Novalis, the Early German Romantic poet and philosopher, had at the core of his work a mysterious depiction of the ‘absolute’. The absolute is Novalis’ name for a substance that defies precise knowledge yet calls for a tentative and sensitive speculation. How one asserts a truth, represents an object, and sets about encountering things in the world, is in the first instance the domain of the absolute, which diffuses through all things in the world. In this article, I begin by (...) describing the absolute in general and I outline its importance in Novalis’ works. I then speculate on its natural tendency to render an object mysterious and fundamentally unknowable. Although the absolute also allows us an insight into an object, my attention in this article is drawn to its concealment in mystery because, as Novalis was at pains to indicate, the Enlightenment has been more than generous to the clear perception of an object. I turn to consider the poet—a most important political character in Novalis’ works—and their Bildung of themselves and their communities. They bring their communities to continual maturation through their role in romanticising the ordinary world and through their need to consistently reflect on, and be aware of, the absolute. They also develop themselves in their ongoing state of mystery as they carry out their political and poetic responsibility. (shrink)

The entry aims to explain a core feature of otherwise different variants of romanticism: the commitment to “the primacy of aesthetics.” This commitment is often expressed by the claim that the “aesthetic”—most broadly that which concerns beauty and art—should permeate and shape human life. The entry proposes that this romantic imperative should be understood as a structural or formal demand. On that reading, the romantic imperative requires that we model our epistemological, metaphysical, ethical, political, social and scientific pursuits according to (...) the form of the aesthetic comportment to the world, exemplified in poetry. Rather than aiming to replace “real” life, science and philosophy with poetry, the romantics urge human beings to fashion their ordinary lives and to do science and philosophy according to the model provided by poetry. Philosophy, science and everyday life need not be poetry, but poetic or poetry-like. Structurally, they should become similar. Why so? The main task of this entry is to offer an answer to this question and to show that the reasons for “poeticizing” life, science and philosophy are themselves philosophical. (shrink)