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• Title: Curative Eurythmy: Comments by the Editor of the Third German Edition
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  • that at least two years should be spent on a thorough study of eurythmy.
  • is now available to everyone, it should be said that it is quite impossible
  • the whole of eurythmy into it. So you should be aware that you must
  • acquire a living connection with it, and this should be such that anyone
  • that they must work with others, and therefore, when curative eurythmy
  • stipulated that it should not be put into practice without the
  • could consequently be made. Some parts that had been revised now follow
  • that we experienced every day of our lives that the visible language
  • of eurythmy movement is a language that is in genuine harmony with the
  • nature. We also experienced daily that hindrances the children had,
  • were so overwhelmed by them, that they could not keep up with the lessons
  • could be given what Rudolf Steiner prescribed for their care.
  • showed that for children of this sort eurythmy more than anything else
  • exercises that would help the spiritual part that was having such
  • resistance — exercises that would give the physical sheath a
  • that through the work she was doing she, too, had been powerfully drawn
  • method of eurythmy therapy in which we could directly experience that
  • work. It often happened that it was not easy to find our way into it,
  • movement for many years found that the exercises Rudolf Steiner either
  • that had been given by Dr. Steiner in the curative eurythmy lecture
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• Title: Curative Eurythmy: Concerning the Transcripts of the Lectures
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  • of all forms of cognition of this age. Therein also lies that which
  • only that which ensues when communications from the spirit world are
  • a result of that which struggled and toiled within me; in the private
  • being and the tone of the lectures arises from what I hear there.
• Title: Curative Eurythmy: References to the Fourth German Edition
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  • of Therapy”. In that context Rudolf Steiner refers to this lecture
  • of the events that led up to the curative eurythmy course that Dr. Steiner
  • “therapeutic” eurythmy and said that these arose out of the
  • was even at that time about healing by means of eurythmy movements, and
  • us still very young teachers that “healing” is connected
  • and that our movements in this therapeutic eurythmy would really have
  • who worked with Dr. Steiner in any way will remember that everything
  • aspiration that came his way. It was the same with curative eurythmy.
  • he gave what we would later on have called “curative eurythmy
  • thing, and what were we looking for? The healing element in
  • one of the threads of destiny that hound us together. The other one
  • with the same enthusiasm that we approached medicine from a background
  • of eurythmy. And what gave rise to it? The natural science course in
  • we could not understand a lot of what Dr. Steiner was saying, and as
  • eurythmists we hardly even belonged to that enlightened gathering of
  • that made us fall on top of one another and nearly jump into the air,
  • and that was the curve of Cassini.
  • the external occurrence that we needed to make us aware that
  • sprang from the same source! For this curve of Cassini that Dr. Steiner
  • know it that much better today? And yet it should be our task to pass
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• Title: Curative Eurythmy: The Publication of Rudolf Steiners Lectures
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  • The relevant text is printed at the end of this volume. What is
• Title: Curative Eurythmy: Back Cover
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  • Language and the dynamism that is contained in individual vowels and
  • healing process that is concerned with both mind and soul as well as
• Title: Curative Eurythmy: Foreword to the English Edition
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  • beginning that the text could not read like an English composition.
  • are in themselves complicated, and, what is here more important, in
  • translating intellectually what we understand his meaning to be.
  • structure of curative eurythmy and thus in its own way that of the
  • retained throughout as it is assumed that all practitioners of
• Title: Curative Eurythmy: Synopsis of Lectures
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  • their effect. The speech-physiological processes that accompany the
  • exercises. Gymnastics that is merely physiological as being the
• Title: Curative Eurythmy: Lecture 1
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  • Today we will have a sort of introduction, and what we gain from it
  • all I want to draw attention to some basic matters. What has been practised
  • children, since what has been developed until now as eurythmy is in every
  • way drawn out of the formation of the healthy human being. We will see that
  • another to become what can be called a sort of curative eurythmy.
  • course, be essential to emphasize that artistic eurythmy — which
  • is in essence the expression of that element inherent in the formation
  • and in the tendencies to movement of the human body — is that which
  • emphasize that they will have to forget in the most thorough fashion
  • what they have acquired in these hours when they do artistic eurythmy.
  • those goals which one pursues in hygiene and therapeutics and that artistic
  • given this preface, I would like to speak more specifically about what
  • to understand what eurythmy in its most varied aspects is, one must
  • to regard each human organ as a thing unto itself. That isn't the case,
  • however. That is not how a human organ is. Every human organ is a member
  • Nevertheless, the case is that certain human organs and groups of organs
  • organ where one can penetrate through that one organ into the essence
  • What I
  • we will now direct our attention, you will see that it is possible.
  • of the windpipe, you will discover when you study its forms that it
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• Title: Curative Eurythmy: Lecture 2
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  • science — that vowels express more that which lives inwardly in
  • man as feelings, emotions and so on. Consonants describe more that which
  • that is to say, we reveal what we feel towards an object. Through the
  • In eurythmy we bring back what attended the vowels and consonants
  • realize that when we pronounce vowels we omit the movement and make
  • the vowel inward, that previously joined in the outward movement to
  • movement what we have taken away from it on its inward-going path. In
  • the case of the vowel, matters are such that the outward movement is
  • of the vowel, eurythmically expressed, onto the whole man. That is what
  • that which is eurythmically vocalized in movement. Here it is very
  • important that one develops a feeling for what flows into the movement.
  • That one develops a perceptive consciousness which tells one whether
  • that which is happening in the respective human limb is a stretching,
  • for this. In what pertains to vowels it is extremely important
  • that one feels the movement made or the position taken up. That is what
  • both arms. This stretching should be carried out in such a way that
  • movement somewhat lower, returns again, and does it with both (arms)
  • the front, now a bit back again, and then somewhat deeper. Now I don't
  • want to trouble you further with that, but if one wanted to carry it
  • on, go hack, a bit further on, and so forth, so that one has as many
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• Title: Curative Eurythmy: Lecture 3
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  • forms which consonants take in eurythmic movement. In what has been
  • The person who sets himself the task of observing speech will see that
  • instead reproduces the external within himself. That is a major
  • the F-movement. And now keep an eye on what you can observe here in
  • these two different movements. You can observe what is present by virtue
  • you will find that man's linguistic instinct places an “E”
  • Through the foregoing you will perceive that when man utters an
  • but “fi”, in that moment it is a different matter; in that
  • what I have expressed for example, in
  • this going out and taking hold in the external world of what man today
  • science is not accepted on the grounds of such things is solely that
  • they want to make it easier for themselves. But that just won't do.
  • They want to make everything easier for themselves; and that
  • That,
  • important that one form a contemplative picture. Naturally, one cannot
  • penetrate to the very end of that which one has in such a picture, to
  • find the movement for it deviates greatly to begin with from what takes
  • be polar to the actual process in speech. You know that the speech process
  • case of other consonants this element must be toned down. Now, what
  • the characteristic movement that was present in D. Thus the thrusting
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• Title: Curative Eurythmy: Lecture 4
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  • consonantal eurythmic movements the case is that, although the rhythmic
  • a contemplative picture of what is involved when one can enter into the
  • this B in walking as well. Try to walk in such a manner, however, that
  • B. Now imagine that done more and more quickly and repeated to begin
  • Now you must attempt to do this with the legs as well. That brings about
  • tone eurythmy. That must now be repeated frequently and in series by
  • of the movements that are connected with the eurythmic consonants have
  • to do with that in the process of digestion which lies on the far side
  • — thus from the other side of that comprised in the first digestive
  • inward digestion, on all that which is digestive activity in the blood
  • vessels, and moreover on what is digestive activity in the kidneys.
  • related to language, and how a connection thus arises between that which
  • you hop, and while hopping you bend the legs somewhat at the knee. Here
  • knock-knees. That is what must be carried out. Our first concern is
  • works to strengthen the intestinal activity, particularly that activity
  • out sharply, with the Q as well; but that is the same thing again. Here
  • in the physiological effect of D and T, G, K, and Q, is that in the
  • connection with the human digestive activity, and that is with the
  • finds that urination is not in order. It has a stimulative effect on
  • whatever reason — here is the movement to be performed.
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• Title: Curative Eurythmy: Lecture 5
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  • soul. Before we begin, however, it will be necessary to take note that
  • when he arrives at a judgment, that these expressions are connected
  • case; one must make it clear to oneself that the judgments which the
  • that man pronounces a judgment out of the totality of his being. Thus
  • not only the head which will be subject to the influences of what arises
  • and negation is precisely that which can be called a judgment; when one
  • — both ten times consecutively. Whatsoever illness this shortness
  • counteract it in such a way that the entire constitution is affected as
  • must only keep in sight what is being done here. One could interpret what
  • Mrs. Baumann has done touching upon what is essential in it as follows:
  • what she projects thereby into the world is a thought that has become
  • oneself than otherwise. That is to say, one makes a movement through
  • actually movements that awaken. However, because one does not wake up
  • by means of this detour through the etheric body this constitutes what
  • would be the first symptom reached and what is introduced into the whole
  • such a movement — not in reality, however, at least that shouldn't
  • digestion is really stimulated in such a manner that through such a
  • want to express that which one could call the feeling of love towards
  • One cannot say that it accelerates or retards the circulation; it affects
  • at this and picture to yourself that one carries out this movement for
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• Title: Curative Eurythmy: Lecture 6
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  • that part of the physiological which we discover in the proximity of
  • that which can he observed in this connection in artistic eurythmy will
  • with in these days. Nevertheless, the essence of that which concerns
  • us make clear to ourselves what is taking place here, proceeding however
  • very exactly. What is happening? A poem is recited. The person who does
  • consideration physiologically. That is the first matter of importance.
  • He doesn't speak himself, he listens. That is essential. He listens to
  • thought and of mental representation are alive. What he perceives
  • association of sounds. That is something which man in his waking,
  • daytime existence often does, is it not? But what actually takes place
  • psychologic-physiologic point of view you will easily discover that a
  • and the astral body glide over what they are taking in, they live into
  • similar to sleep in that the “I” and astral body are slightly
  • disengaged, dissimilar in that they remain receptive, perceptive and
  • It is a subtle, conscious imagining that is still strongly suppressed
  • we take this into account as well. Let us look at what takes place in
  • the person who is not reciting. What does he do when he listens? He
  • movements and has them carried out by the physical body. That is to
  • one does what the human being carries out with his etheric body constantly
  • while listening. You can see what is actually taking place.
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• Title: Curative Eurythmy: Lecture 7
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  • to particulars you will find it necessary to elucidate what I have to
  • so on. How that can he done will reveal itself to you as if of its own
  • such as that which takes place in eurythmy, we may do no less than to
  • we must contemplate that extra-human world process which one usually
  • traces only in its details and not in regard to what is actually inwardly
  • active. Just consider what earth formation is, in reality: a formative
  • what lies without the planetary sphere a formative working into the
  • and building up that which is on and in the Earth from without —
  • although they encompass all that I have said about such rays previously
  • as well. The fact is that the metals of the Earth as a whole, for example,
  • that work through the ether can be called formative forces, formative
  • forces working in from outside and not from the planets, for in that
  • specific purpose of modifying them, that is, the planetary sphere. Please
  • assemble them around a point so that the earth can come into being.
  • they are present as the forces that build up the organs plastically,
  • physical world. That is a process which becomes so tangible in the
  • to yourself that, in association with the tendency to push something
  • these two processes is that which mediates: processes of secretion and
  • on the other hand, the absorption of what the other has secreted and
  • so on, that which can be called processes of secretion in the widest
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• Title: Curative Eurythmy: Lecture 8
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  • has been expressed for me to expound somewhat further upon curative
  • and it is hardly necessary to go beyond what was given at that time.
  • eurythmy took shape out of something purely artistic, out of what was
  • transforming in a certain direction what takes place in the human organism
  • of visible speech. We must recognize that two components work together
  • lies further inward. What is related to the mental image plays in here.
  • extends itself, to be sure in a somewhat complicated way, even into
  • The two encounter each other in such a way that the metabolic system
  • is transformed first into the circulatory processes; and that which
  • it is possible for the human astral organism to stream into what is
  • of the human organism, we see that speech comes into being through an
  • embodiment on the one hand of what has to do with mental picturing and
  • of the soul, is actually the will-nature. Thus we have what finds its
  • system, that is, to the extent in which the nervous system has a part
  • Thus, what is of a volitional nature and finds its bodily expression
  • in the metabolic system, and that which is of the nature of mental
  • representation which finds its expression in what I would like to call
  • a section or stratum of the nerve-sensory system, conjoin to form what
  • results. They then find physical expression in what manifests as ordinary
  • nonetheless similar. In eurythmy one blocks out what is of the nature of
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