{"corpus":"steiner","locus":"GA 277b/1920-08-15/p007-p009","extent":"range","passage_number":7,"through":9,"paragraph_count":3,"first_locus":"GA 277b/1920-08-15/p007","last_locus":"GA 277b/1920-08-15/p009","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"75. Eurythmy Performance","date":"1920-08-15","location":null,"alignment_confidence":"high","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/SOL2024/19200815e01.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. 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Well, more than we realize today, human knowledge will come back to this Goethean attempt at a real penetration of the essence of the living, when many prejudices will be stripped from the world view, which is still very much asserted within this world view today. What counts is simply what Goethe published in 1790 in his so vividly and profoundly significant essay, 'Attempt to Explain the Metamorphosis of Plants'. I would like to emphasize only that Goethe is concerned to explain the individual leaf in its often simple, often more complicated form for the whole plant and, in turn, to explain the whole plant in its inner ideal essence only as a more complicated leaf: The plant as a kind of community of individual, visible plants, which appear as leaves and undergo transformations and metamorphoses. The petals, calyx vessels, stamens and so on are also metamorphoses of the leaf. This living contemplation of the transformation of a single organism, this beholding of the whole living being as a more complicated structure, which is already foreshadowed in the individual organs, is what will one day solve the riddle of the living, when it is further developed.","text_trust":"verbatim","quote_safe":true,"word_count":226,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p007","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/SOL2024/19200815e01.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/1920-08-15/p007"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","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":8,"locus":"GA 277b/1920-08-15/p008","text":"What Goethe applied to the form of plants, and later extended to the form of animals, is here to be used – but elevated to the artistic – for the eurythmic art. From knowledge, Goethe also builds a bridge to skill, to artistic skill. And Goethe has a beautiful saying that should be taken up by every artistic disposition: “When nature begins to reveal her secrets, one longs for her most worthy interpreter, art.” This brings us to true knowledge, which does not live in abstractions but in direct observation, and to artistic creation.","text_trust":"verbatim","quote_safe":true,"word_count":94,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p008","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/SOL2024/19200815e01.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/1920-08-15/p008"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"high","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":9,"locus":"GA 277b/1920-08-15/p009","text":"Now we will attempt to extend what Goethe first observed for the purpose of design to human activity. We will carefully study the artistic movements of the larynx and its neighboring organs when speech is produced. It is not the fine vibrations that are transmitted from the human organ to the air and then travel to the hearing organ of the listener that are important, but rather the underlying movement tendencies, on which these vibrations are then, so to speak, threaded. I would like to say that when we look at a long plant stem, such as the false acacia, which forms a long stem to which individual leaflets are attached, we could follow basic tendencies that already make themselves felt in the larynx and its neighboring organs, basic tendencies for the vibrations of speech. These basic tendencies are recognized, if I may use Goethe's word, through sensory-supersensory observation. And just as Goethe imagines the entire plant to be nothing more than a single leaf in a more complicated form, we let the whole person carry out in movement what is otherwise carried out in the region of the larynx and its neighboring organs. So we actually transform phonetic speech, in which the inner movement tendencies are not subject to attention because they are only devoted to the sound, we transform phonetic speech into a visible language: the whole human being – or groups of people too – stand in front of you on the stage and perform the movements that are otherwise performed invisibly when phonetic speech is produced. That which underlies speech as a sub-sensation, I would say, is brought out and imprinted as movement on the human form or on groups of people.","text_trust":"verbatim","quote_safe":true,"word_count":286,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p009","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/SOL2024/19200815e01.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. 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Nun, mehr als man heute schon glaubt, wird die menschliche Erkenntnis auf diesen Goethe’schen Versuch einer wirklichen Durchdringung des Wesens des Lebendigen noch zurückkommen, wenn manche Vorurteile abgestreift sein werden aus der Weltanschauung, die heute noch sehr stark innerhalb dieser Weltanschauung geltend gemacht werden. Es gilt einfach das, was Goethe in der so anschaulich und so tief bedeutsamen Abhandlung Versuch, die Metamorphose der Pflanzen zu erklären im Jahre 1790 veröffentlicht hat. Ich möchte davon nur herausheben, dass Goethe bemüht ist, das einzelne Blatt in seiner oftmals einfachen, oftmals komplizierteren Form für die ganze Pflanze zu erklären und wiederum die ganze Pflanze in ihrem inneren ideellen Wesen nur als ein komplizierteres Blatt zu erklären: Die Pflanze als gewissermaßen eine Gemeinschaft von einzelnen, wieder sichtbaren Pflanzen, die als Blätter auftreten, die Verwandlungen, Metamorphosen durchmachen. Metamorphosen des Blattes sind auch die Blütenblätter, Kelchgefässe, Staubgefässe und so weiter. Diese lebendige Anschauung der Umformung des einen Organismus, dieses Anschauen des ganzen Lebewesens als eines komplizierteren Gebildes, das gewissermaßen schon ideenhaft in den einzelnen Organen vorgebildet ist, das ist dasjenige, was einmal das Rätsel des Lebendigen, wenn es weiter ausgebildet ist, lösen wird.","text_trust":"verbatim","quote_safe":true,"word_count":219,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p007"},{"locus":"GA 277b/1920-08-15/p008","passage_number":8,"text":"Was nun Goethe angewendet hat auf die Gestalt des Pflanzlichen, später auch ausgedehnt hat auf die Gestalt des Tierischen, hier soll es verwendet werden - aber allerdings ins Künstlerische heraufgehoben - zur eurythmischen Kunst. Vom Erkennen baut ja auch Goethe eine Brücke zum Können, zum künstlerischen Können. Und ein schönes Wort ist von Goethe, das eigentlich in jede künstlerische Gesinnung aufgenommen werden müsste: Wem die Natur ihr offenbares Geheimnis zu enthüllen beginnt, der sehnt sich nach ihrer würdigsten Auslegerin, der Kunst. - Damit rückt Goethe an wahres Erkennen, das nicht in Abstraktionen lebt, sondern das im unmittelbaren Anschauen lebt, das künstlerische Schaffen heran.","text_trust":"verbatim","quote_safe":true,"word_count":103,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p008"},{"locus":"GA 277b/1920-08-15/p009","passage_number":9,"text":"Nun versuchen wir hier dasjenige, was Goethe zunächst für die Gestaltung geschaut hat, auszudehnen auf das menschliche Betätigen. Sorgfältig wird studiert, welche künstlerischen Bewegungen der Kehlkopf - und seine Nachbarorgane - ausführt, wenn die Lautsprache zustande kommt. Nicht jene feinen Vibrationen, die sich von dem Organ des Menschen übertragen auf die Luft und dann fortschreiten bis zum Gehörorgan des Hörenden, nicht auf diese kommt es an, sondern auf dasjenige, was als Bewegungstendenzen zugrunde liegt, auf die dann gewissermaßen aufgefädelt sind diese Vibrationen. Ich möchte sagen, wenn wir uns einen langen Pflanzenstiel anschauen, wie etwa bei der unechten Akazie, sie bildet einen langen Stiel, dem einzelne Blättchen aufgeheftet sind. So könnten wir verfolgen Grundtendenzen, die sich schon im Kehlkopf und seinen Nachbarorganen geltend machen, Grundtendenzen für die Schwingungen der Sprache. Diese Grundtendenzen, sie werden, wenn ich das Goethe’sche Wort gebrauchen darf, durch sinnlich-übersinnliches Schauen erkannt. Und so, wie sich Goethe vorstellt, dass die gesamte Pflanze nichts anderes ist als ein komplizierter ausgestaltetes einzelnes Blatt, so lassen wir den ganzen Menschen in seinen Bewegungen dasjenige ausführen, was sonst in der Region des Kehlkopfes und seiner Nachbarorgane ausgeführt wird. Also verwandeln wir tatsächlich die Lautsprache, bei der die inneren Bewegungstendenzen nicht der Aufmerksamkeit unterliegen, weil das nur dem Laute hingegeben ist, wir verwandeln die Lautsprache in eine sichtbare Sprache: Der ganze Mensch - oder Menschengruppen auch - stehen vor Ihnen auf der Bühne und führen diejenigen Bewegungen aus, die sonst unsichtbar ausgeführt werden, wenn die Lautsprache zustande kommt. Dasjenige, was der Lautsprache, ich möchte sagen als ein Untersinnliches zugrunde liegt, das wird herausgeholt und der menschlichen Gestalt als Bewegung aufgeprägt oder auch Menschengruppen als Bewegung aufgeprägt.","text_trust":"verbatim","quote_safe":true,"word_count":273,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p009"}],"beads":[{"from":[7],"to":[7],"confidence":"high","pairing_state":"verified"},{"from":[8],"to":[8],"confidence":"high","pairing_state":"verified"},{"from":[9],"to":[9],"confidence":"high","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)."}}