{"corpus":"steiner","locus":"GA 277c/1922-08-23/p010","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"The same applies to the color scheme. Here, I have depicted the veil, shape, color combination, and so on for each individual sound. In a poem, you have to have a basic note, so to speak. The basic note then determines the color of the veil, the entire composition that you have to maintain throughout the poem, otherwise the ladies would have to constantly change their veils, constantly throw off veils, put on other veils, and things would become even more complicated than they already are, and people would say they understand them even less. But it is certainly the case that once you have the sound mood, you can maintain it throughout an entire poem, varying only the movement, the transition from one sound to another, from one syllable to another, from one mood to another, and so on. Now, since I have educational and didactic purposes today, I have arranged the eurythmy figures here so that you can see them in the order in which the child learns the sounds. From an early age, children learn sounds in such a way that the first sound is essentially the one that sounds like “a.” Progressing in this order, approximately of course—there are all kinds of variations among children—but in this order approximately: a, e, o, u, i are the vowels that are learned on average by small children. When children are allowed to practice this visible language of eurythmy in this way, it is like a resurrection of what they experienced when learning sounds as very young children, like a resurrection on another level. The child experiences once again what it experienced earlier in this eurythmic language. And it is a reinforcement of what lies in the word, through the means of the whole human being.","text_trust":"verbatim","quote_safe":true,"title":"Address on Eurythmy","site_heading":null,"date":"1922-08-23","location":null,"word_count":297,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/p010","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/SOL2025/19220823e01.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/1922-08-23/p010"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277c/1922-08-23/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},"german_anchor":{"de_prefix":"1922-08-23","de_passages":[{"locus":"GA 277c/1922-08-23/p010","url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p010"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"],"length_check":{"de_words":285,"en_words":297,"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. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"paired_german":{"status":"paired","german":[{"locus":"GA 277c/1922-08-23/p010","passage_number":10,"text":"Ebenso ist cs mit der Farbgestaltung. Hier habe ich für jeden einzelnen Laut Schleier, Form, Farbenzusammenstellung und so weiter dargestellt. Man muss bei einem Gedicht gewissermaßen die Grundnote haben. Die Grundnote gibt dann die Schleierfarbe, überhaupt die ganze Zusammenstellung, die man durch das Gedicht festhalten muss, sonst müssten sich die Damen die Schleier fortwährend wechseln, fortwährend Schleier abwerfen, andere Schleier anziehen, und die Sache würde noch komplizierter werden, als sie schon ist, und die Leute würden sagen, sie verstehen sie noch weniger. Aber cs ist durchaus so: Hat man einmal die Lautstimmung, kann man sie auch durch ein ganzes Gedicht festhaltend und nur durch die Bewegung variierend den Übergang von einem Laut zum anderen, einer Silbe zur anderen, von einer Stimmung zur anderen und so weiter machen. Nun, ich habe, da ich heute pädagogisch-didaktische Zwecke habe, hier die Eurythmiefiguren so aufgestellt, dass Sie sie in der Reihenfolge sehen, wie das Kind die Laute lernt. Das Kind lernt von klein auf die Laute so, dass der erste Laut im Wesentlichen derjenige ist, der als a tönt. In dieser Reihenfolge fortgeschritten, ungefähr natürlich — es gibt alle möglichen Abweichungen bei Kindern -, aber in dieser Reihenfolge ungefähr: a, e, o, u, i werden die Vokale durchschnittlich angeeignet vom kleinen Kinde. Wenn man in dieser Weise wiederum diese sichtbare Sprache der Eurythmie von dem Kinde ausüben lässt, dann ist es wie cine Auferstehung desjenigen, was das Kind erlebt hat beim Lautelernen als ganz kleines Kind, wie eine Resurrektion, wie eine Auferstehung auf einer anderen Stufe. Das Kind erlebt noch einmal das, was es früher erlebt hat, in dieser eurythmischen Sprache. Und es ist das eine Befestigung desjenigen, was in dem Worte liegt, durch die Mittel des ganzen Menschen.","text_trust":"verbatim","quote_safe":true,"word_count":285,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277c/1922-08-23/p010"}],"english":["GA 277c/1922-08-23/p010"],"method":"identity","confidence":"medium","correspondence":"established","length_check":{"de_words":285,"en_words":297,"ratio":1.04,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","audit"]},"witness_completeness":{"ratio":1.02,"band":"comparable","note":null,"word_count":1879,"original_word_count":1837,"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/SOL2025/19220823e01.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/1922-08-23/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."}}