{"corpus":"steiner","locus":"GA 277b/1920-02-08/p022","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"And so you see that the instrument for eurythmy must be the human being itself. Just as one instrument or another is used in the other arts, eurythmy uses the human being itself as an instrument. And today we will still accompany that which appears as a silent language in music and recitation. But we use the human being in such a way that through him, who is in fact a microcosm, that which, I would say, the world itself wants to express as its riddles, as its secrets, and which can never be expressed through mere ideas or abstract understanding. In this way one achieves what I believe to be a Goethean artistic attitude, which he expresses in his beautiful book on Winckelmann when he says: “When man's healthy nature works as a whole, when he feels in the world as in a great, beautiful, worthy and valuable whole, when harmonious comfort grants him pure, free delight - then the universe, if it could feel itself, would exult as if it had reached its goal and would admire the summit of its own becoming and being.” And indeed, if we truly bring to expression what man, placed at the summit of nature, can achieve by transforming his otherwise artistic nature, then we have attained something of that can be said to be the case when the individual human being does not express himself in his egoistic unity, but makes himself into a tool, a means of expression for what nature and the world want to convey to us. In this sense, eurythmy can indeed be considered the beginning of something promising, in the Goethean sense of art. Goethe says so beautifully: “When nature begins to reveal her secrets to him, man feels an irresistible longing for her most worthy interpreter, art.” Real art cannot be sought in the merely arbitrary, but real art can only be sought in representations of what has been overheard from nature's riddles. But all that we can offer you today through our silent language, which we call eurythmy, I ask you to take with indulgence. Because it is only a beginning, perhaps even just an attempt at a beginning. Everything still needs to be further developed. But we are convinced that if our contemporaries take an interest in the matter - we are our own harshest critics and can only see it as a weak beginning today - and if, based on this interest, suggestions can be received for further development , then through us, or probably through others, this eurythmic art will be developed to such an extent that it can stand fully justified, perhaps only after a long time, alongside other fully justified but older art forms.","text_trust":"verbatim","quote_safe":true,"title":"47. Eurythmy Performance","site_heading":null,"date":"1920-02-08","location":null,"word_count":455,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p022","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"]},"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/1920-02-08/p022"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-08/p022","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":"1920-02-08","de_passages":[{"locus":"GA 277b/1920-02-08/p022","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p022"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"],"length_check":{"de_words":469,"en_words":455,"ratio":0.97,"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/1920-02-08/p022","passage_number":22,"text":"Und so sehen Sie, dass sein muss für die Eurythmie das Instrument der Mensch selber. Wie man in den anderen Künsten das oder jenes Instrument verwendet — die Eurythmie verwendet den Menschen selber als Instrument. Und begleitet sein lassen wir heute noch dasjenige von Musik und Rezitation, was als stumme Sprache da erscheint. Aber den Menschen verwenden wir so, dass durch ihn, der ja in Wirklichkeit ein Mikrokosmos ist, dasjenige zum Ausdrucke kommt, was, ich möchte sagen die Welt selbst als ihre Rätsel, als ihre Geheimnisse aussprechen will und was man niemals durch bloße Ideen oder abstrakten Verstand aussprechen kann. Man erreicht dadurch etwas, was, wie ich glaube, eine Goethe’sche Kunstgesinnung ist, die er in seinem schönen Buch über Winckelmann ausspricht, wenn er sagt: «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.» Und in der Tat: Wenn man dasjenige, was der Mensch, der auf den Gipfel der Natur gestellt ist, durch die Umgestaltung seines sonstigen Wesens in künstlerisches Wesen erreichen kann, wenn man das wirklich zur Darstellung bringt, so ist etwas von dem erreicht, das man bezeichnen kann damit, dass man sagt: Es spricht sich dann nicht der einzelne Mensch in seiner egoistischen Einheit aus, sondern es macht sich der Mensch zum Werkzeug, zum Ausdrucksmittel desjenigen, was uns Natur und Welt übermitteln will. Insoferne kann tatsächlich in dem Sinne Goethe’scher Kunstauffassung Eurythmie als der Anfang von, wie wir glauben, etwas Verheißungsvollem gelten. Goethe sagt ja so schön: «Wem die Natur ihr offenbares Geheimnis zu enthüllen anfängt, der empfindet eine unwiderstehliche Sehnsucht nach ihrer würdigsten Auslegerin, der Kunst.» Wirkliche Kunst kann ja nicht gesucht werden in dem bloß Willkürlichen, sondern wirkliche Kunst kann nur gesucht werden in Darstellungen desjenigen, was der Natur abgelauscht ist von ihren Rätseln. Aber all das, was wir Ihnen heute schon bieten können durch unsere stumme Sprache, die wir als Eurythmie bezeichnen, das bitte ich Sie, doch mit Nachsicht aufzunehmen. Denn es ist nur ein Anfang, vielleicht sogar der Versuch nur eines Anfangs. Es muss alles noch weiter ausgebildet werden. Aber wir haben die Überzeugung, dass, wenn unsere Zeitgenossen der Sache Interesse entgegenbringen - wir sind selbst die strengsten Kritiker und können die Sache heute nur als einen schwachen Anfang betrachten, [aber] wenn man aus diesem Interesse heraus Anregungen empfangen kann für weitere Gestaltung, so wird noch durch uns selbst - oder wahrscheinlich durch andere diese eurythmische Kunst so ausgebildet werden können, dass sie sich vollberechtigt - vielleicht erst nach längerer Zeit - neben andere vollberechtigte, aber ältere Kunstformen wird hinstellen können.","text_trust":"verbatim","quote_safe":true,"word_count":469,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-08/p022"}],"english":["GA 277b/1920-02-08/p022"],"method":"identity","confidence":"medium","correspondence":"established","length_check":{"de_words":469,"en_words":455,"ratio":0.97,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.05,"band":"comparable","note":null,"word_count":2646,"original_word_count":2521,"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/SOL2024/19200208e01.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/p022"],"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."}}