German poet, literary critic and philosopher, Friedrich Schlegel, was, like other romantics, a big fan of the fragment.
In an oft-cited section of his Athenäums-fragmente (1798), he asserts that, if it is to be distinctive in form and purpose like a tiny work of art, then the fragment "has to be entirely isolated from the surrounding world and be complete in itself like a hedgehog" [206].
Further, it must maintain itself in prickly opposition even to those fragments in close vicinity to which it might otherwise seem in some kind of relation, thereby reflecting Schlegel's view that the world is made up of isolated objects within a chaotic universality of infinite possibilities and perspectives.
In an oft-cited section of his Athenäums-fragmente (1798), he asserts that, if it is to be distinctive in form and purpose like a tiny work of art, then the fragment "has to be entirely isolated from the surrounding world and be complete in itself like a hedgehog" [206].
Further, it must maintain itself in prickly opposition even to those fragments in close vicinity to which it might otherwise seem in some kind of relation, thereby reflecting Schlegel's view that the world is made up of isolated objects within a chaotic universality of infinite possibilities and perspectives.
As someone who is also passionate about fragmentary writing - more due to my background in modernism and postmodernism, rather than romanticism - I feel obliged to say something about this; particularly as I feel there's something fundamentally false about Schlegel's view.
Firstly, whilst hedgehogs might lead relatively solitary lives and can, of course, roll into a tight spiky ball for defensive purposes, they are no more isolated from the surrounding world than any other creature; if they were, they'd die. So, if nothing else, the above Igel analogy doesn't hold water as far as any self-respecting naturalist would be concerned.
Secondly, whilst I concede that objects are always at some level withdrawn and don't exist purely in terms of their external relations, for me the beauty of the fragment is that it (potentially) contains all things within it on the one hand, whilst being forever open ended on the other. Indeed, I would say the perfect fragment always inconclusively concludes in an elliptic manner with a set of three dots and that they only really sparkle, like stars in a constellation, by becoming part of a new (intertextual) practice of some kind.
Firstly, whilst hedgehogs might lead relatively solitary lives and can, of course, roll into a tight spiky ball for defensive purposes, they are no more isolated from the surrounding world than any other creature; if they were, they'd die. So, if nothing else, the above Igel analogy doesn't hold water as far as any self-respecting naturalist would be concerned.
Secondly, whilst I concede that objects are always at some level withdrawn and don't exist purely in terms of their external relations, for me the beauty of the fragment is that it (potentially) contains all things within it on the one hand, whilst being forever open ended on the other. Indeed, I would say the perfect fragment always inconclusively concludes in an elliptic manner with a set of three dots and that they only really sparkle, like stars in a constellation, by becoming part of a new (intertextual) practice of some kind.
Ultimately, the fragment is that which allows language to discover its own ephemeral destiny. They appear, but before we can hardly even begin to make sense of them they shoot lines of flight towards the horizon of their own disappearance, showing a beautiful indifference towards their own origin, their own end, or their own Schlegelian self-perfection as an enclosed work of art.
Each thing - be it fragment or hedgehog - streams in what D. H. Lawrence terms an intertwining flux of relations and the business of art is reveal and expand these relations, not isolate itself from the circumambient universe. The only way we might discover some kind of salvation (or belonging) is to accomplish a pure (or quick) relationship between ourselves and other objects of all description and for me it's fragmented or aphoristic writing which, as a literary genre, best facilitates this.
Each thing - be it fragment or hedgehog - streams in what D. H. Lawrence terms an intertwining flux of relations and the business of art is reveal and expand these relations, not isolate itself from the circumambient universe. The only way we might discover some kind of salvation (or belonging) is to accomplish a pure (or quick) relationship between ourselves and other objects of all description and for me it's fragmented or aphoristic writing which, as a literary genre, best facilitates this.
Note: I am grateful to Thomas Bonneville for encouraging me to read Schlegel and write this post.
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