German poet and writer (1772-1801)
Baron Georg Philipp Friedrich von Hardenberg (2 May 1772 – 25 March 1801) was an author, philosopher and poet of early German Romanticism. He is most commonly known by the pseudonym Novalis (denoting a "clearer of new land" — derived from a tradition of his ancestors, who had called themselves de Novali).
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Alternative Names:
Georg Philipp Friedrich Freiherr von Hardenberg
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Friedrich von Hardenberg
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Актът на надскачане на себе си е навсякъде най-висшият, изначалният момент, генезисът на живота... Така всяка философия започва там, където философстващият философства себе си, т.е. едновременно разгражда себе си... и се самообновява... Така всяка жива моралност започва с това, че от добродетелност извършвам нещо против добродетелта; с това започва животът на добродетелта, чрез който капацитетът ѝ нараства до безкрайност.
When we speak of the aim and Art observable in Shakespeare's works, we must not forget that Art belongs to Nature; that it is, so to speak, self-viewing, self-imitating, self-fashioning Nature. The Art of a well-developed genius is far different from the Artfulness of the Understanding, of the merely reasoning mind. Shakspeare was no calculator, no learned thinker; he was a mighty, many-gifted soul, whose feelings and works, like products of Nature, bear the stamp of the same spirit; and in which the last and deepest of observers will still find new harmonies with the infinite structure of the Universe; concurrences with later ideas, affinities with the higher powers and senses of man. They are emblematic, have many meanings, are simple and inexhaustible, like products of Nature; and nothing more unsuitable could be said of them than that they are works of Art, in that narrow mechanical acceptation of the word.
Wilhelm Meister's Apprenticeship may be called throughout prosaic and modern. The Romantic sinks to ruin, the Poesy of Nature, the Wonderful. The Book treats merely of common worldly things: Nature and Mysticism are altogether forgotten. It is a poetised civic and household History; the Marvellous is expressly treated therein as imagination and enthusiasm. Artistic Atheism is the spirit of the Book. ... It is properly a Candide, directed against Poetry: the Book is highly unpoetical in respect of spirit, poetical as the dress and body of it are.
Goethe is an altogether practical Poet. He is in his works what the English are in their wares: highly simple, neat, convenient and durable. He has done in German Literature what Wedgwood did in English Manufacture. He has, like the English, a natural turn for Economy, and a noble Taste acquired by Understanding. Both these are very compatible, and have a near affinity in the chemical sense.
The ideal of Morality has no more dangerous rival than the ideal of highest Strength, of most powerful life; which also has been named (very falsely as it was there meant) the ideal of poetic greatness. It is the maximum of the savage; and has, in these times, gained, precisely among the greatest weaklings, very many proselytes. By this ideal, man becomes a Beast-Spirit, a Mixture; whose brutal wit has, for weaklings, a brutal power of attraction.
It depends only on the weakness of our organs and of our self-excitement (Selbstberuhrung), that we do not see ourselves in a Fairy-world. All Fabulous Tales (Mahrchen) are merely dreams of that home world, which is everywhere and nowhere. The higher powers in us, which one day as Genies, shall fulfil our will, are, for the present, Muses, which refresh us on our toilsome course with sweet remembrances.