The home (Hölderlin)
The Heimath is an ode in alkaean meter by Friedrich Hölderlin . Hölderlin wrote a first, two-stanza version in mid-1798. He expanded it to six stanzas in the summer of 1800. The two-stanza version is one of his "epigrammatic odes" .
Lore
A manuscript of the two-trophic version no longer exists. The version was printed for the first time in Christian Ludwig Neuffer's pocket book for women from education, for the year 1799 . Two manuscripts of the six-verse version have been preserved in the Württemberg State Library in Stuttgart , including the one shown here from the convolute Homburg.H, 15-18, in which a strange hand added the heading. The extended version was first printed in the Württemberg pocket book for the year 1806 for friends of the fatherland .
Hölderlin is quoted here after the historical-critical Stuttgart edition of his works that Friedrich Beissner , Adolf Beck and Ute Oelmann (* 1949) provided . The historical-critical Frankfurt edition published by Dietrich Sattler and the "reading edition" by Michael Knaupp thus offer identical texts. The "reading editions" by Gerhard Kurz and Wolfgang Braungart , Günter Mieth and Jochen Schmidt are orthographically "modernized".
- The home, six-stanza version
Manuscript Homburg. H, 15-18, verses 1 to 5
Manuscript Homburg.H, 15-18, verse 6 (and beginning of the ode Die Liebe )
Wuerttemberg paperback 1806
Texts
The home two-verse version The skipper returns happily to the quiet river From distant islands where he has harvested; I too would like to go home again; But what did I harvest like Laid? - 5 You fair banks, who raised me Do you breastfeed love? Oh! Will you give me, you forests of my childhood, when I come , the peace and quiet again?
The home six-verse version The skipper returns happily to the quiet river, From islands far away when he has harvested; So I too would come home if I had harvested as many goods as Laid. 5 You dear shores, who brought me up once, Do you still the sufferings of love , do you promise me , O forests of my youth, when I come , rest again? By the cool brook, where the waves play, 10 By the river, where I saw the ships slide, I'll be there soon; mountains trusted you , who once protected me, home revered safe boundaries, mother's house and loving siblings embraces 15 I greet you soon and you embrace me, so that, as if in bonds, my heart heals, you remain loyal! but I know, I know, The Love Laid, Diss not heal as soon me diss sings no weigh-Sang, the comforting 20 sing mortals, out of my bosom. Because they who lend us the heavenly fire, the gods also give us holy lay, so let this remain. A son of the earth I shine; made to love, made to suffer.
interpretation
At the end of 1793, after completing his studies at the Tübingen monastery in Waltershausen , Hölderlin took up his first position as court master with Charlotte von Kalb . At the beginning of April 1794 he wrote to his mother in Nürtingen : “The thought of my home is now inexpressible for me, as good as I am among these people.” On May 22nd, 1795 from Jena : “You learn a great deal in a foreign country , dearest mother! You learn to respect your home. ”Even as a schoolboy, Hölderlin had interspersed“ home ”in his poems, but carefree, unstressed, a matter of course. Only in the distance does he consciously experience and shape home as a place of longing, an enclosing, blessed space, a place of security. So it appears in the first version of the elegy Der Wanderer , which was probably conceived at the end of 1795 and "opens up Hölderlin's actual homeland poetry powerfully".
At the time the two-trophic version of Die Heimath was being written in mid-1798, Hölderlin's second position as court master came to an end in the house of the Frankfurt merchant Jakob Friedrich Gontard-Borkenstein (1764–1843). The atmosphere in the Gontard house was now tense, probably because the owner of the house did not miss the affection between Hölderlin and his wife Susette , who Hölderlin called “ Diotima ”. At the end of September, Hölderlin left Frankfurt and, on the advice of his friend Isaak von Sinclair, moved to Homburg vor der Höhe . In June 1800 he returned to his Swabian homeland, first to Nürtingen, then to Stuttgart . Two more Hofmeister posts followed in this always insecure life threatened by poverty, 1801 in Hauptwil in Switzerland and 1802 in Bordeaux in France. He always returned home a shipwrecked man. His life's hopes had never been fulfilled. In 1798 the suffering for Diotima was added. For him, “Heimat” was a piece of paradise, but like this inaccessible. “<K> äm” and “hätt”, the subjunctive of the first stanza rule out a naive integration. In the second stanza, the evocation of the past, "You dear shores who once brought me up," alternates questions and a conditional sentence , "When I / come".
Hölderlin paints from far to near, from the "banks" of the Neckar and its tributaries, perhaps also from the Rhine, to the "stream where I saw the ships slide," from the familiar mountains of the Swabian Alb near Nürtingen to the mother's house there you and his siblings. Hölderlin always illustrates Heimat by naming its parts “one after the other and in a certain order, either from top to bottom or <...> from outside to inside, or, if he mentions geographical names, along the borders”. Further examples are the above-mentioned elegy Der Wanderer , the Ode Rükkehr in die Heimath (see below) and the draft hymn, your safe-built Alps ... from 1802 to 1807.
"<...> don't let any thought of the son disturb your peace and quiet, who lives in a foreign country and has to live until his own nature and external circumstances allow him to feel at home somewhere with heart and senses," Hölderlin wrote to his mother in early January 1798. He didn't feel at home anywhere; and he accepted homelessness as a condition of his poetry, as in Der Main :
Perhaps to you, you islands! still once a homeless singer; because he has to wander from strangers to strangers, and the earth, the free one, unfortunately it has to! Serve him instead of his fatherland as long as he lives,
and so in the last stanza of the six-stanza version of Die Heimath . The gods lend the poet “heavenly fire”, but at the same time give “holy laid”. “Even in the last line, the 'seem' I 'hint at a rebellion against the status quo of earthbound people and against the fact that their striving is answered at best with temporary, borrowed (verse 21) fulfillment.” “Happy” is “Der Schiffer”, but the lyrical self suffers. The word occurs four times before the poem closes “to suffer” on the fifth occurrence (v. 24).
"<...> you promise me, / you forests of my youth, when I / come, the peace and quiet again?" Jenny Erpenbeck put as the motto before her novel about homelessness and homelessness visitation .
"Heimat" poems by Hölderlin
“Home” is a key word in Hölderlin's understanding of the world - the interpreters agree on this, such as Wolfgang Binder , Martin Anderle, Walter Jens , Rüdiger Görner and Gunvor Meling (see literature). "Home has never been invoked in German literature as the great advance: as a future inn and as a utopian possession, if the time had been fulfilled, with the same ardor as in Hölderlin's poems," writes Walter Jens. The "Heimath" in the title, apart from the Elegy Heimkunft , two more poems, Return to Heimath and Heimat .
Return to home
Manuscript Homburg.H, 15-18, The good faith and return to home
For heart and mind 1801
For heart and mind 1801
For heart and mind 1801
The poem is identical in form - a six-stanza Alkaean ode - and the time of origin - summer 1800 - with the six-stanza version of Die Heimath , and verses 1 to 16 are and received in the same manuscript bundle Homburg.H, 15-18. The first printing can be found in For Heart and Mind. A paperback for the year 1801. The Frankfurt edition and the Knaupp edition differ from the Stuttgart edition reproduced here , but also differ from one another, in some punctuation and upper / lower case. Mieth and Schmidt "modernize" the orthography again. The poem is missing in Kurz and Braungart's editions.
Return to home
you mild air! Messengers of Italy! And you with your poplars, beloved stream! Your wooging mountains! o all you sunny peaks, is it you again? 5 You quiet place! in dreams you appeared far away after a hopeless day to the longing, and you my house, and you playmates, trees of the hill, you well-known! How long is it, oh how long! the child's rest, 10 is gone, and there is youth and love and joy; But you, my country! you holy tolerant! see, you stayed. And so that they tolerate you, be happy with you, you educate, dear! yours too. 15 And in dreams, when they wander far off and err, admonish the unfaithful . And when the hot bosom the youth besänftiget The eigenmächt'gen wishes and silent before Schiksaal, then 20 Gives the Purified you prefer. Farewell then, youth days, you rose path, the love, and all you paths of the wanderer farewell! and take and bless my life again, oh heaven home!
For Wolfgang Binder, like Die Heimath, returning to the home is a moving greeting to the home, an expression of "a deepest, most shocking love of home, the linguistic beauty of which is unparalleled in German native poetry". The area around Nürtingen can be recognized by the wooging mountains, the beloved river and its poplars (verses 2 and 3). "From there, the Albrand is much more rugged and 'surging' than from Tübingen, for example, and the poplars, the characteristic riverbank trees on the lower Neckar, also in Hölderlin's birthplace Lauffen , begin here." know, miss nothing in the self-saturated poetic picture.
The holy-tolerant fatherland (verses 11 to 12) is called "all-tolerant" in the German chant of 1799, to be understood from the French Revolution and its consequences.
Again Hölderlin evokes the home from far to near, from the Neckar and the Alb to the house and the youth games. The return to home seems comforting and forgiving here, less painful than in Die Heimath . It is not suffering that has the last word, but the prayer "bless my / life again, oh heaven home".
Home
Heimath is a draft or a fragment of a draft for a hymn. The text is one of the difficult edition and interpretation manuscripts in the Homburg folio and was first printed in 1916 - without the heading and verse 1 - in volume 4 of the edition of Hölderlin's works begun by Norbert von Hellingrath and Friedrich Seebaß (1887–1963). In the Frankfurt edition it does not appear as an independent poem. The Knaupp edition offers a text identical to the Stuttgart edition . Kurz and Braungart, Mieth and Schmidt “modernize” the orthography again.
Home
and no one knows
Meanwhile, let me walk
And pflüken wild berries
To quench love to you 5 to your paths, O earth ' Here where - - - and rose thorns and sweet lime smell next to the book, at noon, when the fallow cornfield 10 The growth rushes to straight stalk, and the weight of clothing the ear sideways bends to the autumn of the same, but grants under high vault of the oaks, I sense And the Glokenschlag ask up, 15 I well known sounds from afar, gold sounding the hour when the bird wakes up again. That's how it goes.
The heading and the first line are separated from the rest of the text in the Homburg folio by a large gap. Whatever Hölderlin may have considered for it, with “Meanwhile” he pushes it aside and turns to “one of the most beautiful landscape treatments <in his work>”. The verbs “walk” (verse 3), “pluck” (verse 4) and eat (verse 5) first draw attention to the senses. Walking, picking and eating "extinguish love" (verse 4) in the sense of "quenching", like quenching hunger and thirst. Then your gaze gradually turns to “rose thorns”, “lime trees”, “beeches” and “oaks”. The scent of the linden trees draws the air into this home. “Psychologically, noon is a point of rest in the course of time when fulfillment has occurred. The change of the seasons also seems to be overridden. ”The linden blossom indicates spring, the stalk of the ears of corn that is still just in time to summer, the ripening of the berries and the bowing of the ears of corn to autumn. From this midday, nunc stans , standing now, the ego ponders and asks “upwards”. "The sensual experience of home through mere perception of nature is transformed into reflective, questioning senses." How answering sounds "the stroke of a bell / I am well known / distant sounds, ringing golden, at the hour when" (verses 14 to 16). “The assonance of the vowels o, e and a, the resounding l- and n-connections give the sentence far-swinging resonance.” The chiming of the bell also sets the time going again, the bird, “half a native owl, half the owl Minerva “, wakes up. A place may sometimes elude history. But for it to go well, man has to be ready to set off like a bird. "That's how it goes".
Compared to the poems discussed above, Heimath creates less suffering and longing than rest, at least if one follows Görner's translation of “to delete” with “to still”; resting in the knowledge that man is a wanderer, that he is not allowed to stick with one word from An die Madonna “wrongly adhering / mocking the home and weight / sitting for the mother / in the lap”.
literature
- Martin Anderle: The landscape in the poems of Hölderlin. Bouvier Verlag Herbert Grundmann, Bonn 1986. ISBN 3-416-01913-X .
- Wolfgang Binder: The meaning and shape of the homeland in Hölderlin's poetry. In: Friedrich Beissner, Paul Kluckhohn (eds.): Hölderlin-Jahrbuch 1954 , pp. 46–78.
- Rüdiger Görner: Holderlin's center. Iudicium Verlag , Munich 1993. ISBN 3-89129-223-6 .
- Friedrich Hölderlin: Homburg Folioheft - Homburg.F. Digitized version of the Württemberg State Library, Stuttgart. Retrieved January 4, 2014.
- 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 Günter Mieth. 2nd Edition. Aufbau-Verlag , Berlin 1995. ISBN 3-351-02338-3 .
- Friedrich Hölderlin: All works and letters. Edited by Michael Knaupp. Carl Hanser Verlag , Munich 1992 to 1993.
- Friedrich Hölderlin: Poems. Edited by Gerhard Kurz and Wolfgang Braungart. Philipp Reclam jun. , Stuttgart 2000. ISBN 3-15-056267-8 .
- Friedrich Hölderlin: Poems. Edited by Jochen Schmidt. Deutscher Klassiker Verlag , Frankfurt am Main 1992. ISBN 3-618-60810-1 .
- Walter Jens: Thinking about home. Foreign and home in the mirror of German poetry. In: Campaigns of a Republican. Deutscher Taschenbuch Verlag , Munich 1988. ISBN 3-423-10847-9 , pp. 190–203.
- Gunvor Meling: Home in Hölderlin's poems. A motivational study. Master's thesis at the Faculty of History and Philosophy of the University of Oslo, 2013. Digitized. Retrieved April 16, 2013.
- Andreas Thomasberger : Odes. In: Johann Kreuzer (Ed.): Hölderlin Handbook, Life - Work - Effect, pp. 309–319. JB Metzler'sche Verlagsbuchhandlung , Stuttgart 2002. ISBN 3-476-01704-4 .
References and comments
- ↑ Stuttgart edition, Volume 6, 1, p. 116.
- ↑ Stuttgart edition, Volume 6, 1, p. 174.
- ↑ “It is the foreigner that teaches us what we have about our homeland” - with the first sentence of Theodor Fontane's walks through the Mark Brandenburg , Walter Jens quotes a counterpart to Hölderlin's sentence.
-
^ So in Die Stille von 1788, Stuttgarter Ausgabe Volume 1, 1, pp. 42–43:“Soup” and “Potatoes” appear here once in Hölderlin's poetry.
<...> In the
distance I could already see the candle flickering, it was
already soup time - I wasn't in a hurry!
Silent smile peeked after the churchyard's whimpering
After the three-legged horse at the high court.
I had finally arrived dusty;
Do I first divide the wilted strawberry
bouquet , praising how with sour trouble I get it,
among my thanking brothers and sisters;
Then hurriedly took what was left of the dinner
in the form of potatoes,
crept in silence, when I had had enough,
away from my funny siblings. - ↑ Binder 1954, p. 61.
- ↑ Binder 1954, p. 65.
- ↑ Stuttgart edition, Volume 6, 1, p. 260.
- ↑ Anderle 1986, p. 29.
- ↑ Jenny Erpenbeck: Visitation. Eichborn Verlag , Frankfurt am Main 2008. ISBN 978-3-8218-5773-2 .
- ↑ Jens 1988, p. 195.
- ↑ Binder 1954, p. 52.
- ↑ Binder 1954, p. 66.
- ↑ Friedrich Hölderlin: Complete Works. Edited by Norbert von Hellingrath and Friedrich Seebaß, Volume 4. Third edition. Propylaea Verlag , Berlin 1943, p. 254.
- ↑ Anderle 1986, p. 68.
- ↑ Görner 1993, p. 102.
- ↑ Anderle 1986, p. 68.
- ↑ Görner 1993, p. 102.
- ↑ Anderle 1986, p. 69.
- ↑ Görner 1993, p: 102.
- ↑ Stuttgart edition, Volume 2, 1, p. 214.