# The Origin and Development of Eurythmy 1912–1918

## GA 277a — 18 August 1915, Dornach

### The Apollonian Course I

*Some of the eurythmic elements that Rudolf Steiner introduced in the first lesson were repeated and expanded upon in the third lesson on August 20, 1915; it was only then that he spoke about the so-called “supra-personal self.” However, for reasons of contextual and thematic coherence, the relevant notes from the third lesson were included in the first lesson.*

**Forms of meaning**


Warm figures: warm = characteristic, figures concrete = temporal conditions  
Here and there,  
Beautiful unfolding,  
Joyful practice!  
Light garments  
Smooth around the hips,  
Colored ribbons,  
Fluttering in scents!  
Charming witnesses  
Of festive days,  
Sorrow and lament  
You know how to bend;  
For you,  
Ether and fields,  
Waves and glimmers  
All natures!  
Jubilation in the open air!  
Most joyful being,  
Swiftest recovery,  
Brightest prosperity!  
Desire on the hills,  
Courage on the wings [...]

So far, we have spelled out the words. Now we will add to what we have already learned that which internalizes the matter, whereby the representation of the word transitions into the representation of the meaning. Until now, everything has been treated as if it were characteristic; now we will make certain distinctions.

We will distinguish between:

1. Qualities (adjectives)  
2. Verbs (verbs)  
3. Objects (nouns)  
4. Expressions of emotion (interjections)  
5. Relationships (prepositions)  
6. Connections (conjunctions)

*1. Attributes (adjectives)*

What is expressed by adjectives (attribute words):

All numerals (number words)  
Adverbs  
Relative pronouns (relative and interrogative pronouns and the relative pronoun which)  
All articles are also considered adjectives.

For all these characteristics, the gesture remains in a standing position (only what the letter requires as a gesture is done). No form. One remains standing in one's place.

The entire adjective or its second part can possibly be incorporated into the form of the word possessing this characteristic.

*2. Verbs*

Here we have movement in addition to the gesture. We have three movements for this:

a. For passive activity, e.g., the sun shines, burns — approaching, stepping forward  
b. For active activity, e.g., the lion bites — stepping back, stepping backward  
c. For continuous activity, e.g., the lion roars; thunder rolls — passing by, pacing back and forth for continuous movement.

You have to feel it. Moving forward, stepping back, walking past — three activities.


> Being // Continuous movement / active passive

All verbs are expressed through gesture in movement. The feeling is decisive. In the activity, one can distinguish between something suffering, something passive, so to speak: The sun is shining, [from something active:] /I want. We put ourselves in the feeling, in the person.

Moving forward is a passive activity. Moving backward is an active activity.

A distinction is made between:

a. Verbs that express something passive (to shine, to want, to suffer, to should, to have, to can, to find, etc.). Movement: stepping forward.

b. Verbs that express something active (to can, to will, to strike, to bite, to want, to seek. The sun is shining.) Movement: walking backward—straight or slightly diagonally with body balance.

c. Verbs that express a continuous action (trickle, roll, grow, be, would be, have, whimper, climb, rush, etc.). Continuous movement: walking back and forth.

*3. Concrete objects (nouns)*

We distinguish between:

real, concrete objects  
states  
abstract objects

Concrete objects and states in such a way that you make an angle. For example, an angle is described by stepping back and forth. Gradually, you should get a feel for how large the angle needs to be.

3.1. Concrete objects

All concrete words (person, tree, water, wolf), real concrete objects, things, beings.

All pronouns, including demonstrative pronouns (this, that) – with the exception of relative pronouns (which, what) and interrogative pronouns (what? which?) – are represented in every angle backward, angle backward (in the overall backward movement).


3.2. States (including passions, feelings, moods, and states of passion) In every angle forward (warmth, cold, peace, passion, sleep, joy, pain, sorrow, etc.).


The angles can also be positioned as follows:


*3.3. Everything abstract*

All abstract objects are expressed by round lines, round shapes. // Abstractions are brought into circles // round movements (made round), something circular, something curved. // With abstract things, we dance in a round, circular way.

There are abstract things that relate to the outer world = outer abstract things. Then there are those that relate to the inner life of the soul. And all divine-spiritual things.

We distinguish between:

a. External abstractions, externally abstract – macrocosmic (space, time, world, power, beauty, wisdom).


Philosophical concepts


b. Everything spiritual, everything inner and abstract = spiritual - microcosmic; anything relating to inner spiritual life, to the inner self (gratitude, reverence, joy, pain, soul, feeling, hope, instinct, thought, etc.): snake line to the side. // When it comes to spiritual matters, use a flourish like this:

c. Divine-spiritual, supernatural (God, Spirit, Jehovah), names of gods (Zeus, Wotan, Hermes, etc.) = arc to the rear. // When referring to divine things, the opposite of the concrete thing. // Any round shape backward.


Abstract can be expressed by a circle, but also by an ellipse, or a curved line, etc.

[The following drawings on the concrete were drawn by Marie Steiner from the point of view of the eurythmist.]

3.1. Concrete forms


States


3.3. Abstracts a. External abstracts


A circle that opens like this:


Everything that relates to space and time (outer world) = arc forward


also something open:


b. internally abstract


c. Divine-spiritual


*4. Outbursts of feeling (interjections)*

We also have emotional outbursts: oh! oh, how! What has an emotional character, is interjectional, is either a bow or a graceful leap. // All vertical movements, stretched backwards or a graceful leap.

*5. Relational words (prepositions)*

Where relationships are expressed: here and there. Bending of the body along the axis, moving forward or backward. // Relationships: bending to the side, also with the head. // All prepositions or relational words through movement of the head or body to the right or left.

*6. Connections (conjunctions, copula)*

All these terms, which are only for connection, all connecting words: and, but – bend to the side (also with the head). // Connections: bending the head forward and backward.

*First practice poem in the white hall*

Information from Dr. Steiner during practice:

Fercher von Steinwand: “At the sight of a tomcat”

That I might be a tomcat, [back and forth for the whole line]  
Free from higher afflictions,  
Whose soul is in a state of  
Deep contentment.

This faithful round face,  
Calm with feeling,  
Is a lyrical poem  
Of the latest invention.

Its little ears stand  
Like rhyming iambs [Like: Jump!]  
And through its throat go  
Gentle dithyrambs.

This lightly shaded tail,  
Full of quiet magic,  
Would also be beautiful as a wreath  
Of the most modern tragedy.

That art should be nature,  
I understand instinctively,  
If he sat there pensively, [Back and forth, entire line]  
Would he still be natural?

The journeyman without charm  
Is whipped against the walls;  
But this smooth fur  
Is caressed by all hands.


And his mind is also polished, [Mind: state]  
Does not deter with grandeur,  
Not with overly bold gestures, [Gestures: abstract]  
Only scratches the nakedness.

That he often clouds his nature,  
Morally lies in ruins, [morally lies: passive]  
Practices Turkish aesthetics,  
Should that concern us?

*Further poem example*

First example from Dr. Steiner that entire lines must be expressed in a continuous direction: C. F. Meyer “Die Kapelle der unschuldigen Kindlein” (The Chapel of the Innocent Children). The last line of each stanza in a long continuous line back and forth.

Conrad Ferdinand Meyer: “Die Kapelle der unschuldigen Kindlein” (The Chapel of the Innocent Children)

From the executioner's fists they flew up to heaven,  
They enter two by two into the blessed gate,  
Holding hands and singing cheerfully,  
They carry a shining mark of blood in their curls.

"We are coming to heaven—and that is dear to us  
Because the promised child remained below instead of us!  
We suffered the bitter kiss of death for the little boy,  
Which he must suffer on the bitter cross instead of us!"

All the angels come flying in brightly,  
They bring beautiful toys and plenty of flowers.  
Now they lead the dance with fiddle and shawm ...  
From distant depths, the mothers' cries of grief lament.

**“It” as an indefinite subject**

There are sentence contexts that have no actual subject or a hidden one: It flashes! It thunders! This It behind and above the head, crossed at the crown // It as a seemingly indefinite subject, as a concrete pronoun. The pronoun (indefinite pronoun) is expressed [by] e above the head, palms facing forward. (The one who uses this It thus testifies that he is familiar with the deep secrets of the cosmos.)

You will deal with this impersonal “It” a great deal in your next incarnation, especially those of you who will then be philosophers. Then you will always ask yourselves when it rains, when it snows, when it reveals: Who or what rains, snows, reveals? Then the one who uses this It testifies that he is familiar with the deep mysteries of the cosmos.

What Dr. Steiner said at the time was the following: “You will be particularly preoccupied with and grappling with this impersonal ‘it’ in your next life, especially if you then become natural philosophers. Then you will ask yourselves: It is raining. Who or what is raining? Then you will try to penetrate to the essence that is at work behind this ‘it’!”