II. The Three Fundamental Forces in Education

From this we see that human speech too, but above all the musical element collaborates in the shaping of the human being. At first it helps form the man, and afterwards it stems itself, pausing at the larynx; it does not pass through this gate as before. Up to now it has been language which modified our organs, as deeply as into the skeletal system. A person who views a human skeleton with a true psycho-physical eye (and not with the purblind psycho-physical eye of today's philosophers) and focusses on the differentiation between a male and female skeleton, will see in the skeleton an incorporated musical achievement, played out in the interaction between the human organism and the outer world. The human skeleton can be understood figuratively thus: as if someone were to play a sonata and were then to preserve it by some sort of spiritual crystallisation process—in this way we would get the principle forms, the arrangement of forms in the human skeleton! This would also demonstrate for you the difference between man and animal. In an animal what is taken in of the lingual-musical element (very little of the lingual but very much of the musical) passes right through the animal, since it lacks in a certain way the human isolation that leads then to the change of voice. In the skeletal form of the animal we have a musical imprint too, but it is such that a musical coherence would be provided only if various skeletons were placed together as in a museum. The animal always manifests a one-sidedness in its structure.