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Novalis's philosophical writings are often grounded in nature. His works explore how personal freedom and creativity emerge in the affective understanding of the world and others. He suggests that this can only be accomplished if people are not estranged from the earth.
Novalis wrote the pamphlet to present to his Romantic contemporaries in Jena. [1] The pamphlet presents a philosophy of history and religion, and culminates in a vision of a new epoch. [2] The pamphlet discusses the future of the European continent, which seemed unstable given the recent rise of Napoleon and the death of Pope Pius VI in 1799.
Carlylean influence is also seen in the writings of Ryūnosuke Akutagawa, Leopoldo Alas, [180] Marcu Beza, Jorge Luis Borges, the Brontës, [181] Arthur Conan Doyle, Antonio Fogazzaro, [174] E. M. Forster, Ángel Ganivet, Lafcadio Hearn, William Ernest Henley, Marietta Holley, Rudyard Kipling, [182] Selma Lagerlöf, Herman Melville, [183 ...
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Richard Wagner referenced "Novalis" in his essay "On Poetry and Composition" (1879). Doctor and theosophist William Ashton Ellis quoted from "Novalis" in a lecture delivered at a meeting of the Society for the Encouragement of the Fine Arts on 3 February 1887.
Hymns to the Night (Hymnen an die Nacht) is a set of six prose poems written by the German Romantic poet Novalis (Georg Philipp Friedrich von Hardenberg) and published in 1800. [1] The poems were written in response to the death of Novalis' fiance , Sophie von Kuehn, in 1797.
Transcendental homelessness (German: transzendentale Obdachlosigkeit) is a philosophical term coined by George Lukács in his 1914–15 essay Theory of the Novel.Lukács quotes Novalis at the top of the essay, "Philosophy is really homesickness—the desire to be everywhere at home."
The group of Jena Romantics was led by Caroline Schlegel, who hosted their meetings. [2] Two members of the group, brothers August Wilhelm and Friedrich von Schlegel, who laid down the theoretical basis for Romanticism in the circle’s organ, the Athenaeum, maintained that the first duty of criticism was to understand and appreciate the right of genius to follow its natural bent.