Index
Poetry and Philosophy
Schleiermacher, the theologian
The dialectic and dialogue
poetry in the years of Fichte
Hölderlin's youth
bread and wine
Years of Novalis
The unity of nature and spirit
Arts and Philosophy
The grace of Kleist
The innocence of consciousness
The Romantic
In our previous meeting, speaking of Fichte, I tried to emphasize how he has taken up and embraced the issue of Kant (the justification of knowledge theoretical) but based on the primacy of practical reason. For Kant this was the still point, from which to assign the right role to the metaphysical tradition, after having ruled as unconstitutional the realm of pure scientific and theoretical knowledge. Kant's work was important, and Fichte, as I have shown, he took very seriously this aspect of Kant's critical philosophy, working, starting from the identity of theoretical and practical reason, his teaching of science, he understood that the contents of self as the totality of what exists. However, I have shown how Kant's reflections go beyond the scope of theoretical and practical, one of the most striking works is the famous Kantian Critique of Judgement, which we briefly analyzed, in it, in fact, the concept of nature and art, and the meaning of life, appear to be objects of human experience, distinct from those of natural science, namely physics.
POETRY AND PHILOSOPHY
not want to elaborate further on these issues, but only to understand the importance of a concept that embraces the beauty of nature, the artistic beauty and vitality of the living (to which we same recourse, applying the concepts of agency staff and also to the sphere of art). I would simply indicate that in mind as it opens a new dimension in German thought, and in a sense Fichte was the instigator of this change, perhaps thanks to the consistency and firmness with which the universe of self-defense. But the problem is this: if you can abide fully to this thesis, without involving other cognitive mode, than those of the concept.
not be surprised that it was in Jena (where Fichte taught in years of great revolutions of ideas) there has been, even in the arts, particularly in the poetic, a proliferation of new figures, alongside the dominant and Schiller Goethe. It was born a movement that became known as Romanticism. On this, and the meaning of the word "Romance," there is much to say; given that this is a term whose use of language was originally much larger, and that was later used by historians to signify the modern period after the "classic", or taking away from the classical poetry of Goethe and Schiller.
poetry and philosophy, then! An ancient conflict, supported already by Plato. By this he meant that poetry takes shape in the tradition of greek mythical-religious world, while the concept of task is to reflect on their legitimacy and autonomy. It is also known that Plato himself reassembled this disagreement, showing, in the Socratic dialogues, the most perfect poetic ... and giving at the same time, in philosophical and conceptual analysis, a value argument is always new to the myths he imagined and invented.
Schleiermacher, the theologian
In the Romantic period this became part of common consciousness, and the thinker to whom we owe most of this proximity of poetry and art concept was Schleiermacher, the great Protestant theologian not joined the group of Jena - as Fichte and others - going instead, in the years of oppression of Napoleon, to teach theology at the University of Berlin, a university recently istitituzione, where he held the same lesson Fichte, as I have that, for some years.
Schleiermacher! Today, we are astonished, reading Schleiermacher, the fact that the style is not very elegant and often very dull of his thought has been erected as a symbol of the new romantic movement. Perhaps it is not quite right to believe, but in life there is always the wonder of the spirit of the person. So Schleiermacher was present in two ways: first, he was the first (along with Friedrich Schlegel, one of the writers on which we would be very romantic to say) to make a translation of Plato's dialogues: a masterpiece of translation, and a model of philological competence, but the surprising fact is that for the first time in the history of Platonism - at least within the German culture - came to light the original dialogues, and not the usual dogmatic restatement of Plato, Platonic mold. In Kant still ringing Neoplatonists many reasons, when he wrote his dissertation on the sensible and intelligible world. From Schleiermacher, he becomes aware of the art of Plato's dialogues: this is a first characteristic feature of this scholar, a very important aspect, if we think that in general we are far from conceiving the philosophy just as true art of understanding of others. This is excellent art to develop the strength of its arguments, which leads to a conception of history philosophy as a continuous confrontation with another person, in order to outperform with arguments better, deeper, or maybe more convincing.
Dialectic is DIALOGUE
Schleiermacher was, on a personal level, a tutelary deity of friendship: the whole cultural world of Berlin, to which he belonged, gratitude and admiration felt for him to do so. Highlighting the importance of dialogue, he is anticipating to some extent, our current situation: in fact, Schleiermacher was the first to conceive the hermeneutics, the art of understanding, in addition to the art of thinking. Thanks to this, that focuses on the art of understanding, he exerted an influence, not very durable, in truth, but equally important for the heritage of the Critique of Judgement, and he has shown, that is, that the decisive role it from time to time the opinion of the individual in the specific situation and not to the universal truths that all can share with others. We can say that he has captured the intimate connection between philosophical knowledge of the truth and uniqueness of the artwork, along with providing a theoretical foundation and a concrete development (thanks to his translation): This is precisely why Schleiermacher became a Berlin, the emblematic figure of Romanticism. Not my intention to further his philosophical ideas, of course linked to the idea of \u200b\u200bdialectics, this word had for him still taste the Socratic-Platonic was that the art of conducting a dialogue. If that is enough to exhaust all the essence of dialectics, is another matter. My fear is that this view reflects a bit 'too much of Socratic mode, true dialogue can not be reduced to examine and refute (as in the case of Socrates with his young actors), but it involves two partners interact, limiting each other, and proceeding well, both over oneself. This is, in my opinion, the concept of dialogue which is the very soul of hermeneutics.
Forget these thoughts and go back to our theme: there was a literary movement and poetic, very close to German idealism, which he followed up the post-Kantian philosophy, the Critique of Judgement and the design philosophy of Fichte, according to an independent development .
POETRY IN YEARS Fichte
in Jena, in the years when he taught Fichte, met figures such as Schelling, Hegel, Wilhelm von Humboldt and a large number of poets and intellectuals such as August von Schlegel Friedrich Schlegel, Novalis, and many prominent names, such as Hölderlin. ... Those were the years of Fichte ... all were inspired in some way to Fichte - that this new identification - so to speak - of nature and art, natural beauty and true art. Following this track seem right, and methodologically correct, do not dwell at length on the theoretical reflections of the Romantics. Their views are worthy of note (for some time the work of Friedrich Schlegel great deal of interest in France): it is essentially of fragments of brilliant and witty notes and ideas significant, but I do feel that this is secondary to architecture of the great philosophers of Idealism: Fichte, Schelling and Hegel. However, these romantic thinkers, such as Schlegel - but first Novalis and Hölderlin - in the wake of innovation Fichte have left an extraordinary poetic production, here I use three exemplary figures, which illustrate the spirit of Romanticism, instead giving the examination of their theoretical considerations, which I think is more or less secondary. It seems to me that this is not only correct in terms of method, but also a duty for those who want to assess properly the events of this era and the influence exercised by the Critique of Judgement. As is well known (especially in view of historiography), offers an instance of the Romantic rejection of Classicism, a sort opposition, within which new values \u200b\u200bemerge, such as the popular literature, fairy tales and other forms, who win their own literary prize, such as with the Brothers Grimm, famous throughout the world. No doubt it was then the abandonment of a particular stylistic ideal, the Romantic poets were not the most talented accepted and welcomed as they deserved in the past year in Jena: Hölderlin was not defeated by Schiller, or Kleist, a humiliation that still suffered higher in comparison with Goethe's tragic because of his radicalism and isolation of genius, Goethe compared Olimpico, always careful to keep its balance. The third was the poet Novalis, an aristocrat, Baron von Hardenberg, who died young, whose first poems hark back to the romantic symbol of the blue flower. Speaking of these three characters, I would bring out some innovative elements of Romanticism.
YOUTH Hölderlin
begin with Hölderlin, who between them was also the relatively younger, and that was at least able to stray far from Schiller. We have not talked to Schiller, but this is justified by the fact that he returned Kantian themes: Schiller fully adhered to the thought of Kant. Can I show the stylistic diversity between Schiller and Hölderlin telling a very funny; there is a very short poem of Hölderlin, who want to read: Socrates and Alcibiades. It alludes to the love that - as we know from Plato - Socrates the horrible (just like a silenus) had for one of the finest and most talented youth of Athens (a love of all in accordance with the customs of the time). The poem is a dialogue: "Why, divine Socrates, you are indulgent with this young, forever? You do not know anything bigger? Why do your eyes rest on him as on the Gods - with love? "Answer:" Who thought what love is deeper than what is most alive. Noble intends to youth, who threw his eyes into the world. And the essays often are inclined to Bello, at the end.. ... This is a bell'epigramma lyric verse, as there are many (of Hölderlin and even other poets), (is not typical of the poet Hölderlin) . However, it is nestled in for a whole century (and still in my youth) a misprint: in the second stanza, in fact, was written "noble virtue mean, who has cast his eyes in the world." Only in the thirties of this century, returning to the original manuscripts, it is seen that is not 'Tugend' (virtue), but "Jugend" (youth). Just this seals the posting of Hölderlin by Schiller, but also demonstrates the power of the latter, under whose influence must also be understood that error. He read 'Tugend' (virtue), as well he wrote Schiller, who had a great rhetorical force, typical of a genius with incredible abilities theoretical, linguistic and poetic, and the strong impression that rhetoric makes it plausible certain notions, such as that of "virtue", which already at that time began to lose their unquestionable normative value. It was common to find the word "virtue" in his poetry. Hölderlin with Romanticism, or rather an entire era, beginning to open their eyes to a new reality. He wrote "Jugend" "Youth", a term for the erotic, the promising future, and so on.
There is a second witness to the rich poetry of Hölderlin, which later we still talk.
In this case proceed in an indirect way, as Hölderlin does not belong strictly to Romanticism, and is therefore fully justified to build on the history of the tradition.
BREAD AND WINE
This is one of opera's most famous Hölderlin: The bread and wine. The title immediately suggests the true intent of the poem depict the world of Greek myth, Dionysus is the one who goes and mixes wine and Demeter is the terrestrial nature of peasant culture of the people originally greek. Bread and wine already revealing the attempt to move beyond the rigid Christian tradition, or at least to overcome the Christianity represented by the Church. Here is an opera entitled The bread and wine, one of the most beautiful poems in German. The first verse says: "Shining, shimmering is the night, the dark resting nell'irrompere the city, the street on mutes," and so on. ... The poem includes about six stanzas of this type, and then poetically alludes to the reconciliation of Dionysus and Christ. [Six verses!] Romantic friends did not dare to publish this poem in its entirety, Hölderlin after he fell ill, but were limited to the first verse, which describes the dark. They are wonderful ways, stylistically perfect. It is also extremely interesting that the romance has been able to speculative action so bold: to reconcile the tradition of the Dionysian Greeks ... to Christianity. Hölderlin is clearly the forerunner of Nietzsche (Nietzsche's favorite poet was indeed Hölderlin, as evidenced by his youth). I can not dwell on Hölderlin, because it really does not properly belong to the romanticism. The true philosophical meaning of Hölderlin comes only with Heidegger, and the theology of reconciliation between the world of myths and other religious traditions, primarily the Christian lies, in short, in the poems of Hölderlin, a sort of speculative philosophy and theology, which has found its spokesman in Heidegger's philosophy. While not belonging to Romanticism, he already prelude to what I intend to show in other poets.
hymns of NOVALIS
The second example is that I want to quote Novalis, who disappeared ... still very young, leaving a novel, Heinrich von Ofterdingen him, as well as a series of poems, including c 'is a composition of high speculative value as the Hymns to the Night. We are facing a great creation, not being comparable to perfect design, to those of Hölderlin, however, moves in the same direction. The Hymns to the Night reflect the solemnity of the greek world, the presence of the divine in everyday life, the sacredness and the overflow into the entire life of the cult, which is nevertheless subject to the defeat of death. He then introduces the Christ as one who, suffering and dying for humanity, has robbed death of its pins (one that is very Christian expression used here Novalis). I had to remember this, even if it is not my intention to analyze it further, I would rather go to a poem I chose to show what is announced in Novalis, affecting then the maximum Romantic poets. This is a short poem, which I read as a whole: only a few lines, which represent a kind of program or will. "When numbers and figures and I do not explain all creatures, / when those who sing and kiss / know most of the scholars, / when the world will be free to life / back himself, / and when the light upon the darkness / we reunited in a true light, / and in fairy tales and legends / will be recognized as the true world history: / then thanks to a secret word / disappear all over the perversion. " ... I think these verses have been translated into Italian, (I suppose, but not I'm sure), but not in other languages, poetry, however, must translate the poets can not be entrusted to a translator.
UNITY OF SPIRIT AND NATURE
What do these verses tell us? We are told that the world is seen as if one could decipher it by numbers and figures, but this is the wrong way, is the "perversion", which speaks the last line of the short poem. Is there anything more true in the world of numbers and figures (that of modern science, as we would say). We also find a sort of witness of life which looks polemical: songs and kisses are Eros, the tenderness of love, that tone is unanimous that the true essence of the song. We should not forget that singing is a melt in the hand, where there is no distinction between what one thinks and says, between what you do and you listen, sing, therefore, is a unity of nature and spirit, and so we return to the message Critique of the Judgement. In this poem there is also a critical attitude school: what they are talking about "scholars" is not the life of the free world ... but when this will be refunded, will be distinctly different light and darkness, that is good and evil, truth and falsehood. Novalis speaks of fairy tales, the literary genre which expresses the attention of Romanticism to popular traditions. Grimm's Fairy Tales (the result of the collection made by the two brothers) are indeed, as we know, a very literary amended transcript of the stories told by old women in Hesse, however, this immortal tales of the Brothers Grimm is one of those forms Literary they did say some, "the fairy tales they already know everything 'in fact they are not decipherable, are not convertible into concepts, and the same applies, of course, for all accounts. If fairy tales and stories we recognize the real world history, this is not by virtue of the concepts, but thanks to their plurivocality, no unilateral accents. I remember what my friend said Kommerell (which was not a great poet, but it was still a young leading intellectual, with a genius) when he wrote his first poems, said: "we must avoid too many reasons! Poetry must leave much to intuition. " In fact all our great poets are not the speakers, they rely more and a lot of work to our imagination, the need to interpret.
ART AND PHILOSOPHY
I recently published a collection of essays entitled Poetry and dialogue, in which I have shown that the art of poetry is an excellent partner, because it always gives answers different results each time new offers. Each work of art - not only poetry, but also the arts - when it is read or magazine, does not give the impression of something that you already know, but a rediscovery of itself. From the poetic bursts always a new force, which requires us to interpret it, and for this I would say that between the poetic and philosophical concept is a close tense. The philosophical concept can not all be the same as the poetic text, the philosophical text is always a single intervention in the endless dialogue of thought and Plato described the thought "dialogue with the soul itself." It is therefore true that the language poetic expression has with the conceptual relationship of extraordinary tension, but also SEARCH: so we are constantly tempted to pull over as much as possible the art to philosophy. This is the philosophical message of German Romanticism. Schelling came to say that art and philosophy in reality expressing the same thing. Hegel said that the arts (separated from religion) and philosophy, are the only two figures of absolute spirit for which there is no sense the difference between me and the others: in fact, much in the philosophy that art is expressed content where everyone is immediately recognizable. I wanted to read and investigate why the poetry of Novalis contains the critical ... pure scientific investigation, and all learned in school, it opens the domain of art, to show that truth is not only the rules of the methodological approach, but in something else, of which 'Art is the very least ... a kind of mirror image rule. From here you can immediately understand why there is an idealistic philosophy of nature like that of Schelling, a nature that does not work with numbers and figures, but which is described as a living reality, which develops itself is at stake, Here, the ancient Platonic opposition between 'nature naturans', understood as the living spirit of genius, and "nature nature" revealed by the violence of the experiment, using numbers, shapes and decipher.
GRACE Kleist
We now turn to the third poet, a very singular figure, one of the leading exponents of Romanticism, also dismissed from his time: Heinrich von Kleist. It was later discovered in France, but Germany is still too little known. In the future, however, things will change: who is really "big", is absolute, that is to say that his greatness is not dependent on changing certain constellations, which determines the oblivion, on the contrary, even if it is forgotten, it waits for a rediscovery, and this you will always repeat: it is the case with the Romantics to Hölderlin, Kleist, and now it's up to. He was a playwright, does not intend to analyze its entire production, but only invited to read a single short story, a description of the content quickly, make a few remarks and refer to a small part of the conclusion. I refer to the Treaty on the puppet theater. Two people converse of a dancer and I'm tremendously excited, because they feel that looking at flights if there are no weight in this exceptional effort dancer disappears, the grace of movement gives lightness, levity, and the conversation proceeds until one says "Yes! She is extraordinary, almost ... almost like a puppet! ": rather provocative comment, which is explained as follows. One of the speakers said: "I happened to visit the spa, where I saw a young man of sixteen, already entered puberty, swim, and I, as I was ravished by her beauty, ... I said something. He made a motion identical to that of the famous statue of purposes: as he took off his sandals had looked up, just like the Greek statue. But trying to repeat this movement, something no longer worked, and the more retentive, too bad: there was no longer grace. " Here, when the consciousness comes into play, as well as the vanity that goes with, the movement becomes doubtful. Grace wants things to stay on hold, that things come from him, as he thinks in his own way also Novalis.
The INNOCENCE OF CONSCIOUSNESS
The other party offers an explanation, telling the following story (which I summarize in three words) during a duel, an opponent stands - they are a duel sport, a challenge of fencing - but the loser (the landlord) refer the matter, addressed him: "Now I'll show you your master," and led him to a cage in front of a chained bear, invited him to duel with the . The challenged takes it seriously and I became deeply involved, but without success: the bear does not allow himself duped by the fake, and in front of a simulated move does not react in any way and is ready to anticipate any action. It's pretty mysterious, that looks like this. Victor von Weizsäcker in his research showed very similar behavior in snakes and hawks (falconcelli or if you prefer), which in their movements fighting (or rather, threat) act the same way, always in sync with the opponent : you can not say that one reacts to another, no, almost rehearsed, like in a game in this regard Victor von Weizsäcker has done a fine example of the band saw. This saw must be operated by two people: I've tried once, with Heidegger, it is well-known idea: just do not commit too much to let things go without saying, without offering any resistance.
I now come to the conclusion of the story. You will be amazed that, when faced with these things so simple and obvious, the one who is facing the whole story, questioning its plausibility, he exclaimed with joyful approval, "of course! Although strange, it's likely. " Here are his words: "So my excellent friend," - said Mr. C. - "Now you have everything you need to include: the extent in the organic world the reflection becomes weaker and dark, grace will always appear more radiant and commanding. As well as two lines that intersect proceed indefinitely on one side at one point and then suddenly on the other side, as well as the image of the concave mirror, after having moved away to infinity, we suddenly reappears close front, so also grace, after that knowledge, so to speak, has traversed the infinite, is found in all its purity, in that body by the human form that has no consciousness or infinite, in other words ... or puppet in God "And then" - asked the landlord a bit ' Lost - "we should go back on the tree of knowledge to fall back in innocence?" ... "Certainly," - said the other - "this is the last chapter of world history: the discovery of consciousness in the innocence of childhood '. So this is romance!, Although Hegel would certainly have played with other words: "the restored immediately." Copyright © Rai Educational
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