The School of Spiritual Science VII

In tone eurythmy, what lives in music in the inaudible becomes visible. It is precisely here that the greatest danger of becoming unmusical exists. I hope to have shown in the lectures of this course that when music overflows into movement, the urge arises to cast off everything unmusical in 'music' and to carry only 'pure music' over into the realm of the visible. However, anyone who believes that the musical aspect ceases with the transfer of the audible into visible movement and form will have reservations about sound eurythmy as a whole. Such a view alone is not artistic in its deepest essence. For anyone who experiences art within themselves must take pleasure in every expansion of artistic sources and forms. And it is simply the case that music, like all true art, wells up from the innermost part of the human being. And this can reveal its life in the most diverse ways. What wants to sing in a person also wants to be expressed in movement forms; and only what lies within the human organism as possibilities for movement is brought out of it in sound and tone eurythmy. It is the human being himself who reveals his essence there. The human form can only be understood as arrested movement; and it is only through movement that the meaning of the form is revealed. One could say that anyone who disputes the legitimacy of tone and sound eurythmy is refusing to allow the whole human being to come to expression. Now materialism rejects the appearance of the spirit in human knowledge; the rejection of eurythmy as a legitimate art alongside and in connection with the other arts will probably have its origin in a similar attitude.