JUDY KRAVIS

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Showing posts with label Novalis. Show all posts
Showing posts with label Novalis. Show all posts

Friday, 22 November 2024

The Blue Flower

I read The Blue Flower every few years and different things show through. This time I noticed the Bernhard, age six, also known as the angel of the family—his mother saw him as a page at the court of the Elector of Saxony—one of the younger brothers of Fritz von Hardenburg, German Romantic poet who chose to write as Novalis. The Bernhard has learned some powerful truths at a young age. After being reprimanded for going through a visitor's possessions, he calmly says at breakfast next day, 'In a republic there would be no possessions.' How does he know, age six?  Yesterday a friend said one of her brothers at the age of five declared at breakfast that he no longer believed in God. Sometimes children just know.

And parents know not what they have created. Especially at the end of the 18th century, when children were produced in quantity, and mostly did not survive into adulthood, let alone old age. Of Novalis' family most were dead before adulthood; Novalis died at 28. Mostly they died of consumption. Doctoring was very particular; one doctor believed in fresh air, exercise, sex and alcohol. Another believed that being alive was unnatural and that people needed opium to keep them calm and schnapps with wine to boost them, in order to achieve the kind of balance we call life on earth.

Fritz (Novalis) (Hardenburg) has started a poem, not in verse, called 'The Blue Flower'. He reads it to his friend Karoline (Justen), to whom he had given his entire confidence. She is pleased and confused. Soon Fritz meets twelve-year-old Sophie, his Wisdom, his Philosophy, friend of his spirit. He hires a painter to make a portrait of her but he fails, because, as he says, all creatures emit a question, and he could not hear Sophie's question.

The German view of university education was that it was best to attend as many universities as possible in order to learn fundamental questions about being alive, questions that one could continue to think about for the rest of one's life: 'The problem of a universal language, a time when plants, stars and stones talked on equal terms with animals and with man'.

As things are, we are the enemies of the world, and foreigners to this earth. Our grasp of it is a process of estrangement. Through estrangement itself I earn my living from day to day. I say this is animate, but that is inanimate. I am a Salt Inspector, that is rock salt. I go further than this, much further, and say this is waking, that is a dream, this belongs to the body, that to the spirit, this belongs to space and distance, that to time and duration. But space spills over into time, as the body into the soul, so that the one cannot be measured without the other. I want to exert myself to find a different of measurement.

Sunday, 31 May 2020

Blue Flower, Penelope Fitzgerald,

The Blue Flower is the only book by Penelope Fitzgerald I've read. Every few years I read it twice, I finish and start again immediately, as if there's more to be found, more of the unfinished and gentle, the impossible blue flower of Novalis, né Friedrich von Hardenberg, Fritz, the poet philosopher, a big-eyed and yearning man of the late eighteenth century, bowling from Schloss to Schloss on an old horse or on foot to be close to Sophie, his wisdom, who is twelve.
Sophie, listen to me. I am going to tell you what I felt, when I first saw you standing by the window. When we catch sight of certain human figures and faces ...  especially certain eyes, expressions, moments — when we hear certain words, when we read certain passages, thoughts take on the meaning of laws ...  a view of life true to itself, without any self-estrangement. And the self is set free, for the moment, from the constant pressure of change ... Do you understand me?
Fritz employs a painter to paint his wisdom, who finds after a few weeks' residence that he cannot paint Sophie.
Hardenberg, in every created thing, whether it is alive or whether it what we usually call inanimate, there is an attempt to communicate, even among the totally silent. There is a question being asked, a different question for every entity, asked ...  incessantly.
He cannot paint Sophie because he could not hear her question.