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    Henry of Ofterdingen: A Romance.
    Henry of Ofterdingen: A Romance.
    Henry of Ofterdingen: A Romance.
    Ebook270 pages11 hours

    Henry of Ofterdingen: A Romance.

    By Novalis

    3.5/5

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    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateJan 1, 1964
    Henry of Ofterdingen: A Romance.

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    Reviews for Henry of Ofterdingen

    3.5/5

    63 ratings3 reviews

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    • 2/5
      Too much old-timey poetry for me to be in love with this book
    • 2/5
      Nun ja. Ich hatte vom berühmten Novalis etwas mehr erwartet. Nicht einmal die Sprache ist schön oder meisterhaft, die Gedichte zum Teil eher plump, ständige Schwärmerei, „heiße Thränen“ immer und immer wieder … Tiecks Beschreibung des geplanten Gesamtwerks ist weit beeindruckender als das, was Hardenberg bis zu seinem Tod tatsächlich abgeliefert hat. Mit einer Ausnahme: Das Klingsohr in den Mund gelegte Märchen am Übergang zwischen Teil eins und zwei ist wirklich beeindruckend. So etwa hatte ich mir das ganze Buch vorgestellt, nicht unbedingt so mystisch und allegorisch, aber von der sprachlichen Meisterschaft her, von der Kraft der Bilder her, kurz: Solche Qualität hätte dem ganzen Buch gut getan. Leider ist fast der gesamte Rest ziemlich mau, mit wenigen Ausnahmen speziell mancher Gedichte. Nicht wirklich empfehlenswert.
    • 3/5
      The unfinished novel Heinrich von Ofterdingen is Novalis's best-known prose work. He only completed about half of it before his death, but it was intended as the first in a series of at least six major novels in which he would deal in turn with all the arts and sciences. This first novel in the series deals with the most important art, poetry (i.e. "literature" in modern terms). It is set out as a classic Bildungsroman, a response to Goethe's Wilhelm Meister, dealing with the poetic education of the eponymous hero, the legendary 13th century poet who figures in the story of the Sängerkrieg at the Wartburg, and was sometimes credited with being the author of the Nibelungenlied, but is now generally considered to have been a fictional character. In any case, Novalis doesn't pretend to be writing a realistic historical novel. Heinrich is moved to become a poet as a result of a dream in which he sees a mysterious, beautiful and unattainable blue flower, and he completes his poetic education in a series of encounters in the course of a journey from Eisenach to Augsburg and a one-day poetry workshop in Augsburg with the ubiquitous and equally legendary Klingsohr. During the coffee-breaks he meets, falls in love with and marries Klingsohr's daughter, Mathilde, who is identified with the blue flower image. Unfortunately, she has a child and dies offstage whilst we are busy with an allegorical story-within-a-story, and as Part Two opens, Heinrich is off on his travels again as a journeyman poet. And that's about as far as Novalis got. Most of the text is taken up by the interpolated stories, songs and poems that Heinrich picks up in the course of his travels, and the foreground narrative consists of little more than short bridging passages. It's a book to read as a linked short-story collection, really, and each story adds a dimension to Novalis's vision of what literature should be and from where the poet needs to approach it. It's interesting to see how this isn't just a simple attack on the rationalism of the previous century, as we might expect, but a more complex invitation to the potential poet to study and learn as much as he can about the physical world, whilst being open to emotional and metaphysical ways of understanding and reacting to it. Very interesting, and often also very entertaining (the first lesson Heinrich learns from his fellow travellers on the road to Augsburg is that the poet must be an entertainer), but what strikes you continually as a modern reader is how self-centred, even solipsistic, it all is. The poet isn't really meant to be interested in anyone except himself and his literary predecessors, with the possible exception of his love-object (who is anyway just a blank screen onto which the poet projects his idea of what a love-object should be).

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    Henry of Ofterdingen - Novalis

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