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• Title: Foundation Course: Lecture 7: Formation of Speech.
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  • In grasping with our arms, creating with our fingers, we express something we need in order to model language. So it has a certain justification to return mankind to its connection with language, bringing the whole person into it, to train Eurythmy properly, which really exists in drawing out of the human organism what is not fulfilled in the human body, but is however fulfilled in the ether body, when we speak. The entire human being is in movement and we are simply transposing though the eurhythmic movements, the etheric body on to the physical body. That is the principle. It is really the eurythmization of something like a necessity which needs to be regularly brought out of the human being, like the spoken language itself. It must stand as a kind of opposite pole against all which rises in the present and alienate people towards the outer world, allowing no relationship to be possible between people and the outer world any more. The eurythmization enables people in any case to return to being present in the language and is on this basis, as I’ve often suggested, even an art. Well, if you take into account the things I’ve just proposed, then you arrive at the now commonplace speech technique basically under the scheme of pedantry.
• Title: Foundation Course: Lecture 11: Insights into the Mystery of Golgotha, Priest Ordination.
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  • Particularly for those who had a strong feeling for the sense of the Mystery of Golgotha as fallen out of the ordinary earthly course, like all that the Roman Catholic Church has gradually become, still a kind of departure came about from the original meaning of the Mystery of Golgotha. It has crystallized into an historic anecdote. When Leonardo da Vinci was appointed to paint the Last Supper, he worked slowly, for a long time. Actually, he needed more than ten years. Then a new Prior arrived and wanted this painting chap to finish off the thing at last. The painting had been completed up to the figure of Judas when the new Prior asked when it would at least be complete. Leonardo said that up to that point he had not been able to complete the painting because he had no model for Judas. Now however, he had in the Prior a model for Judas, and he could complete the painting.
  • The other pole is Faust. He took on the intellect with all his senses, resulting in his deteriorating into the dangers of the intellect, as he entered into all the individual dangers of the intellect. It is not for nothing that these personalities are a kind of landmark for modern mankind: on the one side Luther and what he connected to, and on the other side Faust, and what he associates with. It was truly no small deed of Goethe when he wanted to reshape Faust in such a way that he would not perish. Lessing already thought about it. If freedom is to be achieved for humanity, the intellect needs to be engaged with, but humanity should not be pushed away from the divine. The Faust fragment of Lessing ends with the words (of the angels to the devil): “You shall not prevail!” which Goethe remodelled. He said to himself there should be a possibility not to be separated from the divine when mankind engages with the intellect — but he needs it for the development of freedom. In this terrible battle Luther stood. He saw how the intellect contained within itself the danger that man also strangulates his soul from the divine, how man succumbs to the death of the soul. That which is devoured by the intellect — in anthroposophy we call it “becoming Ahrimanic” — which totally enters into the intellect, becomes devoured, it is cut off from the divine. This is what Luther felt for modern man.