| A Lecture on Eurythmy
26 Aug 1923, Penmaenmawr Translated by Alfred Cecil Harwood Rudolf Steiner |
|---|
| Here it is only possible to give some indication of what underlies these wooden figures, and of all that can be revealed by them with regard to the nature and character of the various movements. |
| Eurythmy, from its very nature, is ever seeking for outlet through the human being. Anyone who understands the hand, for example, must be aware that it was not formed merely to lie still and be looked upon. |
| The same may be said of the human being as a whole. What we know under the name of Eurythmy is nothing else than the means whereby the human organism can find healthy outlet through movement. |
| A Lecture on Eurythmy
26 Aug 1923, Penmaenmawr Translated by Alfred Cecil Harwood Rudolf Steiner |
|---|
Eurhythmy has grown up out of the soil of the Anthroposophical Movement, and the history of its origin makes it almost appear to be a gift of the forces of destiny. In the year 1912 the Anthroposophical Society lost one of its members, the father of a family, and as a result it was necessary for his daughter to choose a profession, a profession, however, which could be found within the field of Anthroposophical activity. After much thought it seemed possible to make this the opportunity for the inauguration of a new art of movement in space, different from anything which had arisen up to that time. And thus, out of the teaching given to this young girl, there arose the very first principles and movements of Eurythmy. Eurythmy must be accounted one of the many activities arising out of the Anthroposophical Movement, which have grown up in such a way that their first beginnings must be looked upon as the result of the workings of destiny. I spoke some days ago about the forms of the pillars of the Goetheanum, and mentioned how I had stood before these pillars, and realised that through artistic activity they had gained a life of their own, and had developed quite different qualities from those with which they had originally been endowed. The same may be said about the art of Eurythmy. This is always the case when one draws upon the creative forces of nature, either in one's work as an artist or in any other form of human activity. Just as the creative forces of nature draw upon the inexhaustible source of the infinite, so that it is always possible to perceive in something which has come to fruition much more than was originally implanted in it, so is it also when artistic impulses unite themselves with the mighty creative forces of nature. In such a case the artist is not merely developing some more or less limited impulse, but he reaches the point when he makes of himself an instrument for the creative powers of the universe, so that very much more grows out of his activity than he could originally have intended or foreseen. At the time of which I speak, Eurythmy was studied only by a very few people. At the beginning of the war, (the first world war) Frau Dr. Steiner undertook their further training, and from that time on Eurythmy became more and more widely known, and its artistic possibilities very much enriched. The art of Eurythmy, as we know it today, has developed out of the first principles which were given in the year 1912. The work since then has been carried on without interruption; but Eurythmy is still only in its first beginnings, and we are working unceasingly towards its further development and perfection. I am, however, convinced that Eurythmy bears within it infinite possibilities, and that, in the future, when those who were responsible for its inauguration must long have left their work in other hands, Eurythmy will develop further until it is able to take its place as a younger art by the side of those other arts having an older tradition. No art has ever risen out of human intention intellectually conceived, neither can the principle of imitating nature ever produce an art. On the contrary, true art has always been born out of human hearts able to open themselves to the impulses coming from the spiritual world, human hearts which felt compelled to realise these impulses and to embody them in some way in external matter. It can be seen how, in the case of each separate art—architecture, for example, sculpture, painting or music—certain spiritual impulses were poured into humanity from higher worlds. These impulses were taken up by certain individuals specially fitted to receive them, and in this way, through human activity, pictures of the higher worlds were reflected in the physical world; and the various arts came into being. It is true that the arts, in the course of their further development, have for the most part become naturalistic, and have lost their connection with the impulses which originally inspired them, a mere imitation of external nature taking their place. Such imitation, however, could never be the source of any true art. To-day, when a sculptor or painter wishes to represent the human figure, he does so by studying and working from a model. It can, however, easily be shown that the art of sculpture, which reached its zenith during the civilisation of ancient Greece, did not arise through the artist working from a model, and in his way more or less imitating the external impressions of the senses, but at that time, when the plastic art of Greece was in full bloom, man was still to some extent aware of the etheric body—which contains within it the formative forces and the forces of growth. At the height of Greek civilisation man knew how to make use of the etheric body when bringing an arm or hand, for instance, into a certain attitude, and the position and arrangement of the muscles were an actual experience to him. He had an inner understanding of the possibilities of movement in the arm and hand, of the possibilities of muscular expansion and contraction. And he was able to bring this inner experience to physical expression, making use of physical materials. Thus the Greek sculptor incorporated into matter a real, inward experience, not merely the external impression of the eye. He did not say to himself: the lines go in this or that direction, and then proceed to embody in plastic form the perceptions of his physical senses; but for him it was indeed an actual inward experience which he re-created out of the creative forces of nature, and entrusted to external physical matter. This is true of every form of art. There have always been, and will always be, in the course of human evolution on the earth, epochs during which art is at its height, during which influences from the spiritual worlds penetrate more easily into the souls of men than at other times, urging them to turn their gaze towards the spiritual worlds and to carry down from thence living spiritual impulses. This is how every true art is brought to birth. Such periods of civilisation are always followed by others of a more naturalistic tendency, in which certain arts often attain to a greater external perfection than they had possessed at an earlier stage; but this perfection bears within it traces of decadence, whereas in their beginnings, these arts were permeated with a more vital, a more powerful and enthusiastic spiritual impulse. At that earlier stage they had not yet lost their true reality; their technique was the outcome of man's whole being. It was not a merely external, traditional technique, but was based on the body, soul, and spirit of man. The realisation of this fact of human evolution might well give one courage to develop ever further and further this art of Eurythmy, which has been borne on the wings of fate into the Anthroposophical Movement. For it is the task of the Anthroposophical Movement to reveal to our present age that spiritual impulse which is suited to it. I speak in all humility when I say that within the Anthroposophical Movement there is a firm conviction that a spiritual impulse of this kind must now, at the present time, enter once more into human evolution. And this spiritual impulse must perforce, among its other means of expression, embody itself in a new form of art. It will increasingly be realised that this particular form of art has been given to the world in Eurythmy. It is the task of Anthroposophy to bring a greater depth, a wider vision and a more living spirit into the other forms of art. But the art of Eurythmy could only grow up out of the soul of Anthroposophy; could only receive its inspiration through a purely Anthroposophical conception. It is through speech that man is able to reveal his inner being outwardly to his fellow-men. Through speech he can most easily disclose his inmost nature. At all periods of civilisation, in a form suited to the particular epoch, side by side with those arts which need for their expression either the external element of space or the external element of time, accompanying and completing these, we find that art which manifests itself through speech—the art of poetry. The art of speech—I purposely use the expression ‘the art of speech,’ to describe poetry, and the justification for doing so will appear later—is more comprehensive and universal than the other arts, for it can embody other forms of art within its own form. It can be said that the art of poetry is an art of speech which in the case of one poet works more plastically, and in the case of another more musically. Indeed one can go so far as to say that painting itself can enter into the art of poetry. Speech is a universal means of expression for the human soul. And one who is able to gaze with unprejudiced vision into the earliest times of human evolution on the earth, can see that in certain primeval languages a really fundamental artistic element entered into human evolution. Such primeval languages were, however, to a far greater degree than is the case with modern languages, drawn out of the whole human organisation. When one investigates without prejudice the course of the evolution of man, one discovers certain ancient languages which might almost be likened to song. Such singing was, however, enhanced by accompanying movements of the legs and arms, so that a kind of dancing was added. Especially was this the case when a dignified form of expression was sought, the form of some ritual or cult. In those primeval times of human evolution the accompanying of the word which issued forth from the larynx with gesture and movement was felt to be something absolutely natural. It is only possible to gain a true understanding of what lies behind these things, when one realises that what otherwise appears only as gesture accompanying speech can gain for itself independent life. It will then become apparent that movements which are carried out by the arms and hands, from the artistic point of view can be not merely equally expressive, but much more expressive than speech itself. It must be admitted that such an unprejudiced attitude with regard to these things is not always to be found. One often observes a certain antipathy towards the accompanying of speech by gesture. Indeed, I myself have noticed that certain people even go so far as to consider it not in very good taste when a speaker accompanies his discourse with pronounced gesture. As a result of this the habit has grown up, and is by no means unusual at the present day, of putting one's hands in one's pockets when making a speech. I must say that I have always found this attitude most unsympathetic. It is a fact that the inmost nature of the human being can be revealed most wonderfully through movements of the arms and hands. My fingers often itch to take up my pen and write an essay on the philosopher, Franz Brentano, a dear friend of mine who died some years ago. I have already written a good deal about him, but I should much like to write yet another essay, based on what I shall now relate. When Franz Brentano mounted the platform and took his place at the lecturer's desk he was himself the embodiment of his entire philosophy, the spiritual content of which called forth such deep admiration when clothed in philosophical terms and concepts. Brentano's philosophy, in itself, was far more beautiful than his own description of it. All that he could say in words was revealed through the way in which he moved his arms and hands while speaking, through the way in which he held out the piece of paper containing the notes of his lecture. It was a very remarkable type of movement, and its most striking characteristic was, that by means of this piece of paper, and, indeed, by his whole attitude, he gave the impression of imparting something of great significance, while at the same time preserving an appearance of unconcern. So that in the course of one of his lectures one could see his entire philosophy expressed in these gestures, which were of the most manifold variety. What is especially interesting about Franz Brentano is the fact that he founded a psychology in which he departs from the theories of all other psychologists, Spencer, Stuart Mill and others, by refusing to include the will among the psychological categories. I am acquainted with all that Franz Brentano brought forward to substantiate this theory of his, but I found nothing so convincing as the way in which he held his piece of paper. The instant he began to make gestures with his hands and arms, all trace of will disappeared from his whole bearing as a philosopher, while feeling and idea revealed themselves in the most remarkable manner. This preponderance of idea and feeling, and the disappearance of will, underlay every movement which he made with his hands. So that one day I shall really find myself compelled to write an essay: The Philosophy of Franz Brentano, as revealed through his Gesture and Bearing. For it seems to me that much more was expressed in these gestures than in any philosophical discourse on the subject. Those who enter deeply and without prejudice into this matter will gradually realise that the breath which we expel from our lungs, our organs of speech and song, when vocalised and given form by means of the lips, teeth and palate, is really nothing else than gesture in the air. Only in this case these air-gestures are projected into space in such a way that they conjure up sounds which can be heard by the ear. If one succeeds, with true sensible-super-sensible vision, in penetrating into the nature of these air gestures, into all that the human being actually does when he utters a vowel or consonant sound, when he forms sentences, uses rhyme and rhythm, the Iambic, for instance, or the Trochee—when one penetrates into these gestures of the air, the thought arises; alas, the languages of modern civilisation have indeed made terrible concessions to convention. They have become simply a means of expression for scientific knowledge, a means of communicating the things of everyday life. They have lost their primeval spirituality. Civilised language bears out what has been so beautifully expressed by the poet: “Spricht die Seele, so spricht ach schon die Seele nicht mehr.” (“Alas, when the soul speaks, in reality it speaks no more.”) Now all that can be perceived by super-sensible vision, all that can thus be learned about the nature of these forms and gestures of the air, can be carried into movements of the arms and hands, into movements of the whole human being. There then arises in visible form the actual counterpart of speech. One can use the entire human body in such a way that it really carries out those movements which are otherwise carried out by the organs connected with speech and music. Thus there arises visible speech, visible music—in other words, the art of Eurythmy. When one brings artistic feeling to the study of the nature of speech, one finds that the individual sounds form themselves, as it were, into imaginative pictures. It is necessary, however, entirely to free oneself from the abstract character which language has taken during the so-called advanced civilisation of the present day. For it is an undeniable fact that modern man, when speaking, in no way brings his whole human being into activity. True speech, however, is born from the whole human being. Let us take any one of the vowels. A vowel sound is always the expression of some aspect of the feeling life of the soul. The human being wishes to express what lives in his soul as wonder—Ah. Or the holding himself upright against opposition—A; or the assertion of self, the consciousness of ego-existence in the world—E. Or again he wishes to express wonder, but now with a more intimate, caressing shade of feeling—I. The character of the sounds is of course slightly different in the different languages, because each individual language proceeds from a differently constituted soul-life. But every vowel sound does in its essence express some shade of the feeling-life of the soul; and this feeling only has to unite itself with thought, with the head system, in order to pass over into speech. What I have said about the vowel sounds of speech can be applied equally to the tones of music. The various sounds of speech, the use of idiom, the construction of phrases and sentences—all these things are the expression of the feeling-life of the soul. In singing also the soul life expresses itself through tone. Let us now consider the consonants. The consonants are the imitation of what we find around us in external nature. The vowel is born out of man's inmost being; it is the channel through which this inner content of the soul streams outwards. The consonant is born out of the comprehension of external nature; the way in which we seize upon external things, even the way in which we perceive them with the eyes, all this is built into the form of the consonants. The consonant represents, paints, as it were, the things of the external world. In earlier times the consonants did actually contain within themselves a kind of imaginative, painting of what exists in external nature. Such things are, certainly, dealt with by many students of the science of language, but always in a one-sided manner. For instance, there exist two well-known theories with regard to the origin of language—the Ding-Dong theory and the Bow-Wow theory—which have been set forth by investigators who are, as a matter of fact, absolutely lacking in any real understanding of their subject, but belong to that type of person who is constantly originating all sorts of scientific theories. The Ding-Dong theory is based upon the assumption that, as in the case of the bell—to take an extreme example—so within every external object there lies some sort of a sound, which is then imitated by the human being. Everything is included in this theory of imitation; and it has been named the Ding-Dong theory after the sound made by the bell, which is perhaps its most striking example. The idea is, that when one says the word “wave,” one is imitating the actual movement of the waves—which is, indeed, perfectly true in this instance. The other theory, the Bow-Wow theory, which could equally well be called the Moo-Moo theory, is one which assumes that speech in the first place arose from the transformation and development of the sounds of animals. And because one of the most striking of these sounds is “Bow-Wow,” this theory has been called the Bow-Wow theory. Now all these theories do actually contain a certain element of truth. Scientific theories are never without some foundation. What is remarkable about them is that they do always contain say, a quarter, or an eighth, or a sixteenth, or a hundredth part of the truth; and it is this fraction of the truth, put forward as it is in a very clever and suggestive manner which deceives people. The real truth is that the vowel arises from the soul-life, and the consonant out of the perception and imitation of the external object. The human being imitates the external object through the way in which he holds back the stream of the breath with his lips, or gives it shape and form by means of the teeth, tongue and palate. While the consonants are formed in this way, by the fashioning of gestures in the air, the vowel sounds are the channel through which the inner soul-life of the human being streams outwards. The consonants give plastic form to what is to be expressed. And in the same way as the single sounds are formed, the single letters, so are sentences also formed, and poetic language becomes actual gesture in the air. Modern poetry, however, shows very clearly how the poet has to struggle against the abstract element in language. As I have already said, our soul-life does not in any way flow into the words which we speak; we do not enter into the sounds of speech with our inner being. How few of us really experience wonder, amazement, perplexity, or the feeling of self-defence simply in the vowel sounds themselves. How few of us experience the soft, rounded surface of certain objects, the thrusting hammering nature of others, their angular or undulating, their velvety or prickly qualities, as these are expressed by the different consonants. And yet all these things are contained in speech. If we follow the successive sounds as they occur in a single word, entering into the real nature of this word as it originally arose out of the whole being of man, then we can experience all possible shades of feeling, the ecstasy of joy, the depths of despair; we can experience the ascending and descending of the whole scale of the human emotions, the whole scale of the perception of external things. All that I have been describing can be conjured up in imaginations, in the same way as speech itself once came forth from the world of imagination. One who has this imaginative vision perceives how the E sound (as in me). always calls up in the soul a certain picture, a picture which expresses the assertion of self and shows how this self-assertion must be expressed through the stretching of the muscles, in the arm for example. Should anyone be able to use his nose in a skilful manner, he could also make an E with his nose! An E can also be shown by the direction of the glance of the eye; but because the arms and hands are the most expressive part of the human body, it is more natural to make an E with the arms and it has a more beautiful effect. But the essential thing is that the stretched, penetrating feeling should really come to expression in E. If we utter the sound A, (as in mate) and take this out-going stream of the breath as the prototype for the Eurythmic movement, we find that this breath stream reveals itself to our imagination as flowing in two crossed currents. This is how the Eurythmic movement for A is derived. All these movements are just as little arbitrary in their nature as are the sounds of speech, or the tones of music. There are many people who are inclined to say that they have no wish for anything so hard and fast, that there should be more ways than one of expressing any particular sound in movement. They feel that the movements should arise quite spontaneously out of the human being. If, however, one desires such absolute spontaneity, one should carry this desire into the realm of speech itself, and declare that there should be no German, French, or English language to interfere with the freedom of the human being, but that each individual should feel himself at liberty to express himself by means of other sounds if he should so choose. It would be just as rational to say that the freedom of the human being is hindered through the fact that he must perforce speak English, or some other language. But the existence of the different languages in no way interferes with human freedom. On the contrary, man could not express beauty in language, if language were not already there to be used by him as an instrument, and in the same way beauty can only be expressed in the movements of Eurythmy through the fact that Eurythmy actually exists. Eurythmy in no way infringes upon human freedom. Such objections really arise from lack of insight. Thus Eurythmy has come into being as a visible language, using as its instrument the arms and hands, which are undeniably the most expressive part of the whole human organism. To-day it would really be possible to come to an understanding of these things by purely scientific means. Science, however, although on the right path with regard to much of the knowledge it has acquired, knows about as much of this matter as someone with a veal cutlet on his plate knows about a calf—namely, the most insignificant fraction! Scientists know that the centre of speech lies in the left region of the brain, and that this is connected with what the child acquires for himself by means of movement of the right arm. In the case of left-handed people the centre of speech is situated in the right side of the brain. One might almost say that the scientist has no knowledge of the calf in its entirety, but is only acquainted with the veal cutlet! Thus he is aware only of the merest fraction of the whole connection between the life-processes in one or other arm and the origin of speech. The truth is that speech itself arises out of those movements of the human limb system which are held back, and do not come to full expression. There could be no such thing as speech were it not for the fact that, during the natural course of his early development, the child has inherent within him the instinct to move his arms and hands. These movements are held back and become concentrated in the organs of speech; and these organs of speech are in themselves an image of that which seeks outlet in movements of the arms and hands, and in the accompanying movements of the other limbs. The etheric body—I can, after what you have heard in the morning lectures, (published as The Evolution of Consciousness.) speak to you quite freely about the etheric body—the etheric body never uses the mouth as the vehicle of speech, but invariably makes use of the limb-system. And it is those movements made by the etheric body during speech which are transferred into the physical body. Of course you can, if you choose, speak quite without gesture, even going so far as to stand rigidly still with your hands in your pockets; but in that case your etheric body will gesticulate all the more vigorously, sheerly out of protest! Thus you can see how, in very truth, Eurythmy is drawn out of the human organisation in just as natural a way as speech itself. The poet has to fight against the conventionality of speech in order to be able to draw from speech that element which could make of it a way leading to the super-sensible worlds. Thus the poet—if he is a true artist, which cannot be said of most of those people whose business it is to manufacture poems—does not over-emphasise the importance of the prose content of the words he uses. This prose content only provides him with the opportunity for expressing in words his true artistic impulse. Just as his material—the clay or the marble—is not the chief concern of the sculptor, but rather the inspiration which he is striving to embody in form, so, the chief concern of the poet is the embodiment of his poetic inspiration in sounds which are imaginative, plastic and musical. And it is this artistic element which must be brought out in recitation and declamation. In our somewhat inartistic age, it is customary in recitation and declamation to lay the chief stress on the prose content of a poem. Indeed, in these days, the mere fact of being able to speak at all is looked upon as sufficient ground for becoming a reciter. But the art of recitation and declamation should rank as highly as the other arts; for in recitation and declamation there is the possibility of treating speech in such a way that the hidden Eurythmy lying within it, the imaginative, plastic, coloured use of words, their music, rhythm and melody, are all brought to expression. When Goethe was rehearsing his rhythmic dramas, he made use of a baton just as if he were the conductor of an orchestra; for he was not so much concerned with the merely prosaic content of the words, but with the bringing out of all that lay, like a hidden Eurythmy, in their construction and use. Schiller, when writing his most famous poems, paid little heed to the actual sense of the words. For instance he wrote, “Das Lied von der Glocke” (The Song of the Bell), but, as far as the prose content of the words is concerned, he might just as well have written a completely different poem. Schiller first experienced in his soul something which might be described as a vague musical motif, a sort of melody, and into this melody he wove his words, like threaded pearls. Language is truly poetic only in so far as it is used musically, plastically, or only in so far as it is filled with colour. Frau Dr. Steiner has given many years to the development of this special side of the art of recitation and declamation. It is her work which has made it possible to bind together into one artistic whole, much in the same way as the various instruments of an orchestra, the picture presented on the stage by the “visible speech” of Eurythmy and with what is expressed through a truly Eurythmic treatment of speech, a truly Eurythmic recitation and declamation. So that, on the one hand, we have the visible speech of Eurythmy, and, on the other hand, that hidden Eurythmy which lies, not in tone-production alone, but in the whole way in which speech and language are treated. As far as the artistic element of poetry is concerned, the point is not that we say: “The bird sings,” but that, paying due regard to what has gone before and to what is to come, we say with enthusiasm, for instance: “The bird sings,” or, again, in a more subdued tone of voice, at a quite different tempo: “The bird sings.” [The reader must imagine the difference of tone which Rudolf Steiner gave to these repetitions of Der Vogel singt.] Everything depends on giving due form and shape to the words and sentences. And it is just this which can be carried over into Eurythmy, into our whole conception and treatment of Eurythmy. For this reason we must put before ourselves as an ideal this orchestral ensemble, this interplay between the visible art of Eurythmy and the art of recitation and declamation. Eurythmy cannot be accompanied by the ordinary conventional recitation, which is so well liked to-day. It would be impossible to do Eurythmy to such an accompaniment, because it is the soul-qualities of the human being which must be given expression here, both audibly through speech, and visibly through Eurythmy. Eurythmy can be accompanied, not only by recitation and declamation, but also by instrumental music. But here it must always be borne in mind that Eurythmy is music translated into movement, and is not dancing in any sense of the word. There is a fundamental difference between Eurythmy and dancing. People, however, often fail to make this distinction when seeing Eurythmy on the stage, owing to the fact that Eurythmy uses as its instrument the human body in motion. I myself know of a journalist—I am not personally acquainted with him, but his articles have been brought to my notice—who, writing on Eurythmy, says: “It cannot be denied that, when one witnesses a demonstration of Eurythmy, the performers on the stage are continually in motion. Eurythmy must, therefore, be looked upon as dancing, and must be judged accordingly.” Now I think it will be admitted that what we have seen here of Tone-Eurythmy, of this visible singing, accompanied as it is by instrumental music, is clearly to be distinguished from ordinary dancing. Tone-Eurythmy is essentially not dancing, but is a singing in movement, movement which can be carried out either by a single performer, or by many together. Although the movements of the arms and hands may be accompanied and amplified by movements of the other parts of the organism—the legs, for instance, or the head, the nose, ears, what you will—nevertheless these movements should only be used to strengthen the movement of the hands and arms in much the same way that we find means of emphasising and strengthening the spoken word. If we wish to admonish a child we naturally put our reproof into words, but at the same time we assume an expression suitable to the occasion! To do this electively, however, a certain amount of discretion is required, or we run the risk of appearing ridiculous. It is the same with regard to Eurythmy. Movements of a type approaching dancing or mime, when they are added to the essentially Eurythmic movements, are in danger of appearing grotesque; and, if made use of in an exaggerated manner, given an appearance of crudity, even of vulgarity. On the other hand purely Eurythmic movements are the truest means of giving outward and visible expression to all that is contained in the human soul. That is the essential point—that Eurythmy is visible speech, visible music. One can go even further and maintain that the movements of Eurythmy do actually proceed out of the inner organisation of man. Anyone who says: “As far as I am concerned, speech and music are all-sufficient; there can surely be no need to extend the sphere of art; I, for my part, have not the slightest wish for Eurythmy”;—such a man is, of course, perfectly right from his particular point of view. There is always a certain justification for any opinion, however conventional or pedantic. Why should one not hold such opinions? There is certainly no reason why one should not—none at all; but it cannot be said that such a standpoint shows any really deep artistic feeling and understanding. A truly artistic nature welcomes everything that could possibly serve to widen and enrich the whole field of art. The materials used in sculpture—the bronze, clay and marble—already exist in nature, and yield themselves up to the sculptor as the medium of his artistic expression; this is also true of colour in the case of the painter. When, however, in addition to all this, the movements of Eurythmy, drawn forth as they have been from the very fount of nature and developed according to her laws—when such movements arise as a means of artistic expression, then enthusiasm burns in the soul of the true artist at the prospect of the whole sphere of art being thus widened and enriched. From a study of the Eurythmy models or wooden figures, very much can be learned about the individual movements. [Rudolf Steiner here refers to a series of coloured wooden figures illustrating the fundamental Eurythmy gestures.] Here it is only possible to give some indication of what underlies these wooden figures, and of all that can be revealed by them with regard to the nature and character of the various movements. These models are intended to represent the fundamental laws of Eurythmy which are carried over into the actual movements themselves. Every Eurythmic movement may be looked upon as being of a threefold nature; and it is this threefold aspect which is embodied in the models. In the first place there is the movement as such; then there is the feeling which lies within the movement; and lastly there is the character which flows out of the soul-life, and streams into the movement. It must, however, be understood that these wooden models have been designed in a quite unusual manner. They are in no way intended to be plastic representations of the human form. This comes more within the sphere of the sculptor and the painter. The models are intended to portray the laws of Eurythmy, as these are expressed through the human body. In designing them the point was not in any way to reproduce the human figure in beautiful, plastic form. And, in witnessing a Eurythmy demonstration, anyone who would regard beauty of face as an essential attribute of an Eurythmist, is labouring under a delusion as to the nature of Eurythmy. Whether the Eurythmist is beautiful or not beautiful, young or old, is a matter of no consequence. The whole point is whether the inmost nature of the Eurythmist is carried over into, and expressed through, the plastic form of the movements. Now if we look at the Eurythmy model for H, for instance, the question might naturally arise: “In what direction is the face turned? Do the eyes look upwards or straight ahead?” But that is not the first thing to be considered. In the first place we have, embodied in the model as a whole, the movement as such, that is to say, the arm movements or the movements of the legs. Secondly, in the draping of the veil, in the way the veil is held, drawn close to the body, or thrown into the air, or allowed to fall again or to fly out in waves—all this gives the opportunity for adding to the more intellectual expression of the soul-life, as this is shown through the movement, another quality of the soul-life, that of feeling. At the back of the models there is always an indication of what the different colours are intended to represent. In the case of all the models certain places are marked with a third colour, and this is intended to show where the Eurythmist, in carrying out the particular movement, should feel a definite tension of the muscles. This tension can be shown in any part of the body. It may have to be felt in the forehead, for instance, or in the nape of the neck, while in other places the muscles should be left in a state of complete relaxation. The Eurythmist experiences the movements quite differently according to whether they are carried out with relaxed muscles or with the muscles in a state of tension; whether the arm is stretched out more or less passively, or whether there is a conscious tension in the muscles of the arm and hand; whether, when bending, the muscles which are brought into play are stretched and tense, or whether the bending movement leaves the muscles comparatively inactive. Through this consciously experienced tension of the muscles, character is brought into the movement. In other words: there lies in the whole way in which the movement, as such, is formed, something which might be described as being the expression of the human soul, as manifested through visible speech. The actual spoken words, however, also have nuances of their own, their own special shades of feeling; for instance, fear may be expressed in a sentence, or joy, or delight; all these things can be shown by the Eurythmist in the way in which he or she carries out the movements. The manipulation of the veil—the way in which it floats, the way in which it is allowed to fall—all this provides a means whereby these feelings can be brought to expression in Eurythmy. So we see how the movement, when accompanied by the use of the veil, becomes permeated with feeling, and how, when there is added a conscious tension of the muscles, the movement acquires character as well as feeling. If the Eurythmist is able to experience this tension or relaxation of the muscles in the right way, a corresponding experience will be transmitted to the onlooker, who will himself feel all that lies in the visible speech of Eurythmy as character, feeling and movement. The whole artistic conception of these models, both as regards their carving and their colouring, is based on the idea of separating the purely Eurythmic element in the human being from those elements which are not so definitely connected with Eurythmy. The moment a Eurythmist becomes conscious of possessing a charming face, in that moment something is introduced into Eurythmy which is completely foreign to its nature; on the other hand, the knowledge of how to make conscious use of the muscles of the face does form an essential part of Eurythmy. For this reason, the fact that many people prefer to see a beautiful Eurythmist on the stage, rather than one who is less beautiful, shows a lack of true artistic judgment. The outward appearance of a human being when not engaged in Eurythmy should not in any way be taken into consideration. These models, then, have been designed in such a way that they portray the human being only in so far as he reveals himself through the movements of Eurythmy. It would indeed be well if, in the whole development of art, this principle were to be more generally adopted—I mean the principle of putting on one side everything which does not definitely belong to the sphere of the art in question, everything which cannot be expressed through the medium of this art and which does not strictly come within the range of its possibilities. A distinction should always be made, particularly when dealing with an art such as Eurythmy, which reveals so directly, so truly and so sincerely, the life of the human being in its threefold aspect of body, soul and spirit—a distinction should always be made between what can legitimately be revealed through the medium of any particular art and what does not lie within its true scope. Whenever I have been asked: “Up to what age can one do Eurythmy?”—my answer has always been: There is no age limit. Eurythmy can be started at the age of three and can be continued up to the age of ninety. The personality can find expression through Eurythmy at each and every period of life, and through Eurythmy the beauty of both youth and age can be revealed. All that I have said up to this point has reference to Eurythmy purely as an art, and, indeed, it was along purely artistic lines that Eurythmy was developed in the first instance. When Eurythmy was inaugurated in 1912 there was no thought of its developing along any but artistic lines, no thought of bringing it before the world in any other form. But some little time after the founding of the Waldorf School, it was discovered that Eurythmy can serve as a very important means of education; and we are now in a position to recognise the full significance of Eurythmy from the educational point of view. In the Waldorf School, (The original Waldorf School in Stuttgart of which Steiner was educational director.) Eurythmy has been made a compulsory subject both for boys and girls, right through the school, from the lowest to the highest class; and it has become apparent that what is thus brought to the children as visible speech and music is accepted and absorbed by them in just as natural a way as they absorb spoken language or song in their very early years. The child feels his way quite naturally into the movements of Eurythmy. And, indeed, in comparison with Eurythmy, the other forms of gymnastics have shown themselves to be of a somewhat one-sided nature. For these other kinds of gymnastics bear within them to some extent the materialistic attitude of mind so prevalent in our day. And for this reason they take as their starting point the physical body. Eurythmy takes the physical body into consideration also; but, in the case of Eurythmy, body, soul and spirit work harmoniously together, so that here one has to do with an ensouled and spiritualised form of gymnastics. The child feels this. He feels that each movement that he makes does not arise merely in response to a physical necessity, but that every one of his movements is permeated with a soul and spiritual element, which streams through the arms, and, indeed, through the whole body. The child absorbs Eurythmy into the very depths of his being. The Waldorf School has already been in existence for some years, and the experience lying behind us justified us in saying that in this school unusual attention is paid to the cultivation of initiative, of will—qualities sorely needed by humanity in the present day. This initiative of the will is developed quite remarkably through Eurythmy, when, as in the Waldorf School, it is used as a means of education. One thing, however, must be made perfectly clear, and that is, that the greatest possible misunderstanding would arise, if for one moment it were to be imagined that Eurythmy could be taught in the schools and looked upon as a valuable asset in education, if, at the same time, as an art it were to be neglected and underestimated. Eurythmy must in the first place be looked upon as an art, and in this it differs in no respect from the other arts. And in the same way that the other arts are taught in the schools, but have an independent artistic existence of their own in the world, so Eurythmy also can only be taught in the schools when it is fully recognised as an art and given its proper place within our modern civilisation. Shortly after the founding of the Waldorf School, a number of doctors having found their way into the Anthroposophical Movement, there arose the practice of medicine from the Anthroposophical point of view. These doctors expressed the urgent wish that the movements of Eurythmy, drawn as they are out of the healthy nature of the human being, and offering to the human being a means of expression suited to his whole organisation—that these movements should be adapted where necessary, and placed at the service of the art of healing. Eurythmy, from its very nature, is ever seeking for outlet through the human being. Anyone who understands the hand, for example, must be aware that it was not formed merely to lie still and be looked upon. The fingers are quite meaningless when they are inactive. They only acquire significance when they seize at things, grasp them, when their passivity is transformed into movement. Their very form reveals the movement inherent within them. The same may be said of the human being as a whole. What we know under the name of Eurythmy is nothing else than the means whereby the human organism can find healthy outlet through movement. So that certain of the movements of Eurythmy, though naturally differing somewhat from the movements which we use in Eurythmy as an art, and having undergone a certain metamorphosis, can be made use of and developed into a Curative Eurythmy. This Curative Eurythmy can be of extreme value in the treatment of illness, and can be applied in those cases where one knows the way in which a certain movement will react upon a certain organ with beneficial results. In this domain also we have had good results among the children of the Waldorf School. But it is of course necessary that one should possess a true insight into the nature of the child. For instance, a child may have certain weaknesses and be generally in a delicate state of health. Such a child is then given those particular movements likely to assist in the re-establishment of his health. And along these lines we have indeed had the most brilliant results. But this, as also the educational side of Eurythmy, is entirely dependent on the successful development of Eurythmy as an art. It must frankly be admitted that Eurythmy is still at a very early stage of its development; a beginning, however, has certainly been made, and we are striving to make it ever more and more perfect. There was a time, for instance, when we had not as yet introduced the silent, unaccompanied movement of the Eurythmist at the beginning and end of a poem. Such movement is intended to convey in the first instance an introductory impression, and, in the second, an impression reminiscent of the content of the poem. At that time also there were no effects of light. The lighting in varied tones and colours has not been introduced with a view to illustrating or intensifying any particular situation, but is in itself actually of a Eurythmic nature. The point is not that certain effects of light should correspond with what is taking place on the stage at a given moment, but the whole system of lighting, as this has been developed in Eurythmy, consists of the interplay between one lighting effect and another. Thus there arises a complete system of Eurythmic lighting which bears within it the same character and the same shades of feeling as are being simultaneously expressed on the stage in another way through the movements of the Eurythmists, or the Eurythmist, as the case may be. And so, as Eurythmy develops and attains to ever greater perfection, very much more will have to be added to the whole picture of Eurythmy as this is presented on the stage, very much will have to be added to all that we can now see when witnessing a Eurythmy demonstration. I could indeed speak about Eurythmy the whole night through, carrying on this lecture without a break into the lecture of tomorrow morning. I am afraid, however, that my audience would hardly benefit by such a proceeding, and the same certainly applies to any Eurythmists who may be present! The great thing is that all I have said to-day in this introductory lecture will be practically realised for you tomorrow, when you witness the performance; for a practical demonstration is, after all, where art is concerned, of more value than any lecture. |
| 281. Poetry and the Art of Speech: Lecture II
06 Oct 1920, Dornach Translated by Julia Wedgwood, Andrew Welburn Rudolf Steiner |
|---|
| As to how this art of recitation must use its instrument – the human voice in connection with the human organism – even for this there is no clear understanding. This is undoubtedly connected with the fundamental absence, in our present age, of any earnest feeling for the true nature of poetry. |
| Our age can no longer take this seriously – for the understanding that lies hidden behind the opening of the Homeric poem had, in fact, already been extinguished by the eighteenth century, with its intellectual conceptions. |
| As we shall see next time, each single verse-form, each single poetic form including rhyme, alliteration, and assonance, may be understood when we start from a living perception of the human organism, and what it does when it employs speech artistically. |
| 281. Poetry and the Art of Speech: Lecture II
06 Oct 1920, Dornach Translated by Julia Wedgwood, Andrew Welburn Rudolf Steiner |
|---|
Our present age, inartistic as it is, shows little awareness of the fact that recitation stands midway between speaking, or reading, which are not artistic, and artistically developed singing. In many circles there is a feeling that really anyone can recite – and this, of course, is not unconnected with the fact that in these same circles everyone flatters himself that he can also write poetry. It would not so easily enter anyone's head that someone could be a musician, or a painter, without having previously undergone any sort of artistic training. When we consider current views on the art of recitation, we are obliged to admit that, just as in people's ideas about the real nature of poetry, there is also a certain lack of clarity as to the nature of the art of recitation. As to how this art of recitation must use its instrument – the human voice in connection with the human organism – even for this there is no clear understanding. This is undoubtedly connected with the fundamental absence, in our present age, of any earnest feeling for the true nature of poetry. There is no doubt that poetry stands in a relationship with the whole being of man quite different to that of ordinary prose, of whatever kind this may be; everything that man must recognize as that higher world to which he belongs with the soul and spiritual parts of his being poetry must also stand in a certain connection with all this. Along with the lack of clarity which gradually invaded ideas concerning man's relationship with the super-sensible world, there also came about another partial lack of clarity, concerning man's relationship with that world which is expressed in the art of poetry. I should like to draw attention to two facts – things which resound to us from ancient times, though from quite different peoples, with quite differently evolved characters. One fact, though one which today is passed over so lightly, is something to which Homer, the great writer of Greek epic, draws our attention at the beginning of both his poems: namely, that what he wished to convey to the world as his poetry did not come from himself.
‘Sing, O Muse, of the anger of Peleus' son Achilles ...’
It is not Homer, but the Muse who is singing. Our age can no longer take this seriously – for the understanding that lies hidden behind the opening of the Homeric poem had, in fact, already been extinguished by the eighteenth century, with its intellectual conceptions. When Klopstock began his Messiah, he did indeed look at the beginning of the Homeric poems; but in this respect he lived entirely in abstract ideas, intellectualistic ideas, and these could only lead him to say: the Greeks still believed in gods, in the Muses – modern man can replace this only by his own immortal soul. Thus, Klopstock begins with the words:
‘Sing, immortal soul, of sinful man's redemption.’
Now this opening of the Messiah, for anyone who can see into these things, is a document of the very greatest significance. And in the nineteenth century, too, all feeling had been completely lost for what Homer meant to convey – that when I reveal myself in poetry, it is really something higher that is revealed in me: my “I” withdraws, my ego withdraws, so that other powers make use of my speech-organism; divine-spiritual powers make use of this speech-organism in order to reveal themselves. One must, therefore, regard what Homer placed at the opening of his two poetic creations as something worthy of more serious consideration than is usually accorded to such things today. It is remarkable how something similar, and yet quite different, resounds to us from a certain period in the development of Central Europe, a period to which the Nibelungenlied points – although it was not written down until a later date. This begins in a manner similar to, yet quite different from Homer:
‘To us in olden maeren is many a marvel told’
“In olden maeren” – what are maeren, for those who still have a living feeling and perception for such things? I cannot go into all this in detail, but I need only allude to the real meaning of this expression, maer – Nachtmar (nightmare): for this same expression is used to describe certain dreams which are caused by being oppressed, as it were, by an Alp – by a nightmare. In this nightmare, this Alp, we have the last atavistic traces of what is indicated in the Nibelungenlied, when it says: “To us in olden maeren is many a marvel told…”; something is here related which does not come out of normal day-time ego-consciousness, but from a kind of perception which proceeds in the manner of the consciousness we possess in an especially vivid dream such as the nightmare, the maeren. Here again our attention is directed not to ordinary consciousness, but to something which is revealed, through ordinary consciousness, from super-sensible spheres. Homer says: “Sing, O Muse, of the anger of Peleus' son Achilles ...”; and the Nibelungenlied says: “To us in olden maeren is many a marvel told.” What is referred to in the first instance? To that which is, in reality, brought forth by the Muse, when she makes use of the human organism, begins to speak through the human organism, to vibrate musically; our attention is directed to something musical which permeates the human being, and which speaks from greater depths than are reached by his ordinary consciousness. And when the Nibelungenlied says: “To us in olden maeren is many a marvel told …” – it is something which permeates human consciousness as a perception similar to seeing, as something like visual perception, to which we are referred. The Nibelungenlied indicates something plastic and formative, something imaginative; in the Homeric epic we are given something musical. Both, however, from different sides, show us what wells up in poetry from the profounder depths of human nature, something which takes hold of the human being and finds utterance through him. One must have a feeling for this, if one is to experience the way in which true declamation gives expression in poetry, and takes hold of the human instrument of speech – though, as we shall see later, this involves the entire human organism. The manner, the whole way in which a human being is built up is an outcome of the forces of the spiritual world. And again, the whole manner in which a human being is able to bring his organism into movement when he declaims or recites poetry – this, too, must be the result of a spiritual force holding sway in the human organism. One must learn to trace this working of the spirit in the human organism when the art of poetry is expressed through recitation or declamation. Declamation then becomes what the human organism can be, when it is tuned in the most various ways. In order to gain a practical, artistic realization of these things in some detail, we would now like to show you what must live in declamation when something more of the nature of folk-poetry, or folk-song, is taken into consideration; we shall then proceed to something which is more definitely art – poetry. We hope to show you how fundamentally different the effect of declamation must be, depending on whether it sounds forth from those depths of human nature from which earnestness, or tragedy, resound; or whether it comes from those surface realms of the human organization from which gaiety, satire and humour emanate. Only when we have learned to apprehend these things quite concretely today will I permit myself to give certain intimations of the connection between poetry and recitation and declamation. From these, we will then show how there results an exact method of educating oneself in artistic recitation and declamation. We will ask Frau Dr. Steiner to declaim a poem of Goethe: a folk-poem in its whole tone and mood – Goethe's “Heidenröslein”. HEIDENRÖSLEIN
Sah ein Knab' ein Röslein stehn, Röslein auf der Heiden, War so jung und morgenschön, Lief er schnell, es nah zu sehn, Sah's mit vielen Freuden. Röslein, Röslein, Röslein rot, Röslein auf der Heiden.
Knabe sprach: Ich breche dich Röslein auf der Heiden, Röslein sprach: Ich steche dich, Dass du ewig denkst an mich, Und ich will's nicht leiden. Röslein, Röslein, Röslein rot, Röslein auf der Heiden.
Und der wilde Knabe brach 's Röslein auf der Heiden; Röslein wehrte sich und stach, Half ihm doch kein Weh und Ach, Musst' es eben leiden. Röslein, Röslein, Röslein rot, Röslein auf der Heiden. Johann Wolfgang von Goethe. [Comparable in English in many respects is: MY HEART'S IN THE HIGHLANDS My heart's in the Highlands, my heart is not here; My heart's in the Highlands a-chasing the deer; Chasing the wild deer, and following the roe; My heart's in the Highlands, wherever I go. – Farewell to the Highlands, farewell to the North; The birth-place of Valour, the country of Worth: Wherever I wander, wherever I rove, The hills of the Highlandsfor ever I love. – Farewell to the mountains high cover'd with snow; Farewell to the straths and green valleys below: Farewell to the forests and wild-hanging woods; Farewell to the torrents and loud-pouring floods. – My heart's in the Highlands, my heart is not here; My heart's in the Highlandsa-chasing the deer: Chasing the wild deer, and following the roe; My heart's in the Highlands, wherever I go. – Robert Burns (1759-1796.]
We will now ask Frau Dr. Steiner to recite to us “Erlkönigstochter”, which gives opportunity for a quite special style in the rendering of folk-poems. Herr Oluf reitet spät und weit, Zu bieten auf seine Hochzeitleut': Da tanzten die Elfen auf grünen Land, Erlkönigs Tochter reicht ihm die Hand. ‘Willkommen, Herr Oluf, was eilst von hier? Tritt her in den Reihen und tanz mit mir.’ – ‘Ich darf nicht tanzen, nicht tanzen ich mag, Frühmorgen ist mein Hochzeittag.’ – ‘Hör’ an, Herr Oluf, tritt tanzen mit mir, Zwei güldne Sporen schenk' ich dir; Ein Hemd von Seide, so weiss und fein, Meine Mutter bleicht's im Mondenschein.’ – ‘Ich darf nicht tanzen, nicht tanzen ich mag, Frühmorgen ist mein Hochzeittag.’ – ‘Hör’ an, Herr Oluf, tritt tanzen mit mir, Einen Haufen Goldes schenk' ich dir.’ – ‘Einen Haufen Goldes nahm’ ich wohl; Doch tanzen ich nicht darf, noch soll.’ ‘Und willt, Herr Oluf, nicht tanzen mit mir, Soll Seuch' und Krankheit folgen dir.’ – Sie tät einen Schlag ihm auf sein Herz, Noch nimmer fühlt er solchen Schmerz. Sie hob ihn bleichend auf sein Pferd: ‘Reit heim zu deinem Bräutlein wert.’ Und als er kam vor Hauses Tiir, Seine Mutter zitternd stand dafür. ‘Hör’ an, mein Sohn, sag’ an mir gleich, Wie ist dein' Farbe blass und bleich?’ – ‘Und sollt’ sie nicht sein blass und bleich? Ich traf in Erlenkönigs Reich.’ – ‘Hört an, mein Sohn, so lieb und traut, Was soll ich nun sagen deiner Braut?’ – ‘Sagt ihr, ich sei im Wald zur Stund’, Zu proben da mein Pferd und Hund.’ – Frühmorgen als es Tag kaum war, Da kam die Braut mit der Hochzeitschar. Sie schenkten Met, sie schenkten Wein. ‘Wo ist Herr Oluf, der Bräutigam mein?’ – ‘Herr Oluf, er ritt in Wald zur Stund’, Er probt allda sein Pferd und Hund.’ – Die Braut hub auf den Scharlach rot, Da lag Herr Oluf, und er war tot. Johann Gottfried Herder (1744-1803). [Comparable in style in English is: LA BELLE DAME SANS MERCI
O, what can ail thee, knight-at-arms, Alone and palely loitering? The sedge has wither'd from the Lake, And no birds sing. O, what can ail thee, knight-at-arms, So haggard and so woe-begone? The squirrel's granary is full, And the harvest's done. I see a lily on thy brow, With anguish moist and fever dew; And on thy cheeks a fading rose Fast withereth too. I met a lady in the meads, Full beautiful – a faery's child, Her hair was long, her foot was light, And her eyes were wild. I made a garland for her head, And bracelets too, and fragrant zone; She look'd at me as she did love, And made sweet moan. I set her on my pacing steed, And nothing else saw all day long; For sidelong would she bend, and sing A faery's song. She found me roots of relish sweet, And honey wild, and manna dew, And sure in language strange she said – ‘I love thee true’. She took me to her elf in grot, And there she wept and sigh'd full sore, And there I shut her wild wild eyes With kisses four. And there she lulled me asleep And there I dream'd – Ah! woe betide! The latest dream I ever dream'd On the cold hill side. I saw pale kings and princes too, Pale warriors, death-pale were they all; Who cried – ‘La Belle Dame sans Merci Hath thee in thrall!’ I saw their starved lips in the gloam, With horrid darning gaped wide, And I awoke and found me here, On the cold hill's side. And this is why I sojourn here Alone and palely loitering, Though the sedge has wither'd from the lake, And no birds sing. John Keats (1795-1821).]
Now we will present Goethe's two poems “Olympos” and “Charon”, where we shall find an opportunity to demonstrate recitation or declamation as the case may be. In the Poem “Olympos”, which is drawn more from the pictorial element, we have the art of declamation; while the more metrical “Charon” is drawn more from the musical element. OLYMPOS
Der Olympos, der Kissavos, Die zwei Berge haderten; Da entgegnend sprach Olympos Also zu dem Kissavos: ‘Nicht erhebe dich, Kissave, Turken – du Getretener. Bin ich doch der Greis Olympos, Den die ganze Welt vernahm. Zwei und sechzig Gipfel zähl ich Und zweitausend Quellen klar, Jeder Brunn hat seinen Wimpel, Seinen Kämpfer jeder Zweig. Auf den höchsten Gipfel hat sich Mir ein Adler aufgesetzt, Fasst in seinen mächt'gen Klauen Eines Helden blutend Haupt.’ ‘Sage, Haupt! wie ist's ergangen? Fielest du verbrecherisch?’ – Speise, Vogel, meine Jugend, Meine Mannheit speise nur! Ellenlänger wächst dein Flügel, Deine Klauen spannenlang. Bei Louron, in Xeromeron So in Chasia, auf'm Olympos Kämpft’ ich bis ins zwölfte Jahr. Sechzig Agas, ich erschlug sie, Ihr Gefild verbrannt’ ich dann; Die ich sonst noch niederstreckte, Türken, Albaneser auch, Sind zu viele, gar zu viele, Dass ich sie nicht Ahlen mag; Nun ist meine Reihe kommen, Im Gefechte fiel ich brav. CHARON Die Bergeshöhn, warum so schwarz? Woher die Wolkenwoge? Ist es der Sturm, der droben kämpft, Der Regen, Gipfel peitschend? Nicht ist's der Sturm, der droben kämpft, Nicht Regen, Gipfel peitschend; Nein, Charon ist's, er saust einher, Entführet die Verblichnen; Die Jungen treibt er vor sich hin, Schleppt hinter sich die Alten; Die Jüngsten aber, Säuglinge, In Reih' gehenkt am Sattel. Da riefen ihm die Greise zu, Die Junglinge, sie knieten: ‘O Charon, halt! halt am Geheg, Halt an beim kühlen Brunnen! Die Alten da erquicken sich, Die Jugend schleudert Steine, Die Knaben zart zerstreuen sich Und pflücken bunte Blümchen.’ Nicht am Gehege halt’ ich still, Ich halte nicht am Brunnen; Zu schöpfen kommen Weiber an, Erkennen ihre Kinder, Die Männer auch erkennen sie, Das Trennen wird unmöglich. Johann Wolfgang von Goethe. [A similar contrast is presented within the work of Donne, between the vivid, declamatory style of “The Sunne Rising” and the more sustained, metrical “Elegie: His Picture”: THE SUNNE RISING Busie old foole, unruly Sunne, Why dost thou thus, Through windowes, and through curtaines call on us? Must to thy motions lovers seasons run? Sawcy pedantique wretch, goe chide Late schoole boyes, and sowre prentices, Goe tell Court-huntsmen, that the King will ride, Call countrey ants to harvest offices; Love, all alike, no season knowes, nor clyme, Nor houres, dayes, moneths, which are the rags of time. Thy beames, so reverend and strong Why shouldst thou thinke? I could eclipse and cloud them with a winke, But that I would not lose her sight so long: If her eyes have not blinded thine, Looke, and to morrow late, tell mee, Whether both the ‘India's of spice and Myne Be where thou leftst them, or lie here with mee. Aske for those Kings whom thou saw'st yesterday, And thou shalt heare, All here in one bed lay. Nothing else is. Princes doe but play us; compar'd to this, All honor's mimique; All wealth alchimie. Thou sunne art halfe as happy’as wee, In that the world's contracted thus; Thine age askes ease, and since thy duties bee To warme the world, that's done in warming us. Shine here to us, and thou art every where; This bed thy center is, these walls, thy spheare. ELEGIE: HIS PICTURE Here take my Picture; though I bid farewell, Thine, in my heart, where my soule dwels, shall dwell. ‘Tis like me now, but I dead, 'twill be more When wee are shadowes both, than 'twas before. When weather-beaten I come backe; my hand, Perhaps with rude oares torne, or Sun beams tann'd, My face and brest of hairecloth, and my head With cares rash sodaine stormes, being o'rspread, My body'a sack of bones, broken within, And powders blew staines scatter'd on my skinne; If rivall fooles taxe thee to 'have lov'd a man, So foule, and course, as, Oh, I may seeme then, This shall say what I was: and thou shalt say, Doe his hurts reach mee? doth my worth decay? Or doe they reach judging minde, that hee Should now love lesse, what hee did love to see? That which in him was faire and delicate, Was but the milke, which in loves childish state Did nurse it: who now is growne strong enough To feed on that, which to disused tasts seemes tough. John Donne (1573-1631).] We will now pass on to a more highly-wrought verse-form – the sonnet; and sonnets by Hebbel and Novalis will now be recited. DIE SPRACHE Als höchstes Wunder, das der Geist vollbrachte, Preist ich die Sprache, die er, sonst verloren In tiefste Einsamkeit, aus sich geboren, Weil sie allein die andern möglich machte. Ja, wenn ich sie in Grund und Zweck betrachte, So hat nur sie den schweren Fluch beschworen, Dem er, zum dumpfen Einzelsein erkoren, Erlegen wäre, eh' er noch erwachte. Denn ist das unerforschte Eins und Alles In nie begrifftnem Selbstzersplitt‘rungsdrange Zu einer Welt von Punkten gleich zerstoben: So wird durch sie, die jedes Wesenballes Geheimstes Sein erscheinen lässt im Klange, Die Trennung vollig wieder aufgehoben! Friedrich Hebbel (1813-1863).
I Du hast in mir den edeln Trieb erregt, Tief ins Gemüt der weiten Welt zu schauen; Mit deiner Hand ergriff mich ein Vertrauen, Das sicher mich durch alle Stürme trägt. Mit Ahnungen hast du das Kind gepflegt, Und zogst mit ihm durch fabelhafte Auen; Hast als das Urbild zartgesinnter Frauen, Des Jünglings Herz zum höchsten Schwung bewegt. Was fesselt mich an irdische Beschwerden? Ist nicht mein Herz und Leben ewig dein? Und schirmt mich deine Liebe nicht auf Erden? Ich darf fier dich der edlen Kunst mich weiten; Denn du, Geliebte, willst die Muse werden, – Und stiller Schutzgeist meiner Dichtung sein. II In ewigen Verwandlungen begrusst Uns des Gesangs geheime Macht hienieden, Dort segnet sie das Land als ew'ger Frieden, Indes sie hier als Jugend uns umfliesst. Sie ist's, die Licht in unsre Augen giesst, Die uns den Sinn für jede Kunst beschieden, Und die das Herz der Frohen und der Müden In trunkner Andacht wunderbar geniesst. An ihrem vollen Busen trank ich Leben: Ich ward durch sie zu allem, was ich bin, Und durfte froh mein Angesicht erheben. Noch schlummerte mein allerhöchster Sinn; Da sah ich sie als Engel zu mir schweben, Und flog, erwacht, in ihrem Arm dahin. Novalis (1772-1801). [The following three poems show some characteristics of the English sonnet: ON THE GRASSHOPPER AND CRICKET The poetry of earth is never dead: When all the birds are faint with the hot sun, And hide in cooling trees, a voice will run From hedge to hedge about the new-mown mead; That is the Grasshopper's – he takes the lead In summer luxury, – he has never done With his delights; for when tired out with fun He rests at ease beneath some pleasant weed. The poetry of earth is ceasing never: On a lone winter evening, when the frost Has wrought a silence, from the stove there shrills The Cricket's song, in warmth increasing ever, And seems to one in drowsiness half lost, The Grasshopper's among some grassy hills. John Keats SONNET O Nightingale, that on yon bloomy Spray Warbl'st at Eve, when all the Woods are still, Thou with fresh hope the Lovers heart dost fill, While the jolly hours lead on propitious May, Thy liquid notes that close the eye of Day, First heard before the shallow Cuckoo's bill, Portend success in love; O if Jove's will Have linkt that amorous power to thy soft lay, Now timely sing, ere the rude Bird of Hate Foretell my hopeless doom in som Grove ny: As thou from year to year hast sung too late For my relief; yet hadst no reason why: Whether the Muse or Love call thee his mate, Both them I serve, and of their train am I. John Milton (1608-1674).
\ My galy charged with forgetfulnes Thorrough sharpe sees in wynter nyghtes doeth pas Twene Rock and Rock; and eke myn ennemy, Alas, That is my lorde, sterith with cruelnes; And every owre a thought in redines, As tho that deth were light in suche a case. An endles wynd doeth tere the sayll apase \ Of forced sightes and trusty ferefulnes. A rayn of teris, a clowde of derk disdain, \ Hath done the wered cordes great hinderaunce; \ Wrethed with errour and eke with ignoraunce. The starres be hid that led me to this pain; \ Drowned is reason that should me consort, And I remain dispering of the port. Sir Thomas Wyatt (1503-1542).]
And now, in order to show how another, the very opposite mood must be drawn from quite different realms of the human organization when this serves as the instrument for poetry and declamation, we will end with something humorous and satirical – choosing a poem by Christian Morgenstern. ST. EXPEDITUS Einem Kloster, voll von Nonnen, waren Menschen wohlgesonnen. Und sie schickten, gute Christen, ihm nach Rom die schönsten Kisten: Äpfel, Birnen, Kuchen, Socken, eine Spieluhr, kleine Glocken, Gartenwerkzeug, Schuhe, Schürzen... Aussen aber stand: Nicht stürzen! Oder: Vorsicht! oder welche wiesen schwarzgemalte Kelche. Und auf jeder Kiste stand ‘Espedito’, kurzerhand. Unsre Nonnen, die nicht wussten, wem sie dafür danken mussten, denn das Gut kam anonym, dankten vorderhand nur IHM, rieten aber doch ohn’ Ende nach dem Sender solcher Spende. Plötzlich rief die Schwester Pia eines Morgens: Santa mia! Nicht von Juden, nicht von Christen Stammen diese Wunderkisten – Expeditus, o Geschwister, heisst er und ein Heiliger ist er! Und sie fielen auf die Kniee. Und der Heilige sprach: Siehe! Endlich habt ihr mich erkannt. Und nun malt mich an die Wand! Und sie liessen einen kommen, einen Maler, einen frommen. Und es malte der Artiste Expeditum mit der Kiste. – Und der Kult gewann an Breite. Jeder, der beschenkt ward, weihte kleine Tafeln ihm und Kerzen. Kurz, er war in aller Herzen. II Da auf einmal, neunzehnhundert- fünf, vernimmt die Welt verwundert, dass die Kirche diesen Mann fürder nicht mehr dulden kann. Grausam schallt von Rom es her: Expeditus ist nicht mehr: Und da seine lieben Nonnen längst dem Erdental entronnen, steht er da und sieht sich um – und die ganze delt bleibt stumm. Ich allein hier hoch im Norden fühle mich von seinem Orden, und mein Ketzergriffel schreibt: Sanctus Expeditus – bleibt. Und weil jenes nichts mehr gilt, male ich hier neu sein Bild: – Expeditum, den Gesandten, grüss’ ich hier, den Unbekannten Expeditum, ihn, den Heiligen, mit den Assen, den viel eiligen, mit den milden, weissen Haaren und dem fröhlichen Gebaren, mit den Augen braun, voll Güte, und mit einer grossen Düte, strebt ihr spärlich Los zu lindern. Einen güldnen Heiligenschein geb’ ich ihm noch obendrein den sein Lacheln um ihn breitet, wenn er durch die Lande schreitet. Und um ihn in Engeiswonnen stell’ ich seine treuen Nonnen: Mägdlein aus Italiens Auen, himmlisch lieblich anzuschauen. Eine aber macht, fürwahr, eine lange Nase gar. Just ins ‘Bronzne Tor’ hinein spannt sie ihr klein Fingerlein. Oben aber aus dem Himmel quillt der Heiligen Gewimmel, und holdselig singt Maria: Santo Espedito - sia! Christian Morgenstern (1871-1914). [An excerpt from “The Rape of the Lock” shows the great English satirist in a comparatively rare mood of good humoured and friendly mocking. It comes from Canto II:
But now secure the painted vessel glides, The sun-beams trembling on the floating tides; While melting music steals upon the sky, And soften'd sounds along the waters die; Smooth flow the waves, the Zephyrs gently play, Belinda smil'd, and all the world was gay. All but the Sylph – with careful thoughts opprest, Th' impending woe sat heavy on his breast. He summons strait his Denizens of air; The lucid squadrons round the sails repair: Soft o'er the shrouds aerial whispers breathe, That seem'd but Zephyrs to the train beneath. Some to the sun their insect-wings unfold, Waft on the breeze, or sink in clouds of gold; Transparent forms, too fine for mortal sight, Their fluid bodies half dissolv'd in light. Loose to the wind their airy garments flew, Thin glitt'ring textures of the filmy dew, Dipt in the richest tincture of the skies, Where light disports in ever-mingling dyes, While ev'ry beam new transient colours flings, Colours that change whene'er they wave their wings. Amid the circle, on the gilded mast, Superior by the head, was Ariel plac'd; His purple pinions op'ning to the sun, He rais'd his azure wand, and thus begun. Ye Sylphs and Sylphids, to your chief give ear, Fays, Fairies, Genii, Elves, and Daemons hear! Ye know the spheres and various tasks assign'd By laws eternal to th' aerial kind. Some in the fields of purest Aether play, And bask and whiten in the blaze of day. Some guide the course of wand'ring orbs on high, Or roll the planets thro' the boundless sky. Some less refin'd, beneath the moon's pale light Pursue the stars that shoot athwart the night, Or suck the mists in grosser air below, Or dip their pinions in the painted bowl Or brew fierce tempests on the wintry main, Or o'er the glebe distil the kindly rain. Others on earth o'er human race preside, Watch all their ways, and all their actions guide: Of these the chief the care of Nations own, And guard with Arms divine the British Throne. Our humbler province is to tend the Fair, Not a less pleasing, tho' less glorious care; To save the powder from too rude a gale, Nor let th' imprison'd essences exhale; To draw fresh colours from the vernal Flow'rs; To steal from rainbows e'er they drop in show'rs A brighter wash; to curl their waving hairs, Assist their blushes, and inspire their airs; Nay oft, in dreams, invention we bestow, To change a Flounce, or add a Furbelow. This day, black Omens threat the brightest fair That e'er deserv'd a watchful spirit's care; Some dire disaster, or by force, or slight; But what, or where, the fates have wrapt in night. Alexander Pope (1688-1744)]
Now the art of recitation must undoubtedly follow the poetry. Recitation introduces the human element into poetry, for the human organization itself furnishes the instrument of artistic expression. How this instrument is used in singing and in recitation – that is something which has indeed been much investigated: we have already taken the opportunity here of pointing out, in response to certain questions, how many methods (one method after another!) exist in our present age, to singing and recitation. For in a certain sense we have entirely lost the deeper, inner relationship between poetic utterance or expression and the human organization. I will take as. a starting-point next today something apparently quite physiological – and next time, after our detour through physiology, we shall be able to show you what poetry, as expressed in recitation and declamation, really demands. Let us look first at something which has been frequently mentioned during the lectures of the last few days: the human rhythmic system. The human being is organized into the system of nerves and senses – the instrument for the thought-world, for the world of sense-representations, and so on; the rhythmic system – the instrument for the development of the feeling world, and for all that is mirrored from the feeling-world and plays into the world of mental representations; and the metabolic system – through which the will pulsates, and in which the will finds its actual physical instrument. [Note 4] First, let us look at the rhythmic system. In this rhythmic system, two rhythms interpenetrate each other in a remarkable way. In the first place, we have the breathing-rhythm. This is essentially regular – though everything living is different in this respect, and it varies from individual to individual – so that in the case of healthy people, we are able to observe 16-19 breaths per minute. Secondly, we have the pulse-rhythm, directly connected with the heart. Naturally, when we take into account that in this rhythm we are dealing with functions of a living being, again we cannot cite any pedantic number; but, generally speaking, we may say that the number of pulse-beats per minute, in a healthy human organism, is approximately 72. Hence we can say that the number of pulse-beats is about four times the number of respirations. We can thus represent the course of the breath in the human organism, and how while we take one breath, the pulse intervenes four times. Now let us devote our minds for a moment to this interaction of the pulse-rhythm and the rhythm of the breath to this inner, living piano (if I may so express myself) where we experience the pulse rhythm as it strikes into the course of the breathing-rhythm. Let us picture the following: one breath inhaled and exhaled; and a second inhaled and exhaled; and, striking into this, the rhythm of the heart. Let us picture this in such a way that we can see that in the pulse-rhythm, which is essentially connected with the metabolism, which touches on the metabolic system, the will strikes, as it were, upwards; thus we have the will-pulses striking into the feeling-manifestations of the breath-rhythm. And let us suppose that we articulate these will-pulses, in such a way that we follow the will-pulses in the words, inwardly articulating the words to ourselves. Thus we have, for instance: long, short, short; long, short, short; long, short, short – one breath-stream; then we make a pause, a kind of caesura, we hold back; then, accompanying the next drawing of the breath, we have the heart-rhythm striking into it: long, short, short; long, short, short; long, short, short.
¾ È È ¾ È È ¾ È È || ¾ È È ¾ È È ¾ È È ||
Then, when we allow two breaths to be accompanied by the corresponding pulse-beats, and between them we make a pause, a pause for breath – we have the hexameter. [Note 5] We can ask: what is the origin of this ancient Greek verse metre? It originated from the harmony between blood-circulation and breathing. The Greek wished to turn his speech inward, so that, having suppressed his “I”, he orientated the words according to the pulse-beats, allowing these to play upon the stream of breath. Thus he brought his whole inner organization, his rhythmic organization, to expression in his speech: it was the harmony between heart-rhythm and breath-rhythm that resounded in his speech. To the Greek, this was more musical – as if it resounded up from the will, resounded up from the pulse-beats into the rhythm of the breath. You know that what remained as the last, atavistic remnant of the old clairvoyant images – the Alp, the nightmare – found expression in pictures, and is connected with the breathing-process: and there is still a connection between the pathological form of the Alpdruck and breathing. Now let us assume – for me it is more than an assumption – that in those primaeval times when his experience was more closely connected with the internal processes, man went out more with the breath; the movement was more from above downwards. And then he put into one breath:
¤ ¤ ¤ ‘To us in olden maeren'
Again, three high-tones: three times the perception of how the pulse beats into the breathing, and how this brings to expression an experience that is more visual, finding expression in the light and shade of the language, in the high and low tones. In the Greek we have something metrical long, short, short; long, short, short; long, short, short; whereas in the Nordic verses we have something with more declamatory impetus – high-tone and low-tone:
¤ ¤ ¤ ¤ ¤ ¤ ‘To us in olden maeren is many a marvel told ¤ ¤ ¤ ¤ ¤ ¤ Of praise-deserving heroes, of labours manifold ...'
It is the interaction of the breathing-rhythm and the rhythm of the heart, the rhythm of the pulse. Just as the Greek experienced a musical element and expressed this in metre, so the Nordic man experienced a pictorial element, which he expressed in the light and shade of the words, in the high-tones and low-tones. But there was always the knowledge that one was submerged in a state of consciousness where the “I” yielded itself up to the divine-spiritual being which reveals itself through the human organism – which forms this human organism so that it may be played upon as an instrument through the pulsation of the heart, through the breathing-process, through the stream of exhaled and inhaled breath:
È ¾ È ¾ È ¾ È || ¾ È ¾ È ¾
You know that many breathing-techniques have been discovered, and much thought given to methods of treating the human body to facilitate correct singing or recitation. It is much more to the point, however, to penetrate the real mysteries of poetry and recitation and declamation: for both of these will proceed from the actual, sensible-super-sensible perception of the harmony between the pulse, which is connected with the heart, and the breathing-process. As we shall see next time, each single verse-form, each single poetic form including rhyme, alliteration, and assonance, may be understood when we start from a living perception of the human organism, and what it does when it employs speech artistically. This is why it was quite justified when people who understood such things spoke, more or less figuratively, of poetry as a language of the gods: for this language of the gods does not speak the mysteries of the transient human “I”; it speaks in human consciousness, speaks musically and plastically the cosmic mysteries – it speaks when the super-sensible worlds play, through the human heart, upon the human breath. |
| 281. Poetry and the Art of Speech: Lecture IV
06 Apr 1921, Dornach Translated by Julia Wedgwood, Andrew Welburn Rudolf Steiner |
|---|
| He must comprehend the art of handling both the instrument and its medium. And likewise the reciter must understand the art of handling speech. His instrument is bound up much more closely with his own being than are the external instruments of the musician, and in deploying his particular instrument he will also have to develop his own special characteristics. |
| In the single vowel-sounds – when penetrated by a sensitive understanding, a discerning sensibility – lies the whole spectrum of human inner experience. In vocalisation (the sounding of the vowels) lives everything which we might describe as coming from musical experience and which is projected into the lyric. |
| Everything flowed together in Novalis: striving after truth, striving after beauty and religious ardour. Only if we understand his comprehensiveness do we understand Novalis. Hence there could arise the remarkable feeling which resounds through The Apprentices of Sais, and wrests itself from Novalis’s soul: man has felt that in the image of Isis truth is veiled; “I am the past, the present and the future, no mortal as yet has lifted my veil” – that is the pronouncement of the veiled Isis and Novalis was sensible of it. |
| 281. Poetry and the Art of Speech: Lecture IV
06 Apr 1921, Dornach Translated by Julia Wedgwood, Andrew Welburn Rudolf Steiner |
|---|
The art of recitation and declamation, of which we are going to say something this evening, is not at present accorded its full status as an art-form. In our approach to this art we often give too little consideration to exactly what is presented by the poet and to the medium in which the reciter or declaimer has to be artistically active. This moves us to consider the essentials of the art of recitation and declamation – when, as you have seen demonstrated many times, it presents itself as an accompanying art to eurythmy. We then become deeply aware that recitation and declamation must go beyond the prose content of a poem, which is actually the poem’s thought-component. For to stress the prose content turns the recitation and declamation of the poem into something inartistic. When in reciting, as happens at the present day, importance is attached to a prosaic stress on the meaning, this is an indication of our having abandoned the domain of the truly artistic. Let us be clear that a poet – if he is a true poet – will certainly have had in his imagination (in the full sense of the word) something which ultimately becomes apparent in the recitation and declamation. A poet who only had in his soul the thought-content, or the word-for-word content of feeling, and not the inwardly heard sound- and word-movement of the poem, would simply not be a poet at all. But it must also be made clear that what is put before the reciter is, in the end, only a kind of score or music-script – and that the art of recitation and declamation must go beyond the script in the same way as a pianist or other practising musician has to do. The re-creation is a new creating and the new creation is a re-creating. A musician who composes a piano work will, of course, also have in his imagination the whole pattern of sound: and whoever wishes to re-create his composition must make himself familiar above all with the instrument itself and with its characteristic sound-pattern and tone – of the piano in this instance. He must comprehend the art of handling both the instrument and its medium. And likewise the reciter must understand the art of handling speech. His instrument is bound up much more closely with his own being than are the external instruments of the musician, and in deploying his particular instrument he will also have to develop his own special characteristics. But he will have to start with the handling of speech, the material by means of which he can give expression to what reaches him from the poet only as a sort of score. As regards the handling of speech, it will be just as necessary to begin with the fundamentals as in the art of piano-playing, though the study must in many respects be pursued more intensively than in the case of learning the piano. We must also take into consideration that we are now living in a time when much of what has hitherto lived instinctively within the soul of man must be raised into consciousness. There is still today in wide circles, and not least among artists, a certain fear of this consciousness when it is brought to bear on artistic, creative work. They think that by introducing this sort of consciousness they will injure instinctive, imaginative creation and cripple it; many believe, too, that by becoming conscious of what really goes on in the soul in artistic creation they will lose that spontaneity essential to the creation of art. There is certainly some truth in all this. But, on the other hand, we must realise that what we are striving for in the sphere of anthroposophical perception is a matter of exceptional importance for our time and our civilisation. The slow struggle toward the experience of what in our spiritual stream is called Imagination weaves and lives in an element quite other than the intellectual, so that artistic feeling need in no way be lost when it is confronted with Imaginative experience. Indeed, if we are dealing with genuine Imaginations it cannot be lost. For what is disclosed in an Imagination with a view to knowledge is objectively (not subjectively but objectively) different from the Imagination manifested when the soul gives it an artistic form. If I may refer for a moment to something personal: I would like to say that to me it was always extremely distasteful if someone or other came along and tried to interpret my Mystery Plays in a symbolic way and imported into them all sorts of intellectual notions. For what lives in these Mystery Plays is experienced Imaginatively – down to every single sound. The picture stands there as a picture and has always stood there as a picture. It would never have occurred to me to begin with an intellectual idea and then fashion it into a picture. In that way I was able to discover by experience how, when one is attempting to impart artistic form, the Imaginative comes to be something objectively quite different to the form assumed by an Imagination that is directed toward cognition. Hence this prejudice, that spontaneity and instinctive imagining will be impaired if one raises artistic activity into consciousness, will have to be overcome. Our times require that this prejudice should be overcome. We may then perhaps be guided to the true foundations of declamation and recitation, as it is in this direction that they will have to be developed in the near future. We cannot put recitation and declamation into practice unless we fathom the fundamental differences presented in poetry by, on the one side, lyric; on the second side, epic; and on the third, the dramatic. [Note 10] Today we shall only be able to present something of the lyric and the dramatic. We shall then continue with something that might be called a ‘prose-poem’. There were reasons for this choice. The epic will be considered separately later on – indeed the epic can perhaps best illustrate the art of recitation when once we have advanced beyond the elementary stages of the art. In order to penetrate to a real declamatory and recitative art involving the lyric, dramatic and epic, the following must be observed. Whoever aims at this kind of vocal production must, for instance, develop a distinct feeling for the connection between lyric and the constituents of speech – and this he will achieve through a living experience of the vowels. A feeling for the vowels, for the intimacy of the vowels, must be sought if the lyrical is to be embodied and brought to expression. For it is in the vowel sounds that man’s essentially inward experience is expressed. In the single vowel-sounds – when penetrated by a sensitive understanding, a discerning sensibility – lies the whole spectrum of human inner experience. In vocalisation (the sounding of the vowels) lives everything which we might describe as coming from musical experience and which is projected into the lyric. Lyrical experience can definitely be traced back to musical experience. But in musical experience we find inwardness being unfolded in the movement of sound. In the lyric, we find inwardness absorbed into the very substance of the vowel itself. Yet whoever wishes to approach recitation from this point of view must avoid a certain error – and no greater error in the art of recitation is conceivable. For when we are learning how to handle the materials and elements of speech, we might be tempted to commence by introducing an element of feeling, to put subjective feeling into the vowel; and this is just what would actually make it prosaic. This is the opposite approach to that of recitation. Anyone who wishes to recite lyrical poetry must have a sensitivity to the vowel itself. He must begin by experiencing the vowel as such. Just as Goethe, for instance, recognises different shades of feeling in the various shades of colour, so we shall not only experience in the vowels different shades of feeling, but utterly different conditions of soul, different soul-contents. We shall feel every gradation, from sorrow and bitterness to joy and jubilation, in our sensing of the vowels and experience of what might be termed the vowel-scale. It will be readily admitted that much of what I am saying is often felt instinctively by the reciter when he comes to apply his art in individual poems. But he will be able to enhance his art significantly if he brings such a feeling to conscious awareness. Through vocalisation something capable of further development will be disclosed to him: he will discover how a vowel sounding earlier on still sounds in the later vowels – or a later vowel-sound modifies the earlier ones, etc. However, these things must not be practised in the mechanical and materialistic way often adopted nowadays, when various postures are assumed, along with artificial breath-control. Everything the body has to learn in this domain must derive purely from what is learnt in working with speech itself. Just as a painter can learn most when, instructed by an accomplished artist, he paints directly onto the canvas and only touches his work up here and there, – so too will the reciter best learn to recite by acquiring his grasp of speech from speech itself: from actual speaking, from handling the speech-movement. Afterwards, his attention can be drawn to any particular detail relating to external, bodily control. It is a curious tendency of our materialistic times first to move away from the poem and adjust the instrument of speech and only then return to artistic speaking. This aberration might almost be called nonsense; it certainly does not derive from true artistic feeling. Furthermore, if it is with the help of the vowel-sounds that we come to experience the lyric it is through the consonants that we shall begin to get a feeling for the epic. Truly to enter into the consonants is to experience over again, within ourselves, what is going on outside us. And if we feel in the consonantal element this peculiar imitation within us of the outside world, we shall be led artistically from these elementary constituents to an inner re-experiencing of what is also to be found in the images of a far-ranging epos. I can only touch upon this today; at another opportunity it can be referred to again. In this way it will be possible to develop what ought to lie at the foundation of recitation and declamation into a true art-form, down to its handling of the constituents of speech. And it will necessarily become clear to us, if we see the essential feature of this art in the way it handles actual speech, that the nuances of the art will show up in its response to the different languages – each language having its own special recitative or declamatory requirements. A language which is essentially mimetic, one which takes its departure from the intellect and classification and has developed language in the sphere of the intellect, a language which has abstracted itself from what can be experienced in the outer world, – such a language will have to tackle recitation and declamation quite differently to one in which the sounds (vowels and consonants) themselves express their relationship to inwardness or to externality. Now, in the first part of what Frau Dr. Steiner is going to declaim, you will hear to begin with something lyrical. From this you should actually be able to hear how lyrical poems come to expression with varying nuances, depending on the language in which they are presented. That will be the first part of our programme – a performance of essentially lyrical poems.
Three poems of Goethe’s youth. BEHERZIGUNG
Ist es besser, ruhig bleiben? Klammernd fest sich anzuhangen? Ist es besser, sich zu treiben? Soll er sich ein Häuschen bauen? Soll er unter Zelten leben? Soll er auf die Felsen trauen? Selbst die festen Felsen beben.
Eines schickt sich nicht für alle! Sehe jeder wie er’s treibe, Sehe jeder wo er bleibe, Und wer steht, dass er nicht falle! MEERES STILLE Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekümmert sieht der Schiffer Glatte Fläche rings umher. Keine Luft von keiner Seite! Todesstille fürchterlich! In der ungeheuern Weite Reget keine Welle sich. MIT EINEM GEMALTEN BAND Kleine Blumen, kleine Blätter Streuen mir mit leichter Hand Gute junge Frühlingsgötter Tändelnd auf ein luftig Band.
Zephyr, nimm’s auf deine Flügel, Schling’s um meiner Liebsten Kleid! Und so tritt sie vor den Spiegel All in ihrer Munterkeit.
Sieht mit Rosen sich umgeben, Selbst wie eine Rose jung: Einen Blick, geliebtes Leben! Und ich bin belohnt genung.
Fühle, was dies Herz empfindet, Reiche frei mir deine Hand, Und das Band, das uns verbindet, Sei kein schwaches Rosenband!
A little English lyric: SONG April, April, Laugh thy girlish laughter; Then, the moment after, Weep thy girlish tears! April, that mine ears Like a lover greetest, If I tell thee, sweetest, All my hopes and fears, April, April, Laugh thy golden laughter, But, the moment after, Weep thy golden tears! William Watson (1858-1935). THE BELLS OF ST. PETERSBURGH Those evening bells! those evening bells! How many a tale their music tells, Of youth, and home, and that sweet time, When last I heard their soothing chime!
Those joyous hours are past away! And many a heart, that then was gay, Within the tomb now darkly dwells, And hears no more those evening bells!
And so ’twill be when I am gone; That tuneful peal will still ring on, While other bards shall walk these dells, And sing your praise, sweet evening bells!
Thomas Moore (1799-1852).
An example of Russian lyric: NILE DELTA Lucid gold and emerald, and black earth’s thick fecundity: landscape aloof, your wealth witheld from ease, in mute profundity…
Bosom laden with your fruit, – how many slumberous shapes repose secure in you, most lowly root, or fertile corpses decompose?
Yet not for all slow dissipation: not those that yearly upward flame, like ghosts at magic conjuration, and vernal life from death proclaim;
not Isis, crowned with flowers supernal, lush companions of the spring – the Touch-me-not, the Maid eternal, the Rainbow’s incandescent ring! Vladimir Soloviov (1853-1900). Trans. Neil Thompson and A.J.W. [Note 11] [Of considerable interest too is the beautiful German translation used in the original programme: NILDELTA Goldenglänzendes, smaragdenes, Tief schwarzerdenes Gefild, Deines Kraftens reicher Segen Aus der Scholle quillt.
Dieser Schoss, der keimetragende, Tote bergend in den Ton, Er litt stumm, der allergebene, Die jahrtausend lange Fron.
Doch nicht alles so Empfangene Trugst empor du jedes Jahr. Das vom alten Tod Gezeichnete Sieht des Lenzes sich noch bar.
Isis nicht, die Kronen tragende, Wird dir bringen jenen Kranz, Doch die unberührte, ewige Magd im Regenbogenglanz. Trans. Marie Steiner.] WANDRERS STURMLIED Wen du nicht verlässest, Genius, Nicht der Regen, nicht der Sturm Haucht ihm Schauer übers Herz. Wen du nicht verlässest, Genius, Wird dem Regengewölk, Wird dem Schlossensturm Entgegen singen, Wie die Lerche, Du da droben.
Den du nicht verlässest, Genius, Wirst ihn heben übern Schlammpfad Mit den Feuerflügeln; Wandeln wird er Wie mit Blumenfüssen Über Deukalions Flutschlamm, Python tötend, leicht, gross, Pythius Apollo.
Den du nicht verlässest, Genius, Wirst die wollnen Flügel unterspreiten, Wenn er auf dem Felsen schläft, Wirst mit Hüterfittichen ihn decken In des Haines Mitternacht.
Wen du nicht verlässest, Genius, Wirst im Schneegestöber Wärmumhüllen; Nach der Wärme ziehn sich Musen, Nach der Wärme Charitinnen.
Umschwebet mich ihr Musen, Ihr Charitinnen: Das ist Wasser, das ist Erde, Und der Sohn des Wassers und der Erde, Über den ich wandle Göttergleich.
Ihr seid rein, wie das Herz der Wasser, Ihr seid rein, wie das Mark der Erde, Ihr umschwebt mich und ich schwebe Über Wasser, über Erde, Göttergleich.
Soll der zurückkehren, Der kleine, schwarze, feurige Bauer? Soll der zurückkehren, erwartend Nur deine Gaben, Vater Bromius, Und helleuchtend umwärmend Feuer? Der kehren mutig? Und ich, den ihr begleitet, Musen und Charitinnen alle, Den alles erwartet, was ihr, Musen und Charitinnen, Umkränzende Seligkeit Rings ums Leben verherrlicht habt, Soll mutlos kehren?
Vater Bromius! Du bist Genius, Jahrhunderts Genius, Bist, was innre Glut Pindarn war, Was der Welt Phöbus Apoll ist.
Weh! Weh! Innre Wärme, Seelenwärme, Mittelpunkt: Glüh’ entgegen Phöb’ Apollen; Kalt wird sonst Sein Fürstenblick Über dich vorübergleiten, Neidgetroffen Auf der Ceder Kraft verweilen, Die zu grünen Sein nicht harrt.
Warum nennt mein Lied dich zuletzt? Dich, von dem es begann, Dich, in dem es endet, Dich, aus dem es quillt, Jupiter Pluvius! Dich, dich strömt mein Lied, Und kastalischer Quell Rinnt ein Nebenbach, Rinnet Müssigen, Sterblich Glücklichen Abseits von dir, Der du mich fassend deckst, Jupiter Pluvius!
Nicht am Ulmenbaum Hast du ihn besucht, Mit dem Taubenpaar In dem zärtlichen Arm, Tändelnden ihn, blumenglücklichen Anakreon, Sturmatmende Gottheit!
Nicht im Pappelwald An des Sybaris Strand, An des Gebirges Sonnebeglänzter Stirn nicht Fasstest du ihn, Den bienensingenden, Honig-lallenden, Freundlich winkenden Theokrit.
Wenn die Räder rasselten, Rad an Rad rasch ums Ziel weg, Hoch flog Siegdurchglühter Jünglinge Peitschenknall, Und sich Staub wälzt’, Wie vom Gebirg herab Kieselwetter ins Tal,— Glühte deine Seel’ Gefahren, Pindar Mut.—Glühte?—
Armes Herz! Dort auf dem Hügel, Himmlische Macht! Nur so viel Glut, Dort meine Hütte, Dorthin zu waten! Johann Wolfgang von Goethe. [For such lyrical intensity and power in English this famous ode remains unsurpassed: ODE TO THE WEST WIND I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing,
Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed
The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow
Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill:
Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh, hear! II Thou on whose stream, ’mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean,
Angels of rain and lightning: there are spread On the blue surface of thine aery surge, Like the bright hair uplifted from the head
Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge
Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might
Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh, hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lulled by the coil of his crystalline streams,
Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day,
All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers
Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know
Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh, hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and spare
The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be
The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seemed a vision; I would ne’er have striven
As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life: I bleed!
A heavy weight of hours has chained and bowed One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies
Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one!
Drive my dead thoughts over the universe Like withered leaves to quicken a new birth! And, by the incantation of this verse,
Scatter, as from an unextinguished hearth Ashes and sparks, my words among mankind! Be through my lips to unawakened earth
The trumpet of a prophecy! O, Wind, If Winter comes, can Spring be far behind? Percy Bysshe Shelley (1792-1822).]
When studying poetry with a view to artistic declamation, it is of primary importance to lose nothing of what wells up in the words from the poet’s soul, or is contained in what is given to us by him. Recitation, as well as poetry itself, will only become artistic when everything that the soul expresses in the prose content is recast into form, into something formed. In the lyric it must go more into the musical. In the epic and particularly in the dramatic, more into imagery, into what has been given a definite form. The lyrical, as I said, inclines toward the vowel-sounds; but we must not forget that every consonant also has in it a vowel-element. In every consonant there lies a disposition toward a vowel and every vowel has a tendency toward a consonant. Consequently through art, just as in other spheres where something similar is effected, the opposition between subjective and objective will be completely overcome. The whole inner being of man will be able to live in the outer world and the outer world will be brought to expression in its full strength through the inner being of man. Speaking about the art of reciting in our course last autumn, I drew your attention to the universal, cosmic rhythm which is expressed in the rhythmic system of man. Furthermore, I showed how this comes to find expression in poetry – and thence, of course, in recitation as the manifestation of poetic art. We may say that an element with a more spiritual tendency (since the spirit manifests itself in everything physical) unfolds in the tempo of the human pulse-beat; while something more psychic, we may also say, something that takes its course in the soul, unfolds in the rhythm of breathing. A greater part of what is expressed in poetic form depends on the interplay between the rhythms of the pulse and breathing and the ratio of one to the other. And it is in the hexameter that the primary and most self-evident ratio between pulse-rhythm and breathing-rhythm is displayed. Fundamentally the hexameter involves two breaths, with four pulse-beats to each breath and this, of course, is the natural ratio between human breathing and the pulse. In this way, what wells up in poetry comes to actual corporeal utterance. And conversely, the poetic must come to expression through recitation and declamation out of the human being as a whole. It is as if the pulse-rhythm were playing upon the breathing-rhythm – rhythm on rhythm. And what lives in rhythm is expressed again in the musicality of speech, in lyrical poetry. All the prose content of a poem must be led back to this inner rhythmic treatment of metre and tempo. Everything that lies in the what of the content must also lie in the how of the performance, so that in discovering the one in the other there is really an experience of the whole. [Note 12] If, in poetry or reciting, we find ourselves having to exert our intellect to grasp the merely word-for-word content, then the artistic is at that point disrupted. This should really be ever-present in our mind when in any field of art we have to struggle through from inartistic content to genuine artistic form or to what has been permeated by the element of music. The latter is especially evident in reciting or declaiming a poem that is lyrical in origin. In the case of dramatic art, too, its own artistic forms must be represented when it is expressed in speech-formation. In fact we can say: Recitation as an independent art must take account of the way that it evolves the dramatic rather differently from how it is evolved in a fully staged production. Yet the essence of the stage-production must appear in the way the speech is handled – in the recitative-declamatory treatment of the drama. What do we actually have before us when we consider poetic drama? It is essentially something that only comes into existence through the characters on stage – or, if we do not see the drama with our eyes and hear it with our ears, through what our imagination has picked up from the poetic language and set in its totality before our souls. Everything must flow in moving form. But although the drama is only complete when presented on stage, we must realise all the same that everything standing before us, the persons on the stage, everything we hear, is fundamentally the expression of a soul-quality. The soul-quality which evolves as drama, in the separate characters and in their interaction – this is really the essential content of the drama. At this point it becomes necessary to take note of what actually goes on in the soul. What goes on there, especially in the re-creation of a drama, is something imaginative; and this is so even when it is only with the poetry that we are concerned. On the stage the presentation must be pictorial. But here, too, what is spoken is a pictorial representation of what lives in the poet’s soul. What is presented on the stage is effective, not through its reality, but through what derives from the ’fair seeming’: [Note 13] it is imaginative despite its reality. And when the dramatic forms come before our souls as images – that too is imaginative, albeit in a special sense. Imagination is not experienced in its true being, but as a projection into our souls in image-form. In the same way a shadow thrown onto the wall by a three-dimensional object is related to the object itself, though in no way containing what lives in the object; as a good two-dimensional portrayal contains everything its three-dimensional subject has: so what is represented in our imaginings contains the shadow thrown there by imagination. The stage presentation is fundamentally nothing but an external, corporeal representation of what lives in these images and for this reason we feel an aversion (if we have any healthy feeling for such things) whenever in the drama external reality is merely imitated naturalistically. Dramatic art can no more tolerate realistic imitation than can the other arts of speech – though these are less liable to such difficulties. And when, as in our times, the tendency toward realism has so often emerged in drama productions, and we have seen Schiller’s characters shown on stage with their hands in their pockets! When an attempt has been made to produce a realistic imitation of external, physical nature, this only shows that we have strayed from a genuinely aesthetic perception, and little by little in the general course of civilisation lost the truly artistic. It is possible to adopt a materialistic world-conception, and in a certain sense this is appropriate for the external organic world. In outer life it is possible to be realistic, but it is not so in art. For what we then produce is no longer in the domain of art at all – and this can be seen both in the drama itself and in the way speech is handled in these dramatic productions. It is really a matter of putting everything an artistic speech-formation can achieve into the treatment of the language. This comprises the most varied elements. I should only like to point out a few details – our limited time does not allow more. There may exist, for example, in what is presented through speech-formation, a sort of average tempo. We feel this and starting from this average tempo we can effect a transition to a quicker one, to a more rapid delivery of the words, or to a slower one. The first, the more rapid delivery, always expresses a kind of going-out of the human “I” – a going out from oneself and widely extending oneself. Naturally one can feel this in different ways: as a separation, for example, from some thing one longs to reach. A slowing-down of the words, notably in dramatic speech, will present a kind of being-within-oneself. Everything expressed in a self-collected contemplation, a resting within oneself, will be connected with a slowing-down of the tempo. Another formative principle lies in the raising or lowering of the pitch. The first is connected with the spiritualisation of an inner experience, with an ascending of the “I” above itself. Going out of oneself in wide extension is connected with the tempo: and ascending above oneself is associated with a rising in pitch. Everything in the content which strives toward spiritualisation (even if only a spiritualisation in which the human intellect is overpowered by the will, by ardour, by enthusiasm) will bring itself to formative expression in raising the pitch. And when a human being sinks below the level of his ordinary life, whether in sorrow or in inwardness, this will be connected with a fall in pitch. All this will find particular expression in dramatic art and everything dramatic speech-formation demands will have to flow into the element of form – so that everything must be grasped, not by the sheer power of intellect, but as an expression of this formative treatment of speech – and of course, if it is a matter of stage production, through the gestures. It will all flow into this special way of speaking, so that in the very speech we can feel what the content is. It will not be very easy to bring certain things in dramatic art to perfection, because (as Aristotle already knew) drama has to do with causal connections in life; and for this reason what may be called the dramatic score, in the sense we spoke of earlier as that which has to be realised, is very largely based on an implicit understanding and discernment. It must be transformed into something that can be attained through the speech-formation itself: through tempo, metre, rhythm, the rise and fall of the pitch, etc. It is from the speech-formation that the images which arise before the soul must flow. We must enter into such intimacies of human life if we wish to find the truly artistic. Dramatic art itself, because it is lifted out of physical experience through imagination (even if only a reflection, a shadowy image of true imagination) can only become effective if it shows itself in the style, in the handling of the speech. Hence in dramatic art, even down to the treatment of speech, it is for dramatic style that one will have to cultivate a special sense. Style, not realism, must be all-important. Hence we can say that what has been developed in the way of dramatic style in the French theatre and has been imitated in other languages, what culminated in the classical French presentation of tragedy can stand before us like a model from which to learn the formation of a dramatic style. From the style in which the French classics were, until quite recently, presented on the French stage (and after them the non-classical drama too), we shall be able to obtain a good idea of how a uniquely dramatic mode stands out against naturalistic speech, such as depends on intellectual understanding rather than the element of form. Two passages, taken from the German and the French, will exemplify what I have roughly tried to indicate as regards dramatic style and the dramatic treatment of speech. Recitation by Marie Steiner. From Schiller’s Wilhelm Tell, Act IV, Scene 5: TELL (enters with his crossbow): Durch diese hohle Gasse muss er kommen; Es führt kein andrer Weg nach Küssnacht – Hier Vollend’ ich’s. – Die Gelegenheit ist günstig. Dort der Holunderstrauch verbirgt mich ihm, Von dort herab kann ihn mein Pfeil erlangen; Des Weges Enge wehret den Verfolgern. Mach deine Rechnung mit dem Himmel, Vogt, Fort musst du, deine Uhr ist abgelaufen.
Ich lebte still und harmlos – Das Geschoss War auf des Waldes Tiere nur gerichtet, Meine Gedanken waren rein von Mord – Du hast aus meinem Frieden mich heraus Geschreckt, in gärend Drachengift hast du Die Milch der frommen Denkart mir verwandelt, Zum Ungeheuren hast du mich gewöhnt – Wer sich des Kindes Haupt zum Ziele setzte, Der kann auch treffen in das Herz des Feinds.
Die armen Kindlein, die unschuldigen, Das treue Weib muss ich vor deiner Wut Beschützen, Landvogt! – Da, als ich den Bogenstrang Anzog – als mir die Hand erzitterte – Als du mit grausam teufelischer Lust Mich zwangst, aufs Haupt des Kindes anzulegen – Als ich ohnmächtig flehend rang vor dir, Damals gelobt’ ich mir in meinem Innern Mit furchtbarm Eidschwur, den nur Gott gehört, Dass meines nächsten Schusses erstes Ziel Dein Herz sein sollte. – Was ich mir gelobt In jenes Augenblickes Höllenqualen, Ist eine heil’ge Schuld – ich will sie zahlen.
Du bist mein Herr und meines Kaisers Vogt; Doch nicht der Kaiser hätte sich erlaubt, Was du. – Er sandte dich in diese Lande, Um Hecht zu sprechen – strenges, denn er zürnet – Doch nicht um mit der mörderischen Lust Dich jedes Greuels straflos zu erfrechen; Es lebt ein Gott, zu strafen und zu rächen.
Komm du hervor, du Bringer bittrer Schmerzen, Mein teures Kleinod jetzt, mein höchster Schatz – Ein Ziel will ich dir geben, das bis jetzt Der frommen Bitte undurchdringlich war – Doch dir soll es nicht widerstehn. – Und du, Vertraute Bogensehne, die so oft Mir treu gedient hat in der Freude Spielen, Verlass mich nicht im fürchterlichen Ernst: Nur jetzt noch halte fest, du treuer Strang, Der mir so oft den herben Pfeil beflügelt – Entränn’ er jetzo kraftlos meinen Händen, Ich habe keinen zweiten zu versenden.
(Wanderers pass over the stage.)
Auf dieser Bank von Stein will ich mich setzen, Dem Wanderer zur kurzen Ruh bereitet – Denn hier ist keine Heimat. – Jeder treibt Sich an dem andern rasch und fremd vorüber Und fraget nicht nach seinem Schmerz. – Hier geht Der sorgenvolle Kaufmann und der leicht Geschürzte Pilger – der andächtige Mönch, Der düstre Räuber und der heitre Spielmann, Der Säumer mit dem schwerbeladnen Ross, Der ferne herkommt von der Menschen Ländern, Denn jede Strasse führt ans End’ der Welt. Sie alle ziehen ihres Weges fort An ihr Geschäft – und meines ist der Mord’. (Sits down)
– Sonst, wenn der Vater auszog, liebe Kinder, Da war ein Freuen, wenn er wiederkam; Denn niemals kehrt’ er heim, er bracht’ euch etwas, Warts eine schöne Alpenblume, war’s Ein seltner Vogel oder Ammonshorn, Wie es der Wandrer findet auf den Bergen – Jetzt geht er einem andern Weidwerk nach, Am wilden Weg sitzt er mit Mordgedanken; Des Feindes Leben ist’s, worauf er lauert. – Und doch an euch nur denkt er, liebe Kinder, Auch jetzt – euch zu verteidigen, eure holde Unschuld Zu schützen vor der Rache des Tyrannen, Will er zum Morde jetzt den Bogen spannen. (Stands up). Ich laure auf ein edles Wild. – Lässt sich’s Der Jäger nicht verdriessen, tagelang Umher zu streifen in des Winters Strenge, Von Fels zu Fels den Wagesprung zu tun, Hinan zu klimmen an den glatten Wänden, Wo er sich anleimt mit dem eignen Blut, – Um ein armselig Grattier zu erjagen. Hier gilt es einen köstlicheren Preis, Das Herz des Todfeinds, der mich will verderben. (Gay music in the distance coming nearer.)
Mein ganzes Lebelang hab’ ich den Bogen Gehandhabt, mich geübt nach Schützenregel; Ich habe oft geschossen in das Schwarze Und manchen schönen Preis mir heimgebracht Vom Freudenschiessen. – Aber heute will ich Den Meisterschuss tun und das beste mir Im ganzen Umkreis des Gebirgs gewinnen. Friedrich Schiller (1759-1805). [A speech from Dryden’s All for Love: or, The World Well Lost (his “imitation” of Shakespeare’s Antony and Cleopatra) may stand here as a sample of the Neoclassical drama in England. It comprises Act I, Scene i, 237ff: ANTONY (having thrown himself down) : Lye there, thou shadow of an Emperor; The place thou pressest on thy Mother-earth Is all thy Empire now: now it contains thee; Some few days hence, and then ’twill be too large, When thou’rt contracted in thy narrow Urn, Shrunk to a few cold Ashes; then Octavia, (For Cleopatra will not live to see it) Octavia then will have thee all her own, And bear thee in her Widow’d hand to Caesar; Caesar will weep, the Crocodile will weep, To see his Rival of the Universe Lie still and peaceful there. I’le think no more on’t. Give me some Musick; look that it be sad: I’le sooth my Melancholy till I swell, And burst my self with sighing—Soft Musick ‘Tis somewhat to my humor. Stay, I fancy I’m now turn’d wild, a Commoner of Nature; Of all forsaken, and forsaking all; Live in a shady Forest’s Sylvan Scene, Stretch’d at my length beneath some blasted Oke; I lean my head upon the Mossy Bark, And look just of a piece, as I grew from it: My uncomb’d Locks, matted like Misleto, Hang o’re my hoary Face; a mirm’ring Brook Runs at my foot… The Herd come jumping by me, And fearless, quench their thirst, while I look on, And take me for their fellow-Citizen, More of this Image, more; it lulls my thoughts. (Soft Musick again) John Dryden (1631-1700).] From Le Cid, Act III, Scene 4:
CHIMÈNE: Ah! Rodrigue, il est vrai, quoique ton ennemie, Je ne puis te blâmer d’avoir fui l’infamie; Et, de quelque façon qu’éclatent mes douleurs, Je ne t’accuse point, je pleure mes malheurs. Je sais ce que l’honneur, aprés un tel outrage, Demandait à 1’ardeur d’un généreux courage: Tu n’as fait le devoir que d’un homme de bien; Mais aussi, le faisant, tu m’as appris le mien. Ta funeste valeur m’instruit par ta victoire; Elle a vengé ton père et soutenu ta gloire: Même soin me regarde, et j’ai, pour m’affliger, Ma gloire à soutenir, et mon père à venger. Hélas! ton intérêt ici me désespère: Si quelque autre malheur m’avait ravi mon père, Mon âme aurait trouvé dans le bien de te voir L’unique allégement qu’elle eût pu recevoir; Et contre ma douleur j’aurais senti des charmes Quand une main si chére eût essuyé mes larmes. Mais il me faut te perdre après l’avoir perdu; Cet effort sur ma flamme a mon honneur est dû; Et cet affreux devoir, dont l’ordre m’assassine, Me force à travailler moi-même à ta ruine. Car enfin n’attends pas de mon affection De lâches sentiments pour ta punition. De quoi qu’en ta faveur notre amour m’entretienne, Ma générosité doit répondre à la tienne: Tu t’es, en m’offensant, montré digne de moi; Je me dois, par ta mort, montrer digne de toi.
RODRIGUE: Ne diffère donc plus ce que l’honneur t’ordonne: demande ma tête, et je te l’abandonne; Fais-en un sacrifice a ce noble intérêt; Le coup m’en sera doux, aussi bien que l’arrêt. Attendre après mon crime une lente justice, C’est reculer ta gloire autant que mon supplice. Je mourrai trop heureux, mourant d’un coup si beau.
CHIMÈNE: Va, je suis ta partie, et non pas ton bourreau. Si tu m’offres ta tête, est-ce à moi de la prendre? Je la dois attaquer, mais tu dois la défendre: C’est d’un autre que toi qu’il me faut l’obtenir Et je dois te poursuivre, et non pas te punir.
RODRIGUE: De quoi qu’en ma faveur notre amour t’entretienne. Ta générosité doit répondre à la mienne; Et, pour venger un père, emprunter d’autres bras Ma Chimène, crois-moi, c’est n’y répondre pas. Ma main seule du mien a su venger l’offense, Ta main seule du tien doit prendre la vengeance.
CHIMÈNE: Cruel! à quel propos sur ce point t’obstiner? Tu t’es vengé sans aide, et tu m’en veux donner! Je suivrai ton exemple, et j’ai trop de courage Pour souffrir qu’avec toi ma gloire se partage. Mon père et mon honneur ne veulent rien devoir Aux traits de ton amour ni de ton désespoir.
RODRIGUE: Rigoureux point d’honneur. Hélas! quoi que je fasse. Ne pourrai-je à la fin obtenir cette grâce? Au nom d’un père mort, ou de notre amitié Punis-moi par vengeance, ou du moins par pitié. Ton malheureux amant aura bien moins de peine A mourir par ta main qu’à vivre avec ta haine.
CHIMÈNE: Va, je ne te hais point.
RODRIGUE: Tu le dois.
CHIMÈNE: Je ne puis. Pierre Corneille (1606-1684). We shall continue now with something about the prose-poem. Here it is a matter of something in the artist’s soul which he experiences as poetry, but which cannot be expressed in any of the art-forms generally employed. Although put into prose, it is nonetheless a genuinely poetic art that is brought to expression in this form. But anything cast in the form of a prose-poem will need special treatment when it is expressed in speech-formation. It is almost universally – though quite erroneously – assumed that the recitation or declamation of prose-poems is something easy to accomplish. In reality, the recitative-declamatory speaking of prose-poetry is the most difficult, as it represents the most intimate form of the art. Everything that comes to light in lyric, dramatic or epic speech-formation, whether of a more delicate or more profound nature, must form a synthesis whenever a prose-poem is to be presented in oral production. In recitation of this kind everything that is to be found in verse, or any form of poetic art, will sound forth – but with a more delicate shading. In this way, merely touching upon what otherwise appears in the recitation and declamation with stronger emphasis, with more marked contours – by giving this only gentle emphasis – the recital will become essentially suffused with soul. Suffused with soul! The artistic recital of prose-poetry must become much more soul-filled: it must occasion our going beyond the conceptual understanding of the words toward something imaginative. The energetic impetus that underlies logical inference, for example, leads toward an image-forming experience; [Note 14] and at the same time there sounds through softly, as something musical, the octave. The image-forming treatment of speech in a prose-poem, when presented in recitation or declamation, is like a continually flowing stream with its even waves. And, as if from the depths, other waves arise, bringing variation into its even flow – this is the delicate musical element which should become perceptible in this kind of recitation. In speaking a prose-poem with poetic sensibility, the more intimate features of a language will come to light and the raising of what looks like a prose production into a poetical work, into the realm of art and poetry, is something of a triumph which man can give to his language. What we may call the soul of a language finds a very adequate embodiment there. We will now take an example – from The Apprentices of Sais by Novalis. In this novel, which remained unfinished, there is a wonderful little passage of prose in which all that I have tried to indicate about the recitation and declamation of prose-poems comes into prominence. The essential thing is that everything which otherwise comes to light in the reciting of poetry is transformed, through acquiring a more intimate character, into a particular mood or feeling. Everything, on the other hand, that serves to differentiate the mood will be taken up into the totality of the mood as a whole. Something like this can be attempted in an outstanding piece of prose like the fairy-tale in Novalis’ The Apprentices of Sais. In this wonderful fairy-tale, as in so much that has come to us from Novalis, is revealed the whole depth of his soul. The handsome youth Hyacinth loves the maiden Rosepetal. It is a love cherished in secret – only the flowers and the animals of the forest know of the love of the handsome youth for the maiden Rosepetal. And then there appears a man with a long beard, who makes a wondrous impression and tells marvellous stories, in which the handsome youth Hyacinth becomes completely immersed. He is seized with a great longing for the veiled Virgin, for the veiled image of Truth. His soul trembles with longing, which also enlarges his vision so that he becomes estranged from his immediate surroundings, and his heart yearns for the image of the veiled Virgin. He forsakes Rosepetal, who remains behind weeping. He wanders through all sorts of unknown regions, and comes to know many things on his way; and at last he arrives at the Temple of Isis. Everything seems familiar to him, and yet different from what he had experienced before – it seems so much more splendid. And behold! he ventures to lift the veil! and Rosepetal falls into his arms. It would be hard to represent with more intimate feeling the expansion of the soul out of her subjectivity into the wide universe; it would be hard to represent more intimately the longing of man for truth – hard to link more closely what man can experience when he rises to the highest spheres of truth with what he lives through in his most direct, intimate day-to-day experiences. All that is needed is sufficient intimacy of soul. What is expressed in this prose fairy-tale can only be brought to light by a soul such as that of Novalis, who really felt everyday life in such a way that it was for him a direct expression of the eternal. Novalis, after his first love had died, was able in inward truth of soul to live with her and to feel the direct presence of one who was in the other world as if she were in this world. Novalis’ soul was truly able to experience the super-sensible in the sensible and so raise what belongs to the sense-world to assume the character of the super-sensible. Everything flowed together in Novalis: striving after truth, striving after beauty and religious ardour. Only if we understand his comprehensiveness do we understand Novalis. Hence there could arise the remarkable feeling which resounds through The Apprentices of Sais, and wrests itself from Novalis’s soul: man has felt that in the image of Isis truth is veiled; “I am the past, the present and the future, no mortal as yet has lifted my veil” – that is the pronouncement of the veiled Isis and Novalis was sensible of it. Confronted with “No mortal as yet has lifted my veil”, Novalis responded with “Then we must become immortal”. Novalis never despaired of the soul’s ability to lift the veil of truth: but the soul must first become immediately aware of her own immortality. A man who experiences his immortality in himself may, in the sense of Novalis, lift the veil of truth. It is a powerful saying – “Then we must become immortal”. What lives in this feeling in a far-reaching way meets us again in an intimate mood when the handsome youth Hyacinth comes to the Temple of Isisafter long dream-wanderings through unknown regions, which are nonetheless familiar to him, though now appearing more splendid than he had once known. He comes to the Temple of Isis, lifts the veil and what he knows and loves – Rosepetal – comes to meet him. Yet, as we can envisage and feel intimately in this prose fairy-tale, she has become through this experience of eternity much more splendid than she once was. Truly it is a prose-poem conceived in a mood where the highest to which man can aspire takes the form of the most intimate – one of the fairest flowers of poetic prose, demonstrating that, in what is apparently prose, true poetry can be expressed. From Die Lehrlinge zu Sais: DAS MÄRCHEN VON HYAZINTH UND ROSENBLÜTE Vor langen Zeiten lebte weit gegen Abend ein blutjunger Mensch. Er war sehr gut, aber auch über die Massen wunderlich. Er grämte sich unaufhorlich um nichts und wieder nichts, ging immer still für sich hin, setzte sich einsam, wenn die andern spielten und fröhlich waren, und hing seltsamen Dingen nach. Höhlen und Wälder waren sein liebster Aufenthalt, und dann sprach er immerfort mit Tieren und Vögeln, mit Bäumen und Felsen, natürlich kein vernünftiges Wort, lauter närrisches Zeug zum Totlachen. Er blieb aber immer mürrisch und ernsthaft, ungeachtet sich das Eichhörnchen, die Meerkatze, der Papagei und der Gimpel alle Mühe gaben, ihn zu zerstreuen und ihn auf den richtigen Weg zu weisen. Die Gans erzählte Märchen, der Bach klimperte eine Ballade dazwischen, ein grosser dicker Stein machte lächerliche Bockssprünge, die Rose schlich sich freundlich hinter ihm herum, kroch durch seine Locken, und der Efeu streichelte ihm die sorgenvolle Stirn.—Allein der Missmut und Ernst waren hartnäckig. Seine Eltern waren sehr betrübt, sie wussten nicht, was sie anfangen sollten. Er war gesund und ass, nie hatten sie ihn beleidigt, er war auch bis vor wenig Jahren fröhlich und lustig gewesen, wie keiner; bei allen Spielen voran, von allen Mädchen gern gesehn. Er war recht bildschön, sah aus wie gemalt, tanzte wie ein Schatz. Unter den Mädchen war eine, ein köstliches, bildschönes Kind, sah aus wie Wachs, Haare wie goldne Seide, kirschrote Lippen, wie ein Püppchen gewachsen, brandrabenschwarze Augen. Wer sie sah, hätte mögen vergehn, so lieblich war sie. Damals war Rosenblüte, so hiess sie, dem bildschönen Hyazinth, so hiess er, von Herzen gut, und er hatte sie lieb zum Sterben. Die andern Kinder wussten’s nicht. Ein Veilchen hatte es ihnen zuerst gesagt, die Hauskätzchen hatten es wohl gemerkt, die Häuser ihrer Eltern lagen nahe beisammen. Wenn nun Hyazinth die Nacht an seinem Fenster stand und Rosenblüte an ihrem, und die Kätzchen auf den Mäusefang da vorbeiliefen, da sahen sie die beiden stehn und lachten und kicherten oft so laut, dass sie es hörten und böse wurden. Das Veilchen hatte es der Erdbeere im Vertrauen gesagt, die sagte es ihrer Freundin, der Stachelbeere, die liess nun das Sticheln nicht, wenn Hyazinth gegangen kam; so erfuhr’s denn bald der ganze Garten und der Wald, und wenn Hyazinth ausging, so rief’s von allen Seiten: Rosenblütchen ist mein Schätzchen! Nun ärgerte sich Hyazinth und musste doch auch wieder aus Herzensgrunde lachen, wenn das Eidechschen geschlüpft kam, sich auf einen warmen Stein setzte, mit dem Schwänzchen wedelte und sang:
Rosenblütchen, das gute Kind, Ist geworden auf einmal blind, Denkt, die Mutter sei Hyazinth, Fällt ihm um den Hals geschwind; Merkt sie aber das fremde Gesicht, Denkt nur an, da erschrickt sie nicht, Fährt, als merkte sie kein Wort, Immer nur mit Küssen fort.
Ach! wie bald war die Herrlichkeit vorbei. Es kam ein Mann aus fremden Landen gegangen, der war erstaunlich weit gereist, hatte einen langen Bart, tiefe Augen, entsetzliche Augenbrauen, ein wunderliches Kleid mit vielen Falten und seltsamen Figuren hineingewebt. Er setzte sich vor das Haus, das Hyazinths Eltern gehörte. Nun war Hyazinth sehr neugierig und setzte sich zu ihm und holte ihm Brot und Wein. Da tat er seinen weissen Bart voneinander und erzählte bis tief in die Nacht, und Hyazinth wich und wankte nicht und wurde auch nicht müde zuzuhören. So viel man nachher vernahm, so hat er viel von fremden Ländern, unbekannten Gegenden, von erstaunlich wunderbaren Sachen erzählt und ist drei Tage dageblieben und mit Hyazinth in tiefe Schachten hinuntergekrochen. Rosenblütchen hat genug den alten Hexenmeister verwünscht, denn Hyazinth ist ganz versessen auf seine Gespräche gewesen und hat sich um nichts bekümmert; kaum dass er ein wenig Speise zu sich genommen. Endlich hat jener sich fortgemacht, doch dem Hyazinth ein Büchelchen dagelassen, das kein Mensch lesen konnte. Dieser hat ihm noch Früchte, Brot und Wein mitgegeben und ihn weit weg begleitet. Und dann ist er tiefsinnig zurückgekommen und hat einen ganz neuen Lebenswandel begonnen. Rosenblütchen hat recht zum Erbarmen um ihn getan, denn von der Zeit an hat er sich wenig aus ihr gemacht und ist immer für sich geblieben. Nun begab sich’s, dass er einmal nach Hause kam und war wie neu geboren. Er fiel seinen Eltern um den Hals und weinte. ‘Ich muss fort in fremde Lande’, sagte er, ‘die alte wunderliche Frau im Walde hat mir erzählt, wie ich gesund werden müsste, das Buch hat sie ins Feuer geworfen und hat mich getrieben, zu euch zu gehn und euch um euren Segen zu bitten. Vielleicht komme ich bald, vielleicht nie wieder. Grüsst Rosenblütchen. Ich hätte sie gern gesprochen, ich weiss nicht, wie mir ist, es drängt mich fort; wenn ich an die alten Zeiten zurückdenken will, so kommen gleich mächtigere Gedanken dazwischen, die Ruhe ist fort, Herz und Liebe mit, ich muss sie suchen gehn. Ich wollt euch gern sagen, wohin, ich weiss selbst nicht, dahin wo die Mutter der Dinge wohnt, die verschleierte Jungfrau. Nach der ist mein Gemüt entzundet. Lebt wohl.’ Er riss sich los und ging fort. Seine Eltern wehklagten und vergossen Tränen, Rosenblütchen blieb in ihrer Kammer und weinte bitterlich. Hyazinth lief nun, was er konnte, durch Täler und Wildnisse, über Berge und Ströme, dem geheimnisvollen Lande zu. Er fragte überall nach der heiligen Göttin, Menschen und Tiere, Felsen und Bäume. Manche lachten, manche schwiegen, nirgends erhielt er Bescheid. Im Anfange kam er durch rauhes, wildes Land, Nebel und Wolken warfen sich ihm in den Weg, es stürmte immerfort; dann fand er unabsehliche Sandwüsten, glühenden Staub, und wie er wandelte, so veränderte sich auch sein Gemüt, die Zeit wurde ihm lang, und die innre Unruhe legte sich, er wurde sanfter und das gewaltige Treiben in ihm allgemach zu einem leisen, aber starken Zuge, in den sein ganzes Gemüt sich auflöste. Es lag wie viele Jahre hinter ihm. Nun wurde die Gegend auch wieder reicher und mannigfaltiger, die Luft lau und blau, der Weg ebener, grüne Büsche lockten ihn mit anmutigen Schatten, aber er verstand ihre Sprache nicht, sie schienen auch nicht zu sprechen, und doch erfüllten sie auch sein Herz mit grünen Farben und kühlem, stillem Wesen. Immer höher wuchs jene süsse Sehnsucht in ihm, und immer breiter und saftiger wurden die Blätter, immer lauter und lustiger die Vögel und Tiere, balsamischer die Früchte, dunkler der Himmel, wärmer die Luft, und heisser seine Liebe, die Zeit ging immer schneller, als sähe sie sich nahe am Ziele. Eines Tages begegnete er einem kristallnen Quell und einer Menge Blumen, die kamen in ein Tal herunter zwischen schwarzen himmelhohen Säulen. Sie grüssten ihn freundlich mit bekannten Worten. ‘Liebe Landsleute’, sagte er, ‘wo find’ ich wohl den geheiligten Wohnsitz der Isis? Hier herum muss er sein, und ihr seid vielleicht hier bekannter als ich.’ ‘Wir gehn auch nur hier durch’, antworteten die Blumen; ‘eine Geisterfamilie ist auf der Reise, und wir bereiten ihr Weg und Quartier, indes sind wir vor kurzem durch eine Gegend gekommen, da hörten wir ihren Namen nennen. Gehe nur aufwärts, wo wir herkommen, so wirst du schon mehr erfahren.’ Die Blumen und die Quelle lächelten, wie sie das sagten, boten ihm einen frischen Trunk und gingen weiter. Hyazinth folgte ihrem Rat, frug und frug und kam endlich zu jener längst gesuchten Wohnung, die unter Palmen und andern köstlichen Gewächsen versteckt lag. Sein Herz klopfte in unendlicher Sehnsucht, und die süsseste Bangigkeit durchdrang ihn in dieser Behausung der ewigen Jahreszeiten. Unter himmlischen Wohlgedüften entschlummerte er, weil ihn nur der Traum in das Allerheiligste führen durfte. Wunderlich führte ihn der Traum durch unendliche Gemächer voll seltsamer Sachen auf lauter reizenden Klängen und in abwechselnden Akkorden. Es dünkte ihm alles so bekannt und doch in niegesehener Herrlichkeit, da schwand auch der letzte irdische Anflug, wie in Luft verzehrt, und er stand vor der himmlischen Jungfrau. Da hob er den leichten, glänzenden Schleier, und Rosenblütchen sank in seine Arme. Eine ferne Musik umgab die Geheimnisse des liebenden Wiedersehns, die Ergiessungen der Sehnsucht, und schloss alles Fremde von diesem entzückenden Orte aus. Hyazinth lebte nachher noch lange mit Rosenblütchen unter seinen frohen Eltern und Gespielen, und unzählige Enkel dankten der alten wunderlichen Frau für ihren Rat und ihr Feuer; denn damals bekamen die Menschen so viel Kinder, als sie wollten.— Novalis (1772-1801). [The prose-poem is a relatively rare beast in English literature; but one of its descendants is the lyrical novel, as practised by (among others) Joyce. [Note 15] This is one of the formal poetic “epiphanies” from his A Portrait of the Artist as a Young Man, ch. 4:
Her image had passed into his soul for ever and no word had broken the holy silence of his ecstasy. Her eyes had called him and his soul had leaped at the call. To live, to err, to fall, to triumph, to recreate life out of life: A wild angel had appeared to him, the angel of mortal youth and beauty, an envoy from the fair courts of life, to throw open before him in an instant of ecstasy the gates of all the ways of error and glory. On and on and on and on. He halted suddenly and heard his heart in the silence. How far had he walked? What hour was it? There was no human figure near him nor any sound borne to him over the air. But the tide was near the turn and already the day was on the wane. He turned landward and ran towards the shore and, running up the sloping beach, reckless of the sharp shingle, found a sandy nook amid a ring of tufted sandknolls and lay down there that the peace and silence of the evening might still the riot of his blood. He felt above him the vast indifferent dome and the calm processes of the heavenly bodies; and the earth beneath him, the earth that had borne him, had taken him to her breast. He closed his eyes in the languor of sleep. His eyelids trembled as if they felt the vast cyclic movement of the earth and her watcher, trembled as if they felt the strange light of some new world. His soul was swooning into some new world, fantastic, dim, uncertain as under sea, traversed by cloudy shapes and beings. A world, a glimmer or a flower? Glimmering and trembling, trembling and unfolding, a breaking light, an opening flower, it spread in endless succession to itself, breaking in full crimson and unfolding and fading to palest rose, leaf by leaf and wave of light by wave of light, flooding all the heavens with its soft flushes, every flush deeper than the other. Evening had fallen when he woke and the sand and arid grasses of his bed glowed no longer. He rose slowly and, recalling the rapture of his sleep, sighed at its joy. He climbed to the crest of the sandhill and gazed about him. Evening had fallen. A rim of the young moon cleft the pale waste of skyline, the rim of a silver hoop embedded in grey sand; and the tide was flowing in fast to the land with a low whisper of her waves, islanding a few last figures in distant pools. James Joyce (1882-1941).] |
