Karl Wilhelm Friedrich Schlegel
Karl Wilhelm Friedrich Schlegel
Karl Wilhelm FriedrichSchlegel, usually cited as Friedrich Schlegel, was a German poet, literary critic, philosopher, philologist and Indologist. With his older brother, August Wilhelm Schlegel, he was one of the main figures of the Jena romantics. He was a zealous promoter of the Romantic movement and inspired Samuel Taylor Coleridge, Adam Mickiewicz and Kazimierz Brodziński. Schlegel was a pioneer in Indo-European studies, comparative linguistics, in what became known as Grimm's law, and morphological typology. As a young man he was...
NationalityGerman
ProfessionPoet
Date of Birth10 March 1772
CountryGermany
Karl Wilhelm Friedrich Schlegel quotes about
The life of the artist should be distinguished from that of all other people, even in external habits. They are Brahmins, a highercaste, not ennobled by birth, however, but by deliberate self-initiation.
Can we expect the redemption of the world from scholars? I doubt it. But the time has come for all artists to join together as a confederation in an eternal league.
I can no longer say my love and your love; they are both alike in their perfect mutuality.
Philosophy is the true home of irony, which might be defined as logical beauty: for wherever men are philosophizing in spoken or written dialogues, and provided they are not entirely systematic, irony ought to be produced and postulated; even the Stoics regarded urbanity as a virtue.
Whoever has not arrived at the clear insight that there might be greatness entirely outside his own sphere for which he has no understanding, whoever does not have at least a dim inkling in which area of the human spirit this greatness might be situated: he is within his own sphere either without genius, or he has not educated himself up to the point of the classical attitude.
There are three kinds of explanation in science: explanations which throw a light upon, or give a hint at a matter; explanations which do not explain anything; and explanations which obscure everything.
The following are the universally fundamental laws of literary communication: 1. one must have something to communicate; 2. one must have someone to whom to communicate it; 3. one must really communicate it, not merely express it for oneself alone. Otherwise it would be more to the point to remain silent.
The need to raise itself above humanity is humanity's main characteristic.
The analytical writer observes the reader as he is; accordingly, he makes his calculation, sets his machine to make the appropriate effect on him. The synthetic writer constructs and creates his own reader; he does not imagine him as resting and dead, but lively and advancing toward him. He makes that which he had invented gradually take shape before the reader's eyes, or he tempts him to do the inventing for himself. He does not want to make a particular effect on him, but rather enters into a solemn relationship of innermost symphilosophy or sympoetry.
When the author has no idea of what to reply to a critic, he then likes to say: you could not do it better anyway. This is the same as if a dogmatic philosopher reproached a skeptic for not being able to devise a system.
Nothing is more piquant than when a man of genius possesses mannerisms; not so when they possess him -- this leads to spiritual petrification.
That which reminds us of nature and thus stimulates a feeling for the infinite abundance of life is beautiful. Nature is organic,and therefore the highest beauty is forever vegetative; and the same is true for morality and love.
German writings attain popularity through a great name, or through personalities, or through good connections, or through effort,or through moderate immorality, or through accomplished incomprehensibility, or through harmonious platitude, or through versatile boredom, or through constant striving after the absolute.
The obsession with moderation is the spirit of castrated narrow-mindedness.