You may select a new search term and repeat your search. Searches are not case sensitive, and you can use regular expressions in your queries.

Enter your search term: by: title, keyword, or contextually

Query was: sense

Here are the matching lines in their respective documents. Select one of the highlighted words in the matching lines below to jump to that point in the document.

• Title: Lecture: Inner Nature of Music: Back Cover
  Matching lines:
  • human beings receive thoughts and sense impressions.
• Title: Lecture: Inner Nature of Music: Lecture I
  Matching lines:
  • beings sense this, though with greatly varying intensity. The savage
  • senses. We must consider how these higher worlds are actually
  • sense world and yet can retain a soul content, his dream world begins
  • when he awakens in the morning, he nevertheless senses these imprints
  • soul feels at home there. Each time he listens to music man senses,
  • itself. When the human being hears music, he has a sense of
• Title: Lecture: Inner Nature of Music: Lecture II
  Matching lines:
  • because outer things call forth mental images in the human senses,
  • of that which is unable to make an impression on the senses.
  • Schopenhauer speaks physiologically of specific sense impressions.
  • The eye can receive only light impressions; it can sense only
  • something that is light. Likewise, the ear can sense only tone
  • need not know this. A sense of musical pleasure is based on nothing
  • the innermost depths of his being. In a sense, man experiences the
  • held in such high esteem by all who sense such a relationship.
  • Schopenhauer also senses this in a kind of instinctive intuition and
  • above. One who understands this expression in its highest sense
  • sense, sounds of home rebound from it. From the soul's primeval
• Title: Lecture: Inner Nature of Music: Lecture III
  Matching lines:
  • Imperceptible to the outer senses, this “I”-body
  • understand in this sense the words of the Bible: “God breathed
  • heat it melts and becomes “water” in the esoteric sense.
  • When it vaporizes it becomes in the esoteric sense, “air.”
  • ascends to “fire”; in the vapor we sense the “fire's”
  • but in the sense used here, where speaking is the soul resounding
  • the other sense organs, like the eye, for example, alter the
  • impressions received from the environment. All the other senses must
  • ear is also related to a sense that is still older, the sense of
  • dimensions of space. Man is no longer aware of this sense. It is
  • make of them. When they are injured, however, man's sense of
  • balance is upset. They are the remnants of the sense of space, which
  • is much older than the sense of hearing. Formerly, man perceived
  • space in the same way he perceives tone today. Now the sense of space
  • The sense of space perceives space; the ear perceives tone, which
  • the mathematical sense, which is tied to these three semi-circular
• Title: Lecture: Inner Nature of Music: Lecture IV
  Matching lines:
  • do not understand art if we do not sense in it the longing to
  • symbolically but in a very real sense. The matters are indeed as I
• Title: Lecture: Inner Nature of Music: Lecture V
  Matching lines:
  • nerve-sense man, rhythmic man, and metabolic-limb man. For all other
  • experience does not actually exist in the same sense as sense
  • experience does for the other senses. The sense experience in
  • direct sense organ but instead as transmitter to man's inner
  • as a sense organ but only as a reflecting organ.
  • sense being, and his ear also has significance as a sense organ, but
  • us by virtue of gaining influence over us through the senses or by
• Title: Lecture: Inner Nature of Music: Lecture VI
  Matching lines:
  • being, however, senses not the outer world but the spiritual world in
  • someone said quite rightly that man senses an emptiness in the
  • for individual musical compositions, you will be able to sense that
  • actually, in a musical sense, must be overcome. Man must get away
• Title: Lecture: Inner Nature of Music: Lecture VII
  Matching lines:
  • appropriately developed sense organs in the physical and etheric
  • that would serve as super-sensible sense organs — to coin a
  • in the waking state, we turn our eyes or other sense organs in the
  • sensed and felt before the fourth century A.D.
  • the outer sense perceptions, therefore ruling with the particular
  • beings their sense impressions, while the primal beginnings bestow
  • fact of the super-sensible world was mirrored below in the sense
  • increasingly senses the thoughts in his own being, because the Archai
  • this [see diagram] is the world that he perceives as the sense world.
  • One side [yellow in diagram] is turned toward his senses, the other
  • [red] is already hidden from the senses. Ordinary consciousness knows
  • that between man [see diagram] and the sense impressions there are
  • the sense world. Though one does not see them with ordinary eyes,
  • sense impressions. The Exusiai, Dynamis, and Kyriotetes are actually
  • sense impressions.
  • human being having super-sensible consciousness senses that the
  • Archai. He senses them as being located more in his world, whereas
  • seventh. Instead, they sensed how the gods, who pervaded and wove
  • make music,” would have made no sense to them. The only
  • experiences something empty in the fifth, though in a positive sense
  • Maximum number of matches per file exceeded.