Urge for the Impossible:
The Complex, Necessary Hölderlinby Charlie Louth	Published in the Times Literary Supplement 6137 (November 13, 2020).
Paywalled at www.the-tls.co.uk/articles/250-years-complex-necessary-friedrich-holderlin/* Hanser, €28;
Come into the open,friendFriedrich Hölderlin saw his times – like Wordsworth, Beethoven and Hegel, he was bornin 1770 – as in fermentation, a messy process that may lead to clarity. Most of his poems areconcerned with the nature and possibility of transition. Through the complexity of theirsyntax, the intricate jointing of their rhythms, and their abrupt shifts between images, weare trained in the dynamics of moving through uncertainty, and given experiences of how
it can resolve itself into coherence. But almost at once comes the correction, the recognition
that reality does not yet match the hopes that it is nevertheless capable of nourishing. If weare taken back to ancient Greece, the chief sustainer of Hölderlin’s belief that a better world
was possible, to witness, as in his poem “The Archipelago”, a vision of the growth of Athens
so powerful it seems to be happening before our eyes, it is only to have the illusion wreckedby the reminder that Athens now lies in ruins. “The Archipelago” ends with the sober desire
to understand the “changing and becoming” (“das Wechseln / Und das Werden”) it has so
successfully embodied in its lines, so at a kind of remove; and most of Hölderlin’s completed
poems end quietly.
Both Rüdiger Safranski and Karl-Heinz Ott tend to overlook this inbuilt modesty orrealism, even disillusionment, and emphasize instead the idealist. Safranski styles himself
as a philosopher, but is best known for his well-received biographies of Goethe, Schiller,Schopenhauer, Nietzsche and Heidegger. There is no standard biography of Hölderlin, andKomm! ins Offene, Freund! * does not aim to fill the gap in that it contents itself with a plain
narration of the bones of the life, adding nothing to what we already know. On the otherhand, Safranski has produced a compact and readable Life which is careful not to speculate
and helpfully fills in the philosophical context. There are neat summaries of Kant, Fichteand Schelling, among others, but he might have taken this further, rather than insisting,as German literary history likes to, that Hölderlin was “definitely not a Romantic”.
Hölderlin passed through his local Lutheran convent schools in Württemberg andended up, from autumn 1788, in the famous Stift in Tübingen, the seminary which Hegel
entered at the same time and Schelling, aged only fifteen, joined two years later – the threeof them shared a room. The purpose of the Stift was to train parish priests and, secondarily,university teachers. Students did two years of philosophy followed by three years oftheology and could only avoid becoming priests if they went “abroad”, that is beyond theborders of the Duchy of Württemberg. Like many of the other Stiftler, Hölderlin was soon
reading Kant and, in the wake of the French Revolution, became enthused by Republicanism.
When Hölderlin, Hegel and Schelling parted on leaving Tübingen in 1793, it was with thewatchword “Reich Gottes!” (“Kingdom of God”) – an early indication that religious, indeed
Biblical, language in Hölderlin’s usage is not confined to its traditional meaning. “ReichGottes!” expressed the faith in a world where human freedom and divine presence would
coincide and the political, the poetic and the religious were indistinguishably joined in an“invisible Church”.
While still in Tübingen, Hölderlin had begun work on Hyperion. After going throughmany versions, the novel was finally published in two instalments in 1797 and 1799; andhe had written lots of poetry, not all of which has survived. But it was only after going toJena in 1795, where he heard Fichte lecture and was for a time under the wing of his heroSchiller, and especially after falling in love with Susette Gontard in 1796, that his poems
began to move out of the ordinary. Safranski convincingly proposes the often overlooked“Die Eichbäume” (“The Oak-Trees”), which Schiller accepted for publication in hismagazine Die Horen, as the poem in which this shift can be felt, noting that it is as love takes
hold of Hölderlin and he gives up the ideal of fusing with nature that he finds the words
to render nature (here, the oaks) in loving detail. He could have added that it is not in any
one turn of phrase or original image that this occurs, but in the amplitude and breathing
spaciousness of the hexameter lines, which unfold an ease and reach comparable to thatof the oaks:
Und ihr drängt euch fröhlich und frei, aus der kräftigen Wurzel,
Unter einander herauf und ergreift, wie der Adler die Beute,Mit gewaltigem Arme den Raum, und gegen die Wolken
Ist euch heiter und groß die sonnige Krone gerichtet.

* Trans. DavidConstantine

Each among all, joyously, freely, from vigorous rootsForces upwards and seizes, as eagles their preySpace with your powerful arms and towards the clouds
Large and serene you lift up your sunlit crowns.*
Hölderlin’s love for Gontard was reciprocated, but she was married with four children.
He entered the household as the tutor to her son, the second of four such jobs he took on
as a way of avoiding the attentions of the ecclesiastical board in Württemberg and ensuringhimself some time to write. This employment, in Frankfurt, lasted by far the longest ofthe four, but in the end an altercation with Herr Gontard, a banker, forced him to leave, itseems at Susette’s request, in September 1798. He moved to nearby Homburg to be with hisactivist friend Isaak von Sinclair. From there he could look over to Frankfurt, which later,
borrowing Pindar’s epithet for Delphi, he called “the navel of this earth”. For almost twoyears the lovers continued to meet secretly and exchange letters. During this time Hölderlin
tried and failed to set up a literary journal of his own, finished Hyperion, wrote andabandoned a play, The Death of Empedocles – perhaps intended to inaugurate the hoped-forrepublic in Württemberg – and, alongside a series of increasingly accomplished poems,worked on his poetological and philosophical essays (all more or less unfinished) and his
intensely private and experi- mental translations of Pindar. After what must have felt likea string of failures, though he was steadily uncovering and affirming his vocation, andbecause the humiliation of the snatched and clandestine relationship with Susette became
too much to bear, he returned home in June 1800.
This pattern, of seeking to establish himself outside the limits of Württemberg only
to be driven back home by outward failure, repeated itself a few more times: neither of the
final two house-tutoring jobs, in Switzerland and in Bordeaux, lasted more than a few
months before Hölderlin returned, perhaps showing early signs of the madness thatmanifested itself definitively in 1806 when his friend Sinclair, who had again offered him
his company in Homburg and even found him a sinecure as court librarian, confessed
himself unable to look after him. He was taken by force to a clinic in Tübingen and released
the following year, as incurable, into the care of the carpenter Ernst Zimmer, who had readHyperion and had a house on the banks of the Neckar which Hölderlin lived in for the restof his life, exactly half of it. Neither his mother nor any of his old friends seem to havevisited him there.
Safranski gives this second half only one chapter, as against fifteen for the first, whichis understandable given his interest in ideas and in context. At Zimmer’s Hölderlin wrote
rhyming quatrains which are fascinating for their limpid serenity and detachment, theirsense of coming from elsewhere, but which abandon the extraordinary reach and coherenceof the completed poems written roughly 1800–3, such as “Homecoming” or “The Rhine”,

as well as the glinting later fragments which have nothing to compare with them forrichness of implication and, for want of a better phrase, poetic voltage:
Reif sind, in Feuer getaucht, gekochet
Die Frücht und auf der Erde geprüfet und ein Gesetz ist
Das alles hineingeht, Schlangen gleich,Prophetisch, träumend auf
Den Hügeln des Himmels.

* Trans. MichaelHamburger** Hanser, €22*** Beck, €20;
But soon though
we be song

Ripe are, dipped in fire, cooked
The fruits and tried on the earth, and it is law,
Prophetic, that all must enter in
Like serpents, dreaming on
The mounds of heaven.*
Nothing like this had ever been heard in German before. In 1805 Hölderlin also publishedhis radical – and, to his contemporaries, bewildering – translations of Sophocles’ Antigoneand Oedipus. Safranski barely mentions these, and in fact, compared to the lengthy accountsof Hyperion and Empedocles, he has little to say about the major poems either. He sells
Hölderlin very short when he ends his book by saying that he was “above all – a priest ofpoetry”. This returns to an outdated view of Hölderlin that makes no more sense now, anddoes him no more good, than it did before. In falling for a cliché, Safranski has failed in
his first duty as biographer, which is to get us closer to his subject.
If Safranski’s book is nevertheless a serviceable piece of furniture, Ott’s is more likea mobile: its parts catch the light interestingly at first, but soon gather dust. Safranski’s final
chapter surveys Hölderlin’s afterlife, and this is the subject of Hölderlins Geister **, a title
which implies both the continued haunting presence of Hölderlin and the demons which,in Ott’s view, his work has released. Ott takes Hölderlin as a “mirror” for what he largely
regards as the follies of the twentieth century, and, in short and very loosely connected
segments, holds up the uses and abuses to which he has been put. He tells a familiar tale ofappropriation and misappropriation at the hands of Heidegger, the Nazis, the radical left
and the post-structuralists among others, except that he doesn’t tell it but glances at it,
treating the whole phenomenon of Hölderlin’s reception with a scepticism which is ahealthy corrective to Safran- ski’s awe. But the scepticism, sometimes cynicism, seems toextend to Hölderlin’s work itself and not just its annexation. Hölderlin has an “urge for theimpossible”; he is a naive idealist with no use for the reality of the world, always longing
for an elsewhere, unlike his friend Hegel, whom Ott clearly prefers. At one point, Ott quotes
from a letter Susette Gontard wrote Hölderlin after their separation and comments, in thetestily superior tone he cultivates: “They wanted to exclude the world from the imagined
cocoon of pure duality, real life should find no place there”. But this depends on amisreading of Susette’s words, which speak not of any desire to exclude the world fromtheir relationship but of her regret they did not find a compromise which would haveallowed them to remain under the same roof. Ott’s insistence on a particular view of
Hölderlin, one he disapproves of, leads him astray. He makes a caricature of Hölderlin inorder to pursue his own agenda, which is what he mocks others for doing. The book carries
an epigraph from Peter Handke: “At the edge of despair, the myths repeat themselves”.
It is a relief, then, in Navid Kermani’s thoughtful selection, Bald sind wir aber
Gesang*** to be brought back to what Hölderlin actually wrote. In his afterword Kermani
argues that it is precisely the “dramatic reality” of Hölderlin’s life, the particularity of hissituation, that makes his work what it is: one of the “great revelations of the world”. And
what is a revelation? It is “the mirroring of the whole world in a specific point”. Kermani
perhaps has these lines in mind from a late fragment: “But sharp breath blows / Round theholes of the rocks. At that very point [allda] I am / All things at once”. It is this total

* Folio, €20;
Translating
Hölderlin** The Last Books,€22/£19exposure and the words that render it that make Hölderlin necessary but also “difficult”:
here we are confronted with the world in all its complexity.
What to do with Hölderlin’s complexity is among Luigi Reitani’s preoccupations in
Hölderlin übersetzen*. Reitani is well known as the editor of a complete Hölderlin in Italianwhich also poses some questions for the German editions. The eight mostly short pieces
gathered here draw on his work as translator but understand translation as more than thebusiness of converting words from one language into another. The kind of translation
Hölderlin demands is that into our lives: like Safranski and Ott, Reitani raises the idea that
Hölderlin might have become remote, but refutes it with the elegant assertion that rather
than being “too difficult”, Hölderlin’s poetry has a “fragile simplicity that puts ourcertainties in question”. He knows that the poems’ fragility is their strength, because it
protects them from naivety.
The question of translation, of remaking such peculiar structures in another language,is nevertheless a real one. Few German poets have enjoyed the attention of poets in English
to the extent that Hölderlin has. Michael Hamburger, David Gascoyne, John Riley andTim Longville, and David Constantine have all given us extensive and vital selections which
together cover nearly the entirety of Hölderlin’s verse writing, not to speak of smaller
contributions by poets as serious and various as Denise Riley and Kathleen Jamie. Anothername to add to these is Christopher Middleton’s. His versions of Hölderlin first appearedin 1972 in Chicago as an unusual double bill, the Selected Poems of Friedrich Hölderlin andEduard Mörike. Sometime before then (the volume is undated), he had also translated aselection of Hölderlin’s letters under the title The Poet’s Vocation (alongside letters byRimbaud and Hart Crane). A new volume, Selected Poems and Letters** assembles theHölderlin parts of these two long-out-of-print books, and adds several other pieces, ranging
from an early poem, “Thinking of Hölderlin” (1962), to one of his last essays, “A Spirit
Voice in Loose Alcaic Measure” (2007). It is wonderful to have all this “bound by love inone volume”, as Dante said in a different context, allowing us to see more clearly the natureof Middleton’s long engagement with Hölderlin and to appreciate the close relationshipbetween his roles as a translator, as a critic and, more obliquely, as a poet.
Like Hamburger and Constantine, Middleton was a scholar and teacher of German
literature as well as a poet and translator. A phrase from J. H. Prynne’s puff on the backof the book, “imaginative intelligence”, will do very well to characterize what one finds
when reading Middleton in any of his forms. A sense of risk and acuity, sharp stabs ofintellectual venture, can be felt in everything he wrote. The translations are reliable, modest
and intense. Middleton’s sensitivity to formal questions, to the way the shape and timbreof the poem modulate with the development of its preoccupations, is present in both histranslating and his critical writing, and joins them together. For this reason, he translates
most of the poems into close equivalents of their German classical forms, but then with
the Pindaric hymn “Patmos” he suddenly shifts into “a freer layout” which resembles
Pound’s in the Cantos, and justifies it by explain- ing that his aim was “to sharpen theprofiles of particular words and phrases, and to invest the English with some of the glowing
and vigorous rugosity which [Hölderlin] achieves by rhythmical turns, elliptical syntax,
eccentric word order, and changes of key”. We are taken right into the sense-making heartof the writing, and witness not the transposition of meaning but its reconstitution on thepage, in the different conditions of the new language and time.
The fascinating poem “Andenken” (“Remembrance”) is of particular importanceto Middleton. In the longest essay here, on its “syntax and signification”, he calls it “a gnosis
telling of the Spirit’s voyage and its intrinsic, recurrent structure”, and with the help ofa remark by “an old Eskimo poet” addresses the poem’s “vibrance between abstrusenessand directness, elasticity and straightness, ‘style’ and rectitude”. Another essay focuses on
the poem’s closing lines, and in particular on the fact that poets, in the famous last line,
are spoken of in the plural: “Was bleibet aber, stiften die Dichter”. Middleton reads thisas a reference to tradition. Though no two translations of this line are the same, most of

* Wallstein, €39.90** Hölderlin, Celan
and the Languagesof Poetry

them render “aber” as “but”. Middleton argues for a stronger sort of contradiction, andtranslates: “What abides, even then, the poets ordain it”, maintaining the pause in themiddle of the line.
Franz Zinkernagel, in Kritisch-historische Ausgabe von Franz Zinkernagel, 1914–
1926 *, a late supplement to an edition which first appeared without its apparatus between
1914 and 1926, does not remark on the “aber”, nor on the plural, but commentsthat the poets, unlike the sailors with whom they are contrasted, have their experiences“deeply engraved in their hearts”, something the pause seems to corroborate. He also makes
the slightly fantastical but somehow tantalizing suggestion, apropos of an earlier line in
the poem, that “auf seidenen Boden”, which is usually taken to mean “on silken ground”(as Hamburger, Middleton and Constantine all have it), perhaps with reference to adancefloor, should be treated as a plural and read as referring to “stockings or shoes”. It’s
not clear whether this assumes some dialect or obsolete meaning for “Boden”, or whether
Zinkernagel is simply extrapolating. The main intention in issuing this edition, whichcomes as a CD-ROM with 1,354 pages of text to which the bound book is a long editorial
introduction, is to demonstrate that Zinkernagel was ahead of his time in wanting to makeavailable every word that Hölderlin wrote. The world of Hölderlin editing is possibly themost contentious such field. Hans Gerhard Steimer’s editing of Zinkernagel’s Hölderlin
adds to a plethora of competing and complementary editions, and is more than just a late
act of piety, though its exact value will take time to emerge. The Middleton volume –beautifully produced – is a model of imaginative and committed publishing, and its value
is self-evident.
An exhibition on Hölderlin, Celan und die Sprachen der Poesie** showing in Marbach
am Neckar at the time of writing is open to anyone willing to don a mask and rubber
gloves. If not, the catalogue by Heike Gfrereis (Deutsche Schillergesellschaft, €20) isperhaps even better. At the core of both are hundreds of instances of other writers taking
bits of Hölderlin and integrating them into their own writing – the best proof perhaps ofthe continued life of Hölderlin’s work. Hölderlin knew how unusual the language of hispoems had become but said he could not help it. He was confident it would find an audience:“On a fine day, after all, almost every kind of song may be heard, and nature, where it comes
from, will take it back again”. This is true even in these unfine days.