The angle of Hahrdt

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Friedrich Hölderlin around 1797. Characteristic is the raised skirt collar and the fashionably short cut hair that falls over the forehead

The Winkel von Hahrdt is a poem by Friedrich Hölderlin . It is the last of nine poems in a cycle that Hölderlin wrote to describe as Nachtgesänge .

Origin and tradition

The germ of the poem emerged in Hölderlin's early youth. His later editor Christoph Theodor Schwab (1821–1883) reported in 1846: “In the cleft in the rock near the neighboring one, through Wilh. Hauffs Pfeifer's well-known village of Hart, where Duke Ulrich von Württemberg once sheltered himself from the spies of the Swabian Confederation , he sometimes enthusiastically read to the lovingly loved half-brother from Klopstock's Hermannsschlacht and one of his first poems was dedicated to the 'Winkel von Hart' but with many others it is said to have been lost through the negligence of a friend. ”Of these excursions with the younger half-brother Karl GokHölderlin remembered in August and September 1796 on a trip with the Susette Gontards family , his Diotima , to Bad Driburg , near the presumed location of the "Hermannsschlacht" in the Teutoburg Forest . On October 15, 1796 he wrote to Karl Gok: “What will please you particularly is that I can say that we probably lived only half an hour from the valley where Hermann defeated the legions of Varus . As I stood at this point, I thought of the beautiful May afternoon, when we were reading the Hermannsschlacht together in the forest near Hahrd with a jug of fruit wine on the rock. Those were always golden walks, dear, faithful ”.

In contrast to the earlier poem, the poem was written by the beginning of 1804 at the latest. No manuscript is known. The first text witness is the printing of the Nachtgesänge in paperback for 1805. Dedicated to love and friendship by the Frankfurt publisher Friedrich Wilmans . In the paperback , however, the poems are not night songs , but simply “poems. Overwritten by Ms. Hölderlin ”. The corner of Hahrdt is the last of the nine. The next time it was printed like all Nachtgesänge in 1846 in Christoph Theodor Schwab's “Friedrich Hölderlin's entire works”, in the second volume in a section “Poems from the time of madness”, then again in the Propylaea edition by Norbert von Hellingrath , Friedrich Seebaß (1887–1963) and Ludwig von Pigenot (1891–1976).

  • From Wilmans' paperback

  • Title page of the Night Songs

  • The angle of Hahrdt

text

The following text is taken from the historical-critical Stuttgart edition by Friedrich Beissner , Adolf Beck and Ute Oelmann (* 1949). It deviates from the paperback because Beissner Hölderlin tried to reconstruct the original spelling. Beissner therefore printed “namely” and “fate” instead of “namely” and “fate” like the paperback and put a point after “not at all underage”. The newer "reading editions" by Jochen Schmidt and Michael Knaupp again offer (minimally) different versions.

000000 The angle of Hahrdt

0000 The forest sinks down,
0000And like buds,
0000the leaves hang
0000inwards , which bloom on a ground below,
05 Not at all immature. Ulrich went there ; often contemplates, about the kick, A great fate ready in other places. 00
0000
0000
0000
0000

Württemberg history, place and legend

The proper names "Hahrdt" and "Ulrich" only reveal the exterior of the poem to someone familiar with the history of Württemberg . In 1519 the Swabian Federation drove out Duke Ulrich von Württemberg. Ulrich was banished and Württemberg was subordinated to the House of Habsburg . In 1534 Ulrich received his ducal office back. Immediately afterwards he introduced the Reformation in Württemberg. On the run in 1519 he came through “Hahrdt”, today written “Hardt” and is part of Nürtingen . In the area around the village, north of the river Aich, there are rocks made of Rhaetian sandstone over marl , on which they slowly slide down to the valley. A large block bears the name Ulrichstein . The Rhätsandstein was mined in its vicinity until the middle of the 20th century. The legend of how the Ulrichstein became Duke Ulrich's “Winkel”, a hideout, was recorded by a pastor from Oberensingen in 1787 : “<...> the Ulrichs cave, or the hollow stone, a wooded ground, a few steps behind Hardt, towards the west Located in Grötzingen . Duke Ulrich hid himself there on the run for a few days, and was given food by 4 Hardter citizens (the whole court consisted of so many at that time); he offered them a testimony of grace in return. "

Gustav Schwab designed the legend in 1815 for the ballad Der Hohlenstein in Schwaben . The banishment becomes a time of purification, in which Ulrich, after an immoderate, uncontrolled youth, transforms himself into a good prince. Wilhelm Hauff's novel from 1826 Lichtenstein added the "Pfeifer von Hardt", who loyally stood by Ulrich in all dangers. In a collection of legends from 1926, a spider spins its web over Ulrich's hiding place and thus saves his life. "Modern historiography <...> avoids any glorification of Ulrich and paints the depressing portrait of an irascible man of power who, however, was not devoid of charisma."

interpretation

Apart from the comments on the complete editions of the poems - mainly Friedrich Beissner - Der Winkel von Hahrdt was interpreted by Wolfgang Binder and later Martin Anderle, Michael Gehrmann, Christine Ivanovic, Karl Maurer , Peter Härtling and Angela Wagner-Gnan. Knowledge of history, place and legend, writes Binder, "removes the outer darkness of the poem, but rather reinforces the peculiar fascination of its verses".

Like the poems that preceded the Nachtgesänge Half of Life and Age and in contrast to the first six poems, which are odes, Der Winkel von Hahrdt is written in a free rhythm . The poem is divided into two parts of four verses each (1–4 and 6–9), with the middle verse 5 in between. Its neighboring verses 4 and 6, which are the only six syllables in the poem, highlight it in a frame. The first four verses give a picture of nature, the last four a reflection. In this, Der Winkel von Hahrdt corresponds to the much better known half of life , but where the image of nature in the first half is not separated from the reflection in the second half by a middle verse (or not connected to the reflection in the second half by a middle verse).

The first four verses draw a picture of autumn after Binder and the later interpreters. The falling forest means the falling leaves, the leaves that have not yet fallen hang shriveled "inward" after the first frost, the ground is blooming in the red of autumn leaves. But this autumn also has features of spring, to which the “buds” and “blooms” refer, “a very Hölderlinian thought”. Autumn takes on the color of spring like the red sunset that of the morning. It is a time of memory, and the poem is about memory.

To the center line "Not even immature.", The point comes from him, writes Beissner, the verse decide the landscape and lead at the same time, "the utter ends to interpretation here, Schick Hall '' as a colon zur. "That is why the 'bottom' of the Aichtal through which the Duke fled to the Alb via Nürtingen and Güterstein is not entirely 'underage': it knows something to tell, although it is so inconspicuous." Binder adds, Hölderlin means with " not underage ”probably“ not speechless ”, but the etymologically correct meaning“ not in need of protection, ie independent ”also gives a good sense. Its history gives the place "a sense of self that distinguishes it from a mere natural place."

The “reason” tells of Duke Ulrich's fate, for whose “kick” (verse 7) the vernacular made a deepening in the rock of the Ulrich stone . But all the decorations of the legend are missing. In the second half of the poem, the “fate” becomes the subject itself, “becomes independent”: “often ponders <...> a great fate”. It ponders, and the poet and the reader ponder with it, about the fate of people and events. First of all, according to Christine Ivanovic, "the place remembered in the poem is still connected for Hölderlin with another, far more important historical event for German history, whose former mediator Klopstock was for him: the Hermannsschlacht." However, the reflection goes further: "About the in From the perspective of Hölderlin's paradigm of the Hermannsschlacht, linked to this place, the idea of ​​the patriotic comes to the fore at the same time as the past fate of Duke Ulrich. ”During these years, Hölderlin struggled for an overall interpretation of history. For him the culture had migrated from east to west, from Asia Minor via Greece to Rome and finally over the Alps, only to culminate here in "Hesperia" - so his hope - in a new day of gods. In the Patriotic Chants he expressed this story solemnly and enthusiastically, in the Night Chants quietly and melancholy. The “great fate” ponders - and is ready - “in the rest of the place”, somewhere absolutely, in an inconspicuous place where a “great fate” can nonetheless occur.

"Now one understands the meaning of the autumn picture: As autumn reminds of spring and promises its return, so the great fate of someone else remembers before him and hopes for both fulfillment in a future fatherland." Binder concludes: "To be ready and yourself Keeping it open for the coming of the morning is the ultimate thing that 'Nachtgesänge' can finally achieve. "Ivanovic accompanies" Winkel "into the present:" A good two hundred and fifty years after the Duke of Württemberg found shelter in the crevice, Holderlin's poem ponders whose 'kick' after; two hundred years later, the original appearance can only be guessed at: the soft ground caused the rock to collapse and the traces covered. But what remains is the poem, '[b] ereit, in other places'. "

"Editor's War"

The editor of the Frankfurt edition of Hölderlin's works Dietrich Sattler vehemently contradicted Beissner's punctuation of verse 5 and provoked a cause célèbre of the more recent Hölderlin research. Karl Maurer has summarized them in detail. The point, according to Sattler, adds “not at all underage” to the “reason”, falsely separating the three words from Duke Ulrich, thus destroying the equivalence of the poem, erasing a figure of thought inscribed in it and ruining its structure. Beissner, so Sattler with a cryptic tertium comparationis , prophesied like Caiaphas . Gehrmann comments that a disagreement is "stylized into an editor's war". According to Maurer, Hölderlin intentionally left out the point. But Beissner's critics failed to explain why Duke Ulrich, who was thirty-two years old at the time of his escape, could not be called “not at all underage”. Maurer considers the line to be an apokoinu , a hinge that relates to both the preceding and the following. As an example he cites verses 94–96 of Holderlin's peace celebration

0000And the image of the
0000times that the great spirit unfolds, a sign lies before us that between him and others there is
0000an alliance between him and other powers

as well as verses 99-101 from Der Rhein :

0000Then the Trozigen have mocked their own right
0000and certainly the heavenly fire
0000, <...>

According to Beissner, “not at all under of age” is the “reason” that knows something to tell. In addition, however, the verse should be read as an allusion to Horace's odes, which opens the closing sequence verses 6-9 .

Trivia

The Schwäbisches Tagblatt reported on landslides on Ulrichstein in 1993.

The “Hölderlin-Nürtingen” association, founded in 2007, has set up a 10.4 km long circular hiking trail from Nürtingen - Hardt - Oberensingen - Nürtingen that runs past Ulrichstein .

literature

Individual evidence

  1. ^ Adolf Beck and Paul Raabe: Hölderlin. A chronicle in text and pictures. Insel-Verlag, Frankfurt am Main 1970, p. 381.
  2. ↑ Christoph Theodor Schwab (Ed.): Friedrich Hölderlin's all works. Second volume. JG Cotta'scher Verlag, Stuttgart / Tübingen 1846, p. 267.
  3. ↑ Stuttgart edition, Volume 6.1, p. 217.
  4. ↑ Christoph Theodor Schwab (Ed.): Friedrich Hölderlin's all works. Second volume. JG Cotta'scher Verlag, Stuttgart / Tübingen 1846.
  5. ↑ a b Kurt Oesterle: Ulrich went there. A landslide destroys Hölderlin's "Winkel von Hardt". In: Schwäbisches Tagblatt from November 4, 1993.
  6. ↑ Hans Schwenkel (Ed.): Hardt. In: Heimatbuch des Kreis Nürtingen Volume II, pp. 318–327. District association Nürtingen 1953.
  7. ↑ According to Wagner-Gnan 2007.
  8. ↑ Wagner-Gnan 2007.
  9. ↑ Gehrmann 2009, pp. 120–121.
  10. ↑ Binder 1970, pp. 351-352.
  11. ↑ Gehrmann 2009, p. 119.
  12. ↑ Ivanovic 2009, p. 3.
  13. ↑ Binder quotes Hölderlin's Hyperion : “For us, autumn, full of mild fire, was a brother of spring, a festival time to remember suffering and past joys of love. The withering leaves wore the color of evening red. ” Stuttgart edition, Volume 3, p. 93.
  14. ↑ Binder 1970, p. 352.
  15. ↑ Binder 1970, p. 352.
  16. ↑ Binder 1970, p. 351.
  17. ↑ Härtling 1977.
  18. ↑ Anderle 1986, p. 40.
  19. ↑ Ivanovic 2009, pp. 6-7.
  20. ↑ 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.
  21. ↑ Binder 1970, p. 353.
  22. ↑ Binder 1970, p. 361.
  23. ↑ Ivanovic 2009, p. 15.
  24. ↑ Sattler 1996, pp. 167–168: “due to the ironic ambush of a missing point, however, a conjectural textual criticism failed, believing that the 'not at all immature' in the middle of the poem struck the front sentence and the shape of the driven, but never how the poet, in his highest mental power, had to cut off duke ulrich who was thought to be insane. as a result, however, the exchange of meaning was prevented by the meaning-permeable membrane of that line, the equivalence of the poem was destroyed and the figure of thought inscribed in it was wiped out, so on the whole its aesthetic, semantic and dialectical 'structure' was ruined, and tragically those are precocious, corrupted by their eternal better knowledge ghosts forced to hold onto their mistakes for life. But with this you have left the sphere of procedural correctness and are now increasing <...> the violence of the flood, which tears away the wrong with the right. This applies, as I had to realize, not only to the editorial preparation of the word to text, but also to the analectic 'commentarius perpetuus', which has been obsolete for two hundred years in their 'herds', in which they are constantly involved in the unchangeable keel trace of truth to be corrected according to your dictionaries. <...> as kaiphas but prophesied Bissner when he described that 'structure' with lexical precision as a dialectical figure, the stone corner above the 'kick' <...> as a monument to a puzzlingly wonderful and fruitful story, that of your future resolution awaits. "
  25. ↑ Gehrmann 2009, p. 121.
  26. ↑ Stuttgart edition, Volume 3, p. 536.
  27. ↑ Stuttgart edition, Volume 2, 1, p. 145.
  28. ↑ Maurer 1996, p. 213.
  29. ^ The Hölderlin landscape hiking trail on the association's website. Retrieved May 2, 2014.