Friedrich Hölderlin

"Hölderlin" redirects here. For the German band, see Hoelderlin.
Friedrich Hölderlin
Born (1770-03-20)20 March 1770
Lauffen am Neckar, Duchy of Württemberg
Died 7 June 1843(1843-06-07) (aged 73)
Tübingen, Kingdom of Württemberg, Germany
Occupation Lyric poet
Alma mater Tübinger Stift, University of Tübingen
University of Jena
Literary movement Jena Romanticism

Johann Christian Friedrich Hölderlin (German: [ˈjoːhan ˈkʁɪsti.aːn ˈfʁiːdʁɪç ˈhœldɐliːn]; 20 March 1770 – 7 June 1843) was a major German lyric poet, commonly associated with the artistic movement known as Romanticism. Hölderlin was also an important thinker in the development of German Idealism, particularly his early association with and philosophical influence on his seminary roommates and fellow Swabians Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph Schelling.[1][2][3][4]

Life

Hölderlin's birthplace, Lauffen am Neckar

Hölderlin was born in Lauffen am Neckar in the Duchy of Württemberg. His father, the manager of a church estate, died when the boy was two years old. He was brought up by his mother, who in 1774 married the Mayor of Nürtingen and moved there. He had a full sister, born after their father's death, and a half-brother. His stepfather died when he was nine. He went to school in Denkendorf and Maulbronn, then, beginning in October 1788,[5] he studied theology at the Tübinger Stift, where his fellow-students included Georg Wilhelm Friedrich Hegel, Friedrich Wilhelm Joseph Schelling (who had been a fellow-pupil at his first school) and Isaac von Sinclair.

It has been speculated that it was probably Hölderlin who brought to Hegel's attention the ideas of Heraclitus about the union of opposites, which the philosopher would develop into his concept of dialectics. Finding he could not sustain a Christian faith, Hölderlin declined to become a minister of religion and worked instead as a private tutor. Michael Hamburger surmised that up to this time, Hölderlin was most influenced by Friedrich Gottlieb Klopstock and his religious verse.[6] In 1793–94 he met Friedrich Schiller and Johann Wolfgang Goethe and began writing his epistolary novel Hyperion. During 1795 he enrolled for a while at the University of Jena where he attended Fichte's classes and met Novalis.

In 1797 there was written a seminal manuscript now known as the Älteste Systemprogramm des Deutschen Idealismus ("Oldest System-programme of German Idealism"). Although the document is in G. W. F. Hegel's handwriting, it is thought is have been written by either Hegel, F. W. J. Schelling, Friedrich Hölderlin, or an unknown fourth person.[7]

As a tutor in Frankfurt am Main from 1796 to 1798 he fell in love with Susette Gontard, the wife of his employer, the banker Jakob Gontard. The feeling was mutual, and this relationship was the most important in Hölderlin's life. Susette is addressed in his poetry under the name of 'Diotima'. Their affair was discovered and Hölderlin was harshly dismissed. He lived in Homburg from 1798 to 1800, meeting Susette in secret once a month and attempting to establish himself as a poet, but was plagued by money worries, having to accept a small allowance from his mother. He worked on a tragedy in the Greek manner, The Death of Empedocles, producing three versions, all unfinished.

Already at this time he was diagnosed as suffering from a severe "hypochondria", a condition that would worsen after his last meeting with Susette Gontard in 1800. After a sojourn in Stuttgart, probably working on his translations of Pindar, at the end of 1800 he found further employment as a tutor in Hauptwyl, Switzerland and then, in 1802, in Bordeaux, at the household of the Hamburg consul. His stay in that French city is celebrated in "Andenken" ("Remembrance"), one of his greatest poems. In a few months, however, he returned home on foot via Paris (where he saw genuine Greek sculptures, as opposed to later copies, Roman or modern, for the only time in his life). He arrived home in Nürtingen both physically and mentally exhausted. Susette died from influenza in Frankfurt about the same time.

After some time in Nürtingen he was taken to the court of Homburg by Sinclair, who found a sinecure for him as court librarian, but in 1805 Sinclair was denounced as a conspirator and tried for treason. Hölderlin was in danger of being tried too but was declared mentally unfit to stand trial. The state of Hesse-Homburg was dissolved the following year after the Battle of Jena. On 11 September Hölderlin was delivered into the clinic at Tübingen run by Dr Ferdinand Autenrieth, inventor of a mask for the prevention of screaming in the mentally ill.[8]

The first floor of the pictured center tower was Hölderlin's place of residence from 1807 until his death in 1843

The clinic was attached to the University and the poet Kerner, then studying medicine, was assigned to look after Hölderlin for a while. The following year he was discharged as incurable and given three years to live, but was taken in by the carpenter Ernst Zimmer (a cultured man, who had read Hyperion) and given a room in his house in Tübingen, which had been a tower in the old city wall, with a view across the Neckar river and meadows. The tower would later be named the Hölderlinturm, after the poet's 36-year-long stay in the modestly furnished room. His residence in the building made up the second half of his life and is also referred to as the Turmzeit (or "Tower period"). Zimmer and his family cared for Hölderlin until his death in 1843, 36 years later. Wilhelm Waiblinger, a young poet and admirer, left a poignant account of Hölderlin's day-to-day life during these long, empty years. Hölderlin continued to write poetry of a simplicity and formality quite unlike what he had been writing up to 1805. As time went on he became a kind of minor tourist attraction and was visited by curious travelers and autograph-hunters. Often he would play the piano or spontaneously write short verses for such visitors, confining himself to conventional subjects such as Greece, the Seasons, or The Spirit of the Times, pure in versification but almost empty of affect, although a few of these (such as the famous 'The Lines of Life', Die Linien des Lebens, which he wrote out for his carer Zimmer on a piece of wood[9]) have a piercing beauty and have been set to music by many composers.

Hölderlin Memorial in Lauffen

Hölderlin's own family did nothing to support him but instead petitioned (successfully) for his upkeep to be paid by the state. His mother and sister never visited him, and his stepbrother only once. His mother died in 1828: his sister and stepbrother quarrelled over the inheritance, arguing that too large a share had been allotted to Hölderlin, and tried unsuccessfully to have the will overturned in court. Neither of them attended his funeral, nor had the (now famous) friends of his childhood, Hegel and Schelling, had anything to do with him for years; the Zimmer family were his only mourners. His inheritance, including the patrimony left him by his father when he was two, had been kept from him by his mother and was untouched and continually accruing interest. He died a rich man, and never knew it.[10]

Work

Hölderlin's autograph of the first three stanzas of his ode "Ermunterung" ("Exhortation")

The poetry of Hölderlin, widely recognized today as one of the highest points of German literature, was little known or understood during his lifetime, and slipped into obscurity shortly after his death; his illness and reclusion made him fade from his contemporaries' consciousness – and, even though selections of his work were published by his friends during his lifetime, it was largely ignored for the rest of the 19th century.

Indeed, Hölderlin was a man of his time, an early supporter of the French Revolution – in his youth at the Seminary of Tübingen, he and some colleagues from a "republican club" planted a "Tree of Freedom" in the market square, prompting the Grand-Duke himself to admonish the students at the seminary. In his early years he was an enthusiastic supporter of Napoleon, whom he honors in one of his couplets.

Like Goethe and Schiller, his older contemporaries, Hölderlin was a fervent admirer of ancient Greek culture, but his understanding of it was very personal. Much later, Friedrich Nietzsche would recognize in him the poet who first acknowledged the Orphic and Dionysian Greece of the mysteries, which he would fuse with the Pietism of his native Swabia in a highly original religious experience. For Hölderlin, the Greek gods were not the plaster figures of conventional classicism, but living, actual presences, wonderfully life-giving though, at the same time, terrifying. He understood and sympathized with the Greek idea of the tragic fall, which he expressed movingly in the last stanza of his "Hyperions Schicksalslied" ("Hyperion's Song of Destiny").

In the great poems of his maturity, Hölderlin would generally adopt a large-scale, expansive and unrhymed style. Together with these long hymns, odes and elegies – which included "Der Archipelagus" ("The Archipelago"), "Brod und Wein" ("Bread and Wine") and "Patmos" – he also cultivated a crisper, more concise manner in epigrams and couplets, and in short poems like the famous "Hälfte des Lebens" ("The Middle of Life"). In the years after his return from Bordeaux he completed some of his greatest poems but also, once they were finished, returned to them repeatedly, creating new and stranger versions sometimes in several layers on the same manuscript, which makes the editing of his works problematic. Some of these later versions (and some later poems) are fragmentary, but they have astonishing intensity. He seems sometimes also to have considered the fragments, even with gaps and unfinished lines and incomplete sentence-structure, to be poems in themselves. This obsessive revising and his stand-alone fragments were once considered evidence of his mental disorder, but they were to prove very influential on later poets such as Paul Celan. In his years of madness, Hölderlin would occasionally pen ingenuous rhymed quatrains, sometimes of a childlike beauty, which he would sign with fantastic names (most often "Scardanelli") and give fictitious dates from the previous or future centuries.

Dissemination and influence

A pencil sketch of Hölderlin done the year before his death.

Hölderlin’s major publication in his lifetime was his novel Hyperion, which was issued in two parts (1797 and 1799). Various individual poems were published but attracted little attention and in 1799 he also attempted to produce a literary-philosophical periodical, Iduna. His translations of the dramas of Sophocles were published in 1804 but were generally met with derision over their apparent artificiality and difficulty caused by transposing Greek idioms into German. In the 20th century, theorists of translation such as Walter Benjamin have vindicated them, showing their importance as a new – and greatly influential – model of poetic translation. Der Rhein and Patmos, two of the longest and most densely charged of the hymns, appeared in a poetic calendar in 1808.

Wilhelm Waiblinger, who visited Hölderlin in his tower repeatedly in 1822-3 and depicted him in the protagonist of his novel Phaëthon, urged the necessity of issuing an edition of his poems and the first collection of his poetry was issued by Ludwig Uhland and C. T. Schwab in 1826. They omitted anything they suspected might be 'touched by insanity'. A copy was given to Hölderlin, but some years later this was stolen by a souvenir-hunter.[10] A second, enlarged edition with a biographical essay appeared in 1842, the year before Hölderlin’s death.

Only in 1913 did Norbert von Hellingrath, a member of the circle around poet Stefan George, bring out the first two volumes of what eventually became a six-volume edition of Hölderlin's poems, prose and letters (the 'Berlin Edition', Berliner Ausgabe). For the first time, Hölderlin's hymnic drafts and fragments were published and it became possible to gain some overview of his work in the years between 1800 and 1807, which had been only sparsely covered in earlier editions. The Berlin edition and von Hellingrath's impassioned advocacy of Hölderlin's work shifted the emphasis of appraisal from his earlier elegies to the enigmatic and grandiose later hymns.

Already in 1912, before the Berlin edition began to appear, Rainer Maria Rilke composed his first two Duino Elegies whose form and spirit draw strongly on the hymns and elegies of Hölderlin. Rilke had met von Hellingrath a few years earlier and had seen some of the hymn drafts, and the Duino Elegies heralded the beginning of a new appreciation of Hölderlin's late work. Although his hymns can hardly be imitated, they have become a powerful influence on modern poetry in German and other languages, and are sometimes cited as the very crown of German lyric poetry.

The Berlin edition was to some extent superseded by the Stuttgart Edition (Grosse Stuttgarter Ausgabe) edited by Friedrich Beissner and Adolf Beck, which began publication in 1943 and eventually saw completion in 1986. This undertaking was much more rigorous in textual criticism than the Berlin edition and solved many issues of interpretation raised by Hölderlin's unfinished and undated texts (sometimes several versions of the same poem with major differences). Meanwhile, a third complete edition, the Frankfurt Critical Edition (Frankfurter Historisch-kritische Ausgabe), began publication in 1975 under the editorship of Dietrich Sattler; it is still in progress. There are other editions; it should be noted that no two of them show all the major poems in congruent textual status. Strophes and readings are sometimes arranged in different ways from one edition to the next.

Though Hölderlin's hymnic style – dependent as it is on a genuine belief in the divinity – creates a deeply personal fusion of Greek mythic figures and romantic nature mysticism, which can appear both strange and enticing, his shorter and sometimes more fragmentary poems have exerted wide influence too on later German poets, from Georg Trakl onwards. He also had an influence on the poetry of Hermann Hesse and Paul Celan. (Celan wrote a poem about Hölderlin, called "Tübingen, January" which ends with the word Pallaksch — according to C. T. Schwab, Hölderlin's favourite neologism "which sometimes meant Yes, sometimes No".)

Hölderlin was a poet-thinker who wrote, fragmentarily, on poetic theory and philosophical matters. His theoretical works, such as the essays "Das Werden im Vergehen" ("Becoming in Dissolution") and "Urteil und Sein" ("Judgement and Being") are insightful and important if somewhat tortuous and difficult to parse. They raise many of the key problems also addressed by his Tübingen roommates Hegel and Schelling. And, though his poetry was never "theory-driven", the interpretation and exegesis of some of his more difficult poems has given rise to profound philosophical speculation by thinkers as divergent as Martin Heidegger, Theodor Adorno, Jacques Derrida, Michel Foucault and Alain Badiou.

Music

Hölderlin's poetry has inspired many composers.

Vocal music

One of the earliest settings of Hölderlin's poetry is Schicksalslied by Brahms, based on Hyperions Schicksalslied. Other composers of Hölderlin settings include Peter Cornelius, Hans Pfitzner, Richard Strauss (Drei Hymnen), Max Reger (An die Hoffnung), Alphons Diepenbrock (Die Nacht), Walter Braunfels ("Der Tod fürs Vaterland"), Richard Wetz (Hyperion), Josef Matthias Hauer, Hermann Reutter (an opera, a choral work, 18 songs), Stefan Wolpe, Paul Hindemith, Benjamin Britten (Sechs Hölderlin-Fragmente), Hans Werner Henze, Bruno Maderna (Hyperion, Stele an Diotima), Luigi Nono (Prometeo), Heinz Holliger (the Scardanelli-Zyklus), Hans Zender (Hölderlin lesen I-IV), György Kurtág (who planned an opera on Hölderlin), György Ligeti (Three Fantasies after Friedrich Hölderlin), Hanns Eisler (Hollywood Liederbuch), Viktor Ullmann (who wrote settings in Terezin concentration camp), Wolfgang von Schweinitz, Walter Zimmermann (Hyperion, an epistolary opera) and Wolfgang Rihm. Carl Orff used Hölderlin's German translations of Sophocles in his operas Antigone and Oedipus der Tyrann. Wilhelm Killmayer based in 1986 two song cycles Hölderlin-Lieder for tenor and orchestra on Hölderlin's latest poems. Kaija Saariaho's Tag des Jahrs for mixed choir and electronics (2001) is based on four of these poems, Graham Waterhouse composed in 2003 Sechs späteste Lieder nach Hölderlin for (singing and speaking) voice and cello on six latest poems. Several works by Georg Friedrich Haas take their titles or text from Hölderlin's writing, including Hyperion, Nacht, and the solo ensemble "... Einklang freier Wesen ..." as well as its constituent solo pieces each named “... aus freier Lust ... verbunden ...”.

Many songs of Swedish alternative rock band ALPHA 60 also contain lyrical references to Hölderlin's poetry. Finnish melodic death metal band Insomnium has set Hölderlin's verses to music in several of their songs.

Instrumental music

Robert Schumann's late piano suite Gesänge der Frühe was inspired by Hölderlin, as was Luigi Nono's string quartet Fragmente-Stille, an Diotima and parts of his opera Prometeo. Josef Matthias Hauer wrote many piano pieces inspired by individual lines of the poems. Paul Hindemith's First Piano Sonata is influenced by Hölderlin's poem Der Main. Hans Werner Henze's Seventh Symphony is partly inspired by Hölderlin.

Cinema

Recordings

Many of Hölderlin's work have been recorded as audio books. Notable is a reading by Martin Heidegger for the dedication of the record label ECM. It has released two readings of Hölderlin poets: one in 1984 by Swiss actor Bruno Ganz simply called Hölderlin (ECM 1285), and one in 2012 by voice actor/vocalist Christian Reiner called Turmgedichte (ECM 2285). Furthermore, ECM released an album called Scardanelli with spoken texts and music from the 2000 movie of the same name by German director Harald Bergmann.[12] Another example is the 1991 recording of Heinz Holliger's Scardanelli-Zyklus (ECM 1472) conducted by the composer.[13]

Works

English translations

Bibliography

Notes

  1. ↑ Beiser, Frederick C., ed. (1993). The Cambridge Companion to Hegel. Cambridge University Press. p. 419. ISBN 1-13982495-3.
  2. ↑ "Because of his small philosophical output, it is important to indicate in what way Hölderlin’s ideas have influenced his contemporaries and later thinkers. It was Hölderlin whose ideas showed Hegel that he could not continue to work on the applications of philosophy to politics without first addressing certain theoretical issues. In 1801, this led Hegel to move to Jena where he was to write the Phenomenology of Spirit.... Schelling’s early work amounts to a development of Hölderlin’s concept of Being in terms of a notion of a prior identity of thought and object in his Philosophy of Identity." Christian J. Onof, "Johann Christian Friedrich Hölderlin", Internet Encyclopedia of Philosophy. Accessed 15 Jan 2011.
  3. ↑ "Hegel is completely dependent on Hölderlin – on his early efforts to grasp speculatively the course of human life and the unity of its conflicts, on the vividness with which Hölderlin's friends made his insight fully convincing, and also certainly on the integrity with which Hölderlin sought to use that insight to preserve his own inwardly torn life." Dieter Henrich, The Course of Remembrance and Other Essays on Hölderlin, Ed. Eckart Förster (Stanford: Stanford University, 1997) p. 139.
  4. ↑ "Indeed, the Pietistic Horizon extended for generations up to and including the time when Hegel, together with his friends Hölderlin and Schelling, spent quiet hours strolling along the banks of the Neckar receiving the theological education they would eventually challenge and transform through the grand tradition now known as German Idealism." Alan Olson, Hegel and the Spirit. (Cambridge: Cambridge University Press, 1992), p. 39.
  5. ↑ Shelton, Roy C. (1973). The Young Hölderlin. Pieterlen and Bern: Peter Lang Publishing, Incorporated. p. 107. ISBN 978-3-261-00315-7. ISBN 3-26100315-4.
  6. ↑ Hölderlin, Friedrich (2007). "Introduction". Selected Poems and Fragments (With a new preface an introduction 1998). Translated by Michael Hamburger (bilingual ed.). London: Penguin UK. p. 26. ISBN 978-0-141-96218-4. ISBN 0-14196218-6.
  7. ↑ Kai Hammermeister, The German Aesthetic Tradition, Cambridge University Press, 2002, p. 76.
  8. ↑ Constantine (1990), p. 299.
  9. ↑ Constantine (1990), p. 302.
  10. 1 2 Constantine (1990), p. 300.
  11. ↑ Bergmannfilm.de
  12. ↑ ECM Website
  13. ↑ ECM Website

Further reading

External links

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