The Wanderer (Hölderlin)
The Wanderer is Friedrich Hölderlin's first elegy . He published two print versions. The first appeared in volume 1797, the sixth issue of the magazine Die Horen , the second in volume 1801, third quarter of the magazine Flora, Teutschland's daughters consecrated by friends of the fair sex . Both magazines belonged to the Cotta'schen publishing bookstore . Holderlin's name is not mentioned in the Horen ; in the flora it is under the poem. The Wanderer is also known because the first version was examined and probably changed by the two men who - at least for Hölderlin - were "the great", Friedrich Schiller and Johann Wolfgang von Goethe .
- "The Wanderer" in the "Horen"
Front page
Beginning of the poem
End of the poem
Lore
There is no handwritten master copy for either the first or the second version. Hölderlin's drafts are available as digital copies from the Württemberg State Library .
- From two drafts to the first version, the draft in the bundle Cod.poet.et.phil.fol.63, I, 3 of the Württemberg State Library is reproduced in full - H 2 based on the historical-critical Stuttgart edition of the works of Hölderlin by Friedrich Beissner , Adolf Beck and Ute Oelmann (* 1949). In Cod.poet.et.phil.fol.63, I, 3 , the last verses (23-52) of An den Aether and the first four verses of the Wanderer are on page 2, and the continuation of the Wanderer on pages 3 to 6 , on sheet 7 the last six verses of the Wanderer and the Oden fragment Buonaparte .
- From two drafts to the second version, the beginning of the draft is reproduced in the bundle Cod.poet.et.phil.fol.63, I, 6 of the Württemberg State Library - H 3 from the Stuttgart edition .
The following texts are taken from the Stuttgart edition . They only differ from the Horen and the Flora in that Beissner Hölderlin's attempt to reconstruct the presumed original spelling. So print Beissner verse 10 of the first version of "Friendly of trees produce bli k no wirth royal roof te" instead of the Horen "Friendly of trees produce bli ck te not wirth royal roof". The historical-critical Frankfurt edition by Dietrich Sattler and the more recent "reading editions" by Jochen Schmidt and Michael Knaupp offer slightly different versions.
First version
Emergence
Hölderlin wrote the poem in Frankfurt am Main . In January 1796 he took up a position as private tutor in the Jakob Friedrich Gontard-Borkenstein family (1764–1843) , where he had met Susette Gontard , his Diotima . In April 1797 the first volume of his Hyperion was published. In the same month he wrote to his sister Maria Eleonora Heinrike (1772–1850):
“Next week we will probably move to a country house near the city, the HE. Gontard has rented. The house itself is well done and you live in the middle of the green, by the garden under meadows, have chestnut trees around you and poplars, and rich orchards and the wonderful view of the mountains. The older I get, the bigger a kid I am with springs as I see. I still want to enjoy him with all my heart's strength. <...> If you find a book called Hyperion, do me a favor and read it when you get the chance. It is also a part of me. "
The "country house" was probably the Adlerflychtsche Hof north of the city.
On June 20, Hölderlin sent a copy of Hyperion with fair copies of the poems An den Aether and Der Wanderer to Friedrich Schiller:
"My letter, and what it contains, would not be so late if I were more certain of the reception you will appreciate me. I have enough courage and my own judgment to make myself independent of other art judges and masters, and to that extent to go my way with the calm I need, but I depend on them insurmountably. <...> I take the liberty to enclose the first volume of my Hyperion with you. You have taken care of the little book. <...> Would the poems that I enclose, nevertheless, be honored in a place in your muse almanac! "
Schiller sent the poems to Goethe on June 27th. He himself had "no pure judgment about products in this manner <...>". The next day Goethe replied:
“I am not at all inconvenient to the two poems sent to me that come back here, and they will certainly find friends in public. The African desert and the North Pole are clearly painted neither by sensual nor by inward looking; rather, they are both represented by negations, since they do not, as the intention is, contrast sufficiently with the rear German-lovely picture. So the other poem looks more natural-historical than poetic, and reminds one of the painting where the animals all gather around Adam in Paradise. Both poems express a gentle striving that dissolves into frugality. The poet has a serene view of nature, with which he only seems to have been known through tradition. Some vivid images surprise me, even though I don't like to see the swelling forest standing as a negating image against the desert. In individual expressions as well as in meter, there is still something to be done here and there.
Before one had seen more of the author, that one knew whether he had other styles and talents in other verses, I would not know what to advise him. I would like to say that both poems are good ingredients for a poet, but they alone do not make a poet. Perhaps he would do best if he once chose a very simple idyllic fact and presented it, so one could sooner see how he succeeded with the human meal, which in the end everything depends on. I should think that the aether would not be bad in the almanac and the wanderer would occasionally look good in the ears. "
Schiller informed Hölderlin in a lost letter that he would have the two poems printed. At the beginning of August, Hölderlin thanked him profusely, not knowing that Schuiller and Goethe were very concerned about him in a confidential exchange:
"I will never forget your letter, noble man! He gave me new life. I feel how aptly you have assessed my truest needs. "
An den Aether really came in 1798 in Schiller's Musen-Almanach , Der Wanderer in 1797 in Schiller's Horen . The relaxed, happy mood of April, May and June 1797 was followed by a crisis in July, perhaps triggered by a wedding in the Gontard house, which made Hölderlin aware of his dependency as a private tutor, the hopelessness of his love for Susette Gontard and his homelessness.
Text and interpretation
The Horen version of the poem comprises 42 distiches , i.e. 84 verses. This is followed by the Stuttgart edition . In contrast , the manuscript H 2 reproduced here has 90 verses. This is followed, for example, by the edition by Michael Knaupp. The Horen version is not divided into stanzas, nor is the edition by Knaupp. The Stuttgart edition is divided into two stanzas of 18 and one of 48 verses.
Friedrich Schiller probably edited Hölderlin's text for the listeners . An example is verse 5 “Oh! did not jump, with the refreshing green the shady forest here ”. As can be seen from the letter to Schiller quoted above, Goethe read and criticized the expression “the swelling forest”, and Schiller changed it accordingly.
The Wanderer
I stood lonely and looked out into the dry African
plains; fire rained down from Olympus.
Far away the Haagre Mountains crept like a walking skeleton,
hollow and lonely and bare, its head glanced up from above. 5 Oh! did not jump, with refreshing green the shady forest here In the whispering air lush and glorious, brooks did not rush here in a melodic fall from the mountains, through the blooming valley the silver stream looping through the blooming valley, no flock passed by the babbling fountain the noon, 10 friendly Trees did not look like a cozy roof. Under the bush sat a solemn bird without a song, scared and hurrying, wandering storks fled past. I didn't call you for water, nature! in the desert, water faithfully kept the pious camel for me. 15 I asked for the singing of the groves, for the shapes and colors of life , spoiled by the lovely splendor of homely corridors. But I asked in vain; you appeared to me fiery and glorious, but I had once seen you more divine, more beautiful. I also visited the ice pole; like a rigid chaos 20 towered the sea itself as schröklich up at the sky. The bound life slept here, dead in the sleeve of snow, And the iron sleep waited for the day in vain. Oh! Olympus did not wrap around the earth the warming arm here, Like Pygmalion's arm around his beloved. 25 Here he does not move her bosom with his sunbeam , and in rain and thaw he did not speak kindly to her. Mother Earth! I cried, you have become a widow, you live poorly and childless in slow times. Produce nothing and nothing to maintain in loving care, 30 Aging in the child will not see again, is death. But maybe one day you will warm up on the edge of heaven, His othem flatters you out of your poor sleep; And, like a seed, you break through the brazen husk, And the budding world timidly coils out. 35 Your saved strength flares up in lush springtime, roses glow and wine bubbles in the barren north.
The two stanzas are composed in parallel. Not only are the verse numbers identical. In the first line, the “I” looks at an extreme, merciless climate, the “African arid plains” and the “ice pole”. The first stanza is followed by the blazing rain of the sun and the “haagre” mountains, whose bare heights look “hollow” like a skull. Life seems burned up. The second stanza is followed by the chaotically staring ice towers from the sea to the sky. Life was never here. In the same way, the fifth verse begins, forming a rhyme, “Oh! did not jump ”(verse 5),“ Oh! not swallowed ”(v. 23).
In the first stanza the ego saves itself in the memory of a happier world, the objects of which it picks up as if in a frenzy, refreshing greenery, shady forest, babbling fountain, cozy roof. But then it sees the bird, the only living thing that is peculiar to this room, "which in its desolate apathy (serious, sangeless) denies itself". It asks “nature” (verse 13) not for water, but for the “splendor of home corridors” - but it asks in vain (verse 17).
In the second stanza, the ice world before every life, the ego saves itself in the thought of the Greek myth of procreation through "Olympus" and the earth (verse 23) - "Olympus" metonym for "heaven" and so already in Verse 2 used. If the invocation of "nature" in the first stanza (verse 13) remained in vain, the invocation of "mother earth" in the second stanza (verse 27) is followed by hope: for an awakening from "death" (verse 30) Living to the rhythm of a lush spring, a summer with roses, and an autumn with a rich grape harvest (verses 35–36.)
The common conception of the two stanzas emerges from an early version of the first distich, from the manuscript H 1 , not reproduced here : “South and North is in me. The Egyptian summer heats me up / And the winter of the Pole kills my life ”. Maria Behre called “South and North is in me” as the first germ word for the poem. According to the co-editor of the Frankfurt edition Wolfram Groddeck, the contrasting landscapes are “ allegories of an inner disposition of the poetic subject”.
But now I am going back to the Rhine, to my happy home,
and tender air blows to me, as it used to be.
And the striving heart soothe me the familiar
40 Peaceful trees, which once cradled me in the arms, And the holy green, the witness of the eternal, beautiful life of the world, it refreshes, transforms me into a youth. Meanwhile, I have grown old, the ice pole pale me, And in the fire of the south the locomotives fell out of me. 45 Yet, like Aurora encircling Tithon, you embrace in smiling blossom warm and joyful, as once, earth of the father, the son. Peaceful land! no hill grows in you without the wine, down in the swelling grass the fruit rains in autumn. The glowing mountains bathe happily in the river, 50 wreaths of twigs and moss cool your sunny head. And, like the children up to the shoulder of the splendid ancestor, climb up forts and huts on the dark mountains. The stag walks peacefully out of the forest into the friendly daylight; The falcon looks around high in the clear air. 55 But down in the valley, where the flower nourishes itself from the spring, the village stretches happily across the meadow. Still ists here: hardly murmurs from afar, the geschäfftige mill, And from the mountain down creaks the tethered wheel. Sweetly drowns out the hammered Sens' and the voice of the farmer, 60 The directing commanded the steps on plow the bull, Sweetly the mother singing, sitting in the grass with the little son. The corn sun flatters you into smiling sleep. But over by the lake, where the elm grows over the aging courtyard gate and the fence is blooming with wild elderberries, 65 There the house and the garden greet me in a secret darkness, Where my father once raised me with the plants to love, Where I am as happy as the squirrel, plays on the lisping branches, Or dreamily hid his forehead in the fragrant hay. Home nature! how did you stay true to me! 70 Tenderly, as before, you still take in the refugee. The peaches are still thriving for me, and delicious grapes are still growing pleasantly at my window, as usual. The sweet fruits of the cherry tree are still reddening, And the branches reach themselves to the plucking hand. 75 Flattering, as usual, in the forest the infinite foliage pulls me from the garden of the path, or down to the brook, And you redden the paths me, it warms me and plays around the eye, as usual, fatherland sun! your light; I drink fire and spirit from your joyful cup, 80 You will not let my aging head become sleepy. Which you once awakened my breast from the sleep of childhood And with gentle force drove me higher and farther, milder sun! I return to you more faithfully and wisely, to become peaceful and to rest happily among the flowers.
After hope at the end of the second stanza, the strongly emphasized “but” (verse 37) introduces the second part of the poem, the fulfillment of hope, the re-encounter with home. For the first time, writes Andreas Müller, Hölderlin uses the word "Rhine" in a poem, not yet as a mythical figure, "demigod", as in the hymn The Rhine , but as a "bearer of a warm feeling of happiness". Ice and fire have also left their traces (verses 43, 44), the "I" know that I am in love - the poet adorns this statement with a reference to the ancient love story of Aurora and Tithonos - and "in smiling bloom" embraced by the “Earth of the Fatherland” (verses 45-46).
“Holy land!” (Verse 47) the homeland is now praised. First of all, the view from the height of the Feldberg im Taunus overlooks the landscape as a whole, the vineyards, the river and the "forts" - castles - "on the dark mountains" (verse 52). So Hölderlin saw them on a trip with his friend Isaac von Sinclair to the Taunus in April 1797: “The next day we went from Homburg to the mountains of the area, from the top of which we walked many miles up the royal Rhine and his little brother, the Main and the endless green plains that lie between the two rivers, and Frankfurt with the lovely villages and forests that surround it, and the prouder Mainz and the glorious distant places. "Then the eye catches the individual elements of" High in the serene air " to “down in the valley” (verses 54–55) and the ear collects familiar tones - a mill, a wagon, the sharpening of a scythe, human voices (verse 57–61), until finally after the ritardando of the lake, an elm-green courtyard gate and Elder-flowered fence (verse 63-64) the hiker is at their destination, at home: "The house and the garden receive me in the secret darkness / Where my father once raised me with the plants" (verse 65-66).
With the corresponding call to verse 47 “Heimatliche Natur! How have you remained loyal to me! ”(verse 69)“ the poem then rises again <...> from the naming of personal memories to the contemplation of <a> general and eternal connection that exists and works between man and Narur ”. Nature has been faithful and will be faithful when man comes to meet her “more faithfully and wisely” (v. 83). According to Andreas Müller, this “new marriage (synthesis)” of man and nature becomes particularly clear in the pentameter verse 74, in which the poem culminates: The plucking hand of man is given the fruit branches of nature “themselves”.
Overall, in the first version, after getting to know the most gruesome wastes, people find their beautiful home and the peace of their soul again, regain the belief in a reconciliation of all contradictions in life, freed from tormenting memories.
Second version
Emergence
In autumn 1798 there was a break with Jakob Friedrich Gontard. Hölderlin then lived in nearby Homburg . On May 8, 1800, he met Susette Gontard for the last time at the Adlerflychtschen Hof. In mid-June 1800 he emigrated to Stuttgart via Nürtingen , where his mother and sister lived. There he lived with his friend, businessman Christian Landauer (1769-1845), until he took up a new private tutor position with the linen manufacturer Anton von Gonzenbach (1748-1819) in Hauptwil in Switzerland in January 1801 .
Front page
Page 1 of the poem
Page 2 of the poem
Page 8 of the poem
Page 9 of the poem
In the summer of 1800 in Stuttgart, he turned back to the poem. He copied the version of the Horen with wide line spacing and wrote his changes up to verse 81 in between: handwriting H 3 . He rewrote the verses from 82 onwards, independently of the Horen copy. This resulted in the pressure in the flora .
Text and interpretation
The Flora version of the poem is longer. It comprises 54 distiches , i.e. 108 verses, and is divided into six stanzas of 18 verses each. This is followed by all of Hölderlin's work editions, which differ little for the second version.
Holderlin also gave the stanzas an internal structure that was hidden in the print. In B 3 he drew a horizontal line under every third distichon on the left edge, thus imagining each stanza as consisting of 3 × 3 distiches, three distich triads. This structure - six or nine stanzas from 3 × 3 distiches - he also adopted for his later elegies such as Brod und Wein (nine stanzas) and Heimkunft (six stanzas). In favor of this internal structure, he gave up the parallelism of the composition of the first two stanzas with the rhyming beginnings of verses 5 and 23.
The Wanderer
I stood lonely and looked out into the dry African
plains; Fire rained down from Olympus, raging
! Hardly any milder than it was then, when the mountains here
split with the strals of the god built ups and downs. 5 But on them no freshly green forest does not spring into the resounding air lush and glorious. The forehead of the mountain is not wreathed and it hardly knows eloquent brooks , the source rarely reaches the valley. No flock goes by noon at the babbling fountain, 10 friendly from the trees there was no hospitable roof. Under the bush sat a solemn bird, singing, but the wanderers fled quickly, the storks by. Since I did not ask you for water, nature! in the desert, water faithfully kept the pious camel for me. 15 To the groves song, ah! I asked for the gardens of my father from the wandering bird of the homeland. But you said to me: Here too there are gods who rule, their Maas is great, but people like to measure with the span. And speech drove me to look for Andres, 20 I came up in ships far from the north pole. The bound life slept quietly in the shell of snow, And the iron sleep waited for years of the day. For too long Olympus has not wrapped its arm around the earth, Like Pygmalion's arm around his beloved. 25 Here he does not move her bosom with his sunbeam , and in rain and thaw he did not speak kindly to her; And I was amazed and foolishly I said: Oh mother earth, do you always lose time as a widow? After all , there is nothing to produce and nothing to care for in love, 30 aging in the child not to see each other again, like death. But maybe one day you will warm up on the edge of heaven, His othem flatters you out of your poor sleep; That, like a grain of seed, you burst the iron shell, Los tears itself and the light greets the world that has been born, 35 All the gathered strength flares up in lush spring, roses glow and wine gushes in the barren north.
The second version introduces thoughts beyond the first. The fire raining from Olympus awakens the thought of a “world creation in the chaos of the mountain formation”. "Nature" (verse 13) gives an answer to the request "for the song of the groves" (verse 15), namely with the slogan "Introite, nam." From Gotthold Ephraim Lessing as the motto for Nathan the Wise et heic Dii sunt! ”-“ here too there are gods and rule ”(verse 17), to continue“ man likes to measure with the span ”(verse 18), based on Isaiah “ Whoever measures the waters with the cupped hand, and who determines the breadth of heaven with the span? ”( Isa 40:12 NIV ). Nature points out to man his time dimension, the hand span . This thought makes the question “Mother / earth, do you always lose time as a widow?” (Verses 27-28) particularly urgent.
So I say, and now I return to the Rhine, home,
tenderly, as before, the air of youth blows at me;
And the striving heart soothe me the familiar
40 open trees that once cradled me in the arms, And the holy green, the witness of the soulful, deep life of the world, it refreshes, transforms me into a youth. Meanwhile, I have grown old, the ice pole pale me, And in the fire of the south the locomotives fell out of me. 45 But if somebody saw this land again on the last of the mortal days, coming from afar and tired to the soul, his cheek would have to blossom once more, and his eye would still shine almost extinguished. The soulful valley of the Rhine! There is no hill without the wine, 50 And the wall and garden are crowned with the bunch of leaves, and the ships, cities and islands are full of the holy drink in the river - they are drunk with wine and fruit. But the old man, the Taunus, rests above smiling and solemn, And crowned with oaks, the free bowed his head. 55 And now the deer comes from the forest, the daylight from clouds, high in the clear air the falcon looks around. But down in the valley, where the flower nourishes itself from springs, the little village stretches out comfortably over the meadow. It's quiet here. Remote rushes always geschäfftige mill 60 But tilting the Tags announce the Gloken me to Sweetly drowns out the hammered Sens' and the voice of the farmer, the returning home happy commanded the steps of the bull, Sweetly the mother singing, sitting in the grass with the little son ; Passed away from seeing; But the clouds are red, 65 And at the shining lake, where the grove overgrows the open courtyard gate and the golden light plays around the windows, There the house and the garden's secret darkness welcomes me, Where my father once lovingly raised me with the plants; Where I play freely, like a winged, on airy branches, 70 Or look into the true blue from the top of the grove. You have always been loyal, too, have remained loyal to the refugee, you accept me kindly, as once, Heaven your home. The peaches still thrive on me, the flowers astonish me, The bush stands splendidly with roses almost like the trees. 75 Meanwhile, my cherry tree has become heavy with dark fruit, And the branches reach out to the plucking hand. Also to the forest, as usual, into the freer arbor. From the garden the path or down to the brook, where I lay and the courage rejoices in the glory of men. 80 Foreboding boatmen; And that could be said of you, that into the sea 'I have to go, into the deserts', you masters! Oh! Meanwhile father and mother sought me in vain. But where are they? you are silent? you hesitate Keeper of the house! I hesitated too! I counted the steps, 85 As I am approaching, and, like pilgrims, I stood still. But go in, tell the stranger, the son, That my arms will open and I will meet their blessing, That I have been consecrated and granted the threshold again! But I already suspect , in holy strangers are gone 90 Now they too me, and dear ones never return.
The third and fourth stanzas, like verses 37 to 70 of the first version, praise home. They are brought into a sequence of times more clearly by the transitions “So say 'I” in verse 37 and “And now comes” in verse 55. At the beginning of the fifth stanza, as in verses 71 to 76 of the first version, the wanderer walks dreamily the garden of childhood with its peaches and cherries as well as the path into the forest and “down to the brook” (verse 78). But while the first version closes pacified, something disturbing breaks in with verse 79 of the second version. When he was young by the brook, legends of heroes and seafarers moved him to set out for the desert and the Arctic Ocean, probably also “to sin against the commandment of love and the duty of sons”. Father and mother looked for him in vain. Hesitantly, counting the steps (v. 84), he has to admit to himself that something irreversible has happened with it: “and you loved ones never return” (v. 90) “The separation appears as the most important experience of the ego; <the> irrevocability of this event shows the extent of human life. "
Father and mother? and if friends are still alive, they have won
Andres, they are never mine anymore.
I will come, as usual, and the old ones who name the names of love
, conjure the heart, whether it still beats, as usual,
95 But they will be quiet. So
some things are bound and divided by time. I think they died, they died for me.
And so I am alone. But you, above the clouds,
father of the fatherland! mighty aether! and you
earth and light! you three who rule and love,
100 Eternal Gods! I never break ties with you. Starting out from you, I also wandered with you, you, you joyful ones, I will bring you back more experienced. So hand me now, fill my cup with wine up to the top of the warm mountains of the Rhine !
105 That I drink first to the gods and the memory of the heroes , the boatmen, and then yours, you dearest ones! also ' parents and friends'! and forget the toil and all sufferings today and tomorrow and be quickly among the native ones .
Self-tormented, he repeats the words “father and mother” (verse 91) in order to then face his knowledge, the general one: “This is how time binds and separates / Much the time” and the personal one with which the poem began: “I stood lonely ", Now" And so I am alone "(v. 97). There is no final homecoming for man in his “span” (verse 18). What remains, what is perhaps even consolidated for the wanderer who has become “experienced” (verse 102), are the “ties” (verse 100) to the eternal gods. As in the elegy Achilles from 1798, the poet invokes them as the triad of ether , earth and light (verse 98-99) - the ether "in the ancient tradition the life-giving principle, which is also equated with the all-embracing deity".
With the second version, Holderlin gains a form of elegy that suits him. In contrast to the first version, the second gives the hike a beginning and links its stations more explicitly. In the first version, the wanderer's hope is fulfilled; he will find unquestionable happiness. In the second version, perhaps due to Holderlin's experience since 1797, this hope is lost. Only the divine nature exists in eternal harmony. He may thank her because she gives him a view beyond his own existence, in “remembrance” (v. 105) of relatives and friends and seafarers and in forgetting (v. 107) of suffering.
literature
- Adolf Beck and Paul Raabe : Hölderlin. A chronicle in text and pictures. Insel Verlag , Frankfurt am Main 1970.
- Maria Behre: The Wanderer . In: Gerhard Kurz (Ed.): Poems by Friedrich Hölderlin. Philipp Reclam jun. , Stuttgart 1996, ISBN 3-15-009472-0 , pp. 109-123.
- Wolfram Groddeck: Elegies . In: Johann Kreuzer (Hrsg.): Hölderlin year book, Life - Work - Effect, pp. 320–334. JB Metzler'sche Verlagsbuchhandlung , Stuttgart 2002. ISBN 3-476-01704-4 .
- Friedrich Hölderlin: Complete Works. Big Stuttgart edition . Edited by Friedrich Beissner, Adolf Beck and Ute Oelmann. 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 .
- Andreas Müller: The two versions of Hölderlin's elegy “The Wanderer” . In: Hölderlin yearbook year 1948/1949. J. c. B. Mohr (Paul Siebeck) , Tübingen 1949, pp. 103-131.
- Moritz Strohschneider: New religion in Friedrich Hölderlin's later poetry. De Gruyter, Berlin / Boston 2019 (= sources and research on literary and cultural history. Volume 94), pp. 63–115.
Individual evidence and comments
- ^ The Wanderer - Hölderlin's manuscripts in the Württemberg State Library. Retrieved February 28, 2014.
- ^ Stuttgart edition, Volume 6, 1, pp. 238–241.
- ^ Stuttgart edition, Volume 6, 1, pp. 241–242.
- ↑ Schiller recommended the novel to Johann Friedrich Cotta .
- ↑ Stuttgart edition, Volume 7, 2nd p. 95.
- ^ Stuttgart edition, Volume 7, 2nd pp. 96–97.
- ↑ Stuttgart edition, Volume 6, 1, p. 249.
- ↑ Beck and Raabe 1970, pp. 47-48.
- ↑ This is followed by more of the "negations" objected to by Goethe: "Streams did not fall here" (verse 7), "Here it does not move you" (verse 25). Holderlin had an ancient model for the sequence of climatic zones, later followed by “our” temperate zone, as well as for the series of negations, the “ Panegyricus Messallae - Praise of the Messala ” by an unknown poet, handed down in Tibullus' elegies . Schmidt 1992, p. 602.
- ↑ Müller 1949, p. 105.
- ↑ It was believed that the Turks would kill camels in the desert and drink the water in their stomachs. Schmidt 1992, p. 602.
- ↑ Stuttgart edition, Volume 2, 2, p. 513.
- ↑ Behre 1996, p. 116.
- ↑ Groddeck 2002, p. 321.
- ↑ Andreas Müller 1949, pp. 107-108. Müller is wrong insofar as “the proud old Rhine” appears in the poem from 1793 An Hiller . Stuttgart edition Volume 1, 1, p. 173.
- ^ The letter to the sister from April 1797, already quoted above. Stuttgart edition, Volume 6, 1, p. 239.
- ↑ Hölderlin also remembers the plants of his childhood in the poem Da I Was a Boy, which was around the same time : “And how you delight the heart / The plants, / When they stretch out towards you / The tender arms / So you delighted my heart / Father Helios. <...> And I learn to love / Among the flowers ”. Stuttgart edition Volume 1, 1, pp. 266–267.
- ↑ Müller 1949, pp. 110-111.
- ↑ Müller 1949, pp. 130-131
- ↑ Behre 1996, p. 116.
- ↑ Schmidt 1992, p. 710.
- ↑ Müller 1949, p. 127.
- ↑ Behre 1996, p. 120.
- ↑ Schmidt 1992, pp. 710-711.