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This paper aims at questioning the use of the concept of “representation” in a crucial phase of Modernity, characterised by both Fichtean Idealism and German Romanticism, as found in Novalis’work in particular. The crisis endured by the concept of representation in the Fichtean philosophy goes hand in hand with the increased status granted to a new kind of reflexivity which Novalis inherits, but not without altering at once its Fichtean methodological consequences by sort of a warping mirror effect. This article investigates and reads Die Lehrlinge zu Saïs, Novalis’“novel of nature.” Exploring space, the disciple brings himself up to produce representations or images, whose essential intransitiveness is given by language itself, preserving in this way the reflexivity of learning. According to Novalis, the underlying poetic work of the transcendental philosophy must not lead to irrationalism but promotes and guarantees on the contrary its “scientificity” by recognizing the creative and singular nature of its construction.