XI. Rhythm in Education

Nearly everyone knows what a melody is and what a sentence is. But a sentence that consists of a subject, a predicate, and an object and which is in reality unconsciously a melody is something that only a few people know. Just as we experience the rising and subsiding of feelings as a rhythm in sleeping, which we then become conscious of and surround with a picture, we also, in the depths of our nature, experience a sentence as music. By conforming to the outer world, we surround what we perceive as music with something that is a picture. The child writes the essay—subject, predicate, object. A triplet is felt at the deepest core of the human being. That triplet is used through projecting the first tone in a certain way upon the child, the second upon writing, and the third upon the essay. Just as these three are felt and then surrounded with pictures (which, however, correspond to reality and are not felt as they are in dreams), the sentence lives in our higher consciousness; whereas in our deepest unconsciousness, something musical, a melody, lives. When we are aware that, at the moment we move from the sense-perceptible to the supersensible, we must rid ourselves of the sense-perceptible content, and in its place experience what eludes us in music—the theme whose real form we can experience in sleep—only then can we consider the human being as a whole. Only then do we become genuinely aware of what it means to teach language to children in such a living way that the child perceives a trace of melody in a sentence. This means we do not simply speak in a dry way, but instead in a way that gives the full tone, that presents the inner melody and subsides through the rhythmic element.