A Lecture on Eurythmy

In our somewhat inartistic age, it is customary in recitation and declamation to lay the chief stress on the prose content of a poem. Indeed, in these days, the mere fact of being able to speak at all is looked upon as sufficient ground for becoming a reciter. But the art of recitation and declamation should rank as highly as the other arts; for in recitation and declamation there is the possibility of treating speech in such a way that the hidden Eurythmy lying within it, the imaginative, plastic, coloured use of words, their music, rhythm and melody, are all brought to expression. When Goethe was rehearsing his rhythmic dramas, he made use of a baton just as if he were the conductor of an orchestra; for he was not so much concerned with the merely prosaic content of the words, but with the bringing out of all that lay, like a hidden Eurythmy, in their construction and use.