{"corpus":"steiner","locus":"GA 277c/1921-03-28/p017-p018","extent":"range","passage_number":17,"through":18,"paragraph_count":2,"first_locus":"GA 277c/1921-03-28/p017","last_locus":"GA 277c/1921-03-28/p018","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"27. Eurythmy Address","date":"1921-03-28","location":null,"alignment_confidence":"high","alignment_reason":"beads:length","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/SOL2025/19210328e01.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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Then one must realize that such a human language of form, which has come about out of the moving figure or formative movement, can on the one hand accompany poetry, which is then given in recitation and declamation, and on the other hand the musical. One can sing in a visible language just as one can develop it through sound in tone, in song, and one can express that which really underlies the poetry in this visible language just as it is expressed in the poetry itself. Only then one must not look at the literal content, which is actually the prosaic in the poem, but one must look at the tone, rhythm, form of the meter and so on of the poem, which underlies the poem.","text_trust":"verbatim","quote_safe":true,"word_count":137,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-03-28/p017","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/SOL2025/19210328e01.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/1921-03-28/p017"],"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":18,"locus":"GA 277c/1921-03-28/p018","text":"Therefore, recitation and declamation for eurythmy cannot be done in the way that is often popular in our unartistic times, namely, by particularly emphasizing the literal, prosaic aspects and regarding the actual art of declamation and recitation as lying in the emphasis of the literal, prosaic aspects. We must go back to older times, to the Goethean and Schillerian concept of recitation and declamation, to the rhythm, meter and thematic content of poetry, if we want to bring out what is actually artistic in eurythmy, if we want to do justice to the poetry when reciting it. For eurythmy brings out of the poem precisely that which the poet has woven into it out of his own secretive nature. So, in essence, poetry is handed over to the whole human being in eurythmy, in that the poet is aware that he will find understanding of his poetry if the opportunity is created to do so from the whole human being, which he would only have to entrust to a part of the human being, namely the speaking human being.","text_trust":"verbatim","quote_safe":true,"word_count":179,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-03-28/p018","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/SOL2025/19210328e01.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/1921-03-28/p018"],"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":29,"passage_count":29,"word_count":2595},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":31,"passage_count":31,"word_count":2655,"completeness":{"ratio":1.02,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 277c/1921-03-28/p017","passage_number":17,"text":"Dieser Eurythmie geht eben dasjenige voran, was Eurythmie als Sprache ist. Dann muss man sich sagen, dass eine solche, aus der bewegten Gestalt oder gestaltenden Bewegung zustande gekommene menschliche Formensprache, dass die auf der einen Seite die Dichtung begleiten kann, die dann in Rezitation und Deklamation gegeben wird, und auf der anderen Seite das Musikalische. Man kann ebenso in einer sichtbaren Sprache singen, wie man es durch den Laut im Ton, im Gesange entwickelt, und man kann dasjenige, was wirklich der Dichtung zugrunde liegt, geradeso in dieser sichtbaren Sprache ausdrücken, wie es in der Dichtung selber zum Ausdrucke kommt. Nur muss man dann nicht auf den wortwörtlichen Inhalt hinsehen, der eigentlich das Prosaische am Gedichte ist, sondern man muss auf Ton, Rhythmus, Form des Versmaßes und so weiter der Dichtung hinsehen, das der Dichtung zugrunde liegt","text_trust":"verbatim","quote_safe":true,"word_count":136,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-03-28/p017"},{"locus":"GA 277c/1921-03-28/p018","passage_number":18,"text":"Man kann deshalb auch als Begleitung für die Eurythmie nicht so rezitieren und deklamieren, wie man es heute in einem unkünstlerischen Zeitalter vielfach liebt, dass man das Wortwörtliche des Prosaischen besonders hervorhebt und in dem Hervorheben des Wortwörtlichen des Prosaischen die eigentliche Kunst der Deklamation und Rezitation sieht. Man muss wieder zu älteren Zeiten, sagen wir zu der Goethe-Schiller’schen Auffassung der Rezitation und Deklamation zurückkehren, nämlich zu Rhythmus, Takt, thematischem Gehalt der Dichtung, wenn man dasjenige, was eigentlich als das Künstlerische die Eurythmie begleitet, herausbringen will, wenn die Rezitation der Dichtung gerecht werden will. Denn Eurythmie hebt gerade das aus der Dichtung heraus, was in die Dichtung selber von dem Dichter hineingeheimnisst ist. Also dem vollen Menschen, dem wird im Grunde genommen in der Eurythmie die Dichtung übergeben, indem der Dichter sich klar ist, dass er Verständnis seiner Dichtung findet, wenn die Möglichkeit geschaffen wird, aus dem ganzen Menschen heraus zu tun, was er nur einem Stück Menschen, nämlich dem sprechenden Menschen anvertrauen musste.","text_trust":"verbatim","quote_safe":true,"word_count":164,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-03-28/p018"}],"beads":[{"from":[17],"to":[17],"confidence":"high"},{"from":[18],"to":[18],"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)."}}