{"corpus":"steiner","locus":"GA 288/1920-04-05/p014","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"These things are of course not taken into account at all in the age of naturalism, and one does not find the possibility of really placing the human being back into the whole natural and cosmic context. But this must also happen in art. It is understandable that art has long adhered to the model; but now the time has passed when art can adhere to the model. Art must grow together with the creative forces of nature and work out of the creative forces of nature. For what is the point of recreating nature in a naturalistic way? Whatever is created in a naturalistic way can never be achieved by nature. Every smallest achievement that is made out of something that is not there in the senses can be more significant than anything that appears to be so perfectly created in nature. If you want something realistic, you can say that you are sticking to nature itself. And in addition, in many areas naturalism was even somewhat extraordinarily frivolous. One thinks of Hauptmann's “Weavers”: the well-fed people sat down in the theater to overlook the whole series of scenes in Hauptmann's “Weavers”. This was called “social art”, bringing the misery of life into the theater, something frivolous, a frivolous cultural phenomenon. So we have to turn to the supersensible again. Today, people find it difficult to decide to enter the supersensible in art. But it will not become light in humanity if we do not decide on something like this in all areas.","text_trust":"verbatim","quote_safe":true,"title":"IV. The Symbolism of the Building at Dornach II","site_heading":null,"date":"1920-04-05","location":null,"word_count":254,"url":"https://anthroposophy.ai/v1/steiner/en/ga/288/1920-04-05/p014","alignment_confidence":"high","alignment_reason":"beads:identity","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Architecture, Sculpture and Painting of the First Goetheanum","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA288/English/SOL2024/19200405p01.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/288/1920-04-05/p014"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/288/1920-04-05/p014","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},"paired_german":{"status":"paired","german":[{"locus":"GA 288/1920-04-05/p014","passage_number":14,"text":"Diese Dinge, die werden natürlich im Zeitalter des Naturalismus gar nicht berücksichtigt, und man findet nicht die Möglichkeit, wirklich den Menschen wiederum hineinzustellen in den ganzen Natur- und Weltenzusammenhang. Das muss aber auch in der Kunst geschehen. Wenn die Kunst sich lange an das Modell gehalten hat, so ist das ja begreiflich; aber jetzt ist die Zeit vorüber, dass die Kunst sich ans Modell halten kann. Die Kunst muss zusammenwachsen mit den schaffenden Kräften der Natur und aus den schaffenden Kräften der Natur heraus arbeiten. Denn wozu braucht man denn eigentlich naturalistisch die Natur nachzuschaffen? Dasjenige, was naturalistisch der Natur nachgeschaffen ist, das kann ja die Natur niemals erreichen. Jede kleinste Leistung, die aus dem, was nicht sinnlich da ist, heraus gemacht wird, kann bedeutsamer sein als irgendetwas scheinbar noch so vollkommen der Natur Nachgeschaffenes. Man kann sich ja, wenn man etwas Realistisches will, sagen, dass man sich an die Natur selber halte. Und außerdem war auf vielen Gebieten der Naturalismus sogar etwas außerordentlich Frivoles. Man denke an Hauptmanns «Weber»: Die satten Menschen haben sich ins Theater gesetzt, um die ganzen Szenenreihen von Hauptmanns «Die Weber» zu übersehen. Das hat man «soziale Kunst» genannt, das Herausholen des Elendes aus dem Leben, im Theater angeschaut, etwas Frivoles, eine frivole Kulturerscheinung. So müssen wir eben wiederum ins Übersinnliche hinein. Die Menschen können sich heute schwer entschließen, in der Kunst ins Übersinnliche hineinzugehen. Aber es wird nicht hell in der Menschheit, wenn man sich nicht auf allen Gebieten zu so etwas entschließt.","text_trust":"verbatim","quote_safe":true,"word_count":249,"url":"https://anthroposophy.ai/v1/steiner/de/ga/288/1920-04-05/p014"}],"english":["GA 288/1920-04-05/p014"],"method":"identity","confidence":"high","correspondence":"established","length_check":{"de_words":249,"en_words":254,"ratio":1.02,"partial":false},"pairing_state":"verified","verified":true,"evidence":["length","meaning","anchors","audit"]},"witness_completeness":{"ratio":1.04,"band":"comparable","note":null,"word_count":6652,"original_word_count":6409,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Steiner Online Library","identified_edition":"SOL2024","book_title":"Architecture, Sculpture and Painting of the First Goetheanum","publisher":"Steiner Online Library","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA288/English/SOL2024/19200405p01.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 288/1920-04-05/p014"],"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. 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