8. Speech on Eurythmy

And by giving ourselves to the outer world itself, to its intense impressions in colors and chiaroscuro, we develop painting. But then, when we live with that which is actually below the surface of things, with what essentially painting deals with, when we live with that which the exterior of nature presents in terms of supersensible uniformity, when we can feel that, we can surrender to nature, not as a mere observer, but go along with the inner secrets of nature, and instead of feeling the balance of our own body, the symmetry, which we already do as a child, if we instead feel the enigmatic, mysterious symmetry of natural things outside, the proportionality and symmetry of spatial things, and if we then develop this within ourselves to a certain extent as an echo, holding up to mute nature the counter-image in the secrets contained in it, then we develop the musical through adapting the organization of our own bodily members to the external relationships of symmetry and proportion in nature.