 “Romantic Poetry” is a notion that Friedrich Schlegel coined and described in most detail in Athenaeum Fragments (AF) number 116. Rather than a particular genre or kind of poetry, Romantic Poetry is poetry as such insofar as “all poetry is or should be romantic” (Schlegel, AF: #116). Romantic Poetry brings out the limits of reason in virtue of being reflective, “[hovering] on the wings of poetic reflection, and [capable of raising] that reflection again and again to a higher power” (AF: #116). Rather than being merely the “portrayed” object itself—a poetic representation—it “hover[s] at the midpoint between the portrayed and the portrayer” (AF: #116), and so, like Kant’s transcendental philosophy, reflects on the conditions of its own possibility and of human mindedness itself. It is not surprising, then, that Romantic Poetry is called “transcendental” poetry: “a poetry and a poetry of poetry” (AF: #238). Goethe’s Wilhelm Meister, a romantic favorite, manifests this dual reflective and substantive nature: 