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Ancient Egyptian Hieroglyphic Hare
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Eurythmy - flowing grace

Literally, 'eurythmy' simply means 'good flow'; 'rhythmical'; 'good fit'; 'well/good proportion(ed)'; 'graceful flow'; or my preferred rendering as 'flowing grace'.

Though it should be obvious that the term 'eurythmy' neither originates from, nor is restricted to, anthroposophical endeavours, but is ultimately derived from ancient Greek and used by Steiner, Deunov, and others, I thought it may be useful to here place a (small) number of classical and late antiquity references.

On that note, it should perhaps also be useful to also consider the two minor spelling variants: the term 'eurythmy' derives from its Greek cognate (eurythmos); whereas 'eurhythmy' (eur[h]ythmus) from its commoner Latin form.

So here are a few to begin this page, for which translations and references are relatively easily obtainable:

 

Aristophanes, Plutus (approx. line 760)

ἠκολούθουν κατόπιν ἐστεφανωμένοι γελῶντες εὐφημοῦντες: ἐκτυπεῖτο δὲ ἐμβὰς γερόντων εὐρύθμοις προβήμασιν. ἀλλ᾽ εἶ᾽ ἁπαξάπαντες ἐξ ἑνὸς λόγου ὀρχεῖσθε

 

Aristophanes, Thesmophoriazusae (approx. line 120)

Λατώ τε κρούματά τ᾽ Ἀσιάδος ποδὶ παράρυθμ᾽ εὔρυθμα Φρυγίων διανεύματα Χαρίτων. Χορὸς Ἀγάθωνος

 

Aristotle, Politics (book 8, § 1341b)

παιδείαν, καὶ πότερον προαιρετέον μᾶλλον τὴν εὐμελῆ μουσικὴν ἢ τὴν εὔρυθμον, νομίσαντες οὖν πολλὰ καλῶς λέγειν περὶ τούτων τῶν τε

 

Aristotle, Rhetoric (book 3, ¶ 9)

ὅτι μὲν οὖν εὔρυθμον δεῖ εἶναι τὴν λέξιν καὶ μὴ ἄρρυθμον, καὶ τίνες εὔρυθμον ποιοῦσι ῥυθμοὶ καὶ πῶς ἔχοντες, εἴρηται: τὴν δὲ λέξιν

 

Euripides, Cyclops (line 563)

Σιληνός θές νυν τὸν ἀγκῶν᾽ εὐρύθμως κᾆτ᾽ ἔκπιε, ὥσπερ μ᾽ ὁρᾷς πίνονταῲχὤσπερ οὐκέτι.

 

Isocrates, Against the Sophists (13:16)

τοῖς ἐνθυμήμασι πρεπόντως ὅλον τὸν λόγον καταποικῖλαι καὶ τοῖς ὀνόμασιν εὐρύθμως καὶ μουσικῶς εἰπεῖν,

 

Plato, Laws (book 2, § 655a)

μέλη ἔνεστιν, περὶ ῥυθμὸν καὶ ἁρμονίαν οὔσης τῆς μουσικῆς, ὥστε εὔρυθμον μὲν καὶ εὐάρμοστον, εὔχρων δὲ μέλος ἢ σχῆμα οὐκ

 

Plato, Republic (book 3, § 400c)

τόδε γε, ὅτι τὸ τῆς εὐσχημοσύνης τε καὶ ἀσχημοσύνης τῷ εὐρύθμῳ τε καὶ ἀρρύθμῳ ἀκολουθεῖ, δύνασαι διελέσθαι; πῶς δ᾽ οὔ

 

Plato, Protagoras (§ 326b)

οἰκειοῦσθαι ταῖς ψυχαῖς τῶν παίδων, ἵνα ἡμερώτεροί τε ὦσιν, καὶ εὐρυθμότεροι καὶ εὐαρμοστότεροι γιγνόμενοι χρήσιμοι ὦσιν εἰς τὸ λέγειν τε

 

Xenophon, Memorabilia (book 3, ¶ 10)

ποιῶν τοὺς θώρακας πλείονος πωλεῖς; ὅτι, ἔφη, ὦ Σώκρατες, εὐρυθμοτέρους ποιῶ. τὸν δὲ ῥυθμόν, ἔφη, πότερα μέτρῳ ἢ σταθμῷ ... ἄνευ τούτου. οὐκοῦν, ἔφη, σώματά γε ἀνθρώπων τὰ μὲν εὔρυθμά ἐστι, τὰ δὲ ἄρρυθμα; πάνυ μὲν οὖν, ἔφη. πῶς οὖν, ἔφη, τῷ ἀρρύθμῳ σώματι ἁρμόττοντα τὸν θώρακα εὔρυθμον ποιεῖς; ὥσπερ καὶ ἁρμόττοντα, ἔφη: ὁ ἁρμόττων γάρ ἐστιν εὔρυθμος. δοκεῖς μοι, ἔφη ὁ Σωκράτης, τὸ εὔρυθμον οὐ καθ᾽ ἑαυτὸ λέγειν, ἀλλὰ πρὸς τὸν χρώμενον, ὥσπερ ἂν εἰ φαίης ἀσπίδα, ᾧ ἂν ἁρμόττῃ, τούτῳ εὔρυθμον εἶναι, καὶ χλαμύδα, καὶ τἆλλα ὡσαύτως ἔοικεν ἔχειν τῷ

 

Plutarch, De animae procreatione in Timaeo (§ 5)

οὐ φωνὴν ποιεῖν οὐδὲ κίνησιν ἐμμελῆ δὲ φωνὴν καὶ κίνησιν εὔρυθμον ἀξιοῦμεν, οὕτως ὁ θεὸς οὔτε τοῦ σώματος τὸ

 

Claudius Ptolemy, Tetrabiblos (book 3, ¶ 11)

τῇ μὲν μορφῇ ποιεῖ μελίχροας καὶ συμμέτρους τοῖς μεγέθεσι καὶ εὐρύθμους καὶ μικροφθάλμους καὶ μεσότριχας, τῇ δὲ κράσει τὸ πλέον ... τῶν ζῳδίων τῶν τε ἐν τῷ ζωδιακῷ καὶ τῶν ἐκτὸς εὔρυθμα καὶ σύμμετρα τοῖς σχήμασι τὰ σώματα κατασκευάζει. τὰ δ̓ ... καὶ αἱ Χηλαὶ καὶ ὁ Τοξότης ἐπὶ τὸ σύμμετρον καὶ εὔρυθμον, ὁ δὲ Σκορπίος καὶ οἱ Ἰχθῦς καὶ ὁ Ταῦρος

 

Also various usage by Lucian; Diodorus Siculus; Dionysius of Halicarnassus; Aelius Aristides; Cassius Dio Cocceianus; Demetrius of Phaleron; Athenaeus; amongst others!

 

And one from the Latin (or course referencing the Greek):

Vitruvius On Architecture (Bk 1 Ch 2) (and other places within this book)

§ 1. Architectura autem constat ex ordinatione, et ex dispositione, et eurythmia et symmetria et decore et distributione.

§ 1. Architecture depends on Order, Arrangement, Eurythmy, Symmetry, Propriety, and Economy. [...]

§ 3. Eurythmia est venusta species commodusque in compositionibus membrorum aspectus. haec efficitur, cum membra operis convenientis sunt altitudinis ad latitudinem, latitudinis ad longitudinem, et ad summam omnia respondent suae symmetriae.

§ 3. Eurythmy is beauty and fitness in the adjustments of the members. This is found when the members of a work are of a height suited to their breadth, of a breadth suited to their length, and, in a word, when they all correspond symmetrically.