III. Spiritual Knowledge of Man as the Fount of Educational Art

Whilst all this refers to experiencing the pictorial element conveyed by means of sight, it is different in the case of everything relating to the element of sound, to the more or less musical element; and I do not only mean the musical element that lives in music, which only serves as the clearest example, and applies par excellence, but I mean everything to do with what we hear, living more in language and so on. I am referring to all that, when 1 speak of the sounding element. And here—however paradoxical it may sound—it is exactly the opposite process of the one I have just described. The sense organisation in the ear is inwardly connected in a very delicate way with all the nerves that present-day physiology calls motor nerves, but which are in fact the same thing as sensory nerves; so that all we experience as audible is perceived by the nerve strands embedded in our limb organisation. Everything musical has to penetrate deep inside our organism first of all—and our ear nerves are organised for this—and in order to be perceived properly it has to seize hold of the nerves deep within our organism those nerves in which otherwise only the will is active. For those areas in the human organism that convey memory of pictorial expedience—convey the actual perception of musical experiences. So if you look for the area in the organism where the memory of visual perceptions is developed you will also find the nerves that convey the actual perception of sound. Here we see the reason why, for instance, Schopenhauer and others brought music into such intimate connection with the will. Musical perceptions are perceived in the same place as visual perceptions are remembered, namely in the realms of the will. The place where musical perceptions are understood is again the rhythmic system. That is what is so impressive about the human organism, that these things intertwine in such a remarkable way. Our perceptions of visual things meet with our perceptions of audible things and are interwoven in a common inner soul experience because they are both understood in the rhythmic system. Everything we perceive is understood in the rhythmic system. Visual perceptions are perceived by the separate head organism and audible perceptions by the whole limb organism. Visual perceptions stream into the organism; audible perceptions stream from the organism upwards. And you must now combine this with what I said in the first talk. You can do this very well if you feel it. Through the fact that both worlds meet in the rhythmic system something arises in our soul experience that is a combination of audible experiences and visual experiences. And the musical element, that is, everything we hear, is remembered in the same realm where visual things have their sense-nerve organs. These are at one and the same time the kind of organs that appear to be sense-nerve organs, and external physiology calls them that, yet in reality they are connected with the metabolism, and convey the delicate metabolism of the head realm and bring about musical memories. In the same realms in which perception of visual things take place musical memory, the remembering of everything audible, takes place. We remember what we hear in the same realm as we perceive what we see. We perceive what we hear in the same realm as we remember what we see. And both cross over like a lemniscate in the rhythmic system where they intermesh.