Of the morning
In the morning there is an ode in alkaean meter by Friedrich Hölderlin . Hölderlin composed it in Homburg vor der Höhe in 1799 at the same time as Abendphantasie and Der Main . All three poems were first printed in the British ladies' calendar and paperback for the year eighteen hundred , edited by Johann Wilhelm Ernst Hadermann (1774-1807).
- British ladies calendar 1800
Page 25: copper engraving.
Page 93: Holderlin's poem.
Origin and tradition
As a pupil in Maulbronn and Tübingen , Hölderlin had already composed oden, including eleven in Alkaic and two in asklepiadic syllable proportions . During his time as a private tutor in the Jakob Friedrich Gontard-Borkensteins family (1764–1843) in Frankfurt am Main , 1796 to 1798, he won his mastery as a poet of Odes. These were the years he was close to Susette Gontard , his Diotima . The Frankfurt Odes were mostly short, two or three stanzas, for example An die Parzen . In September 1798 there was a break with Gontard-Borkenstein and Hölderlin left Frankfurt. He then lived in Homburg on the advice of his friend Isaac von Sinclair , but remained in contact with Susette Gontard until a last meeting on May 8, 1800. In mid-June 1800 he moved to Stuttgart . In Homburg he wrote or completed the many-stanza odes Die Capricious , Death for the Fatherland , The Zeitgeist , My Property , To a Princess of Dessau , The Princess Auguste of Homburg , Go under, beautiful sun and even evening fantasy , Des Mornings and based on earlier drafts The Main . The latter three were probably created in July 1999; because the printing of the British women's calendar began at the end of the month.
Three manuscript sheets by Holderlin for the Ode Des Mornings have survived. On the earliest, today in the Tübingen University Library, it is still called the morning fantasy , as a counterpart to the evening fantasy on the back. A second draft, privately owned in Cologny , already in the morning , was canceled after twelve lines because the sheet was too small. The “beech” of the printed version is a “poplar”. The third draft, also Des Mornings , today in the Württemberg State Library in Stuttgart , is close to the printed version, but has a “birch” instead of the “beech”. The fair copy after which it was printed is lost. The initiator of the historical-critical Stuttgart edition of the works of Hölderlin Friedrich Beissner has reconstructed the origin of the poem.
The following text is that of the Stuttgart edition by Beissner, Adolf Beck and Ute Oelmann (* 1949), the historical-critical Frankfurt edition by Dietrich Sattler and the edition by Michael Knaupp.
text
The lawn shines from the rope; more agile
The waking spring is already hurrying; the beech is sloping
Her swaying head and in the leaves
It rustles and shimmers; and about the gray ones
Clouds streak reddish flames there,
Announcing, they wake up noiselessly;
How floods wooed the shore
Higher and higher the changeable.
Come on, come on, and don't rush too fast
You golden day, away to the top of heaven!
Because flies more openly, trust you mine
Eye, you joyous one! to as long as you
Looking youthful in your beauty and still
Not too glorious, too proud for me;
You always want to hurry, can I
Divine Wanderer, with you! - but smile
The joyful arrogant that he
Want to be like you; I'd rather bless me then
My mortal deeds and cheer again,
Gentler! today the silent path to me!
interpretation
Friedrich Beissner, the French Germanist Rémy Colombat (1947–2010) and Gerhard Buhr (* 1940) have given interpretations of Colombat in comparison with evening fantasy .
The poem is divided into the image of nature in the first two stanzas and the reaction of the “I”, which begins with the exclamation “Come now, oh come” in the third to fifth stanzas. The tension between the two parts is tamed by the strict ode form.
The | shines from the rope Race; more agile |
The guard is hurrying | Source; the beech is sloping |
Your wavering head and in the leaves |
It rustles and shimmers; and around the gray |
Stripes of clouds | reddish flames there, ...
The metric caesuras of the first two verses and the dispatch are indicated by dashes. “Each part of the sentence goes beyond the metric incision, so that a total enjambement is created. The calmly moving up and down of the Alkaic stanza is constantly being syncopated over. ”Where the rhythm invites you to linger, the sentence presses on , just as the source hurries more agile. Holderlin not only describes the morning, he realizes it artistically. The second stanza remains a picture of nature, but points beyond that. Not only does the gaze rise above the horizontal, but the flames on the clouds that he sees are “announcing”. In this respect, the second stanza is not exclusively “an objective description without the color of a personal relationship”. Rather, the longing invocation is being prepared.
When analyzing the manuscripts, Friedrich Beissner found that Hölderlin began the draft “with the actually odic call” “Come on, oh come…” and then first wrote the third to fifth stanzas. "The handwriting shows that Holderlin, as a poet of Odendos, seeks the livelier, emotional tone of intimate participation and initially leaves the contemplative attunement <...> aside".
The call is directed to the "day", "divine wanderer". The I of the poem addresses him three times as “you”. It glorifies him as golden, joyful, youthful, glorious, proud, kind. It is a metaphor of the divine. "The speech of the ego <...> is filled with the urge to the divine." It is the divine in the sense of Holderlin's pantheism , which has been developed since the Frankfurt years and which does not mean a transcendent God, but the harmonious, loving cohesion of all that is. The ego's attitude towards the divine is characterized by insight into earthly limitations on the one hand, and hope of being heard on the other. This hope goes as far as trust, because with "but smile / Of the joyful arrogant you", the divine is assumed to be a benevolent reaction to the faint self-criticism of the ego. The I can continue on its "silent path" with God's blessing.
The morning phantasy of the Tübingen manuscript ends:
With you, with you! but you smile at the singer
proud to want to resemble you
And walk in silence while I am
Looking for names for you, over!
God is silent, leaves the ego pensive, restless. The final poem, however, offers a solution. According to Colombat, it presents human longing as conditionally achievable. An ego appears who knows how to unite passion and self-restraint and, before the eyes of the Godhead, tries to be content with the proportion of the Absolute allotted to him. It “tries to establish the modus vivendi of two unequal parties on a philosophically reasonable basis ”.
Settings
Max Ettinger wrote the poem in 1915 for tenor and orchestra, Paul Hindemith in 1935 for voice and piano, Heinrich Lemacher in 1942 for voice and string quartet, Erich J. Kaufmann in 1948 for male choir, Walther Dürr in 1953 for voice and piano and Karl Preis 1956 also for voice and Piano set.
literature
- Friedrich Beissner: To the odes evening fantasy and the morning. In: Hölderlin. Speeches and essays, pp. 59–66. 2nd Edition. Böhlau, Cologne 1969. The article extends the article of the same name in: Paul Kluckhohn (Ed.): Hölderlin. Commemorative publication on the 100th anniversary of his death June 7, 1943. Mohr Siebeck, Tübingen 1943.
- Wolfgang Binder : Hölderlin essays. Insel Verlag, Frankfurt am Main 1970.
- Gerhard Buhr: Interpretation of the lyric myth using the example of the ode "Des Morn". In: Hölderlins Mythenbegriff, pp. 44–60. Athenaeum, Frankfurt am Main 1972.
- Rémy Colombat: "Evening Fantasy" - "The Morning". Reflections on different ways of self-expression. In: Heinz Ludwig Arnold (Ed.): Friedrich Hölderlin. Text + criticism, special volume 1996. ISBN 3-88377-520-7 .
- Friedrich Hölderlin: In the morning. To the manuscript of the poem in the Württemberg State Library in Stuttgart. Retrieved January 14, 2014.
- Friedrich Hölderlin: Complete Works. Big Stuttgart edition . Edited by Friedrich Beissner, Adolf Beck and Ute Oelmann. Kohlhammer, 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 / Basel 1975–2008.
- Friedrich Hölderlin: Poems. Edited by Jochen Schmidt . Deutscher Klassiker Verlag, Frankfurt am Main 1992. ISBN 3-618-60810-1 .
- Friedrich Hölderlin: All works and letters. Edited by Michael Knaupp. Carl Hanser, Munich 1992–1993.
- Günter Mieth : "Abendphantasie" and "Des Morgens" - The mythological and biographical reference of both odes, pp. 125–130. In: Friedrich Hölderlin - time and fate. Königshausen & Neumann, Würzburg 2007. ISBN 978-3-8260-3322-3 .
- Andreas Thomasberger: Odes. In: Johann Kreuzer (Ed.): Hölderlin-Handbuch, Leben-Werk-Effect, pp. 309–319. JB Metzler'sche Verlagsbuchhandlung, Stuttgart 2002. ISBN 3-476-01704-4 .
References and comments
- ↑ "Brit Phonetic ladies calendar and paperback for the year eighteen hundred." Göttingen Digitization Center. Retrieved January 15, 2014.
- ^ "Hadermann, Johann Wilhelm Ernst". Hessian biography. (As of January 14, 2014). In: Landesgeschichtliches Informationssystem Hessen (LAGIS).
- ↑ Schmidt 1992, p. 489.
- ^ Adolf Beck and Paul Raabe : Hölderlin. A chronicle in text and pictures, p. 57. Insel Verlag , Frankfurt am Main 1970.
- ↑ These are manuscripts 469, 402 and 43 by Johanne Autenrieth and Alfred Kelletat: Catalog of the Hölderlin manuscripts. Publications of the Hölderlin archive 3. Kohlhammer Verlag , Stuttgart 1961.
- ↑ Beissner 1969.
- ↑ Volume 1, 1, p. 302 with commentary, Volume 1, 2, p. 611.
- ↑ Volume 5, p. 607.
- ↑ Volume 1, p. 231.
- ↑ Binder 1970, pp. 42-43.
- ↑ Beissner 1969, p: 60.
- ↑ Beissner 1969, pp. 60-61.
- ↑ Buhr 1988, p. 59.
- ↑ Colombat 1996, p. 84.
- ↑ Beissner 1969, p. 63.
- ↑ Colombat 1996, p. 90.
- ↑ International Hölderlin Bibliography online. Retrieved February 5, 2014.