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Teaching Language arTs in The WaLdorf schooL

Teaching Language arTs in The WaLdorf schooL

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<strong>Language</strong><br />

31<br />

self-protection, and if that feel<strong>in</strong>g is one of resistance, it is expressed<br />

<strong>in</strong> the e sound. And its opposite feel<strong>in</strong>g, that of aim<strong>in</strong>g toward, or<br />

approach<strong>in</strong>g and unit<strong>in</strong>g with someth<strong>in</strong>g, is expressed <strong>in</strong> the i sound.<br />

<strong>The</strong>se, then, are the ma<strong>in</strong> vowels. We will cover the details later,<br />

<strong>in</strong>clud<strong>in</strong>g the diphthongs. One other vowel should be considered,<br />

which occurs less frequently <strong>in</strong> European languages and expresses<br />

someth<strong>in</strong>g stronger than all the others. If you try to f<strong>in</strong>d a vowel by<br />

lett<strong>in</strong>g a, o, and u sound together, this expresses at first a feel<strong>in</strong>g of fear,<br />

and then an identification with what is feared. This sound expresses<br />

the most profound awe. It is found with particular frequency <strong>in</strong> Asian<br />

languages and shows that Asians are able to develop tremendous awe<br />

and veneration, whereas <strong>in</strong> Western languages this sound is miss<strong>in</strong>g,<br />

s<strong>in</strong>ce awe and veneration are not the strongest traits of Europeans.<br />

We now have an image of the <strong>in</strong>ner soul moods expressed by<br />

the vowels. All vowels express the <strong>in</strong>ner soul stirr<strong>in</strong>g <strong>in</strong> our aff<strong>in</strong>ity<br />

with th<strong>in</strong>gs. Even when we are afraid, the fear is based on a mysterious<br />

aff<strong>in</strong>ity. We would never fear someth<strong>in</strong>g without hav<strong>in</strong>g a hidden<br />

aff<strong>in</strong>ity for it. In exam<strong>in</strong><strong>in</strong>g such matters, however, you must<br />

remember that it is relatively easy to make the observation that o<br />

has someth<strong>in</strong>g to do with astonishment, u with fear and anxiety, a<br />

with admiration and wonder, e with resistance, i with approach<strong>in</strong>g<br />

someth<strong>in</strong>g, and aou with veneration. Nevertheless, one’s ability to<br />

observe these connections will be obscured by confus<strong>in</strong>g the feel<strong>in</strong>g<br />

nuance that comes from hear<strong>in</strong>g the sound and the feel<strong>in</strong>g nuance<br />

that arises when speak<strong>in</strong>g the sound. <strong>The</strong> two are different. You must<br />

bear <strong>in</strong> m<strong>in</strong>d that the nuances of feel<strong>in</strong>g I have enumerated are related<br />

to communicat<strong>in</strong>g the sounds. <strong>The</strong>y apply when you want to<br />

communicate someth<strong>in</strong>g to someone by us<strong>in</strong>g the sound. If you wish<br />

to tell someone that you are afraid, it is expressed by the u sound.<br />

<strong>The</strong>re is a difference of nuance when you yourself are afraid and when<br />

you want to arouse fear <strong>in</strong> someone else by articulat<strong>in</strong>g u. Your own<br />

fear will be echoed back when you attempt to arouse it <strong>in</strong> another,<br />

for example, by say<strong>in</strong>g to a child, “u-u” [“ooo”]. It is important to<br />

consider this aspect with regard to the social implications of speech.<br />

If you do so, you will easily see the po<strong>in</strong>t.

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