{"corpus":"steiner","locus":"GA 271/1918-05-06/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"And just as the creatures of the air flutter around Aphrodite as she rises above the sea, approaching her as manifestations of the living in space, so for the seer the musical is joined by the poetic. As he feels himself with his soul as if set apart from the musical element and yet again as if within it, as if identical with it, the poetic element is added to the musical for the seer. He experiences this in an intense form. What he experiences depends on the degree to which he is trained in seership. It is a peculiar thing about poetry. Through language or other means of poetry, the poet expresses what comes to the visionary faculty from poetry. A dramatic person, for example, whom the poet brings to the stage, whom he lets say a few words, is formed from these few words into the complete image of a human personality. That is why, in all that is unreal in poetry, that which is mere empty phrase, that which does not push out of creative power but is made, things seem so unpleasant to the seer: he sees the grotesque caricature in that which is not poetry but still seeks to create something in empty phrases. While the plastic is transformed into spiritual intellectuality, the poetic is transformed into the plastic and the representational, which he must look at. He looks at what is true, what is formed from the true creative laws by which nature creates, and sharply separates this from what is merely created out of human imagination, because one wants to create poetry, even if one is not connected in fantasy with the creative powers of the universe. Such are the experiences in relation to poetry and music.","text_trust":"verbatim","quote_safe":true,"title":"The Sources of Artistic Imagination and Supersensible Knowledge II","site_heading":null,"date":"1918-05-06","location":null,"word_count":294,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p014","alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Understanding Art","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA271/English/SOL2024/19180506p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p014"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p014","paragraph_aligned":true}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"paired_german":{"status":"paired","german":[{"locus":"GA 271/1918-05-06/p014","passage_number":14,"text":"Und so, wie wenn diese über der Meeresfläche aufsteigende Aphrodite umflattert würde von Geschöpfen der Luft, die an sie herantreten als Kundgebungen des Lebendigen im Raum, so gesellt sich zu dem Musikalischen für den Seher das Dichterische. Indem er sich mit seiner Seele aus dem Musikalischen wie hervorgehoben fühlt und sich doch wieder darinnen fühlt, sich identisch mit dem Musikalischen fühlt, stellt sich für den Seher zu dem Musikalischen das Dichterische hin. Dieses erlebt er in einer intensiven Form. Was er erlebt, hängt ab von dem Grad, wie er im Sehertum ausgebildet ist. Mit der Dichtkunst ist es eigentümlich. Der Dichter drückt durch die Sprache oder andere Mittel der Dichtkunst das aus, was für das seherische Vermögen herantritt aus der Dichtung. Eine dramatische Person zum Beispiel, die der Dichter zur Darstellung bringt, die er wenige Worte sagen läßt, sie gestaltet sich aus diesen wenigen Worten zur abgeschlossenen Imagination einer menschlichen Persönlichkeit. Das ist es, weshalb bei all dem, was in der Dichtung unwirklich, was bloß phrasenhaft ist, was nicht aus der Schaffenskraft herausdrängt, sondern gemacht ist, die Dinge für den Seher so unangenehm wirken: Er sieht bei dem, was keine Dichtung ist, aber doch phrasenhaft etwas gestalten will, das fratzenhafte Zerrbild. Während sich ihm das Plastische in spirituelle Intellektualität umsetzt, setzt sich das Dichterische in Plastik und Gegenständliches um, das er anschauen muß. Er schaut das an, was wahr ist, was aus den wahren schöpferischen Gesetzen gebildet ist, aus denen die Natur schafft, und trennt dies scharf von dem, was bloß aus der menschlichen Einbildung geschaffen ist, weil man dichten will, auch wenn man nicht in der Phantasie verbunden ist mit den schaffenden Kräften des Alls. So sind die Erlebnisse in bezug auf Dichtung und Musik.","text_trust":"verbatim","quote_safe":true,"word_count":286,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p014"}],"english":["GA 271/1918-05-06/p014"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":286,"en_words":294,"ratio":1.03,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.06,"band":"comparable","note":null,"word_count":6883,"original_word_count":6492,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Understanding Art","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA271/English/SOL2024/19180506p01.html","evidence":"lecture_page_line","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 271/1918-05-06/p014"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}}