Self-Knowledge and God-Knowledge II

GA 90b — 26 April 1905, Cologne

XVIII. Novalis's Novel in Prose, “Heinrich Von Ofterdingen”

Let us take a look at the short life of Friedrich von Hardenberg, known as Novalis. Novalis is more a memory of a past life than a life in itself, a fine personality, an individuality who, from the very beginning, had the most profound spirituality as an inclination within him. One is always amazed at how Novalis combines the highest intellectuality, the sharpest thinking, with a wonderful spirituality.

He was a trained mining engineer who had a complete mastery of mathematics and the physical sciences, who combined mathematical thinking with a fine, delicate, and yet fiery, ether-like spirituality, who lived this harmoniously in a way that is perhaps unparalleled in life. You have to be able to empathize with what is contained in Novalis' sayings and fragments to realize how deeply he penetrated into the inner structure of the world. You also have to be able to empathize with his enthusiasm for mathematics. For him, it is a great poem that introduces us to the secrets of the world. Man ponders the connections between space and time. If he can imbibe the harmony of the stars, which revolve around the sun according to eternal laws, with the formative forces that work within the earth in ore veins, crystal formations and so on, then he can sense the living essence of the world.

Novalis is filled with true enthusiasm for mathematics. He calls mathematics, which can show such paths of understanding, a sublime religion. It is wonderful how he is able to embrace this seemingly dry science with fervent devotion. For him, the sensory world existed only as a reflection of eternally living spiritual facts, which reveal themselves to earthly perception in natural laws.

Novalis fell deeply in love with a thirteen-year-old girl who died soon after their engagement. The shock he experienced was tremendous. It opened the gates of the spiritual world to him. Novalis speaks with the deceased as with a living person; he called his own further life a 'her-after-death'. She is always present to him. The friendship that later united him with another girl can be called a supersensible one. She is like an emblem for the spiritual being that hovers above and with whom he will completely merge.

There was a power of spirituality in him that stands unparalleled in the modern age.

In earlier lives, Novalis had undergone profound initiations. Thus, he entered this life with a predisposition for a true, real understanding of world events. He appeared in the spiritual sky like a meteor, scattering spirit everywhere in a way rarely found in the expressions of newer spirits.

The fresh, youthful nature of Novalis was characterized by two poles: a great intellectuality and a deep spirituality. The whole wealth of his manifold creative thinking converged in him into an all-embracing sense of totality, which had its source of life in a divine source. He sensed the source everywhere as spirit. Novalis called this consciousness “magic”. The creative imagination, the feeling of the soul was for him a reproduction of the great cosmic feeling; it became for him “magical idealism”. He experienced his ego as related to the ego of all other beings, and he felt that all beings were related to each other. Thus Novalis merged with the spiritual weaving and life of nature.

In the “Apprentices of Sais” you will find the story of the young man “Hyacinth”, who has an intimate relationship with the creatures of nature. He and the girl “Rosenblüte” are bound by a warm friendship. The animals of the forest and the flowers of the fields are his companions in his secrets. It is told how he meets a man with a long beard who has a book from which Hyacinth learns a great deal. Now he is driven to seek out what constitutes the innermost being of man. This, what man must seek, Novalis called “the blue flower”. It is the seeking of the higher self in man.

We also find this significant symbol in oriental mysticism as the lotus flower. It is a symbol of the higher self, of chaste, purified humanity, in which the self can unfold. It is still enclosed as if by petals – later it will bear fruit and seeds. Novalis had brought such knowledge with him from his previous incarnations.

We are now told how Hyacinth wanders to the land of secrets, always searching, until he finds a veiled figure. When he removes the veil, he sees little roses.

In Novalis's “Hymns to the Night”, his experience of cosmic-human unity is expressed lyrically. This is also the case in the “Spiritual Songs”, this harrowing document of merging with Christ.

Everything he wanted to say to the world, Novalis set out in the novel “Heinrich von Ofterdingen”. But he died before he could finish it. Let us recall in our minds what he intended to accomplish.

We are transported back to the time of the Wartburg Singers' Contest when Heinrich was young. But the course of events takes us out of the world of the present and into a fairytale world. We have to transport ourselves back to the time when the area of the Atlantic Ocean was still land. There was once a lively life there, people whose activities would indeed seem like a fairytale to present-day people. It was a land where rain and sunshine were not distributed as they are now. The sun was hidden by fog, the air was watery. It is not for nothing that the Nordic sagas called Atlantis 'Niflheim', that is, Mistheim. There was no distinction between rain and sunshine, only a gradual transition from water to air. A rainbow would not have been possible there. The events of those ancient times are preserved in the legends of the flood, the ark, the rainbow, and one stands amazed at the infinitely deep truths contained in the ancient religious records. At first glance, the biblical account of the rainbow seems allegorical. But here we are faced with a fact: a rainbow would not have been possible in ancient Atlantis. It is one of those sacred moments that overwhelm the occult researcher when he is transported back in time to these older times.

Novalis's seer's eye looked into this ancient realm, which one can truly speak of as a fairytale realm. Man did not yet have his reasoning mind back then; he lived life with nature. He built his house in such a way that it grew out of the rocks and plants. There were no myths back then. What are the myths that our peoples tell each other? The gift of shaping worlds in poetry is only peculiar to our post-Atlantic race; the Atlanteans did not have it. But the Atlanteans still had the gift of transforming plants, even animals and humans. The metamorphic powers of Circe in the Odyssey point to such metamorphic powers of humans. Everything that humans bring forth from within as myth, the people of Atlantis had experienced and seen with their own eyes. The great poets of our time have preserved the images of their poetry from what they had seen on Atlantis itself.

Novalis interweaves his own memories with the story of “Heinrich von Ofterdingen” and brings the ancient Atlantis to life in his tales. He then takes us to more recent times, to the period of city foundations. This time brings with it the emergence of the bourgeoisie and material culture. The rise of the bourgeoisie is linked to external, material culture. What was previously poetry becomes something else.

The origin of our poetry points to the mysteries. We have to go back to the time when the sacred mysteries were the source of inspiration for the poetry of Homer or Aeschylus and Sophocles, when ancient culture laid the foundation for what worked as a spiritual force in Homer and Aeschylus. Only after long trials were the purified admitted to the higher mysteries, the primeval mysteries, which took place in the supersensible, in the astral world. But there was a reflection of this in later times, for example in the Eleusinian mysteries. There the so-called primal drama was enacted. It was depicted how God, the soul of the world, descended into matter and how the descending, suffering and resurrecting God shows the way of redemption. It was the choir that, as in an echo, expressed the language of cosmic events in the ancient Greek mystery drama.

In Aeschylus we experience the transition of the ancient sacred primal drama into the secular drama. It blossoms from a branch that has grown out of the mystery being. The other branch was philosophy, and the third branch was religion.

In the mystery centers, the ancients possessed the unity of religion, poetry and science. There, science was vividly demonstrated. As three branches from one root, these areas worked side by side and into each other. It was only later that they diverged. This separation of the three areas was necessary so that each could become perfect in its own way. So they had to go their separate ways for a while. Great minds seek to reunite what has had to separate in this way. Therefore, we find the striving for the unification of the arts in such phenomena as, for example, in the musical drama of Bayreuth. The aim is to create a total work of art that encompasses the three areas of intellectual life on earth.

Poetry arose out of truth. Originally, poetry was nothing other than the garment of truth. Novalis looks back to primeval times, when poets strove to express the highest truth in their works. If we turn our gaze to the primal poems of humanity, we do indeed find this expression in them. In Atlantis, man was still at one with nature, with his God, and the mysteries presented a picture of reality as it was experienced. Later, memories of these times were revived in the myths. These memories were something sacred and real for Novalis. He said to himself: In the future, what people still carry hidden within them as memories will become reality again. What we create out of our imagination as poets and thus bring into consciousness will one day become fact. The present world is growing into a new spiritual reality. As people carry the seeds of poetry into material life, something very special also grows out of material life. The guide on the way to this new world is Sophia, wisdom.

Novalis sets the events of his story in the time of the rising city culture, in that time when the outer life begins to become material, when it passes into the civil element of the physical plan. For him, the bearers of the future are the poets. The seed of poetry is placed in material culture. Novalis lets Heinrich von Ofterdingen be a kind of seer. He dreams of the blue flower, dreams that are not like other dreams, but a reflection of spiritual reality. He lets him experience different things: legends and historical events come to life, for example, the time of the Crusades shines in, the spiritual that flowed from the Orient into Europe, in the description of the prisoners in the castle.

The most important thing for Henry is his encounter with a miner who has spent almost his entire life underground. It is described what one can feel when working in the shafts under the earth. The stars of heaven shine towards him like the future. In the depths of the earth, he finds his past, as it were. The metals are wondrously related to man. What has developed down there over the millennia, the secret of the divine world order, is brought up by the miner, thrusts itself towards the miner. The selflessness in the work is brought home to us when it is described how the gold is brought to the surface. The miner is only interested in how the gold comes out of the earth: in it he recognizes the creative divinity. It is a beautiful, moral description of the selfless interest in what would otherwise inflame people's selfishness. The miner, who always works in the dark, only has the right idea of the magnificence of light.

Heinrich then meets the old hermit in the cave. The hermit has a wealth of life experience behind him and records it in a book. He talks about how only he who sees in all that is mortal a parable of the immortal is a true historian. This encounter deepens Heinrich's experiences again.

Then, in Augsburg, Heinrich meets Master Klingsor, who is a seer. In a fairy tale, we learn from him what the future will be for all of humanity: a higher world will be born out of this world. There is a poetic magic in the story of the young man's love for Mathilde, who later turns out to be Cyane again – a reference to the fact that the ephemeral is a symbol of the eternal. He knows that out of what is now a hard, stony reality, another world will grow in the future.

Then the absorption into the astral world is described: the land of Astralis symbolizes evolution, development. Poetry becomes a magical force that transforms people. Novalis believes in the magical power of the imagination, where it does not flow licentiously, but rather places itself under the guidance of Sophia and permeates the whole world with the power of creative Eros.

We may see a reincarnated Pythagorean in Novalis.