{"corpus":"steiner","locus":"GA 305/1922-08-24/p038-p044","extent":"range","passage_number":38,"through":44,"paragraph_count":7,"first_locus":"GA 305/1922-08-24/p038","last_locus":"GA 305/1922-08-24/p044","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"title":"VIII. Boys and Girls at the Waldorf School","date":"1922-08-24","location":null,"alignment_confidence":"low","alignment_reason":"count_diverges","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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":1.02,"band":"comparable","note":null,"word_count":6014,"original_word_count":5878,"may_be_abridged":false},"site_heading":null,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p038-p044","json_url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p038-p044.json","lecture_url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24#p038","word_count":1030,"quote_safe":true,"passages":[{"passage_number":38,"locus":"GA 305/1922-08-24/p038","text":"In these figures the form of the wood is intended to express the movement. The figures are made on a three colour principle. The fundamental colour here is the one which expresses the form of the movement. But just as feeling pervades the tones of speech, so feeling enters into the movement. We do not merely speak a sound, we colour it by feeling. We can also do this in eurhythmy. In this way a strong unconscious momentum plays into the eurhythmy. If the performer, the eurhythmist, can bring this feeling into his movements in an artistic way the onlookers will be affected by it as they watch the movements.","text_trust":"verbatim","quote_safe":true,"word_count":110,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p038","german_anchor":{"de_prefix":"1922-08-24","de_passages":[{"locus":"GA 305/1922-08-24/p035","url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p035"}],"bead_confidence":"high","pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 305/1922-08-24/p035"],"reader_part":true,"length_check":{"de_words":258,"en_words":306,"ratio":1.19,"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":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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 305/1922-08-24/p035"],"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."}},{"passage_number":39,"locus":"GA 305/1922-08-24/p039","text":"It should be borne in mind, moreover, that the veil which is worn serves to enhance the expression of feeling, it accompanies and moves to the feeling. This was brought out in the performance over there (Tr: e.g. at Keble College). And you see here (Tr: i.e. in the figures) the second colour—which comes mainly on the veils—represents the feeling nuance in the movement. Thus you have a first, fundamental colour expressing the movement itself, a second colour over it mainly falling on the veil, which expresses the nuance of feeling. But the eurhythmy performer must have the inner power to impart the feeling to his movement: just as it makes a difference whether I say to a person: Come to me (commandingly), or: Come to me (in friendly request). This is the nuance of feeling, gradation of feeling. What I say is different if I say: Come to me! (1) or: Come to me (2). In the same way this second colour, here expressed as blue on a foundation of green, which then continues over into the veil (Tr.: where it can show as pure blue),—this represents the feeling nuance in the language of eurhythmy.","text_trust":"verbatim","quote_safe":true,"word_count":196,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p039","german_anchor":{"de_prefix":"1922-08-24","de_passages":[{"locus":"GA 305/1922-08-24/p035","url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p035"}],"bead_confidence":"high","pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 305/1922-08-24/p035"],"reader_part":true,"length_check":{"de_words":258,"en_words":306,"ratio":1.19,"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":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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 305/1922-08-24/p035"],"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."}},{"passage_number":40,"locus":"GA 305/1922-08-24/p040","text":"And the third thing that is brought out is character, a strong element of will. This can only be introduced into eurhythmy when the performer is able to experience his own movements as he makes them and express them strongly in himself. The way a performer holds his head as he does eurhythmy makes a great difference to his appearance. Whether, for instance, he keeps the muscles on the left of the head taut, and those on the right slack—as is expressed here by means of the third colour. (Showing figure) You see here the muscles on the left of the head are somewhat tense, those on the right relaxed. You will observe how the third colour always indicates this here. Here you see the left side is contracted, and down over the mouth here; here (in another figure) the forehead is contracted, the muscles of the forehead are contracted. This, you see, sets the tone of the whole inner character,—this that rays out from this slight contracting: for this slight contraction sends rays throughout the organism. Thus the art of eurhythmy is really composed of the movement, expressed in the fundamental colour; of the feeling nuance, expressed by the second colour, and of this element of will;—indeed the element of the whole art is will, but will is here emphasised in a special way.","text_trust":"verbatim","quote_safe":true,"word_count":225,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p040","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":41,"locus":"GA 305/1922-08-24/p041","text":"Where the object is to exhibit the features of eurhythmy those parts only of the human being are selected which are characteristic of eurhythmy. If we had figures here with beautifully painted noses and eyes and beautiful mouths, they might be charming paintings; but for eurhythmy that is not the point; what you see painted, modelled or carved here is solely what belongs to the art of eurhythmy in the human being doing eurhythmy.","text_trust":"verbatim","quote_safe":true,"word_count":74,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p041","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":42,"locus":"GA 305/1922-08-24/p042","text":"A human being performing eurhythmy has no need to make a special face. That does not matter. Naturally, it goes without saying, a normal and sound eurhythmist would not make a disagreeable face when making a kindly movement, but this would be the same in speaking. No art of facial expression independent of eurhythmic expression is aimed at: For instance, a performer can make the A movement by turning the axels of his eyes outwards. That is allowable, that is eurhythmic. But it would not do if someone were to make special *oeilades* (“Kinkerlitchen,” we call them) as is done in miming; these *oeilades*, which are often in special demand in miming, would here be a grimace. In eurhythmy everything must be eurhythmic.","text_trust":"verbatim","quote_safe":true,"word_count":123,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p042","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":43,"locus":"GA 305/1922-08-24/p043","text":"Thus we have here a form of art which shows only that part of man which is eurhythmy, all else is left out; and thus we get an artistic impression. For each art can only express what it has to express through its own particular medium. A statue cannot be made to speak; thus you must bring out the expression of soul you want through the shaping of the mouth and the whole face. Thus it would have been no good in this case, either, to have painted human beings naturalistically; what had to be painted was an expression of the immediately eurhythmic.","text_trust":"verbatim","quote_safe":true,"word_count":103,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p043","witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"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":44,"locus":"GA 305/1922-08-24/p044","text":"Naturally, when I speak of veils this does not mean that one can change the veil with every letter; but one comes to find, by trying out different feeling nuances for a poem, and entering into the mood of the poem,—that a whole poem has an A mood, or a B mood. Then one can carry out the whole poem rightly in one veil. The same holds good of the colour. Here for every letter I have put the veil form, colour, etc. which go together. There must be a certain fundamental key in a poem. This tone is given by the colour of the veil, and in general by the whole colour combination; and this has to be retained throughout the poem,—otherwise the ladies would have to be continually changing veils, constantly throwing off the veils, putting on other dresses,—and things would be even more complicated than they are already and people would say they understood even less But actually if one once has the fundamental key one can maintain it throughout the whole poem, making the changes from one letter to another, from one syllable to another from one mood to another by means of the movements.","text_trust":"verbatim","quote_safe":true,"word_count":199,"url":"https://anthroposophy.ai/v1/steiner/en/ga/305/1922-08-24/p044","german_anchor":{"de_prefix":"1922-08-24","de_passages":[{"locus":"GA 305/1922-08-24/p040","url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p040"},{"locus":"GA 305/1922-08-24/p041","url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p041"}],"bead_confidence":"high","pairing_state":"verified","verified":true,"evidence":["reader"],"reader_german":["GA 305/1922-08-24/p040","GA 305/1922-08-24/p041"],"length_check":{"de_words":191,"en_words":199,"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."},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Daphne Harwood","identified_edition":"APC1947","book_title":"Spiritual Ground of Education","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA305/English/APC1947/19220824p01.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 305/1922-08-24/p040","GA 305/1922-08-24/p041"],"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."}}],"witnesses":[{"lang":"de","edition":"original","is_original":true,"is_default_edition":true,"first_passage":1,"last_passage":47,"passage_count":47,"word_count":5878},{"lang":"en","edition":"English","is_original":false,"is_default_edition":true,"first_passage":1,"last_passage":50,"passage_count":50,"word_count":6014,"completeness":{"ratio":1.02,"band":"comparable","note":null}}],"aligned_witness":{"status":"partly_aligned","lang":"de","edition":"original","confidence":"high","passages":[{"locus":"GA 305/1922-08-24/p035","passage_number":35,"text":"Nun ist in diesen Figuren das angestrebt, daß in der plastischen Gestaltung des Holzes die Bewegung vor allen Dingen festgehalten ist. Die Figuren sind nach einem Dreifarbenprinzip gebildet. Es ist die Grundfarbe da, die eigentlich überall die Bewegungsform zum Ausdruck bringen soll. Aber wie in unsere Lautsprache das Gefühl hineinströmt, so kann das Gefühl auch hinunterströmen in die Bewegung. Denn wir sprechen ja nicht nur einen Laut, sondern wir geben dem Laute eine Gefühlsfärbung. Das können wir auch in der Eurythmie. Und da wirkt ein stark unterbewußtes Moment in die Eurythmie hinein. Wenn der Akteur, der Darsteller imstande ist, dieses Gefühl künstlerisch in seine Bewegungen hineinzulegen, dann wird man dieses Gefühl auch mitfühlen, wenn man die eurythmischen Bewegungen sieht. Hier ist noch das in Betracht gezogen, daß der Schleier, der getragen wird, diesen Gefühlen folgen soll. So daß also dasjenige, was hier (bei den Figuren) als zweite Farbe vorzugsweise auf den Schleier verwendet ist, darstellt die Gefühlsnuance für die Bewegung. Sie haben also eine erste Grundfarbe, die drückt die Bewegung selber aus, eine zweite daraufgesetzte Farbe, die vorzugsweise im Schleier zum Ausdrucke kommt, die drückt die Gefühlsnuance aus. Aber der eurythmische Akteur muß die innere Kraft haben, dieses Gefühl in die Bewegung hineinzulegen, so wie es einen Unterschied macht, ob ich zu jemandem sage: Komm zu mir! — befehlend — oder: Komm zu mir! - freundlich auffordernd. Das ist die Gefühlsnuance. So stellt dasjenige, was hier in der zweiten Farbe zum Ausdrucke kommt, und was dann in den Schleier hinein fortgesetzt wird, die Gefühlsnuance der eurythmischen Sprache dar.","text_trust":"verbatim","quote_safe":true,"word_count":258,"url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p035"},{"locus":"GA 305/1922-08-24/p040","passage_number":40,"text":"Nun ist es natürlich, daß wenn ich hier vom Schleier spreche, man nicht nach jedem Laut den Schleier wechseln kann; aber man findet allmählich heraus, daß wenn man einmal in diese Gefühlsnuance, in diese Stimmung sich hineinversetzt für ein Gedicht, dann hat ein ganzes Gedicht eine A-Stimmung oder eine B-Stimmung. Dann kann man für das ganze Gedicht in irgendeiner Schleierfarbe die Sache zurechtmachen.","text_trust":"verbatim","quote_safe":true,"word_count":63,"url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p040"},{"locus":"GA 305/1922-08-24/p041","passage_number":41,"text":"Ebenso ist es 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. Diese 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 es ist durchaus so: hat man einmal die Lautstimmung, kann man sie auch durch ein ganzes Gedicht festhaltend und nur durch die Bewegungen variierend den Übergang von einem Laut zum anderen, einer Silbe zur anderen, von einer Stimmung zu der anderen und so weiter machen.","text_trust":"verbatim","quote_safe":true,"word_count":128,"url":"https://anthroposophy.ai/v1/steiner/de/ga/305/1922-08-24/p041"}],"beads":[{"from":[38,39],"to":[35],"confidence":"high","pairing_state":"verified"},{"from":[44],"to":[40,41],"confidence":"high","pairing_state":"verified"}],"note":"Paired by the paragraph aligner; each language numbers its own paragraphs. A bead at either end of the span can carry text beyond it (the `from` numbers show what each bead covers).","uncovered":[40,41,42,43]}}