فريدريش شليجل
ينبغي للشعر أن يمزج الأشكال كلها وألّا ينتهي أبدًا، والسخرية تتيح للعقل أن يحلّق بحرية فوق مخلوقاته.
التموضع
منظّر الرومانسية المبكرة: الشعر الرومانسي «شعر كلي تقدمي»، والسخرية حرية العقل فوق أعماله.
الأفكار الرئيسة
- السخرية الرومانسية
- الشعر الكلي التقدمي
- الشذرة
التأثير
تأثّر بـ 3
إيمانويل كانط
تأثّر بـ
In his Essay on the Concept of Republicanism (1796) Schlegel took up Kant’s Toward Perpetual Peace (1795) but argued, against Kant, that republicanism is necessarily democratic. F. Schlegel, Versuch über den Begriff des Republikanismus (1796); I. Kant, Zum ewigen Frieden (1795); SEP “Friedrich Schlegel”
التوثيق: مسودة بالذكاء الاصطناعي
إيمانويل كانط › 1724–1804
يوهان جوتفريد هردر
تأثّر بـ
Schlegel reviewed the seventh and eighth collections of Herder’s Letters for the Advancement of Humanity (1796), engaging with Herder’s historical view of ancient and modern poetry. F. Schlegel, review of J. G. Herder, Briefe zu Beförderung der Humanität, seventh and eighth collections (1796), in Kritische Friedrich-Schlegel-Ausgabe II; SEP “Friedrich Schlegel”
التوثيق: مسودة بالذكاء الاصطناعي
يوهان جوتفريد هردر › 1744–1803
يوهان غوتليب فيشته
تأثّر بـ
Schlegel counted Fichte’s Wissenschaftslehre, with the French Revolution and Goethe’s Wilhelm Meister, among the great ‘tendencies of the age’ (Athenaeum, 1798) and based his irony on Fichtean self-reflection. F. Schlegel, Athenaeum fragments (1798); SEP “Friedrich Schlegel”
التوثيق: مسودة بالذكاء الاصطناعي
يوهان غوتليب فيشته › 1762–1814
أثّر في 1
نوفاليس
أثّر في
Novalis developed his fragments in ‘symphilosophy’ with Friedrich Schlegel, who published Pollen (1798) in the Athenaeum, and took up Schlegel’s programme of a romantic poetry. Novalis, Blüthenstaub, in Athenaeum I (1798); F. Schlegel, Athenaeum fragments (1798); SEP “Novalis”
التوثيق: مسودة بالذكاء الاصطناعي
نوفاليس › 1772–1801
النقد
انتقده 1
سورين كيركغور
انتقده
In The Concept of Irony (1841) Kierkegaard criticised Schlegel’s romantic irony, exemplified by Lucinde, as an infinite negativity that dissolves ethical actuality into aesthetic play. S. Kierkegaard, Om Begrebet Ironi (1841), Part Two, on Friedrich Schlegel; SEP “Søren Kierkegaard”
التوثيق: مسودة بالذكاء الاصطناعي
سورين كيركغور › 1813–1855
الأعمال
الشعر الرومانسي شعر كلي تقدمي – والشذرة ينبغي أن تكون تامة في ذاتها كالقنفذ.
الموقف
Schlegel was the leading theorist of early German Romanticism. Romantic poetry, he wrote, is a “progressive universal poetry”: always becoming and never complete, it mixes genres and joins poetry with philosophy and criticism. Its key attitude is irony – the mind’s power to create while rising above its own creations, aware that no finite work can contain the infinite. Hence his preference for the fragment, a thought that is both complete and open. Later he turned to Sanskrit and the culture of India, helping to found comparative linguistics, and to a Catholic philosophy of history. His ideas on irony and interpretation reach through Kierkegaard to modern literary theory.
الحياة والسياق
Friedrich Schlegel was born in Hanover in 1772, the son of a pastor, and turned from law to the study of classical antiquity. In Jena and Berlin he formed the early Romantic circle with his brother August Wilhelm, Novalis, Tieck and Schleiermacher, and with his brother edited the journal Athenaeum. In 1808 he converted to Catholicism and entered Austrian service in Vienna. He died in Dresden in 1829.
أعمال رئيسة أخرى
- On the Study of Greek Poetry (1797)
- Critical (Lyceum) Fragments (1797)
- Athenaeum Fragments (1798)
- Dialogue on Poetry (1800)
- On the Language and Wisdom of the Indians (1808)
بحسب الوضع في نوفمبر 2026 · المصادر · حسّن هذه الصفحة · كيف صُنع Agora