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Although human beings epitomize this conscious awareness, Novalis indicates that plants, animals, and other aspects of the natural world also form parts of this ideal community. Novalis often depicts earlier states of the manifestation of spirit in the world in order to convey this process and, through extrapolation, point both forwards in time to the ideal coming age of communion and backwards to the original position of absolute unity and non-self-awareness that preceded the origination of the world. He depicts periods in which, prior to the emergence of the modern worldview of the universe as material, atomistic, and causally regulated and of the human being as an individual, conscious subject, human beings, God, and nature existed in closer relation to each other but also with less rational or discursive awareness.

The Hymns to the Night describe an ancient time in which human beings lived in communion with nature and saw the spiritual essence of the world in mythical form in all things. Thus, in addition to describing a past stage of the development of the universe, this piece points to the possibility of a future higher synthesis of society into a spiritual community, calling its readers to overcome the relatively fragmented and spiritless situation in which Novalis believes they currently exist.

The result is the world as it appears to a mentality that emphasizes an intellectual and categorizing approach to experience: a mechanistic, material universe, which permits a detailed understanding of physical processes, but lacks deeper meaning and is unimbued by spirit. The categorizing and individuating activity of reason is, for Novalis, instrumental in achieving the self-reflective unity that he views as the divine purpose of the universe.

Without the fragmentation engendered by division and categorization, spirit would be unable to reflect on itself and would remain in a state of blind self-identity. However, not just greater individuation, but also greater integration with the whole is necessary for knowledge of the universe as essentially unified and divine, rather than just according to its appearance as a set of particular entities and events. Thus, Novalis sees an overemphasis on discursive reason, with its divisive and alienating tendencies, as an antithesis to a preceding state of the world that was less rational and more unified, and as also preparing the ground for a subsequent synthesis into a more complex and self-conscious harmonious whole.

Novalis is a pantheist, maintaining that what we perceive as particular entities, including individual human beings, are not, in fact, most essentially distinct objects related externally and physically to one another, but are more fundamentally parts of a divine whole, connected internally through their shared spiritual nature. We are seeds for becoming I. Taking up this task not only allows human beings to integrate into their selves aspects of their greater self or God from which they are currently alienated, but also facilitates the original purpose of the world as the gradual development from an absolute, undifferentiated, blind unity, to a community of individuated entities conscious of their true spiritual nature.

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Novalis thus situates the human being within the world as both a part of it and at a special place where it becomes self-aware, and where its essential freedom, rationality, and spirituality are epitomized. The development of the self-awareness of the universe through the activities of human beings occurs through a process in which the individual both comes to understand that the world is a reflection of him- or herself, indeed at a deeper level part of him- or herself, and shapes the world so as to more closely reflect the spiritual nature that lies within both world and self.

The better we can read this language, the more closely our representations—that is, our minds—reflect the world, and the more we work to interpret the world in this way, the more we invest it with spirit. Novalis maintains that this double process of interpretation begins to mend the fragmentation between minds and bodies and between the spiritual and the physical, allowing a closer mirroring of these at first apparently incommensurate elements, in the process spiritualizing the physical.

It should be noted that the mediation of the spiritual to the world is for Novalis only possible because the world is fundamentally already divine. Thus, human beings do not accomplish a union of two originally or inherently different realms, but the realization of a pre-existing spiritual inner essence of the world.

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By revealing this spiritual nature, human beings take up their vocation, and the world becomes readable as a symbol and manifestation of the divine. The activity of interpreting the world as embodying the divine partially overcomes the separations between the physical and the spiritual and between the self, as subject, and the rest of the world, as object.

According to Novalis, there are two ways of interpreting and relating to the world: one that perpetuates and even exacerbates the fragmentation of self, nature, and spirit that modern human beings experience in their everyday lives, and one that undermines this fragmentation. The first reflects the excessive rationality epitomized by science, and sees the representations formed by a categorizing and divisive form of discursive thought as more or less accurate reflections of an external world.

This approach therefore employs emotions and intuitions to inform attempts to understand the world, and those who adopt it are motivated to continually improve on these attempts, thereby fulfilling the human vocation of developing the increasing self-knowledge of the universe.

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Although Novalis, like other Romantics, often seems to stress the intuitive aspect of this process, Romantic interpretation is not supposed to be of a raw emotional or intuitive nature, but is rather articulate and rational, being informed, shaped, and mediated by consciousness. The means by which Romanticization is achieved, therefore, is the synthesis of reason and emotion or science and imagination, or philosophy and poetry.

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This synthesis is reflected in the literary and allegorical forms in which Novalis and other early German Romantics chose to write as well as in the content of his writings. Novalis maintains that the world is in principle epistemologically accessible, although a complete understanding of the universe as a divine whole and of oneself as a part of that whole is a regulative ideal.

Insofar as individuals encounter their own nature and the rest of the world through mental representations, they experience these things as individual and particular, and the essential nature of the universe as a divine unity eludes them.

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However, one can partially overcome these separations and glimpse the nature of reality through intuition, imagination, and creative interpretation. It is not enough, however, merely to have these intuitions; they must be articulated, that is, as best as possible reproduced in the medium of discursive thought, in order to bring them to consciousness. For Novalis, Romantic creativity does not entail abandoning conscious representation, but rather integrating it with intuitions. A poetic representation is not simply an intellectual model of reality, aiming to adequately describe particular events and objects; nor is it raw intuition of the spiritual wholeness of the universe.

Rather, emotions and intuitions let the poet read the world as divine and use language in an imaginative and symbolic way to represent this divine nature. Thus, Romantic interpretation reveals the spiritual unity that underlies all seemingly particular things. By creating order and meaning for objects and events, or in other words by perceiving naturally occurring objects and events in a spiritualized, rational form, the poet or artist invests them with spirit, allowing their inner nature and significance to shine forth.

According to Novalis, the activity of the artist or genius is an exemplification and intensification of what human beings always do. Human beings do not exist in a world that is simply given, but rather project a world on the basis of their understanding or interpretation of their experiences. The way people interpret and understand their experiences is, therefore, the way in which they create the world that they inhabit.

In other words, artistic activity is a raised form of the everyday human way of being. The world the genius creates is, due to her or his intuition and greater connections with the rest of the world, a free expression of the spirit, unity, and life of the universe, including of the genius her- or himself as the place where these characteristics are epitomized and come to expression.

The freedom and creativity of the author are restricted by the terms given to him or her, while he or she draws objects and events together into a coherent, meaningful whole. In other words, the genius is engaged in creative dialogue with his or her surroundings.

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For Novalis, nature is a language, if one that modern human beings have forgotten how to read and respond to. The beings and events that make up the world, including but not restricted to human beings and their activity, are symbols of the divine. While these symbols are now hidden to most people, the genius can both read and respond to this language of nature, like a participant in a conversation, and in doing so bring this world to a higher, more spiritual expression.

According to Novalis, language, the mind, the world, and the divine have analogous structures that allow them to reflect each other. Furthermore, some uses of language bring the world and the mind closer together by allowing them to reflect each other more closely. The kinds of language that do this are not those that give the most accurate descriptions of their objects, but those that stimulate listeners to use their imaginations to intuit something about the world that cannot be captured in discursive categories.

Novalis believes that language signifies, not on the basis of semantic rules for connecting terms to objects, but through association, imagination, and creative interpretation.

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Like the relationship between the human being and its world, and between these and the divine, the connection between linguistic utterances and the things they signify is one of analogy between realms that at a deeper level share a common structure or essence. In other words, language does not denote particular objects and events, but creates a new world that mirrors or has the same structure, and therefore the same meaning, as these objects and events. Ultimately, both the material world and language have as their object the divine which they, like the human being itself, reflect and embody, and can therefore reveal.

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