In the present article an attempt is made to bring Novalis’ fragments into correlation with pre-romantic poetological tradition. This tradition was not rejected by Novalis, but rather was used as a material for his own theoretical constructions. A few examples demonstrate that the European poetological topoi, though variously transformed, retain significance for Novalis. Thus, Novalis turnes to the topos “poetry is a reflection of cosmic music” when he asserts the unity of the poetic meters and the rhythms of the universe. He also creates his own variation on the topos “poetry is the sum of all sciences” which has ancient roots and is often found in Renaissance “Defences of poetry”. Realization of this topos Novalis refers to the future when poetry becomes the universal form for all sciences.

In thoughts of the poet Novalis oscillates between opposite poetological poles, sometimes leaning towards the Horatian topos of the poet-sage and attributing to the poet the gift of omniscience, and sometimes varying Platonic topos of the “poet possessed by the Muses” (in Novalis’ case the poet is taken by the “great rhythm” of the universe unconsciously obeying to some cosmic laws). Finally, the idea of mimesis as a “dramatic” immersion in another personality (the idea which goes back to Plato) is translated into fragments where the genius is credited with the ability to absorb other personalities and to be simultaneously several people.