THE WREATH OF ROMANTIC FRAGMENTS. DANTE AND LISZT

(according to F. Schlegel), is to establish creative parallels between Dante and Liszt based on the restoration of the continuum of discretely organized biographies of the geniuses. The study is based on the principle of alternating fragments of creative biographies of Dante and Liszt, resulting in a special type of the dialogue, presented in the form of a “wreath of fragments”. The “links of the chain” of biographical fragments are determined by the stages of the path of Dante and Liszt to creating prophetic visions of the afterlife in the “Divine Comedy”. The oeuvres of geniuses as “fragments of a general confession” 2 (according to J. W. von Goethe) supplement the events of their biographies. This work is based on the method of comparative biographies dating back to Plutarch, transformed under the influence of genre features of a romantic fragment. A romantic “example” of the design of comparative biographies is the novel by E. T. A. Hoffmann (1821), in the art field of whom the fragments of “biographical scripts” 3 are combined – the crazy Kapellmeister Johannes Kreisler and the Tomcat Murr. The aphoristic nature and Universalism, analytism and symbolism, art and science, philosophy and theology, myth and history, endless and finite, ironic and tragic interact in the genre of a romantic fragment 4 . In the fragment genre, F. Schlegel (“Critical Fragments”, 1797) put forward the concept of romantic irony – the embodiment of the artist’s inner freedom, “Fragmentary genius”, “The spirit of transcendental buffoonery”, allowing you to rise “above all that is conditioned, including your own art, virtue, and genius” 5 . The purpose of