{"corpus":"steiner","locus":"GA 277d/1923-08-26/p066","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"In our somewhat inartistic age, it is customary in recitation and declamation to lay the chief stress on the prose content of a poem. Indeed, in these days, the mere fact of being able to speak at all is looked upon as sufficient ground for becoming a reciter. But the art of recitation and declamation should rank as highly as the other arts; for in recitation and declamation there is the possibility of treating speech in such a way that the hidden Eurythmy lying within it, the imaginative, plastic, coloured use of words, their music, rhythm and melody, are all brought to expression. When Goethe was rehearsing his rhythmic dramas, he made use of a baton just as if he were the conductor of an orchestra; for he was not so much concerned with the merely prosaic content of the words, but with the bringing out of all that lay, like a hidden Eurythmy, in their construction and use.","text_trust":"verbatim","quote_safe":true,"title":"A Lecture on Eurythmy","site_heading":null,"date":"1923-08-26","location":null,"word_count":159,"url":"https://anthroposophy.ai/v1/steiner/en/ga/277d/1923-08-26/p066","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":"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/p066","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/p035","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p035"},{"locus":"GA 277d/1923-08-26/p036","url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p036"}],"bead_confidence":"medium","pairing_state":"verified","verified":true,"evidence":["anchors","reader"],"reader_german":["GA 277d/1923-08-26/p035","GA 277d/1923-08-26/p036"],"reader_part":true,"length_check":{"de_words":201,"en_words":244,"ratio":1.21,"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/p035","passage_number":35,"text":"In unserem heutigen, etwas unkünstlerischen Zeitalter deklamiert und rezitiert man so, dass man das Prosaische gern pointiert. Es glaubt [im Grunde genommen heute jeder], rezitieren und deklamieren zu können, der überhaupt reden kann. Aber Rezitation und Deklamation ist ebenso eine Kunst wie die anderen Künste, denn es handelt sich darum, dasjenige, was in einer schon geheimen Eurythmie, was in der Gestaltung, in der imaginativen, in der plastisch-malerischen Gestaltung der Worte, in der musikalischen, rhythmischen, taktvollen, melodiösen Gestaltung der Worte liegt, dass das in der Sprachbehandlung zum Ausdrucke kommt.","text_trust":"verbatim","quote_safe":true,"word_count":88,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p035"},{"locus":"GA 277d/1923-08-26/p036","passage_number":36,"text":"Goethe hat mit seinen Schauspielern seine Jambendramen wie ein Kapellmeister mit dem Taktstock einstudiert, wie ein Kapellmeister seine Musikstücke studiert mit seiner Kapelle, weil es ihm nicht ankam auf den bloßen Prosagehalt, sondern auf das Herausarbeiten desjenigen, was durch eine geheime Eurythmie in der Sprachbehandlung, Sprachgestaltung lag. Schiller hatte bei seinen berühmtesten Gedichten gar nicht den Prosainhalt im Sinne. Da hätte meinetwillen «Das Lied von der Glocke» entstehen können, aber auch ein ganz anderes Gedicht - seinem Inhalte nach. Denn zuerst hatte er ein unbestimmtes melodiöses Motiv, das er in der Seele erlebte, etwas Musikalisches, daran wie Perlen um einen Kettenfaden gelegt die Worte. So [fädelte] er die Prosaworte an die musikalischen Motive.","text_trust":"verbatim","quote_safe":true,"word_count":113,"url":"https://anthroposophy.ai/v1/steiner/de/ga/277d/1923-08-26/p036"}],"english":["GA 277d/1923-08-26/p066","GA 277d/1923-08-26/p067"],"method":"embedding","confidence":"medium","correspondence":"established","length_check":{"de_words":201,"en_words":244,"ratio":1.21,"partial":false},"pairing_state":"verified","verified":true,"evidence":["anchors","reader"],"reader_german":["GA 277d/1923-08-26/p035","GA 277d/1923-08-26/p036"],"reader_part":true},"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":"discrepancy","checked_against":["GA 277d/1923-08-26/p035","GA 277d/1923-08-26/p036"],"missing_from_translation":["Schiller"],"present_only_in_translation":[],"bead_confidence":"medium","bead_length_ratio":1.21,"likely_cause":"unresolved","note":"NAME MISMATCH between this English passage and its German counterpart. A name the German carries is absent here (or a name appears here that the German does not carry). Two things cause this and they need telling apart: the translation really drops or reassigns what the original distinguishes, OR the paragraph alignment paired the wrong passages. `bead_confidence` does NOT settle which: this corpus's embedding aligner pairs topically-related paragraphs at full confidence, and a sampled high-confidence mismatch proved to be a wrong pairing. Read the German passages listed and confirm they are counterparts BEFORE drawing any conclusion about the translation."},"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."}}