{"corpus":"steiner","locus":"GA 277b/1920-02-22/p012-p014","extent":"range","passage_number":12,"through":14,"paragraph_count":3,"first_locus":"GA 277b/1920-02-22/p012","last_locus":"GA 277b/1920-02-22/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"51. Eurythmy Performance","date":"1920-02-22","location":null,"alignment_confidence":"medium","alignment_reason":"beads:structural_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/SOL2024/19200222e01.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. 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},"witness_completeness":{"ratio":1.01,"band":"comparable","note":null,"word_count":3449,"original_word_count":3426,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p012-p014","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p012-p014.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22#p012","word_count":511,"quote_safe":true,"passages":[{"passage_number":12,"locus":"GA 277b/1920-02-22/p012","text":"I may use Goethe's expression: sensual-transcendental vision. Those who are able to apply this sensual-transcendental vision can study the movement tendencies of the larynx and its neighboring organs - that is, a single organ system of the human organism - when hearing ordinary spoken language or singing. And then, just as Goethe sees only a complex leaf in the whole plant, one can see in the whole human being something that is only a metamorphosis, a metamorphosed larynx organ. Only one must not look at these things abstractly, ideationally, but one must permeate them with artistic feeling.","text_trust":"verbatim","quote_safe":true,"word_count":97,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p012","german_anchor":{"de_prefix":"1920-02-22","de_passages":[{"locus":"GA 277b/1920-02-22/p012","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p012"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":101,"en_words":97,"ratio":0.96,"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/SOL2024/19200222e01.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/1920-02-22/p012"],"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":13,"locus":"GA 277b/1920-02-22/p013","text":"Then the following possibility emerges: in the tonal language we always have the confluence of thought with human will. Anyone who is familiar with these things knows that from one side, from the whole human being, the whole human being, human will, flows into the sound language, especially when it is artistically shaped by poetry; but that from the larynx, on the waves, I would say, of the will, thoughts flow, swim. In all our civilized languages, thoughts themselves have now taken on a rather conventional character and show in their nature that they are actually only there to enable people to communicate with each other in their prosaic lives by forming words. That is why everything that flows into poetry from the realm of thought must be felt as something unartistic by an artistic nature. And the question arises: how can one detach the pure element of will, which otherwise only permeates poetry in meter, rhythm, melodic form, and plastic pictorial form, how can one actually capture that?","text_trust":"verbatim","quote_safe":true,"word_count":169,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p013","german_anchor":{"de_prefix":"1920-02-22","de_passages":[{"locus":"GA 277b/1920-02-22/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p013"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":182,"en_words":169,"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. 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/SOL2024/19200222e01.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/1920-02-22/p013"],"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":14,"locus":"GA 277b/1920-02-22/p014","text":"The following comes to our aid: the larynx and its neighboring organs, with their various cartilaginous and so on organs, are directly related, in direct proportion to the external air. As a result, the disposition to move is transformed into the small trembling movements that then pass into the air, which we do not see with ordinary looking, but which underlie what is heard of speech. The movement patterns that become active in the larynx and its neighboring organs can be observed with sensory-supersensory vision. And then, if I may use this paradoxical expression, one can see the whole human being as a transformed, metamorphosed larynx. So that the people who will be performing eurythmy for you here on the stage will actually be performing for you as whole human beings, like larynxes. But if you then let the other human limbs carry out the movement patterns that are otherwise found in the larynx and its neighboring organs, the result is not the same as what comes out of the sound language. Then, you do not have the outer air as resistance, but rather the muscular system to begin with. As a result, the tendencies and dispositions of the movements do not transform into the vibratory movements of sound, but these movements are slowed down. The muscles offer the appropriate resistance, and one arrives at something that looks like a sign language, but which, in the way it is formed, is not a sign language.","text_trust":"verbatim","quote_safe":true,"word_count":245,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-02-22/p014","german_anchor":{"de_prefix":"1920-02-22","de_passages":[{"locus":"GA 277b/1920-02-22/p014","url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p014"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":220,"en_words":245,"ratio":1.11,"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/SOL2024/19200222e01.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/1920-02-22/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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":26,"passage_count":26,"word_count":3426},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":26,"passage_count":26,"word_count":3449,"completeness":{"ratio":1.01,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277b/1920-02-22/p012","passage_number":12,"text":"Ich darf dabei den Goethe’schen Ausdruck gebrauchen: sinnlichübersinnliches Schauen. Wer in der Lage ist, dieses sinnlich-übersinnliche Schauen anzuwenden, der kann studieren, in welchen Bewegungstendenzen der Kehlkopf und seine Nachbarorgane - also ein einzelnes Organsystem des menschlichen Organismus - bei der gewöhnlichen gehörten Tonsprache oder beim Gesang in Tätigkeit versetzt wird. Und man kann dann, so wie Goethe in der ganzen Pflanze nur ein kompliziertes Blatt sieht, man kann dann in dem ganzen Menschen etwas sehen, was nur eine Metamorphose, ein metamorphosiertes Kehlkopforgan ist. Nur muss man diese Dinge nicht gefühlsmäßig abstrakt betrachten, ideell betrachten, sondern eben gerade mit künstlerischem Gefühl durchziehen.","text_trust":"verbatim","quote_safe":true,"word_count":101,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p012"},{"locus":"GA 277b/1920-02-22/p013","passage_number":13,"text":"Dann stellt sich nämlich die folgende Möglichkeit heraus: In der Tonsprache haben wir immer den Zusammenfluss von Gedanke mit menschlichem Willen. Jeder, der diese Dinge kennt, weiß, dass von der einen Seite her, vom ganzen Menschen aus, in die Tonsprache — namentlich wenn sie sich künstlerisch durch die Dichtung gestaltet -, hineinfließt der ganze Mensch, der menschliche Wille; dass aber vom Kehlkopfe her, auf den Wellen, möchte ich sagen des Willens hinfließen, hinschwimmen die Gedanken. In allen unseren zivilisierten Sprachen haben nun die Gedanken selber schon einen schr konventionellen Charakter angenommen und zeigen in ihrer Eigenart, dass sie eigentlich, indem sie sich zu Worten gestalten, nur da sind, damit sich die Menschen im prosaischen Leben miteinander verständigen. Daher ist es auch so, dass alles dasjenige, was gerade in die Dichtung hineinfließt von der gedanklichen Seite her, heute schon von einer künstlerischen Natur empfunden werden muss als etwas Unkünstlerisches. Und es entsteht die Frage: Wie kann man loslösen das reine Willenselement, das sonst bloß die Dichtung durchdringt in Takt, in Rhythmus, in melodieartiger Gestaltung, in plastischer Bildgestaltung, wie kann man das eigentlich festhalten?","text_trust":"verbatim","quote_safe":true,"word_count":182,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p013"},{"locus":"GA 277b/1920-02-22/p014","passage_number":14,"text":"Da kommt einem das Folgende zu Hilfe: Der Kehlkopf und seine Nachbarorgane mit ihren verschiedenen knorpeligen und so weiter Organen, sie stehen in unmittelbarer Beziehung, in unmittelbarem Verhältnis zur äußeren Luft. Dadurch setzt sich die Bewegungsanlage um in die kleinen Zitterbewegungen, die dann in die Luft übergehen, was wir mit dem gewöhnlichen Anschauen nicht sehen, die aber zugrunde liegen dem Gehörten der Sprache. Die Bewegungsanlagen, die da im Kehlkopf und seinen Nachbarorganen sich geltend machen, die kann man mit sinnlich-übersinnlichem Schauen beobachten. Und man kann dann, wenn ich mich dieses paradoxen Ausdrucks bedienen darf, den ganzen Menschen wie einen umgeformten, metamorphosierten Kehlkopf ansehen. Sodass die Menschen, die hier auf der Bühne Eurythmie vor Ihnen entwickeln werden, eigentlich [als] ganze Menschen wie Kehlköpfe vor Ihnen auftreten werden. Aber wenn man dann die sonst im Kehlkopf und seinen Nachbarorganen befindlichen Bewegungsanlagen ausführen lässt durch die anderen menschlichen Glieder, dann kommt nicht dasselbe heraus, was bei der Tonsprache herauskommt. Man hat dann als Widerstand nicht die äußere Luft, sondern den Muskelapparat zunächst. Dadurch wandeln sich nicht um die Bewegungstendenzen, die Bewegungsanlagen in die Vibrationsbewegungen des Schalles, des Tones, sondern es verlangsamen sich diese Bewegungen. Die Muskeln leisten ihr den entsprechenden Widerstand, und man bekommt etwas heraus, was äußerlich aussieht wie eine Gebärdensprache, was aber so, wie es gestaltet ist, nicht eine Gebärdensprache ist.","text_trust":"verbatim","quote_safe":true,"word_count":220,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-02-22/p014"}],"beads":[{"from":[12],"to":[12],"confidence":"medium","pairing_state":"verified"},{"from":[13],"to":[13],"confidence":"medium","pairing_state":"verified"},{"from":[14],"to":[14],"confidence":"medium","pairing_state":"verified"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. A bead at either end of the span can carry text beyond it (the `from` numbers show what each bead covers)."}}