Transcendental poetry is a philosophical term coined by Friedrich Schlegel in the journal "Athseenum" around 1800, which indicates the particular feature of poetry to reflect on itself.
In the first German romance, we try to identify in poetry the instrument to understand reality, indeed, to produce the new set of realities. The philosopher Friedrich Schlegel and the Novalis poet are based on the philosophical systems of Immanuel Kant and Johann Gottlieb Fichte, according to which imagination (in radically different ways) produces the reality that we encounter in the experience. Schlegel and Novalis use transcendental poetry to indicate the characteristic of modern poetry to reflect on themselves, so that the philosophical reflection on poetry (on its possibilities, on its limits) becomes constitutive of the poetic itself. For the modern poet, consciousness of the work takes over the spontaneity, the artifice of moderns takes on naturalness and imitation as a general rule of artistic art of the ancients.
In Schlegel in 1800, this task was assigned to transcendental poetry: "in all that he represents [must] also represent the poem and poetry of poetry". It proposes, in particular in the formulation offered by Novalis, as the philosophical way of modernity that has come to light its poetic origins.
After romance, the concept of transcendental poetry is no longer used explicitly, but the category remains the basis of artistic creation and is decisive in understanding a specific feature of modern poetry, its reflective character, its frequent to its nature contrived. This appeal to his being poetry often becomes constitutive of poetry itself, as evidenced today by Jorge Luis Borges and G. Benn. Bibliografiamodifica wikitesto
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