| Abstract [eng] |
The idea of the inward form of art was formulated at the end of the 18th century by W. von Humboldt. Later it was taken by the Romanticists. The inward form is the deep essence of the thing inaccessible by empirical senses, also simply called by the Romanticists the spirit’s content. Oscar Walzel claimed that the idea of the inward form was borrowed by J. W. Goethe from the Enlightenment epoch’s philosopher A. Shaftesbury, who wrote about the inward form. He used it for the fi rst time in 1776. The German sources of the idea, according to A. Schopenhauer’s statement, lies in I. Kant’s transcendental philosophy, in his idea of the Sache an sich selbst. This idea is directly related to J. Herder’s conception of “the nation’s spirit”, which greatly influenced the formation of the Romantic wordperception. The inward form in art means that primary the shape of every cultural object is spiritual. However, if Herder talks more about the nation’s spirit, then the Romanticists give priority to “the human’s spirit”. F. Schlegel emphasizes that the novel is the content of the whole spiritual life of the man of genius, while F. Schelling specifies that the novel could be written by an adequately spiritually matured spirit. The novel exists in its spiritual and objective shape. Exterior expression forms are not important for the Romanticists. They focus their attention on the spirit of the creative personality, which becomes the inward essence of the novel as the thing in itself. The real form of the novel is its “inward form”, which at the time of its expression creates the inward form: the turns of the plot, topics and problems, types of heroes, narration, etc. |
