{"corpus":"steiner","locus":"GA 271/1918-05-06/p023","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Thirdly, the experience of the seer with language characterizes what is experienced in the spiritual world. What is seen there is not seen in words, it is not expressed directly in words. Thus, it is difficult to communicate with the outside world in a seerly way, because most people think theoretically and in terms of content in words and cannot imagine a life of the soul that goes beyond words. Therefore, those who experience the spiritual world perceptively feel a certain compulsion to pour into the already formed language that which they experience. But by silencing what otherwise lives in language — the power of imagination and memory — they can awaken in themselves the creative powers of language itself, those creative powers that were active in the development of humanity when language first arose. The seer must place himself in the state of mind when language first arose, must develop the dual activity of inwardly forming spiritual images that he has seen, and immersing himself in the spirit of speech formation so that he can combine the two. It is therefore important to realize that the words of the seer must be understood differently than words usually are. In communicating, the seer must make use of language, but in such a way that he allows what is creatively active in language to arise again, by responding to the formative forces of language. This makes it important that he shapes the spoken word by emphasizing certain things strongly and others less, saying certain things first and others later, or by adding something illustrative. A special technique is necessary for those who want to express spiritual truths in language, when they want to express what lives within them. Therefore, the seer needs to take into account the “how” of how he expresses himself, not just what he says. It is important that he first forms, it depends on how he says things, especially the things about the spiritual world, not just on what he says. Because this is so little taken into account, and because people remember the words by what they otherwise mean, the seer is so difficult to understand. He has a need — this is all only relative — to develop the ability to create language so that he expresses the supersensible through the way he expresses himself. It will become more and more necessary to realize that the important thing is not the content of what is said, but that through the way the seer expresses himself, one has the vivid impression that he is speaking from the spiritual world. Thus, even in ordinary life, language is already an artistic element. The seer also has a special relationship to language.","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":453,"url":"https://anthroposophy.ai/v1/steiner/en/ga/271/1918-05-06/p023","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/p023"},{"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/p023","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/p023","passage_number":23,"text":"Als Drittes charakterisiert sich für das Erleben des Sehers mit der Sprache dasjenige, was erlebt wird in der geistigen Welt. Was da angeschaut wird, das wird nicht in Worten angeschaut, es drückt sich nicht unmittelbar in Worten aus. So hat man es in der Verständigung mit der Außenwelt seherisch schwer, denn die meisten Menschen denken theoretisch und inhaltlich in Worten und können sich nicht ein Leben der Seele vorstellen, das über die Worte hinaus ist. Daher empfindet derjenige, der die Geisteswelt empfindend erlebt, es als einen gewissen Zwang, in die schon gestaltete Sprache das hineinzugießen, was er erlebt. Aber dadurch, daß er zum Schweigen bringt, was sonst in der Sprache lebt — das Vorstellungs- und Erinnerungsvermögen — kann er in sich rege machen die sprachschöpferischen Kräfte selbst, jene schöpferischen Kräfte, die an der Menschheitsentwickelung tätig waren, als die Sprache entstand. Der Seher muß sich versetzen in die Seelenverfassung, wo die Sprache erst entstand, muß die doppelte Tätigkeit entwickeln, innerlich zu gestalten Spirituelles, das er geschaut, und in den Geist der Sprachgestaltung so untertauchen, daß er beides miteinander zu verbinden vermag. Daher ist es wichtig einzusehen, daß man die Worte des Sehers anders auffassen muß als sonst Worte. Indem der Seher sich mitteilt, muß er sich der Sprache bedienen, aber so, daß er das, was in der Sprache schöpferisch tätig ist, wieder entstehen läßt, indem er eingeht auf die Bildekräfte der Sprache. Dadurch wird es wichtig, daß er das gesprochene Wort gestaltet, indem er gewisse Dinge stark, andere weniger betont, gewisse Dinge zuerst sagt, andere später, oder indem er illustrierend etwas zur Seite setzt. Eine besondere Technik ist notwendig für denjenigen, der spirituelle Wahrheiten in Sprache umgießen will, wenn er zum Ausdruck bringen will, was innerlich in ihm lebt. Daher hat der Seher nötig, daß man Rücksicht nimmt auf das «Wie», wie er sich ausdrückt, nicht bloß auf das, was er sagt. Es kommt darauf an, daß er zuerst gestaltet, es kommt darauf an, wie er die Dinge sagt, besonders die Dinge über die Geisteswelt, nicht bloß auf das, was er sagt. Weil das so wenig in Betracht gezogen wird, und weil die Menschen bei den Worten sich erinnern, was diese sonst bedeuten, wird der Seher so schwer verstanden. Da hat er nötig — das ist alles nur relativ —, die Fähigkeit der Sprachschöpfung zu entwickeln, damit er das Übersinnliche ausdrückt durch die Art, wie er sich ausdrückt. Immer mehr wird es notwendig sein, daß man sich klar darüber wird: Nicht der Inhalt ist das Wichtige von dem, was gesagt wird, das Wichtige ist, daß man durch das, wie der Seher sich ausdrückt, den lebendigen Eindruck hat, er redet aus der geistigen Welt heraus. So ist die Sprache selbst im gewöhnlichen Leben schon ein künstlerisches Element. Auch zu der Sprache hat der Seher ein besonderes Verhältnis.","text_trust":"verbatim","quote_safe":true,"word_count":465,"url":"https://anthroposophy.ai/v1/steiner/de/ga/271/1918-05-06/p023"}],"english":["GA 271/1918-05-06/p023"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":465,"en_words":453,"ratio":0.97,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","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/p023"],"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."}}