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Searching Rudolf Steiner Lectures by GA number (GA0283)

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    Query was: feel

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: Speech and Song
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    • differentiated according as one feels oneself drawn more towards one
    • lies between, soul meets with soul through speech. We feel that we
    • speech, there must always be something in our feeling reminiscent of
    • feeling that in every vowel there is something of the soul, immediate
    • longer feels the sound proceeding from his own larynx, but he feels
    • my dear friends, unless we feel in it the longing to experience the
  • Title: Lecture: Inner Nature of Music: Lecture I
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    • realm of human feeling (Gemüt); on the other hand it also
    • who lives in dim consciousness feels the discontent of the will much
    • innermost essence of things. Because man feels himself near to this
    • essence in music, he feels a deep contentment in music.
    • it feels as if he arose out of a flowing cosmic ocean. He knows that
    • a feeling or intellectual soul [Gemüts-oder
    • physical space we feel all other beings as outside of us. In
    • Devachan, however, we do not feel ourselves outside of other beings;
    • because he feels like a victor over his etheric body by means of his
    • astral body. This pleasurable feeling is strongest when a person is
    • feels in music an echo of what it has experienced in Devachan. The
    • soul feels at home there. Each time he listens to music man senses,
    • music, man feels the echoes of the element that weaves and lives in
    • Because feelings are the innermost elements of the soul, akin to the
    • bodily mediators of feelings no longer exist but where feelings
  • Title: Lecture: Inner Nature of Music: Lecture II
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    • though he feels himself borne upward on a surging sea of flowing
    • himself is color and light. He feels himself astrally within this
    • astral world, and he feels afloat in a great, deep peace. Gradually,
    • but he followed them out of his instinctive feeling. We thus see in
    • that the soul feels itself stronger than the body. In the effects of
    • one feels pain in the soul, the predominance of the sentient body,
  • Title: Lecture: Inner Nature of Music: Lecture III
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    • Hence, these individualities naturally feel themselves drawn to a
    • feel these “I's” hovering above. They would have
  • Title: Lecture: Inner Nature of Music: Lecture IV
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    • unites with soul. We feel that in speaking we have an essential
    • When one speaks of consonants, one always feels something that is
    • adding the consonant element. Surely you can feel how a soul quality
    • intonation of vowels, to a greater degree. He no longer feels that
  • Title: Lecture: Inner Nature of Music: Lecture V
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    • intellectualism wishes to tackle everything, there is a feeling that
    • age occupies a position between two musical feelings [Empfindungen];
    • one such feeling it already has, the other not yet. The feeling that
    • feeling for the interval of the third. In history we can easily trace
    • how the transition from the feeling for the fifth to the third came
    • about in the world of musical feeling. The feeling for the third is
    • something new. The other feeling that will come about but as yet does
    • not exist in our age is the feeling for the octave. A true feeling
    • experience the difference that exists in comparison to feelings for
    • do have a feeling for the octave, but this is not yet the feeling
    • that will be developed in time; in the future the feeling for the
    • octave appears in a musical composition, man will have a feeling that
    • anew; I am uplifted in my humanity by the feeling for the octave.”
    • is the feeling that is evoked.
    • things can be understood, understood with feeling, only if one
    • thus actually feel a resonance, a reflection. The ear really hurls
    • man feeling completely transported [entrückt]. He felt
    • have said, “I experience music,” as “I feel myself
    • feeling for f and c is missing; instead, the fifths throughout the
    • transporting quality. Such music made a person feel as if he were
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  • Title: Lecture: Inner Nature of Music: Lecture VI
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    • of himself; with the feeling for the fifth, man actually feels
    • experiences with the fourth is based on feeling that man himself is
    • perception within man's being. Today, therefore, man feels an
    • human feeling. What is expressed in harmonies is experienced by human
    • feeling. Now, feeling passes into thinking [Vorstellen].
    • thinking, in its relationship to feeling and willing.]
    • In looking at the human being, we can say that we have feeling in the
    • middle; on the one hand we have the feeling that passes into
    • thinking, on the other hand we have the feeling that passes into
    • willing. Harmony directly addresses itself to feeling and is
    • actually twofold. We have a feeling that is more inclined to thinking
    • — when we feel our thoughts, for instance — and we have a
    • feeling more inclined to willing. When we engage in an action, we
    • feel whether it pleases or displeases us; in the same way, we feel
    • pleasure or displeasure with an idea. Feeling is actually divided
    • feeling up to that of thinking. You do not find what is contained in
    • of feeling. It tends upward, however, so that the feeling is
    • accessible to feelings. Otherwise, the head is only open to the
    • concept. Through melody the head becomes open to feeling, to actual
    • feeling. It is as if you brought the heart into the head through
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  • Title: Lecture: Inner Nature of Music: Lecture VII
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    • feeling. We have described in different words what human beings
    • It is the fact that human beings feel themselves more and more in
    • tone of c-sharp or g. Since this transference of thoughts, man feels
    • began with feeling the sevenths. They then felt further intervals, of
    • perceives the musical element he feels transported out of his body
    • experience of the seventh did not make them feel that they themselves
    • present-day feeling for the fifth. Today, the fifth gives man an
    • were, into human feeling [Gemüt]; hence, man no longer
    • into the universe. What today wells up in his life of feeling
    • all had the same feeling born out of their knowledge and their
    • feeling experienced in a melody one day will be discovered in the
    • shaken we are able to feel what a profound person could feel in
  • Title: The Occult Basis of Music
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    • something puzzling about it; for simple human feeling it is a direct
    • The savage feels this less than does the genius, who experiences the
    • reflects the feeling of it; that is why music is so deeply satisfying.
    • on a much more orderly character; on waking, he feels as though he
    • rhythms, and this gives feelings of pleasure both to a listener and to
    • body; and the painful feeling that ensues gives rise to the most
    • image of his spiritual home. It naturally elevates the soul to feel
    • simplest souls are so receptive to music. A man then feels himself
    • In music, man feels the echo of the inmost life of things, a life
    • related to his own. Because feelings are the most inward part of the
    • music, lives in the pleasure of feeling himself in harmony with its

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