{"corpus":"steiner","locus":"GA 277d/1923-08-26/p019","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"To-day, when a sculptor or painter wishes to represent the human figure, he does so by studying and working from a model. It can, however, easily be shown that the art of sculpture, which reached its zenith during the civilisation of ancient Greece, did not arise through the artist working from a model, and in his way more or less imitating the external impressions of the senses, but at that time, when the plastic art of Greece was in full bloom, man was still to some extent aware of the etheric body—which contains within it the formative forces and the forces of growth. At the height of Greek civilisation man knew how to make use of the etheric body when bringing an arm or hand, for instance, into a certain attitude, and the position and arrangement of the muscles were an actual experience to him. He had an inner understanding of the possibilities of movement in the arm and hand, of the possibilities of muscular expansion and contraction. And he was able to bring this inner experience to physical expression, making use of physical materials.","text_trust":"verbatim","quote_safe":true,"title":"A Lecture on Eurythmy","site_heading":null,"date":"1923-08-26","location":null,"word_count":185,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-08-26/p019","alignment_confidence":"medium","alignment_reason":"beads:embedding","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"A. C. Harwood","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1923–1925","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277d/English/SOL2025/19230826p01.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/277d/1923-08-26/p019"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-08-26/p019","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":"1923-08-26","de_passages":[{"locus":"GA 277d/1923-08-26/p009","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p009"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":265,"en_words":311,"ratio":1.17,"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 277d/1923-08-26/p009","passage_number":9,"text":"Gewiss, die Künste sind dann in ihrer Entwickelung zumeist so fortgefahren, dass sie naturalistisch geworden sind, dass die ursprünglichen Impulse verloren gegangen sind und eine Art äußerer Nachahmung eintrat. Also bei dieser äußeren Nachahmung liegt eben niemals der Ursprung der Künste. Heute - ich will nur beispielsweise dies anführen - denkt man ja zunächst daran, wenn man zum Beispiel als Bildhauer oder Maler das menschliche Selbst wiederzugeben hat, wie man diese Wiedergabe nach dem Modell besorgt. Es ist durchaus nachweisbar, dass die Bildhauerkunst auf ihrer Höhe innerhalb Griechenlands nicht dadurch entstand, dass man nach einem Modell arbeitete, also gewissermaßen den äußeren Sinnenschein nachahmte, sondern innerhalb desjenigen Zeitalters, in dem gerade die Blüte der griechischen Plastik entstanden ist, fühlte der Mensch noch etwas in sich von seinem Ätherleib, von diesem Ätherleib, der die eigentlich gestaltenden und Wachstums-Kräfte des Menschen enthält. In der besten Griechenzeit findet der Mensch, was es heißt, mit Hilfe des Ätherleibes einen Arm und eine Hand in eine gewisse Attitüde zu bringen, und er empfand die Muskelhaltung und Muskelstellung bei dieser Attitüde. Er erlebte innerlich gewissermaßen die Weite des Armes, die Streckkraft des Armes, die Streckkraft der Finger. Und dieses innerliche Erlebnis, das gab er durch seinen Stoff, durch die äußere Materie wieder. Es war also dasjenige, was der griechische Plastiker der Materie anvertraute, innerliches Erlebnis, nicht äußerlich mit den Augen Angeschautes - da geht diese Linie, diese Fläche, was man dann in den Ton oder in das Plastilin hineinschmierte -, sondern es war tatsächlich sein inneres Erlebnis, das nachgeschaffen war den schaffenden Kräften der Natur und das anvertraut wurde dem äußeren Stoff.","text_trust":"verbatim","quote_safe":true,"word_count":265,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p009"}],"english":["GA 277d/1923-08-26/p018","GA 277d/1923-08-26/p019","GA 277d/1923-08-26/p020"],"method":"embedding","confidence":"medium","correspondence":"established","length_check":{"de_words":265,"en_words":311,"ratio":1.17,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":1.27,"band":"comparable","note":null,"word_count":8808,"original_word_count":6935,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"A. C. Harwood","identified_edition":"SOL2025","book_title":"The Origin and Development of Eurythmy 1923–1925","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA277d/English/SOL2025/19230826p01.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 277d/1923-08-26/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."}}