Lecture Nine

What I have just said—that man in relation to his will-metabolic nature is in a constant state of sleep—is most forcibly expressed in the lower limbs. In other words, through the metamorphosis which the arms and hands have undergone, man wrests from unconsciousness that which is really the sleep-nature of the limb-man. If to some degree we sharpen our sensitiveness for these things, we shall perceive what a really remarkable difference exists between the movement of a leg and the movement of an arm. The movements of the arms are free, and in a sense follow the feelings. The movement of the legs is not as free—I mean in respect to the laws by which we produce their movements. This, of course, is something which is not always noticed, nor sufficiently appreciated, as exemplified by the fact that the greater portion of the public attending our performances of Eurythmy are merely passive observers, and fail to notice that the leg movements are less articulated and the movements of the arms and hands more so. The reason for this is that, to understand the movements of the arms, a certain co-operation of the soul on the part of the observer is necessary. In our cinema age, people do not want to give this co-operation. While watching the movements of a dance where only the legs are in movement, and the arms at most are subject to arbitrary movements, there is little need either to think or feel in union with the dancer. This is by the way.