{"corpus":"steiner","locus":"GA 277b/1920-02-08/p014-p017","extent":"range","passage_number":14,"through":17,"paragraph_count":4,"first_locus":"GA 277b/1920-02-08/p014","last_locus":"GA 277b/1920-02-08/p017","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"47. Eurythmy Performance","date":"1920-02-08","location":null,"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/SOL2024/19200208e01.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"]},"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. 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One can feel and sense how a form of eurythmy was already at the root of everything artistic in primitive cultures.","text_trust":"verbatim","quote_safe":true,"word_count":93,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p014","german_anchor":{"de_prefix":"1920-02-08","de_passages":[{"locus":"GA 277b/1920-02-08/p014","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p014"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":100,"en_words":93,"ratio":0.93,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277b/1920-02-08/p014"],"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."}},{"passage_number":15,"locus":"GA 277b/1920-02-08/p015","text":"With truly great poets, let us say with Schiller, for example, we find that with his most significant poems he did not have the literal content in his soul first – that only came later – but rather a kind of indeterminate, melodious element that was there like a ladder, to which the words then joined. And as we know, Goethe rehearsed his “Iphigenia” with his actors himself, baton in hand like a conductor.","text_trust":"verbatim","quote_safe":true,"word_count":74,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p015","german_anchor":{"de_prefix":"1920-02-08","de_passages":[{"locus":"GA 277b/1920-02-08/p015","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p015"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":81,"en_words":74,"ratio":0.91,"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."},"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/SOL2024/19200208e01.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/1920-02-08/p015"],"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."}},{"passage_number":16,"locus":"GA 277b/1920-02-08/p016","text":"This artistic sensibility has been completely lost today. Today we know very little about the fact that there is only as much art in poetry as there is musicality in it, or as there are echoes of beat, rhythm and melody in it – everything that is literal is basically inartistic – or even [that] the formative element is to be thought of as already shaping movement, just as it is presented to us in eurythmy, by the way.","text_trust":"verbatim","quote_safe":true,"word_count":79,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p016","german_anchor":{"de_prefix":"1920-02-08","de_passages":[{"locus":"GA 277b/1920-02-08/p016","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p016"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":69,"en_words":79,"ratio":1.14,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277b/1920-02-08/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."}},{"passage_number":17,"locus":"GA 277b/1920-02-08/p017","text":"Therefore, we must also refrain from the art of recitation, which is still so popular today, and which places the main emphasis on the prose content of the poetry, on its emphasis and its form, but we must place emphasis on overcoming this in the art of recitation and to return to the understanding of rhythm and meter in recitation and declamation – the actual artistic element that underlies the literal content and which, in reality, is the aesthetic element in poetry.","text_trust":"verbatim","quote_safe":true,"word_count":82,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p017","german_anchor":{"de_prefix":"1920-02-08","de_passages":[{"locus":"GA 277b/1920-02-08/p017","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p017"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":80,"en_words":82,"ratio":1.02,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. 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Man kann empfinden und fühlen, wie durchaus schon eine Eurythmie in primitiven Kulturen allem Künstlerischen zugrunde lag.","text_trust":"verbatim","quote_safe":true,"word_count":100,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p014"},{"locus":"GA 277b/1920-02-08/p015","passage_number":15,"text":"Bei wirklichen großen Dichtern, sagen wir zum Beispiel bei Schiller, wird man finden, dass er bei seinen gerade bedeutsamsten Gedichten nicht den wortwörtlichen Inhalt zuerst in der Seele hatte - der fand sich erst später dazu ein -, sondern eine Art unbestimmtes, melodiöses Element, das wie eine Leiter da war, zu dem sich die Worte dann erst hinzufanden. Und Goethe hat ja, wie man weiß, seine «Iphigenie» mit seinen Schauspielern selbst mit dem Taktstock in der Hand wie ein Kapellmeister einstudiert.","text_trust":"verbatim","quote_safe":true,"word_count":81,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p015"},{"locus":"GA 277b/1920-02-08/p016","passage_number":16,"text":"Dieses eigentlich künstlerische Empfinden ist heute ganz verloren gegangen. Wir wissen heute eigentlich nur wenig davon, dass in der Dichtung nur so viel Kunst ist, als Musikalisches in ihr ist oder als in ihr Takt, Rhythmus, Melodiöses anklingt - alles Wortwörtliche ist unkünstlerisch im Grunde genommen -, oder auch [davon, dass] das gestaltende Element schon bewegungsgestaltend zu denken [ist], so wie es uns übrigens in der Eurythmie vorgeführt wird.","text_trust":"verbatim","quote_safe":true,"word_count":69,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p016"},{"locus":"GA 277b/1920-02-08/p017","passage_number":17,"text":"Daher müssen wir auch absehen von der heute noch so beliebten Rezitationskunst, die auf den Prosainhalt den Hauptwert legt, auf den Prosainhalt der Dichtung, auf seine Betonung, seine Gestaltung den Hauptwert legt, sondern wir müssen Wert darauf legen, dies in der Rezitationskunst zu überwinden und wiederum zurückzukehren im Rezitieren und Deklamieren auf das Auffassen von Rhythmus, Takt - das eigentlich Künstlerische, das dem wortwörtlichen Inhalt zugrunde liegt und was eben in Wirklichkeit doch das ästhetische Element in der Dichtung ist.","text_trust":"verbatim","quote_safe":true,"word_count":80,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p017"}],"beads":[{"from":[14],"to":[14],"confidence":"medium","pairing_state":"verified"},{"from":[15],"to":[15],"confidence":"medium","pairing_state":"verified"},{"from":[16],"to":[16],"confidence":"medium","pairing_state":"verified"},{"from":[17],"to":[17],"confidence":"medium","pairing_state":"verified"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. 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