Book contents
- Frontmatter
- Contents
- Introduction
- Chronology
- Further reading
- Note on the texts
- Aesthetica in nuce: A Rhapsody in Cabbalistic Prose (1762)
- Laocoön: An Essay on the Limits of Painting and Poetry (1766)
- From ‘On the Artistic Imitation of the Beautiful’ (1788)
- ‘Kallias or Concerning Beauty : Letters to Gottfried Körner’ (1793)
- ‘Oldest Programme for a System of German Idealism’ (1796)
- ‘Letter to Hegel, 26 January 1795’
- ‘Being Judgement Possibility’ (1795)
- ‘The Significance of Tragedy’ (1802)
- ‘Remarks on Oedipus’ (1803)
- From Miscellaneous Remarks (1797)
- ‘Monologue’
- ‘Dialogues’ (1798)
- ‘On Goethe’ (1798)
- ‘Studies in the Visual Arts’ (1799)
- From ‘Critical Fragments’ (1797)
- From ‘Athenaeum Fragments’ (1798)
- From ‘Ideas’ (1800)
- ‘On Goethe's Meister’ (1798)
- ‘Letter About the Novel’ (1799)
- ‘On Incomprehensibility’ (1800)
- Index
- Cambridge texts in the history of philosophy
From ‘Critical Fragments’ (1797)
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Introduction
- Chronology
- Further reading
- Note on the texts
- Aesthetica in nuce: A Rhapsody in Cabbalistic Prose (1762)
- Laocoön: An Essay on the Limits of Painting and Poetry (1766)
- From ‘On the Artistic Imitation of the Beautiful’ (1788)
- ‘Kallias or Concerning Beauty : Letters to Gottfried Körner’ (1793)
- ‘Oldest Programme for a System of German Idealism’ (1796)
- ‘Letter to Hegel, 26 January 1795’
- ‘Being Judgement Possibility’ (1795)
- ‘The Significance of Tragedy’ (1802)
- ‘Remarks on Oedipus’ (1803)
- From Miscellaneous Remarks (1797)
- ‘Monologue’
- ‘Dialogues’ (1798)
- ‘On Goethe’ (1798)
- ‘Studies in the Visual Arts’ (1799)
- From ‘Critical Fragments’ (1797)
- From ‘Athenaeum Fragments’ (1798)
- From ‘Ideas’ (1800)
- ‘On Goethe's Meister’ (1798)
- ‘Letter About the Novel’ (1799)
- ‘On Incomprehensibility’ (1800)
- Index
- Cambridge texts in the history of philosophy
Summary
4. There is so much poetry and yet there is nothing more rare than a poem! This is due to the vast quantity of poetical sketches, studies, fragments, tendencies, ruins and raw materials.
8. A good preface must be at once the square root and the square of its book.
9. Wit is absolute social feeling, or fragmentary genius.
14. In poetry too every whole can be a part and every part really a whole.
16. Though genius isn't something that can be produced arbitrarily, it is freely willed – like wit, love and faith, which one day will have to become arts and sciences. You should demand genius from everyone, but not expect it. A Kantian would call this the categorical imperative of genius.
20. A classical text must never be entirely comprehensible. But those who are cultivated and who cultivate themselves must always want to learn more from it.
21. Just as a child is only a thing which wants to become a human being, so a poem is only a product of nature which wants to become a work of art.
22. The flame of the most brilliantly witty idea should radiate warmth only after it has given off light; it can be quenched suddenly by a single analytic word, even when it is meant as praise.
23. Every good poem must be wholly intentional and wholly instinctive. That is how it becomes ideal.
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- Information
- Classic and Romantic German Aesthetics , pp. 239 - 245Publisher: Cambridge University PressPrint publication year: 2002
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