Novalis, whose real name was Friedrich von Hardenberg, lived during the period of the Enlightenment, approximately 30 years after its commencement. He was born on May 2, 1772, in Oberwiederstedt, a town located in central Germany. Coming from a long-established aristocratic family, the Hardenberg's, his father held the position of estate manager, responsible for overseeing various family properties in the area. Unfortunately, Novalis lost his mother at a young age, just a year after his birth in 1772. His father went on to remarry in 1775, resulting in the birth of several half-siblings for Novalis. Despite this loss, Novalis's childhood was marked by happiness. Growing up surrounded by a large extended family consisting of aunts, uncles, and cousins, residing in different magnificent houses and estates across the rural German countryside, he enjoyed countless hours of play and adventure in the woods and fields. In addition to his joyful experiences, Novalis was raised in an environment rich in religion and pietism.
His father, a deeply devout man, held traditional yet progressive beliefs for his time. God was perceived by Novalis as a constant companion and source of comfort. Family prayers would last over an hour, and Novalis was expected to offer grace before meals. Initially, it was anticipated that Novalis would pursue a career in either law or the church. However, in 1789, his father sent him to the prestigious Ritterakademie, a renowned public school located outside Jena in Pforta. This institution was encompassed by formidable walls adorned with churches. It was during his time at this school that Novalis encountered Friedrich Schiller, a poet and professor of history and philosophy at the University of Jena. Schiller was organising a society consisting of young university students and local schoolboys who shared a keen interest in philosophy. At the age of 17, Novalis became a part of this society and was introduced to the works of the philosopher Immanuel Kant. Novalis, captivated by Kant's ideas, grew to be one of the philosopher's most devoted and influential admirers, belonging to the first generation of romantic thinkers. He wholeheartedly embraced the world of German Romanticism, immersing himself in the works of Goethe and Schiller and nurturing a deep passion for poetry and literature. It was during this period that Novalis developed his distinctive poetic style, intertwining philosophical concepts with a rich imagination and profound emotions. Through his writings, he explored themes related to love, yearning, and the transcendent qualities of art. Novalis's impact extended far beyond his untimely death at the age of 28, caused by tuberculosis. His influence on literature and philosophy continues to be celebrated even today. The legacy he left behind serves as a testament to the boundless power of the human imagination and the everlasting pursuit of truth and beauty.
During his early life, Novalis had a deep connection to Christianity, influenced by his devoutly religious parents. They followed the Moravian Church, a Protestant sect associated with the Pietist movement. Pietism was a widespread movement in the 17th and 18th centuries, encompassing both the Catholic and Protestant churches. Pietists believed that traditional religious practices in established churches lacked spiritual energy. They advocated for a genuine religious experience based on an emotional, personal relationship with God. As a result, many Pietists rejected conventional churches and clergy, opting for private gatherings that allowed for a more intimate and emotionally charged form of worship. This understanding of piety, where true faith comes from a heartfelt and personal connection with God, greatly influenced Novalis's life and thoughts. His exposure to the Pietist movement during his formative years, as well as his time at the Moravian Cistercian boarding school, had a significant impact on his early philosophy and theology. Novalis was enrolled in this boarding school at the age of 10 and remained there until he was 16. The Moravian Cistercian schools had a distinct approach, prioritising not only essential skills and religious teachings but also a strong emphasis on music and the arts. This curriculum, combined with the emotionally driven and personal forms of worship promoted by Pietism, left an enduring impression on Novalis's intellectual and personal growth. Throughout his life, particularly in his poetry, Novalis expressed a deeply personal approach to religious belief. The formative years spent at the Cistercian boarding school undoubtedly reinforced this individualistic aspect of faith. Furthermore, the school's emphasis on music and the arts, which permeated its curriculum, undeniably contributed to the later development of Romanticism, with its focus on creativity and emotional expression.
Novalis grew up in a family that valued education, and he expressed appreciation for the secure and stimulating environment he was raised in. From a young age, he immersed himself in the natural sciences, aligning himself with the prevailing rationalistic beliefs of the late 18th century. This foundation led him to pursue further education, during which he became part of a group of poets who viewed philosophical advancements as a means to attain an elusive form of beauty. Novalis's involvement in this early German Romantic movement can be attributed to his relationship with Sophie von Kuhn and his education under the esteemed Professor Friedrich Schlegel. German Romanticism rejected the rational, scientific philosophy championed by Immanuel Kant, instead embracing Fichte's notion that the ultimate subject of knowledge is the self. Fichte's methodological approach, known as "philosophy that proceeds from the I," veered away from the empirical understanding prevalent in scientific philosophies of the time. This departure from empirical reasoning starkly contrasted with the atmosphere of the Novalis household. While they shared some similarities with the broader "Age of Reason" or "Enlightenment" era, which valued scientific knowledge as the dominant way of interpreting the world, the Romanticism movement embraced a philosophy rooted in emotions.
Novalis's exposure to Romanticism stemmed from two significant events in his life that were deeply influenced by the history of philosophy. First, his studies in law acquainted him with the practical side of Romanticism, as it was influenced by the radical and unconventional philosophy of the time, particularly English Empiricism. This philosophical movement challenged traditional thinking and rejected the influence of the church and outdated metaphysical concepts. Consequently, Novalis witnessed substantial changes in jurisprudence, and he embraced this new era of law, which became an essential biographical element, highlighting the pervasiveness of Romanticism during the "age of systems." Moreover, Novalis's personal experiences, emotions, and introspection brought him closer to Romanticism. The concept of futuristic introspection, a central element of German Romantic criticism, aligned with the ideals of modernity. It served as a crucial point of connection between the empirical understanding of his inner self and the temporal and spiritual pursuit of perfection. This connection between the exploration of his individuality and the longing for spiritual growth is a captivating and powerful aspect of Novalis's journey within Romanticism.
Another essential component of Novalis's philosophy is his emphasis on the importance of a powerful foundational reality that underlies all human experience. Novalis is convinced that human knowledge is staunchly rooted in the notion of human consciousness as the one binding aspect that secures material and immaterial reality into one coherent tapestry. This emphasises the complements that Novalis believes must exist between materiality and spirituality, as Novalis's mind-body dualism is tightly knit with his spiritual and theological presuppositions, while at the same time material reality is conceived by Novalis as constituting evidence of divine providence and governance in the universe. This is because Novalis, in following some of the philosophical 'giants' of his time, such as Kant, understood empiricism as the only true path to knowledge that is birthed out of rational interpretation of experience. However, the foregoing presupposes a very important epistemological claim regarding the nature and extent of human knowledge, to which Novalis did not entirely subscribe. In his writing Faith and Love, for example, Novalis speaks of human rationality and the ability of human perception to root knowledge in the empirical, a process that should foment the development of new modalities through which the structure of reality and the anatomy of creation can be holistically known. Nevertheless, Novalis repeatedly contends that nature and human observation are inadequate and that they are material impediments to the attainment of true knowledge. His love for spatial and yet abstract cognitive architectures is evident in his poetry as part of his strategy to both dissuade notions that physicality is a necessary prerequisite for knowledge and also to emphasise the perfection that knowledge of spiritual or cognitive architecture can afford to the soul and the spiritual well-being of humans. His work, Christianity or Europe, provides a bridge between Novalis's philosophical work and his subsequent views on the ennobling of human practice and existence through aesthetics. His commentary that man, as an embodiment of the faculties and powers of nature, has been given art from a divine source is as much a farewell to empirical categorical ascend as it is an invitation to view the world as a providentially and beautifully arranged stage for human existence and spiritual development.
Throughout his journey to discover complete and absolute perfection, Novalis is established to have dived very much into, and addressed at length, idealism. Perhaps the reason behind Novalis' engagement with this philosophical school of thought lies in the fact that he was examining both the content and nature of what knowledge really means and involves. Novalis himself has mentioned that the underlying principle behind idealism is the concept that knowledge is derived not from physical reality but from within the mind. As Barker has put it, he claims that "things exist, according to an idealist, only in so far as they are perceived; they have no existence when they are not objects of sensation but in the mind that conceives them." Idealists themselves, as Novalis was likely conscious of, are suggested and accused of setting about trying to prove the existence and knowledge of any objects, be they mental or physical, solely in relation to the presence of some given subject, or that objects can only ever be known in relation to a perceiver. The main perspective into which Novalis casts idealism is that it allows for the possibility that a person's objective knowledge—that is, the capacity for their beliefs to be justified under Gettier accounts—is influenced, constructed, and limited by numerous agents who can either aid or hinder the journey towards genuine knowledge. Tied to this advantage of an understanding from a Novalis-ean idealist perspective is the fact that it is suggested that there could be more reason and scope for motor improvement and progress in knowledge and truth.
Novalis drew inspiration not only from Fichte and the other mentioned writers but also from Friedrich Schelling, whose influence greatly shaped Novalis' writing style. Schelling's ideas, particularly his notion that the essence of nature resides within the human mind and that human thoughts are akin to leaves on the world tree of nature, left a profound impact on Novalis. This concept was thoroughly explored in Novalis' unfinished novel, Heinrich of Ofterdingen. Unlike Fichte's proselytising tracts, which Novalis deconstructed in his incomplete study of Fichte's character, Heinrich of Ofterdingen tells the tale of a young troubadour on an eternal quest to discover a mystical romantic flower and unlock his creative potential. Schelling's influence is evident in a fragment of the novel that delves into the idea of a perfect poet of nature and how it can be perceived and understood. According to Schelling's Ideas for a Philosophy of Nature, the present era calls for a comprehensive system that unifies nature and mind, thereby overcoming the existing dichotomy between thoughts and empirical knowledge fostered by Cartesian philosophy and developed further by philosophers like Locke and contemporary scientists. Novalis had envisioned such a union, as his ultimate goal for Heinrich's journey was to establish a connection between humanity and the natural world through a piece of literature unlike any other.
The correlation between mood and inspiration becomes easier to comprehend through the philosophical teachings that Novolis absorbed from studying Spinoza. It is known that Novolis encountered Spinoza's works in 1793 while studying law at Jena, which likely sparked his interest in developing poetry driven by the ideal of harmonising will and faith, as exemplified in Spinoza's writings. Unlike other romantics, Novalis differs in his interpretation of symbolism in literature. Manor recalls a statement made by Novalis in which he asserts that "philosophy can only serve poetry," as creativity can only be flawlessly depicted through the artistic medium of literature rather than through isolated theoretical philosophies. Furthermore, Novalis found solace in the more accessible translations of Spinoza's works, as they aided his attempt to comprehend key individual ideas. Through studying Spinoza's "Ethics" and "Theologico-Political Treatise," Novolis came to realise that he had immersed himself in the pursuit of discovering truth within both literature and theology. Spinoza aims to demonstrate how individuals should lead their lives and praises those who take pleasure in perceiving things through the power of the third form of knowledge, which entails scientific intuitions. This joy of cognition also enhances our understanding of Novolis' representation of various philosophical themes, including the nature of the universe. Similar to Spinoza's beliefs, writings should offer consolation and not merely provide an exquisite understanding. Specifically, in the "Theologico-Political Treatise," Novalis appeared to be greatly influenced and inspired by the notion of bridging the gap between science and religion. His poem, "Hymns to the Night," can be interpreted as an underlying theme of seeking to forge a connection between science as a means of salvation in the natural world and religious faith in the supernatural realm. Meanwhile, in the stanza "Deus nocte," one can now truly appreciate how Novalis utilised the ancient mystical perception of darkness. Spinoza uses the Latin phrase "Deus sive Natura" to describe God, which signifies that "God or Nature" are not mere abstract concepts or physical elements but rather two different ways of expressing the same reality.
It is exceedingly arduous and extremely challenging to precisely delineate and capture the exact delineation point where the profound verses, eloquently penned by the highly esteemed and eminent Novalis, traverse the ethereal realms of his philosophical reflections and where the boundaries between his profound ruminations and his mesmerising, enchanting poetry become seamlessly blurred, beautifully merging into one harmonious unity. In essence, the texts and literary creations that elegantly emanate from the depths of Novalis's creative genius effortlessly meld together, intertwining with an innate synchronicity that forms an inseparable bond, standing as a testament to his unparalleled brilliance.The formidable task lies in attempting to categorise and classify his comprehensive works solely as purely philosophical, as these masterpieces undeniably transcend such limitations. Novalis's writings have the remarkable ability to not only provoke and captivate our deepest inner sensibilities but also to evoke profound emotions that resound within the very depths of our souls, igniting a powerful and unstoppable surge of inspiration and contemplation. They possess the inherent force to necessitate oral discourse, demanding our attention and compelling us to engage in profound intellectual conversations that strive to unravel the profound truths and complexities concealed within their mesmerising verses.By employing the mystical realm as his methodological foundation, Novalis astutely intertwines and seamlessly synthesises the realms of theory and pragmatic implementation. His visionary mind effortlessly navigates the intricate webs of abstract concepts and ethereal philosophies, skillfully crafting an intricate tapestry that weaves together the threads of imagination and insightful reasoning. In Novalis's enchanting realm of magical idealism, the objective is not simply to pinpoint and predict the potential consequences of a particular event; rather, it transcends such limitations, seeking to harmoniously conjure a spell that breathes life into the very essence of the otherwise mundane and inanimate materials that surround us.Such enchanting wizardry, masterfully demonstrated through his written brilliance, flawlessly exemplifies Novalis's exceptional ability to seamlessly blend and intertwine his profound philosophical musings with his ethereal poetry, creating a symphony of words that resonates within the hearts and minds of all who have the privilege to immerse themselves in his literary realm. It is here, within the vast expanse of Novalis's imaginative landscape, that the boundaries between reality and fantasy, logic and emotion, and life and art become indistinguishably interwoven, inviting us to embark on an extraordinary journey of intellectual discovery and spiritual awakening.
It should be mentioned that the most productive phase of his poetic creativity falls into 1798–99, when he left his grief and sorrow behind and started to hope for a better future. During about one year, Novalis created a lot of poems and other writings, and his creative potential was so strong that his historical friends saw his phenomenological way of living and loving as a better future for mankind—so Romanticism is nothing less than a strong visionary energy, and these are the essence of all that exists. During this phase of poetic creativity and his life, Novalis tried to deepen his understanding of subjective-ideal poetry.
That means, on one hand, he finds poetry to be a reflection of an individual's progress in understanding the universe and himself. Such a Heidegger called this state of mankind in the era of distanced and dominated, objective and mechanical modern time the "forgetfulness of the being." On the other side, Novalis finds poetry to be a divine prayer. Prayer was considered a way of transferring the individual voice to the universal melodies, so we have the poetic mission and desire to guide the objective world to the subjective ideal and the universal harmony. Novalis compares this activity in his notes to "a child and an undeveloped world" through the use of divine guidance. However, as we will see later, his poetry can never be fulfilled as a pure subjective creation, which will be described more in depth in the next topics, for example, the research into the proper materiality and beauty of his poems.
Novalis embraced many of Kant's concepts in his philosophical ideas, particularly when it comes to the notion of freedom. He utilised the notion of an "absolute reality," with the "absolute" and the "ideal" as the highest concepts, akin to Kant's beliefs. Novalis emphasised the idea of "becoming" instead of "being," acknowledging the constant change in life. He asserted that through our use of "reason," we can grasp and appreciate the reality that surrounds us. By using "reason," we can also come to understand our own inner freedom and our connection to the world. Novalis introduced the concept of the "microcosm," linking it to religion and creating a connection between God and the world. According to Novalis, human beings act as a "bridge" between the finite and the infinite, striving to achieve stability, similar to the Judeo-Christian belief that God transformed chaos into order. This idea of "becoming" and the power of "reason" can also be applied to Novalis' personal life, particularly in the face of tragic circumstances like the loss of Sophie. Recognising life as a journey and acknowledging that we haven't yet attained a state of stability can provide hope to those experiencing suffering. Novalis examines these ideas in various works, with a notable focus on "Christianity or Europe." The importance of "reason" and having faith in its ability to comprehend our inner freedom is a recurring theme in Novalis' writings. He highlights the significance of moving from "night" to "morning" through the "poetry" of "philosophy." It demonstrates Novalis' belief in the power of "reason" to comprehend life and recognise that our journey is to understand our inner freedom. These notions of "transcendentalism" significantly influenced his poetry and are more readily apparent. Novalis displays his preoccupation with "night" and the "abyss," considering "nothingness" as a state of continuous change. Furthermore, his idea that we can draw closer to God by creating "incanters," small, structured systems reflecting the "microcosm," draws parallels to religious concepts evident in his poetry. Many claim that his own poetry aids individuals in attaining "cognition" and experiencing the same journey that Novalis embarked upon. His poetry appears to serve as a means of imparting insights into transcendence, life, and "becoming." The central theme surrounding the pursuit of stability and our quest for the "final cause" found in his works, notably "Hymns to the Night," aligns with religious undertones. Novalis delves into how the "ties that bind life" will eventually dissolve, leading people to the "source." This idea corresponds to Buddhist and Judeo-Christian approaches that centre around working towards salvation and freeing ourselves from life's entanglements. His poetry endeavours to aid us in comprehending our personal journey towards understanding the true meaning of "transcendence."
After extensively discussing the fundamental principles of "magical idealism" in his theoretical writings, namely The Novices at Sais and the Pollen Partitions, Novalis delved into the realm of literature and produced a vast array of works based on his concept of "magical idealism." According to Novalis, "magical idealism" signifies our immersion into a wondrous world that we ourselves create through the boundless power of our imagination. In this realm, everything possesses a dual significance: the "actual meaning," which arises from our senses and empirical comprehension of life, encapsulates a sense of permanence and lifelessness, whereas the "symbolic meaning," stemming from our cognitive minds and the vivid portrayal of reality, holds a deeper significance. However, owing to the enchanting abilities of the human mind, the "symbolic meaning" can effortlessly transform into the "sole meaning," giving rise to an altered version of the world. In this new world, entirely different paradigms emerge, for everything becomes transformed into not mere objects of desire and will but the embodiment of the mind's self-realisation. From a purely literary standpoint, "Magical Idealism" suggests that writers construct their own internal universes within their works, and readers, in order to truly experience the emotional resonance conveyed by the texts, must delve into the linguistic symbols and markings themselves rather than solely relying on rational explanations. According to Novalis, the realm of literary creation and experience is constrained by the boundaries of "magical idealism," as it is only through this fundamental framework that individuals can truly experience the miraculous and mysterious and attain profound revelations as well as self-reflection.
Novalis's poetry reflects the idealist ideas of his time, which hence predicts the rationale and the line of his poems. Nature and spirituality are considered two of the fundamental themes in Novalis's poetry. The poets often draw images of flowers and turn them into spiritual meanings. By doing so, nature is seen as a praise by the poets to the religious world because the flowers will only grow and flourish if there is spiritual enlightenment on the lifeless earth. Most of the verses of Novalis's poetry talking about love are filled with immortality and the idea of reaching perfect and eternal love. The love and longing themes are always contrasted with the mundane world. It focuses exclusively on the perpetual, perfect love that exists in the divine. Love that has "past away" in the mere world is simply the bridge created by the divine power to bring humanity to imagine the type of perfect love. Novalis's poetry dwells largely on the expression of longing for the reunification of the self with its divine origin. Through the theme of death and life, one's desire for redemption and to release human life from the limitations of knowledge and death would be satisfied when an individual could reunify with the whole, the divine being. As such, Novalis's poetry presents a multidimensional existence of human reality that transcends the world of time and space and yet relates to the feelings and experiences of an individual. The world of time and space is the centre of our experience because our cognitive function operates within this world. However, it also leads to the indication that the knowing of Novalis's poetry lies in the expression, in following a kind of life that transcends the limitations of the empirical world. According to the romantic's tendency to focus on the images and the power of imagination, by examining the fragments of Novalis's poetry works, the theme of creativity, particularly in the sense of creating poetry, is also evident. His poetry emphasises the reliance on the descriptive and expressive force of imagination.
Nature and spirituality are certainly two of the most central themes in Novalis's poetry. This is intrinsically linked with his philosophy; as previously highlighted, for Novalis, nature was the ultimate reflection of the divine, and this allowed him to stress his convictions throughout his poetry. Here, it could be useful to explore specific verses; for example, references to flowers, streams, and woodlands are prevalent throughout his work. Such facets of the physical world are key elements of the Romantic linguistic style. However, the natural world is not simply a static, aesthetic backdrop for Novalis; rather, it is consistently depicted as a locus for spirituality and divine interaction. For Novalis, the capacity to understand and connect with nature was the catalyst for divine enlightenment; to appreciate the natural world meant grasping the spiritual construction of the universe. Therefore, Novalis conceives of a relationship between man, nature, and the divine that is instrumental, volitional, and deeply personal. The use of the word 'Wunder'—which could be translated as miracle—to describe the appearance of flowers and the transition of the seasons, for instance, serves to illustrate Novalis's conception of nature as a stage upon which transcendental meaning and spiritual messages are palpably evident.
Love and Longing explores the idea of duality and how it relates to the universe, as seen through Novalis's perspective. In his work "Hymns to the Night," the poet vividly portrays the intense emotions and desires tied to love and longing. According to Novalis, these two absolutes are the origins of all life and the universe, offering the potential to diminish suffering. The concept of love being infinite or circular is further expanded upon in the novel. The deep connection between lovers and their commitments is depicted as a cyclical process that can result in eternal happiness. This idea is exemplified in a passage where Novalis advises Sophie to love her son, emphasising the educational power of love and its ability to guide one towards loving God. The theme of love being passed down through generations is also explored in "Education of the Human Race," revealing Novalis's diverse understanding of love and its various manifestations.
Death is a recurring theme in Novalis's writings. He believed that philosophy can only teach us how to face death, but it can also give us the confidence and patience to do so. Despite the tragic loss of his loved ones, Novalis saw death as a source of comfort and a way to progress towards ultimate unity, perfection, and transcendence. He saw death as a gateway to another realm, a necessary step beyond this world. Novalis expressed his sorrow for those who were consumed by fear and saw life as limited, avoiding the concept of death. He believed that the fear of death needed to be cast aside in order to truly live. Novalis acknowledged that the journey through Romantic Idealism would require many deaths: the death of the physical world, the death of the senses, the death of certain tendencies and ideas, and even the death of individuality. In his fragments and lyrical poetry, death was seen as the highest fulfilment of the mysterious science of love. Novalis compared death to sleep and viewed it as a habit of a higher form of life. He believed that by guiding a loved one towards death, we were helping them experience the greater joys of a more bustling existence. As a result, death held a particular allure for Novalis.
Novalis explores the workings of human imagination and its role in shaping our understanding of the world. He views the capacity for "productive imagination" as surpassing traditional intellect and reason, deeming it the ultimate measure of all things. This concept, introduced by Friedrich Schlegel, suggests that when we perceive the world as a collection of random sensations, before applying reason to it, our experiences are characterised by a mental fluidity called "play." This play is not trivial or childish, but instead signifies a realm of creativity and possibility. These notions of creative thought and its ability to challenge conventional understanding gave rise to "Romantic irony" in German literature and poetry. Novalis seamlessly incorporates his belief in the supremacy of creative and imaginative thought into his life philosophy, as evident in his literary works. His poetry can be seen as a documentation of his personal journey to decipher the world through reason and experience, made possible by the use of creative thought. The significance of imagination in our comprehension of life remains relevant today and serves as a foundation for studies in philosophy, psychology, and literature.
According to René Wellek, Novalis' impact on poetry is described as a philosophy that is rooted in nature and expresses emotions and problems through organic imagery. The poetry of the time is seen as more rigid and theoretical compared to philosophy. This distinction arises from the emphasis on nature in poetry, which allows for the free expression of internal thoughts and emotions, in contrast to the theoretical doctrines present in the philosopher's work. Novalis' poetry acts as a counterpoint to his philosophy, offering personal and exploratory reflections of the self rather than providing answers to the mysteries of the universe. This dichotomy enriches the interpretation of his works, as Wellek believes that there is a greater unity within his philosophy than Novalis actually conveys. Wellek further argues that there is a continuous evolution and development of ideas in Novalis' works, with a more consistent method than philosophical content itself. This idea of evolution and discovery is contrasted with the more defined and established ideology of German Romantic thinkers, connecting philosophy to its historical context. P.J. Gareis suggests that Novalis uses poetry as a medium to explore and develop his philosophy rather than simply illustrating its ideas and concepts.
In general, the core theme of "Novalis's" philosophy revolves around the underlying reality that lies beneath the surface. This concept of transitioning between the realms of existence and change was influenced by philosophers Friedrich Schlegel and Friedrich Schelling. Although the characters and conversations in the novel may seem commonplace for that era, when examined through the lens of the epistemological and ontological distinction between appearance and reality, the narrative takes on a completely new form. It transforms into a tale of initiation, going beyond a simple travel story. The Areopagus serves as a representation of the unique way of gaining knowledge, which can be likened to a doubtful dream inside a cave, dependent on sensory perception. Hegel's reasoning can be compared to a multitude of awakened states, both within the novel and in the modern world, as well as within the Areopagus sequence. Romantic poetry is characterised by various sacrifices made by individuals to conform to the dictates of nature and the world around them. Additionally, the romantic poet and their cherished possessions are emphasized. Hegel scrutinises and mocks the fundamental principles of life and metaphor, exposing their falsity and arrogance. Each transition, each forward step towards the north in the settings, brings about greater joy and spiritual liberation. In the novel, the character Constantia dismisses the mediaeval Christian worldview as the worthless residue of continuous existence. Her firm acceptance of the divine purpose of the soul implies a profound illness that afflicts humanity, causing it to wither and fade away.
After providing an explanation of Novalis' perspective on poetry and the key components of his poetic style, it is essential to delve into his emphasis on symbols and how they manifest in his poetry. Novalis himself discusses the importance of symbols in human understanding and their capacity to reveal deeper truths beyond the confines of the physical world. In his book "Ueber die Lehre Novalis," Ludwig Tieck argues that Novalis perceives symbols as a natural connection between the spiritual and physical realms, far more significant than mere forms of representation. As previously mentioned, the significance of symbols lies in their ability to coexist alongside ideas and material objects; they are not fused together nor are they separated, thereby giving them symbolic meaning. There is a valid mental bond that allows the human mind to communicate with higher realms through symbols. Consequently, when Novalis incorporates symbols into his poetry, he is utilising them as a means to unveil a transcendent reality—an elevated realm of existence. Moreover, according to the influential critic Heine (1840), it can be understood that Novalis employs fruitful and distinctive symbols that depend entirely on the object they symbolize. By interpreting Novalis' works, one can uncover valuable and delicate elements that beckon towards a discovery attainable by embracing the same symbolic conditions as Novalis. This analysis further suggests that a symbol begins to represent something distinct and truthful when it employs physical form to establish a connection with successive layers of symbolism until it reaches its highest point.
Novalis' renowned writing style is characterised by its intricate nature, often presenting complex and deep texts. This complexity can pose a challenge for contemporary readers, making it difficult for them to fully engage with his work. However, it is worth noting the significance of the academic style and linguistic choices he employs in his poetry. Agamben suggests that poetry holds the potential to be an autonomous source of knowledge, a concept that is echoed by Benjamin's idea of exploring language through playful exploration. In poems such as 'The Hymns to the Night,' Novalis utilises a distinctive language that centres around compelling imagery and beautiful sounds, evoking profound emotions and vivid mental images. For Novalis, language serves a purpose that surpasses mere communication, offering an opportunity for personal reflection and evoking deep emotions. In this sense, it becomes a means of establishing a connection with the divine, as Novalis describes it—a longing for subjective creation. Novalis' linguistic style finds its roots in his faith experience, aligning with the Romantic ideology of intimate and subjective forms of communication, personal revelations, and creative expressions. As an individual with deep religious convictions, Novalis regarded language as an integral part of worship, infusing his poetry with a sense of heartfelt devotion that characterises the Romantic period. Barfield argues that Romantic poetry does not rely on fixed and universally accepted truths, highlighting the fluidity and dynamic nature of this literary movement. Furthermore, Novalis' own style and choice of language underwent transformations over time, reflecting the influence of his faith and personal experiences. This diachronic analysis, a principle in literary theory, emphasises the interconnectedness of language and literature with broader cultural and spiritual shifts.
Novalis had a significant impact on later Romantic poets, like Heinrich Heine, and this influence cannot be overlooked. However, it is not only in the world of literature that Novalis's legacy is felt. In France, Romanticism has been referred to as the "Age of Novalis," emphasising the importance of his works. French Romanticism, in particular, has been shaped by Novalis's quintessentially German ideas, with The Hymns to the Night playing a significant role. Novalis's influence extends beyond literature and criticism. His concept of "poetic pneumatology," which suggests that inner experiences can be understood as physical ones, has influenced figures like Carl Gustav Carus, a painter and psychologist. Novalis, along with other influential writers of the late 18th and early 19th centuries, has had a profound impact on the literary landscape. According to renowned works on the development of German thought, Novalis's writings are seen as defining moments, leaving a lasting imprint. The reception of Novalis's works has been examined by previous scholars and readers, shedding light on his significance within German and European culture. The extent of Novalis's influence on the Romantic Movement is so great that a sculpture of the poet was unveiled at the Weimar Lyceum, where he studied law. The artist, Wolfgang Eckert, remarked that Novalis embodies historical sentiments towards European unity. This demonstrates that Novalis and his works continue to hold relevance today, even in a time of pan-European associations. The repeated referencing of Novalis and his works, particularly in The Hymns to the Night, serves as a testament to the enduring importance of his life and philosophy.
Heinrich von Ofterdingen, a creation of Novalis, has gained both enduring popularity and undergone evolution, becoming a symbol of the thriving creative process at the start of the 19th century. The Romantic movement itself was characterised by its emphasis on fostering an emotional connection to knowledge and deep contemplation, resulting in pure emotional responses. It rejected rigid rules and predefined methods, allowing for a spontaneous and organic appreciation of the beauty found in the universe. This movement placed great importance on the admiration of nature, which strongly resonated with poets. One particularly successful and emotive avenue for expressing innermost feelings and passions was through poetry. Novalis' creation, known as the Novalis stars or Novalischen Sterne, embodies the clash between reason and knowledge, also referred to as Forschungsreise or a "research journey." The concept behind this creation is based on the belief that the work is never truly finished, mirroring the constant state of creation prevalent in the early German Romantic movement. Today, Novalis' papers are highly cherished by enthusiasts, students, and researchers of German literature worldwide. The influence and power that nature holds over individuals, the use of fragmented imagery, and the interplay of light are seen as the doorways to comprehending this passage. These characteristics of nature can be connected to other significant aspects of the Romantic movement, such as the contrasting portrayal of nature against humanity. Novalis' work greatly influenced and diverted the creative pursuits in later German literature, with his impact extending to contemporary studies and even English authors like Joseph Conrad. In terms of its magnitude and scope, Novalis' symbolism in the early German Romantic movement remains unparalleled.
During the middle of the 19th century, Novalis gained great renown in Germany and throughout Europe. This was when other continental cultures began to take notice of him. In the 19th century, his writings were embraced and incorporated into the emerging philosophical movement known as German Romanticism, which had a strong sense of national identity. The concepts of the unconscious and the soul were deeply explored by influential thinkers of that time, including Jakob Boehme, Leibniz, and Fichte. Novalis' ideas also resonated with writers like Hoffman and Tieck, as well as with translated works by Burton, Lavater, and Saint-Martin. In the 20th century, there was a resurgence of interest in Novalis' works in Germany. This led to the creation of new critical editions, expansions, and translations of his writings. Research and analysis on Novalis continued throughout four generations up to the present time. The first generation focused on publishing and introducing the initial critical editions. The second generation wrote extensively about Novalis in the 1920s. The third generation, during the middle of the 20th century, started to view his works from a more contemporary perspective. And currently, in today's culture and philosophy, the fourth generation is beginning to appreciate Novalis' revised role. In recognition of his significance, streets, buildings, and even rocky formations in Germany were given the names of Novalis and some of his later pseudonyms, like Freiherr von Hardenberg. This serves as a testament to the heightened appreciation in the 20th and 21st centuries for this innovative and distinct thinker of the Romantic era.