{"corpus":"steiner","locus":"GA 277b/1920-02-07/p016","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"Of course, what you will see here is nothing more than a beginning, because the eurythmic art is still very much in its infancy. But we are convinced that if our contemporaries show a certain interest in this beginning, it will be capable of ever greater perfection. For indeed, the human arbitrariness that works through our speech ceases in eurythmy, and it can be that by using the human being himself, the movements inherent in his entire organism, as an instrument, it can be that thereby fulfill the Goethean artistic spirit in the way that Goethe expressed in the beautiful words with which he sought to characterize the great Winckelmann: “When the healthy nature of man works as a whole, when he feels in the world as in a great, beautiful, dignified worthy and valuable whole, when harmonious comfort gives him pure, free delight - then the universe, if it could feel itself, would exult as having reached its goal and would admire the summit of its own becoming and being.” Such an artistic attitude can best be fulfilled if one does not use the abstract, but the human being itself, who is a microcosm, as a means of expression, as a tool for the artistic. But, as I said, this is only the beginning. If our contemporaries and future generations take an interest, our conviction that our eurythmy can become more and more perfect will be fulfilled. At the moment I must ask you to be lenient with us in this area, because it is really only a beginning, perhaps only an attempt at a beginning. But this beginning will either be developed further by ourselves or probably by others, the latter probably more so, so that eurythmy can establish itself as a fully-fledged art form alongside the other fully-fledged, but older art forms.","text_trust":"verbatim","quote_safe":true,"title":"46. Eurythmy Performance","site_heading":null,"date":"1920-02-07","location":null,"word_count":305,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-07/p016","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/SOL2024/19200207e01.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/1920-02-07/p016"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-07/p016","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":"1920-02-07","de_passages":[{"locus":"GA 277b/1920-02-07/p016","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-07/p016"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":302,"en_words":305,"ratio":1.01,"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/1920-02-07/p016","passage_number":16,"text":"Alles dasjenige selbstverständlich, was Sie hier sehen werden, ist nichts weiter als ein Anfang, denn die eurythmische Kunst ist eben durchaus erst ein Versuch. Aber wir haben die Überzeugung, dass, wenn unsere Zeitgenossen diesem Anfang ein gewisses Interesse entgegenbringen, er einer immer größeren Vervollkommnung fähig sei. Denn in der Tat: Das menschliche Willkürliche, das durch unsere Sprache hindurchwirkt, das hört auf in der Eurythmie, und es kann sein, indem man sich des Menschen selbst, der in seinem ganzen Organismus veranlagten Bewegungen, als eines Instrumentes bedient, es kann sein, [dass man] dadurch die Goethe’sche Kunstgesinnung so [erfüllt], wie es Goethe in den schönen Worten aussprach, als er den großen Winckelmann charakterisieren wollte: «Wenn die gesunde Natur des Menschen als ein Ganzes wirkt, wenn er sich in der Welt als in einem großen, schönen, würdigen und werten Ganzen fühlt, wenn das harmonische Behagen ihm ein reines, freies Entzücken gewährt - dann würde das Weltall, wenn es sich selbst empfinden könnte, als an sein Ziel gelangt, aufjauchzen und den Gipfel des eigenen Werdens und Wesens bewundern.» Solche Kunstgesinnung kann am besten erfüllt werden, wenn man sich nicht des Abstrakten, sondern des Menschen selbst, der ein Mikrokosmos ist, als eines Ausdrucksmittels, als eines Werkzeuges für das Künstlerische bedient. Aber das alles ist, wie gesagt, im Anfange nur. Wenn die Zeitgenossen und die Nachwelt dem Interesse entgegenbringen, dann wird sich unsere Überzeugung erfüllen, dass unsere Eurythmie immer vollkommener und vollkommener werden kann. Jetzt muss ich Sie noch um Nachsicht bitten auf diesem Gebiete, denn es ist wirklich nur ein Anfang, vielleicht nur ein Versuch eines Anfanges. Aber dieser Anfang wird- entweder durch uns selbst noch oder wahrscheinlich durch andere, das letztere wohl mehr einmal doch so ausgebildet werden können, dass sich die Eurythmie als eine vollberechtigte Kunstform neben die anderen vollberechtigten, aber älteren Kunstformen wird hinstellen können.","text_trust":"verbatim","quote_safe":true,"word_count":302,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-07/p016"}],"english":["GA 277b/1920-02-07/p016"],"method":"identity","confidence":"medium","correspondence":"established","length_check":{"de_words":302,"en_words":305,"ratio":1.01,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.03,"band":"comparable","note":null,"word_count":2416,"original_word_count":2338,"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/SOL2024/19200207e01.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/1920-02-07/p016"],"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."}}