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Together with Friedrich Schlegel, Novalis developed the fragment as a literary artform in German. For Schlegel, the fragment served as a literary vehicle that mediated apparent oppositions. Its model was the fragment from classical sculpture, whose part evoked the whole, or whose finitude evoked infinite possibility, via the imagination. The use of the fragment allowed Novalis to easily address any issue of intellectual life he wanted to address, and it served as a means of expressing Schlegels ideal of a universal "progressive universal poesy”, that fused "poetry and prose into an art that expressed the totality of both art and nature". This genre particularly suited Novalis as it allowed him to express himself in a way that kept both philosophy and poetry in a continuous relationship. His first major use of the fragment as a literary form, Pollen, was published in the Athenaeum in 1798.
Friends, the soil is poor, we must scatter an abundance of seed that we may thrive on a moderate harvest.
我們到處尋找絕對物 (das Unbedingte)，卻始終只找到常物 (Dinge)。
1. We look for the unconditioned everywhere and only ever find things.
2. Expression by tones and strokes is a marvelous abstraction. Three letters express God to me; a few strokes a million things. How easy the operation of the universe becomes here, how intelligible the concentricity of the spirit world! Grammar is the dynamic of the spirit realm. A word of command moves armies; the word freedom, nations.
6. We will never fully comprehend ourselves, but we will and can do much more than comprehend ourselves.
9. The entirety of our perception is like the eye. The objects must pass through opposing media to appear correctly on the pupil.
66. All the coincidences of our life are materials from which we can make what we want. Whoever has much spirit makes much of his life. For the completely spiritual person, every acquaintance, every incident, would be the first link in an infinite series, the beginning of an infinite novel.
68. A translation is either grammatical, or transformative, or mythical. Mythical translations are translations of the highest style. They represent the pure, perfect character of the individual work of art. They do not give us the actual work of art, but the ideal of it. I believe that there is still no complete example of it. However, one meets clear hints of it in the spirit of certain reviews and descriptions of artworks. It takes a mind in which the poetic spirit and the philosophical spirit have permeated each other in all their fullness. Greek mythology is in part one such translation of a national religion. The modern Madonna is such a myth as well.
Grammatical translations are the translations in the ordinary sense. They require a great deal of learning, but only discursive ability.
The transforming translations, if they are to be genuine, include the highest poetic spirit. They slip easily into travesty, like Bürgers Homer in Iambic, Popes Homer, and French translations as a whole. The true translator of this kind must in fact be the artist himself, and be able to give the idea of the whole in one way or another. He must be the poet of the poet, allowing himself to express his own and the poets particular idea at the same time. The genius of humanity stands in a similar relationship with every individual human being.
Not just books, anything can be translated in these three ways.
70. Our language is either mechanical, atomistic or dynamic. The genuinely poetic language should, however, be organic and lively. How often does one feel the poverty of words to hit on several ideas in a single stroke.
109. Nothing is more poetic than remembrance and the anticipation or imagination of the future. The ideas of the past draw us towards death, toward flying away. The ideas of the future drive us toward enlivenment, toward embodying, toward an assimilative activity. Hence all memory is melancholy, all anticipation joyful. The former moderates an excess of liveliness, the later vivacity, the latter enhances a too-feeble sense of life. The ordinary present integrates past and future through constraints. Contiguity emerges, crystallization through consolidation. There is however a a spiritual present, which brings both into an identity through dissolution, and this mixture is the element, the atmosphere of the poet.
114. The art of writing books has not yet been invented. But it is about to be invented. Fragments of this kind are literary seeds. Certainly there may be a few unproductive grains amongst them: yet if only a few of them sprout forth!
Translation:Writings of Novalis/Pollen
|( 知識學習｜隨堂筆記 )|