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- Title: Practical Course/Teachers: Lecture III: On the Plastically Formative Arts, Music, and Poetry
Matching lines:
- foreground of the poem nothing but the prose-content. And when
- the poem is so recited that the emphasis is laid on the thought
- poem arises from the depth of his soul. In many of his poems he
- to the content of a poem, to its abstract treatment.
- attention in every poem to the music underlying it. For this
- horrible — the abstract explanation of poems. This
- detailed explanation of poems, verging perilously on grammar,
- “interpretation” of poems is a quite appalling
- understand the poem! The answer to that must be: Teaching must
- weekly Staff-meeting. This and that poem come up for
- teaching what is necessary for the understanding of the poem.
- recitation lesson what he needs to understand the poem. You can
- aspect, the psychological aspect of the poem, not taking one
- line after the other with the poem in your hand, but so as to
- incompatibility of the sound of a poem with its content. It
- This would result in a clean severance of the music of a poem
- Title: Practical Course/Teachers: Lecture VI: On the Rhythm of Life and Rhythmical Repetition in Teaching
Matching lines:
- index of his poems, in their order of composition; so you take
- out the poems written in 1790 and the plays written in 1790 and
- the rhyme in a poem; he must comment technically on the
- Title: Practical Course/Teachers: Lecture X: Arranging the Lesson up to the Fourteenth Year
Matching lines:
- have poems recited aloud and a talk about history going on if
- Then comes the point to ascertain from the children what poems
- — poems, etc., should be remembered. I have said that it
- repeat a reading passage verbatim or to recite a poem, but to
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