The Rhine (Hölderlin)
The Rhine is a hymn by Friedrich Hölderlin . It is one of his "Fatherland Chants" and is one of the most famous of these. The term “Vaterländische Gesänge” goes back to a letter from Hölderlin to the Frankfurt publisher Friedrich Wilmans in December 1803, in which he reports on the review of “some night songs” and continues: “Incidentally, love songs are always tired flight <...>; Another thing is the high and pure joy of patriotic chants. ”Shortly before, he had announced Wilman's“ individual larger lyrical poems ”,“ so that each one is specially printed because the content is intended to directly affect the fatherland or the time ”.
Origin and tradition
From the beginning of January 1796 to the end of September 1798, Hölderlin was Hofmeister , private tutor, for the son of the businessman Jakob Friedrich Gontard-Borkenstein (1764–1843) and his wife Susette in Frankfurt am Main . Susette became Hölderlin's Diotima . After the break with Gontard, Hölderlin first lived in nearby Homburg , from mid-June 1800 in Nürtingen , where his mother and sister lived, and in Stuttgart . From January to April 1801 he was court master at the linen manufacturer Anton von Gonzenbach (1748-1819) in Hauptwil in Switzerland. There he conceived the poem Der Rhein , but probably only finished it in the summer of 1801, back in Nürtingen, before he set off for another post as court master - his last - in Bordeaux in December .
Three autographs have survived. A single sheet (two written pages), which is kept in the Württemberg State Library in Stuttgart and is electronically available through it, "H 1 " based on the historical-critical Stuttgart edition of the Stuttgart edition published by Friedrich Beissner , Adolf Beck and Ute Oelmann (* 1949) Works by Hölderlin, contains a draft of verses 1–31 and 105–122. Two sheets (four written pages), "H 2 " after the Stuttgart edition , which are kept in the German Literature Archive in Marbach , contain verses 46–95 and 180–121. Five sheets (ten written pages), "H 3 " after the Stuttgart edition , also in the Württemberg State Library and electronically available through it, contain the entire poem immediately following the last stanza of the poem The Hike . Hölderlin subsequently entered changes in "H 3 ". The sheet “H 1 ” is glued into the bundle “H 3 ”.
The Rhine was first printed in 1808 in the Musenalmanach for 1808 , published by Leo Freiherrn von Seckendorf . The artwork has not been preserved; it is not identical with Hölderlin's fair copy "H 3 ".
Verses 1-49
Verses 50-102
Verses 103-157
Verses 158-213
Verses 214-221
In this article, unless otherwise stated, Hölderlin is quoted from the Stuttgart edition . Whose editor laid the pressure in Musenalmanach based emended but it often using the autographs with the aim to regain lost Hölderlin artwork. Thus, the printed Musenalmanach verse 68 "The private bridle laughing," which Stuttgarter output prints in accordance with "H 3 " "In our own teeth, laugh". The “reading editions” by Jochen Schmidt and Michael Knaupp offer somewhat different texts.
The most striking difference between the autographs and the first edition concerns the dedication. They lack in "H 1 " and "H 2 " is "On Father Heinze" - meant is twenty four years older than William Heinse - in "H 3 " and "An Isaac Sinclair" - five years younger Isaac Sinclair - in the muse almanac . It is believed that Hölderlin changed the dedication after Heinse died on June 22, 1803. The rededication entailed changes in the tenth, eleventh and fifteenth stanzas of the poem (see there).
In 1791, Hölderlin set a sentence from Heinse's novel Ardinghello , published in 1787, as the motto for his poem Hymne to the Goddess of Harmony . He was also familiar with Heinses Hildegard von Hohenthal's three-volume musical novel, published from 1795 to 1796 . In July 1796, Heinse joined Susette Gontard, Susette's children and Holderlin, when they had fled from Frankfurt to Kassel and Bad Driburg from the French troops approaching in the First Coalition War . Until the end of September 1796, Hölderlin Heinse could see and speak every day. Heinse has strengthened Hölderlin in his pantheism , in addition in his enthusiasm for the "Father Aether", his hope for a new harmony between gods and humans and his poetry in free rhythms . Hölderlin also dedicated the elegy bread and wine to him. In the hymn draft The Vatican he called him "my honest master". Heinse had a considerable influence on Hölderlin's music-theoretical, poetological and fatherland-related thinking.
Hölderlin and Isaac von Sinclair met in Tübingen in 1793 . In March 1795 they became friends in Jena . They met in lectures by Johann Gottlieb Fichte and at times lived together in a garden house outside the city gates. In 1797 Hölderlin wrote to his sister of "Sinklär, a very excellent young man who is my friend, in the most thorough sense of the word". Both strived for a democratic constitution, but unlike Holderlin, Sinclair was combative, activist and maintained direct connections to circles willing to subvert. From 1796 he was in the service of Landgrave Friedrich V von Hessen-Homburg . On his advice, Hölderlin moved to Homburg in September 1798 when he had to leave Frankfurt. Sinclair helped him again after his return from Bordeaux in 1802. In January 1803, Sinclair presented the Landgrave with the dedication manuscript of Hölderlin's hymn Patmos / The Landgrave of Homburg . In the middle of 1804 he finally brought Hölderlin to Homburg, where he got him a job as court librarian, which he financed himself. Their relationship ended in 1806, on the one hand because of Hölderlin's mental illness, on the other hand because Sinclair had lost his job through the mediatization of the Landgraviate of Hessen-Homburg. Hölderlin also dedicated the Ode An Eduard , composed in two versions around 1800 to him, the first draft of which was “Bundestreue. An Sinklair ”is overwritten.
Text and interpretation
Of Hölderlin's current poems - The Main , The Nekar , The Ister , The Fettered Stream - The Rhine is the largest. It is composed in a free rhythm and consists of fifteen stanzas of 14 to 16 verses each, with the exception of the last stanza with 12 verses, which in its first version in the manuscript "H 2 " also comprised 14 verses. Research assigns a structure to the stanzas in five “triads” of three stanzas each. Holderlin was familiar with the triad form from his work with Pindar . He also used them as a basis for the elegy bread and wine, for example .
In the manuscript “H 1 ” Holderlin added a comment to the poem: “The law of this song is that the first two parts of the form are opposed by progress and regress, but the same in substance, the two following parts are the same in form Opposite in substance, the last one is balanced with a consistent metaphor. ”The remark was not included in the muse almanac .
Martin Heidegger gave interpretations in a lecture given in Freiburg im Breisgau in the winter semester of 1934/1935 , Walter Hof (* 1911), Wolfgang Binder , Bernhard Böschenstein , Jochen Schmidt and Ulrich Gaier (* 1935). It is not uncommon for the performers to contradict each other. Most people equate the five “parts” of Hölderlin's preliminary remarks with the five triads, whereas for Ulrich Gaier the five “parts” are the stanzas “1 and 2”, “3 and 4”, “5”, “6” and "7 to 15". Basically it is assumed that the Rhine creates three images of successful life and its conditions: in stanzas 1 to 9 the image of the river, in stanzas 10 to 13 the image of the poet living in harmony with nature, in the printed poem Jean-Jacques Rousseau , and in stanzas 14 to 15 the image of the sage, the philosopher, in the printed poem of Socrates and Sinclair. Behind the pictures are Hölderlin's pantheism and his philosophy of history, according to which a loving coexistence of the divine all-nature and man was first realized in the south-east of Central Europe, especially in ancient Greece, while the present is a time far from gods, and finally in the Occident, especially in Germany, Hölderlin likes to say in "Hesperia" that a new day of gods may come.
The Rhine To Isaac von Sinclair In the dark ivy I sat, at the gate of the forest, just as the golden noon, visiting the source, came down From the stairs of the alpine mountains, 5 That the divinely built for me, The castle of the heavenly is called According to old opinion, but where some still decided secretly reaches people; from there 10 I heard a fate without worries , because there was hardly anything talked about in the warm shadow, my soul wandered to Italia 15 And far to the coasts of Morea.
Solemnly, in a high tone, the poem begins. The poet sits “in the dark ivy”, surrounded by a plant of the gods, of which it is said in Patmos : “And stuff of immortal life / on inaccessible walls / ancient epheu grows”. It is the hour when “the golden noon / Visiting the spring came down”, traditionally the time of inspiration. Hölderlin experienced the Alps, the “divinely built / the castle of the heavenly ones” - he had already been in Switzerland in 1791 - in Hauptwil, from where he wrote to his sister in February 1801: “You would be as affected as I was , standing in front of these gleaming, eternal mountains, and when the god of power has a throne on earth, it is over these magnificent peaks. ”His thoughts wander“ to Italy ”and“ far to the coasts of Morea ”, the Peloponnese . So the thoughts wander to the south and east, to where there was in antiquity what occidental, Hesperian humanity must regain: the unity of the divine perceived nature and man. The introductory stanza is not yet explicitly about the Rhine. “It keeps itself in a concealing ambiguity”. But then the poet "without presuming / Ein Schiksaal", the core vision of his poem meets; it is the fate of the Rhine, the son of gods imprisoned on earth.
But now, in the mountains,
deep under the silver peaks,
And under the cheerful green,
Where the woods shudder to him,
20 And the heads of the rocks
peer down over each other , for days, there
In the coldest abyss,
I hear ' I wail for redemption
The young man who heard it him as he rages',
25 and the mother earth 'accuses'
And the Thunderer, who bore him will
mercifully parents, but
mortals Flohn from the place
because was terrible because lightless he
30 In the shackles rolled,
The demigod's lawn.
At the “now” of the second stanza (verse 16) the location has changed. From the Viamala , the “I” sees the divine “silver peaks” and the cheerful green, which in Der Wanderer is called “the holy green, the witness of the sacred, deep / life of the world”. Below, however, it hears “the demigod's lawn”, the still unnamed roaring stream, “in the coldest abyss”. He is the son of "Mother Earth" (verse 25) and the thunderer Zeus, who is at the same time probably the god of light, whose "ray of light" in verse 52 "meets the newborn". Just as the “young man” stands out in the first part of the stanza, the last word “demigod” sums up the stanza in general. As the stanza progresses from youth to demigod, it becomes decidedly heroic. The parents hear the electricity "pitying". The sixth stanza describes the father's mercy.
It was the voice of the noblest of the rivers,
Of the freeborn Rhine,
And he hoped differently than up above from the brothers,
35 The Ticino and Rhodanus,
He parted, and wanted to wander, and impatiently
drove him to Asia the royal soul.
But wishing
before fate is incomprehensible .
40 But the blind are sons of
gods. For man knows
his house and the beast was where
it was supposed to build, but for them it is
the mistake that they do not know where to go?
45 Given into the inexperienced soul.
The Rhine is mentioned for the first time. He is called noble, born free, a son of a god (verse 41) like Heracles and Christ. While "above" the Ticino turns south and the "Rhodanus" (verse 35), the Rhone , turns west, "To Asia <...> the royal soul" drives him. “In accordance with her inner infinity, she is urged towards the infinitely divine, for which the eastern distance always stands for Holderlin.” In this “wishing”, however, she is “incomprehensible”, misunderstanding the divine will, which in Chur the course of the Rhine in the direction determined for it will turn north. "The blind" are the sons of the gods because they do not know what reason and realistic action mean. They have not learned to settle into the finite.
A riddle is pure jumped. Even
the singing should hardly reveal it. Because
as you begin, you will stay,
as much as the need works,
50 And discipline, most of
all, is capable of birth,
and the ray of light that
meets the newborn.
But where is one,
55 To remain free
all his life, and the heart's desire
to meet alone, so
from cheap Hohn, such as the Rhine
and like holy bosom
60 born glucometer as that?
“A riddle is pure jumped out” is one of Hölderlin's best-known gnomes , briefly formulated insights as used by Pindar. “Pure sprung” is the original, unmixed, immortal, absolute. He deserves religious devotion and emotion. The words, human understanding fail before him. Despite “Noth” and “Zucht” verses (49 and 50), environmental pressure and upbringing, the origin shapes life. The origin of the Rhine is once again praised. Like nothing else he is "born from a favorable height, <...> from a holy lap / happy". Böschenstein points out that "holy" after "God" is probably the most documented word of the late Holderlin, 143 times in the poems after 1800. "'Holy' is the fertile, sheltering darkness around future fruit, future shape, future light." “To stay free / all your life, and to fulfill your heart's desire / alone” the Rhine was born. But the fulfillment of his existence includes guidance from the Father and service to a goal.
Therefore a shout is his word.
He does not love
to cry like other children in wraps;
After all, where the bank first
65 to sneak Since him the crooked,
And thirsty umwindend him
to draw the unwary
And wol to guard covet
in our own teeth, laughing
70 ripping it serpents and falls
with the booty ', and if in the Eil '
A greater does not tame
him, let him grow, like the Bliz, he must
split the earth, and like bewitched people flee
75 The forests after him, and the mountains sink down .
But a god wants to save his sons
The hurried life and smiles,
If indelible, but restrained
By the holy Alps, to him
80 In the depths, like that, the rivers are angry.
In such a
forge everything Lautre is forged,
And it is beautiful how he on it,
After he has left the mountains,
85 Walking quietly in the German land
, and the longing is
satisfied in good business when he builds the country -
The father Rhine - and dear children nourishes
In cities that he founds.
The fifth stanza makes the Rhine scoff once more. As Heracles tore the two snakes sent by the jealous Hera , the Rhine rushes against the "crooked" (verse 65) banks that wrap around it like a snake and "falls / with the booty", with sand and rubble away. There is a risk that he wants to “split the earth like the Bliz”, presumptuous of what only his father is entitled to, who in Der Wanderer “built the mountains here / Splitting with Stralen <...> ups and downs”. But the conditional sentence “if <...> / A greater one does not tame him” (verse 71-72) shows the security in the aforementioned fate, the mercy (verse 27) of the father.
He, the “God” (verse 76) guides the unruly son with “holy alps” - they are “the need / and the discipline” of verses 49 and 50 - into his path. He “smiles” (verse 77) as he did three times later in the poem when there is talk of a successful existence (verses 133, 172 and 215). Flowing northwards, “in the German land”, the Rhine fertilizes the soil, nourishes people and founds cities. The “source” of verse 3 has become the river, the “young man” (verse 24) has become the “father Rhine” (verse 88). The fate of the Rhine is thus described in two triads.
90 But never, never forgets.
Because sooner the dwelling must pass away,
And the Sazung and become a non-image
The day of the people, before forgetting
Such a one should the origin,
95 And the pure voice of the youth.
Who was it who first
corrupted the love bonds
and made a strike of them?
Then have the own right
100 And certainly the heavenly fire
Spotted the Trozigen, only then
despising The mortal paths
chosen Verwegnes
And the gods sought to be the same.
105 But
the gods have enough of their own immortality, and the
heavenly
ones need one thing, so are heroes and men
and mortals otherwise. Because
110 the most blessed ones feel nothing by themselves,
Must be, if such things are allowed to be said
, in the gods Names
Participating feel another -
They need him; However, her court
115 Is that his own house
will break the dearest and
how the enemy scold and father and child
bury under the rubble
when a how they want to be and not
120 tolerate unequal, the fanatics.
But he is still pondering the third triad. The balance between heroic origin and accepting limitations must be maintained. Ties must remain "ties of love" (verse 97), they must not become "ropes". Otherwise it can come to hubris of the "Trozigen" (verse 101), as with the fire robbery of Prometheus , who had "ridiculed of the heavenly fire" (verse 100-101). Jochen Schmidt explains the grammar of the sentence "Then you have your own right / And certainly the heavenly fire / Mocked the Trozigen" with two artfully nested Apokoinu constructions. “The 'certain' stands apokoinu, ie in two-sided relation to the preceding genitive 'of one's own right' as well as to the following genitive 'of the heavenly fire'; the genitive 'of the heavenly fire' in turn stands apokoinu to the preceding 'certain' and to the following 'mocked'. ”This syntactic entanglement first figures out the abundance and density of the logical connections. It emerges as an essential statement that the opinion that one is “certain” of the heavenly fire is equivalent to a hybrid disregarding (“mocking”) its heavenly (“heavenly fire”), unavailable being. But whoever is outraged against the gods, the “enthusiast” who “does not want to tolerate / unequal” (verse 119-120), they plunge into self-annihilation, cause “that his own house / break the loved one / how scold the enemy and father and child / bury themselves under the rubble ”(verses 115-118). This is what happened to Heracles, who drove Hera insane that he destroyed his house and killed Megara , his wife, and his children.
So please him, who found
a well-appointed fate,
Where still the wanderings
And sweet memories of suffering
125 Rushes on the safe shores,
That here and there
He likes to see to the limits
that God
marked him to stay at when he was born .
130 Then he rests, blissfully humble,
For everything that he wanted,
The heavenly, embraces by itself
It is unconquered, smiling
Now that he is resting, the bold.
The ninth stanza is the price of success, humility, and anti-hybrid attitude. The “Gestade” (verse 125) reminds us once more of the Rhine, but in such a way that it can also serve as a metaphor for anyone who has learned to be modest. The Rhine remains mindful of its origin, "the wanderings" and "the memory of suffering". But the memory is now “sweet” (v. 124); “Smiling” (v. 133) - the second appearance of the word - embraces it “the heavenly”.
135 Demigods I think now
And I have to know the taxis,
Because often their life so
The longing breast moves me.
But to whom, how, Rousseau! to you,
140 insurmountable the soul that
endured strong,
and sure mind
and sweet gift to hear,
to speak in such a way that he from holy abundance
145 like the god of wine, foolish divine
and lawless she, the language of the purest, gives
understandable to the good, but rightly
beats the careless with blindness
The escaping servants, what do I call the stranger?
150 The sons of the earth are
all-loving like the mother , so they also
receive everything effortlessly, the happy. Therefore it
surprises too
And terrifies the mortal man,
155 When he thinks of the heavens that
He
heaped on his shoulders with the loving arms ,
And the burden of joy.
Then it often seems the best
160 Almost forgot there,
Where the Stral not burn
in the shade of the forest
to be on Lake Biel in fresh green,
and carefree poor in tones,
165 equal to learn beginners with nightingales.
With “Demigods I think now” (verse 135) the poet for the first time after the first stanza puts himself back in an express relationship to the subject of his poem. The “now” summarizes what has been said so far rather than pointing to what is to come; for the Rhine was already called a demigod in the second stanza (verse 30), while Rousseau was called a mortal man (verse 154). In Der Rhein he is more of a poet than a philosopher. “If the Rhine embodied the 'bold' hero and thus the realm of the active and the deeds that transform the world, Rousseau, on the other hand, stands as a poet”, who “gives the language of the purest” (verse 146) and “more in the realm of the passive receiver "Hölderlin only added the word" Rousseau "later in verse 139 and the words" am Bielersee "only later in verse 163 of the manuscript H 3 (with pencil). In September / October 1765, Rousseau found refuge on St. Petersinsel in Lake Biel . Originally the verses were addressed to the addressee of the poem, Heinse, to whom they fit well, because Heinse in Hildegard von Hohenthal repeatedly praises the song of the nightingales. Hölderlin would like to imagine Heinse learning "carelessly poor in tones, / like beginners, with nightingales" while retreating into shady green. In any case, Hölderlin allows the image of the heroic demigod Rhine , who is always close to tragic excess, to be followed by the image of the naturally supple, poetic person Heinse / Rousseau.
And it is glorious, then
arising from holy sleep and
awakening from the coolness of the forest , now in the evening,
to face the milder light,
170 When, who built the mountains
and drawn the path of the rivers,
After smiling, too,
The busy life of men
That bleed like sails
175 Has steered with his air,
also rests and to the pupil now,
The sculptor,
finding more good because evil,
To today's earth the day declines. -
180 Then people and gods celebrate the bridal
feast, The living all celebrate,
And
fate is balanced for a while.
And the refugees look for the hostel ,
185 And the brave slumber sweetly, But
the lovers
are what they were, they are
at home where the flower rejoices, innocuous glow
and the dark trees
190 The spirit is surrounded, but the unreconciled
are transformed and hurry to
join hands before
the friendly light
goes down and the night comes.
The price for the success of this life plan is introduced with the word “wonderful”; so Holderlin might long for his own life. Heinse / Rousseau immediately transferred the prize to the Father God, "who built the mountains / and drew the path of the rivers" - a last reminder of the Rhine. The Father God also directs, again “smiling” (v. 172), “the busy life of men” (v. 173). If today's earth (verse 179) is in the twelfth stanza the "pupil" of God, the sculptor (verse 177), then in the thirteenth stanza she becomes his bride. “Balanced / Is the fate room for a while” (verses 182-183). Four examples explain the compensation. Refugees are looking for a hostel, find a new home, the brave rest, the unreconciled are reconciled. “Only with lovers, nothing needs to change. They 'are what they were'; because love is the archetype of reconciliation. ”The“ bridal feast ”and redemption only last“ a while ”. "Hölderlin's usual idea is <...> that of a world that is torn into the storm of history in cyclical circles and then returns to the fulfillment of the time from which it came."
195 But for some
this passes quickly, others
keep it longer.
The eternal gods are
full of life at all times; up to death
200 But a person can also
retain the best in memory,
and then he experiences the highest.
But everyone has his Maas.
Because it is difficult to carry
205 Unhappiness, but happiness is more difficult.
But a wise man was able to do it
from noon until midnight,
and until the morning
shone, to remain bright at the guest painting.
After this climax of the hymn, the fourteenth stanza reflects what remains when the “while” (v. 183) is over, “the night comes” (v. 194) as in the Gospel of John, where the night comes when no one can do anything ( Joh 9,4 EU ). Man can keep what he has experienced "in his memory until death <...>, / and then he experiences the highest". The fact that this highest, this happiness is more difficult to bear than misfortune, reverses the usual standards. For Hölderlin, happiness is the fullness of being and can only be carried if “one's own inner being is adequate to what is remembered, of the same great 'measure'”. Similarly, in January 1801, in a letter to Anton von Gonzenbach, Hölderlin praised "the heaviest and most beautiful of all virtues that are lucky enough to bear". The one who can do this is - the third successful life plan of the poem - “a wise man” (verse 206). For him stands Socrates, of whom Plato reports in the symposium that he was the only one who remained awake, discussing, “bright” until the next morning during the evening “banquet” (verse 209). He then "went to the Lykeion , bathed, and there, as usual, spent the whole day until evening and then went to sleep at home."
210 You like on a hot path under fir trees or
in the dark of the oak forest, wrapped
in steel, my Sinclair! God appear or
in clouds, you know him, since you know, youthful, the
power of goodness, and the smile of the ruler is never hidden from you
215 During the day, when life shines feverishly and chained, or at night, when everything is mixed
220 Is disorderly and returns Ancient confusion.
The verse contains the rededication: In verse 212 in “H 3 ” “Sinklair!” Stands above the crossed out “Heinze!” However, the expressions originally used by Heinse go well with Sinclair, his landscape and the time: “on a hot path” Sinclair's tense political activity; “Under fir trees or / In the dark of the oak forest” to his philosophical and poetic endeavors as well as to the Taunus near Homburg , about which Hölderlin had written in Der Wanderer “But smiling and grave rests the old man, the Taunus, / and wreathed with oaks he leans Free the Head ”; God "wrapped / in steel" to the coalition wars .
The last verses take up central motifs again. “The living” (verse 218–219) faces the dilemma of bondage and freedom, heteronomy and autonomy, passivity and activity, chaos, ancient confusion (verse 221) and order. In “the ruler's smile” (verse 215) “the series of motifs that speaks of God's smile culminates. The smile of the deity indicates the harmony of ideality and reality, of 'heaven' and 'earth' ”. "The abyss is always there, but the heavenly ones are also there and are the stronger, even if they let the forces of the abyss be their own for a while."
literature
- Johanne Autenrieth and Alfred Kelletat: Catalog of the Hölderlin manuscripts. Publications of the Hölderlin archive 3. Kohlhammer Verlag , Stuttgart 1961.
- Adolf Beck and Paul Raabe : Hölderlin. A chronicle in text and pictures. Insel-Verlag , Frankfurt am Main 1970.
- Wolfgang Binder: Hölderlin's Rhine anthem. In: Bernhard Böschenstein (Ed.): Hölderlin-Jahrbuch 29/30, 1975–1977, ISBN 3-16-939401-0 , pp. 131–155.
- Bernhard Böschenstein : Hölderlin's Rhine anthem. 2nd Edition. Atlantis Verlag , Zurich 1968.
- Ulrich Gaier: Holderlin. An introduction. Francke Verlag , Tübingen and Basel 1993. ISBN 3-7720-2222-7 .
- Ulrich Gaier: Rousseau, Schiller, Herder, Heinse. In: Johann Kreuzer (Hrsg.): Hölderlin manual, life - work - effect. JB Metzler'sche Verlagsbuchhandlung , Stuttgart 2002, ISBN 3-476-01704-4 , pp. 72-89.
- Ulrich Gaier: Attention levels. A Holderlin course. Website of the Hölderlin Society without a year. Retrieved June 2, 2014.
- Martin Heidegger: Hölderlin's hymns "Germania" and "The Rhine". Vittorio Klostermann Verlag, Frankfurt am Main 1980.
- Friedrich Hölderlin: The Rhine in: Digital copies of the Württemberg State Library, Stuttgart. Retrieved June 2, 2014.
- Friedrich Hölderlin: Complete Works. Big Stuttgart edition . Edited by Friedrich Beissner, Adolf Beck and Ute Oelmann. Stuttgart edition . Kohlhammer Verlag , Stuttgart 1943 to 1985.
- Friedrich Hölderlin: Complete Works . Historical-critical edition in 20 volumes and 3 supplements. Edited by Dietrich Sattler . Frankfurt edition. Stroemfeld / Roter Stern publishing house , Frankfurt am Main and Basel 1975–2008.
- Friedrich Hölderlin: All works and letters. Edited by Michael Knaupp. Carl Hanser Verlag , Munich 1992 to 1993.
- Friedrich Hölderlin: Poems. Edited by Jochen Schmidt. Deutscher Klassiker Verlag , Frankfurt am Main 1992, ISBN 3-618-60810-1 .
- Walter Hof: Hölderlin's style as an expression of his spiritual world. Westkulturverlag Anton Hain , Meisenheim am Glan 1954.
- Walter Hof: The difficulty of coming to an understanding about Holderlin. Verlag Lothar Rotsch, Tübingen 1977, ISBN 3-87674-022-3 .
- Bart Philipsen: Chants (Stuttgart, Homburg). In: In: Johann Kreuzer (Hrsg.): Hölderlin manual, life - work - effect. JB Metzler'sche Verlagsbuchhandlung , Stuttgart 2002, ISBN 3-476-01704-4 , pp. 347-378.
Individual evidence
- ↑ Philipsen 2002, p. 352.
- ↑ Stuttgart edition, Volume 6, 1, p. 436.
- ↑ Stuttgart edition, Volume 6, 1, p. 435.
- ↑ see literature.
- ↑ see literature.
- ↑ Schmidt 1992, p. 855.
- ↑ Stuttgart edition Volume 1, 1, p. 130.
- ↑ Brod and Wein verse 65, Stuttgart edition Volume 2, 1, p. 92.
- ↑ Stuttgart edition, Volume 2, 1, p. 90.
- ↑ Stuttgart edition Volume 2, 1, p. 252 and Volume 2, 2, p. 890.
- ↑ Gaier 2002, p. 89.
- ↑ Stuttgart edition, Volume 6, 1, pp. 238–239.
- ↑ Beck and Raabe 1970, p. 381.
- ↑ Stuttgart edition, Volume 2, 1, p. 165.
- ↑ Stuttgart edition, Volume 2, 2, p. 462.
- ↑ Schmidt 1992, p. 856.
- ↑ The word is derived from the Hesperides , who guarded a tree with golden apples in their garden in the far west. By this, Holderlin meant, for example, in Bread and Wine, verse 150 - “Look! it is us, it is us, fruit of Hesperia! ”- the non-Greek western world, especially Germany. For him Greece marked the past, Hesperia the future day of gods in the West. Stuttgart edition Volume 2, 2, pp. 619–620.
- ↑ Stuttgart edition, Volume 2, 1, p. 166.
- ↑ Schmidt 1992, p. 859.
- ↑ Stuttgart edition, Volume 6, 1, p. 414.
- ↑ Böschenstein 1968, p. 36.
- ↑ Stuttgart edition, Volume 2, 1, p. 81.
- ↑ Böschenstein 1968, p. 44.
- ↑ Schmidt 1992, p. 860.
- ↑ Böschenstein 1968, p. 51; Binder 1975-1977, p. 140.
- ^ Böschenstein 1968, p. 56.
- ↑ "A poem that uses the word 'holy' in such an inflationary way should not be accepted without contradiction," wrote Marcel Reich-Ranicki in 1987, when he explained why he did not love Hölderlin. Marcel Reich-Ranicki: Hölderlin and an approach. In: Frankfurter Allgemeine Zeitung of June 27, 1987. Thirteen years later, however, he differentiated his judgment. “So I bow to Friedrich Hölderlin in admiration and gratitude. And still completely without love? <...> I already know, I know better today than back then: When I bow to German poetry in gratitude and admiration, love is always involved, too. "Marcel Reich-Ranicki: No discount for martyrs. In: Frankfurter Allgemeine Zeitung of June 24, 2000.
- ↑ Stuttgart edition, Volume 2, 1, p. 80.
- ↑ Böschenstein 1968, p. 61.
- ↑ Schmidt 1992, p. 865.
- ↑ Binder 1975–1977, p. 145.
- ↑ Schmidt 1992, pp. 866-867.
- ↑ Hildegard von Hohenthal, first part: “Of all animals, man has the most perfect vocal organ; the nightingale of the birds is the simplest. ”This is followed by a passage about the learning of the singing student.
- ↑ Hof 1977, pp. 101-103.
- ↑ Binder 1975-1977, pp. 149-150.
- ↑ Binder 1975–1977, p. 150.
- ↑ Schmidt 1992, p. 871.
- ↑ Stuttgart edition, Volume 6, 1, p. 409.
- ↑ Stuttgart edition, Volume 2, 2, p. 738.
- ↑ Stuttgart edition, Volume 2, 1, p. 81.
- ↑ Philipsen 2002, p. 362.
- ↑ Schmidt 1992, p. 873.
- ↑ Binder 1975–1977, p. 152.