{"corpus":"steiner","locus":"GA 277b/1920-08-15/p013","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"This is some of what I have to say to you about the formation of the art of eurythmy. You will see that in this art of eurythmy, the true artistic quality that has been so sorely lost in our time comes into its own. Our time often looks at the content of a poem, not at the how of the structure, the beat, the rhythm, which is what really matters. I would like to remind you again and again how Schiller, when writing his most significant poems, did not first have the literal content in his soul, but rather a kind of indeterminate melody - no matter which words it should belong to - an inwardly moving music in the soul, and only then did the words arise.","text_trust":"verbatim","quote_safe":true,"title":"75. Eurythmy Performance","site_heading":null,"date":"1920-08-15","location":null,"word_count":129,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p013","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. 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/1920-08-15/p013"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277b/1920-08-15/p013","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},"paired_german":{"status":"paired","german":[{"locus":"GA 277b/1920-08-15/p013","passage_number":13,"text":"Das ist so einiges von dem, was ich Ihnen zu sagen habe mit Bezug auf die Gestaltung der eurythmischen Kunst. Sie werden dabei sehen, dass in dieser eurythmischen Kunst wiederum das eigentlich Künstlerische, das unserer Zeit so schr verloren gegangen ist, zur Geltung kommt. Unsere Zeit betrachtet an einem Gedicht oftmals den Inhalt, nicht das Wie des Aufbaues, des Taktes, des Rhythmus, auf die es eigentlich ankommt. Ich möchte immer wieder daran erinnern, wie Schiller bei den bedeutsamsten seiner Gedichte nicht den wortwörtlichen Inhalt zunächst in der Seele hatte, sondern eine Art unbestimmter Melodie - ganz gleichgültig, zu welchen Worten die gehören sollte -, eine innere bewegte Musik in der Anlage in der Seele trug, dann ergaben sich erst die Worte.","text_trust":"verbatim","quote_safe":true,"word_count":121,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277b/1920-08-15/p013"}],"english":["GA 277b/1920-08-15/p013"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":121,"en_words":129,"ratio":1.07,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.02,"band":"comparable","note":null,"word_count":2443,"original_word_count":2396,"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/SOL2024/19200815e01.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/p013"],"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."}}