71. Eurythmy Performance

GA 277b/1920-07-11/p011 ·1920-07-11 · English MediumMedium alignmentSome paragraph re-numbering between this translation and the German original — the locus may slip by a paragraph or two.
Record: unknown. How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.

To do this, however, it is necessary, and this must be mentioned again and again, that one must return to the actual artistic element of poetry. Our time is essentially unartistic, and it is therefore very common today to perceive what is literally the content as the essential thing about the poetic art. In contrast to this, it must be said again and again that Schiller, for example, had an indeterminate melody alive in his soul, and from this indeterminate melody anything could become, whether it was “The Diver” or “The Fight with the Dragon” or anything else - that only emerged later. The essential thing for Schiller was not the literal content, [gap in the text] not the prose that is in the poem, but the important thing was the rhythm, the beat, the musicality, the plasticity, the imagery.

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Cite: GA 277b/1920-07-11/p011 · edition English