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 The highly reflective nature of distinctively modern, as opposed to classical, poetry involved a distinct type of relation between writer and reader which he describes as one of quasi-religious community. “The synthetic writer”, he notes,

constructs and creates a reader as he should be; he doesn’t imagine him calm and dead, but alive and critical. He allows whatever he has created to take shape gradually before the reader’s eyes, or else he tempts him to discover it himself. He doesn’t try to make any particular impression on him, but enters with him into the sacred relationship of deepest symphilosophy or sympoetry. (CF: fragment 112) 10

The displacement from an immediate absorption within those contextualising things and events within the environing world that Schlegel saw as characteristically expressed in modern literature is clearly another expression of Kant’s “Copernican” turn. The modern work of art is one in which the spectator or reader is positioned in a way so as to be no longer totally absorbed in the represented world. Rather than take what is presented as a reality pure and simple, the receiver simultaneously feels her own “view” as one that is perspectivally conditioned, a particular aspect of a greater whole. But this nevertheless seems to allude to a type of unconditioned “view from nowhere” from which this perspectivity could be grasped. And yet such an allusion to an all-encompassing aperspectival view could be no more than allusion: effectively following Kant, Schlegel thinks of the world as omnitudo realitatis as never able to be known; it is only ever capable of being expressed allegorically. It is this insight that is expressed ironically. “Irony”, as Manfred Frank puts it, “is that which refers ‘allegorically’ to the infinite, exposing its provisionality and incompleteness” (Frank 2004: 181). But as in Kant, the desire to attain to the whole cannot be overcome, and, moreover, this unachievable goal functions to drive us forward, as Rüdiger Bubner puts it, in a “continuous effort to see through the one-sided partialities and finite limitations of our current perspectives” (Bubner 2003: 208).

One of Schlegel’s favourite metaphors for the experience of this type of simultaneous perspectival and aperspectival take on the world comes from Fichte: the subject is “suspended” or “oscillates” between two contradictory cognitive relations to the world, one of which presents the world from a finite perspective, the other of which alludes to the greater whole within which the first view is grasped as limited and perspectival. This is what is conveyed in irony, as irony itself “is the form of paradox” (CF: fragment 48).



施莱格尔对于新时代艺术特点的阐述。transcendental poetry是一种view from nowhere。不过施莱格尔认为作为整体的世界是不可知的，只能通过寓言来表达。

借manfred frank的话指出了allegory、inrony、infinite的关系：反讽是寓言式地指涉无限者，来揭露出其暂时性与不完整性。