In order that he may acquire some knowledge of the world, it is decided that Heinrich and his mother shall travel, in company with a number of merchants, to Augsburg. The incidents of the journey and the tales of his travelling companions enrich him with impressions, and fertilise the germs of poetical productivity that lie latent in his soul. For all their talk is of poetry and poets; they tell him the story of Arion, and popular legends in which poets are the equals of kings, and they philosophise on the subject of poetry and art, not like merchants of the most barbarous period of the Middle Ages, but like Romanticists of the year 1801. One of them, for example, gives the following pantheistic explanation of the instinctive impulse of mankind towards plastic art: "Nature, desiring to have some enjoyment of all the art that there is in her, has metamorphosed herself into human beings. In their minds, through them, she rejoices in her own glory, selects what is most pleasant and lovely, and reproduces it in such a manner that she may possess and enjoy it in manifold ways." In a castle to which they come, Heinrich meets a captive Eastern girl, whose touching plaint it is interesting to compare with the song of the Oriental beauty (La Captive) in Victor Hugo's _Les Orientales_. In a book belonging to a mysterious hermit (the original of the charcoal-burner's book in Ingemann's _Valdemar Sejer_) he finds the history of his own life. The travellers arrive at Augsburg, and here Heinrich makes the acquaintance of a poet and a fascinating young girl. In Klingsohr he has a noble example of the fully developed poet, a poet whose utterances in many ways remind us of Goethe's. Almost everything that Klingsohr says is surprisingly rational and wise; we can scarcely understand how Novalis himself failed to take any of it to heart. The following are some of his remarks: "I cannot too strongly recommend you to follow your natural inclination to penetrate into the reason of things, to study the laws of causation. Nothing is more indispensable to the poet than insight into the nature of every event, and knowledge of the means whereby to attain every aim.... Enthusiasm without understanding is useless and dangerous, and the poet will be able to effect few miracles if he is himself astonished by miracles.... The young poet cannot be too calm, too thoughtful. True, melodious eloquence demands a wide, calm, observing mind." Upon one point, however, Klingsohr and Novalis are entirely agreed, namely, that everything is, and must be, poetry. "It is a great misfortune that poetry should have a special name, and that poets should form a separate guild. There is nothing separate or special about poetry. It is the mode of action characteristic of the human mind. Do not all men aspire poetically every moment of their lives?"