Main Currents in Nineteenth Century Literature - 2. The Romantic School in GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 2. The Romantic School in Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
Let us dwell for a moment longer on this flower. In Spielhagen's
_Problematische Naturen_, one of the characters says: "You remember the
blue flower in Novalis's tale? Do you know what it is? It is the flower
which no mortal eye has seen, yet the fragrance of which fills the
world. Not every creature is delicately enough organised to perceive
its perfume; but the nightingale is intoxicated with it when she sings
and wails and sobs in the moonlight and the grey dawn; and so were,
and so are, all the foolish human beings who, in prose and verse, have
poured, and are pouring, forth their woes to Heaven; and so, too, are
millions more, to whom no God has granted the power to say what they
suffer, and who look up in dumb anguish to the Heaven which has no
mercy upon them. And alas! for this suffering there is no cure--none
except death. For him who has once inhaled the fragrance of the blue
flower there is not a peaceful hour left in life. Like a murderer,
or like one who has turned away the Lord from his door, he is driven
onward, ever onward, however much his tired limbs ache, and however
fervently he longs to lay down his weary head. When he is tormented by
thirst, he begs at some hut for a drink; but he hands back the empty
vessel without a word of thanks, for it was dirty, or there was an ugly
insect in the water--in any case, he had found no refreshment in it.
Refreshment! Where are the eyes which have taken from us the desire
ever to look into other, brighter, more ardent eyes? Where the breast
upon which we have rested with the certain knowledge that we should
never long to listen to the beating of a warmer, more loving heart?
Where? Can you tell me where?"
"Love," so runs the reply, "is the fragrance of the blue flower, which,
as you have said, fills the world; and in every being whom you love
with your whole heart you have found the blue flower."
"I fear that is not a solution of the riddle," says the hero
sorrowfully, "for this very condition, that we should love with our
whole hearts ... we can never fulfil. Which of us can love with his
whole heart? We are all so weary, so worn out, that we have neither the
strength nor the courage essential to true, serious love--that love
which does not rest until it has taken possession of every thought of
a man's mind, every feeling of his heart, every drop of blood in his
veins."
This interpretation is a beautiful one, and it is not incorrect, but it
is not exhaustive. It is not only in love, but in every domain of life
that the "blue flower" represents perfect, and hence to that extent
ideal, but still purely personal happiness. The longing for this, from
its nature unattainable, happiness is the constant, restless desire
depicted by all the Romanticists.
Public-domain text, read in full here on John Shaqi.
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