 In line with his general philosophy of history, Novalis contrasts modern art to the art of ancient cultures. As opposed to ancient art, which was afforded a direct moral and religious relevance, modern art reflects its status as art. Or, stronger still, modern art sees itself as art only—yet, precisely as art (only) can it give voice and expression to experiences that cannot be grasped by a post-Enlightened, philosophical reason. As part of the Schillerian era of sentimentality, modern philosophy mourns the absence of a pre-subjective, pre-reflexive anchoring of reason. Herein consists the so-called homesickness of philosophy (AB #857). Modern philosophy longs for a principle that can shore up thought and subjectivity by reference to a dimension of being that is ontologically prior to it. Given its discursive nature, philosophy is constitutively cut-off from such an absolute grounding. Art, however, can testify to this dimension of being; it can express what modern philosophy wants, yet is painfully aware that it cannot get. In this sense, “the poet is the transcendental physician,” as Novalis provocatively puts it (LFI #36). Given its linguistic nature, poetry in particular should strive to realize its own inherent potential rather than imitating philosophy and other discursive forms of expression.