something important for the entire

life.At the same time, it was a thing that I could not like it, it did not interest me. It

was the "honor" Eudermana. I can not stand her, but I looked at it 50 times, and,

moreover, in a mediocre performance, in order to unconsciously reach all parts

survive the all-clear from the astral body, to withdraw from all of the appreciation

of perception and reduced to pure experience.

Needed - and I would like to the discussion Eurhythmy allocate to remain on it

- definitely need to learn how to express rhythmically also complicated things."Our

Father," people do not read 50 times, and who knows how many times? It it does

not get boring. Just to be more or less indifferent, at first glance, the experiences of

our organism ma, which leads you to our karma.But we will pay little attention.

Here, my dear friends, we have reached the end of our cycle. You could con e

how I was trying to build this cycle so that you can see that eurythmy stems from

feelings of our hearts that eurythmy technique must be born in the love of

eurythmy that everything must come from love.

As far as myself, my dear friends, I love eurythmy - that I had recently

expressed in "News for members of the Anthroposophical Society»

(«Mittelungsblatte»).As far as I would like to see more attention paid everywhere,

need to be valued above all demands Prynne mayuschim participate in eurythmy

from Mrs. Steiner and our bad dly performers, how all this is still not appreciated

sufficiently, and yet must would meet the proper assessment of all

Anthroposophists - that I recently expressed in "Izvestia".And I hope that this

course may contribute to the development of eurythmy, with conditions ­ provided

that all of us - whether we consider ourselves thoroughly familiar with eurythmy or

are a novice, or just interested in it - that we will all feel promotional eurythmy,

which resulted, from the fact that knowledge of the world, which is drawn from the

spirit.And if we do so, we feel actively or passively contributing Eurythmy, then

again vitiyu Anthroposophy will be born through her that she had to get away from

Eurythmy.

When people see how the spirit is the beauty in human form, then this will

strengthen the position that humanity must take due Anthroposophy in relation to

the spirit.

Along with all the individual knowledge that we acquire in anthroposophy, will,

however, remain aware of the great whole of Anthroposophy and Let's give all this

knowledge of individual particulars such form, which - if allowed so to speak - we

inspire our anthropological sophical heart.This form, which we have to give them, if

by working in certain areas, we want to be worthy of the goals that sets itself

Anthroposophy. And let this be partly contribute to what I said in this course for

eurythmy.

Contents

M. Steiner

Preface to the first edition (1927)

Lecture One

Eurythmy as visible speech

Lecture Two

The nature of individual sounds

Lecture third

Gestures experienced and decorated

Lecture Four

Individual sounds and their relation to each other

Lecture fifth

Mental attitude in the poetic work

Lecture Six

Mental attitude and characteristics of the individual states of the soul. Color as

the content of mental attitude

Lecture Seven

Plastic design of speech

Lecture eighth

Word as a symbol and the word in its relationships

Lecture ninth

Die gestaltete Rede - decorated it

Lecture tenth

Forms obtained from human beings

Lecture Eleven

Getting used to the gestures and forms the twelfth Lecture

Arising due to the outpouring of the soul in the form and movement of

healing effects and their impact on the whole person

Lecture Thirteen

The mood of the soul, which can be found in a gesture of sound

Lecture Fourteen

Articulation of words. Internal division of the stanzas

Lecture Fifteen

The whole body should be the soul of the performance at zvritmicheskom

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Rudolf Steiner-GA 279 Eurythmy as visible speech bdn-steiner.ru