{"corpus":"steiner","locus":"GA 277b/1920-01-18/p011","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"For today one has a special preference, I would say for a kind of prosaic recitation, which one wants to shape into beautiful recitation, whereby one particularly emphasizes the inner literal meaning when reciting. This is not the actual artistic element, this prosaic quality of the content. The actual artistic element of the poetry is precisely the inner, intense movement that is depicted outwardly for the eye in eurythmy. But then the accompanying recitation in eurythmy must also particularly emphasize this element of the rhythmic. That this is justified in relation to poetry can be seen from the fact that, for example, a real poet like Schiller — today, of course, 99% of what poets write is not really poetry, as we shall see later. - a real poet like Schiller did not first have the literal content in his soul when his poems were created, but he had a kind of melodious experience in his soul, and the literal content only arose from it. Just because people today believe that they are being very artistic – although in truth this is not very much represented in our education of the mind today – the truly artistic feeling for poetry does not rest on the content of a poem, but on the rhythmic, on the formal, on what is behind it. Goethe rehearsed his Iphigenia with a baton, in the same way as an orchestra is rehearsed, although it was a play and not poetry.","text_trust":"verbatim","quote_safe":true,"title":"41. Eurythmy Performance","site_heading":null,"date":"1920-01-18","location":null,"word_count":245,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-18/p011","alignment_confidence":"medium","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200118e01.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/277b/1920-01-18/p011"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-01-18/p011","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},"german_anchor":{"de_prefix":"1920-01-18","de_passages":[{"locus":"GA 277b/1920-01-18/p011","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-18/p011"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":236,"en_words":245,"ratio":1.04,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"paired_german":{"status":"paired","german":[{"locus":"GA 277b/1920-01-18/p011","passage_number":11,"text":"Denn man hat heute eine besondere Vorliebe, ich möchte sagen für eine Art prosaischen Rezitierens, das man zum schönen Rezitieren gestalten will, wobei man die innere wortwörtliche Bedeutung beim Rezitieren besonders hervorhebt. Das ist nicht das eigentlich Künstlerische, dieses Prosaische des Inhaltes. Das eigentlich Künstlerische der Dichtung ist gerade die innere intensive Bewegung, die in der Eurythmie äußerlich für das Auge abgebildet wird. Dann muss aber auch in der Eurythmie die begleitende Rezitation dieses Element des Taktmäßigen, des Rhythmischen besonders zur Geltung kommen. Dass das berechtigt ist gegenüber der Dichtung, das kann Ihnen daraus hervorgehen, dass zum Beispiel solch ein wirklicher Dichter noch wie Schiller - heute wird ja von den Dichtern neunundneunzig Prozent zu viel gedichtet in Wirklichkeit, das wird man später schon einsehen -, ein wirklicher Dichter wie Schiller hatte nicht zunächst bei dem Entstehen seiner Gedichte den wortwörtlichen Inhalt in der Seele, sondern er hatte eine Art melodiöses Erlebnis in der Seele, und das Wortwörtliche ergab sich dazu erst. Nur weil man glaubt, heute recht künstlerisch zu sein - in Wahrheit aber ist das heute doch nicht in unserer Geistesbildung sehr vertreten -, die wirklich künstlerische Empfindung beruht bei der Dichtung nicht auf dem Inhalte einer Dichtung, sondern beruht auf dem Taktmäßigen, auf dem Formellen, was dahinter steht. Goethe hat seine «Iphigenie» mit dem Taktstock einstudiert, so wie sonst ein Orchester einstudiert wird, trotzdem es sich um ein Drama, nicht um Lyrik handelte.","text_trust":"verbatim","quote_safe":true,"word_count":236,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-01-18/p011"}],"english":["GA 277b/1920-01-18/p011"],"method":"identity","confidence":"medium","correspondence":"established","length_check":{"de_words":236,"en_words":245,"ratio":1.04,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.03,"band":"comparable","note":null,"word_count":1685,"original_word_count":1639,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"The Origin and Development of Eurythmy 1918–1920","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277b/English/SOL2024/19200118e01.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 277b/1920-01-18/p011"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","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."}}