{"corpus":"steiner","locus":"GA 277c/1921-04-03/p010","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"On the one hand, the human being expresses his or her nature through thought. It is undeniable that in the activity of thinking, in the formation of thoughts, lies that through which man first experiences himself as the most perfect creature within the visible creation in which he finds himself. But when man merely moves thought within himself, he moves in a prosaic way. To move towards the artistic, towards the poetic, it is necessary that the element of thought passes into the creation of form. And it is remarkable how we can see that through the most significant forms of the poetic – through the epic element, through the lyrical element, through the dramatic element – thought seeks to lose itself as thought, to give up its unartistic element and merge into the form.","text_trust":"verbatim","quote_safe":true,"title":"28. Eurythmy Address","site_heading":null,"date":"1921-04-03","location":null,"word_count":135,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-04-03/p010","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/SOL2025/19210403e01.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/277c/1921-04-03/p010"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-04-03/p010","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 277c/1921-04-03/p010","passage_number":10,"text":"Der Mensch kommt zu dem Ausdrucke seines Wesens auf der einen Seite durch den Gedanken. Es ist ja unleugbar, dass in der Tätigkeit des Denkens, in der Formung der Gedanken dasjenige liegt, wodurch der Mensch sich zunächst als das vollkommenste Geschöpf innerhalb der sichtbaren Schöpfung, in der er sich befindet, darlebt. Wenn der Mensch bloß aber den Gedanken in sich bewegt, bewegt er sich prosaisch. Zum Künstlerischen, zum Dichterischen ist notwendig, dass übergeht das gedankliche Element in das Schaffen von Gestaltung. Und es ist merkwürdig, wie man sehen kann, dass durch die bedeutsamsten Formen des Dichterischen - durch das epische Element, durch das lyrische Element, durch das dramatische Element — im Grunde genommen der Gedanke sucht, sich selber zu verlieren als Gedanke, sein unkünstlerisches Element aufzugeben und in die Gestalt überzugehen.","text_trust":"verbatim","quote_safe":true,"word_count":131,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-04-03/p010"}],"english":["GA 277c/1921-04-03/p010"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":131,"en_words":135,"ratio":1.03,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"]},"witness_completeness":{"ratio":1.0,"band":"comparable","note":null,"word_count":2788,"original_word_count":2776,"may_be_abridged":false},"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/SOL2025/19210403e01.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/1921-04-03/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."}}