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Searching Rudolf Steiner Lectures by GA number (GA0286)

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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: And The Temple Becomes Man
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    • arch arose, of course, from a deep feeling for the dynamic
    • symbolic expression of what we may feel at the sight of a human being
    • sight of a Greek Temple “makes us feel the very marrow of our
    • feel a kind of fear, a kind of dread of spiritual knowledge,
    • feels: ‘When I try to formulate in concepts or ideas something
    • that I feel to be a living work of art, or at least a fertile
    • repulsion that an artist must feel when he finds one of his own works
    • feeling that we have wronged it, fundamentally wronged it. There is
    • nevertheless in a certain respect we must feel it to be a skeleton in
    • We must feel that Theosophy is for us a Cross and a Sacrifice,
    • feel that we have in us one of the divine impulses of its mission —
    • feel and know the creative power inherent in the mysteries of the
    • who suffers a kind of death in Theosophy, will feel in his own life a
    • Anthroposophists one of those things which the heart feels to be a
  • Title: Ways/Architecture: Lecture I: The Acanthus Leaf
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    • common acanthus plant? Now anyone with true artistic feelings
    • this consciousness gave rise to such intense inner feeling in
    • feeling: ‘I have to carry something heavy; I bend my
    • And, from the feeling of the lines of
    • How can man come to feel this relationship of the earthly
    • forces to the sun forces? By feeling it in the same way as,
    • for instance, the state of carrying a load. He can feel it in
    • working of forces, he said to himself: ‘I feel myself
    • Feeling his
    • the artistic feeling of mankind as a decorative motif in the
    • is absolutely contrary to true artistic feeling. If we find
    • feels how artistic creation has arisen in mankind. It was a
    • first place, of course, one feels in despair about an idea
    • negative forms of the baking mould. We should feel the walls
    • What we must do is to feel from the models how the interior
    • character of being in-carved. One can feel this in the model,
    • for the essential thing is a true inner feeling for form in
    • feeling of form — the inner feeling that makes one live
    • feel at home when it looks at form. In our building we must
    • feel as if I could in some way caress such a surface. We must
    • Maximum number of matches per file exceeded.
  • Title: Ways/Architecture: Lecture II: The House of Speech
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    • permeated by the feeling that we have not as yet grown equal
    • feeling that we are, in truth, little qualified for the full
    • indefinable feeling — a presentiment that a mighty task
    • room through this door, our feeling will be that we are
    • of a feeling which I may perhaps express as follows:
    • workers may well derive strength from the comforting feeling
    • the single forms with thought and feeling, we become
    • We feel that a mystery is there around us, calling out to the
    • us a feeling that can ring in such sacred tones in the soul:
    • thinking of what our feeling should be as we enter. How often
    • we shall feel, ‘Ah, if only all human beings could be
    • think them beautiful inside, but they do not make us feel, as
    • architecture, forms or art. Everywhere we feel that what
    • basis of Greek perception and feeling? It is, of course, a
    • beneath. And translating this feeling into words, we may say:
    • of the Gods all that his feeling of veneration makes him feel
    • the Temple. Man feels himself united with the God as he works
    • a kind of dream consciousness, when man still feels himself
    • days of Christianity the feelings of men were no longer the
    • pursuits, pervaded by this unshakable feeling: There stands
    • Maximum number of matches per file exceeded.
  • Title: Ways/Architecture: Lecture III: The New Conception of Architecture
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    • and enters into the precincts where he feels himself gazing
    • Gothic architecture. We feel as if the work performed in the
    • grasp it with the whole of our feeling and soul —
    • the Spirit symbolically, but by beginning to feel that the
    • of form to a feeling in form we can acquire a perception of
    • senses the feeling of Ego-hood, Selfhood, arising in his
    • soul, or if when he sees a fragment of a circle he feels that
    • forms. And the characteristic of really living feeling is the
    • feel that nothing of the rest of the world is there, only
    • in variation we can no longer feel that what is expressed by
    • variation (2) we shall feel: “The inner is stronger
    • shall feel in the case of the jagged lines, “here the
    • forms but in our souls we have the living, pulsating feeling
    • of true artistic feeling.
    • action. If we live in this form we have the feeling
    • feeling that the whole structure is proceeding from the West
    • West you will feel in thought that you are within a vehicle
    • You feel pleased. Now you go to another point and carry out
    • the circle there is no such feeling of satisfaction, for the
    • always the same. In this inner feeling of equality the astral
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  • Title: Ways/Architecture: Lecture IV: True Aesthetic Laws of Form
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    • feeling will have been that the forms have been derived from
    • the other in space. We may then be permeated with the feeling
    • gradually into our feelings. To-day, therefore, I only want
    • quite another way — those who have real feeling and not
    • know, but I feel that it expresses a mystery.’ It is
    • ‘I feel beauty here, but I cannot explain to
    • expressed in a feeling, ‘Ah, how beautiful this form
    • is.’ The reason why he feels this as warmth pouring
    • but as feeling, we must gradually be able to work our way to
    • merely physical and material actuality and feel himself
    • will have to be done, however, before this feeling will be
    • we have perceptions and feelings in
    • or feeling in man, because he reaches out with his ego beyond
    • seldom finds this feeling for colour, even among people who
    • feeling arises that blue takes one into greater and greater
    • this feeling he used the colour blue. But if he was conscious
    • only wanted to try to deepen the feelings and perceptions
    • artistic feeling, artistic activity and experience of the
  • Title: Ways/Architecture: Lecture V: The Creative World of Colour
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    • does not feel inclined to contradict such a statement. To
    • the fact that so few people feel there is any need to build
    • of soul which feels the working of the very substance of
    • response to an impression of a rosy hue of dawn to feel the
    • would be to deaden all living feeling, for living feeling
    • the whole universe. In colouring a form we should feel:
    • and we shall feel as if we are not confronting them on a
    • feel the need to vary the movement in any sense. He may be a
    • pass away. We feel red as something which we want to ward
    • And if we could feel in colour in such a way that red and
    • with the surging sea of colour, our souls would feel the
    • sagas allegorically and symbolically instead of feeling the
    • intellectual aspect we feel that if Spiritual Science is to

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