{"corpus":"steiner","locus":"GA 277c/1921-12-31/p007-p009","extent":"range","passage_number":7,"through":9,"paragraph_count":3,"first_locus":"GA 277c/1921-12-31/p007","last_locus":"GA 277c/1921-12-31/p009","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"Address on Eurythmy","date":"1921-12-31","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/SOL2025/19211231e01.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":1651,"original_word_count":1653,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31/p007-p009","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31/p007-p009.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31#p007","word_count":437,"quote_safe":true,"passages":[{"passage_number":7,"locus":"GA 277c/1921-12-31/p007","text":"The human organism is so constituted that the form we encounter in it, when viewed impartially, always reveals at the same time what can become of this form in terms of movement. When we grasp a human hand or arm, we cannot understand the form of the arm or the form of the hand if we regard them merely as static forms. What is in a quiet form can only be understood when the arm undergoes a movement. It is as if the resting form is, of course, the movement that has just come to rest. And movement is something that must emerge directly from the resting form. But it is precisely this that makes it possible to bring forth something like a language from the resting human form through movement, which is already grounded in the form itself in its entire essence. And from this point of view, eurythmy becomes something like a moving sculpture.","text_trust":"verbatim","quote_safe":true,"word_count":156,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31/p007","german_anchor":{"de_prefix":"1921-12-31","de_passages":[{"locus":"GA 277c/1921-12-31/p007","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p007"}],"bead_confidence":"medium","length_check":{"de_words":153,"en_words":156,"ratio":1.02,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"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/SOL2025/19211231e01.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/1921-12-31/p007"],"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":8,"locus":"GA 277c/1921-12-31/p008","text":"What is sculpture, which captures the human being in its tranquility? It is basically the outward expression of human silence, of human quiet reflection, of that state in which the human being is most within himself, most at one with himself, in which he withdraws his being most from the world. Therefore, sculpture can really only be represented in such a way that it is set apart from the living human being and presented to the world in a different material. The tranquility that most represents what sets the human being apart from the world can be realized in a material other than the human being itself.","text_trust":"verbatim","quote_safe":true,"word_count":107,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31/p008","german_anchor":{"de_prefix":"1921-12-31","de_passages":[{"locus":"GA 277c/1921-12-31/p008","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p008"}],"bead_confidence":"medium","length_check":{"de_words":106,"en_words":107,"ratio":1.01,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"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/SOL2025/19211231e01.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/1921-12-31/p008"],"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":9,"locus":"GA 277c/1921-12-31/p009","text":"In the way in which the human being speaks, he is thoroughly connected with the world everywhere. They are devoted to the world, and as speakers they cannot separate themselves from the world. Nor is this the case in visible language, in animated sculpture, in eurythmy. What human beings represent there are actually the laws into which they can place themselves when they devote themselves to the universe. Since they cannot detach themselves, but must place their whole being within the universe, they must represent themselves. And in eurythmy, even more than in mimic or dramatic art, the human being is a direct instrument of their own artistic creation. Therefore, eurythmy — I have already emphasized recently that it is still in its infancy, but it will be able to develop further — can develop further by becoming more and more the actual stylistic art for what human beings reveal when they are devoted to the universe. And this is most evident when the human organism is freely devoted to the higher, spiritual world.","text_trust":"verbatim","quote_safe":true,"word_count":174,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1921-12-31/p009","german_anchor":{"de_prefix":"1921-12-31","de_passages":[{"locus":"GA 277c/1921-12-31/p009","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p009"}],"bead_confidence":"medium","length_check":{"de_words":195,"en_words":174,"ratio":0.89,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"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/SOL2025/19211231e01.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/1921-12-31/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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":1653},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":19,"passage_count":19,"word_count":1651,"completeness":{"ratio":1.0,"band":"comparable","note":null}}],"aligned_witness":{"status":"aligned","lang":"de","edition":"original","confidence":"medium","passages":[{"locus":"GA 277c/1921-12-31/p007","passage_number":7,"text":"Die menschliche Organisation ist ja so veranlagt, dass in ihr die Form, die uns entgegentritt, eigentlich, wenn man sie unbefangen betrachtet, immer zu gleicher Zeit dasjenige zeigt, was als Bewegung aus dieser Form werden kann. Wenn man eine menschliche Hand, einen menschlichen Arm fasst - man kann die Form des Armes, die Form der Hand nicht verstehen, wenn man sie bloß als ruhende [Formen] ansieht. Das, was in ruhiger Form ist, das versteht man erst, wenn der Arm eine Bewegung durchmacht. Es ist wie selbstverständlich die ruhende Form die eben zur Ruhe gekommene Bewegung. Und die Bewegung ist etwas, das unmittelbar wie aus der ruhenden Form hervorkommen muss. Gerade dadurch ist es aber möglich, aus der ruhenden menschlichen Form durch Bewegung, die in ihrer ganzen Wesenheit schon in der Form selbst begründet ist, etwas wie eine Sprache hervorgehen zu lassen. Und von diesem Gesichtspunkte aus wird die Eurythmie etwas wie eine bewegte Plastik.","text_trust":"verbatim","quote_safe":true,"word_count":153,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p007"},{"locus":"GA 277c/1921-12-31/p008","passage_number":8,"text":"Die Plastik, die den Menschen in seiner Ruhe festhält, was ist sie eigentlich? Sie ist im Grunde genommen der äußere Ausdruck des menschlichen Schweigens, des menschlichen Still-Nachsinnens, desjenigen, wo der Mensch am meisten in sich selbst, bei sich selbst ist, wo er am meisten sein Wesen aus der Welt herausnimmt. Daher kann die Plastik eben eigentlich nur so dargestellt werden, dass man sie auch von dem unmittelbar lebenden Menschen abhebt und in einem anderen Material vor die Welt hinstellt. Die Ruhe, die am meisten das darstellt, wodurch der Mensch sich aus der Welt heraushebt, sie kann verwirklicht werden in einem anderen Material als dem Menschen selbst.","text_trust":"verbatim","quote_safe":true,"word_count":106,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p008"},{"locus":"GA 277c/1921-12-31/p009","passage_number":9,"text":"In demjenigen, wodurch der Mensch spricht, ist er durchaus überall mit der Welt in Verbindung. Er ist an die Welt hingegeben, und er kann sich als Sprechender nicht von der Welt absondern. Ebenso wenig [ist das der Fall] in der sichtbaren Sprache, in der bewegten Plastik, in der Eurythmie. Dasjenige, was da der Mensch darstellt, sind eigentlich die Gesetzmäßigkeiten, in die sich der Mensch versetzen kann bei der Hingabe an das Weltenall. Da muss er, indem er sich nicht abheben kann, sondern mit seinem ganzen Wesen sich hineinstellen muss in das Weltenall, da muss er sich darstellen. Und in der Eurythmie ist noch mehr als bei mimischer oder dramatischer Kunst der Mensch ein unmittelbares Werkzeug seines künstlerischen Schaffens selbst. Daher kann Eurythmie - ich habe schon neulich betont, dass sie noch im Anfange sei, sie wird sich aber weiter entwickeln können - sich dadurch weiterentwickeln, dass sie immer mehr und mehr wird zu der eigentlichen Stilkunst für dasjenige, was der Mensch gerade in seiner Offenbarung dann zeigt, wenn er an das Weltenall hingegeben ist. Und das zeigt sich ja am meisten dann, wenn der Menschenorganismus frei an die höhere, an die geistige Welt hingegeben ist.","text_trust":"verbatim","quote_safe":true,"word_count":195,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1921-12-31/p009"}],"beads":[{"from":[7],"to":[7],"confidence":"medium"},{"from":[8],"to":[8],"confidence":"medium"},{"from":[9],"to":[9],"confidence":"medium"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. 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