| 314. Meetings with Practicing Physicians: Second Discussion
23 Apr 1924, Dornach Rudolf Steiner |
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| The patient left the clinic with a 20-pound weight gain and in a strengthened condition. We are under no illusion that in this case, a follow-up treatment is still needed to consolidate the healing." |
| If one shows that these are not abstract things, but rather, in these many very concrete individual cases, points out how the individual cases are constituted, and then shows how the diagnosis leads into the therapy, and how, as soon as the therapy is applied, the healing progresses: it is indeed the case that this must be understood, otherwise one would have to despair of humanity's ability to understand at all. I am completely convinced that only this method can help us: to say things very boldly and courageously. |
| Take, I would like to say, the most radical sensory organization – just to understand the matter – take the eye. How does the eye come about? You know that it is actually formed partly from the outside; it is incorporated into the organism. |
| 314. Meetings with Practicing Physicians: Second Discussion
23 Apr 1924, Dornach Rudolf Steiner |
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In connection with the question raised by Dr. Husemann yesterday, we have decided to read out two cases from the book that Dr. Wegman will soon be publishing. We can then build on the presentation of these cases to address the issues that arise from your question as a need for further knowledge. Of course, I will ask that these cases be treated with the utmost discretion at first, because they will be an integral part of the forthcoming book. These cases are intended to show how to arrive at a therapy, especially by means of diagnosis. This is to be made clear, and it is to be done on the basis of anthroposophy. In this book we will not be embarrassed to speak entirely in anthroposophical terms.
It is important that the mother and sister were present, and you will see why in a moment.
 That is essentially the finding. We are dealing with an etheric body that is atrophied in the most diverse places and does not absorb the effect of the astral body in the atrophied places. There are such gaps in the etheric body (see drawing). The astral body does not penetrate into the areas where the etheric body is atrophied. This was the case in various parts of the organism.
One must use unusual expressions here, just as the term “hypertrophy” is used for places that are too active, too lively.
This is something important in principle. The occurrence of spasms is based on the fact that the regular connection between the astral body, the etheric body and the physical body is not there. One has to imagine this in such a way that the astral body only acts on the physical body with the help of the etheric body. If there are such atrophic areas, then the astral body takes hold of the physical body to the exclusion of the ether body. Spasm occurs everywhere where this is the case. We know that where spasm occurs, the ether body does not mediate properly between the astral body and the physical body.
I ask you to note this in particular. She has not grown any more from the age of thirteen until now, so that all her growth up to sexual maturity was complete.
This was the case with both mother and child: the astral body intruded too strongly into the physical body.
Joint rheumatism is also connected with the fact that the astral body directly engages with the joints of the physical body. This engagement can also cause inflammation where it can occur. So either we are dealing with spasms or with inflammation.
Due to the excessive intervention of the astral body, too much breakdown occurs. The physical body and etheric body build up; the astral body and ego organization break down. If there is now an excess of degrading activity, this is indicated by the fact that she has to wear fillings at the age of twelve. Each time she has become pregnant, her teeth have become worse.
If there is complete regularity in the connection between the astral body, etheric body and physical body, there is no excess of dreams. The moment the astral body can predominate because the etheric body is weakened, frequent and vivid dreams occur. And because the astral body is strong, it can easily come out and the sleep still remains healthy.
These are the decomposition products that form due to the hypertrophy of the astral body. They must always be sought when one is dealing with a hypertrophy of the astral body.
This is really very interesting. The mother and child have almost the same disease constitution. The sister, who is walking at the same time, only has weaker symptoms, everything to a lesser extent, everything, I would say, en miniature, in hints.
This is very interesting. In order to arrive at a diagnosis, one must actually ask what the person concerned likes to eat: sweet or bitter things, a preference for these or those sensory impressions. Some have a peculiar weakness with regard to olfactory impressions. All this shows that the astral body is to be engaged somehow. This preference of the astral body shows that it is not engaged; it is engaged immediately when it has sweets.
This case is particularly interesting because it can be seen that the cause really lies in the inadequate development of the allantois of the grandmother. The whole condition of this astral body, which of course manifests itself more strongly in one person, the mother, and to a lesser extent in the other, can be traced back to the grandmother. It is not bound to one part, but constitutionally goes through the whole astral body and can only go back to that peculiar formation, the allantois, the embryonic period. We have here an occult finding that must be taken up. But once we have come across it, the individual phenomena are quite suitable for verification. We must definitely get into the habit of verifying the causes from the causes. The composition of the symptoms actually only gives an unclear picture.
What is more, we could only hint at this as a principle, in the physical allantois, which can only be embryonic as well; the entire organs that are present in the embryo are present in the born human being as the higher limbs. What is a physical accessory organ is, spiritually, in the adult state, so that we only have to see the physical correlate of the embryonic period in the allantois.
It is important to know that the amnion is the physical correlate of the etheric body, the allantois is the physical correlate of the astral body, and the chorion is the physical correlate of the I organization of the adult.
Now it moves into the therapeutic.
It is particularly important that we consider this case. What is presented here ties in with yesterday's question. If one simply had the finding that the astral body and the etheric body are not in intimate harmony, one would have to take this or that remedy — then one would hardly achieve any particular effect. If one goes strictly further to the cause, then the therapy also becomes clearer. By being led away from direct observation into the succession of generations, the way was pointed to strict exactness.
And now we have the therapy: we work directly on the hand with pyrite, iron sulphide. This enables us to influence the astral body and the etheric body at the same time, thereby bringing about harmonization. We must work to bring the etheric body and the astral body closer together. This is the basis for healing. And for that we must apply means that go beyond the immediate, because it has been going on for generations.
Perhaps you would like to say something? In this way, the diagnosis leads to the therapy. This is where the higher aspects of human nature come into play. The starting point is the clinical picture. In this case, the starting point is as follows: the sick organism was subject to a process that takes a certain course. This process must be reversed. By properly understanding the process, one arrives at the point of reversing the process by realizing how not only an organ, but the entire human interior is related to what is happening in the world. So let us say you want to recognize how to treat some kind of damage, say to the gall bladder. Then you have to study the opposite process in the outside world; at least take this opposite process as an aid. If you recognize one of them, say, as the incoming process, you recognize the other as the outgoing process and thus have the closed circuit. Is there perhaps another question?
That you did not achieve what you intended by penetrating the soul? This is something that may be true or may be false. It depends entirely on how far one is able to coax the things one wants out of the child, and also on whether the child is communicative or not. It also depends on the memory effect; and on whether the right things from the soul are elicited. In principle, the child can give really great things, especially when there are condensed soul phenomena. If you expect the childish and it tells what it has seen of condensed soul phenomena, you can look very deeply into irregularities; these are always the correlate of this. You have to look at the case individually. With adults, of course, it is fairly easy to penetrate the soul if you know the soul organism as such, if you know that people tell you anything. Now you move forward. Most of the time what they tell is not true. First of all, the patient does not say how it is. Now you have to find something to latch onto. You come across something that is mostly true. Once you have grasped that, you can move on. You have to distinguish whether one thing is true in relation to the other. An animal that has the beak of an eagle cannot at the same time have the feet of an ostrich. In the same way, things in the soul fit together. You have to guide the patient towards this. Until you have found the right point, you believe everything, that is, you believe nothing, but you make him understand that you believe everything. Once you have hooked on a point where the matter must be true, you then draw his attention very sharply to what cannot be. You then get a kind of soul organism that points very strongly to the physical organism. So it is useful to be based on a mental diagnosis.
The direction you indicated yesterday is this: I make a diagnosis and then have the diagnosis before me. I know that when this turns out, these remedies are available to me. I can choose from among them. Now you wanted to know: how can one actually choose? The answer can only be given by saying: If I can choose between several remedies, I must assume that I have not yet completed the diagnosis and must continue the diagnosis until I arrive at a definite remedy. There is no such thing as an arbitrary choice. This was truly a happy case, and I was amazed. The fact that one goes from the condition of the child to the allantois of the grandmother is something that does not otherwise occur in the diagnosis. I was extremely astonished that this was the motif; on the other hand, the result shows that one must try to penetrate to the last cause.
This is very interesting when, as in this case, the etheric body is so weak that it does not perform its own functions but acts as a matrix, like wax, into which the astral body imprints its own functions. We have an etheric body that actually acts as a masked astral body. This is the case here.
We must be strict about this. When something enters the human organism, whether it is from some aggregate state or warm air and so on, it must undergo a change in the human organism – roughly speaking, within the human skin. Nothing is the same outside of and within the human organism. The human organism has to work through everything that comes from outside. No heating process may take place in the body as it does in stone, where a temperature simply passes through and warms the stone. If we are warmed from the outside, like an inorganic body, we process the warmth that approaches us so deeply that it is completely revitalized. If a cold occurs, even if it is an internal cold of the internal organs, it does not come from within, but from an external imposition of heat. This goes all the way down to the metabolic states. When a substance enters, it must be transformed in the human organism, right down to its most intimate processes. If we have ingested something – let's say a carbohydrate – another process takes place in the organism. The carbon-hydrogen-oxygen process, which takes place outside of human nature, must not be there in the same way. There is a process in the human being that is foreign to human nature. This is the basis for all disease states that are based on metabolic deposits. All of them are basically based on the fact that heat processes do not occur through the human being himself, but rather processes that arise as actual processes of matter because the human organization is not strong enough in some part. If, for example, the ego organization is too weak, one will find that the fat taken in is not processed in the right way. If the astral organization is too weak, one will find that carbohydrates are not processed properly. If the aether organization is too weak, one will find that the protein taken in is not processed in the right way. This is something to be aware of.
So silicic acid always strengthens the power of self-healing in the face of sensitivity.
You see how one helps oneself: one applies mustard plasters to the lower back; this causes artificial sensitivity. This artificial sensitivity takes away the inner sensitivity of the astral body, thus creating an intimation. This is often the case when something is wrong in the human limbs, creating an intimation; in this case, a strong intimation of the astral body downwards. If it becomes strong enough, the sensitivity is no longer there. The sensitivity of the astral body decreases downwards. If the sensitivity moves upwards, it is increased.
This is only a help, a last resort.
So the case is intended to show how one can really come to use therapeutically what is otherwise said more theoretically about the astral body and the etheric body. One can now be faced with the question that has always been raised by “well-meaning” people: Should one use the terms that have been used here as the naked truth and reality, or should one conceal them? “Well-meaning” people have said that one should not speak of the etheric body, but of functional processes or something similar. You can't get as far as the astral body that way. The fact of the matter is that most illnesses are not grasped in their essence if one does not go up to the astral body. The damage caused by the organization of the ego, that is, the severe damage caused by metabolic deposits: here the situation is such that this damage is already clearly present. On the other hand, the more insidious damage is the catabolic damage caused by the astral body. One really has to be very careful when talking about this. Now the situation will be such that one can simply say – yes, that is what many people will say – one should not come to people with the astral body and the etheric body. But if you don't approach people with that, there is no reason at all to believe that something new is being presented here. People think that only a little of one or the other has been changed here, that it is done here just as it is done elsewhere, that at most there is a little progress. It is not like that! And that must be made clear to people with all the radical clarity. If one shows that these are not abstract things, but rather, in these many very concrete individual cases, points out how the individual cases are constituted, and then shows how the diagnosis leads into the therapy, and how, as soon as the therapy is applied, the healing progresses: it is indeed the case that this must be understood, otherwise one would have to despair of humanity's ability to understand at all. I am completely convinced that only this method can help us: to say things very boldly and courageously.
 In the case of carcinoma, we are dealing with the fact that a sense organ is evoked at a point in the organization where there is no reason to evoke a sense organ. Take, I would like to say, the most radical sensory organization – just to understand the matter – take the eye. How does the eye come about? You know that it is actually formed partly from the outside; it is incorporated into the organism. Roughly speaking, the organism leaves out the eye socket. Then the eye is embedded. This indicates that essentially extra-human processes are at work in the formation of the eye. The eye is only embraced by the human being. When we have such a striking sensory organ as the eye, we can say that a foreign body is incorporated into the human organism. This is a radical concept because it is so unusual. Nothing like the shape of the lens or vitreous humor, or the substantial composition of the lens or vitreous humor, would ever arise from the human organism. Now, all that is deposited, which is partly even in the eye ethereal, not merely physical, is embraced by the astral body and the ego organization, which are actually as emancipated as possible from the physical and etheric in the eye. In the eye, the connection between the I, the astral body, the etheric body and the physical body is quite different than, let us say, in a piece of muscle. In a piece of calf muscle, you see a very intimate connection between the ego, the astral body, the aetheric body and the physical body. This is the normal constitution in this respect. If I were to write a chemical formula to describe the eye, I would say that the ego and the astral body are closely connected (see drawing I and A), and the other two are also closely connected! There is only a loose affinity between the etheric body and the astral body. This is only the case with the eye.  With other sense organs, for example with the ear, it is not so, there it cannot be so pronounced. There is actually a loose affinity between the ego organization and the astral body and again between the physical body and the ether body. It is somewhat different for each sense. If there is a tendency towards a sense organization somewhere in the human organism where there should be no sense organization - and the tendency can arise in any part of the human organism; what should happen in another place, the tendency for it can arise in any other place - then you can see how the physical body and ether body on the one hand, and the astral body and I on the other, fall apart. Take a very specific case. In the case of a severe physical insult, say to the mammary gland, the impact continues inwards in such a way that it shows, roughly speaking, a line of action within the skin that originates from the outside – in other words, a mechanical insult that continues inwards. In most cases of breast cancer, this will be the real origin. It could only be a prolonged process of overheating or burning. In the sense I am describing here, it will always be an insult that brings this about, speaking externally. Now, in this case, something occurs that strongly suggests the astral body at this point, which is otherwise absorbed by the etheric body. When the astral body suddenly appears at this point, it shows itself in, I would say, dim light; it appears as if it were burning. When it becomes so noticeable, then there is a tendency at this point towards the formation of a sensory effect, a carcinoma develops. There it is not a question of at least starting with the first seven vaccinations. The connections there become particularly interesting when you see how one is connected with the other. Suppose you have someone who is no longer quite young. You are obliged to remove the carcinoma. But the thing that is present in a fairly strongly developed carcinoma manifests itself in such a way that actually in the whole body, because the organism is one entity, there is a tendency to allow non-human processes to take place. The carcinoma changes in its course in a very strange way. After a while, the localized carcinoma becomes a valve for concentrating the carcinomatous development. If you cut out the carcinoma, the valve is suddenly gone. But if you are dealing with an older person, this tendency to have something non-human in the person leads to the valve being in the lungs, which is the organ that most absorbs the inorganic, non-human. Therefore, especially in the case of carcinoma present in old age, you will dissolve the process into pneumonia. If the organism is sclerotic, the process in old age ends in pneumonia. This is because the old organism takes in the extra-human even more and more easily than the younger one. The organ that most easily takes in extra-human processes is the lung; it is damaged in the process. There is an organ that can easily absorb extra-human processes and is not damaged by them; that is the liver. It is very thick-skinned against extra-human processes. The lungs absorb them, but are damaged by them. That is the essential thing, that the lungs absorb easily and are damaged by it.
This is connected with acquired ideas. In itself, there is no inclination in humans to fear carcinoma. This can be seen from the fact that this fear actually only exists among civilized people of educated classes. Country folk have no fear. They carry the carcinoma, die of it, without having had any knowledge of it. This is something that depends on education, and one must work against it.
The processes must be as follows: First of all, in order to get started at all, one must have complete mastery of spiritual scientific observation – this becomes apparent over time – and see how what can be established spiritually is connected with outward symptoms. If nothing else is indicated, then the purely spiritual finding is always apparent.
On the other hand, one could just as well say that it should, of course, be meditative. You can meditate on rheumatoid arthritis, you can meditate on diabetes. But that would only drive you back. Meditating on a disease process according to the symptoms is a very good way to arrive at spiritual scientific observation. It is just not easy to go the other way around. You can even do it like the homeopaths, who put together the symptom complex and then do the therapy. Only there it happens – I don't even say it can, I know it is so – again and again that symptoms are overestimated and underestimated, that they are put together wrongly, so that sometimes a symptom complex put together by homeopaths is a caricature of reality. When you meditate on this, you meditate on caricatures. If you have a real spiritual cause, that is decisive for the complex of symptoms, then you do not overestimate or underestimate any of the symptoms. You will have noticed that the symptoms we have presented are not caricatures, but well-formed complexes of symptoms. When you meditate, you come to the impossibility of making spiritual findings. And if someone says that is not possible, I must say: try it, but not with a randomly composed complex of symptoms, but with one that has been established by spiritual science.
In the human organism everything is based on the fact that a conscious element goes back to an unconscious one. Eurythmy is based on the fact that when a human being comes into the world and wants to express himself, he does not lack a language as such, but the expression in the use of the movements of the limbs. This is rejected, he is not allowed to do it and cannot do it. Today this is not noticed, because it has already been beaten back by inheritance. All this integrates itself, metamorphoses itself, comes out bound to the air and lives itself into language. If one knows how this has lived itself into language, one knows that this is the origin of language, then one goes back from the movements to the language, in reverse order of consciousness. Here too it is the same: spiritual scientific diagnosis illuminates the symptom complex. If one forms it and meditates on it, one comes back to spiritual scientific diagnosis. I have to leave it at these three hours; I hope that we will meet again. But if you come more often, the little social being will become the key to future work. In any case, it was nice to be able to talk about things again. |
| 315. Curative Eurythmy: Lecture I
12 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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| Now, having given this preface, I would like to speak more specifically about what may be considered the basis for human eurythmy itself since it appears to me to be pertinent to the goals we wish to attain. If one wishes to understand what eurythmy in its most varied aspects is, one must first of all gain a certain understanding of the human larynx. |
| An example of an organ where one can penetrate through that one organ into the essence of the human organism solely through a properly understood metamorphosis is the larynx. Recall from your anatomical and physiological knowledge how peculiarly the human larynx is formed. |
| What appears in more recent physiology as the peculiar conditions of the thyroid can be understood metamorphically, if you can see a sort of decadent frontal lobe in the thyroid which to a certain extent performs functions taken over from the frontal lobe in the speaking man. |
| 315. Curative Eurythmy: Lecture I
12 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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In these afternoon hours I wish to present the first seeds of a curative eurythmy. Today we will have a sort of introduction, and what we gain from it we will develop into definite forms in the days following. First of all I want to draw attention to some basic matters. What has been practised up until now is eurythmy as art; and as such it should be concomitantly accepted as the eurythmy pedagogically and didactically suited for children, since what has been developed until now as eurythmy is in every way drawn out of the formation of the healthy human being. We will see that certain points of contact appear, by means of which it will be possible to distil a hygienic-therapeutic discipline from the eurythmic, and how certain artistic forms transform themselves in one direction or another to become what can be called a sort of curative eurythmy. It will, of course, be essential to emphasize that artistic eurythmy—which is in essence the expression of that element inherent in the formation and in the tendencies to movement of the human body—is that which must be adjudged correct for the development of the human organism as soul, spirit and body, even as it is appropriate for visual presentation. However, one can also work towards a curative eurythmy which will be of extensive use in the treatment of various chronic and acute conditions, but which will prove to be especially important and to the point in those cases specifically where we attempt to treat impending sicknesses and tendencies to sickness, prophylactically through eurythmy. Here is the point at which the didactic-pedagogical element in eurythmy flows gradually over into the hygienic-therapeutic. However, for those who wish to practise artistic eurythmy, I want to specifically emphasize that they will have to forget in the most thorough fashion what they have acquired in these hours when they do artistic eurythmy. Then precisely in this area one must maintain a strict separation between those goals which one pursues in hygiene and therapeutics and that artistic quality which one must strive to attain in eurythmy. And anyone who persists in mixing the two will first of all ruin his artistic ability in eurythmy and secondly find himself unable to achieve anything of importance in respect to its hygienic-therapeutic element. Apart from this it will be necessary to acquire certain physiological knowledge—which will transform itself into a sort of feeling for the processes forming the human organism—in order to apply the hygienic-therapeutic side of eurythmy practically, as we will see in the following lectures. Now, having given this preface, I would like to speak more specifically about what may be considered the basis for human eurythmy itself since it appears to me to be pertinent to the goals we wish to attain. If one wishes to understand what eurythmy in its most varied aspects is, one must first of all gain a certain understanding of the human larynx. We will come to know the other vocal organs of man precisely through the course of our exercises relating to it. But the first thing which we must obtain will be a certain knowledge of the human larynx and its importance for the human organization in general. There is much too strong a tendency to regard each human organ as a thing unto itself. That isn't the case, however. That is not how a human organ is. Every human organ is a member of the organization as a whole and, at the same time, a metamorphic variation of certain other organs. Basically, every self-contained human organ is a metamorphosis of other self-contained human organs. Nevertheless, the case is that certain human organs and groups of organs prove to carry this metamorphic character more exactly within them, more precisely, I would like to say, and others less precisely. An example of an organ where one can penetrate through that one organ into the essence of the human organism solely through a properly understood metamorphosis is the larynx. Recall from your anatomical and physiological knowledge how peculiarly the human larynx is formed. What I wish to convey can be grasped only through Goetheanistic contemplation of the human larynx. However, if you will make the effort to attain to this Goetheanistic contemplation of the organs involved to which we will now direct our attention, you will see that it is possible. If you take the larynx first of all as an upwards directed extension of the windpipe, you will discover when you study its forms that it may be characterized as a reversed, a from front-to-back reversed piece of the human organism; from another place, another piece of the human organization turned around. Picture to yourself the back of the human head, including the auricular parts, and think of what you are picturing to yourself as the back of the human head, including the auricular parts—insofar as these are localized in this part of man—excluding the frontal lobe1 for the moment, and extending downwards so that it becomes the human ribcage with its vertebrae, including the beginnings of the ribs which have the much softer breast bone to the front that falls away altogether lower down. Picture to yourself, then, this less clearly defined—system of organs that I have presented to you: the posterior part of the head including the auditory parts, broadening out into the ribcage below. And now think of this part somewhat transformed; imagine the diameter of the ribs greatly reduced. Imagine that which is very wide in the ribs, in the ribcage, here transformed into a pipe, the bony material being replaced by cartilage. That part which I isolated as the head, imagine that to be filled out in such a way that the less well filled out parts of the head, were poured out, and then that what is now filled in with thicker tissue were left out; think of that which in the head is actually filled with a liquid solid mass replaced. When you imagine this transformation of these parts of the human organism, then you have the metamorphosis of the larynx: the posterior head with the attached ribcage, reversed. The upwards extension into the larynx is truly a sort of posterior head, transformed. It is actually so: the etheric formative forces of the larynx bring about an inversion when we compare them with the formative forces of the aforementioned part of the posterior head with the attached ribcage. Considering the matter etherically, we carry in our breast, in the larynx, a second man, in a manner of speaking, who is, to be certain, in a way rudimentary, but who is in his dispositions, in his beginnings nevertheless at a certain stage of development. If that which I have just described to you were to be turned around again to its former position so as to appear as the posterior head, then it would, in accordance with the formative forces, of necessity add on those parts of the brain lying further forwards. The tendency to build something similar on is also present in the larynx. The larynx has for this reason the thyroid gland in its neighborhood. What appears in more recent physiology as the peculiar conditions of the thyroid can be understood metamorphically, if you can see a sort of decadent frontal lobe in the thyroid which to a certain extent performs functions taken over from the frontal lobe in the speaking man. The thyroid must co-operate with the frontal lobe. If the thyroid is in any way diseased, you can easily imagine what sort of conditions arise; simply because he has the thyroid, man is organized to use it as an additional organ of thought related more to his breast being. That which I have designated as etheric formative forces which are at work to bring this second man, who takes up an appositive position in us, into being:—these etheric formative forces are in fact very differentiated. When we breathe and this breathing expresses itself in speaking or singing, when this modified breathing (for from a certain point of view one must call it that) lives as speech or song, then that whole system of organs in man, which I have already indicated as the posterior head continuing down into the breast, is in such inner movement, that this movement experiences its reflexes in the organization of the larynx. So we must picture to our-selves that this whole system—that together with the ear is nothing other than a larynx, only metamorphosed—there is a frontal lobe—calls forth certain effects which are reflected. Thus our larynx performs backwards, in eurythmy, in the form of forces, what we think, feel and so on. This eurythmy really goes on within us. Our larynx eurythmizes; and we have then the assignment to turn around again that which arises sensibly-supersensibly through the reflex-reaction of the larynx, and to make it visible, so that our arms bring to expression that which has already been relayed forth and back again. Thus we have to do here with something which is taken directly from the human organism.  One must make it clear to oneself that we are drawing attention to that organ which like an additional head with a downward extension has been set into the rhythmic system. Our ordinary head, the more or less thoughtful head, has the peculiarity of quieting down what pulses up rhythmically into it through the arachnoidal cavity, which is an extension of the respiratory system. It is by means of the transformation of the movement from below in the rhythmic system into quiet; and by virtue of the fact that a state of balance is reached and stasis is developed out of elements in movement, reciprocally conditioning each other in motion, that thinking is conditioned: through statics arising in the head out of the dynamics. The reverse is also true: what we develop in the quiet, in the stasis of the head, influences the dynamic of the rhythmic man, to begin with in a retardative manner. The fact is that an unnatural exertion of the soul-spiritual in connection with the head tends to slow down the circulation. A further consequence is that chaotic or sloppy thinking transforms the rhythmic into the arhythmic, changes the natural rhythm which should play in the human rhythmic system into arhythm, even into an antirhythm when it comes to full expression. And if one wishes to understand man, one must observe the connection between the circulatory and respiratory system, and careless, chaotic thought, as well as logical thought, Logical thinking as such carries within it the tendency to slow down the rhythm. Logical thought has the peculiarity of falling out of rhythm. Therefore, the soul-life that wishes to fall into rhythm will try to supercede logic and attempt to frame sentences and verses that follow not syntax, but rhythm in their course. By striving to return to rhythm in poetry, by resisting the enemy of poetry, that is prose (with the exception of rhythmical prose, of course), one tries to become more human. I am not claiming that through logic one's development will tend more towards the animalic; when you wish, you can always imagine that one evolves towards the angelic. But when one strives to turn back from the logical towards the human, one must try to bring into the succession of the syllables and their movement, into the movement of the sounds and into the sentence structure, not that which is demanded by the syntax, but that which the rhythm requires. We must pay heed to the rhythmic man when we want to return to the realm of poetry; we should listen to the head-man when we wish to enter into prose. This will serve as an indication of the connection which in fact exists between that manifest part of man which I have described and that part which, as a metamorphosis of it, is somewhat concealed. He is there within us, however, this eurythmist who performs as the etheric body of the larynx a distinct eurythmy intimately connected with the normal development of our respiratory system, with our whole circulatory system and, naturally, through the intermediary of the circulatory system even with the metabolic system, as you can surmise from all that I have presented to you. Now all possible sorts of occasions arise for this very complicated arrangement, this dove-tailing of a forwards- and a backwards-orientated system, to become disjointed. It would be accurate to say that they are properly articulated in only very few people of today's culture. It will be necessary to develop a certain ability to observe this since when the head system, for example, has been so dealt with in childhood that the transgression against the rhythmic system is too great everything possible can develop in later years simply through an irregularity in what I have described. This is precisely because in the case of the human organism, as in an avalanche, small provocations may build up to great effects. In observing children from this aspect one will find that it is extremely significant to what degree their unconscious living in rhythm predominates in their soul-life over the quieting element of the head organization; for example if this is the case, if the rhythmic system predominates, one must ask oneself if something should not be introduced into the education of the child. If in time the condition appears to he habitual, then something must be clone. When, as a result of the anomaly to which I have drawn attention, the child becomes increasingly excited, ever more and more fluttery and one can do nothing with him, one must attempt to bring an iambic element into his whole organization. This can be done by having the child move in such a manner that, in full consciousness—and for that he must have your guidance—he moves first the left arm and the left hand forwards, thereafter the right arm, so that this becomes the more conscious. The child must be aware: that is the first and was the first. Throughout the entire exercise the consciousness must prevail: that was the first and remains the first; it began with the left. One can reinforce the whole affair by having the child walk, stepping out with the left leg and bringing the right leg up to it, so that the leg and foot exercise is added to the hand and arm exercise, but only as a reinforcement, however. The arm exercise is really the essential. If one has the child practise in this iambic manner, as one may call it, one will see that the exercises will calm the fluttery child, the excited child and so on provided they are continued over a sufficiently long period of time. Out of your knowledge of eurythmy you could describe it thus:2 You have the child make half an “A” with the left arm and then complete this half “A” to a whole “A” with the right arm, and so on, so that the child remains in motion and the “A” does not come into being all at once, but as the result of successive movements. If on the other hand one has a child who is phlegmatic, who doesn't want to take things in—our Waldorf teacher know these children well, they can at times bring one to mild despair; they actually hear nothing of what one says to them, everything passes them by—in this case one would do well to treat this child trochaically, that is to say, in just the opposite manner. Naturally one cannot begin with everything all at once; this is an element which has yet to he brought into Waldorf education. One forms the “A” so that the child knows: first the right arm, then the left arm, right arm, left arm and then further that first the right leg is placed in front and the left leg brought up to it; thus one has the arm movements forming the “A” (one after the other) reinforced by the leg and foot movement. One must pay particular attention that these things are done in such a way that they live in the child's consciousness; so that the child is really aware: on one occasion the left arm was the first, on the other the right arm was the first. You will find that these things present difficulties for an inner understanding if someone is in every way a physiologist in the modern sense and believes that man's whole soul-life is mediated through the nervous system, that is, if you do not know that feeling is mediated by the rhythmic system and the will by the metabolic system, and that only thought formation is mediated by the nervous system. If you do not know these things you will have great difficulty in grasping the significance of what happens in any part of the body, both in respect to the soul-spiritual part and the bodily part of man's being. The person who has developed an ability to observe knows that when a person has clumsy hand and finger movements and so on, he will exhibit a particular manner of thinking as well which one can compare with what happens in the fingers. It is really extremely interesting to study the connection between the manner in which a person controls the mechanics of the arm and the finger-physiognomy with the way in which he thinks. Then the soul-spiritual qualities which a person portrays proceed from the whole human being, not solely from the brain and nervous tissue. One must learn to understand that one thinks not only with the brain but also with the little finger and the big toe. There is a certain significance in achieving lightness—particularly in the limbs—as this will bring lightness into the soul-life as well. These ideas will only become applicable—as we shall see in the following lectures—when one has the possibility of providing a truly complete school hygiene to accompany the other instruction. It can happen, for example, that a child has the peculiarity of being unable to comprehend geometric figures. He cannot understand a geometric figure by looking at it. However difficult it may be you will do this child a great service when you have him take a small pencil between the big toe and the next toe, hold it and write really proper letters. That is something which carries a certain significance and which points in a fully justified manner to an inter-relationship in man. Especially in the case of children, one may notice that the three members of the human organization do not snap properly into one another. A really large part of the anomalies of life are due to this improper articulation. To begin with, the children have headaches and at the same time one notices that the digestion is disturbed and so on. The most varied conditions may appear. We will give further indications in this regard in conjunction with other exercises which will be shown in the next days. However, when one is confronted with a situation such as I have described one can achieve a great deal with the child or children through having them do the following exercise: a eurythmic I—as you already know—a eurythmic A and a eurythmic O; but so that the children make the “I” with the whole upper body. For our physician friends I want to emphasize particularly, that what is essential in eurythmy, and that through which one achieves what is essential in artistic eurythmy as well, is not the mere form of the limb in position seen from without, but that which comes into being when the stretching or the bending within the positioned limb is felt. What is felt in the limb is what is important. Assume that you make an “I” with both arms; this “I” will not appear as it should when seen from without if you observe only its line, its content as a form. You must feel concurrently and you can tell by looking at the person—that he feels the stretching power in the I as he does it. Similarly when a person makes an “E”, for example, the important thing is not that he does this (crosses the arms), but that he feels: here one limb comes to rest on the other. In this feeling of one limb on the other lies the “E” in reality. And that which one sees in the expression for this sensing of one limb through the other. Then what you do here is no different from what you do when you look. You are continually carrying out an “E” by crossing the axis of the right eye with the axis of the left in order to find a point and so arrive at a crossed line. That is actually “the primeval E”. What has been demonstrated here is basically an imitation of it; however, everything in man is a metamorphosis, and this is a perfectly justifiable imitation, as in speaking “E” the larynx carries out exactly the same form to the rear in the etheric. When you practise this exercise with a child it is necessary that the “I” be done with the upper body, that is to say, the child stretches out his upper body. He feels the whole body stretched. He makes the “A” with his legs and the “O” by moving his arms so. have the child do the following as quickly as possible in sequence: stretch the upper body vertically, separate the legs, and make the “O” movement with the arms; release and repeat, release and repeat and so on. One can practise such a thing with the children in chorus, of course. However, in principle such exercises should not be practised with the children as a class. Artistic eurythmy and the eurythmy for pedagogic and didactic reasons should be done by a class as a whole, for here children of the same age belong together. In order to make the transition from the usual class eurythmy to these matters related to hygienic-therapeutic eurythmy, one must take those children out of various classes who, due to the peculiarities which I have described—the disharmony of the three members of the human organism—have need of such an exercise, in order to practise with them. One can take them out of the most varied classes and then practise this exercise with those particularly suited for it. That really must be done if one truly wishes to pursue hygienic eurythmy, therapeutic eurythmy, in the school. Thus we are already on the path which as we follow it further will lead us to study certain movements that are actually only metamorphoses of the usual eurythmic movements and to trace their effect on the human organization. The fact is that we have organs in our interior and these organs have certain forms. These forms may he subject to anomalies. The form of each organ stands in a certain relationship to a possible form of movement of the outer man. Therefore the following may be said. Let us assume that some organ, let us say the gall, has the tendency to deformation, a tendency to assume an abnormal form. A form of movement exists which will counteract this tendency. And such is the case with every organ. It is in this direction that we intend to develop what will follow. What I have given today was meant as an introduction to guide you to the path leading into this subject.
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| 315. Curative Eurythmy: Lecture II
13 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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| When grown-ups step out too little in their stride, when they don't reach out properly with their steps, it always means that the circulation suffers under it. The circulation of the blood suffers under an insufficiently outreaching gait. So when people walk in this way (lightly tripping; the ed.), that has a consequence that the circulation becomes in some fashion slower than it should be in that person. |
| 315. Curative Eurythmy: Lecture II
13 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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Today I intend to discuss matters related to the vowel element in eurythmy. We need only to recall—as it is known to us through spiritual science—that vowels express more that which lives inwardly in man as feelings, emotions and so on. Consonants describe more that which is outwardly objective. When we remain within the realm of speech, these two statements are valid: vowels, more expression, revelation of the inwardness of feeling; we reveal ourselves to an extent in the vowel, that is to say, we reveal what we feel towards an object. Through the movements which the tongue, the lips and the palate perform, the consonants conform themselves more plastically to the outward forms of objects—as they are spiritually experienced, naturally—and attempt to reconstruct them. And so basically all consonants are more reproductions of the outward form-nature of things. However, one can actually only speak of vowels and consonants in this manner when one has an earlier stage of human evolution in mind in which in fact the evolution of speech was given and in which—since the individual sounds were always to a degree connected with movements of the body—the movement of the whole body and of the limbs as well was self-evident. This connection has been loosened, however, in the course of man's development. Speech was removed more to the interior and the possibilities of movement, of expression through movement, ceased. Today in normal life we speak largely without accompanying our speech with the corresponding movements. In eurythmy we bring back what attended the vowels and consonants as movements and thus bring the body into movement again. Now we must realize that when we pronounce vowels we omit the movement and make the vowel inward, that previously joined in the outward movement to an extent. We take something away from it on its path to the interior. We take the movement away. Thus we restore to the vowel in outer movement what we have taken away from it on its inward-going path. In the case of the vowel, matters are such that the outward movement is of exceptional importance in the search for the transferal of the effect of the vowel, eurythmically expressed, onto the whole man. That is what we must take into account here. In speaking of vowels today, we will speak purely of the meaning of that which is eurythmically vocalized in movement. Here it is very important that one develops a feeling for what flows into the movement. That one develops a perceptive consciousness which tells one whether that which is happening in the respective human limb is a stretching, a rounding, or such. One must decidedly acquire a specific consciousness for this. In what pertains to vowels it is extremely important that one feels the movement made or the position taken up. That is what is important. Starting from here, we will transpose each of the vowels from the eurythmic into the therapeutic. Practically demonstrated (Mrs. Baumann): a distinct “I” made by stretching both arms. This stretching should be carried out in such a way that one then returns (to the rest position; the ed.) and performs the same movement somewhat lower, returns again, and does it with both (arms) horizontal. Now we go back and, if you had the right forward at first, now, as you go lower, you must take the right to the back, and now to the front, now a bit back again, and then somewhat deeper. Now I don't want to trouble you further with that, but if one wanted to carry it out, one could make it more complicated by taking more positions; one would then start with the “I”, return, do it a little further on, go hack, a bit further on, and so forth, so that one has as many “I”-positions as possible, carried out from above to below, always returning (to the rest position; the ed.). When these movements are performed, they are an expression for the human being as a person. The entire individual person is thereby expressed. Now we could notice for example that some child, for that matter a grown up person, cannot express himself properly as a person. He is somehow inhibited in the expression of himself as a complete individuality. He might be a dreamer in a certain sense or something similar. Or, if we think of a physical abnormality—in the case of a child, for example, that he doesn't learn to walk properly, he walks clumsily—or if in the case of an adult we notice that it would be desirable for hygienic or therapeutic reasons that the person learn to walk better, this particular exercise would be very good for this. When grown-ups step out too little in their stride, when they don't reach out properly with their steps, it always means that the circulation suffers under it. The circulation of the blood suffers under an insufficiently outreaching gait. So when people walk in this way (lightly tripping; the ed.), that has a consequence that the circulation becomes in some fashion slower than it should be in that person. Then one must attempt to have this person learn to step out again, and by having him do this exercise, one will be certain to attain one's goal. Then the person will have greater and more penetrating results in learning to walk properly. Thus one can say that in essence this modified “I”-exercise furthers those people who—I will express it somewhat radically—cannot walk properly. It can be summed up approximately so: for people who cannot walk properly. You can extend the exercise further, and, with the addition of a sort of resumée of what Mrs. Baumann has done, it will be that much more effective Now try to do the whole exercise without bringing the arms back (to the rest position; the ed.) so that you reach the last position only by turning: turning in a plane, quick, quicker and quicker. The “I”-exercise as it was first demonstrated and described can be intensified in this way and will benefit those people who cannot walk properly. It will then be extraordinarily easy to bring them to walk properly. One can admonish them to walk properly and their efforts to walk in a different manner will bring suitable results as well. Now Mrs. Baumann will demonstrate an “U”-exercise for us. The arms quite high up, and back to the starting position, now a bit lower, back again, a little lower, now horizontal, back again, now below, back again, and again below; that is the principle of it. And now do it straightaway so that you start above maintaining the “U” as you move downwards; and now do it increasingly quickly so that at last you reach quite a speed. Please keep this in mind as the manner in which to execute the “U”-exercise. If I were to summarize again in the same fashion as earlier, I would call this the movement for children or adults who cannot stand. In the case of “I” we had those who cannot walk, with “U”, we have those who cannot stand. Now not being able to stand is to have weak feet and to become very easily tired when standing. It would also mean, for example, that one could not stand long enough on tiptoe properly, or that one could not stand on one's heels long enough without immediately becoming clumsy. Standing on tiptoe or on the heels are no eurythmic exercises, but they should be practised by people who have weak legs, who tire easily while standing or who can't stand properly at all. To be unable to stand properly is to be easily tired in walking as well. That is a technical difference: to walk awkwardly and to tire in walking are two different things. When the person is tired by walking, one has to do with the “U”-exercise. When the person walks clumsily or when as a result of his whole constitution it would be desirable for him to learn to step out with his feet, that can be technically expressed as being unable to walk. However, to be tired by walking would be technically expressed as not being able to stand. And for such people the “U”-exercise is especially appropriate. This is interrelated with matters with which we must deal once we have come a bit further. Now please do the “O”-movement: quite high up and back (to the rest position; the ed.) and now somewhat lower, back again, lower still, and so on. Now do it so that you make the “O”-movement above; feel distinctly the rounding of the arms within the movement as you glide down. When you glide down with the “O”-movement it must remain an “O”. Now increasingly faster. You would see this exercise complete in its most brilliant application if you had here in front of you a really corpulent person. If a child or grown-up becomes unnaturally fat, then this is the exercise to be applied. By making the “O” so often and by extending it to this barrel-shaped body at the end—then it is really a barrel that one describes outside oneself—that which forms the opposite pole to those dynamic tendencies at work in making a person obese is in fact carried out. One can apply it very well hygienically and therapeutically, and you will be convinced that a tendency to become thinner actually appears when you have such people carry out this movement, especially when they practise other things as well which we have as yet to discuss. But at the same time it is of special significance in this exercise that you have the person practise only so long as he can without sweating heavily and becoming too warm. If one wishes to attain the desired effect, one must try to conduct the exercise so that the person can always rest in between. Now Mrs. Baumann will make an “E”-movement, quite high above. It is a proper “E”-movement only when this hand lies on the other so that they touch. Now return (to the rest position; the ed.), then somewhat lower, the right hand over the left arm, and then, so that it is really effective, we will do it so that it lies increasingly further back and now again from above to below; then the “E” must be done so that it penetrates thoroughly. And now, in bringing it down, you must move (the crossing) further back, so far that you split the shoulder seam at the back. Now this is the exercise that will be especially advantageous for weaklings, that is to say, for thin people rather than fat people, for those people in whom the weakness comes distinctly from within, but is organically conditioned. It must be organically caused. Another exercise which can be considered parallel to this should be applied with some caution as it affects the soul You can see that in the case of all these things it is to a degree a matter of extending what comes to expression in artistic eurythmy in a certain manner. This is especially true in respect to the vowels. Now it is very important that we make the following clear to ourselves. You know that the vowel element can be developed in this fashion, and that it is in essence the expression of the inward. One must only grasp through feeling and contemplation that which takes place. One must bear in mind that the person concerned, the person who carries out these things in order to be healed, must feel them; in “E” he feels that one arm covers the other. In the case of “O” however, something more comes into consideration. In “O” one should feel not only the closing of the circle, but the bending as well. One should feel that one is building a circle. One should feel the circle that runs through it. And in order to make the “O” particularly effective one should make the person doing it aware as well that he should feel as though he himself or someone else were to draw a line along his breastbone, thus by means of feeling, closing the whole to the rear in spirit; as if one were to experience something like having a line drawn on the breastbone by oneself or someone else. Now we want to make an “A”: we return (to the rest position; the ed.), now we make an “A” somewhat lower, return again, make an “A” horizontally, back, make an “A” somewhat lowered, back, an “A” very deep, back, then to the rear; that you need to do only once, but return first (to the rest positon; the ed.). And now make the “A” above and without changing the angle bring it down, and, again without the feeling that you change the angle, to the back. This exercise can he really effective only if one has it clone frequently. And when one has it repeated frequently, it is the exercise to be used with people who are greedy, in whom the animal nature comes particularly strongly to the fore. So if you have in school a child who is in every way a proper little animal, and in whom the condition has an organic cause, when you have him do this exercise, you will see that it has for him a very particular significance. In the case of these exercises you can observe once again that if they are to be introduced into the school it will be necessary to organize the children into groups especially for them. You will soon become convinced that the children do these exercises much less gladly than the other eurythmic exercises. While they are eager to do the others, one will most likely have to persuade them to do these, as they will react at first as children often react to taking medicine: with resistance. They won't be particularly happy about it, but that is of no especial harm in the exercises having to do with “O”, “U”, “E”, and “A”; in the case of “I” it is somewhat harmful when the child doesn't enjoy it. One must try to reach the stage where the children delight in the “I”-exercise as we have clone it. In the case of the others, “U”, “O”, “E”, and “A”, it is not especially damaging if they carry out the exercise on authority, and knowing that it is their duty to do it. With “I” it is important that the children have pleasure in doing it as it affects the whole individual, as I have said You will profit further by coming to terms with the following: the “I” reveals man as a person, the “U” reveals man as man, the “O” reveals man as soul, the “E” fixes the ego in the etheric body, it permeates the etheric body, strongly with the ego. And the “A” counteracts the animal nature in man. Now we will follow the various workings further. If you have a person with irregular breathing, who is in some fashion burdened clown by his breathing and such like, you will be able to bring this person to normal breathing by applying the vowels. You will be able to achieve in particular the distinct articulation of the consonants by means of these exercises, as that is greatly facilitated through the practice of the vowels. When you notice that certain children cannot manage to form certain consonants with the lips or the tongue—for the palatal sounds (Gaumenlaute) it is less applicable, although for the labial and lingual sounds exceptionally good—it will be of great help to the children with difficulties in this respect, when one tries to have them do such exercises as early as possible. You will also notice that when people tend to chronic headaches, to migrane-like conditions, these can be appreciably alleviated through the practice of the vowels. So in the cases of chronic headaches and chronic migrane symptoms, as well as when people are foggy-headed, these things will be particularly applicable. Similarly, if you employ the exercises which we have done today for children who cannot pay attention, who are sleepy, you will awaken them in a certain sense to a state of awareness. That is a hygienic-didactic angle of a certain significance. It will be observed that sleepy-headed adults can definitely be awakened in this way as well. And then one will notice that when a person's digestion is too weak or too slow, that by means of these exercises this slow digestion and all that is known to be connected with it, can be changed for the better. In certain forms of hygienic eurythmy it would be good to have the movements—which are carried out with the arms only in artistic eurythmy—done with the legs as well where possible, only somewhat less forcefully, as I am about to describe. Now you will ask how one can make an “I”, for example, with the legs? It's very easy. One must only stretch out the leg and feel the stretching in it. The “U” would be simply to stand with full awareness on both legs, so that one has a distinct stretching feeling in both. “O” with legs must be learned, however. One should really accustom the people with whom one finds it necessary to do the “O”-exercise ih the manner that I have described, to do the “O” with the legs as well. That consists in pointing the toes somewhat, but only very slightly, to the outside and then trying to stand in this manner and hold one's position. One must thereby stand on tiptoe, however, and bend outward, remain so standing a moment and then return to the normal position; then build it up again and so on. It is necessary to take into account the relationship existing between the possibilities of organically determined inner movement in the middle man and the lower man. This is such that movement done for the lower man should be carried out at only one-third the strength. Thus when you have someone carry out the “O” movement as we have seen it, you must have the feeling that what is done later for the legs and feet requires only one-third of the time and thus only a third of the energy expended. It will be especially effective, however, when you place this in the middle, so that you have, let us say, A and then A again, with B, the foot movement, in the middle (see the table); it will be particularly effective to have them together. one-third one-third one-third A B A Arm Foot Arm It will also be especially effective to do the same in connection with the “E”-exercise for the feet, by really crossing the feet.  But one must stand on tiptoe and lay one leg over the other so that they touch. Again, one-third, and placed, if possible, in the middle. That is something which it would be particularly good to have done by children, and by adults as well, who are weaklings. They will naturally be hardly capable of doing it, but that is exactly why they must learn to do it. In precisely these matters one sees that that which it is most important for various people to learn is that which they are most incapable of doing. They must learn it because it is necessary to the recovery of their health. “A” (with the legs; the ed.) is also necessary; I have already demonstrated it to you yesterday. It consists in assuming this spread position while standing insofar as it is possible on tiptoe. That should also be introduced into the A-movement and it will be particularly effective there. Now one can also intensify all the exercises that we have just described by carrying them out in walking. And you will achieve a great deal for a weak child, for example, when you teach him to do the “E”-motion as we have just done it in walking; he should walk in such a manner that he always touches each leg alternately. In taking a step forward he crosses over first with one leg, then with the other, so that he always crosses one leg over the other, so that he places one leg at the hack and touches it with the other in front. Naturally he won't move ahead very well, but it is good to have this movement carried out while walking. You will say that complicated movements appear as a result; but it is good when complicated movements appear. Now I want to bring it to your attention that what we have said about the vowel element should be sharply distinguished to begin with from what we will practice tomorrow in respect to the consonants. The consonantal element is such that it generally expresses the external, as we have already said. In speech as well the consonant is so formed that a reconstruction, an imitation of the outer form comes into being through the formative motions of lips and tongue. Now the consonants have, as we will see tomorrow, very special sorts of movements and it lies within these forms of movement to make the consonant inward again in a certain manner by giving it eurythmic form. It is internalized. That which it loses in the outward-going path of speech is restored to it. And, whether one is contemplating them in eurythmy as art or performing them for personal reasons, in the case of consonants it is particularly important to have, not a feeling in the way one does with a vowel, a feeling of stretching, of bending, or of widening and so on, but to imagine oneself simultaneously in the form that one carries out while making the consonants, as though one were to observe oneself. Here you can see most clearly that one must admonish the artistic eurythmists not to mix the two things; the artistic eurythmists would not do well to observe themselves constantly as they would rob themselves of their ability to work unselfconsciously. On the contrary, when you have a child or a grown-up carry out something having to do with consonants, it is important that they photograph themselves inwardly in their thought as it were; then in this inward photographing of oneself lies that which is effective; the person must really see himself inwardly in the position that he is carrying out and it must be performed in such a manner that the person has an inner picture of what he does. If you would be so good (Miss Wolfram) as to show us an “M” as a consonant, first with the right hand, now with the left, but taking it backwards, now taking the right hand back, and “M” with the left hand and now with both hands, that can be multiplied in various ways, of course. Now an “M”—we will start with this example; to begin with, what is it as speech? In speech “M” is an extraordinarily important sound. You will experience its importance in speech, and in speech physiology as well, if you contrast it with the “S”. Perhaps Mrs. Baumann will make a graceful “S” for us now, right, left, and now with both hands.  Now to begin with it appears that you have the feeling, or should have the feeling when the “S” is done that you encounter something within you—it is the etheric body namely (at this point Dr. Steiner made the corresponding movement; the ed.); so that you have a snake-like line. This serpentine may approach a straight line in the case of a particularly sharply pronounced “S” and can even be represented as a straight Iine. By contrast, when you look at the “M” that was just performed, you should have the feeling—even when the organic form is carried out inwardly—that it is really not the same thing. And so the “M” is that which counters the “S”-direction when laid against it and that is in essence the great polarity between an “S” and an “M”; they are two polar sounds. “S” is the truly Ahrimanic sound, if I may speak anthroposophically, and the “M” is that which mitigates the properties of the Ahrimanic, makes it mild; if I may express it so, it takes its Ahrimanic strength from it. So when we have a combination of sounds directly including “S” and “M”, for example “Samen” (seed) or “Summe” (sum), we have in this combination of sounds first the strong Ahrimanic being in “S”, whose sting is then taken from it by the “M”.  Perhaps you will make a “H” for us (Miss Wolfram). When you really look at the “H”, when you feel yourself really within this “H”, then, you will say to yourself: there is something in this “H” which reveals itself as unequivocally Luciferic. It is the Luciferic in the “H”, then, which comes to expression here. And now try to observe yourself—here the feeling is less important than the contemplation of it—try to observe yourself, when Mrs. Baumann does it for us now, how it is when one does the “H” and allows it to go over immediately into an “M”. Make the “H” first and let it carry over by and by into an “M”. Now take a look at it. In this movement you have the whole perception of the mitigation of the Luciferic, of its sting being taken from it, brought to expression. The movement is truly as if one would arrest Lucifer. And, one can also hear it if you simply think about it—today's civilized man can actually no longer reflect properly on these things. If someone wants to agree to something Luciferic, but immediately diminishes the actual Luciferic element, the eagerness of his assent, then he says, “Hm, hm”. There you have the “H” and the “M” placed really very close to one another and you have the whole charm of the diminished Luciferic directly within it. From this you can see that as soon as one turns to the consonantal element, one must immediately turn to the observation of the form as well. That is the essential thing and tomorrow we will speak about it further. |
| 315. Curative Eurythmy: Lecture III
14 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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| These would be the decided breath sounds. I will underline in red where we have to do with what are clearly plosive sounds: B, P, M, D, T, N, and then perhaps G and K. |
| If with the O, on the one hand, one has this propensity to become big-bellied, as I would like to call it, it is easy to understand why when reversed the O represents on the other hand that which combats this obesity when it is carried out eurythmically and in the metamorphosis demonstrated yesterday. |
| That is the peculiarity of it—one must explain by means of such things if one wishes to understand these matters inwardly. With the E it is distinctly the reverse. In E one wants to take hold of oneself inwardly, wants to contract together inwardly. |
| 315. Curative Eurythmy: Lecture III
14 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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In order to proceed in an appropriate manner, we will prepare the grounds today for certain matters to be deepened physiologically and psychologically tomorrow, considering the forms which consonants take in eurythmic movement. In what has been developed as the form involved in consonantal movement consideration has been truly given to everything which must be taken into account when man attempts to penetrate into the outer world through speech. The person who sets himself the task of observing speech will see that man's confrontation with the outer world must consist on the one hand of living into the world vigorously; of making himself selfless and living out into the world. In the vowels he comes to himself; in the vowels he goes within and unfolds his activity there. In the consonants he becomes in a way one with the outer world although to varying degrees. These varying degrees of unification with the world are manifest in certain practices within language as well. In the development of the consonantal element in eurythmy, particularly in reference to the sensible-super-sensible observation of which I so often speak in introducing eurythmy performances,—it is necessary to take into consideration whether the human being objectifies himself. To discover whether man extroverts himself completely in order to grasp the spiritual element in the things outside him in a spoken sound, or if, despite this objectification of himself, he remains more within and does not go completely out of himself but instead reproduces the external within himself. That is a major distinction, by reason of which I must ask Mrs. Baumann to be so good and show us first of all the movement for “H”. Now please disregard this H-movement altogether and Mrs. Baumann will demonstrate the F-movement. And now keep an eye on what you can observe here in these two different movements. You can observe what is present by virtue of the human instinct in the attempt to enunciate the sound in question. Consider the pronunciation of H: actually you say H-a, you follow up with a vowel. It is impossible to sound a consonant without it being tinged by a vowel, you follow it up with an “A”. The pure consonant is vocalized, combined with a vowel. If you consider the “F” you will find that man's linguistic instinct places an “E” in front of it: e-F. Here the opposite occurs: an E is set before it. Through the foregoing you will perceive that when man utters an “H” he makes a greater effort to uncover through speech the spiritual in the external object; when he utters an “F” his effort is directed more towards reexperiencing the spiritual within himself. Therefore the manner in which the consonant arises is entirely different, according to whether the vowel tinges the consonant from the front or from the back, if I may use this manner of expression in respect to the nature of consonantal articulation. This you will find conveyed in the form you have observed. Perhaps Miss Wolfram will do the “H” once again. H: here you have an energetic unfolding in the outer world, one doesn't wish to remain in oneself, one wants to go out and live in the external. F: you see the decided effort to avoid entering into the outer world too sharply, to remain in the inner. Now when one takes this into consideration, one can carry on from here to form a mental picture of various matters which, although they must become part of eurythmy, were, to begin with, unnecessary as far as we have been concerned with eurythmy as art, but which will become necessary the more this art is extended to other languages. The moment one says not “ef” but “fi”, in that moment it is a different matter; in that moment one attempts to embrace the external with the sound as well. This is indicative of an important historical fact: In ancient Greece people attempted to grasp the external even in those things in respect to which modern man has become inward. You see how one can follow into the outermost fringes of man's experience what I have expressed for example, in The Riddles of Philosophy:1 this going out and taking hold in the external world of what man today already experiences entirely inwardly in his ego. The reason why spiritual science is not accepted on the grounds of such things is solely that the people of our civilization are in general too lazy. They have to take too many things into account in order to come to the truth, and they want to make it easier for themselves. But that just won't do. They want to make everything easier for themselves; and that won't do. That, for the present, in respect to one element which flowed into the formation of the consonants. If we want to understand the formation of consonants in the field of eurythmy, then we should consider a second element which I believe people pay less attention to nowadays in teaching, even in physiology, speech physiology, than the third element which we will come to in a moment. In order to form an impression, I will ask you to compare once again. Here it is important that one form a contemplative picture. Naturally, one cannot penetrate to the very end of that which one has in such a picture, to the concept. Perhaps Mrs. Baumann will be so good and make the H again, and once the tone has faded away, Mrs. Baumann will make a D for us. One must pay attention in this case to the following: When you contemplate the H, you will find the movement for it deviates greatly to begin with from what takes place in speaking it; since—in respect to the characteristic of which I am thinking at the moment—the eurythmic element must be polar to the actual process in speech. You know that the speech process as I presented it the day before yesterday is a reflecting back from the larynx. The eurythmic process must express this outwardly. It expresses it in movement. In certain instances one must go over to the exactly opposite pole. This is particularly characteristic of H and D; in the case of other consonants this element must be toned down. Now, what sort of a sound is H? H is esentially a breath sound. The H is actually brought into being through blowing. In the case of H you have a decided shoving thrust2 in eurythmy where you have to blow. When you utter “D” you have this thrusting effect in the pronunciation. We must polarize this by transforming it into the characteristic movement that was present in D. Thus the thrusting quality of speech is lamed when one conveys the sound through movement. So you see that precisely this characteristic must be taken into particular account, when one has either a breath sound or a plosive sound. Now sounds are not only either breath or plosive sounds. But by what reason are they one or the other? You see, when one has a decided breath sound, one expresses by means of the blowing the fact that one really wants to go out of oneself; in the thrusting, that this going out of oneself is difficult, that one would like to remain within. For this reason the eurythmic transposition of the sound must take place in the manner you have seen. Now one also has sounds that carefully connect the inward with the outward; sounds that are actually physiologically so constituted that with them one states that one is bringing to a standstill, arresting, that in which one would like to be active in such a manner that the inward would immediately become outward, where one would enter into the movement immediately with the whole human being. This is decidedly evident in only one sound in our language: the R, which is, however, for this reason the most inclusive sound; one would like to run after the speech organism with every limb, as I would like to express it, when one says R. Actually with R one strives to bring this pursuit to rest. The lips want to follow when they pronounce the labial R, and bring this running-after to a halt, the tongue wants to follow when it speaks the lingual R, and finally the palate wants to follow when the palatal R sounds. These three R's are distinctly different from one another, but are nevertheless one; in eurythmy they are expressed thus (Mrs. Baumann: R). The bringing-in-swing of what one usually brings to a standstill is expressed. Thus it is precisely the running after the movement of the sound that comes to expression in the R. And when one wants to bring the other element to expression, one can express the labial R by carrying the movement further downwards; the lingual R can be made more in the horizontal and the palatal R rather more upwards. By this means one can modify the R-sound in the eurythmic movement. But you see that the form is determined by leaving the vibrations of the R in the background and bringing the “running-after” to expression. A similar sound where one has, not a vibrating, but a sort of wave in the movement is the L (Miss Wolfram: L). You sec that there is something of the same movement in it as in the R; but the running-after is mild and comes to rest. It is a wave rather than a vibration that comes to expression. That is what is connected innerly, physiologically, with the shading through the vowel element of the consonantal sound, and with the shading through feeling, which already leads to a greater extent into the physical. One arrives at the outermost division of the sounds by considering the organs; if we compare once again the respective movements we will arrive at the most extreme, the most external principles of division through our contemplative picture. (Mrs. Baumann: B) That is a B, and now we will continue directly perhaps with a T. (Mrs. Baumann: I). Now you can see from the position—which as the third element must be taken into account and which makes itself quite apparent to the sensible-super-sensible contemplation—that in the case of B we have to do with a labial sound and in the case of T with a dental sound. (Miss Wolfram: K) K: here one starts with the position and the essential lies in the movement. Isere we have to do with a palatal sound which in its pronounciation, in the tone in which it is spoken is the quietest, but which is transformed in movement into its polar opposite when performed outwardly in eurythmy. The consonants overlap in respect to their characteristics; one division extends into another. The following may serve as an aid. Take the labial sounds—I'll write out only the most distinctive of them: V, B, P, F, M. You can determine to what extent the vowel colouring is involved by pronouncing the sounds; I don't need to indicate that. Let us take the dental sounds D, T, S, Sh, L, the English Th, and N. And now the palatal sounds: G, K, Ch, and the French Ng, more or less. We will have to write the R in everywhere, since it has its nuances everywhere: Labial sounds: V, B, P, F, M R Dental sounds: D, T, S, Sh, L, (Th), N R Palatal sounds: G, K, Ch, Ng R Considering the process of division from the other point of view now, I will underline with white where we have to do with a definite breath sound: V, F, S, Sh and Ch as well, more or less. These would be the decided breath sounds. I will underline in red where we have to do with what are clearly plosive sounds: B, P, M, D, T, N, and then perhaps G and K. The vibratory sound is R. We have to do with a distinct undulent sound—which, because of the soft transformation in the movement, must be in a sense of an inward character—fundamentally only in the case of L. These three organizational principles—the vowel colouring, the blowing, thrusting, vibrating and undulating, and all that which has to do with the external division (into dental labial and palatal sounds; the ed.)—all this comes to expression in the forms given for eurythmy. It must be clear to you, of course, to what degree these principles of division affect each other, however. When we have to do with L, for example, we have to do with a distinct dental sound which must have all the characteristics of a dental sound, and then we have to do with a gliding sound, with an undulant sound, which must have the characteristics of a wave. Apart from that, it has a strong connection to the inward. We have to do with a colouring from within outwards, at least in our language. We don't say “le”, but “el”; here we have the transition from older forms in which people reached yearningly into the exterior world and where as a result a word was used in order to express such an event, in order to bring this going over into the external to proper expression. Thus in each of the letters we have to do with a likeness of that which is taking place inwardly. Before we consider the consonants individually, let us contemplate the following. Yesterday we were able to show that A—which we also studied in its metamorphosis—has to do with all those forces in man that make him greedy, which organize him according to animal nature: the A in fact lies nearest to the animal nature in man, and in a certain sense one can say that when the A is pronounced it sounds out of the animality of man. And certainly as spiritual investigation confirms A is the sound which was the very earliest to appear in the course of both the phylogenetic evolution as well as the ontogenetic evolution of man. In ontogenetic evolution it is somewhat hidden of course; there is a false evolution as well, as you know. The A was the first sound to appear in the evolution of mankind, however, resounding to begin with entirely out of the animal nature. And when we tend towards A with the consonants, we are still calling on what are animal forces in man. As you could see yesterday, the whole sound is actually formed accordingly. If we use the sound therapeutically in the manner in which it presented itself to our souls yesterday we can combat that which makes children, and grown-ups too, into smaller and larger animals. With such exercises we can have very respectable results in the de-animalization of man. And now let us go on to the sound U, for example. We said yesterday that this is the sound we use therapeutically when a person cannot stand. You saw hat yesterday. It is the sound which in a certain respect expresses its physiologic-pathologic connection already in the manner in which it is formed in speech. The U is spoken with the mouth and the openings between the teeth constricted to the greatest degree and with the lips somewhat extended, in such a way, however, that the mouth opening is narrowed and the lips can vibrate. You can see that in speaking one seeks an essentially outward movement with the U. In the pronounciation of U the attempt to characterize something moving predominates. Thus with the eurythmic U the physiologic opposite occurs: the ability to hold one's stand is called forth. This is present in the U in artistic eurythmy as well, at least as a suggestion. If you now take a look at the other vowels you will find a progressive internalization. In the case of the O you have the lips pushed together towards the front and the opening of the mouth reduced in size—there is at least an attempt to reduce the size. This is transformed into the polar opposite in the encompassing gesture of the 0-movement in eurythmy. Precisely in such things the natural connections are to be perceived. In the manner in which O is employed in speech certain forces are present. And in languages in which O predominates one will find that the people have the greatest propensity to become obese. That may really be taken as a guideline for the study of the physiologic processes connected with speech. If one were to develop a language consisting principally of modifications of O, where people had to carry out the characteristic mouth and lip formation of the O continuously, they would all become pot-bellied. If with the O, on the one hand, one has this propensity to become big-bellied, as I would like to call it, it is easy to understand why when reversed the O represents on the other hand that which combats this obesity when it is carried out eurythmically and in the metamorphosis demonstrated yesterday. The state of affairs is different with E, for example. A language that is rich in E will engender skinny people, weaklings. And that is related to what I said yesterday about the treatment of thin people, and thus of weaklings, in relation to the significance of E. You will remember that I said that in the case of weaklings particularly the E-movement with its given modification is to be applied. Now in respect to all these matters it is necessary to take one thing into account, however: if one considers the forms outwardly one does not come to the truth of the matter; one must grasp them inwardly in the process of their becoming. One must concentrate less on what comes to outward expression and more on the tendency involved. The tendency to become fat can be combated by means of the O and the tendency to remain thin by the E. Attention must be drawn to these matters because when eurythmy is used for therapeutic purposes, it is necessary to take the forces that are present in the upper man and tend to a widening, and the forces present in the lower man tending to the linear, more into consideration. Thus I must say that when man utters the O he actually broadens the living element.  You see, when I draw it roughly, the head of man is in a way a sphere and spiritual-scientifically it is a proper reproduction of the earth sphere. It is a copy of all those forces that are centralized in the sphere of the earth and it is developed by that which lies in the forces of the moon. This latter builds it up in such a manner that it becomes a sort of earth-sphere. Of course, this is all actually connected with cosmology, cosmogeny. As the earth-phase proceeded out of the moon-phase, so out of the forces that are so powerfully at work in building up the human head—which of itself, of course, intends to become a sphere and is modified only by the breast and the other part of the body being attached to it and altering the spherical form—so out of the moon-building forces the head is formed. If it were left to itself the head would become a proper sphere. That is not the case because the other two parts of the human organism are connected with the head and influence its shape.  When one pronounces the O one tries to bring that which finds its expression in the spherical form of the head to expression in the entire etheric head. One makes the effort to form a second head for oneself (see the violet in the drawing) and one can really say that in uttering the O man puffs himself up like his head—he puffs himself up, he blows himself out and awakens thereby the forces that give him at the other pole the tendency to become fat. These things can really be taken pictorially as well. His inflating of his own head gives him the tendency to become fat. When one wants to counteract this tendency to become, etherically speaking, a fat-head—not really a fat-head, but etherically a fat head—to become a big head, then one must attempt to round it off from the other side, to take it back into oneself. And that is the protest of the fathead. Therefore an O is fanned at the opposite pole. All the individual sounds have a nuance of feeling, namely, which is deeply established in the organism, because it lies in the unconscious; hence the import of the inner being of the sound. For the person who looks at the matter in a super-sensible manner the frog who would like to blow himself up into an ox, you see, is the one from whom a cannon-like O tone would continuously proceed if he were able to fulfill his intention. That is the peculiarity of it—one must explain by means of such things if one wishes to understand these matters inwardly. With the E it is distinctly the reverse. In E one wants to take hold of oneself inwardly, wants to contract together inwardly. For that reason there is the touching of oneself in the eurythmy, this becoming aware of oneself: you become aware of yourself, simply, when you place the right arm upon the left, just as when you feel an object outside yourself, when you take a hold of it, you become aware of yourself. It would be even more clearly expressed if you simply grasped the right arm with the left hand—in art only an indication of all these things can be given—when you grasp the right arm with the left hand you are feeling yourself. This contacting oneself has come to expression especially in the eurythmic E. And this touching oneself is carried out throughout the whole human organism. You can study this touching of oneself simply by studying the relationship of the nerve Process in the human back, those that ordinary physiology mistakenly call the motory nerves and those that are called sensory. Here where the motor nerve, which is basically a sensory nerve too, comes together with the sensory nerve, a similar sort of clasping occurs. The fact is that the nerve-strands on the human back continually form an E. In this forming of the E lies the way in which man's inward perception of himself which is factually differentiated, in the brain, comes into being. Yesterday we attempted to reproduce this E-building which actually takes place in a plane; you will find that what we attempted to reproduce shows through the outward movement and the position of the movement how this inward E-making in man sums itself up into the vertical. As the head puffs itself out and wants to become a horn-blowing cherub, this E-process, this pulling-oneselftogether-in-points, sums itself up in the vertical, in the upright line. It is a continuous and successive fastening together of E's which stand one above another; that expresses clearly what one observes taking place in weaklings. They have the tendency to continuously stretch their etheric bodies. They want to extend the etheric body rather than to pull it together into a point, which would be the real antithesis to the activity of the head. That is not the case however: they try to stretch the etheric body thereby making a repetition of the point. And this extension which makes its appearance in people who are becoming weak—not the extension in the physical, but in the etheric body—will be counteracted by shaping that E of which we spoke yesterday. So I believe you will see now how there is an inward connection between the eurythmic element involved and the human formative tendencies, how what is present in him as formative tendencies has been drawn out of the human being. The fact is that these formative tendencies which express themselves first in growth, in the forming of man, in his configuration, become specialized and localized once again in the development of the speech organism, this special organism. There these formative tendencies—which are otherwise spread out over the entire person—are to an ex-tent accumulated. In developing eurythmy we turn and go back again. We proceed from the localized tendency to the whole man, thus placing in opposition to the specialization of the human organization in the speech organism another specialization, the specialization in the will-organism. The whole human being is indeed an expression of his volitional nature insofar as he is metabolic and limb organism throughout. One can move this or that part of the head too, and therefore the head is also in a certain sense limb-organism. That can be demonstrated by those people who are capable in this respect of a hit more than others. People who can wiggle their ears and so on, they can show very clearly how the principle of movement of the limbs, how the limb-nature extends into the organization of the head. The whole human being is in this respect an expression of the volitional. When we go on to eurythmy we express that once again. Before we proceed to working out the sounds particularly, to the special manner of forming them and further to the combinations of sounds tomorrow, I would like to speak in closing of something historical. The movement of the will and the movement of the intellect, you see, constitute two sorts of evolution of power which proceed in man at different velocities. Man's intellect develops quickly in our age, volition slowly, so that as part of the whole evolution of mankind we have already surpassed our will with our intellect. In our civilization it is generally manifest that the evolution of the intellect has overtaken the evolution of the will. The people of today are intensely intellectual, which precisely does not imply that they can do much with their intellect; they are strongly intellectual, but they hardly know what to do with their intellect; for that reason they know so little intellectually. But what they do know intellectually they treat in such a manner as though within it they could function with a certain certainty. Will develops slowly. And to practise eurythmy is, apart from everything else, an attempt to bring the will back into the whole evolution of mankind again. If eurythmy is to appear as a therapy the following must be pointed out: It must be said that the over-development of the intellect expresses itself particularly in the organic side effects of the evolution of speech as well. Our speech development today in our modern civilization is actually already something which is becoming inhuman through its superhuman qualities insofar as we learn languages today in such a manner that we have so little living feeling left for what lies in the words. The words are actually only signs. What sort of feeling do people still have for that which lies in words? I would like to know how many people go through the world and become aware in the course of learning the German language for example, that the rounded form which I have just drawn is expressed in the word “Kopf” (Head), which has a connection with “Kohl” (cabbage), and for which reason one also says “Kohlkopf” (cabbagehead), which is actually only a repetition; the rounding is metamorphosed according to the situation. That is what is expressed here. In the Romance languages, “testa, testieren”, is expressed more what comes from within, the working of the soul through the head. People have no more feeling for the distinctions within language; language has become abstract. When you walk, you walk with you feet. Why do we say “Füsse” (feet)? You see, that is a metamorphosis of the word “Furche” (furrow) which came about because it was seen that one traces something like a furrow when one walks. The pictorial element in language has been completely lost; if one wishes to bring this pictorial element back into language, then one must turn to eurythmy. Every word that is experienced unpictorially is actually an inward cause of illness; I am speaking in coarse words now—but then we have only coarse words—of something which expresses itself in the finer human organism. Civilized mankind suffers chronically today from the effects which learning to speak abstractly, which the failure to experience words pictorially, has upon it. The results are so far-reaching that the accompanying organic side effects express themselves as a very strong tendency towards irregularities in the rhythmic system and a refusal to function of the metabolic system in those people who have made their language abstract. However, we can actually do something about what is being spoilt in man today through language, which he acquires of course in early childhood, and which, if it is acquired in an unpictorial way, really produces conditions leading later on to all kinds of illnesses. We can actually do something about overcoming this with the help of therapeutic eurythmy. Thus curative eurythmy may be introduced in a thoroughly organic manner into the course of therapy as a whole. It is truly so: the person who understands that developing oneself spiritually has always something to do with becoming ill—we must take becoming ill in the course of spiritual development into the bargain—must also taken into consideration that one can fight, not alone through outward physical studies, but also by outward means, this process of becoming ill which is due to our civilization. We put soul and spirit into the movements of eurythmy and combat thereby what, on the other side, soul and spirit do themselves, though often in earliest childhood, in such a manner that the effect of their activity when it develops in later life must be felt to be the cause of illness.
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| 315. Curative Eurythmy: Lecture V
16 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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| When there are irregularities present there, this will work extraordinarily well under all conditions. Now I will ask you to take a look at another most effective movement which consists in shaking the head to the right and left with the movement for M. |
| 315. Curative Eurythmy: Lecture V
16 Apr 1921, Dornach Translated by Kristina Krohn, Anthony Degenaar Rudolf Steiner |
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Today we will go over to some of those eurythmic exercises more related to the activity proceeding from the soul. Before we begin, however, it will be necessary to take note that it is usually assumed when a person produces an expression of will or when he arrives at a judgment, that these expressions are connected with the human nervous system alone. This, however, is not at all the case; one must make it clear to oneself that the judgments which the human being passes, for example, are bound up with his entire constitution; that man pronounces a judgment out of the totality of his being. Thus when one makes the eurythmic movement corresponding to a judgment, here again, the whole human being is influenced in a certain manner; it is not only the head which will be subject to the influences of what arises through judging eurythmically. Mrs. Baumann will show us the movement which corresponds to confirmation, and then the one corresponding to negation. Naturally it should be carried out several times without interruption when used as therapeutic exercise. Now this confirmation and negation is precisely that which can be called a judgment; when one confirms or negates something one has to do with the nature of judgment in its essence. When you give such a confirmation or negation, the movement works, when it is repeated frequently, by way of a detour through the etheric body very strongly on the respiratory system. One can by this means counter a tendency to shortness of breath. You can for example repeat the confirmation ten times consecutively, then the negation, and follow this up with confirmation, negation, confirmation, negation—both ten times consecutively. Whatsoever illness this shortness of breath may be the symptom of, by this means one will be able to counteract it in such a way that the entire constitution is affected as the whole matter occurs by way of a detour through the etheric body. You must only keep in sight what is being done here. One could interpret what Mrs. Baumann has done touching upon what is essential in it as follows: what she projects thereby into the world is a thought that has become fleeting, a thought which has gained wings and gone over into movement. When a judgment is fixed eurythmically—as a confirmation or negation—then it is a thought which rides on the movement. And because the thought rides on the movement one projects in fact on the one hand, a part of this being outwards; on the other hand, because the thought rides on the movement one takes a part more thoroughly into oneself than otherwise. That is to say, one makes a movement through which one becomes more awake than one otherwise is. Such movements are actually movements that awaken. However, because one does not wake up with the ego at the same time in the same manner, the activity of the ego is in a certain way dampened. This dampening of the ego is not absolute, however, but in relation to the organism. In fighting shortness of breath by means of this detour through the etheric body this constitutes what would be the first symptom reached and what is introduced into the whole human constitution by means of the byway through the etheric body. Now a disposition of the will:1 sympathy and antipathy. Now imagine you make this movement repeatedly, one after another: sympathy, antipathy, sympathy, antipathy, or only one of these two. When one does this, in a certain sense one is setting out something which one carries within oneself; naturally this can only be confirmed through observation. It is a sort of falling asleep. The other movement (confirmation and negation; the ed.) must be carried out quickly, and this must be carried out slowly. It is indeed a movement which brings forth the imagination of sleep in the observer; imaginatively one falls asleep in a way with such a movement—not in reality, however, at least that shouldn't happen. But because one in reality doesn't go to sleep while making this movement, the “I” is more strongly active in relation to the body than it usually is. And by means of such a movement the circulation and the digestion as a whole are stimulated. The entire digestion is really stimulated in such a manner that through such a movement the tendency to belch, for example, can be counteracted. Now we want to express that which one could call the feeling of love towards something (Mrs. Baumann). Take a good look at this, the feeling of love for something. Imagine it carried out ten times consecutively and accompanied by a powerful E between each of the movements. Thus, Love-E, Love-E, and so on, one after another. You accompany the movements which you have learned as expressing feeling in eurythmy—it could be another feeling as well—with the movement for E. Here we have a strong influence which proceeds from the human etheric to act on the astral nature and which has the effect of warming the circulation. It is something which really works on the circulatory system in a beneficial manner. One cannot say that it accelerates or retards the circulation; it affects it in a beneficially warming manner. We also have something which could be called a wish: Hope. (Miss Wolfram) Look at this and picture to yourself that one carries out this movement for the wish repeatedly—always returning to the position of balance, then carrying out the movement for the wish again—and always alternating it with the movement for U. This means that the astral will act very strongly upon the etheric and it can be said that a beneficial warming effect on the breathing system will result. Naturally one must take into consideration that all these things of which we have spoken today occur by way of the etheric body and can, therefore, never show what effect they have on the following day. Some effects may appear after two to three days and are then, however, all the more certain. Now imagine that we make a bending and stretching movement with the legs and at the same time a definite B-movement (Mrs. Baumann). That which I have just shown you simultaneous with a decided B movement, now rest, B while bending, ten times consecutively. That is something which people who very frequently have migraine or other headaches should do. The time for them to do it, however, is not when they have the headache, but rather when they do not. A particularly effective movement is the following: bend and stretch the torso forwards and backwards accompanying this movement simultaneously with the movement for R. (Miss Wolfram) Bend forwards, bend backwards with the R; that consecutively and often. That affects the whole rhythmic system, the rhythm of breathing and of circulation, positively. When there are irregularities present there, this will work extraordinarily well under all conditions. Now I will ask you to take a look at another most effective movement which consists in shaking the head to the right and left with the movement for M. The head should not be turned, in so far as possible, but only bent to the right and left, and that with the M-movement. That is something which when practised has a very strong quieting effect on all possible irregularities in the lower body, again by way of the etheric body. Irregularities in the lower system which express themselves through pains can be mitigated thereby. One must combat tendencies to such pains when the pains are not present. That is the crux of the matter. While the pains are present it cannot very well be carried out. The important thing is to carry it out so long as the pains are not present. Please take note of the following: strike the knee with the foot, stemming the movement of the foot against the knee; picture this accompanied by an E movement with the arms. It is a very beautiful movement. It can and should be carried out as an exercise with children in school, as when it is done frequently it wages war against the most varied aspects of clumsiness. The children will at least he well cured of their clumsiness when they practise just this exercise. And when the children come and say that their shoulders hurt so and everything possible hurts, then you should reply: that is exactly what I wanted; you will be especially glad about it once it's better again! Every pain that is brought about in this manner combats clumsiness. Thus in respect to this one can deal quite energetically with the children.  Now we will take a look at another variety (of movement). Imagine every sort of E movement which can be carried out with the arms now projected onto the floor. This movement comes into existence when this line crosses the other at an angle. Now let us imagine it in this way: Mrs. Baumann places herself here, Miss Wolfram there. Now walk and accompany the whole thing with an E movement with the arms. Run so that you pass by one another, but pay attention that you don't run into each other. So you make an E on the floor and an E with the arms and you pay attention at the same time that you don't collide. It is this taking notice of the other person, this exerting of one's concentration on him combined with the E-gesture which works together with the movement here. This exercise can only be carried out with two people. It is—when carried out by two people—essentially what one would call a strengthening of the heart, all that which is connected with the phenomena which one generally terms the strengthening of the heart. Question: Could one have this exercise carried out by one sick and one healthy person? One can readily do that, but one would perhaps have to have the healthy person omit the E-movement with the arms. This movement is especially intended for the clinical situation where one will, of course, have two people in need of a strengthening of the heart; it really is better if one has two such people.  Now let us imagine the movement so: one of the ladies stands here, the other here, behind one another. When you arrive here, then Miss Wolfram carries out the path which you have begun, but in such a manner that she is always facing forwards. Then as the movement carries on, you take this part of the path and you the other. You initiate the continuation of your own movement in the other person and accompany it with the O position of the arms. Now one must see that the people who do this begin at a certain tempo; to begin with it must be slower, then become ever faster and faster. This rapid tempo should then ebb out into a slower one. That is then a movement which serves to strengthen the diaphragm significantly and thereby the whole breathing system. Here again, when one leaves out the O movement with the arms one can have a healthy person participate, but it is of course best to employ two people who are in need of healing. Now I will ask you, Mrs. Baumann, to demonstrate the H movement for us once again. And now I will ask you to make this movement in such a way that you hold the arms still and imitate the movement with the shoulders alone as well as possible. In this case, however, one must accustom oneself to doing this movement with the shoulders and making an A with the arms at the same time, an A of any sort with the arms. That should be repeated frequently. You see, that is what could be designated as: “laughing eurythmically”. That is how one laughs eurythmically. And when one laughs thus eurythmically that which one has in the curative effect of laughing itself is really very greatly heightened. The curative effect of laughing is well known. But when one practises laughing eurythmically, this curative effect is proportionately greater. You could do it otherwise as well, however. Miss Wolfram, please make an A movement of some sort. And now try to make the same movement I spoke of before, the shoulder movement of the H, but do it quite slowly as if you wished to do it thoughtfully. Thus into the A movement of the arms one makes the shoulder movement of the 11. One could designate that as follows: the whole organism is brought into accord with the feeling of veneration. It encompasses all that which the feeling of veneration actually effects in the organism. The effect on the human organism of the feeling of veneration, when it is habitual, is to make the organism as such actually more durable, more sturdy. It becomes capable of greater resistance. People who really have the capacity for veneration inherent in them become more capable of resistance within their organism. That is why everything which brings children to veneration, to the gift or capacity for reverence makes children more resistant. And one can come to the assistance of this capacity for resistance through this last eurythmic exercise. One must keep in mind that what we have demonstrated today as decision, expression of will, hope, love, what we have shown in respect to certain organic pains, what we have demonstrated as a means of combating clumsiness and so on, all these things are related to man in such a way that the human being is gripped through them in the innermost part of his organic being and by way of a detour through the etheric body actually derives the possibility of making this etheric body into a workable instrument. The etheric body is a part of man which becomes stiff in most of those people who sit out their lives, spend their lives without interest for their surroundings. And it is not good when the human etheric body becomes stiff; nor for the organic functions is it good. When one has the exercises which we have described today carried out by children in moderation and by the appropriate patients very energetically (one can see by the indications given which patients have need of them), the etheric body will become supple and inwardly flexible. And by means of them one will do the children as well as the adults a good service. These movements are indeed such that one can give them priority over the usual gymnastic movements; the usual gymnastic movements are taken in reality from the physiology, from the physis of the body alone and they tear the physical body continually out of the etheric body. Thus, the physical body then makes its own movements which do not pull the movements of the etheric body in the appropriate manner after them. For this reason the usual, merely physiologic, gymnastics is basically a school for materialism, since by means of it materialistic thought is transformed into feeling. Eurythmy makes man capable of recognising himself within increasingly and of gaining control over himself inwardly. Therefore such exercises have a pedagogic-didactic value as well as therapeutic and hygienic value. The attempt should be made to have these exercises—those described today, I mean—carried out by adults as well in moderation and to develop them in such a way that they could be carried out by the sick in a clinical situation. A question has been put to me which could perhaps lead to something—and some other questions as well. Here is the question: “The Chinese cannot pronounce the letter R, they substitute L for it. Strawberries thus becomes stlawbellies, for example. Does that have to do with their race?” It has to do with the organisation of the organism insofar as that is racially determined, of course. Through the particular gift of one part of mankind for one sound or another one can see what tendencies are inherent in certain people by virtue of their race. I brought such things to discussion just a few hours ago. Other questions have been put about exercises which could be used in relation to conditions of indolence, insufficient reaction, lethargy and so on; conditions which frequently have to do with an insufficient thyroid activity. And here it has been brought to our attention that Fliess, in his well-known book about the course of life, has placed this complex of symptoms in the intermediate sexual category. How could a contemporary author not do so? Everything about which he knows very little he chalks up to the intennediate sexual category, or some other way. He puts the left-handed, for example, in the same category. I want to emphasize, expressly, however, that I have never recommended a eurythmic exercise with a special right-left emphasis to anyone. (Attention was drawn to the exercises which one should begin either to the right or to the left: iambus, trochee.) That is not in order to particularly accentuate an emphasis on the right or left, but rather in order to call forth the feeling of the iambus or trochee within the forward motion. That is thoroughly justified. The fact is that it has less to do with the long-short than it has to do with the particular movement. It is quite correct; it has to do with the fact that what lives in the breathing system is reversed when it is transferred into the system of movement. The upper man and the lower man are the reverse of one another. Thus every imaginable iambus in the breathing system, brought forth in speech, must of necessity become a trochee in the movement of legs and vice versa. Eurythmy in its entirety is based on this principle. You may test the whole of eurythmy in respect to it: eurythmy does not follow the principle of similarity in its execution, but the movement which is in keeping with the polar image. It is all entirely in accord with the image formed as the other polarity. This idea must be maintained throughout. But I have never recommended to anyone that he do something especially right or left; that should be left completely to the feeling. The question of whether a thing should be done with the right hand or the left hand should be determined only by those matters which would otherwise come into consideration. I do not want people to have the impression that I would have suggested an emphasis on the right in particular eurythmic exercises to any more left-sided person whosoever. That is not the case. In addition I would like to emphasize the following. It is the case that when one has to do with insufficient reaction or with lethargy this more general indication will fall into some category which I have already given; lethargy is a general expression and can be relegated to something or other about which I have spoken. The appropriate movements should then be carried out. On the whole one should see that with an exercise such as I have just given in connection with judgment and expression of will2—that the appearance of indolence, of lethargy and so on can be combatted very especially by that which I have given for the expression of will. And if one should notice that this is not particularly effective, one can alternate that exercise with the exercise that I have given for judgment, but in such a way that one attempts to discover—as it is here a question of trial—whether it is more effective when one varies the expression of will and the expression of judgment in a ratio of three to two or of two to three—one shorter, the other longer. And since these things work by way of a detour through the etheric body, one will find that one will first have to begin and carry on with these exercises for two to three days and according to the circumstances—when one sees that they are not having the proper effect—make a change on the third day. But in general one can say that the one exercise so well as the other will have an awakening effect on man in both directions. The will exercise and the judgment exercise are thus the ones that come into particular consideration. In order that there be no misunderstanding, I emphasize that of course the opinion must not arise that these exercises would have a very significant effect after being carried out for two or three days. That would be an error. In order to produce an effect, these exercises should be carried out for at least seven weeks. Thus one can maintain—without necessarily being mystically inclined—that the space of time necessary for the beneficial effects just described to show themselves would be about seven weeks. That is what I wanted to tell you today concerning these matters. I would like to request that the corresponding session tomorrow follow the other directly, after a short pause. Tomorrow will be the last eurythmy session then, as it will be necessary to have two purely medical sessions one after the other on Monday.
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