Night in Novalis, Schelling, and Hegel

Abstract

THE ABSOLUTE NIGHT INVOKED BY THE GERMAN ROMANTIC FRIEDRICH von Hardenberg, better known as Novalis, might well have been more influential at turn of nineteenth century than previously acknowledged. This image saturating his dithyrambic cycle Hymnen an die Nacht [Hymns to Night], published in 1800, continues to be read by some in terms of obscure private experiences despite twentieth-century work of Kate Hamburger, Martin Dyck, and others that show scientific connections. (1) This construal is especially popular in Enghsh-speaking world and has followed long tradition of interpreting Novalis that began with reviews of essayist Thomas Carlyle. In late 1820s, Carlyle had tied this poet not just to medieval German mystic Jakob Bohme but also to what he regarded as tenebrific constellation of Immanuel Kant and Kantists. (2) Common readers today tend to merge Novalis's night more with state of spiritual loneliness Christian mystic St. John of Cross had called the dark night of soul [la noche oscura del alma]. This inclination is not merely result of religious metaphor's familiarity; it derives its understanding from an incident linked to poem's inspiration, an epiphany Novalis experienced at grave of his first fiancre, Sophie von Kuhn, on 13 May 1797. (3) The subsequent view that Novahs's spiritual insight was inextricable from his vulnerability has led several critics to identify wide range of literary influences. Suggestions include August Wilhelm Schlegel's essay on Romeo and Juliet of 1797, Johann Gottfried Herder's mythic poems, religious writings of Karl von Eckartshausen and Johann Patti Friedrich Richter, or Jean Paul, and Edward Young's Night Thoughts of 1742-45. (4) Young's poem, which had numerous European translations by end of eighteenth century, is often cited in view of its thematic resemblance to Novahs's poem and its reputation among German writers such as Herder, Friedrich Gottlieb Klopstock, Christoph Martin Wieland, and Johann Wolfgang von Goethe. (5) Novalis might have turned to this reflection on mortality weeks before his graveside experience, but it seems rather excessive to proclaim Young's direct and deep impact. The British surrealist David Gascoyne expresses same doubt in his introduction to an English edition of Hymnen an die Nacht translated by American poet Jeremy Reed and published in 1989: Gascoyne notes that Young's poem exudes disgruntlement--its other tide being, after all, The Complaint--while Novalis's achieves a serene transcendence of bereavement and mourning through resolution of into rapture rather than resignation. (6) This distinction between two otherwise comparable nights demands that we not only make better sense of Novalis's design but also check our own assumptions about lyrical intensity. Well-meaning critics who rehash point of his anguish inadvertently perpetuate tiresome picture of sentimental artist so devastated by loss that he could barely order his thoughts, let alone argue for them. Even esteemed Friedrich Hiebel seems to have contributed to this impression when he found Hymnen an die Nacht deeply rooted in those months of grief and its emotional depth reached only after three years of recuperation. (7) Such views present an obvious interpretive problem: what ultimately saw print in Schlegel brothers' journal Athenaeum is taken to manifest both profound mystical self-transformation and contrary rehance on overcoming of trauma. Novahs's poem becomes both product of strong mind able to integrate and transcend thoughts and mark of irresolution and maladjustment to life, product of weak mind. The inconsistency here is wholly illusory; in what follows I will show that Novalis's main ideas reflect distinct intellectual currents of his time. His image of night is no casual aesthetic plaything and in fact provided heretofore uncharted series of reactions from both philosophers Wilhelm Joseph von Schelling and Georg Wilhelm Friedrich Hegel. …