{"corpus":"steiner","locus":"GA 277c/1921-02-20/p010-p012","extent":"range","passage_number":10,"through":12,"paragraph_count":3,"first_locus":"GA 277c/1921-02-20/p010","last_locus":"GA 277c/1921-02-20/p012","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"23. Address on Eurythmy","date":"1921-02-20","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":"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/SOL2025/19210220e01.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":1.0,"band":"comparable","note":null,"word_count":1525,"original_word_count":1532,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20/p010-p012","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20/p010-p012.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20#p010","word_count":207,"quote_safe":true,"passages":[{"passage_number":10,"locus":"GA 277c/1921-02-20/p010","text":"To make this more understandable, the eurythmy presentation is occasionally accompanied on the one hand by the corresponding music, which is then only a different expression of the eurythmic, or on the other hand by recitation and declamation.","text_trust":"verbatim","quote_safe":true,"word_count":38,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20/p010","witness_quality":{"translator":{"scope":"unit","status":"recorded","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/SOL2025/19210220e01.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 277c/1921-02-20/p010"],"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":11,"locus":"GA 277c/1921-02-20/p011","text":"The importance of the eurythmic can be seen from the fact that the eurythmic can only be accompanied in a certain way in declamation and recitation. Today, we live in an unartistic time, and people love to work out the prose content of a poem, especially in declamation. Great and significant artists did not consider this to be the right approach. Rather, they always regarded as truly poetic that which is either pictorial or musical in language. Schiller, for example, always had an indeterminate melody in his soul before he had the literal prose content of the poem; this prose content then merely leaned against this indeterminate melody.","text_trust":"verbatim","quote_safe":true,"word_count":108,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20/p011","witness_quality":{"translator":{"scope":"unit","status":"recorded","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/SOL2025/19210220e01.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 277c/1921-02-20/p011"],"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":12,"locus":"GA 277c/1921-02-20/p012","text":"In eurythmy, this rhythmic element must be brought out, because it is the real artistic content of poetry. That is why poetry comes to the fore in this visible language of eurythmy. So don't look for something pantomimic or mimetic in what we present, but look for a visible language. That is all I have to say about the artistic side.","text_trust":"verbatim","quote_safe":true,"word_count":61,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-02-20/p012","witness_quality":{"translator":{"scope":"unit","status":"recorded","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/SOL2025/19210220e01.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 277c/1921-02-20/p012"],"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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":18,"passage_count":18,"word_count":1532},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":18,"passage_count":18,"word_count":1525,"completeness":{"ratio":1.0,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 277c/1921-02-20/p010","passage_number":10,"text":"Damit die Sache verständlicher ist, wird immer die Eurythmie-Darstellung begleitet auf der einen Seite zuweilen von dem entsprechenden Musikalischen, das dann nur ein anderer Ausdruck des Eurythmischen ist, oder auf der anderen Seite von der Rezitation und Deklamation.","text_trust":"verbatim","quote_safe":true,"word_count":38,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-02-20/p010"},{"locus":"GA 277c/1921-02-20/p011","passage_number":11,"text":"Welche Bedeutung das Eurythmische hat, man kann es daran sehen, dass man nur in einer gewissen Weise begleiten kann in Deklamation, in Rezitation das Eurythmische. Heute liebt man es — wir leben ja heute eigentlich in einer unkünstlerischen Zeit -, den Prosainhalt eines Gedichtes herauszuarbeiten besonders in der Deklamation. Das haben große, bedeutende Künstler durchaus nicht für das Richtige angesehen, sondern sie haben immer dasjenige als eigentlich Dichterisches angesehen, was in der Sprache entweder bildlich ist oder musikalisch ist. Schiller zum Beispiel hatte immer zuerst eine unbestimmte Melodie in seiner Seele, bevor er den wortwörtlichen Prosainhalt des Gedichtes hatte; dieser Prosainhalt lehnte sich dann nur an an diese unbestimmte Melodie.","text_trust":"verbatim","quote_safe":true,"word_count":110,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-02-20/p011"},{"locus":"GA 277c/1921-02-20/p012","passage_number":12,"text":"Gerade im Eurythmischen muss wiederum herausgeholt werden dieses rhythmische Element, was doch der eigentlich wirklich künstlerische Gehalt ist auch der Dichtung. Deshalb kommt die Dichtung in dieser sichtbaren Sprache der Eurythmie besonders zum Vorschein. Suchen Sie also nicht etwas Pantomimisches oder Mimisches in dem, was wir darstellen, sondern suchen Sie durchaus eine sichtbare Sprache. Das ist dasjenige, was ich in Bezug auf das Künstlerische zu sagen habe.","text_trust":"verbatim","quote_safe":true,"word_count":67,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-02-20/p012"}],"beads":[{"from":[10],"to":[10],"confidence":"high"},{"from":[11],"to":[11],"confidence":"high"},{"from":[12],"to":[12],"confidence":"high"}],"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)."}}