ABSTRACT
Scholarship on the development of Classical and Romantic concepts of imagery has long since recognized Karl Philipp Moritz as playing a key role. In the analysis of Andreas Hartknopf, this chapter sketches a 'viewpoint' for Moritz's use of symbolism that also shed new light on his novel. In order to do so, it is necessary above all to take the 'entire' Moritz into account, always to consider him even in the context of purely aesthetic questions as the teacher of experiential psychology and self-observer; as linguist and grammarian; and finally, in his role as a pedagogue. Moritz himself sketched an exemplary model of this multi-layered symbolism in one of his most influential writings, the Götterlehre, which was published in the same year as the second Andreas Hartknopf novel. Andreas Hartknopf marks not just the transition from the didactic late Enlightenment to classical, autonomous aesthetics and symbolism: it becomes at the same time a model for kindred authors like Jean Paul.
