Friedrich Schlegel
Poezja powinna mieszać wszystkie formy i nigdy nie być skończona, a ironia pozwala umysłowi swobodnie unosić się ponad własnymi tworami.
Umiejscowienie
Teoretyk wczesnego romantyzmu: poezja romantyczna jest „postępową poezją uniwersalną”, a ironia – wolnością ducha ponad własnymi dziełami.
Kluczowe idee
- Ironia romantyczna
- Postępowa poezja uniwersalna
- Fragment
Wpływ
Pod wpływem 3
Immanuel Kant
pod wpływem
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”
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Immanuel Kant › 1724–1804
Johann Gottfried Herder
pod wpływem
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”
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Johann Gottfried Herder › 1744–1803
Johann Gottlieb Fichte
pod wpływem
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”
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Johann Gottlieb Fichte › 1762–1814
Wpływ na 1
Novalis
wpływ na
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”
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Novalis › 1772–1801
Krytyka
Krytyka ze strony 1
Søren Kierkegaard
krytyka ze strony
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”
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Søren Kierkegaard › 1813–1855
Dzieła
Poezja romantyczna jest postępową poezją uniwersalną – a fragment musi być w sobie zamknięty jak jeż.
Stanowisko
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.
Życie i kontekst
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.
Dalsze główne dzieła
- 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)
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