LICHT UND FINSTERNIS: LA NOZIONE DI POLARITÀ NELLA FARBENLEHRE DI J.W.GOETHE

The centrality of the concept of ‘’Nature’’, with its significance and originality streaming from its presentation, must be maintained as the keystone for every analysis focusing on Goethe’s reflection and as key-element through which comprehensively understand his work. Even if this work doesn't aim, pre-eminently, at a reconstruction or recognition of it, the reasons and motives behind the vision attend to reveal the horizon within which to place the more specific situations of the research, which are to be compared with the production of an author produced by a triple experience: poetic, philosophical, scientific. The main objective of this work has been to analyse the strength and preponderance assumed by the Law of polarity in Goethe’s scientific works. In this regard, a particular focus has been committed on the dynamics of such Law in the Farbenlehre, as well as how it cannot be understood but in a constant dialogue with the historical context, the characters and personalities which – even in terms of distance – Goethe reads and studies and converses with. The description of a necessary relationship, which makes the poles to be opposite but at the same time essential, is what truly characterizes the polar relationship distinguishing it from any other. The first chapter of this Paper investigates the cultural background through which Goethe approaches and studies the hermetic-alchemical books. In this context, we would then reflect on the significant role that such works have played in the formulation of Goethe's notion of polarity. When Goethe undertakes his studies of the colours he assumes Newton’s theory as misleading, in primis because it did not acknowledge the polar dynamic which stands – in Goethe’s view – at the origin of formation of the chromatic manifestations. The dispute vis-à-vis Newton is not conducted merely on the ground of physics – e.g. the rebuttal of Newton’s theory is not developed on a purely physical level –. Quite the contrary indeed, Goethe undertakes a fight against ein Muster von sophistischer Entstellung der Natur. As a matter of fact, on the one hand, Goethe accuses Newton of having built experiments ad hoc, in the attempt of legitimising the “theoretische Hypothese” (the heterogeneity and different refrangibility of the light), On the other hand, of having made such experiments uselessly complicated, with the mere purpose of confounding the reader and preventing him to repeat them. To such aberration, Goethe counterposes instead his theory according to which the colours arise where light and shade meet. In the second and third chapter this initial intuition shall be further developed and articulated in its different components. Goethe will introduce his theory to the greatest figures in the field of philosophy, including Schelling. Eventually, the fourth chapter deals with the personal relationship which develops between these two characters, notably considering how a significant part of their philosophical dialogue is indeed based on the notion of ‘’polarity’’.