Eurythmy Performance

It would even be conceivable for people to acquire the same understanding of the visible language of eurythmy as they have of spoken language; then it would be possible to present the artistic aspect of a poem through eurythmy alone. I say: the artistic aspect, not the prose content. For one must be aware of the following, especially when it comes to artistic feeling. Ultimately, the poet does not want to express the prose content in his poetry, but regards it only as a kind of reproach, a kind of material. He shapes this prose content. He shapes it according to the sequence of sentences, according to the melos, the melody of the sounds, he shapes it according to high and low tones, length and brevity, according to the meter. So he shapes it according to rhyme or alliteration. There is already a certain eurythmy in what the poet then makes of the material, what he does beyond the prose content. One could see this completely in a performance if it were not accompanied by recitation and declamation. But as it appears here, the recitation and declamation interact with the eurythmy, I would say orchestrally, so that we hear from two different instruments [working together] what constitutes the whole of the poem.