{"corpus":"steiner","locus":"GA 277c/1920-10-17/p009-p014","extent":"range","passage_number":9,"through":14,"paragraph_count":6,"first_locus":"GA 277c/1920-10-17/p009","last_locus":"GA 277c/1920-10-17/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"8. Speech on Eurythmy","date":"1920-10-17","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":"SOL2025","book_title":"The Origin and Development of Eurythmy 1920–1922","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277c/English/SOL2025/19201017e01.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 understands it only, the sculpture, the art of sculpture, if one understands the shaping of the physical human body from its form. Because basically, everything else we sculpt can only be modeled three-dimensionally if we understand the sculpture of the human body.","text_trust":"verbatim","quote_safe":true,"word_count":83,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p009","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p009","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p009"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":85,"en_words":83,"ratio":0.98,"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 277c/1920-10-17/p009"],"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":10,"locus":"GA 277c/1920-10-17/p010","text":"Architecture is an art that initially appears to have no real model. It appears as it does, through proportionality, symmetry, through a sensed or perceived balance and equilibrium of the individual architectural elements and so on. We feel no model for architecture because this model is in the outer being of the human being himself. What we experience, for example, as a small child, from the state in which we cannot walk, gradually learning to walk, swinging up to the vertical, what we experience as balance when we learn to move our limbs. In short, everything that we experience within ourselves, can experience as the innermost part of the human body's formation, when this body is alive, we carry it out into the outer world and develop it into architecture.","text_trust":"verbatim","quote_safe":true,"word_count":130,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p010","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p010","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p010"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":134,"en_words":130,"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. 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Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"ok","checked_against":["GA 277c/1920-10-17/p010"],"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":11,"locus":"GA 277c/1920-10-17/p011","text":"And by giving ourselves to the outer world itself, to its intense impressions in colors and chiaroscuro, we develop painting. But then, when we live with that which is actually below the surface of things, with what essentially painting deals with, when we live with that which the exterior of nature presents in terms of supersensible uniformity, when we can feel that, we can surrender to nature, not as a mere observer, but go along with the inner secrets of nature, and instead of feeling the balance of our own body, the symmetry, which we already do as a child, if we instead feel the enigmatic, mysterious symmetry of natural things outside, the proportionality and symmetry of spatial things, and if we then develop this within ourselves to a certain extent as an echo, holding up to mute nature the counter-image in the secrets contained in it, then we develop the musical through adapting the organization of our own bodily members to the external relationships of symmetry and proportion in nature.","text_trust":"verbatim","quote_safe":true,"word_count":171,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p011","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p011","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p011"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":164,"en_words":171,"ratio":1.04,"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 277c/1920-10-17/p011"],"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":12,"locus":"GA 277c/1920-10-17/p012","text":"We carry our sense of symmetry and proportionality into the outside world in the form of architecture. For singing, we take into ourselves that which exists in the outside world in the way of symmetry, and we bring it, through our own body, through a part of our body, to a kind of echo of mute nature. And a branch of this is what we make resound in language, especially in the meter, in the rhythm of language, and so on, in declamation, recitation.","text_trust":"verbatim","quote_safe":true,"word_count":84,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p012","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p012","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p012"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":74,"en_words":84,"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 277c/1920-10-17/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 277c/1920-10-17/p013","text":"But in all this it is our etheric body that remains, so to speak, at rest in itself, but makes parts of itself - that is, its interior - a resonance of natural events. But in the moment when we let the secrets of nature flow into us more deeply than is the case with singing and declaiming, then we will let them flow through the organs of speech and song, into the whole bodily organization, into that which is in outer nature. Then the person does not feel as if they are holding – as they do when singing or declaiming – what they are making sound as an echo of nature, but they feel as if they are immediately transforming into movement what they have overheard from nature as secrets. So although the human being is the instrument for bringing the moving or symmetrical or proportioned supernature to expression, he immediately passes over into nature. He does not retain what he absorbs from song or music, but passes immediately into outer nature. The human being is completely selfless, physically selfless. He becomes an instrument of that which the secrets of nature itself are when he eurythmizes.","text_trust":"verbatim","quote_safe":true,"word_count":198,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p013","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p013","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p013"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":200,"en_words":198,"ratio":0.99,"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 277c/1920-10-17/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 277c/1920-10-17/p014","text":"Then the eurythmic art is indeed something for internalization, and it is something truly artistic. For that which becomes internalized is somehow manifested in the movements of the objective, sensual world: the spirit of the world in human movement. One could say that eurythmy works entirely in the sense of Goethe's beautiful words: When man is placed at the summit of nature, he in turn perceives himself as a nature, takes in order, measure, harmony and meaning and rises to the production of the work of art. But he rises most beautifully and nobly to the production of the work of art when he gives himself as a tool. He does this, of course, in song and in declamation, but he does it in such a way that he does not form that which he can develop in his own physical organization, but immediately makes it perceptible to the outside world as a visible language in eurythmy.","text_trust":"verbatim","quote_safe":true,"word_count":157,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1920-10-17/p014","german_anchor":{"de_prefix":"1920-10-17","de_passages":[{"locus":"GA 277c/1920-10-17/p014","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p014"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":150,"en_words":157,"ratio":1.05,"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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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":20,"passage_count":20,"word_count":2382},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":20,"passage_count":20,"word_count":2453,"completeness":{"ratio":1.03,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277c/1920-10-17/p009","passage_number":9,"text":"Nun wohl, Eurythmie ist solch ein innerliches Durchkraften des Menschen, und ich werde, um das zu zeigen, diese Eurythmie in die Reihe der übrigen Künste mit ein paar Worten hineinstellen müssen. Da haben wir zum Beispiel die Plastik. Man versteht sie nur, die Plastik, die Bildhauerkunst, wenn man aus seiner Form heraus die Gestaltung des physischen menschlichen Leibes versteht. Denn im Grunde genommen: Alles, was wir sonst in der Plastik formen, das können wir nur plastisch ausbilden, wenn wir die Plastik des menschlichen Leibes verstehen.","text_trust":"verbatim","quote_safe":true,"word_count":85,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p009"},{"locus":"GA 277c/1920-10-17/p010","passage_number":10,"text":"Die Architektur ist dann eine Kunst, die zunächst so wirkt, dass man ein eigentliches Vorbild für sie nicht hat. Sie wirkt so, wie sie auftritt, durch Proportionalität, Symmetrie, durch ein erfühltes oder erschautes Gleichmaß und Gleichgewicht der einzelnen architektonischen Glieder und so weiter. Man fühlt aus dem Grunde kein Vorbild für die Architektur, weil dieses Vorbild im Äußeren des Menschen selber ist. Dasjenige, was wir erleben, indem wir zum Beispiel als kleines Kind von dem Zustande, in dem wir nicht gehen können, uns zur Vertikalen allmählich hinaufschwingend gehen lernen, dasjenige, was wir als Gleichmaß erleben, indem wir unsere Glieder bewegen lernen. Kurz, alles dasjenige, was wir in uns erleben, erleben können als das Innerlichste der menschlichen Leibesgestaltung, wenn dieser Leib lebt, das tragen wir in die äußere Welt hinaus und bilden es zur Architektur.","text_trust":"verbatim","quote_safe":true,"word_count":134,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p010"},{"locus":"GA 277c/1920-10-17/p011","passage_number":11,"text":"Und indem wir uns der äußeren Welt selber hingeben, ihren intensiven Eindrücken in Farben und Hell-Dunkel, bilden wir die Malerei aus. - Dann aber, wenn wir dasjenige, was eigentlich unter der Oberfläche der Dinge, mit der sich im Wesentlichen die Malerei beschäftigt, wenn wir mitleben dasjenige, was das Äußere der Natur an übersinnlichem Gleichmaß darbietet, wenn wir das erfühlen können, uns hingeben können der Natur, nicht als ein bloßer Beobachter, sondern mitgehen mit den inneren Geheimnissen der Natur, und statt dass wir — was wir schon als Kind tun - das Gleichgewicht unseres eigenen Leibes fühlen, die Symmetrie, wenn wir stattdessen fühlen das rätselvolle, geheimnisvolle Gleichmaß der Naturdinge draußen, die Proportionalität und Symmetrie der Raumdinge, und wenn wir das dann in uns selber gewissermaßen zu einem Echo ausbilden, der stummen Natur das Gegenbild in den in ihr enthaltenen Geheimnissen entgegenhalten, dann bilden wir das Musikalische dadurch aus, dass wir unsere eigenen Leibesglieder, die daraufhin organisiert sind, anpassen den äußeren Symmetrie- und Gleichmaßverhältnissen der Natur.","text_trust":"verbatim","quote_safe":true,"word_count":164,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p011"},{"locus":"GA 277c/1920-10-17/p012","passage_number":12,"text":"Zur Architektur tragen wir unser Gleichmaß und Proportionalitätsverhältnisse in die Außenwelt. Für den Gesang tragen wir dasjenige, was an Gleichmaß in der Außenwelt existiert, in uns hinein und bringen es durch unsern eigenen Leib, durch einen Teil unseres Leibes bis zu einer Art Echo der stummen Natur. Und ein Ast davon ist dasjenige, was wir in der Sprache, insbesondere im Metrum, im Rhythmus der Sprache und so weiter ertönen lassen in der Deklamation, Rezitation.","text_trust":"verbatim","quote_safe":true,"word_count":74,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p012"},{"locus":"GA 277c/1920-10-17/p013","passage_number":13,"text":"Aber bei all dem ist es unser ätherischer Leib, der gewissermaßen in sich ruhend bleibt, aber Teile von sich - also sein Inneres - zu einem Widerklang des natürlichen Geschehens macht. In dem Augenblicke aber, wo wir die Naturgeheimnisse, ich möchte sagen tiefer in uns einströmen lassen, als das beim Gesang und bei der Deklamation der Fall ist, dann werden wir die Sprach- und Gesangorgane durchströmen lassen, in die ganze Leibesorganisation dasjenige [strömen lassen], was in der äußeren Natur ist. Dann fühlt sich der Mensch nicht so, dass er hält gewissermaßen - wie beim Singen oder Deklamieren - dasjenige, was er als Echo der Natur ertönen lässt, sondern er fühlt sich so, dass er dasjenige, was er der Natur an Geheimnissen ablauscht, gleich wieder selbst in Bewegung überführt. Sodass der Mensch zwar das Instrument ist, um die bewegte oder symmetrische oder proportionierte Übernatur zur Darstellung zu bringen, aber gleich wieder geht er in die Natur über, er behält das nicht, was er von Gesang oder Musik aufnimmt in sich, sondern geht gleich in die äußere Natur über. Der Mensch ist ganz selbstlos, physisch selbstlos. Er wird zu einem Werkzeuge desjenigen, was die Geheimnisse der Natur selber sind, wenn er eurythmisiert.","text_trust":"verbatim","quote_safe":true,"word_count":200,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p013"},{"locus":"GA 277c/1920-10-17/p014","passage_number":14,"text":"Dann ist in der Tat die eurythmische Kunst etwas für die Verinnerlichung, und sie ist etwas echt Künstlerisches. Denn dasjenige, was die Verinnerlichung wird, das zeigt sich irgendwie wiederum in den Bewegungen objektiviert an der sinnlichen Außenwelt, der Geist der Welt in die Bewegungen des Menschen. Man könnte sagen: So wirkt die Eurythmie ganz im Sinne des schönen Goethe-Wortes: Wenn der Mensch an den Gipfel der Natur gestellt ist, empfindet er sich selbst wiederum als eine Natur, nimmt Ordnung, Maß, Harmonie und Bedeutung zusammen und erhebt sich zur Produktion des Kunstwerkes. Am Schönsten und Edelsten erhebt er sich aber zur Produktion des Kunstwerkes, wenn er sich selbst als Werkzeug hingibt. Er tut das allerdings im Gesang, in der Deklamation, aber er tut es so, dass er das, was er ausbilden kann, nicht an seiner eigenen Leibesorganisation bildet, sondern sogleich nach außen vernehmbar macht als eine sichtbare Sprache in der Eurythmie.","text_trust":"verbatim","quote_safe":true,"word_count":150,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1920-10-17/p014"}],"beads":[{"from":[9],"to":[9],"confidence":"medium","pairing_state":"verified"},{"from":[10],"to":[10],"confidence":"medium","pairing_state":"verified"},{"from":[11],"to":[11],"confidence":"medium","pairing_state":"verified"},{"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. 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