Thus died our author before he had finished his nine-and-twentieth year. In him we may alike love and admire his extensive knowledge and his philosophical genius, as well as his poetical talents. With a spirit much in advance of his times, his country might have promised itself great things of him, had not an untimely death cut him off. Yet his unfinished writings have already had their influence; many of his great thoughts will yet inspire futurity; and noble minds and deep thinkers will be enlightened and set on fire by the sparks of his spirit.
Novalis was slender and of fine proportions. He wore his light brown hair long, hanging over his shoulders in flowing locks, a style less singular then than now; his brown eye was clear and brilliant, and his complexion, particularly his forehead, almost transparent. His hands and feet were rather too large, and had something awkward about them. His countenance was always serene and benignant. To those, who judge men by their forwardness, or by their affectation of fashion or dignity, Novalis was lost in the crowd; but to the practised eye he appeared beautiful. The outlines and expression of his face resembled very much those of St. John, as he is represented in the magnificent picture of A. Dürer, preserved in Nuremberg and München.
His speech was clear and vivacious. "I never saw him tired," says Tieck, "even when we continued together till late at night; he only stopped voluntarily to rest, and then read before he fell asleep." He knew not what it was to be tired, even in the wearisome companionship of vulgar minds; for he always found some one, who could impart some information to him, useful, though apparently insignificant. His urbanity and sympathy for all made him universally beloved. So skilful was he in his intercourse with others, that lower minds never felt their inferiority. Although he preferred to veil the depths of his mind in conversation, speaking, however, as if inspired, of the invisible world, he was yet merry, as a child, full of art and frolic, giving himself wholly up to the jovial spirit prevailing in the company. Free from self-conceit or arrogance, a stranger to affectation or dissimulation, he was a pure, true man; the purest, loveliest spirit, ever tabernacled in the flesh.
His chief studies for many years were philosophy and physical science. In the latter he discovered and foretold truths, of which his own age was in ignorance. In philosophy he principally studied Spinoza and Fichte; but soon marked out a new path, by aiming to unite philosophy with religion; and thus what we possess of the writings of the new Platonists, as well as of the mystics, became very important to him. His knowledge of mathematics, as well as of the mechanic arts, especially of mining, was very considerable. But in the fine arts he took but little interest. Music he loved much, although he knew little about its rules. He had scarcely turned his attention to painting and sculpture; still he could advance many original ideas about those arts, and pronounce skilful judgment upon them.
Tieck mentions an argument with him, concerning landscape painting, in which Novalis expressed views, which he could not comprehend; but which in part were realized, by the rich and poetical mind of the excellent landscape painter, Friedrichs, of Dresden. In the land of Poetry he was in reality a stranger. He had read but few poets, and had not busied himself with criticism, or paid much attention to the inherited system, to which the art of poetry had been reduced. Goethe was for a long while his study, and Wilhelm Meister his favorite work; although we should scarcely suppose so, judging from his severe strictures upon it in his fragments. He demanded from poesy the most everyday knowledge and inspiration; and it was for this reason, that, as the chief masterpieces of poetry were unknown to him, he was free from imitation and foreign rule. He also loved, for this very reason, many writings, which are not generally highly prized by scholars, because in them he discovered, though perhaps painted in weak colors, that very informing and significant knowledge, which he was chiefly striving after.
Those tales, which we in later times call allegories[1] with their peculiar style, most resemble his stories; he saw their deepest meaning, and endeavored to express it most clearly in some of his poems. It became natural for him to regard what was most usual and nearest to him, as full of marvels, and the strange and supernatural as the usual and common-place. Thus everyday life surrounded him like a supernatural story; and that region, which most men can only conceive as something distant and incomprehensible, seemed to him like a beloved home. Thus uncorrupted by precedents, he discovered a new way of drawing and exhibiting his pictures; and in the manifold variety of his relation to the world, from his love and the faith in it, which at the same time was his instructress, wisdom, and religion, since through them a single great moment of life, and one deep grief and loss became the essence of his poesy and of his contemplation, he resembles among late writers the sublime Dante alone, and like him sings to us an unfathomable mystical song, very different from that of many imitators, who think, that they can assume and lay aside mysticism as they could a mere ornament. Therefore his romance is both consciously and unconsciously the representation of his own mind and fate; as he makes Henry say, in the fragment of the second part, "Fate and mind are but names of one idea." Thus may his life justly appear wonderful to us. We shudder too, as though reading a work of fiction, when we learn, that of all his brothers and sisters only two brothers are now alive; and that his noble mother, who for several years has also been mourning the death of her husband, is in solitude, devoting herself to her grief and to religion with silent resignation.