Hölderlin’s “Ars poetica”: A part-rigorous analysis of information structure in the late hymns 9783111342566, 9783110991253

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DE PROPRIETATIBUS LITTERARUM edenda curat C. H. VAN S C H O O N E V E L D Indiana University

Series Practica, 32

HÔLDERLIN'S "ARS POETICA" A Part-Rigorous Analysis of Information Structure in the Late Hymns

by

E M E R Y EDWARD GEORGE (University of Michigan)

1973 MOUTON THE HAGUE • PARIS

© Copyright 1973 in The Netherlands. Mouton & Co. N. V., Publishers, The Hague. No part of this book may be translated or reproduced in any form, by print, photoprint, microfilm, or any other means, without written permission from the publishers.

Printed in Hungary

PREFACE

This book presents the results of an attempt to make explicit what I have for a long time felt to be Hölderlin's poetic theory in action. The difficulties of the late Hölderlin, the author of "Der Rhein" and of "Patmos", amount to a challenge to uncover a hidden poetics by means of a renewed search for critical method. This I regard as the governing idea of my study. In its stance — the application to literary texts of an originally extraliterary theory, coupled with a partial reassessment of more traditional hermeneutical tools — there is an alliance of the aims of definitive and tentative statement. Because Hölderlin's art matured "zu reifem Gesänge" (as he expresses his ambition in "An die Parzen"), because we feel confident in the perfection of the Late Hymns, we may speak of Hölderlin's definitive "Ars Poetica". The tentative and heuristic attitude of the investigation, its sense of choice, its open-ended results and invitation to further study, especially along comparative lines, is meant to parallel Hölderlin's impulse to ask questions rather than to provide answers in poetic creativity. The poet's attitudes of exploration and experiment are documented, I think, in the large number of poems, translations, and essays he left in fragmentary shape. But while the widespread feeling that Hölderlin is an avant-gardiste and early modern is here underscored, not one of the numerous hints that we have for direct comparative study is followed up. An investigation that would show in what ways Hölderlin may in fact be considered a spiritual precursor to poets like Rimbaud or Pound, Celan or Guill6n, would, naturally, have to be a separate piece of work. (My book does, in its turn, close on some hints concerning comparative study of the implied "Artes Poeticae" of different poets.) Rather, a more historically oriented use is made of the opportunity to treat the marvelously obvious yet subtle, and ever-fresh, complex of ideas in information theory for precisely what I believe they comprise: the conceptual language of artistic communication par excellence, regardless of consider-

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ations of time or place. In operating with the theory on an intuitive level we can thus, among other suggestions, leave Hölderlin in the twentieth century, while again squarely placing him in his own literaryhistorical period. We can then see him and Goethe meet again. What we have known is that on a personal level Goethe rejected and forgot Hölderlin (the "Hölterlein" of the letter to Schiller dated 23 August 1797). What we may now suspect is that on quite another niveau the older poet ultimately received the younger into the company of Weltliteraten. Beyond the affinity with Goethe (which is just now beginning to be properly evaluated), Hölderlin is seen in fellowship with both the remotest and the likeliest of men: with Lu Chi, with Kepler, with the "Ars Poética" critics of the Cinquecento. Some of these figures comprise the frame of reference of his studies and associations; others make up a company of spiritual brethren, thinkers who, in ways related to Hölderlin's, have formulated laws of our inner harmony and of the possibility of our speaking to one another. By no means last among these'intellectual kinsmen' of the poet are, I would respectfully submit, men like Claude Shannon and Norbert Wiener, along with others who have helped formulate the modern theories of communication and control, so unequivocally applicable to the study of art and literary thought. One very specific example of this kinship, the nothing less than miraculous resemblance between the "naiv-heroisch-idealisch" progression in Hölderlin's progression approach to the problem of literary genres and the "informed-noised-redundant" array of intuitively apprehended concepts in communication theory, receives appropriate notice in Chapter II below. To the extent that the study aims for something of a synthesis of ideas on artistic communication and aesthetic experience, it purports to be an experiment in practical Geistesgeschichte. To be sure, the traditional historian of ideas, of the school of Dilthey or of Lovejoy, would express reservations toward the form in which the results of this experiment are reported. I expect he would be disturbed first of all by the pervasive breaking-up of straight discursive scholarship. Also, since the book borrows insights from, and touches on interests within, several other disciplines, it may be of service to point to some tasks the study does not set out to accomplish. The mathematician, the physicist, the communications technician are warned that this book does not pretend to make a formal contribution to their disciplines. The mathematics is trivial, from their point of view, even 'incorrect' in places. I am aware, for example, that the measurement of noise in a communication channel

PREFACE

Vil

is not what I call it in Chapter VI, and ask the reader not to confuse the rigorous application of a concept with the structural use of symbolic numerical operators in descriptive poetics. Rigorous verifiability of quantitative results is provided for in places where formal data are in fact offered, in both text and tables. Likewise, the literary critic is asked to remember that the recourse to information-theoretical insights here is with a view not to simplify and level the complex suggestiveness of Hôlderlin's best and most elusive poetic achievement, but to clarify and to communicate it — to hold fast and to cultivate 'den vesten Buchstab'. Interest in the central question of the investigation, the question concerning the locus and true identity of Hôlderlin's poetics, has been lively all during the postwar period, and it was partly in this milieu of inquiry that my study had its beginning in the summer of 1961. In 1964 it was presented as a doctoral dissertation to the Horace H. Rackham School of Graduate Studies of The University of Michigan. In revising and updating this original text, I have tried to keep carefully in view the needs of the general as well as the scholarly reader. Thus, for example, the truly analytical shapes of the individual chapters, as well as the guiding introductory paragraphs heading them, were retained throughout. The results of studies, in subject as in method, that I conducted during the five years between dissertation and book are incorporated in the text and footnotes below. One basic beneficiary of these studies is the standard edited text of the hymn "Der Rhein"; consistent with findings published in The Modem Language Review (LXI, 619-634) and in Texas Studies in Literature and Language (IX, 391—414), this hymn is printed below as incorporating three major textual changes since the Grosse Stuttgarter Ausgabe (see Chapter III, Section A). I wish here to express my thanks to all those who have stood by me, whether with encouragement or with substantive help, from the start of the dissertation through the publication of the book. Warm thanks go first of all to teachers and to colleagues : to my first great teacher, Professor Emeritus Henry W. Nordmeyer, whose early discipline and guidance is hopefully reflected in the present effort; to my dissertation chairman, Professor Martin Dyck of the Massachusetts Institute of Technology, as well as to my former teachers, now colleagues at The University of Michigan, Professors William H. Bennett, Frank O. Copley, Mary C. Crichton, Otto G. Graf, and Clarence K. Pott, for unsparing criticism and most generous help through all stages of the writing of the

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PREFACE

dissertation; to Professor Emeritus Austin Warren, for unforgettable conversation and counsel; to Professor Anatol Rapoport of the Mental Health Research Institute, The University of Michigan, who, while responsible for none of the shortcomings of the study, provided me with invaluable guidance on key principles of applied information theory; to Professors Frank G. Ryder and Karl Magnuson, Department of Germanic Languages, Indiana University, whose knowledge and enthusiasm have helped deepen my understandig of the principles of structural poetics; to Professor Aleksis Rannit, Curator of Russian and East European Collections, Yale University, for supplying me with invaluable bibliographical references, and for helping me believe in the possibilities of this book. My further thanks are due to the Ottendorfer Memorial Fellowship Committee, Department of German, New York University, for a fellowship that made it possible for me to devote the year 1961-62 to this investigation at Tübingen and Bebenhausen; to the University of Illinois Foundation, for a Faculty Summer Fellowship in 1966 that helped me complete pertinent stages of postdoctoral research; to the American Council of Learned Societies and to the Graduate Research Committee, Department of Germanic Languages and Literatures, University of Illinois, for financial assistance in publishing portions of that research in periodicals. Grateful thanks go to Frl. Diplombibliothekarin Maria Kohler, Librarian at the Hölderlin-Archiv, Schloss Bebenhausen bei Tübingen, for untiring assistance with out-of-the-way materials and with helpful information; to the Director of the Württembergische Landesbibliothek at Stuttgart, Dr. Wilhelm Hoffmann, for generously placing at my disposal original Hölderlin manuscripts for study; to Dr. Horst Böning, Director of the Stadtbibliothek, Bad Homburg vor der Höhe, for gracious permission, both to examine the autograph manuscripts of the Late Hymns, and to reproduce from these holdings in photographic enlargement; to Professors Friedrich Beissner and Wolfgang Schadewaldt of the University of Tübingen, for their lively personal interest in my work. I thank Mrs. Albert E. Heins of Ann Arbor and Professor Renate S. Gerulaitis of Oakland University, Rochester, Michigan, for invaluable assistance with the preparation and proofreading of the typescript. To Professor Comelis H. van Schooneveld, Department of Slavic Languages, Indiana University, and to Mr. Peter de Ridder, Managing Editor of Mouton & Company, I am indebted for encouragement and friendly accommodation in ways too numerous to list.

PREFACE

IX

To my mother, Mrs. Julianna George, and to my wife Mary, who, besides being ever ready to assist with all details, stood by with faith, the book is lovingly dedicated. Emery E. George Ann Arbor, Michigan December, 1969

TABLE OF CONTENTS

Preface List of Figures I. Introduction A. Statement of the Problem B. Hölderlin's Transition from Written to Implied Poetics . . . C. A New Access to the Manuscripts II. The Method of the Study A. On Literary Methodology B. The Terms and Concepts of Information Theory C. One Non-Engineering Application of Information Theory — Music D. Information Theory and Hölderlin III. "Der Rhein"

v xiii 1 1 12 50 60 60 71 92 98 126

A. The Text 126 B. The "Rhein-Stufe" and the Marginal Note 141 C. "Verfahrungsweise" as the Stochastic Process of Composition 157 IV. "Patmos" A. The Text B. Previous Comment on the Structure of the Poem's Meaning C. Ergodic and Markoff Processes in "Patmos" V. "Mnemosyne"

199 199 212 228 267

A. The Texts 267 B. Markoff Chains of Alternating Random and Entropie Character in "Mnemosyne" 284

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TABLE OF CONTENTS

VI. Poems Other Than Late Hymns A. Before Homburg (1790-1798) B. Homburg and After (1798-1803) VII. The Hidden "Ars Poetica" in Hölderlin's Late Hymns

312 313 327 349

A. Pseudo-Hölderlin : "Ars Poetica" by Principles — Text .. 352 B. Pseudo-Hölderlin: "Ars Poetica" by Principles — Commentary 361 C. Summary and Conclusions 412 Appendix A: Tables I-CXVIII

424

Appendix B : List of Abbreviations

617

Appendix C: Glossary of Special Terms

619

Bibliography

620

Index of Proper Names

650

Index of Subjects

665

Index of Hölderlin's Works

681

LIST OF FIGURES

1. Schematization of the Decomposition of Choices Showing Logarithmic Increase to Four Binary Digits of Information, with Probabilities Equal 2. Elementary Stochastic Process 3. Elementary Ergodic Process, Showing Irregularities on More than One Structural Level 4. Elementary Markoff Process 5. Expanded Form Stochastic Concept Chart of Second Order, First Species 6. A Standard Form Equivalent of Fig. 5 7. Schemata for Every Possible Stochastic Concept Chart 8. Stochastic Concept Chart of Ninth Order, First Species, Showing Continuous Change (Term Entries Only) 9. Correlation of the Ten Concepts in Information Theory with Problems in Literary Study and in the Poetry of Hölderlin . . . 10. Photographic Enlargement of MS Page, Showing Revisions for "Der Rhein", vss. 114-120 (Homburg H 6b, top half) . . . . 11. Photographic Enlargement of MS Page, Showing Marginal Note to "Der Rhein" (Homburg H 6a) 12. Revisions in Texts III-R as a Stochastic Process 13. Lattice of Ratios for Tables VII-XI 14. Lattice of Ratios for Tables XII-XVI 15. Lattice of Ratios (N) for Tables XVII-XXI 16. Lattice of Ratios for Tables XXII-XXV 17. Conjugate Scale: Ratios (Fig. 16) with Ten Concepts 18. Profile of Table XVII 19. Profile of Table XVIII 20. Profile of Table XIX 21. Profile of Table XX

79 82 85 86 107 108 110 Ill 125 129 142 159 168 169 170 173 174 176 176 176 176

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LIST OF FIGURES

22. Profile of Table XXI 176 23. Profile of Table XXII 176 24. Profile of Table XXIII 177 25. Profile of Table XXIV 177 26. Profile of Table XXV 177 27. Summary of Stanza Types in "Der Rhein" 184 28. Retrograde Equivalent of Fig. 27, Showing The ( 2 + 2 - f l ) Gross Ratio 185 29. Inventory of Modifier Forms per Triad, Table XXXVI 193 30. Summary of Distances between Forms, Table XXXVI 194-195 31. Prediction Pattern for Gnomic and Other Forms, Table XXXVI 196 32. Binary Prediction Pattern for Gnomic and Non-Gnomic Forms, Table XXXVI 196 33. Binary Prediction Pattern Showing Formal "Gesez" 196 34. Summary of "Gesez" by Distribution of Metrical Feature, Tables XL-XLV 197 35. Summary of Material "Gesez" by Totals per Triad, Tables XL-XLV 197 36. Photographic Enlargement of MS Page, Showing Revisions for "Patmos", vss. 117-120 (Homburg F 24, top) 201 37. Data for Left-Hand Diagonal, Table XLVIII 237 38. Summary of Enjambement Values, Tables L-LIV 241 39. Scale of Enjambement Values, Tables L-LIV 241 40. Summary of Value Predications, Tables L-LIV 242 41. A Revision Equivalent of Fig. 40 243 42. Pattern Summary for Particles, Table LVI, Segment 1 248 43. Pattern Summary for an Early Tübingen Hymn 249 44. Summary of Distances for Particles, Table LVI, Segments 2-3 . 251 45. Double Pattern Summary for Particles, Table LVI, Segment 4 . 255 46. Pattern of Extreme Supports for all Segments, Table LVI 257 47. A Referential Equivalent of Fig. 46 257 48. Summary of Features, Table LVI, Segment 2 257 49. Summary of Features, Table LVI, Segment 8 258 50. Comparative Measurement for Constructs "c" and "d" Tables LXIX-LXXII 289 51. Joint Description of Concept Values, Tables LXIX-LXX1I 291 52. Profile of Table LXIX 293 53. Profile of Table LXXI 293 54. Profile of Table LXX 293 55. Profile of Table LXXII 293

LIST OF FIGURES

XV

56. Summary of Stanza and Line Group Relationships for "Mnemosyne", Fourth Version 295 57. Sentence-Clause Group Summary, "Mnemosyne", Fourth Version 296 58. Summary of Transitions for "Mnemosyne", Fourth Version . . . 304 59. Comparative Scheme for the Three Versions of "Diotima".. 320-321 60. The Tones of "Diotima, Mittlere Fassung" Derived from the Tones of "Diotima, Jüngere Fassung" 327 61. Composite Test of Phonemic Values for "Der Abschied" 331 62. Numerical Values and Predications for Composite Test 331 63. Positional Summary of Four Tested Correlations, C 1 -C 2 339 64. Time in "Der blinde Sänger" and "Chiron" 339

I INTRODUCTION

This introductory chapter on the problem of the study is divided into three sections: (1) a general statement of the problem, highlighting its two main aspects, the "Ars Poetica" concept and the Late Hymns as its embodiment, (2) an exploratory discussion on the development of Hölderlin's "Ars Poetica" entitled "Hölderlin's Transition from Written to Implied Poetics", and (3) an inquiry into the most urgent problem in connection with the Late Hymns, the manuscript situation ("A New Access to the Manuscripts"). Sections B and C will be of the intent of a larger "Forschungsbericht", and will be seen to form a part of the study allied with the "Forschungsberichte" on individual problems to be found at the beginnings of the analytical chapters (e.g., Chapter III, Section B). A. STATEMENT OF THE PROBLEM

The purpose of this study is threefold. First of all it is to search for Hölderlin's definitive "Ars Poetica". Secondly, it is to look for it hidden in the Late Hymns. Thirdly, it is to do so by means of a detailed analysis of the structure of these poems. Following the introduction and Chapter II on methods, three central analytical chapters will subject to thoroughgoing structural study three of the most pivotal late hymns: (1) "Der Rhein" (Chapter III), (2) "Patmos" (Chapter IV), (3) "Mnemosyne" (Chapter V). Chapter VI will offer a counter and comparative analysis by applying the techniques of Chapters III-V to the analysis of Hölderlin's poetry exclusive of the Late Hymns. Chapter VII, a synthesis and a conclusion, will systematize the data found in Chapters III -VI and will reorganize them into the hidden "Ars Poetica" in question. 1 speak of a 'hidden' "Ars Poetica", as if Hölderlin had never written an 'open' one. This is only partly true. It is true that he never published

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INTRODUCTION

his systematic poetics in a unified volume. N o r is there any evidence that he ever had such a "Compendium der critischen Dichtkunst" in mind. 1 But numerous passages in his works, in his translations and letters, and m o s t of all in his series o f essay fragments, the "Homburger Aufsätze", 2 reveal the views o f an artist deeply concerned with the theoretical aesthetics of his craft. It is especially these latter texts that have given rise, in relatively recent years, to a voluminous critical literature. Studies by Eduard Bösenecker, 3 Veronika Erdmann, 4 Hildegard Brenner, 5 Walter H o f , 6 Lawrence J. Ryan, 7 and more recently, Ulrich Gaier, 8 are all concerned with the relation of the essay fragments to Hölderlin's 'Weltanschauung' and poetry. While my study is indebted to these c o n tributions in many ways, their more or less c o m m o n evaluation o f H ö l derlin's poetics as a series o f direct preliminary sketches to be but followed and closely realized in the subsequent poetry limits radically each critic's individual point o f view. N o critic asks what is not only the m o s t important but the only real question concerning the relation o f Hölder1

Much rather, Hölderlin intended to publish his theoretical writings in periodical form; see the reference to his planned "Neue Briefe über die ästhetische Erziehung des Menschen" in the letter to Immanuel Niethammer of 24 February 1796 (VI, Part I, 203; Letter No. 117). The poet's chief, and unrealized, plan was to edit a critical journal of his own, to be named Iduna. On the latter see especially Kurt Hildebrandt, Hölderlin: Philosophie und Dichtung (Stuttgart und Berlin, W. Kohlhammer Verlag, 1939), pp. 199-203, and Wilhelm Böhm, Hölderlin (Halle a. d. Saale, Max Niemeyer Verlag, 1928-1930), I, 429-458. 2 As used in this study, the term will include those essays, whether completed or not, which Hölderlin wrote during his first stay at Bad Homburg v. d. Höhe (17981800). The term seems to have been first used by Dieter Jähnig in his unpublished doctoral dissertation, "Vorstudien zur Erläuterung von Hölderlins Homburger Aufsätzen" (Tübingen, 1955). The Essays are printed consecutively in the Grosse Stuttgarter Ausgabe of Hölderlin's works, from "Aus dem Entwurf zu dem Programm der Iduna" (IV, Part I, 220) to "Das Werden im Vergehen" (IV, Part I, 282-287). Cf. Beissner's "Erläuterungen," IV, Part I, 379-381. 3 "Der Rhythmus der Vorstellungen in Hölderlins Oden und Elegien: Untersuchungen über den Zusammenhang seiner Poetik und seiner Poesie" (unpublished Doctoral dissertation, München, 1922). 4 Hölderlins ästhetische Theorie im Zusammenhang seiner Weltanschauung (Jenaer Germanistische Forschungen, No. 2; Jena, Verlag der Fromannschen Buchhandlung [Walter Biedermann], 1923). 5 " 'Die Verfahrungsweise des poetischen Geistes': Eine Untersuchung zur Dichtungstheorie Hölderlins" (unpublished Doctoral dissertation, Berlin, Freie Universität, 1952). Of especial interest is the section entitled "Das 'gesezliche Kalkül' in seiner Anwendung ('Der Rhein' — Strukturanalyse)" (pp. 151-191). 6 Hölderlins Stil als Ausdruck seiner geistigen Welt (2nd ed. revised; Meisenheim/ Glan, Verlag Anton Hain, 1956). 7 Hölderlins Lehre vom Wechsel der Töne (Stuttgart, W. Kohlhammer, 1960). 8 Der gesetzliche Kalkül: Hölderlins Dichtungslehre (Hermaea, Germanistische Forschungen, N. F., No. 14; Tübingen, Max Niemeyer Verlag, 1962).

INPRODUCTION

3

lin's aesthetic theory to his poetic work. And that question is : "Where, during his entire career of writing and thought, did the theory-conscious poet Hölderlin discover the fittest place, the most nearly ideal medium, for the expression of this views on the nature and identity of poetic creation?" Such a question cannot be asked by inquiring into the applicability of the Homburg Essays to the analysis of the poems. Nor is it a question to which investigations on Hölderlin's experience in Pietism and 'göttliche Offenbarung' are meaningful or even relevant. The former approach misses the question in that it drastically limits our view of the poet's competence as exercised in his poems.9 The latter runs the risk of vitiating the literary nature of the study by subjecting the material to extraliterary criteria and ignoring the first axiom of art, the sovereign individuality of the artist.10 We need a literary study which, while doing 9 Two outstanding examples of this approach are those of Hof and Ryan. In his "Vorwort" Hof asks: "Ist es nicht seltsam, dass eine Darstellung des Hölderlinschen Stils mit einer Interpretation seiner philosophischen Fragmente beginnt? Und dennoch scheint mir auch heute noch dieser Weg der beste von allen gewesen zu sein, die ich hätte wählen können" (p. 7). As Hof, Ryan, too, concentrates on the 'Tönewechsel' aspect of the theoretical writings, even though that aspect is defined by 'ein lebloses Schema' : "Wenn . . . das scheinbar starre Schema sich als im höchsten Grade bedeutungsträchtig erwiesen hat, dann ist es durchaus denkbar — auch wenn seine bewusste Anwendung von Seiten des Dichters sich nicht nachweisen lässt —, dass die abstrakte Lehre und das einzelne Gedicht sich vielfach berühren könnten: sind doch beide im Grunde von der Gleichheit jener 'höchsten Prinzipien und reinen Methoden' getragen" (pp. 4-5). Both Hof's and Ryan's books have been highly controversial and the subject of much criticism. In an especially good review of Hof's book, Clemens Heselhaus objects to Hof's "Historismus" : " . . . die Methode, Hölderlin durch Hölderlin zu erklären, bewegt sich in einem hermeneutischen Zirkel, und sie wird immer Gefahr laufen, beim Selbstverständnis des Dichters zu einem gewissen Zeitpunkt stehen zu bleiben und Früheres oder Späteres, Nichterwähntes und Ungewusstes nicht zu erfassen" (Hölderlin-Jahrbuch, IX [1955-1956], 261). Bruno Markwardt concludes that Hof's proceeding from the assumed 'geistige Welt' back to the 'Stil' begs the question of stylistic analysis: "So verstanden, müssten in der Titelgebung der Haupttitel und der Zusatztitel recht eigentlich eine Umkehrung erfahren" (Deutsche Literaturzeitung, LXXVIII [1957], 215). Of Ryan's study, Rolf Michaelis writes: "Infolgedessen [of the absence of 'Tonwechsel' analyses by Hölderlin] muss die angestrebte Interpretation gewissermassen Experiment bleiben" (Stuttgarter Zeitung, Literaturblatt, 3. Juni 1961, p. 130). A word of approval of Ryan's book has come from A. Schlagdenhauffen: " . . . la deuxième (partie) retrace dans un exposé historique la genèse et l'évolution du Tonwechsel, son application dans les odes, forme poétique qui s'y prête particulièrement bien, mieux que les élégies dont la tonalité est nécessairement constante" ("Publications récentes sur Hölderlin", Études Germaniques, XVI [1961], 257). 10 In his "Einleitung" Gaier makes the reservation: "Eine sehr weit gehende Ähnlichkeit bestimmter Anschauungen und Arbeitsweisen Hölderlins mit theosophischen Gedanken und Spekulationen ist zwar nicht Ausgangspunkt oder Ziel, aber eines der Ergebnisse der vorliegenden Arbeit. Wir geben deshalb die kurzgefasste Darstellung der zentralen und für uns wichtigen Gedankengänge aus dem Werk des schwäbischen

4

INTRODUCTION

justice to the written poetics, can depart from the traditionally repeated thinking in two important ways: (1) in that it does not proceed to explore the poet exclusively "durch Hölderlin und auf Hölderlin hin",11 and (2) in that it is thus free to explore and rediscover in its uniqueness Hölderlin's own most vital discovery, the implied aesthetic doctrine in its series of common receptacles. Brief introductory comment on the two concentric spheres of the poet's discovery, the "Ars Poetica" and the Late Hymns, follows. While individual "Artes Poeticae" have been as different as Horace's Ars Poetica, Lu Chi's Wen Fu, and Shapiro's Essay on Rime, a fresh formulation on the common nature of all "Artes" must be attempted. I shall here define an "Ars Poetica" as a treatise on the three basic requirements for good writing: (1) method (the poet asks, "How do I write the poem?"), (2) purpose (poet and reader ask, "How do I reach reader and poet?"), (3) effect (the reader asks, "How do I understand the poem?"). An "Ars Poetica" is viewed as having a primarily didactic orientation. That is, it imparts standards of taste and judgment, and instruction is given, first in writing, and second in reading.12

Theosophen Friedrich Christoph Oetinger (1702-1782) bei" (p. 3). The author makes sure it is understood that he relegates this summary to an appendix " u m von vornherein der missverständlichen Annahme vorzubeugen, Oetinger sei nach unserer Ansicht als Quelle Hölderlins zu betrachten" (ibid.). My objection to Gaier's method is not that it seriously considers Hölderlin's background in Pietism and theosophy as a shaping force of his thinking, but that it defines historically an uncertain relationship of dependency, thus giving a misleading image of Hölderlin's intellectual capacities: "Es hat sich gezeigt, dass Hölderlins Denken, seine Ansichten in Religion, Philosophie, Geschichte, Kunst von einer einzigen reinen Methode, einem einzigen gesetzlichen Kalkül bestimmt werden: vom siebenstufigen Rhythmus der Offenbarung des göttlichen Geistes" (ibid., p. 194). Cf. the method of Ulrich Häussermann, who also considers systematically the results of Hölderlin's relatively early contact with the thought of Pietists and Mystics, but without doing violence to the poet's individuality and freedom of expression (Friedensfeier: Eine Einführung in Hölderlins Christushymnen [München, Verlag C. H . Beck, 1959], especially pp. 67-206). 11 Ryan, p. 7. 12 Thus H . Rushton Fairclough characterizes Horace's Ars Poetica (Epistula ad Pisones) as a strongly audience-oriented document: " . . . as fully one-third of the whole poem is concerned with the drama, it is a plausible inference that one at least of the Pisos — presumably the elder son (1. 366) — was about to write a play" (Horace: Satires, Epistles, and Ars Poetica [The Loeb Classical Library; Cambridge, Massachusetts, Harvard University Press, 1955], p. 442). My definition — which includes the term 'Poetics' as long as a definite treatise is meant — is new not in content but in organization and compass. Even Wolfgang Kayser errs on the side of excessive brevity when he defines 'Poetik' as "den Teil der Literaturwissenschaft, der das Wesen der Dichtung und der dichterischen Kunstwerke zu erfassen sucht, . . . " (Das sprachliche Kunstwerk [5th ed. revised; Bern und München, Francke Verlag, 1959], pp. 18-19).

INTRODUCTION

5

T o be an effective instrument of literary pedagogy, the text o f such a treatise must be clear and direct enough to be understood, as well as provocative enough to be retained. N o t that these two criteria are essentially separate. They must coexist as an inalienable basis of the poetic doctrine and must themselves be an effective illustration of its subject matter. 1 3 While to g o o d historical evidence Horace and Aristotle observed this necessity governing their thinking, 1 4 seventeenth and eighteenthcentury "Artes Poeticae" often made t o o wide a separation between the t w o criteria o f clarity and depth. The ease and elegance o f Boileau seem at times to prejudice the communicability o f the newness o f what he has to say : Quelque sujet qu'on traite, ou plaisant, ou sublime. Que toujours le Bon sens s'accorde avec la Rime. L'un l'autre vainement ils semblent se haïr, La Rime est une esclave, et ne doit qu'obeïr. 1 5 while Herder, in his very eagerness to make a point, presents the reader with unnecessary difficulty in retention : Je entfernter von künstlicher, wiszenschaftlicher Denkart, Sprache und Letternart das Volk ist: desto weniger müszen auch seine Lieder fürs Papier gemacht, On Horace's Ars Poetica, see also G. M. A. Grube, The Greek and Roman Critics (London, Methuen & Co. Ltd., 1965), pp. 238-252; on a point of affinity between Western and Oriental poetics, see the stimulating article by Sr. Mary Gregory Knoerle, "The Poetic Theories of Lu Chi, with a Brief Comparison with Horace's Ars Poetica", The Journal of Aesthetics and Art Criticism, XXV (1966), 137-143. 13 The precept that the "Ars Poetica" must itself have artistic form lends the Late Hymns an initial advantage over such "Ars Poetica" poems as those by Horace, Boileau, and Pope. As the Hymns reverse the earlier understood relation between poem and doctrine, their "Ars Poetica" content can be made immediately explicit by structural analysis. The series of propositions in Chapter VII, Section 2 will thus unite within itself the roles of functional "Ars Poetica" text and aesthetic outline, inviting closely parallel checks on statements made concerning the poetry and the implicit doctrine. Not without interest here is the method of as recent a poet as Verlaine, whose "Art poétique" has been recognized as a successful poem in its own right (see Alfred J. Wright, Jr., "Verlaine's 'Art poétique' Re-examined", PMLA, LXXIV [1959], 268-275). A point on the principle that criticism must itself have formal qualities has recently been made by Clifford Bernd in "The Formal Qualities of Hôlderlin's 'Wink fiir die Darstellung und Sprache"', The Modern Language Review, LX (1965), 400-404. Especially commanding is Bernd's interest, in his short article, in the "way in which the harmony of . . . ideas is structurally attained" (p. 403). 14 See the excellent study by Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance (Chicago, The University of Chicago Press, 1961), Chapters iii, iv, vi, and ix, where the immediate effects, positive and negative, of the Ars Poetica and the Poetics on their Cinquecento commentators are discussed. 15 L'Art poétique, i: 27-30 (Nicolas Boileau-Despréaux, Epitres, Art poétique, Lutrin, ed. Charles-H. Boudhors [Paris, Société les Belles Lettres, 1952], p. 82).

6

INTRODUCTION

und todte Lettern Verse seyn: vom Lyrischen, vom Lebendigen und gleichsam Tanzmäszigen des Gesanges, von lebendiger Gegenwart der Bilder, vom Zusammenhange und gleichsam Nothdrange des Inhalts, der Empfindungen, von Symmetrie der Worte, der Sylben, bei manchen sogar der Buchstaben, vom Gange der Melodie, und von hundert andern Sachen, die zur lebendigen Welt, zum Spruch- und Nationalliede gehören, und mit diesem verschwinden — davon, und davon allein hängt das Wesen, der Zweck, die ganze wunderthätige Kraft ab, die diese Lieder haben, die Entzückung, die Triebfeder, der ewige Erb- und Lustgesang des Volks zu seyn!16 Hölderlin, who was indebted to the work of both theorists, 17 knew the danger, and gave early expression to this knowledge in the "Vorrede" to Hyperion: Ich verspräche gerne diesem Buche die Liebe der Deutschen. Aber ich fürchte, die einen werden es lesen, wie ein Compendium, und um das fabula docet sich zu sehr bekümmern, indesz die andern gar zu leicht es nehmen, und beede Theile verstehen es nicht. Wer blos an meiner Pflanze riecht, der kennt sie nicht, und wer sie pflükt, blos, um daran zu lernen, kennt sie auch nicht. Die Auflösung der Dissonanzen in einem gewissen Karakter ist weder für das blosze Nachdenken, noch für die leere Lust.18 While this preface cannot be read as an early "Ars Poetica", it does contain a prescience of what its author was ultimately to consider as the true commitment of the theorist-poet. Just as little as Hölderlin considered either pure enjoyment or pure cogitation to be satisfactory goals of an intellectual existence, so little would he be satisfied with becoming a mere teacher or a mere poet in the sense in which too many of his age understood either of these occupa16 "Auszug aus einem Briefwechsel über Oszian und die Lieder alter Völker" (Herders Sämmtliche Werke, ed. Bernhard Suphan, Carl Redlich, Reinhold Steig et al. [Berlin, Weidmannsche Buchhandlung, 1877-1913], V, 164). 17 Directly to Herder (Hölderlin: Neuaufgefundene Jugendarbeiten, ed. Walter Betzendörfer and Theodor Haering [Nürnberg, Verlag "Der Bund", 1921], pp. 18-19; in connection with Hyperion, Böhm, I, 263), indirectly to Boileau (Karl Vietor, Die Lyrik Hölderlins: Eine analytische Untersuchung [Frankfurt am Main, Verlag von Moritz Diesterweg, 1921], p. 161; Marshall Montgomery, Friedrich Hölderlin and the German Neo-Hellenic Movement, Part I: From the Renaissance to the Thalia-Fragment of Hölderlin's 'Hyperion' (1794) [London, Humphrey Milford, Oxford University Press, 1923], pp. 115-116). 18 III, 5 (Hyperion oder der Eremit in Griechenland, I, 3, lines 2-9). Hölderlin's texts, whether quoted from the Grosse Stuttgarter Ausgabe or the manuscripts, will be reproduced in the exact orthography transmitted. The sign "sz" ("scharfes S") will be reserved for quotation from Hölderlin's works and other German primary sources only (c/. the quotation from Herder, above, p. 5).

INTRODUCTION

7

tions. What Hölderlin thought of the lot of the man who was nothing more than a teacher, a 'Hofmeister', we know well enough from his letters and biographies;19 his views on the true vocation of the poet as a teacher of his nation and of the human race have likewise been frequently treated in the literature.20 Suffice it to say here that, in the view of this study, Hölderlin's career was one long search for a higher synthesis of these two superficially conflicting roles. In the fullest and most significant sense he wanted to teach — poetry, in his poems.21 This accounts, in a deeper sense, for the poet's failure to complete the Homburg Essays (not to speak of the all but hopeless involvement of the latter in "das blosze Nachdenken"),22 and for the heterogeneity of the theoretical pronouncements that begin with "Parallele zwischen Salomons Sprüchwörtern und Hesiods Werken und Tagen"23 and end with the "Anmer19 A good biographical summary of Hölderlin's unhappy engagement as 'Hofmeister' at Waltershausen (December, 1793 to January, 1795) may be found in Wilhelm Michel, Das Leben Friedrich Hölderlins (Bremen, Carl Schünemann Verlag, 1940), pp. 114-115. Perhaps the most articulate single statement of the poet's feeling toward artists who must surrender their art for economic reasons is contained in the letter to Hölderlin's mother of January, 1799: "Der gute Geliert, . . . , hätte sehr wohl getan, nicht Professor in Leipzig zu werden. Wenn er es nicht an seiner Kunst gebüszt hat, so hat er es doch an seinem Körper gebüszt" (VI, Part I, 312; Letter No. 173, lines 150-153; see also Beck, VI, Part II, 919). Karmen Kahn-Wallerstein (Pegasus im Joche: Berufung und Beruf [Bern, München, Francke Verlag, 1966], pp. 273-285) highlights the disparity between poetic calling and livelihood during the Waltershausen period, but also, rightly, stresses Schiller's beneficent influence in the area of helping identify 'Berufung' with 'Beruf', namely of making Hölderlin's name better known. 20 The most important works to date are: Walther F. Otto, "Die Berufung des Dichters", Hölderlin: Gedenkschrift zu seinem 100. Todestag, 7. Juni 1943, ed. Paul Kluckhohn (Tübingen, Verlag von J. C. B. Mohr [Paul Siebeck], 1943), pp. 203-223; L. S. Salzberger, "Hölderlins Anschauungen vom Beruf des Dichters im Zusammenhang mit dem Stil seiner Dichtung" (unpublished Doctoral dissertation, Oxford University, 1950); Friedrich Beissner, "Dichterberuf", Hölderlin-Jahrbuch, V (1951), 1-18; Guido Schmidlin, Hölderlins Ode: Dichterberuf, Eine Interpretation (Bern, Francke Verlag, 1958); Peter Szondi, Der andere Pfeil: Zur Entstehungsgeschichte von Hölderlins hymnischem Spätstil (Leipzig, Im Insel-Verlag, 1963). 21 This point is involved in an important distinction between what Hölderlin has all too often been seen to be — patriot, prophet, mystic, madman — and what I would like to show him to have been, teacher and serious artist. This fresh point of view is touched upon also by Emmon Bach in his unpublished Ph. D. thesis, "Patterns of Syntax in Hoelderlin's Poems" (Dept. of Germanic Languages and Literatures, University of Chicago, 1959), p. 90: "As thinker or friend (as well as poet) he left his mark on at least three of the most famous names in post-Kantian German philosophy: Hegel, Schelling, and Heidegger. But his poems are primarily poems and not versified metaphysics, dogma, or biography." Bach, too, is eager to see Hölderlin "as a poet and not as something else" (ibid., p. 89). 22 The more practical meaning of that failure is involved in the miscarriage of Hölderlin's plans to edit the critical journal Iduna. See above, note 1. 23 IV, Part I, 176-188.

8

INTRODUCTION

kungen zur Antigonae". 2 4 This statement is not to be taken as a mitigation of the value o f the essays in themselves. I am only making the everrenewable distinction between the critic's dissatisfaction, which is his need to understand, to control and to sympathize, 2 5 and the poet's restlessness, which in turn is his need to overcome a past, to turn away, and to renew himself in that manner. Keeping the latter in mind, we might be able to place into a new perspective such hitherto ill-understood writings as Hölderlin's letters to his half-brother Carl G o c k , 2 6 to his friend Casimir Ulrich Böhlendorff, 2 7 and to his publisher Friedrich Wilmans. 2 8 The evident delight the poet takes, in all these communications, in teaching, in clarifying his meaning over and over again, 2 9 can hardly be overlooked in the light o f his goal : the achievement of the medium in which the true intellectual life can finally find its play, and through which the reality of the art can be directly understood. 3 0 That the Late H y m n s have here been chosen as the locus, so to speak, of all points equidistant f r o m the above described goal, 3 1 should not seem 24

V, 265-272. Gaier's pointing to a rigidly repetitive pattern in Hölderlin's critical views is laudable to the extent that it does point to certain consistencies in the poet's often seemingly unsystematic theorizing (pp. 5-193). Against this Brenner (pp. 6-8) denies the presence of any system in Hölderlin's theory whatever. 26 VI, Part I, 262-265 (Letter No. 152); 293-295 (No. 169); 301-307 (No. 172); 326-332 (No. 179). " VI, Part I, 425-428 (No. 236); 432-433 (No. 240). 28 VI, Part I, 434 (No. 241); 435 (No. 242); 436-437 (No. 243); 438^39 (No. 245). 29 Hölderlin's awareness of this delight and his need of it show clearly at the end of the second letter to Böhlendorff: "Schreibe doch nur mir bald. Ich brauche Deine reinen Töne. Die Psyche unter Freunden, das Entstehen des Gedankens im Gespräch und Brief ist Künstlern nöthig" (VI, Part I, 433; No. 240, lines 53-55). Creditable summaries to date of Hölderlin's late correspondence with the three associates mentioned above may be found in Paul Raabe, Die Briefe Hölderlins: Studien zur Entwicklung und Persönlichkeit des Dichters (Germanistische Abhandlungen, No. 2; Stuttgart, J. B. Metzler, 1963), pp. 52-55 (Gock), 120-122 (Wilmans), 88-89, 182-183 (Böhlendorff). On Raabe's overall method see my review in Monatshefte, LVI (1964), 313-314. As pointed out, the author's inability to account for the complexity of some key letters is especially notable (cf. below, notes 121-128). 30 In a letter to Wilmans, Hölderlin expresses his ambition to publish poems "worauf ich jezt einen eigentlichen Werth seze" (VI, Part I, 439; No. 245, lines 31-32). That the poet here meant his mission as poet, and that this included a program of teaching his public, is suggested by the introduction to Beissner's commentary on "Die Vaterländischen Gesänge" (II, Part II, 680) as well. 31 The geometrical metaphor (cf. above, p. 4) is not out of place, as Hölderlin was himself in the habit of illustrating his concepts of intellectual movement with geometric diagrams (three of the most important drawings accompanying the Homburg Essays are reproduced in Hellingrath, III, 591, and described by Beissner in IV, Part II, 758, lines 22-35). 25

INTRODUCTION

9

too surprising at this time. Their choice was made with a view to doing them justice also, and in a way in which no study of Hölderlin's "Christushymnen."32 or even of his "Hymnen in freien Strophen"33 has been able to do them justice to date. But from the very earliest beginnings of interest in Hölderlin there have been those who felt that such justice should be done. Bettina Brentano was one of them.34 When in the foreword to Volume IV of his critical edition of Hölderlin's works Norbert von Hellingrath names the Late Hymns "Herz, Kern und Gipfel des Hölderlinischen Werkes, das eigentliche Vermächtnis",35 he may be said to be recording his suspicion that these unique poems, representing as they do the final and simultaneous acts of parting from and fulfillment of a highly systematic lyricism, contain Hölderlin's definitive "Ars Poetica". In the treatment of the Late Hymns below, structural features and connections will constitute, to a strictly demonstrable extent, topics of the implied treatise. The analytic examination of levels of structure in the poems will lead to a synthetic examination of levels of theory in the treatise. These latter will finally be evaluated for their capacity to represent chapters of the hidden "Ars Poetica". The results gleaned from such a superposition of hymn and treatise will, it is hoped, be a mutual illumination. 32 Robert Thomas Stoll, Hölderlins Christushymnen: Grundlagen und Deutung (Basler Studien zur deutschen Sprache und Literatur, N o . 12; Basel, Benno Schwabe & Co., Verlag, 1952) is a central example of semantically oriented studies of this type. 33 Eduard Lachmann, Hölderlins Hymnen in freien Strophen: Eine metrische Untersuchung (Frankfurt a m Main, Vittorio Klostermann, 1937), while an important study, is relevant for its mistaken notion that the structure of 'freien Strophen' is defined by metrics alone: " 'Frei' nennt Hellingrath die Strophen, weil sie nicht an die Wiederkehr gleicher metrischer Formen gebunden sind. Das bestimmt aber die F o r m dieser Dichtungen nicht allein. Von den freien Rhythmen nach der Art Klopstocks u n d Goethes unterscheidet sie ihre strophische F o r m . Die Strophe ist in einem Gedicht die höchste metrische Einheit, . . . " (p. 12). 34 On Bettina's coming to grips with problems of verse form and language in the Sophocles translations, and thus indirectly in the Late Hymns, see especially her paraphrase of discussions with Isaak von Sinclair: "Gewisz ist mir doch bei diesem Hölderlin, als müsse eine göttliche Gewalt wie mit Fluten ihn überströmt haben, und zwar die Sprache, in übergewaltigem raschen Sturz seine Sinne überflutend und diese darin ertränkend; . . . — U n d St. Clair [Sinclair; see Hellingrath, VI, 375] sagt: . . . Die Gesetze des Geistes aber seien metrisch, das fühle sich in der Sprache, sie werfe das Netz über den Geist, in dem gefangen er das Göttliche aussprechen müsse, und solange der Dichter noch den Versakzent suche und nicht vom Rhythmus fortgerissen werde, so lange habe seine Poesie noch keine Wahrheit; . . . " (Bettina von Arnims Sämtliche Werke, ed. Waldemar Oehlke, Vol. I I : Die Günderode [Berlin, I m Propyläen-Verlag, 1920], pp. 340-341). 35 Hellingrath, IV, xi.

10

INTRODUCTION

Hölderlin set considerable store by these last hymnic creations of his, and took great pains preparing them for publication36 or for presentation to a princely patron37 at a time when his mental powers, intermittently at least, had already begun to fail. And certainly, the literary perfection, the brilliance in the language and the implied theory, of poems like "Der Rhein", "Friedensfeier", "Patmos", seem independent of the personal defeat after 1800 38 Although the poet's intense wish to communicate with his countrymen through these poems was not granted him, not at least until it was too late for him to acknowledge the contact, and then 36

Such preparation is clearly evident in the external form the poet gave to the fair copy of "Friedensfeier", complete with title page and introductory paragraph. See the excellent facsimile in Hölderlin, Friedensfeier: Lichtdrucke der Reinschrift und ihrer Vorstufen, ed. Wolfgang Binder and Alfred Kelletat (Schriften der Hölderlin-Gesellschaft, No. 2; Tübingen, J. C. B. Mohr [Paul Siebeck], 1959), and the letter to Wilmans of 8 December 1803: "Einzelne lyrische gröszere Gedichte 3 oder 4 Bogen, so dasz jedes besonders gedrukt wird weil der Inhalt unmittelbar das Vaterland angehn soll oder die Zeit, will ich Ihnen noch diesen Winter zuschiken" (VI, Part I, 435; No. 242, lines 23-25). Cf. Beissner, III, 548, lines 23-31. 37 See Hölderlin, Patmos: Dem Landgrafen von Homburg überreichte Handschrift, ed. Werner Kirchner (Schriften der Friedrich Hölderlin Gesellschaft, No. 1; Tübingen: J. C. B. Mohr [Paul Siebeck], 1949), facsimile of the dedication copy. 38 Thus disregarding the accepted period of Hölderlin's insanity (1806-1843), this study will treat the Homburg Essays and the Late Hymns as the work of a healthy and alert mind. Although the time is certainly pasUwhen the work between 1798 and 1803 can be seriously considered as tainted by the poet's mental illness, many critics even of recent years have followed opinions to this effect by Vietor (p. 211), Ludwig v. Pigenot (Hölderlin: Das Wesen und die Schau [München, Hugo Bruckmann Verlag, 1923], pp. 138-139), and Böhm (II, 521-524). See especially Adolf Beck, "Die Hölderlin-Forschung in der Krise, 1945-1947", Hölderlin-Jahrbuch, III [1948-49], 234; Das Meisterwerk: Friedrich Hölderlin, ed. Ernst Müller (Stuttgart, W. Kohlhammer, 1952), I, 125-127, 530-544; Karl Kerenyi, "Hölderlin und die Religionsgeschichte", Geistiger Weg Europas (Zürich, Rhein Verlag, 1955), pp. 24-37; György Mihäly Vajda, "N6häny eszrevetel az elmült evtized nemet Hölderlin-irodalmäröl" ("Some Observations on the German Hölderlin Literature of the Past Decade"), Irodalmi Figyelö ("Literary Observer") (Budapest), III (1957), 20. Emil Staiger points to a prominent difficulty in current research when he writes: "Warum verändert sich die Sprache in Hölderlins letzten Hymnen? Weil der Geist des Dichters umnachtet ist. So werden die Soziologie, die Psychologie, die Weltgeschichte bemüht, wenn sich der Literarhistoriker selbst nicht mehr zu helfen weiss" ("Das Problem des Stilwandels", Euphorion, LV [1961], 230). For even recent thinking on the problematic relationship between the 'insanity' of the poet and that of his work, see especially "Hölderlin, Der Gefesselte Strom / Ganymed", by Walter Silz, in Studies in German Literature, ed. Carl Hammer, Jr. (Baton Rouge, La., 1963), pp. 85-94, 160-161. Two recent attempts to delimit in chronology and in method, and to warn against excessive, and fallacious, concern with the 'madness' element, are: Winfried Kudszus, Sprachverlust und Sinnwandel: Zur späten und spätesten Lyrik Hölderlins (Germanistische Abhandlungen, No. 28; Stuttgart, J. B. Metzlersche Verlagsbuchhandlung, 1969), and Rudolf Leonhard, "Hölderlin", Sinn und Form, XVIII (1966), Sonderheft II, pp. 1317-1342.

INTRODUCTION

11

in a form flagrantly untrue to his intentions,39 a communication was achieved. If man's full consciousness of his existence in his own setting of space and time may be termed "Vaterland", then Friedrich Beissner is completely right in having invented for the Late Hymns the generic name "Die Vaterländischen Gesänge". 40 But this does not mean only the modern reader's consciousness. "Das hohe und reine Frohloken", 41 the singing intellect, in these poems stands as proof that it was first of all Hölderlin himself who wished to announce his full awareness of the implications of his having, in the Late Hymns, made "den Schritt hinüber zur dritten Stufe, zum völligen Bewusstwerden des Eigenen".42 The doctrine in the Late Hymns must, then, be called an "Ars Poetica" of communication, and this entails an assumption of an equal burden between poet and critic, an untrammeled give and take of intent and perception. The period of the composition of the Late Hymns, the entire crucial time between the first and second Homburg periods stretches, according to Beissner, over a minimum of thirty-six and a maximum of forty months. 43 It was during these brief three years that Hölderlin had to make his definitive break with the past and develop that systematic capability which Walter Hof, in the passage quoted above, names a "Bewusstwerden des Eigenen". The Homburg Essays were indisputably preliminary to such a "Bewusstwerden", which latter was made further possible by that heightened state of theoretical "Besonnenheit" which was a strong aftermath of the essay composition experienced after the turn of the century. Because the year 1800 seems so clearly to represent a break in Hölderlin's thought, and because this break has often been discussed in parts but never evaluated integrally, a concise investigation of the phenomenon seems thoroughly justified here. In Section B below, the discussion will involve both the inner biography and the outer, and will aim at an understanding of the processes of the poet's transformation as well as of its results. There is a division into four subsections according to four main periods treated. 39 Both "Der Rhein" and "Patmos" were first printed in Leo Freiherr von Seckend o r f s Musenalmanach für das Jahr 1808 (see II, Part II, 722, 765). In his letter to Justinus Kerner of 7 February 1807 Seckendorf admits having altered Hölderlin's texts: "Er weisz nichts, dasz von seinen Gedichten etwas im Almanach gedruckt ist, . . . Ich habe sie mit äuszerster Schonung, aber doch hie und da verändern müssen, um nur Sinn hineinzubringen" (as quoted by Beissner in II, Part II, 585, lines 12-15). 40 II, Part II, 680. 41 Letter to Wilmans, December, 1803 (VI, Part 1,436; N o . 243, line 19). 42 Hof, p. 60. 43 Datings of the Late Hymns by Beissner may be found in II, Part II, 681-816; cf. below, Appendix A, Table I, note c.

12

INTRODUCTION

B. H Ö L D E R L I N ' S T R A N S I T I O N F R O M W R I T T E N T O I M P L I E D POETICS

1. First "Ars Poetica" Effort

(1784-1793)

Hölderlin began his preoccupation with poetics in several ways. The enthusiasm for "Klopstoksgrösze", 44 the readings of poetry and philosophy in the company of friends, the first with Neuffer and Magenau 45 and the second with Hegel and Schelling, 40 all seem aspects of a formative relation to the poet's work. Against them, and with all but a simultaneity, systematic readings, direct and indirect, help Hölderlin formulate parts of a system from the start. Intense is his early interest in physical sciences, in mathematics and astronomy; 47 in ancient writers, Plato, Aristoxle, 44 Hölderlin uses this expression in his early poem "Mein Vorsaz", vs. 12 (I, Part I, 28). F o r an analysis of the poem, centered on the formal moment of the young Hölderlin's coming to grips with Klopstock, see Friedrich Siegmund-Schultze, Der Junge Hölderlin: Analytischer Versuch über sein Leben und Dichten bis zum Schluss des ersten Tübinger Jahres (Sprache und Kultur der Germanischen und Romanischen Völker, B. Germanistische Reihe, N o . 32; Breslau, Verlag Priebatschs Buchhandlung, 1939), pp. 61-62; for a general discussion of the young Hölderlin's stance toward the tradition represented by Klopstock, see Stoll, p. 18. 45 Walter Betzendörfer has a good summary o n the circle of friends at Tübingen that included Neuffer, Magenau, Schubart, Stäudlin, and Conz (Hölderlins Studienjahre im Tübinger Stift [Heilbronn, Verlegt bei Eugen Salzer, 1922], pp. 64-98). Wilhelm Böhm tells of the gatherings of the three friends Hölderlin, Neuffer, Magenau on the "Aldermannstagen", on which "werden die Gedichte vorgetragen, gemeinsam beurteilt und die wertvoll erscheinenden in ein schönes, der Nachwelt erhaltenes Bundesbuch eingetragen. Ausserdem stellte der Aldermann jedesmal ein ästhetisches Thema, so 'über Sprache, Purismus derselben, Schönheit, Würde, Popularität', zur Bearbeitung" (I, 30). Of an early feeling for poetics which recognizes poetry to be in competition with other disciplines such as philosophy, a letter to the poet's mother speaks best: "Wir drei [Hölderlin, Neuffer, Magenau] haben auch ein weiteres Feld vor uns als jeder andre, weil die Muse gleich ein saures Gesicht macht, wenn ihre Söhne einzig und allein auf dem philosophischen und theologischen Altare o p f e r n " (VI, Part I, 54; N o . 33, lines 15-18). 46 Hölderlin's association with Hegel and Schelling is perhaps best characterized by Elizabeth Stoelzel (Hölderlin in Tübingen und die Anfänge seines Hyperion [Tübingen, Buchdruckerei Albert Becht, 1938], pp. 27-39), chiefly f r o m the perspective of the three friends' c o m m o n interest in Rousseau (pp. 27-39), "Volksreligion" (pp. 32-35), and Spinoza through Jacobi (p. 35, n. 108, cf ibid., p. 17, n. 60). Böhm also speaks of a "philosophischer Dunstkreis" (I, 36-37), and of the symbol ev xai jzäv, which in feeling and thought united the three men in Tübingen (I, 71). On the literary-historical backgrounds of this verbal symbol in the young Hölderlin's experience, see Max L. Baeumer, "Hölderlin und das Hen kai P a n " , Monatshefte, LIX (1967), 131-147. 47 This interest in Hölderlin stemmed f r o m his classes in Tübingen under the mathematician Christoph Friedrich Pfleiderer (1736-1821) (Betzendörfer, pp. 42-43). O n the backgrounds and products of Hölderlin's interest in mathematics, see also

INTRODUCTION

13

Longinus, 48 as well as in philosophers nearer his own day, Leibniz, Hemsterhuis, Kant; 49 Mendelssohn, Baumgarten, Sulzer;50 Winckelmann, Jacobi, Eberhard.51 The cycle of rhymed poems written at Tübingen,

Wolfgang Schadewaldt, " D a s Bild der exzentrischen Bahn bei Hölderlin", HölderlinJahrbuch, VI (1952), 3, n. 1. 48 Of the early contact with Greek philosophers Carl C. T. Litzmann writes: "Auf Hölderlin übte zweifellos Plato die grösste Anziehungskraft a u s " (Friedrich Hölderlins Leben: In Briefen von und an Hölderlin [Berlin, Verlag von Wilhelm Hertz, 1890], p. 80). Of this contact there is testimony in the letter to Neuffer of July, 1793, where Hölderlin tells how he, "unter Schülern Piatons hingelagert, dem Fluge des Herrlichen nachsah, . . . " (VI, Part I, 86; N o . 60, lines 15-16). On the specific works here alluded to see Beck, VI, Part II, 622-623. Both Hölderlin and Magenau were acquainted with Longinus in 1788, "wahrscheinlich in der Übersetzung von Schlosser 1780" (Ernst Müller, Hölderlin: Studien zur Geschichte seines Geistes [Stuttgart, Berlin, W. Kohlhammer Verlag, 1944], p. 30). On Longinus see also Montgomery, pp. 71-74. Aristotle is represented in Hölderlin's Nürtingen library by three editions of separate works (Müller, p. 21); early acquaintance with this philosopher seems attested by the emergence of Aristotle's name in the Tübingen poem "Die heilige Bahn", vs. 12 (I, Part I, 79), where the Greek thinker appears, according to Beissner, "als Verfasser der Schrift liegt itoir¡Tixf¡q, worin die Regeln der Dichtkunst aufgezeichnet sind" (I, Part II, 381). 49 "Hölderlin hoffte von der berühmten und weitverbreiteten Leibnizschen Theodizee a m ehesten Antwort auf seine Fragen der Glaube an die Allbeseeltheit der Natur, . . . Hölderlin teilte diesen Glauben. Auch die Dissonanzen gehören zur grossen H a r m o n i e des gottdurchwalteten Weltalls" (Stoelzel, p. 16). F r o m this stance it does n o t seem too great a step to Hemsterhuis' serene faith in the ability of man to educate himself to a degree of more intense rapport with the world of reality and spirit a b o u t him (lively summary in Stoelzel, pp. 21-27). On Hölderlin's early relation to K a n t one of the most useful studies to date is still Ernst Müller's chapter " K a n t und die Tübinger Stiftsphilosophie" (pp. 87-120). Against the decisive role played by Plato and Kant in the development of Hölderlin's thought, Beissner warns against overestimating the importance of Leibniz (IV, Part I, 377-378). 50 Betzendörfer gives all three of these critics proper credit as clearly underlying the critical thought displayed in Hölderlin's essay "Parallele zwischen Salomons Sprüchwörtern und Hesiods Werken und T a g e n " (Betzendörfer and Haering, pp. 15-19). Beissner thinks, further, to discover evidence in Hölderlin's library for the poet's active interest in the 'Pantheismusstreit' between Mendelssohn and Jacobi (IV, Part I, 398). 51 Winckelmann's Geschichte der Kunst des Altertums (Dresden, 1764) is one of Hölderlin's main sources for the master's essay "Geschichte der schönen Künste unter den Griechen" (see IV, Part I, 388). Besides Jacobi's letters on Spinoza (see Hölderlin's notes, IV, Part I, 207-210; see also Stoelzel, pp. 17-21), Hölderlin also read Hemsterhuis' Alexis oder vom goldenen Weltalter in the translation by Jacobi of 1787 (Müller, p. 83; cf. the treatment of the now all-important concept 'Totalvorstellung' as formulated by Hemsterhuis' "Alexis, ou de l'Age d ' O r " , in Gaier, p. 12). Perhaps it was Hölderlin's concern with a total view of man's rational identity, derived f r o m Hemsterhuis and Jacobi, that also set the young poet to reading J o h a n n August Eberhard's Neue Apologie des Sokrates. Eberhard reviews the tasks of literary art with reference to moral instruction (Geliert), entertainment (Sulzer), and thoroughgoing emotional experience (Herder). "Auf geschickte Weise kombiniert also Eberhard die verschiedenen Motive der Ästhetik des 18. Jahrhunderts, . . . " (Müller, p. 48).

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INTRODUCTION

the "Hymnen an die Ideale der Menschheit",52 and the two "Magisterspecimina" of 179053 seem first to demonstrate such voluminous background. From the point of view of absorbed learning and formative system the latter of the master's essays, "Geschichte der schönen Künste unter den Griechen",54 is considered significant. Wilhelm Böhm, to whom the essay seems to be "häufig genug ein trockener Katalog von nicht immer richtig gegebenen Namen und Daten",55 and who severely criticizes its early portions, yet admires Hölderlin's subsequent treatment of the Greek poets: "Warm wird er bei der Darstellung von Persönlichkeiten, denen er sich nahe fühlt: so bei Pindar, dem 'Summum der Dichtkunst'... " 56 and with Sappho, on whose treatment in the essay Böhm remarks: "Unbewusst schildert er [Hölderlin] sich selbst und das Geheimnis der eigenen Dichtung."57 Hölderlin writes: Wer bewundert sie nicht . . . , wenn er sieht, wie, ungeachtet ihrer nieder drükenden Schiksaale, ihr kühner männlicher Geist sich im Gesang erhebt, w i e sie mit solcher unnachahmlichen Heftigkeit ihre Empfindungen schildert, u n d d o c h dabei s o genau, wie der kalte Beobachter, jede kleine B e w e g u n g derselben belauscht! 5 8

While it is perhaps not necessary to suggest, as does Ulrich Gaier, comparison of the state of'der kalte Beobachter' with the 'Junonische Nüchternheit' concept of the first letter to Böhlendorff,59 the section on Greek poets in this master's essay does seem embryonic of the thought of the mature Hölderlin. This, to Gaier, is evidenced in the treatment of Sophocles, in the mention of the 'gewisse Regeln' of the ancients, as well as in a general "Gegenüberstellung von Phantasie, Empfindung und Darstellung, ihre Entgegensetzung im Sinne freier Tendenzen.. .". 60 52 See the chapter of that title by Emil Lehmann (Hölderlins Lyrik [Stuttgart, J. B. Metzlersche Verlagsbuchhandlung, 1922], pp. 23-92). Within the scope of poems treated here, I am having reference to the rhymed Tübingen hymns only. These include all poems with the generic title and some without, from "Hymne an die Unsterblichkeit" a , Part I, 116-119) to "Griechenland. An St." a . Part I, 179-180). 63 "Parallele zwischen Salomons Sprüchwörtern und Hesiods Werken und Tagen" (IV, Part I, 176-188); "Geschichte der schönen Künste unter den Griechen bis zu Ende des Perikleischen Zeitalters" (IV, Part I, 189-206) (c/. above, n. 23 and below, n. 54). The significance of the two master's essays is discussed in Betzendörfer and Haering, pp. 9-20, 39-42; also by Beissner in IV, Part I, 376-377. 54 IV, Part I, 189-206 (cf. above, n. 53), 388-397. 66 Böhm, I, 40. 56 Ibid. 51 Ibid., p. 41. 58 IV, Part I, 196, lines 21-25. 69 Gaier, p. 13. Ibid., pp. 13-14.

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15

An early hint at implied poetics may be found in the Tübingen Hymns, specifically in their use of quotations for motto purposes. The hymns celebrating "die Göttin der Harmonie",61 "die Menschheit"62 and "die Schönheit"63 feature material excerpted from Heinse's Ardinghello, Rousseau's Du contract social, and Kant's Kritik der Urteilskraft, respectively.64 The motto of "Hymne an die Schönheit" is a not inconsiderable paraphrase of a sentence from Kritik der Urteilskraft, Section 42, in Hölderlin's words: D i e Natur in ihren schönen Formen spricht figürlich zu uns, und die Auslegungsgabe ihrer Chiffernschrift ist uns im moralischen Gefühl verliehen. 65

Here, according to Kant-Hölderlin, the ethical self-awareness deciphers the code of beauty in nature into the language of the aesthetic sense. In his important Hölderlin study Ernst Müller raises an objection to Böhm's comment on Kant's interpretation of the aesthetic sense by means of ethics, which "erscheint in der Hymne umgekehrt, insofern als für Hölderlin hier gerade das Ethische als eine Chiffreschrift zu verstehen ist, die der ästhetischen Auslegung bedarf". 66 Müller doubts whether the hymn expresses "nur einen Protest gegen Kants Einengung des Schönen auf das moralisch Gute". 67 I do not think either Böhm or Müller is completely right. The point of the poem with its motto is not that "Jede Weltenharmonie" ("Hymne an die Schönheit", vs. 115) is an ethical cipher calling for aesthetic decoding. Hölderlin seems to mean that the ethics of the universe is no cipher, while the aesthetic decoding goes on regardless. In the hymn the poet affirms the beauty of the world as sense data inseparable from such instances of ethical feeling as 'Weltenharmonie' (vs. 115), "Götterlust" (vs. 120), or the vertical uniting topos, 61

1, Part I, 130-134. I, Part I, 146-148. 63 1, Part I, 152-156 ("Zweite Fassung"). 64 See Beissner's commentary, I, Part II, 439, 453, 457. 66 I, Part 1,152. In a recent article Paul Böckmann demonstrates that this paraphrase is not original with Hölderlin, but was taken over by the poet from an epigraph to Jacobi's Allwill. Böckmann publishes facsimiles of the motto as it appears in the first printing of Jacobi's novel and of Hölderlin's hymn, and takes the following, perhaps extreme, position: "So zeugt das Motto nicht von einer frühen Kantlektüre Hölderlins, sondern eher von seiner Arbeitsweise, wie er sich an einzelnen ihm wichtig gewordenen Gedanken und Motiven orientiert" ("Das 'Späte' in Hölderlins Spätlyrik", HölderlinJahrbuch, XII [1961-1962], 210). 66 Müller, p. 110, quoting Böhm, I, 60. «' Müller, p. 110. 62

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INTRODUCTION

"Der Liebe Rose" (vs. 136).68 The rhymed hymns offer implied instruction in just this sense of the early demonstration of a technique whereby poetry systematizes ideas as no other medium can. The influence of Kant does not come to an end with the beginning of work on Hyperion. But here the learning and absorption process is already more hidden, it might be said historical. The foreword to the "Thalia-Fragment" 69 is perhaps Hölderlin's first conscious acknowledgment that he can act and think according to a poetics, as he was to write later, in the only known letter to Schelling, "insofern sie ["die Poesie"] lebendige Kunst ist und zugleich aus Genie und Erfahrung und Reflexion hervorgeht und idealisch und systematisch und individuell ist". 70 In the entire "Thalia-Fragment" Kant's distinction between the "Kunstschöne" and the "Naturschöne" is worked out, as Müller would have it, "trotz der Undeutlichkeit und Unklarheit des abstrakten Vorworts". 71 Yet this foreword might well be recognized as not only the most important part of the fragment, but an important part of the entire Hyperion opus as well.72 It includes two seemingly united but significantly separate sets of pronouncements. The first set, the fine distinction between a "blosze Organisation der Natur" and "die Organisation, die wir uns selbst zu geben im Stande sind", 73 contains more than "eine leise Kritik an Kant". 74 It also bespeaks an independent intent to organization on the poet's part. 75 Böhm holds that with specific reference to the text of the "Fragment", the distinction reflects "den Anschein, dass die Absicht 68 With reference to the imagery contained in the Tübingen Hymns Vietor prefers to speak not of topos or emblem, but of "ein Typus, und zwar ein idealisierter . . . " (p. 55), and of the "Verdeutlichung einer Idee . . . . 'Das Ideal von allem, was erscheint' will er geben" (ibid., and n. 1). 69 III, 163. 70 VI, Part I, 346; N o . 186, lines 21-23. 71 Müller, p. 115. 72 Its importance seems involved in the contrast with the later "Vorrede", as the foreword to the "Thalia-Fragment" is, in Beissner's observation, "rein theoretisch formuliert" (III, 491). 73 III, 163 ("Fragment von Hyperion", 181, lines 3-8). 74 Müller, p. 115. It seems to reflect just as clearly Hölderlin's study of the system of Leibniz (probably by way of F. A. Boek's "Sermo de praestantia doctrinae Leibnitianae de corporibus organisatis", Müller, p. 72), and perhaps strongest of all, Schiller's influence, "dessen 'Anmut und Würde' er gleichzeitig mit der Kritik der Urteilskraft studiert, . . . " (ibid., p. 117). Cf. Beissner, III, 491. 75 The promised completeness of the foreword and the identity of the "ThaliaFragment" as fragment stand in a meaningful relation to each other. As Böhm observes: "In einem mit der 'Grabschrift des Lojola' geschmückten orakelhaften Vorwort bezeichnet er die Entwickelung seines Helden als eine geschlossene Einheit, die über den Widerstreit von Natur und Freiheit hinauswächst" (I, 116).

INTRODUCTION

17

des Dichters planvoller Ausführung sicher wäre". 76 The second pronouncement, here original with Hölderlin,77 concerns the formulation on "Die exzentrische Bahn", 78 the orbit man courses from one state of organization to the other, from "der mehr oder weniger reinen Einfalt" to "der mehr oder weniger vollendeten Bildung". 79 Maria Cornelissen, who names the analogy between these points and the sought "Fixpunkte, zwischen denen der dynamische Vorgang sich abspielt", 80 nevertheless calls them 'Polaritäten', 81 and does not recognize the importance of the mathematical metaphor to which Hölderlin is here giving early expression. That, as Böhm writes, in the "Vorrede" " . . . scheint der Dichter seiner Sache als eines in Piatos Sinne dialektischen Prozesses sicher" 82 is significant at this stage less in itself than from the point of view that the poettheorist never permits the thought to rest, but immediately places the dialectic thinking into a larger sphere of relevance by supplementing it with original invention. Gaier relates the "Idealzustände" 83 of the "Vorrede" to the "Humanitätsideal" 84 Rousseau expresses in Emile ou de l'Education. Rousseau speaks of . . . la sagesse humaine ou la route du vrai bonheur . . . c'est à diminuer l'excès des désirs sur les facultés, et à mettre en égalité parfaite la puissance et la volonté.85

"C'est l'imagination qui étend pour nous la mesure des possibles", 86 Rousseau writes, pointing to the driving power that was present in Hölderlin's striving toward that "Auflösung der Dissonanzen" to which the "Vorrede" of the complete novel refers. Elisabeth Stoelzel, who speaks felicitously of "Der Dichter und der Erzieher in Hölderlin — beides ist in ihm innig vereint", 87 also speaks of the union, in the "Thalia-Frag'6 Ibid. 77 Schadewaldt {Hölderlin-Jahrbuch, VI, 4, n. 4) points to Goethe's acquaintance with the 'exzentrische Bahn', which, however, seems to have been negligible. Hölderlin's originality lies in his consistent creative use of the image. 78 III, 163 ("Fragment von Hyperion", 181, line 8). 79 III, 163 ("Fragment von Hyperion", 181, line 10 to 182, line 2). 80 Hölderlins Ode "Chiron" (Tübingen, Hopfer-Verlag, 1958), pp. 12-13. 81 Ibid. 82 Böhm, I, 116. 83 Gaier, p. 31. 84 Ibid., p. 32. 85 J. J. Rousseau, Emile ou de l'Education, ed. Fr. and P. Richard (Paris, Classiques Gamier, 1958) pp. 63-64, as quoted by Gaier, p. 31. 86 Rousseau, Emile, p. 64, as quoted by Gaier, p. 31. 87 Stoelzel, p. 86.

18

INTRODUCTION

ment", of the modality of imagination treated by Rousseau, and also by Hemsterhuis, whose dialogue "Simon" underlies the structure of the novel in that it considers a parameter of characters. "Der Name 'Hyperion' bedeutet ein Programm Der Boden war bereit und wartete der Gestaltung". 88 2. In Search of a Program (1794-1798) When in November, 1794 Hölderlin first arrived in Jena, he entered upon a phase of his development in which the emotional life was to come into inextricable alliance with the life of the teacher and of the poet. Wilhelm Michel speaks of the "Schwere der Aufgabe, die Hölderlin lebenslang gestellt war und die er gelöst hat: immer wieder einzuschwingen in die welttiefe, feiernde Ruhe, . . . ", 89 This may surely be connected with 'die exzentrische Bahn', which means the orbiting form of Hölderlin's own psyche. In an excellent article on the image of the eccentric orbit Wolfgang Schadewaldt has given a more detailed summary of Hölderlin's lifelong pattern of "Umschwüngen der Stimmungen". 90 That such 'Umschwünge' amounted to a principle of inner changes for Hölderlin at a time of attendance at Fichte's lectures and regular visits to Schiller's home, is a fact of which there is ample testimony in the letter to Neuffer of November, 1794: D i e N ä h e der wahrhaft groszen Geister, und auch die N ä h e wahrhaft groszer selbsttätiger mutiger Herzen schlägt mich nieder und erhebt mich wechselsweise, ich m u s mir heraushelfen aus D ä m m e r u n g u. Schlummer, halbentwikelte, halberstorbne Kräfte sanft und mit Gewalt weken und bilden, wenn ich nicht a m Ende zu einer traurigen Resignation meine Zuflucht nehmen soll, Lieber das Grab, als diesen Zustand! 9 1

Hölderlin also writes of these 'groszen Geistern' individually; of Fichte, who is now "die Seele von Jena"; 92 of Schiller;93 then at length of his abortive meeting at Schiller's house with Goethe, whom Hölderlin failed to recognize:94 he expresses his hope "meine dummen Streiche gut zu 88 89 90 91 92 93 94

Ibid. Michel, p. 121. Schadewaldt, Hölderlin-Jahrbuch, VI, 5. VI, Part I, 139; N o . 89, lines 13-19, 25-26. Letter N o . 89, line 40. Letter N o . 89, lines 51-80. Letter N o . 89, lines 63-74.

INTRODUCTION

19

machen, wenn ich nach Weimar komme". 95 The form of the young poet's ambition, partly expressed in this letter, was far more essential than the literal meaning of what Hölderlin actually learned from Fichte's lectures or works. This important fact has not been generally recognized. 96 Müller comments on the essay fragments "Hermokrates an Cephalus" 97 and "Über den Begriff der Straffe"98 and evaluates them as misinterpretations of Fichte on epistemology and moral law, respectively.99 Johannes Hoffmeister reads Fichte's teaching literally into Hyperion, and asserts that the lines "Ach! wär' ich nie in eure Schulen gegangen" "beziehen sich zweifellos auf seine Jenaer Erfahrungen, insbesondere auf sein Leiden unter dem naturfeindlichen Ethizismus Fichtes".100 The approaches of both Müller and Hoffmeister are injurious to the delicate operation of reconstructing the backgrounds of Hölderlin's "ArsPoetica", in that they confound the gestures of an experience with its intents. It is far better to read, as does E. L. Stahl, the implicit doctrine into the poetics of action: Although he was repelled by Fichte's uncompromising egotism a n d his irreverent attitude to nature, he was greatly stimulated by that philosopher's exploration of K a n t ' s "intellektuale Anschauung", and even more so by the view that the ego needs some form of opposition in order to become aware of itself and thus to achieve freedom. 1 0 1

It was thus that Hölderlin could write, in connection with the essay fragments mentioned above, to Immanuel Niethammer in the letter o f 24 February 1796: 95

Letter No. 89, lines 75-76. For essential summaries of Hölderlin's material learning from Fichte see Ryan, pp. 95-96, n. 57, and Beissner in IV, Part I, 418. See also Letter No. 94 (VI, Part I, 155), and Schiller's rather untimely warning: " . . . ; fliehen Sie wo möglich die philosophischen Stoffe, sie sind die undankbarsten, und in fruchtlosem Ringen mit denselben, verzehrt sich oft die beste Kraft; bleiben Sie der Sinnenwelt näher, so werden Sie weniger in Gefahr seyn, die Nüchternheit in der Begeisterung zu verlieren, oder in einen gekünstelten Ausdruck zu verirren" (letter to Hölderlin, 24 November 1796; Hellingrath, VI, 258-259). 97 IV, Part I, 213. 98 IV, Part I, 214-215. Müller thinks this fragment was intended " . . . vielleicht für Niethammers philosophisches Journal" (p. 127), a conjecture with which Beissner agrees (IV, Part I, 401-402). 99 Müller, pp. 127-128. 100 Hölderlin und die Philosophie (Leipzig, Felix Meiner Verlag, 1944), pp. 68-69. The paragraph referred to by Hoffmeister corresponds to Hyperion, I, 11, line 14 to 12, line 2 (III, 9). 101 "Hölderlin's Idea of Poetry", The Era of Goethe: Essays Presented to James Boyd (Oxford, Basil Blackwell, 1959), p. 148. 96

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INTRODUCTION

In den philosophischen Briefen will ich das Prinzip finden, das mir die Trennungen, in denen wir denken und existiren, erklärt, das aber auch vermögend ist, den Widerstreit verschwinden zu machen, den Widerstreit zwischen dem Subject und dem Object, zwischen unserem Selbst und der Welt, ja auch zwischen Vernunft und Offenbarung, — theoretisch, in intellectualer Anschauung, ohne dasz unsere praktische Vernunft zu Hilfe k o m m e n müszte. Wir bedürfen dafür ästhetischen Sinn, und ich werde meine philosophischen Briefe "Neue Briefe über die ästhetische Erziehung des Menschen" nennen. 1 0 2 There is moreover ample evidence that Hölderlin was able to use positively and overcome Fichte's teaching in his literary work of the time, notably in his continuing work on Hyperion. Karl Vietor recognizes that the "Vorrede zur vorletzten Fassung" 1 0 3 is a compendium o f Hölderlin's independent thought at the isthmus between the Jena and the Frankfurt periods, with a culmination at the passage, " . . . die bestimmte Linie vereinigt sich mit der unbestimmten nur in unendlicher Annäherung". 1 0 4 Here according to Vietor is a germ of the final Hyperion, where it is shown h o w the entire canon of the novel's several versions "ein Kind der Liebe ist", 105 and where the Fichte experience is positiv gewendet, wie alles in den guten Jahren der Frankfurter Zeit. . . . Selbst die Erkenntnis, alles Streben könne sich dem idealen Ziele immer nur annähern, es nie erreichen, ist ohne Bitterkeit aufgenommen, wie sie von Fichte gemeint war. 106 In continuation of this spirit Ernst Cassirer considers Hölderlin's relation to German Idealism to have been important for the shaping o f his thought, and emphasizes the "Metrische Fassung" as speaking the lan102 V I P a r t I 203; No. 117, lines 29-38. III, 235-237. Vietor publishes the "Vorrede" directly from the MS, in 1921 in his possession, and entitles it "Entwurf einer Vorrede zum 'Hyperion' " (p. 231 and n. 1). 104 III, 236, lines 31-32. In agreement with Vietor's dating of the fragment "nach dem Thalia-Fragment und vor der Schlussredaktion des I. Bandes . . . " (p. 233; ef. Beissner against Zinkernagel, III, 517-519), Maria Cornelissen writes: "Hölderlin schreibt nun nur noch 'seyn', 'sehr', 'mehr'. Diese Schreibung findet sich ausnahmslos in den Handschriften H 2 (Hyperions Jugend), H 3 (vorletzte Fassung), H 4 (Vorstufe der endgültigen Fassung) und beweist damit, dass Hölderlins Arbeit an diesen Handschriften nach der Abfassung von Brief No. 95, also nach dem 22. Februar 1795 begonnen haben muss" (Orthographische Tabellen zu Handschriften Hölderlins [Veröffentlichungen des Hölderlin-Archivs, No. 2; Stuttgart, Landesbibliothek, 1959], p. iv). This would seem to make Vietor's statement convincing: " . . . der Gedanke von der unendlichen Annäherung an das progressiv sich erhöhende Ideal . . . entstammt unmittelbar Fichtes Lehre" (p. 235 and n. 1). 105 Vietor, p. 236. 108 Ibid. 103

INTRODUCTION

21

guage o f a draft toward an "Ars Poetica", in Cassirer's words, "fast in abstrakter Klarheit": 1 0 7 Der leidensfreie reine Geist befaszt Sich mit dem Stoffe nicht, ist aber auch Sich keines Dings und seiner nicht bewuszt, 108 A n d yet ultimately Hölderlin's program of search cannot be explained merely by his seeking contact with individual thinkers o f his time, b e they like his father image Fichte 1 0 9 or like his friends Schelling and Hegel. Against Müller, w h o represents the tradition that Hölderlin s o m e h o w escaped the discord of the Fichte experience into the harmony of a relationship with Schelling, 1 1 0 Cassirer points out that in all the w o r k s by Schelling with which Hölderlin could have been acquainted by the beginning o f the Frankfurt period "ist der Gedankenkreis Fichtes nirgends prinzipiell überschritten". 1 1 1 Moreover, the resumption o f personal relations with Schelling in Tübingen in the summer o f 1795 is evaluated by Cassirer as only hypothetically significant. 112 A similar situation seems to prevail with Hölderlin's relation to Hegel, with w h o m , in Frankfurt in the beginning months of 1797, 113 he had an opportunity t o test the universality o f poetry as against that o f philosophy. Theodor 107 "Hölderlin und der deutsche Idealismus", Hölderlin: Beiträge zu seinem Verständnis in unserm Jahrhundert, ed. Alfred Kelletat (Schriften der Hölderlin-Gesellschaft, No. 3; Tübingen, J. C. B. Nohr [Paul Siebeck], 1961), p. 89. 108 III, 195, lines 131-133, quoted by Cassirer, p. 89. 109 A brief but incisive discussion, from the pathographer's viewpoint, of the poet's 'libido' "du côté de la figure paternelle" is given in Jean Laplanche, Hölderlin et la question du père (Bibliothèque de Psychanalyse et de Psychologie Clinique; Paris, Presses Universitaires de France, 1961), pp. 33-37. Hölderlin's need of personal contacts must be regarded as temporary, especially since, as Cassirer also points out, the later "Ars Poetica" stance seems no longer an unqualified concern with pure spirit. Poetry and theory are alike informed by the conviction "dass die immanente Rhythmik des Weltgeschehens im Dichter nur ihre Fortsetzung findet" (p. 114). 110 Müller, pp. 146-173. 111 Cassirer, p. 93. The works by Schelling, as Cassirer mentions them, are: Über die Möglichkeit einer Form der Philosophie überhaupt; Vom Ich als Prinzip der Philosophie; Philosophische Briefe über Dogmatismus und Kritizismus; Neue Deduktion des Naturrechts (ibid.). 112 Ibid., p. 95. Cassirer's judgment focuses on the possibility of Schelling's profiting from the contact with Hölderlin, especially from the latter's view "dass 'alle Religion ihrem Wesen nach poetisch' sei" (ibid.). Müller concentrates on Hölderlin's having learned from Schelling's reinterpretation of the Fichtean metaphysics, and thus considers the revival of the friendship between the poet and the philospher to have been a productive one (pp. 146-152). 113 Michel, pp. 199-200.

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INTRODUCTION

Haering 1 1 4 points to the futility of a literal interpretation of this relationship as an attempted crossing o f fields. Hegel's failure as poet was rooted in the condition of philosophy, which is not that of poetry when the question of the two fields concern the involvement of the active Self. Hegel recognized this limitation; 1 1 5 but Haering speaks of a "Polyvalenz des Hölderlinschen Strebens" 1 1 6 and the poet's reluctance to acknowledge the same limitation for his o w n work. 1 1 7 In contrast to the time at Jena, which was largely occupied with the doing of philosophy, the Frankfurt period, one o f the best balanced o f Hölderlin's life emotionally, 1 1 8 was devoted mainly to creative writing. 114

"Hölderlin und Hegel in Frankfurt: Ein Beitrag zur Beziehung von Dichtung und Philosphie", Hölderlin: Gedenkschrift zu seinem 100. Todestag, 7. Juni 1943, ed. Paul Kluckhohn (Tübingen, Verlag von J. C. B. Mohr [Paul Siebeck], 1943), pp. 174-202. 115 This, Haering suggests, Hegel did openly "wenn er die Kunst überhaupt — wie auch die Philosophie — als Ausdruck'des Absoluten', . . . in seine 'Phänomenologie des Geistes' einreihte. Nur in verschiedenen 'Elementen' — die Philosophie in dem des 'Begriffs', die Kunst in dem der 'Anschauung' in einem besonderen symbolischen Sinne — schafft sich dies Absolute nach ihm in beiden Ausdruck" (pp. 182-183). 116 Ibid., p. 174. Haering treats of the problematic of "einer Vereinigung von Dichter und Philosoph in Einer Person, wie sie gerade für Hölderlin brennend ist" (p. 187), and illumines, if briefly, the significance of "das Verhältnis von . . . Dichtung und Philosophie [Hölderlin's view], die er zudem mit Hegel und dem ganzen deutschen Idealismus teilte; . . . " (p. 188). 117 Of more conclusive significance for the chapter of Hölderlin's intellectual development treated above, in whose course there slowly developed that "poetisch-mythischreligiöses Ideal, in dem die Philosophie äusserlich ganz zurücktrat" (Haering, p. 193), is a folio leaf acquired in 1913 by the Königliche Bibliothek in Berlin (now lost; see Beissner in IV, Part II, 801) written on both sides in Hegel's hand and entitled "Das älteste Systemprogramm des deutschen Idealismus" (text in IV, Part I, 297-299). The two-page fragment would seem representative of a turn in mental events if, as Cassirer suggests, it is hardly possible that "hier Schelling ausschliesslich der Gebende, Hölderlin der Empfangende gewesen sei" (p. 98). Beissner summarizes the most widely accepted view on the provenance of the 'Systemprogram' when in his "Erläuterungen" he writes: "Den in Hegels Handschrift überlieferten Text, . . . hat Schelling formuliert, in hohem Masse, zumal in der Konzeption der Schönheitsidee, von Hölderlin angeregt" (IV, Part 1,425). Hölderlin has become the teacher at least in the one paragraph beginning "Zuletzt die Idee, die alle vereinigt, die Idee der Schönheit, . . . " (IV, Part I, 298, lines 12-24). If Franz Rosenzweig's dating of the fragment between April and August, 1796 is correct ("Das älteste Systemprogramm des deutschen Idealismus", Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Jg. 1917, 5. Abh., p. 5), then Armand Nivelle may have a convincing point in his simultaneous emphasis on Hölderlin's contribution and on the fragment's programmatic appeal to the generation for which it seems to have been written: "Es gibt wohl keinen besseren Beweis für die allgemeine Verbreitung der neuen Geisteshaltung, welche die Vorherrschaft des Schönen auf allen Ebenen verficht" (Kunst- und Dichtungstheorien zwischen Aufklärung und Klassik [Berlin, Walter de Gruyter & Co., 1960], pp. 234-235). 118 Hölderlin's personal life and associations of the Frankfurt period (January, 1796 to September, 1798) are depicted in a masterful way by Michel, pp. 170-295, especially in the section entitled "Glückliche Monate" (ibid., pp. 227-232).

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23

Besides the completion o f the first volume o f Hyperion, this is the time of the encounter with Horace, 1 1 9 of the first mature odes and elegies, and of the first plan for Empedokles.120 It is a time when the poet finds his self-assured expression in his art, and can bring to a focus in himself the until then conflicting forces of anxiety and pride, the personae of pupil and master. The stance is best defined by one of the central letters of the period. It is the letter to Schiller of 20 June 1797, written a season after the appearance of the first volume of Hyperion: Mein Brief und, was er enthält, käme nicht so spät, wenn ich gewisser wäre, von dem Empfang, dessen Sie mich würdigen werden. Ich habe Muth und eignes Urtheil genug, um mich von andern Kunstrichtern und Meistern unabhängig zu machen, und insofern mit der so nötigen R u h e meinen Gang zu gehen, aber von Ihnen dependir' ich unüberwindlich; und weil ich fühle, wie viel ein Wort von Ihnen über mich entscheidet, such' ich manchmal, Sie zu vergessen, um während einer Arbeit nicht ängstig zu werden. Denn ich bin gewisz, dasz gerade diese Ängstigkeit und Befangenheit der Tod der Kunst ist, und begreife deszwegen sehr gut, warum es schwerer ist, die Natur zur rechten Äuszerung zu bringen, in einer Periode, wo schon Meisterwerke nah um einen liegen, als in einer andern, wo der Künstler fast allein ist mit der lebendigen Welt. 121 H e then points to the absence of "das alte Gleichgewicht, worinn der erste Künstler sich mit seiner Welt befand", 1 2 2 and the fact that in the modern world the child's energies are pitted against those of men. 1 2 3 H e wishes most to avoid "den W e g der Mathematiker" in the metaphorical sense of equating, in defense, the infinite with the infinitesimal — established work with one's own weaker attempts — for it is "dann

119 On the practical value of Hölderlin's acquaintance with Horace for the development of the former's larger odic forms see Vietor, p. 110. Beissner thinks it remarkable that neither of the two odes by Horace that Hölderlin translated in the first half of the year 1798 is in either of the two metres employed by Hölderlin for his own odes, the Alcaic and the Third Asclepiadean (V, 324 to 326, 542-545). On the present turn in Hölderlin's individual development as poet see the perceptive study by Momme Mommsen, "Hölderlins Lösung von Schiller: Zu Hölderlins Gedichten 'An Herkules' und 'Die Eichbäume' und den Übersetzungen aus Ovid, Vergil und Euripides", Jahrbuch der Deutschen Schiller-Gesellschaft, IX (1965), 203-244; also the unpublished Ph. D. dissertation by Jerry Hosmer Glenn, "Hölderlin's Translations from the Latin" (University of Texas, Austin, 1964). 120 This Beissner entitles "Frankfurter Plan" (IV, Part I, 145-148, 369-370). 121 VI, Part I, 241; No. 139, lines 1-14. 122 Letter No. 139, lines 21-22. 123 " . . . der Knabe hat es mit Männern zu thun, mit denen er schwerlich so vertraut wird, dasz er ihr Übergewicht vergiszt" (Letter No. 139, lines 22-23).

24

INTRODUCTION

doch ein gar zu schlechter Trost: 0 = 0!"124 The next paragraph of the letter begins: "Ich nehme mir die Freiheit, Ihnen den ersten Band meines Hyperions beizulegen."125 The whole letter, in its self-contained form, models the swaying form of the poet's sensibility, a fine balance between doubt and triumph, the threat of defeat and the need for self-assertion. It amounts almost to a fresh personal aesthetic; in it is the retreating of the hermit126 as well as the public performance of the artist. The gesture of the presentation 124 Letter No. 139, line 30. The expression "0", and the equation "0 = 0" as a formula for the 'schlechter Trost' is a negative statement to whose positive counterpart the poet commits himself by implication. The 'guter Trost', expressible by the significant tautology "oo = oo", is what really seems to be kept in evidence throughout the letter. Hölderlin is here proposing not merely the avoidance of the 'Infinitesimalrechnung' of the 'schwache Herrn' (see also Schadewaldt, Hölderlin-Jahrbuch, VI, 4, n.3); he is positing a program of building up theory and practice toward the other limit. Cf. the later injunction in the essay "Über die Verfahrungsweise des poetischen Geistes": " . . . dasz der poetische Geist bei seiner Einigkeit, und harmonischem Progresz auch einen unendlichen Gesichtspunkt sich gebe, . . . und es ist seine lezte Aufgabe, beim harmonischen Wechsel einen Faden, eine Erinnerung zu haben, . . . " (IV, Part I, 251, lines 7-8, 13-15; cf. below, pages 31-32 and notes 186, 187). The comparison becomes more meaningful when, in connection with the formulas 'schlechter Trost' and 'guter Trost', it is considered that in the literary language of the eighteenth century 'schlecht' meant "einfach, gerade, glatt, ungemustert", and 'gut', in the cosmicmetaphysical imagination of the young poets, figured among the synonyms for 'unendlich' (Friedrich Maurer and Fritz Stroh, Deutsche Wortgeschichte [Grundriss der germanischen Philologie, No. 17; 2d ed. revised; Berlin, Walter de Gruyter & Co., 1958-1959], II, 227, 241). A monograph-length attempt to apply the lexical problem to some of Hölderlin's mature poetry has been made by Rolf Zuberbühler, Hölderlins Erneuerung der Sprache aus ihren etymologischen Ursprüngen (Philologische Studien und Quellen, No. 46; Berlin, Erich Schmidt Verlag, 1969), none too successfully, as the author must make use of a deductive (p. 9), rather than empirical and inductive method of argumentation, in order for it to enable him to reach his goal — if he does reach it — in the space of scarcely more than 100 pages. One has the persistent feeling that the author consults the dictionaries first (Adelung, Kluge, Langen), and constructs his interpretations of the poetry in conformity with the etymologies found. For further remarks on this 'Procrustes-bed' method in criticism see Chapter II, and notes 9-10. 125 Letter No. 139, lines 31-32. 126 This is not a surprising component of such a pivotal letter in the vicinity of the poet's central work of the time entitled, significantly, Hyperion oder der Eremit in Griechenland. The acts of self-definition in novel and letter must be regarded as having the most intimate kinship. Cf. Mülier's observation in his chapter "Hyperion als Existenz": "Vorherrschend ist das Sprechen und Fühlen im eigenen Namen, . . . . Insofern dieser Hyperion kein Dichter ist, sondern . . . ein Einsiedler und im ganzen und stets ein Enttäuschter, bricht er die seelischen Möglichkeiten Hölderlins in weit stärkerem Masse als die bisherige lyrische Dichtung" (pp. 174-175). That Hölderlin himself felt isolated in his work on intent we know from lines 3-14 of Letter No. 139; see also Raabe, who points to the central position of Letter No. 139 in the environment of Hölderlin's correspondence at the time: "Noch in Brief Nr. 137 hatte Hölderlin der Schwester seine Zufriedenheit, sein Gleichgewicht gerühmt (Z. 23f.). Ein paar

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25

of the freshly published first novel127 contrasts strangely with Hölderlin's awareness of being at a place, after all, "wo gewaltiger und verständlicher, als die Natur, . . . der reife Genius der Meister... wirkt".128 These sharp constrasts might best be named parts of a primitive 'Dreitakt' of gesture. Its three polar metaphors are those of: (1) the Self (the poet), (2) the Non-Self (mathematics), (3) empirical reality involved in both Self and Non-Self (the poet confronting his means of expression). From this first trinomial movement there arises a second 'Dreitakt', characteristically the Fichtean one. The differentiating Self, until now semidormant ('Das absolute Ich' as 'Das Persönlich-Absolute Ich'), shaken by literary debut into full consciousness and discourse, undergoes cleavage. It divides into the simultaneous acts of self-definition by way of the mathematical metaphor ('Das Nicht-Ich' as 'Das Absolut-Nicht-Ich') and of selfdemonstration by way of the metaaesthetic discourse ('Das Persönliche Ich' as 'Das Nicht-Persönliche Ich').129 The definitive — written —

Monate danach aber heisst es dann: 'Ich bin zerrissen von Liebe und Hasz' (140 Z. 23f.)" (p. 159). On the personal-ethical aspects of poetic aesthetic within the novel, see especially the sensitive analysis by Lawrence Ryan, Hölderlins "Hyperion": Exzentrische Bahn und Dichterberuf (Germanistische Abhandlungen, No. 7; Stuttgart, J. B. Metzlersche Verlagsbuchhandlung, 1965), chaps iv, vii (pp. 104-156, 229-236). A telling correlative in the poetry to Hölderlin's new-found aesthetic of independence from the 'beängstigend' influence of senior artists like Schiller (c/. the first-quoted passage from Letter No. 139) may be found in the concluding two lines of the epigrammatic ode "An die jungen Dichter": "Wenn der Meister euch ängstigt, / Fragt die grosze Natur um Rath" (I, Part I, 255). 127 Later in Letter No. 139 Hölderlin writes, with reference to the relation between the "Thalia-Fragment" ("so dürr und ärmlich . . . , dasz ich nicht daran denken mag", Letter No. 139, lines 34-35) and the definitive novel: "Ich hab' es mit freierer Überlegung und glüklicherem Gemüthe von neuem angefangen und bitte Sie um die Güte, es bei Gelegenheit durchzulesen, und mich durch irgend ein Vehikel Ihr Urtheil wissen zu lassen" (lines 35-38). Unfortunately we do not know how Schiller responded to Hyperion. See especially the comment by Pigenot and Seebass on a section of Goethe's and Schiller's correspondence concerning two of Hölderlin's poems, "Der Wanderer" and "An den Aether", which Schiller sent over from Jena for Goethe's inspection on 27 June 1797: "Damit verschwindet der Name unseres Dichters aus dem Briefwechsel Goethes mit Schiller. Wir müssen es beklagen, dass beide das Reifen Hölderlins nicht verfolgten, dass wir nicht einmal eine Äusserung über den Hyperion von ihnen besitzen" (Hellingrath, VI, 262). 128 Letter No. 139, lines 17-20. 129 The first modifier-subject sequence in each of the three sets of parentheses above represents Fichte's construction as laid down in Grundlage der gesammten Wissenschaftslehre (Johann Gottlieb Fichte's sämmtliche Werke, ed. J. H. Fichte [Berlin, Verlag von Veit und Comp., 1845], "Ich", I, 93; "Nicht-Ich", I, 104; " . . . das Ich als absolute Totalität . . . der Realität", 1,137). The second expression in the sets of parentheses, following the conjunction "as", is my trinomial modification of Fichte's modifier-subject construct, in which the adverb-adjective sequence preceding the "Ich"

26

INTRODUCTION

aesthetics is to follow soon after. That the experience of this letter to Schiller amounts to no less than an attempt at an implied "Ars Poetica" capable of being ordered in Fichtean terminology, is perhaps a reliable indication that it was a larger form of experience inclusive of the present form that was to come to be crystallized in the language of the Homburg Essays.130 3. The Written System (.1798-1800) Three focal essays of the first Homburg period will be concentrated on here: (1) "Über die Verfahrungsweise des poetischen Geistes",131 (2) "Über den Unterschied der Dichtarten",132 and (3) "Das Werden im Vergehen".133 They systematize into doctrine the central issues and terminology of that end principle of poetics which in all the essays engaged Hölderlin's energies to the highest degree, the creative process.134 reflects by analogy Hölderlin's "Grundton-Kunstkarakter" principle (worked out in detail in the Homburg essay "Über den Unterschied der Dichtarten", IV, Part I, 266-272). The three constructs, in a series, are meant to schematize movement of the Self in a cycle of realization. 130 Similar language may be attested in Hölderlin's correspondence of the Homburg period, suggesting direct affinity with the major essays. In the letter of 24 December 1798 Hölderlin writes to Sinclair: "Resultat des Subjectiven und Objectiven des Einzelnen und Ganzen, ist jedes Erzeugnisz und Product, und eben weil im Product der Antheil, den das Einzelne am Producte hat, niemals völlig unterschieden werden kann, vom Antheil, den das Ganze daran hat, so ist auch daraus klar, wie innig jedes Einzelne mit dem Ganzen zusammenhängt und wie sie beede nur Ein lebendiges Ganze ausmachen, das zwar durch und durch individualisirt ist und aus lauter selbstständigen, aber eben so innig und ewig verbundenen Theilen besteht" (VI, Part I, 301; No. 171, lines 62-70; see also Beck in VI, Part II, 908, and Böhm, II, 37^*0). This seems true although Hölderlin is here reading Diogenes Laertius (line 41). 131 IV, Part I, 241-265. 132 IV, Part I, 266-272. 133 I V > P a r t j 282-287. 131 In this sense Beissner seems completely right in pointing to Hölderlin's independence of Schiller, and to the former poet's insistence that the beholder judge the work of art not impressionistically but "nach ihrem gesezlichen Kalkül und sonstiger Verfahrungsart, wodurch das Schöne hervorgebracht wird" ("Anmerkungen zum Oedipus", as quoted by Beissner, IV, Part I, 381). This is consistent with the view, taken in the present study, that Hölderlin's systematic poetics amounts to an "Ars Poetica" of communication (see above, p. 11). In the summary analyses of the three major Homburg Essays below, no attempt has been made to relate the observations here recorded to those made by previous commentators. Since terminologies of critics differ and disagreements tend often to be of a merely verbal kind, a detailed critical account would, it is believed, have seriously hampered my present aim with the Essays. This was to give a clear and free account (as possible under conditions of a new reading) of Hölderlin's written "Ars Poetica", and thus to provide the analysis of the implied poetics in Chapter VII with a documentary back-

INTRODUCTION

27

"Über die Verfahrungsweise des poetischen Geistes" is an essay primarily about the poet's consciousness of the demands of his craft and of the life he must lead as the condition of this consciousness. This Hölderlin calls "das freie idealische poetische Leben". 135 The essay is divided into three main portions, (1) the opening sentence, 136 (2) the body of the argumeni, 1 3 7 (3) a section entitled "Wink für die Darstellung und Sprache". 138 The introductory and at the same time logically ground-laying portion, a sentence two-and-one-half pages long, is of the form of an extended syllogism, "If a and b and . . . and k, then q." The following excerpt may be said to constitute its frame: Wenn der Dichter einmal des Geistes mächtig ist, . . . wenn er des schönen im Ideale des Geistes vorgezeichneten Progresses und seiner poetischen Folgerungsweise gewisz ist, . . . so komt ihm alles an auf die Receptivität des Stoffs zum idealischen Gehalt und zur idealischen Form. 1 3 9 Between the first word of the sentence and the "so "-clause at the end, in the course of twelve consecutive "wenn "-clauses, Hölderlin comes to grips with what he understands as the most important preliminaries to the writing of a poem. These are not so much rules in the traditional "Ars Poetica" sense as indispensable pointers on aesthetic reflection, deep-seated in the methodology, in fact entire humanitas,uo of the practicground. Besides the critical literature on the Homburg Essays listed by Beissner (IV, Part I, 380-381), see also Böhm, II, 165-219; Gaier, pp. 64-115,140-161,120-128 (taking the three essays in chronological order); and Beissner's "Erläuterungen", IV, Part I, 410-419; further, Rudolph Berlinger, "Hölderlins philosophische Denkart", Euphorion, LXII (1968), 1-12; Bernd, MLR, LX, 400-404; Michael Konrad, Hölderlins Philosophie im Grundriss: Analytisch-kritischer Kommentar zu Hölderlins Aufsatifragment " Über die Verfahrungsweise des poetischen Geistes" (Abhandlungen zur Philosophie, Psychologie und Pädagogik, No. 37; Bonn, H. Bouvier u. Co. Verlag, 1967); Jürgen Simon, "Der Wechsel der Töne im Drama: Beobachtungen zu Hölderlins Trauerspiel 'Der Tod des Empedokles' (III)" (Doctoral dissertation, Deutsches Seminar, Universität Tübingen, 1967); Peter Szondi, "Gattungspoetik und Geschichtsphilosophie: Mit einem Exkurs über Schiller, Schlegel und Hölderlin", HölderlinStudien: Mit einem Traktat über philologische Erkenntnis (Frankfurt am Main, Insel Verlag, 1967), pp. 105-146; Klaus-Rüdiger Wöhrmann, Hölderlins Wille zur Tragödie (München, Wilhelm Fink Verlag, 1967). 135 IV, Part I, 247, line 15. 136 IV, Part I, 241, line 3 to 243, line 18. 137 IV, Part I, 243, line 21 to 260, line 20. las J 260, line 22 to 265, line 12. 139 I V P a r t J 241, line 3; 241, lines 8-10; 243, lines 16-18. 140 Intimately allied with this view seems Böhm's insight as, in his section entitled •"Humanität als Verfahrungsweise des poetischen Geistes" (II, 181-197), he writes that in the present essay "handelt es sich um die Grundforderung, die Dichtkunst, I V ;

P a r t

28

INTRODUCTION

ing poet. He knows of 'der freien Bewegung, des harmonischen Wechsels und Fortstrebens'141 in which the mind re-creates itself,142 and of the 'nothwendinger Widerstreit'143 in the mind on its way to the 'Ausführung".144 In the work 'jener geistige Gehalt',145 the interrelation of parts, is felt146 in contrasts, while the parts maintain their equilibrium. The struggle between "geistigem Gehalt (zwischen der Verwandschaft aller Theile) und geistiger Form (dem Wechsel aller Theile)"147 on the one hand, and "zwischen dem materiellen Wechsel, und der materiellen Identität"148 on the other, is resolved by systematic replacement. For the former struggle, the 'Form des Stoffes'149 makes up in identity for what was lost of the original kinship and unity of parts "im harmonischen Wechsel";150 for the latter, both the loss of 'materieller Identität' and that of 'materieller Mannigfaltigkeit' are repaired.151 Finally, it is in the 'Ruhepuncten und Hauptmomenten'152 of the poem that the two struggles are kept distinct and experienced as such.153

deren Möglichkeiten als Anlagen im Menschen die Möglichkeiten des Kosmos nur spiegeln, so zu selbständiger Wirklichkeit zu erheben, dass der Dichter aus der blossen ästhetischen Spielerei, gegen die Hölderlin so oft auftritt, herausfindet, um zu höherem Leben zu gelangen, — kurz, um die Dichtung als Dokument der Kultur, . . . " (ibid., p. 182). Cf. the opinion of Else Buddeberg, who also recognizes that Hölderlin's central concern is with the problematic of material in poetry: "Er [Hölderlin] weist der Poesie einen überragenden Ort innerhalb des geistig-kulturellen Besitzstandes der Menschheit an" ("Hölderlins Begriff der 'Receptivität des Stoffs' ", GermanischRomanische Monatsschrift, N.F. XII [1962], 182). 141 IV, Part I, 241, lines 6-7. 142 IV, Part I, 241, lines 7-8. 143 IV, Part I, 241, line 10. 144 IV, Part I, 241, lines 15-16. 146 IV, Part I, 241, line 18. 14« j v ! p a r t I, 241, line 18; the poet must realize " . . . dasz . . . jener geistige Gehalt gar nicht fühlbar wäre, wenn diese ["Theile"] nicht dem sinnlichen Gehalte, dem Grade nach, . . . verschieden wären, . . . " (IV, Part I, 241, lines 17-22). 147 IV, Part I, 241, lines 27-29. 148 IV, Part I, 242, lines 14-15. 14fl IV, Part I, 242, line 1. iso I V ; P a r t j 241, line 30 to 242, line 4. 151 The first "durch den immerforttönenden allesausgleichenden geistigen Gehalt" (IV, Part I, 243, lines 1-2); the second "durch die immerwechselnde idealische geistige Form" (IV, Part I, 243, lines 4-5). 152 The final step in the attainment to a genuine beginning of his "Verfahrungsweise" is the poet's insight into "wie der Widerstreit des geistigen Gehalts und der idealischen Form einerseits, und des materiellen Wechsels und identischen Fortstrebens andererseits sich vereinigen in den Ruhepuncten und Hauptmomenten, . . . " (IV Part I, 243, lines 11-14). 153 " . . . , und so viel sie in diesen nicht vereinbar sind, eben in diesen auch und ebendeszwegen fühlbar und gefühlt werden, . . . " (IV, Part I, 243, lines 14-16).

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The main portion of the essay begins with a treatment of 'Stoff'. Hölderlin defines it as follows: Der Stoff ist entweder eine Reihe von Begebenheiten, oder Anschauungen Wirklichkeiten subjectiv oder objectiv zu beschreiben, zu mahlen oder er ist eine Reihe von Bestrebungen Vorstellungen Gedanken, oder Leidenschaften Nothwendigkeiten subjectiv oder objectiv zu bezeichnen oder eine Reihe von Phantasien Möglichkeiten subjectiv oder objectiv zu bilden. 154

In all three cases it must be capable of ideal treatment ('der idealischen Behandlung')155 "wenn nemlich ein ächter Grund zu den Begebenheiten, . . .vorhanden ist, . . . ",156 This groundwork of the poem, its meaning,157 is what gives the work its seriousness and sense of truth, and what guarantees that the 'Geist' of the poem will not become empty mannerism, "und Darstellung nicht zur Eitelkeit... ",158 "Sie ist das geistigsinnliche, das formalmaterielle, des Gedichts;.. ,". 159 This latter concept comes to occupy a central position in the essay, as it is related to the processes of 'das harmonisch entgegengesezte'160 and of 'dieses hyperbolische Verfahren'.161 In the course of the ideal treatment the meaning of the poem must unite the most disparate extremes. Whether the 'Metapher' of the treatment seems 'mehr vereinigend' or its 'Individualitäten, mehr trennend',162 the meaning must stand between the two forces. It must not stand aside while "der Geist alles der Form nach entgegengesezte vergleicht, . . . alles besondere verallgemeinert,..." ; 163 the meaning must 154

IV, Part I, 243, lines 24-28; 244, line 1. 155 I V ; Part I, 244, lines 1-2. 156 I V > P a r t I ( 244, lines 2-6. 157 IV, Part I, line 9. "Dieser Grund des Gedichts, seine Bedeutung, soll den Übergang bilden zwischen dem Ausdruk, dem Dargestellten, dem sinnlichen Stoffe, dem eigentlich Ausgesprochenen im Gedichte, und zwischen dem Geiste, der idealischen Behandlung" (IV, Part I, 244, lines 8-12). Hölderlin makes it clear why he feels 'Bedeutung' should play such a crucial role, when he discusses 'Stoff' by the new term 'Wirkungskreis': "Er ist das, worinn und woran das jedesmalige poetische Geschafft und Verfahren sich realisirt, das Vehikel des Geistes, wodurch er sich in sich selbst und in andern reproducirt" (IV, Part I, 244, lines 24-27). Thus the lack of guidance for the vehicle has its dangers: " . . . , und der Dichter wird nur zu leicht durch seinen Stoff irre geführt, indem dieser aus dem Zusammenhange der lebendigen Welt genommen der poetischen Beschränkung widerstrebt, . . . " (IV, Part I, 245, lines 4-7). The concept of 'poetische Beschränkung' seems, then, to be synonymous with that of 'idealische Behandlung'. 158 IV, Part I, 245, lines 23-28. 159 IV, Part I, 245, lines 28-29. 160 IV, Part I, 246, line 21. lei l v > P a r t j 246, line 20. 162 I v > P a r t j 245, lines 29-32. 163 I V > P a r t I ; 246, lines 1-3.

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INTRODUCTION

manifest itself in uniting the elements of the p o e m "durch Entgegensezung, durch das Berühren der E x t r e m e . . . " . 1 6 4 In this sense its work must be "durchaus hyperbolisch.. .", 1 6 5 The relating of the parts o f a p o e m must, then, proceed "nicht dem Gehalte nach, aber in der Richtung. . , " , 1 6 6 not semantically and interpretatively but structurally and descriptively. 167 A s Hölderlin comes to speak of the 'Verfahrungsweise' macrocosmically as 'das freie idealische poetische Leben', 1 6 8 he states that, as it comes to be fixed in the form of 'das innere idealische Leben in verschiedenen Stimmungen aufgefaszt', 1 6 9 even so there is one more important point lacking in its perspective in order for that perspective to b e c o m e one o f movement, 'entgegengesezt' 1 7 0 in its intention and character. This he names a 'Wechsel der Formen'. 1 7 1 This poetic life in its new dynamic o f alternation sets in "mit einer idealisch karakteristischen Stimmung . . . ", 1 7 2 und schreitet fort im Wechsel der Stimmungen, wo jedesmal die nachfolgende durch die vorhergehende bestimmt, und ihr dem Gehalt nach, . . . verbunden 173 sind [M'C], 164

IV, Part I, 246, lines 8-9. IV, Part I, 246, line 12. It might be argued that "sie" (IV, Part I, 246, line 11) still refers to 'Bedeutung' (IV, Part I, 245, lines 32-33), and that it is the latter, rather than the entire work, that must be 'hyperbolisch'. But this seems to contradict Hölderlin's directive that the extremes of the poietic experience touch "nicht dem Gehalte nach, aber in der Richtung" (see below, note 167). Here follows the passage which Beissner cites as being the theoretical basis of the marginal note to "Der Rhein" (IV, Part I, 246, lines 13-19; see below, Chapter III, Section B, and notes 26-28). 168 IV, Part I, 246, line 10. 167 Here I would like to see the basis for my argument that Hölderlin's "Ars Poetica" is concerned primarily with formal and descriptive matters (which is precisely a concern with 'StofF' in point of its 'Receptivität'; see above, note 140), and that a rigorous and part-rigorous descriptive method is best suited to its exploration (below, Chapter II). The poet's concern with 'der subjective Grund des Gedichts' (IV, Part I, 246, line 29) would seem to support this argument, in that the former is judged "in der Form des Widerstreits und Strebens" (IV, Part I, 246, lines 17-18). "Eben dadurch, durch dieses hyperbolische Verfahren, . . . giebt der Dichter dem Idealischen einen Anfang, eine Richtung, eine Bedeutung" (IV, Part I, 246, line 20; lines 27-28). 168 IV, Part I, 247, line 15. 169 I v > P a r t I ; 246, lines 30-31. 1,0 IV, Part I, 247, line 27. 171 IV, Part I, 247, lines 26-27. Ambiguity in the material content of the poetic life points to a need for 'Wechsel': "Als reines poetisches Leben betrachtet, bleibt nemlich seinem Gehalte nach, . . . das poetische Leben sich durchaus einig, und nur im Wechsel der Formen ist es entgegengesezt, nur in der Art, nicht im Grunde seines Fortstrebens, es ist nur geschwungner oder zielender oder geworfner, nur zufällig mehr oder weniger unterbrochen; . . . " (IV, Part I, 247, lines 23-24; lines 26-29). 1,2 IV, Part I, 247, line 32. 173 IV, Part I, 248, lines 1-3; line 7. 165

INTRODUCTION

31

The mind, furthermore, must be, in point of its 'Organ', 174 'receptiv',175 and must thus be capable of being felt in its infinity.176 And it must be at the most material of oppositions, at the most resisting and striving acts of the mind, when these acts "nur aus dem wechselseitigen Karakter der harmonischentgegengesezten Stimmungen entstehen", 177 that the most infinite ('das Unendlichste') presents itself as the most sensible, "am negativpositivsten und hyperbolisch . . . ". 178 The point is a clarity of thought in which the 'simultane Innigkeit' 179 is realized as distinct from the feeling that underlies it, and "zugleich klarer von dem freien Bewusztseyn und gebildeter, allgemeiner, als eigene Welt der Form nach, . . . dargestellt wird". 180 Next comes what may be designated the core concept of the 'Verfahrungsweise', its point of control. The poet, having assured himself of materials, methods, and process, must assure himself of the product as well, meaning its formula. Given that nothing is wanting 'seinem Geschaffte' 181 with respect either to harmonic unity, or to meaning, or to energy,182 that there is defect "weder an harmonischem Geiste überhaupt, noch an harmonischem Wechsel . . . ", 183 then, if the work ('das Einige')184 is not to become an undifferentiated mass or if it is not to lose its identity in an unending alternation of contrasts,185 it is absolutely imperative that the poet's mind gain a sensible and felt 186 coherence and identity in the very course of that alternation: . . . und es ist seine lezte Aufgabe, beim harmonischen Wechsel einen F a d e n , eine Erinnerung zu haben, damit der Geist nie im einzelnen M o m e n t e , und 174

IV, Part I, 249, line 11. IV, Part I, 249, line 13. 176 Such that the mind "im Puñete der Entgegensezung und Vereinigung vorhanden ist, und dasz in diesem Puñete der Geist in seiner Unendlichkeit fühlbar ist, . . . " (IV, Part I, 249, line 33 to 250, line 1). 177 I V , Part I, 250, lines 15-17. 178 IV, Part I, 250, line 18. 179 IV, Part I, 250, line 21. 180 IV, Part I, 250, lines 23-26. 181 IV, Part I, 250, line 31. 182 IV, Part I, 250, lines 31-32. 183 IV, Part I, 250, lines 32-33. 184 IV, Part I, 250, line 34. 185 Thus having to consider 'ein Ununterscheidbares' (IV, Part I, 251, line 1) to the extent that it can be seen as standing "an sich selbst" (IV, Part I, 250, line 34 to 251, line 1); see also IV, Part I, 251, lines 2-6. 186 " . . . , — ich sage: so ist nothwendig, dasz der poetische Geist bei seiner Einigkeit, und harmonischem Progresz auch einen unendlichen Gesichtspunkt sich gebe, . . . auch gefühlten und fühlbaren Zusammenhang und Identität im Wechsel der Gegensäze gewinne, . . . " (IV, Part I, 251, lines 6 - 8 ; lines 12-13). 176

32

INTRODUCTION

wieder einem einzelnen Momente, sondern in einem Momente wie im andern fortdauernd, und in den verschiedenen Stimmungen sich gegenwärtig bleibe, so wie er sich ganz gegenwärtig ist, in der unendlichen Einheit, welche einmal Scheidepunct des Einigen als Einigen, dann aber auch Vereinigungspunct des Einigen als Entgegengesezten, endlich auch beedes zugleich ist, so dasz in ihr das Harmonischentgegengesezte weder als Einiges entgegengesetzt, noch als Entgegengeseztes vereinigt, sondern als beedes in Einem als einig entgegengeseztes unzertrennlich gefühlt, und als gefühltes erfunden wird.187 The passage quoted above rounds off in essence the middle portion of the essay; what follows can be summarized in few words. 'Reflexion' 188 is the instrument with which the poet can grasp the sense of his own individuality : " . . . es ist die Hyperbel aller Hyperbeln . . . des poetischen Geistes, . . . das poetische Ich aufzufassen, . . . ", 189 This the poet cannot do of and through himself alone, 'innerhalb der subjectiven Natur', 190 for that would be 'eine Täuschung und Willkür'. 191 He can apprehend his own reality only if he follows the one rule: Seze dich mit freier Wahl in harmonische Entgegensezung mit einer äuszeren Sphäre, so wie du in dir selber in harmonischer Entgegensezung bist, von Natur, aber unerkennbarer weise so lange du in dir selbst bleibst.192 Self-recognition is possible only in a variety of feeling, "in schöner heiliger, göttlicher Empfindung . . . ",193 This 'Empfindung' has beauty and partakes of the divine by virtue of its ideal balance. The remainder 187

IV, Part I, 251, lines 13-25. If this injunction may be summarized by the proposition ('lezte Aufgabe' n 'eine Erinnerung'), then it must also be said that Hölderlin is here giving his final commitment in favor of organization as against aleatory composition; final, that is, within the written theory and to 1800. Since in the hidden "Ars Poetica" aleatory composition seems clearly favored (see Chapter VII, Sections B and C), this must be regarded a key point of dissent of the hidden "Ars Poetica" from the written. 188 IV, Part I, 252, line 9. 189 IV, Part 1,252, line 13; lines 15-16. Cf. "Ars Poetica by Principles", Paragraph 1: "The poet observes . . . the levels of intensity in his own need for a communicative poiesis" (Chapter VII, Section A). 190 IV, Part I, 252, line 32. im xv, Part I, 253, line 29. See also the long note, IV, Part I, 253, lines 23-30; 254, lines 6-38. 192 iv, Part I, 255, line 34 to 256, line 3; that is, "das Problem frei zu seyn, wie ein Jüngling, und in der Welt zu leben wie ein Kind, der Unabhängigkeit eines kultivirten Menschen, und der Accomodation eines gewöhnlichen Menschen löst sich auf in Befolgung der Regel" (IV, Part I, 255, lines 29-33). 193 iv, Part I, 259, line 6; which is as little possible "in einem zu subjectiven Zustande, wie in einem zu objectiven . . . , welche darin besteht, dasz er sich als Einheit in Göttlichem-Harmonischentgegengeseztem enthalten, so wie umgekehrt, . . . erkenne" (IV, Part I, 259, lines 1-5).

INTRODUCTION

33

of the middle portion of the essay concentrates, in negative terms, on identifying and interrelating the components of this balance.194 The relation of feeling to language is the subject of the concluding section, "Wink für die Darstellung und Sprache". All language must be judged by its genuineness; it will be important "dasz man nach den sichersten und möglich untrüglichsten Kennzeichen sie prüft".195 Cognition has prescience of language; language has memory of cognition.196 As man, on his highest cultural level, feels himself in the midst of infinite mind and life,197 so does the poet have foreknowledge of his language and of the perfection proper to his art.198 On this level a new reflection comes about; it is said to give "dem Herzen alles wieder . . . ",199 all that is "belebende Kunst"200 for the poet's mind and for the future poem. "Das Product dieser schöpferischen Reflexion ist die SpracheZ'201 But the poet cannot force nature and art. It is important that he, in the moment of his sentience, "nichts als gegeben annehme, von nichts positivem ausgehe, ... ",202 that he do not speak before language is there for him to use.203 The essay closes with an enumeration of four respects in which the poet must be conversant with his material ('Stimmung'):204 (1) in its 194 i y ( p a r t 1,259, line 7 to 260, line4. The lengthy disquisition ends: "Kurz, sie ist, weil sie in dreifacher Eigenschaft vorhanden ist, und disz allein seyn kann, weniger einer Einseitigkeit ausgesezt in irgend einer der drei Eigenschaften" (IV, Part I, 260, lines 5-7). 195 IV, Part I, 261, lines 5-6. 198 IV, Part I, 261, lines 8-9. 197 IV, Part I, 263, lines 5-9; further, " . . . , wie der Mensch auf dieser Stufe der Bildung erst eigentlich das Leben antritt und sein Wirken und seine Bestimmung ahndet, . . . " (IV, Part I, 263, lines 9-11). 198 IV, Part I, 263, lines 11-17. 199 IV, Part I, 263, lines 18-19. 800 IV, Part 1,263, line 21. 801 IV, Part I, 263, lines 23-24. 202 IV, Part I, 263, lines 32-33. 203 " . . . , dasz die Natur und Kunst, so wie er sie kennen gelernt hat und sieht, nicht eher spreche, ehe für ihn eine Sprache da ist, d.h. ehe das jezt Unbekannte und Ungenannte in seiner Welt eben dadurch für ihn bekannt und nahmhaft wird, . . . " (IV. Part I, 263, line 33 to 264, line 3). 204 IV, Part I, 264, lines 24-25. The equation of 'Stoff' and 'Stimmung' here seems justified to Hölderlin, in that the tertium comparationis here amounts to an enlivening of relatively lifeless matter. It seems clear to the poet "dasz er, indem er sich verständlich und faszlich macht, von der leblosen, immateriellen, ebendeszwegen weniger entgegensezbaren und bewusztloseren Stimmung fortschreitet, ebendadurch, dasz er sie erklärt..." (IV, Part I, 264, lines 22-25). 'Stimmung' as immaterial matter, that is, as incipient harmony, is investigated informatively by Leo Spitzer, who calls attention to Plato's theory of incorporeal, mathematical harmony: "The Pythagorean Simmias, . . . [in Phaedo] states that the soul is harmony: it has the same relation to the body as harmony, likewise invisible, has to the lute" (Classical and Christian Ideas of World Harmony: Prolegomena to an Interpretation of the Word "Stimmung", ed. Anna Granville Hatcher [Baltimore, The Johns Hopkins Press, 1963], p. 15).

34 infinity, 205 (2) in its 'Maas'. 2 0 8

INTRODUCTION

finiteness,206

(3) in its 'Tendenz', 2 0 7 (4) in its

"Über den Unterschied der Dichtarten" is a highly specialized study o f literary genres. By a thoroughgoing ordering of terminology wherein each of the three basic tone (gesture) concept terms, 'naiv', 'heroisch', 'idealisch', is assigned six structural levels and twelve terminological variants (see Table II), 209 the essay defines the three primary genres, the epic, the lyric, and the tragic. 210 By their 'Schein' ('Kunstkarakter') and 'Bedeutung' ('Grundton'), respectively, the three genres are linked to tones as follows: lyric poetry, 'idealisch, naiv'; epic, 'naiv, heroisch'; tragedy, 'heroisch, idealisch'. 2 1 1 The lyric poem is described first. The struggle within it, on the two levels o f 'Grundton' and 'Kunstkarakter', is resolved by the "energischen heroischen Dissonanzen, die Erhebung und Leben vereinigen, . . . ". 212 A 'Grundton' may be evidenced in a variety of 'Stimmungen'. 2 1 3 If in its 'Grundton' the p o e m is 'heroisch', it will begin 'naiv'; if it is 'idealisch' (related to the 'Kunstkarakter'), its start will be 'heroisch'; if 'naiv', it will open 'idealisch'. 214 By three 205 IV, Part I, 264, lines 25-26; "durch idealisch wechselnde Welt" (IV, Part I, 264, line 28). so« p a r t i> 264, lines 28-29; "durch die Darstellung und Aufzählung ihres eigenen Stoffs" (IV, Part I, 264, lines 29-30). 207 IV, Part I, 264, line 30; "durch den Gegensaz ihres eigenen Stoffs zum unendlichen Stoff" (IV, Part I, 264, lines 31-32). 208 j y ( p a r t i> 264, line 32; "in der schönen Bestimmtheit und Einheit und Vestigkeit ihrer unendlichen Zusammenstimmung, in ihrer unendlichen Identität und Individualität, und Haltung" (IV, Part I, 264, lines 32-34). 209 Structural levels, tabulated by reference only, may be found on the first page of the table; terminological variants, related by the primary terms 'naiv, heroisch, idealisch' (see the fragment "Wechsel der Töne", IV, Part I, 238-240), on the second page 210 Lyric poetry is discussed in IV, Part I, 266, line 9 to 267, line 3; epic poetry, IV,. Part I, 267, line 4 to 267, line 30; tragic poetry, IV, Part I, 267, line 31 to 270, line 5. Hölderlin's brief definitions are: "Das lyrische Gedicht ist in seiner Grundstimmung das sinnlichere" (IV, Part I, 266, lines 9-10); "Das epische, dem äuszern Scheine nach naive Gedicht ist in seiner Grundstimmung das pathetischere, das heroischere, aorgischere" (IV, Part I, 267, lines 4-6); "Das tragische, in seinem äuszeren Scheine heroische Gedicht ist, seinem Grundtone nach, idealisch, . . . " (IV, Part I, 267, lines 31-32). 211 IV, Part I, 266, lines 2-8. 212 IV, Part I, 266, lines 19-20. 213 " . . . sein Grundton, der wohl auch verschiedener Stimmung seyn kan, . . . " (IV, Part I, 267, lines 13-14). 214 Part I, 266, lines 23-30. In the third stipulation the 'naiv' tone is not mentioned directly, but is characterized as having "an Gehalt, noch mehr aber an Erhebung, Reinheit des Gehalts zu verlieren, . . . " (IV, Part I, 266, lines 28-29). See Table II, under 'Tone', where among the synonyms for 'naiv', 'Erhebung' and 'Reinheit' are listed.

INTRODUCTION

35

concluding criteria the 'Nachdruk' of the lyric poem falls on the 'naiv' tone while its 'Verweilen' ('Haltung') is 'heroisch' and its 'Richtung', 'idealisch'.215 The epic genre receives similarly detailed treatment.216 Tragedy, which occupies a foremost place in Hölderlin's written poetics, is discussed somewhat differently from the preceding two genres. The 'intellectuale Anschauung'217 that is necessarily present in works of tragedy makes itself manifest by a series of alternate and simultaneous acts of 'wirkliche Trennung'218 and 'Vereinigung',219 in whose course the various parts of the poem gain or lose in content, tone,220 form,221 liveliness, sense of progress: . . . d e n n es ist ewiges G e s e z , d a s z d a s g e h a l t r e i c h e G a n z e in seiner Einigkeit nicht m i t d e r B e s t i m m t h e i t u n d L e b h a f t i g k e i t sich f ü h l t , nicht in dieser sinnlic h e n E i n h e i t , in welcher seine Theile, d i e a u c h ein G a n z e s , n u r leichter verb u n d e n s i n d , sich f ü h l e n , . . , 2 2 2

"Die Fühlbarkeit des Ganzen" becomes the prime criterion of the experience of structure in the poem. It progresses to the same degree and relation that the division progresses in the parts, and in the core ('Centrum') of the work, wherein the parts and the whole are felt the strongest.223 Here, in an excess of mind in the unity of the work and in its striving toward "Materialität, im Streben des Theilbaren Unendlichem Aorgischern, in welchem alles organischere enthalten seyn musz",224 216

IV, Part I, 267, lines 1-3. IV, Part I, 267, lines 4-30 (c/. above, note 210). It is interesting to observe here how Hölderlin concentrates on the semantic surface of the ' T o n ' concept as he quotes H o m e r on the wrath of Achilles ("fitjviv aeiSe 6ea," II. i. 1; " . . . , so kann das Gedicht mit seinem Grundtone, dem heroischen, anfangen, . . . —und heroischepisch seyn" IV, Part I, 267, lines 16-18). But this is only one aspect of the tonal structure of poetry as explored in the entire present essay. If this were not so, it would be difficult indeed t o explain the trouble to which Hölderlin goes to describe tonal structures o n the six different levels shown in Table II below. 217 I V , Part I, 267, line 33. 218 I V , Part I, 268, line 5. 219 IV, Part I, 268, line 11. 220 "Innigkeit", IV, Part I, 268, line 18. 221 "Leben", IV, Part I, 268, line 18. 222 IV, Part I, 268, lines 19-23. 223 "Die Fühlbarkeit des Ganzen schreitet . . . in eben dem G r a d e u n d Verhältnisse fort, in welchem die Trennung in den Theilen und in ihrem Centrum, worin die Theile und das Ganze a m fühlbarsten sind, fortschreitet" (IV, Part I, 269, lines 3-6). This principle seems clearly to be connected with that of "das Zusammenhängen der selbstständigeren Theile" ("Anmerkungen zur Antigonae",V, 265), and to that of proportional harmony. It thus constitutes an effective point of agreement between the H o m b u r g theory and the implied "Ars Poetica". 224 IV, Part I, 269, lines 17-19. 216

36

INTRODUCTION

lies that ideal beginning of the real division of the poem. Hölderlin names this beginning split as being contained in the 'Streben', "in dieser nothwendigen Willkür des Zevs . . . ",225 The remainder of the discursive portion of the essay further elaborates on the three literary kinds and on the kinds of tragedy.226 A concluding table elaborates the three genres by the structural levels 'Grundton', 'Sprache', 'Wirkung'. 227 The genres are brought in the order: epic ('naives Gedicht'), 228 tragedy ('energisches Gedicht'),229 lyric poetry ('idealisches Gedicht').230 At the end of the tabulation Hölderlin postulates, for his own rhymed poem 'Diotima, Jüngere Fassung', 231 a tone row ('Styl')232 not occurring in any of the three genres ordered (see also below, Chapter VI, Section A). "Das Werden im Vergehen" is Hölderlin's last Homburg essay.233 Its subject, the "Untergang oder Übergang des Vaterlandes",234 has been said to be the structure of tragedy,235 as developed also in "Über den Unterschied der Dichtarten" and in "Grund zum Empedokles". 236 Such an interpretation is indeed possible, judging from the terminology 'das durchaus originelle jeder ächttragischen Sprache'237 and, to an extent, from the discussion on 'idealische Auflösung' 238 as well. But I would here like to submit a broader and at the same time more literal, that is to say stricter, interpretation. The emergence of the term 'Vaterland' in the midst of copious terminological variation is an outstanding feature of the essay. 'Das untergehende Vaterland' 239 is, according to the theorist, synonymous with "Natur und Menschen insofern sie in einer be225

IV, Part I, 269, lines 23-24. Especially IV, Part I, 270, lines 6-13; lines 14-24. 227 IV, Part I, 271, line 1 to 272, line 5. 228 IV, Part I, 271, lines 1-10. 229 IV, Part I, 271, lines 11-20. 230 IV, Part I, 271, lines 21-30. 231 1, Part I, 220-222; cf. Beissner in IV, Part I, 415. 282 IV, Part I, 271, line 31 to 272, line 5. 233 This we may judge to be the case from the fact that immediately following it, in the Grosse Stuttgarter Ausgabe, comes the review "Über Siegfried Schmids Schauspiel Die Heroine" (IV, Part I, 288-291), which Hölderlin wrote between 22 February and 29 May, 1801 (IV, Part I, 420). 234 IV, Part I, 282, line 23. 235 In his commentary (IV, Part I, 418) Beissner calls the essay a 'Gedankenprogramm', and stresses its debt to Fichte, as well as to Hölderlin's own "Grund zum Empedokles", in the later especially to an important passage on "Das Problem des Schiksaals" (IV, Part I, 157, lines 2-13). 236 IV, Part I, 149-162; cf. above, note 235. 237 IV, Part I, 283, line 8. 238 IV, Part I, 283, line 8 to 286, line 24. 239 IV, Part I, 282, line 2. 226

INTRODUCTION

37

sondern Wechselwirkung stehen, . . . ".240 The center of interest is ontic and cosmic, it is the world and how relations within it operate. The 'Welt aller Welten, das Alles in Allen',241 which always is, presents itself only in all time, "oder im Untergange oder im Moment", 242 or, genetically, in the birth ('Werden') of the moment and in the beginning of time and of the world.243 For this decline and beginning is like the language, or expression, or sign, of a living but individual ('besondern') whole.244 In the passing event is prevalent the possibility of all relations: Dieser Untergang oder Übergang des Vaterlandes (in diesem Sinne) fühlt sich in den Gliedern der bestehenden Welt so, dasz in eben dem Momente und Grade, worinn sich das Bestehende auflöst, auch das Neueintretende, Jugendliche, Mögliche sich fühlt. 245

The possibility of all dissolution ('Auflösung') is felt in synthesis. The effect and feeling of being is inherent in the possible, while the latter becomes real and the real undergoes dissolution. This entry of the possible into the realm of the real, "disz wirkt, und es bewirkt sowohl die Empfindung der Auflösung als die Erinnerung des Aufgelösten". 246 The task of the second half of the essay is a definition of the difference between 'wirkliche' and 'idealische Auflösung'. Inasmuch as the'Auflösung' has taken place it must be characterized as necessary; it bears its own character between Being and Not-Being ('Seyn und Nichtseyn').247 In this condition, conversely, the process continues — the possible becomes real, the real, ideal — "und disz ist in der freien Kunstnachahmung ein furchtbarer aber göttlicher Traum". 248 Hölderlin's question seems to be whether there can also exist a dissolution similarly divine but fearless. There can; this 'idealische Auflösung' (which is 'furchtlos') 249 takes place where the lacuna and sharp contrast between the emerging and

240

IV, Part I, 282, lines 1-2; cf. my definition of "Vaterland", above, p. 11 and note 40. 241 IV, Part I, 282, lines 9-10. 242 IV, Part I, 282, lines 10-11. 243 " . . . , oder genetischer im werden des Moments und Anfang von Zeit und Welt (IV, Part I, 282, lines 11-12). 241 IV, Part I, 282, lines 12-14. 245 IV, Part I, 282, lines 23-26. 246 IV, Part I, 283, lines 6-7. 24 ' IV, Part I, 283, line 23. 248 IV, Part I, 283, lines 25-26. 249 IV, Part I, 283, line 34.

38

INTRODUCTION

passing event are themselves dissolved by the agency of memory.250 The two types of 'Auflösung' differ in four important ways. First, in that it passes over established points, the 'idealische Auflösung' is more secure and more irresistible; it presents itself "als einen reproductiven Act, . . . wodurch das Leben alle seine Puncte durchläuft, . . . ",251 Second, each point in all its relationships in the process is infinitely more intertwined ('verflochtener')252 with all other points in its process as well as with the entire set of points, and consequently it is true that "alles sich in Schmerz und Freude, . . . und Gestalt und Ungestalt unendlicher durchdringt, berühret und angeht . . . ".253 A third difference lies in the fact that the ideal dissolution is 'durchgängiger bestimmt',254 that it does not hurry anxiously from one point to the next, moving in an erratic and limited pattern, "sondern dasz sie ihren präcisen, geraden, freien Gang geht, . . . ",255 Finally the 'idealische Auflösung' is distinguished from its empirical counterpart in that the latter seems too literal, it appears as 'reales Nichts', 256 while the former in its very progress gains in 'Gehalt und Harmonie'. 257 The two parts of the 'idealische Auflösung', the 'Idealindividuelles' and the 'Unendlichneues' appear together not as an annihilating force but "als ein (transcendentaler) schöpferischer Act . . . ",258 The essence of this creative act is the uniting of 'idealindividuelles' and 'realunendliches'259 in a condition of myth ("in einem mythischen Zustande"). 260 The general conclusion of the essay reads:

250

" . . . , wo aus dem neuen Leben eine Erinnerung des Aufgelösten,'und daraus, als Erklärung und Vereinigung der LUke und des Contrasts, der zwischen dem Neuen und dem Vergangenen stattfindet, die Erinnerung der Auflösung erfolgen kann" (IV, Part I, 283, lines 30-34). 251 IV, Part I, 284, lines 3-4. 282 IV, Part I, 284, line 29. 253 I V > Part I, 284, lines 29-31. 264 I V > P a r t i f 285, line 2. 255 I V ; P a r t I ( 285, lines 9-10. 256 IV, Part I, 285, line 23. 257 IV, Part I, 285, line 32. The connection here proposed is an important, though formative, context in which the written theory views harmonic form in life and art. 268 IV, Part I, 286, lines 2-6. 259 i v , Part I, 286, lines 6-7. Further varying of the vocabulary at this point ("das Unendlichreale", IV, Part I, 286, lines 8-9; "die Gestalt des individuellidealen", IV, Part I, 286, line 9) provides another clear example of Hölderlin's important practice of combining and recombining terms for greater descriptive clarity (see also the fragment "Wechsel der Töne" [IV, Part I, 238-240] and the "Empfindung Leidenschaft Phantasie" tabulation in "Über den Unterschied der Dichtarten" [IV, Part I, 271-272]). 260 IV, Part I, 286, lines 10-11.

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39

Aus dieser tragischen Vereinigung des Unendlichneuen und endlichalten entwikelt sich dann ein neues Individuelles, indem das Unendlichneue vermittelst dessen, dasz es die Gestalt des endlichalten annahm, sich nun in eigener Gestalt individualisirt. 261

Brief as the above account necessarily is, it yet gives some idea of the systematic thinking of the mature poet in his three most important theoretical works. With it Hölderlin's written "Ars Poetica" is outlined. Interpretative comment, especially on the last essay treated, must properly form the subject of the concluding subsection. 4. Implied Poetics

(1800-1804)

After the turn of the century Hölderlin was to remain at Homburg for another half year; he left that city to settle in Stuttgart at the end of May, 1800 (see Table I). According to Beissner's suggested dating, "Das Werden im Vergehen" must lie very late in the time at Homburg, possibly in the first, winter, months of 1800.262 Before it Hölderlin had written the hymn fragment "Wie wenn am Feiertage", a revivification of Pindar in the letter;263 after the essay came the Late Hymns, an offering to the spirit of the Greek hymn poet.264 With the aid of 'das endlichalte', 'das Unendlichneue' was to come into its own. The essay is about such a 'Wechsel der Formen'.265 Hölderlin here no longer offers encyclopaedic coverage on the task of the poet as such (as he did in "Über die Verfahrungsweise des poetischen Geistes"), nor does he codify 'poetische 261

IV, Part I, 286, lines 25-28. Friedrich Beissner, "Hölderlins Trauerspiel Der Tod des Empedokles in seinen drei Fassungen", Hölderlin: Reden und Aufsätze (Weimar, Hermann Böhlaus Nachfolger, 1961), p. 81: "Wer sich einmal mit diesem Aufsatzentwurf ["Das Werden im Vergehen"] gemüht hat, wird ihn ohne weiteres spät, sehr spät datieren — 263 II, Part 1,118-120. In his commentary Beissner speaks of the fragment as taking "vor den Vaterländischen Gesängen eine besondre Stellung ein: es ist . . . in seiner metrischen Form dem Pindarischen Vorbild stärker verpflichtet, jedenfalls einem ersten und noch ungefähren Verständnis dieser Kunstform, . . . " (II, Part II, 677). An analysis of Hölderlin's application of the Pindaric metrical correspondence technique may be found in Friedrich Beissner, Hölderlins Übersetzungen aus dem Griechischen (2d ed. revised; Stuttgart, J. B. Metzlersche Verlagsbuchhandlung, 1961), pp. 101-103. 264 See especially M. B. Benn, Hölderlin and Pindar (Anglica Germanica, No. 4; 'S-Gravenhage: Mouton & Co., 1962), not only Chapter iii, "The Pindaric Spirit" (pp. 50-102), but also, and more importantly, Chapter iv, "The Pindaric Form" (pp. 103-151). 265 On "Wechsel der Formen" as referring to Fichte's specific doctrinal influence see Beissner, IV, Part 1,418. Here the expression is interpreted concretely with reference to the turn in Hölderlin's mind. 262

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Grundbegriffe' ("Über den Unterschied der Dichtarten"). 2 6 6 H e discusses the future; in "Das Werden im Vergehen" the poet speaks about an immediate and personal artistic ambition. This ambition is to be fulfilled by an act of transition, the motion of the essay itself. The concept of transition is illumined by t w o terms in the essay. "Dieser Untergang oder Übergang des Vaterlandes" is both the 'going under' (death) o f the old 'Vaterland' and the 'going across' from the old fatherland — poetic commitment — to the new. Hölderlin is here communicating his awareness that with this essay the written poetics has come to an end. H e must now see that this poetics continue in its development. But it will have to do so outside the prose, which, especially in point o f its sentence constructions, 2 6 7 could hardly be driven any further in the language, and whose continuation would therefore serve no useful purpose. This is a negative statement of the situation whose positive version is that in the Late Hymns Hölderlin found not just the makeshift answer to his problem o f transition, but the necessary, inalienable answer. Of this the poet himself was to provide final semantic proof. 266 It would seem hardly of any service to overlook at this point a remarkable degree of similarity in aims and methods between Hölderlin's essay and Emil Staiger's Grundbegriffe der Poetik (3d ed.; Zürich, Atlantis Verlag, 1956). Two aspects of similarity seem worth noting: (1) both poetics concentrate on theory of genres, and (2) both theorists regard their treatment as a contribution to what Staiger calls general anthropology; both realize "dass die Geltung der Gattungsbegriffe nicht auf die Literatur beschränkt ist, dass es sich hier um literaturwissenschaftliche Namen für allgemeine Möglichkeiten des Menschen handelt" (Staiger, Grundbegriffe ..., p. 254). Equally illuminating is one outstanding dissimilarity, namely with respect to Hölderlin's and Staiger's (explicit and implicit) assignment of 'Töne' to the three genres. Staiger's general equations for the lyric, epic, and drama, respectively 'Erinnerung' (ibid., p. 13), 'Vorstellung' (p. 83), 'Spannung' (p. 143), partly reverse Hölderlin's corresponding categories 'Gefühl', 'Bestrebung', 'Anschauung' (IV, Part I, 266; see also Table II below). Wolfgang Victor Ruttkowski, in his recent Die literarischen Gattungen: Reflexionen über eine modifizierte Fundamentalpoetik (Bern, München, Francke Verlag, 1968) would expand the existing typology of 'das Lyrische, Epische, Dramatische' by adding his own category 'das Artistische' (see especially diagrams, pp. 103-104). Although Ruttkowski does not concern himself with Hölderlin's descriptive genre theory, his summary of the development of genre conceptions in chap, iv ("Die Entwicklung der drei Grundbegriffe 'lyrisch — episch — dramatisch' von Aristoteles bis Emil Staiger," pp. 26-46) contains a number of interesting relevant distinctions. 267 See only the opening sentence of the essay "Über die Verfahrungsweise des poetischen Geistes" (IV, Part I, 241, line 3 to 243, line 18), and above, note 136. On sentence length in the theoretical writings see Bach, "Patterns of Syntax . . . " , p. 93. Hans Peter Jaeger, who in his provocative Hölderlin-Novalis: Grenzen der Sprache (Zürcher Beiträge zur deutschen Sprach- und Stilgeschichte, No 3; Zürich, Atlantis Verlag, 1949) treats Hölderlin's ever-tightening syntactic economy in the Late Hymns (pp. 65-82), yet goes a step too far when, on the evidence of a late hymnic fragment, he reports: "Der Satz ist vernichtet, die Sprache im gewichtigen Wort zusammengestürzt!" {ibid., p. 81).

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41

Among the ideas Hölderlin was to clarify and renew during the apical years 1801-1804, the concept of 'Vaterland' is foremost. Against this clarification the background of the Late Hymns must be borne in mind. Starting from Homburg the poet worked steadily on Empedokles, on the Late Odes and Elegies, and on the translations from Pindar and Sophocles. 268 It was a time, in other words, when Hölderlin was most keenly concerned with capturing the spirit of Greek literature, and did some of his most productive wondering about its rejuvenating potential for German thought and letters.269 Given this preoccupation it might be thought nothing out of the ordinary for him to write on this very problem, a good year after Homburg, to a friend much in need of advice on dramatic aesthetics. Nevertheless, the letter to Böhlendorff of 4 December 1801 has been considered one of Hölderlin's most surprising documents: Wir lernen nichts schwerer als das Nationelle frei gebrauchen. U n d wie ich glaube, ist gerade die Klarheit der Darstellung uns ursprünglich so natürlich wie den Griechen das Feuer vom Himmel. Eben deszwegen werden diese eher in schöner Leidenschaft, die D u Dir auch erhalten hast, als in jener homerischen Geistesgegenwart und Darstellungsgaabe zu übertreffen seyn. 270

Nature, in seeking to surpass itself by culture, studies an opposed spirit. The rationally ordered Western mind wonders at the Hellenic fire; the Greek intellect, born with its capacity for pathos, seeks contact with Occidental sobriety.271 Despite both the thought and the chiasmic method in the letter, well known from earlier writings,272 the alleged 268

On the Late Odes and Elegies see below, Table I; on the writing of Empedokles, Beissner's "Entstehungsgeschichte" (IV, Part I, 327-329); on the Pindar and Sophocles translations, V, 401-402, 451-452. A well documented history of Hölderlin's Pindar studies and translations may be found in Benn, pp. 9-49. 269 He was thus justified in writing, in his letter fragment to Christian Gottfried Schütz: "Das innigere Studium der Griechen hat mir dabei geholfen . . . , in der Einsamkeit meiner Betrachtungen nicht zu sicher, noch zu ungewisz zu werden. Übrigens sind die Resultate dieses Studiums, die ich gewonnen habe, ziemlich von andern, die ich kenne, verschieden" (VI, Part I, 381; No. 203, lines 13-17). On the dating of this letter fragment see below, Chapter III, note 23. 270 VI, Part I, 425-426; No. 236, lines 14-20. A review of the lively controversy around this letter and the 'vaterländische Umkehr' phenomenon is contained on pages 41-47 below. 271 How Hölderlin meant Homer's ability "die abendländische Junonische Nüchternheit für sein Apollonsreich zu erbeuten" (Letter No. 236, lines 27-28) might be a topic for future research. Schadewaldt's long two-part article "Hölderlin und Homer" (.Hölderlin-Jahrbuch, IV [1950], 2-27; ibid., VII [1953], 1-53) does not explore this. 272 See especially "Grund zum Empedokles", the passage beginning "In der Mitte liegt der Kampf, . . . " (IV, Part I, 153, line 18 to 154, line 24), and Ryan's diagram, p. 334.

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'vaterländische Umkehr', this turn in Hölderlin's entire mental posture as reflected here, has been the subject o f a major controversy in Hölderlin studies. One side insists that the 'Umkehr' (also referred to as 'abendländische Wendung') 2 7 3 was a historical turn in the man and the p o e t and must be judged according to the sense in which the turn t o o k place. A m o n g these critics are Michel, Kempter, 2 7 4 Böhm, Beissner, Benn. 2 7 5 The other camp maintains that Hölderlin's meaning is amply clarified by the practical intent of the lesson for Böhlendorff the playwright, 2 7 6 and that the letter forms part of Hölderlin's dramatic aesthetics. Beissner (in part), 2 7 7 Ernst Müller, Allemann, H o f , and Gaier 2 7 8 are the exponents o f this theory.

273 These two terms do not designate one and the same thing. In the "Anmerkungen zur Antigonä" Hölderlin writes: " . . . vaterländische Umkehr ist die Umkehr aller Vorstellungsarten und Formen" (V, 271, lines 4-5). With this principle as background, Beda Allemann "betont . . . mit aller Schärfe, dass unter der Umkehr eine Bewegung zu verstehen ist, die sich primär im Raum zwischen Göttern und Menschen, Todtenwelt und dieser Erde, empedokleischem und königlichem Prinzip ereignet, innerhalb des Bereichs eines Vaterlandes also, sei es des griechischen oder des hesperischen" {Hölderlin und Heidegger [2d ed. revised; Zürich, Atlantis Verlag, 1956], p. 43). Allemann's insight that it is on the ground of such oppositions that "so etwas wie ein Verhältnis Griechenlands zu Hesperien" (ibid.) becomes possible, enables him to see in the 'sogenannte Abendländische Wendung' (heading, ibid., p. 41) the ultimate turn in Hölderlin's writing, away from 'exzentrische Begeisterung' (Letter to Wilmans, 2 April 1804; VI, Part I, 439; No. 245, line 26) — from Hellas — and towards the 'Junonische Nüchternheit' of Hesperien (cf. above, note 271): "Je enger sich eine Interpretation des Spätwerks an die Dichtung selbst hielt, um so früher musste sie auf die zunehmende Härte und Nüchternheit der Aussage des späten Hölderlin stossen, die wahrlich nichts mehr mit pathetischer Begeisterung zu schaffen hat" (Allemann, p. 45). This diametrically opposes Beissner's view on 'exzentrische Begeisterung' as referred to in the letter to Wilmans (Beissner, Hölderlins Übersetzungen . . . , pp. 168-169). Ryan's undocumented criticism of Allemann through Hof (referring to the latter's review of Allemann's book in Hölderlin-Jahrbuch, IX [1955-1956], 246-249), "gerechtfertigt, als Allemann — mit Unrecht —: die tragische 'vaterländische Umkehr' mit der sogenannten 'abendländischen Wendung' Hölderlins gleichsetzt (die für ihn allerdings keine 'abendländische' Wendung mehr ist)" (Ryan, p. 342, n. 7) is, then, hardly worth serious consideration. 274 Lothar Kempter, Hölderlin und die Mythologie (Wege zur Dichtung, No. 6; Horgen-Zürich, Leipzig, Verlag der Münster-Presse, 1929), pp. 66-73. Sources annotated to note 278 inclusive will be considered no further in the following discussion. 275 Under the heading "Historical Thinking" (pp. 91-102). 276 In the letter of 4 December 1801 Hölderlin's ideas on the Occidental and Oriental spirit are expressed in the context of tactful criticism of Böhlendorff's dramatic idyll Fernando oder die Kunstweihe ("Bremen 1802 . . . bei Friedrich Wilmans"; VI, Part II, 1076). Cf. Allemann, p. 28. 277 Hölderlins Übersetzungen ..., pp. 168-170; cf. above, note 273. 278 Under the heading "Der vaterländische Christus" (pp. 297-316). See also below, note 311, in connection with the Late Hymns.

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In his essay "Hölderlins abendländische Wendung" Wilhelm Michel 2 7 9 holds that 'Wendung' refers to a bifurcation in the poet's psyche into an Oriental ground and a European element o f 'Besonnenheit': "Aus d e m ersten folgt Hölderlins Grundzug, der Zug z u m Tod. A u s dem zweiten folgt sein Widerstand gegen dieses Tödliche. Aus beiden zusammen folgt das widersprüchliche, doppelzüngige Wesen seiner G ö t ter, . . . ". 280 Michel also emphasizes the last sentence o f the above quoted passage in the letter to Böhlendorff, in that he paraphrases it to read: "Wir sind von Natur nur allzu gebändigt, Unser Streben muss daher, im Gegensatz zum Griechen, . . . die Leidenschaft suchen u n d alle Stürme des Geschicks." 2 8 1 This 'muss' with Michel is wrong, and has been criticized. 282 Beissner points to its one-sidedness: "Denn Leben ist für Hölderlin nicht die einfache Vertauschung der Extreme, sondern ihre wechselseitige Durchdringung." 2 8 3 Beissner concentrates o n a set of variants to the elegy "Brod und Wein": nemlich zu Hausz ist der Geist Nicht im Anfang, nicht an der Quell. Ihn zehret die Heimath. Kolonie liebt, und tapfer Vergessen der Geist. Unsere Blumen erfreun und die Schatten unserer Wälder Den Verschmachteten. Fast wär der Beseeler verbrandt. 2 8 4 The "Geist", in this text, is the German mind, according to Beissner: D a s Nationelle des deutschen Geistes ist die Nüchternheit, seine gegebene "Kolonie", also die griechische junonisch-nüchterne " K u n s t " , durch die er gekräftigt und erzogen wird (wie Jason in der Schule des Chiron), durch die

Hölderlins Wiederkunft (Wien, Gallus Verlag KG, 1943), pp. 57-109. Ibid., pp. 59-60. Provocative is also Michel's earlier observation: "Wahrer scheint mir jedoch, ihn als Helden zu sehen, der den Thermopylenkampf um sein Leben rühmlich bestand, wenn ihn auch das Asiatische, das er geheimnisvoll durch das Griechische durchschimmern sah, schliesslich erschlug" (ibid., p. 59). An excellent critical treatment of sacrifice and slaughter as symbols of poetic conversion is contained in Kenneth Burke, The Philosophy of Literary Form: Studies in Symbolic Action (2d printing; New York, Vintage Books, 1961), pp. 16-43. 281 Michel, Hölderlins Wiederkunft, p. 89. «82 Recently by Vajda, Irodalmi Figyelö ("Literary Observer"), III, 18, n. 9. Cf. AUemann on Michel's paraphrase: "Dieser wichtige und — wie die vorliegende Arbeit zu belegen versucht — falsche Satz ist von der Forschung nie ausdrücklich in Frage gestellt worden" (p. 42). Vajda gives Allemann no credit for this observation. 283 Hölderlins Übersetzungen . . . , p. 157. 284 Variants to "Brod und Wein", vss. 152-156 (II, Part II, 608), as quoted by Beissner, ibid., p. 147. 280

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er den freien Gebrauch des Eigenen lernt, sodass er dann die verbotene Frucht des Vaterlandes kosten kann (frg. 17 Hell.). 285 After the encounter with the gods and with time, the mind will try to capture for its Junonian realm the Apollonian fire, that is, try to acquire what is foreign to it. "Ist er dann in die Heimat zurückgekehrt und zu eigenem Gesänge gelöst, dann dauert es nicht lange bis zum Erscheinen der Götter." 2 8 6 That Beissner's interpretation is still far t o o partial 2 8 7 has been recognized by Beda Allemann, 2 8 8 w h o continues the theme of the native trait, f r o m an opposed angle of argument. Allemann considers not the first three pertinent paragraphs of the letter to Böhlendorff, but the fourth, beginning: "Aber das eigene musz so gut gelernt seyn, wie das Fremde. Deszwegen sind uns die Griechen unentbehrlich." 2 8 9 A l l e m a n n is far more systematic than Beissner in placing the contents of the letter into its correct context, namely Hölderlin's work with Empedokles and 285 Ibid., p. 158 and n. 209. The fragment beginning "Einst hab ich die Muse gefragt" (Hellingrath, IV, 249; II, Part I, 220) is the second pillar, along with the "Brod und Wein" variant, of Beissner's "Griechenland und Hesperien" thesis. A somewhat more limited interpretation of this hymnic fragment may be found in Walther Allgöwer, Gemeinschaft, Vaterland und Staat im Werk Hölderlins (Frauenfeld, Druck von Huber & Co. Aktiengesellschaft, 1939), pp. 104-105. 286 Beissner, Hölderlins Übersetzungen . . . , p. 158; further: "Nach der lebenweckenden und gesetzgebenden Begegnung mit den Göttern und mit der Zeit (vgl. die Kommentare zu den Pindar-Fragmenten) wird dann der Geist das apollonische Feuer vom Himmel für sein abendländischnüchternes Juno-Reich zu erbeuten und so das Fremde sich anzueignen suchen" (ibid.). Vajda, who believes Beissner's theories to be little supported by either textcritical or psychological arguments (Irodalmi Figyelö, III, 19) can nevertheless find no more convincing substitute for them than the half-true judgment by Hans-Georg Gadamer: "Diese Verse [the "Brod und Wein" variant] gehören doch wohl in den gleichen Zusammenhang der Schlussstrophe von 'Brot und Wein'. Dann sind sie aber auch in diesem Zusammenhang zu deuten" ("Hölderlin und das Zukünftige", Beiträge zur geistigen Überlieferung [Godesberg, Verlag H. Küpper,. 1947], p. 66). 287 That is, in favor of an explicitly Germanic interpretation of the 'vaterländische Umkehr' (see especially Beissner against Gundolf, Hölderlins Übersetzungen ..., p. 159, a n d n . 214). 288 Under the heading "Friedrich Hölderlin: Die Vaterländische Umkehr" (pp. 13-66). 289 Letter No. 236, lines 36-37. Methologically fruitful concentration on different portions of the text of the letter is also shown in Peter Szondi, "Überwindung des Klassizismus: Der Brief an Böhlendorff vom 4. Dezember 1801", Hölderlin-Studien, pp. 85-104. Szondi writes: "Präzision und Wärme — die beiden Begriffe . . . entstammen . . . einem grösseren Zusammenhang, in dem Hölderlin jenen Fortschritt sieht, an dem allein es ihm liegen kann und den er seinem Freund bereits attestiert. Diesem Zusammenhang, und nicht dem Drama Böhlendorffs, sind die nächsten Abschnitte des; Briefes gewidmet" (p. 86).

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the Sophocles translations.290 His treatment is interpretative and metaphorical; he refersfirstto Der Tod des Empedokles and the meaning there of death by cosmic fire. The Greeks, since they have learned to control fire, may return to the fire in death. But the spirit of the Occidental mind, 'der eigentlichere Zeus',291 must lead that mind, "ausgefahren in der Richtung auf das himmlische Feuer",292 back to death in its cool regions, its own sobriety.293 Walter Hof, who in his recent article on the 'vaterländische Umkehr' problem, concludes, "Nichts, gar nichts spricht . . . für eine radikale Wendung bei Hölderlin in irgendeinem Sinn, schon gar nicht für eine 'Umkehr'",294 takes exception to Allemann's linking of Empedokles' predicament to the problem of 'vaterländische Umkehr'. This according to Hof leads Allemann to deny that Empedokles is a sovereign divine agent.295 Nevertheless, "Empedokles opfert sich im klaren Bewusstsein der Notwendigkeit für seine Zeit."296 290

"Empedokles und der Tod", pp. 16-27; "Anmerkungen und späte Briefe", pp. 27-50. 291 Allemann, pp. 30-31. 292 Ibid., p. 31. 293 Allemann quotes from the "Anmerkungen zur Antigonä" the passage on 'ewig menschenfeindlicher Naturgang' (V, 269, lines 24-28) and expresses original insight on the Western mind's contact with the Greek gods: "Die Hesperischen . . . , die ihrem Bildungstriebe folgend sich ins himmlische Feuer sehnen, bedürfen des eigentlicheren Eingreifens des Zeus. So geht die Bahn der Griechen wie der Abendländischen aus dem Nationellen in das Antinationelle, um ins Eigne zurückzukehren" (Allemann, p. 31). 294 "Zur Frage einer späten 'Wendung' oder 'Umkehr' Hölderlins", HölderlinJahrbuch, XI (1958-1960), 158. Hof nevertheless believes Allemann's discovery of the royal and Empedoclean principles (Allemann, pp. 23-24) admissible, with the one reservation that they be related to the 'Tonwechsel' phenomenon: " . . . dass es sich dabei um die bei Hölderlin von jeher vorhandenen und bedeutungsvollen Töne oder Typen des Heroischen (königlich) und des Idealischen (empedokleisch) handelt" (Hof, Hölderlin-Jahrbuch, XI, 138). On the musical relevance of the 'Töne' to the aesthetics of tragedy as expressed in Empedokles see also Schadewaldt, "Die Empedokles-Tragödie Hölderlins", Hölderlin-Jahrbuch, XI, 40-54. 296 According to Hof it cannot be admitted, as Allemann seems to insist, "dass am Ende das Empedokleische, der Gedanke der Versöhnung, als gescheitert zu betrachten sei und dass Hölderlin ihn zugunsten des Königlichen aufgegeben habe. Hölderlin hat Empedokles von vornherein eine Erlösungsfunktion zugedacht" (Hölderlin-Jahrbuch, XI, 138). But Allemann has already offered a careful identification between Empedokles' 'Erlösungsfunktion' and the poet's mission: "Der dramatische Konflikt, den der Aufsatz ["Grund zum Empedokles"] bereitgestellt hatte und der aus den gegensätzlichen Positionen des Königlichen und des Empedokleischen entspringen sollte, wird dadurch nicht unmittelbar berührt. Aber es erweist sich . . . , dass im EmpedoklesStoff von Anfang an hinter den zur dramatischen Darstellung gelangenden Konflikten die Todesproblematik als Hauptkonflikt verborgen lag. In ihr ist . . . die Kunstform der Tragödie als solcher, . . . , in Frage gestellt, . . . , als der tragische Tod durch Empedokles nicht erlitten, sondern frei gewählt wird" (p. 24). 296 Hof, Hölderlin-Jahrbuch, XI, 140.

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This releases the 'eigentlicheren Zeus' from the obligation of offering his presence as an explicitly Germanic god.297 Allemann is aware of a danger of incomplete argument when he speaks of a 'kategorische Umkehr',298 and with it he moves the 'vaterländische Umkehr' into a much larger area of relevance to Hölderlin's view of tragedy. 'Der eigentlichere Zeus' becomes known by his very refusal to identify himself.299 Moving on to Oedipus and Antigonä, Allemann suggests that 'kategorische Umkehr' springs from the character and activity of Antigone, whose Zeus is not the Zeus of Kreon, which latter "den Bereich des Königlichen vertritt gegen den Fortriss in den Ursprung".300 But present or not — whether Kreon's or Antigone's — Zeus is still someone's Zeus; an independent turnabout is not permissible to man : "Es kommt in dieser Einschränkung nochmals zum Ausdruck, dass es nicht der Mensch ist, der von sich aus die vaterländische Umkehr zu leisten vermag."301 Man needs the absence of the god. This is what Hölderlin means when towards the end of the "Anmerkungen zum Oedipus" he writes:"... göttliche Untreue ist am besten zu behalten".302 Man is the guardian of the infidelity of the gods, and not only keeps it in memory, but becomes at times its conscious exponent. 297

Thus Hof believes it is only a matter of time, and that Hölderlin somehow arrives at the idea of the 'menschenfeindlicher Naturgang' (cf. above, note 293). Antique hermeneutics seems to be Hof's technique also, as he argues: "Eine arge Vergröberung ist auch die Behauptung, was einst Allmutter Natur gewesen sei, werde nun menschenfeindlicher Naturgang genannt. Die doch recht spät noch überarbeitete Hymne 'Friedensfeier' zeigt, dass die Natur weiterhin die zärtlich angerufene Mutter bleibt, wenn auch aus ihr mitunter, . . . , die titanischen Kräfte des Unzeitigen hervorbrechen, . . . (letzte Strophe, 3, 537f.). Nur die gärende Wildnis, . . . , verdient den Namen des menschenfeindlichen Naturgangs, das 'üppig-neidige Unkraut' (2, 223)" (Hölderlin-Jahrbuch, XI, 140). Cf. the practical, biographically based explanation by Maurice Blanchot: "Cette sorte de loi que Hölderlin formule ici semble n'avoir encore que la portée d'un précepte limité qui invite les poètes de son pays, qui l'invite luimême à ne pas s'abandonner démesurément à la volonté empédocléenne, au vertige et à l'éblouissement du feu. . . . Dans la même lettre, il dit [in Letter No. 236, lines 65-66]: 'Il faudra que je veille à ne pas perdre la tête en France' (la France répresente pour lui l'approche du feu, l'ouverture sur l'ancienne Grèce), comme il dira, quand il aura subi l'atteinte décisive: 'Nous avons presque perdu la parole à l'étranger' " ("Le tournant", La nouvelle Nouvelle Revue Française, III [1955], 114). 298 "Die kategorische Umkehr ist eine absolute Umkehr der Zeit, das heisst des Gottes" (Allemann, p. 39). 299 Allemann writes: "In der Umkehr offenbart sich die Untreue" (ibid.). Cf. Meta Corssen, who here speaks of a 'rationalistische Zeit' ("Die Tragödie als Begegnung zwischen Gott und Mensch: Hölderlins Sophokles-Deutung", Hölderlin-Jahrbuch, III [1948-1949], 151). 300 Allemann, p. 38. 301 Ibid. 302

V, 202, lines 5 - 6 .

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47

These are times when man himself becomes disloyal to his own world and direction, and when he thus makes time and space do a complete revolution.303 If the two absences work interpenetratingly, the 'Fatherland of the mind' comes about (Antigonä). If gods and men do a complete outward turn, tragedy is written (Oedipus)?01 "Die Reinigung durch Scheiden ist der genaue Sinn der hesperischen Umkehr . . . Im selben Sinn erwähnen die Antigonä-Anmerkungen das iragisch-mäszige Zeitmatte (5, 266, 15). Die Tragödie ist die Kunstform einer matten und müssigen Zeit."305 The theory of tragedy that Hölderlin worked out in detail for the theater finds direct application in the form of the Late Hymns. Here the vocabulary on "Christus" achieves impressive approximation to the notion of a realized 'eigentlicherer Zeus'. Gaier names the idea yield felicitously: the emerging figure is 'der vaterländische Christus'.306 He is 'der Einzige' and 'der Eigentlichste' as well.307 Allemann, whose discussion of the 'vaterländische Umkehr' centers on the hymn 'Der Einzige', writes that Christ is 'der reissende und zehrende Halbgott'.308 303

Cf. Hof on the Sophocles notes: "Die ganze Darstellung lässt deutlich erkennen, dass Hölderlin das Wort 'Umkehr' nicht im Sinn von 'Rückkehr', Umkehren auf einem Weg, verstanden hat, sondern im Sinn einer 'Umkehrung', bei welcher das Unterste zu oberst kommt, also die Gegensätze ihre Gestalt vertauschen" {Hölderlin-Jahrbuch, XI, 148-149). 304 Here 'Nationelles' and 'Antinationelles' function in relation to each other and to the art theory; in juxtaposing the pattern of disloyalties Hölderlin seems to have been involved, according to Allemann, in the symbolic action of revising his core aesthetic: "In solcher Untreue ist das bleibende Gedächtnis der Götter gestiftet" (Allemann, p. 39; cf. above, note 302). Equally suggestive is the observation by Hans Egon Holthusen: "Nach Hölderlin ist die Tragödie der 'Zorn der Welt' in dramatischer Vollstreckung. Der tragische Protagonist ist der 'antitheos', Gegengott, 'der in Gottes Sinne wie gegen Gott sich verhält und den Geist des Höchsten gesetzlos erkennt' " ("Was ist abendländisch? Fünf Leitfiguren der europäischen Literatur", Merkur, XIV [1960], 616). 306 Allemann, p. 39. 306 Gaier, p. 297. 30 ' In a review of Alessandro Pellegrini's Hölderlin: storia della critica (Firenze, Sansoni, 1956), Fritz Enderlin writes: "Wir werden dem Dichter folgen wollen über die Stufen der späten Hymnen bis ins Helldunkel der letzten Entwürfe. Aber bei welcher Station fassen wir das Eigentlichste?" ("Deutung und Geltung Hölderlins im Wandel der Zeit: Zu einem Buche von Alessandro Pellegrini", Neue Zürcher Zeitung: Literatur und Kunst, Sonntag, 15. September 1957). For an answer to this question on Hölderlin's part and a suggestion that this was Hölderlin's central question in the hymn "Der Einzige", see E^Eg, vss. 25-49, and Beda Allemann, " 'Der Ort war aber die Wüste': Interpretation eines Satzes aus dem Spätwerk Hölderlins", Martin Heidegger zum siebzigsten Geburtstag, ed. Günther Neske (Pfullingen, Günther Neske, 1959), pp. 204-216. 308 Allemann, Hölderlin und Heidegger, p. 50.

48

INTRODUCTION

Allemann is only partly right and corrects himself, for Christ is more: "Er ist der Gott des Abschieds aller Götter von dieser Erde."309 From this standpoint, Christ's unique relation in the Late Hymns to the demigods Herakles and Dionysos becomes demonstrable.310 Besides this more limited set of kinships, Gaier writes, Christ has intimate ties with the entire Greek pantheon: Bei einer Rückkehr des hesperischen Geistes aus seiner Kolonie muss also zunächst Christus neu erkannt werden; seine aus heroischen Gesichtspunkten geprägte Gestalt muss sich verändern, um der abendländischen Kultur die Rückkehr zu einem Eigenen auch im göttlichen Bereich zu gestatten. 311

As regards the Late Hymns as lyric poetry first of all, it is of course a sensible conclusion that the made-over Pindaric pattern and the new heroic-mythical subject demanded each other. In his treatment Eduard Lachmann acknowledges the fact of the interdependence of the two formal criteria as a prime requirement of the new lyric form: Die neue F o r m ist aus einer inneren N o t geboren. . . . Betrachtet man den Gehalt der Hymnen in freien Strophen und die rhythmische Stosskraft, die in 309

Ibid., p. 51. It is at this point of established kinship between Christ and the Hellenic gods that we see the Oriental fire in a truer perspective, by the final turn in the Late Hymns away from 'exzentrische Begeisterung' (c/. above, note 273). Two points of this kinship seem convincing: (1) Christ's travel 'zum Vater zurück' (Allemann, Hölderlin und Heidegger, p. 50) is a combination of the travels of Herakles (from the Garden of the Hesperides to Olympos; see Ulrich Hötzer, Die Gestalt des Herakles in Hölderlins Dichtung: Freiheit und Bindung [Stuttgart, W. Kohlhammer Verlag, 1956], pp. 87-140) and Dionysos (II, Part II, 758), and (2) as Dionysos, Christ, too, has hidden relations with the Indie pantheon; Hölderlin might also have put Christ into kinship with Apollo and with the Buddha. Holthusen, writing on Ghandara sculpture at Hadda (in East Afghanistan) observes: "Was nun an der erwähnten Buddhaplastik so überaus bewegend ist, das ist der Eindruck einer apollinischen Helligkeit, . . . im liebenden Kampfe gegen... den schwerlidrigen und weltverabschiedenden Ausdruck einer unendlichen Versunkenheit" (Merkur, XIV, 613-614). I suggest that the thesis of the "Kleeblatt" Christ-Herakles-Dionysos (E3, vs. 76) and the antithesis of the ApolloBuddha of Ghandara (Holthusen) find clear synthesis in the image of 'der frohlokende Sohn' of "Patmos" (Pj, vs. 181) where, for one epiphanic moment in the Late Hymns, Christ achieves union with §iva Nataraja ("§iva, Lord of the Dance"), the destroyingregenerating spirit of the Hindu Trimurti. A good general treatment of the Hölderlin's interest in the Orient is contained in Rudolf Pannwitz,"Hölderlins Erdkarte", Hölderlin: Beiträge zu seinem Verständnis in unserm Jahrhundert, ed. Alfred Kelletat (Schriften der Hölderlin-Gesellschaft, No. 3; Tübingen, J. C. B. Mohr [Paul Siebeck], 1961), pp. 276-286. A more specific discussion of Hölderlin's interest in 'Asia' and its attested connotations is contained in Amos Leslie Willson, A Mythical Image: The Ideal of India in German Romanticism (Durham, North Carolina, Duke University Press, 1964), pp. 170-186. 311 Gaier, p. 304. 310

INTRODUCTION

49

ihnen nach Ausdruck verlangt, dann leuchtet ein, dass das, was Hölderlin hier auszusprechen oblag, weder in das Mass der Ode noch der Elegie zu bannen war.312 Michel, Böhm, Beissner, Müller, Allemann, and Hof all seem agreed on one important point: that neither 'abendländische Wendung', nor 'vaterländische Umkehr', nor the two together, really represent an essential break in Hölderlin's thought and writing.313 These critics miss the point. They are right in their agreement, not because there was no break, but because it took place elsewhere. The significance of the 'vaterländische Umkehr' phenomenon is Hölderlin's thinking is not that it was or was not a break; it is of quite another sort. When in the 'Anmerkungen zur Antigonae' Hölderlin writes that " . . . vaterländische Umkehr ist die Umkehr aller Vorstellungsarten und Formen",314 he means that both 'Vaterland' and 'Umkehr' are, by the time of the written record, accomplished facts. Both meant a steadying and confirming force in Hölderlin's newly found program of poetic creativity. After the real break, the transition to implied poetics, the principle of 'Umkehr' was a guarantee Hölderlin was providing himself that he would be able to put 'harmonische Entgegensezung' into the practice as a governing idea of the hidden poetics.315 It was, moreover, a guarantee that the 'vaterländische Gesänge' would, with time, be seen in their truly canonical dimensions. 312

Lachmann, p. 62. Michel, Hölderlins Wiederkunft, pp. 92, 95; Böhm, II, 81-82; Beissner, Hölderlins Übersetzungen..pp. 60, 152, 162; Müller, pp. 15, 444; Allemann, Hölderlin und Heidegger, pp. 46-47,141,216 and n. 78; Hof, Hölderlin-Jahrbuch, XI, 158. To be sure, these opinions do not represent a similar degree of agreement. Cf. Jürgen Isberg, who speaks of a 'Homburger Umkehr' as a genuine historical and intellectual break without which the late work is inconceivable ("Hölderlin in Homburg, 1798-1800: Das Werk und der Wandel des Weltbildes" [unpublished Doctoral dissertation, Hamburg, 1954], pp. 333-335). 314 V, 271, lines 4-5 (see also above, note 273). 315 The hidden, chiaroscuro quality of the 'vaterländische Umkehr' as seen above, and its participation in 'harmonische Entgegensezung', broaches the problem, of fundamental importance for the Late Hymns, of Hölderlin's relation to Heraclitus. To the traditionally accepted view that the nucleus of this relation resides in the aesthetic ideal of ev öiatpegov savrm, "das grosze Wort, . . . des Heraklit, . . . das Wesen der Schönheit (III, 81; Hyp., I, 145, lines 12-14), it might well be added that Hölderlin's thought at least bore affinity with a fragment by Heraclitus on structural harmony. The above is a variant on Heraclitus, Fragment 51 (the numbering is after Hermann Diels, Die Fragmente der Vorsokratiker, ed. Walther Kranz [6th ed. revised; Berlin, Weidmannsche Verlagsbuchhandlung, 1951-1952], I, 162); below it, three entries down the page, stands: 313

"

ägfiovit) qufxxvrig (cNoz)] • (dRaz)] • (eRez) ],

Ibid., p. 189: "The sequence {A"n} is called a chain if it is assumed that there are only a finite or countably infinite number of states in which the system can be. The sequence {A^} is a Markov chain if each random variable X n is discrete and if the following condition is satisfied: for any integer m 2 and any set of m points n t < n 2 . . . < n m the conditional distribution of Xnm> for given values of X n i , . . . , X n m _ i ; depends only on Xn m _,, the most recent known value, . . . . " The chains considered above are all at least of a finite state space. 101 See the sentence translation of the sample stochastic chart above, Chapter II, Section D. The implication sign ( n ) may occur between any two predications (e.g., (a : In : v) => (a : No : w)).

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163

then it must also be accepted that transitions play in the charts such a role as to render untrue any statement that the charts contain no 'after effects',102 that is, that the future of any square or even any row or column is completely determined by its immediate past. Even the last square is variant, for relevance or nonrelevance to the structure of the variant readings, with the extent to which the first few squares in a chart are capable of being confirmed, and with the pattern of such confirmed judgments.103 Although the lattice experiment was not guiding for Tables XLVI-LV for Chapter IV, below,104 in the present chapter it was carried out for all 25 binary combinations for Tables VII-XI, XVII-XXI. This testing procedure proved especially productive of stochastic judgment patterns for Tables XVII-XXI, where the type of artifical randomization used in composing the charts — cumulative change — rendered judgments for corresponding squares mutually exclusive, and thus insured aseptic conditions between any two charts within the group.105 Thus the judgment 'aRew' for Row 1, Column 2 of Tables XVIII-XXI excluded the possibility of stressing the corresponding square ('aRaw') in Table XVII. Similarly, the tested relation between Construct 'a' and Event 'z' in Tables XVII-XXI was seen to hold as long as the judgment 'aMaz' could be recorded (Tables XVII and XVIII; this again excluded the possibility of writing 'aEnz' (Tables XIX-XXI). A similar procedure was followed for the preceding group of tables, XII through XVI.106 The principle of experimental combination and testing of moduli, explained in detail in Chapter IV, Section C, below, was applied in the present chapter to Tables VII-XI and XVII-XXI. For Tables VII-XI, the combined moduli of semantic (logical) tension against word span tension were chosen. With these moduli in view it was possible to select from Texts VI-R Constructs and Events showing a consistent syntactic 102 Cf. Parzen's intuitive definition of a Markoff process: " . . .given the 'present of the process, the 'future' is independent of its 'past' " (p. 188). 103 This does not contradict, although it does further qualify, the basic definition of the stochastic chart given in Chapter II, Section D. 104 In Chapter IV, intuitive testing is performed. 105 Cf. Coons and Kraehenbuehl, Journal of Music Theory, II, 130: "It must be understood that we will be operating here under somewhat aseptic conditions. The patterns under consideration will be isolated from their environment and discussed as if they were each unique and in no wise affected by preceding or accompanying patterns. This will provide us with an analysis of the pattern in the abstract which can then be evaluated in terms of various types of context." 106 The law of mutually exclusive choice was seen to hold to some extent for Tables VII-XI and XXII-XXV as well.

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relationship, namely according to the proportion "Construct /Event = Predicate/ Subject or Object". 107 This resulted in a view of the Constructs as a set of verbal forms symbolic of an action performed with reference to each subject or object brought by the nominal forms under the Event column. Since all Events are to be found in unchanged form in all the texts, whatever change any one Event undergoes is a function of the changed structure imposed on it by the different Construct it encounters in each subsequent text. This is all the more significant if, as is the case with the Tables VII-XI, the Constructs are not chosen at random from the general fund of available variants but are arranged as a series of variants on one and the same original reading.108 Thus 'Gericht' (Event 'v') refers at Text VI to a specific form, the transitive verb 'Begrabe' (Construct 'a'), while at Text VII 'Gericht' refers to a form that at that point supplants 'Begrabe', the intransitive verb 'Erliege' (Construct 'b'). Again at text VIII, the same noun 'Gericht' refers to the form corresponding to Constructs 'a' and 'b', the reflexive verb 'Sich begrabe' (Construct 'c'). This series of relationships is a stochastic process in the elementary sense of our first definition: random on one structural level, ordered on another (see again Chapter II, Section B, above) :109 {X(t), t € r } = (Gericht, Begrabe)-(Gericht, Erliege)(Gericht, Sich begrabe), or, in letter symbols (where 'A v means 'Event v' [Gericht] and 'B' stands for 'Constructs a, b, and c [in turn]'): {X(t), t f T ) = A v B a + A v B b + A v B c .

But this process is stochastic in a somewhat subtler sense as well. If there may be said to be a direct causal and therefore syntactic connection between the noun 'Gericht' and the finite verb form following it, then we may also speak of such a process as this :110 107

See the subsection on the discrete text solutions, above, Section A. See the discrete texts, Section A, together with the inventory of minimal variants arranged as a stochastic process (Fig. 12) and note 92, this chapter. 109 The series of verbs 'Begrabe', 'Erliege', 'Sich begrabe' in itself constitutes an elementary stochastic process, and may be symbolized: " A v + B a + A V l " . 110 Assuming that the following contextual syntactic definition of Construct v 'Gericht' (Text VI, line 1) is correct: . . . , ihr Gericht ist Dass der ... . . . sein Liebstes Begrabe ... (Text VI, lines 1-4; my emphasis) 108

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{X(0, t € T) = [(Gericht, Gerichti) Begrabe] • [(Gericht, Gericht2) Erliege] • [(Gericht, Gerichts) Sich begrabe], or, in symbols (where subscript zero means 'initial state'): { M

T D T } = A-V^Ba,, + AV()v2Bb0 + AVOV3BCO.

How was it possible to determine all twenty-five binary combinations for Tables VII through XI? If, as in Chapter IV below, we again take the general semantic modulus of symbolic logic for our operational base, we find that two major steps comprise the procedure of determining the values recorded in the lattice appearing to the left of Table VII (Lattice L).111 The first step itself consists of two smaller steps: first the five nominal forms, Events V through 'z', had to be arranged into a historical order, then this chronology had to be reserved to suit the requirements of a diagnostic retelling {i.e., of a retelling from the most recent event to the most remote). The following reasoning was guiding for historical arrangement of the five Events:112 (1) (Event 'z') Man is untamed as he lives in and is part of Nature ('der Wilde'); in his consciousness he embraces the animal and the divine: this qualifies him for the name 'der Schwärmer' (Text R). (2) ('w') It is given to this untamed and ecstatic creature to build his home and to live in it ('[sein eigenes] Haus'). (3) ('y') But man, in his knowledge that he partakes of the divine, must also suffer the inequitable treatment ('Ungleiches') from the gods which is implied in his human condition. or (grammar in parentheses; syntax outside): Text VI, 1: (Poss. p r o n o u n + N o u n ) Subject = 2: (Pers. pronoun) Subject in clause+ 3: (Poss. pronoun+Subst.) Direct Object in clause + 4: (Finite verb) Predicate in clause. 111 Lattices are here thought of as accompanying matrices, or stochastic charts (on 'stochastic matrices' see D o o b , p. 172), and containing the preliminary compiled data on which the operations of the charts are based. The letters 'L', 'M', and 'N', used to refer consistently to the lattices, indicate the relative completeness of the data; 'L' and 'M' lattices will be of a lesser degree of completeness (c/. composition of ratios, Fig. 13 below), while an 'N'-lattice will always bear a set of completed data expressed in the form of ratios (Fig. 15). 112 Cf. the discourse below and the corresponding operations with semantic values in Chapter IV, Section C.

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(4) (V) This injustice man cannot suffer; he rebels, and brings down on himself the judgment ('Gericht') of the heavenly ones. (5) ('x') He thus perishes among the ruins, or underneath them ('unter den Trümmern'), of his home and of his making. Accordingly we write: Event x: v: y: w: z:

Diagnostic Sequence113

Historical Sequence

Trümmern Gericht Ungleiches Haus Wilde (Schwärmer)

5 4 3 2 1

1 2 3 4 5

The five Constructs may be similarly ordered: Construct b: c: d: a: e:

Erliege Sich begrabe Scheit' Begrabe schelt'

Historical Sequence 5 4 3 2 1

Diagnostic Reasoning Sequence 1 2 3 4 5

Man comes to grief. Man brings himself to grief. Man quarrels. Man brings others to grief. Man quarrels and causes others to bring themselves to grief.

The second step was to relate the five Events and five Constructs, thus ordered, to the lattice of twenty-five distinct and convincing logical judgments (Lattice N). 1U Such judgments were based first on the semantic connections between Events and Constructs, second on the word distances. In bringing together the two sets of orderings above, we find that the lowest degree of semantic tension is in the connection between Construct 'b' 'Erliege' and Event 'x' 'Trümmern' (herein after annotated 113 By a historical sequence is meant a chronological (causal) array of events from first (earliest) to last (most recent). A diagnostic sequence is the exact reversal of the historical; it is an analytical accounting in whose course the first observable event — in this case assumed to be the most recent event — is traced to its original cause (the earliest and at the same time last observed event). 114 For the designation 'N' see above, note 111.

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'bx').115 It may be felt that a connection between Construct 'a' 'Begrabe' and Event 'z' 'Wilde' ('az') should be considered equally tensionless, or that the nexus between Construct 'a' 'Begrabe' and Event 'x' 'Trümmern' ('ax') would be as convincing an initial choice as the first two couplings mentioned. But each of the latter two correlations contains a difficulty. For the first alternative, 'az', it is true that 'der Wilde' performs the act symbolized by 'Begrabe'. But since in Text VI there is no other burial indicated than that taking place 'unter den Trümmern', the burial can at best be felt to be indirect, by no means inclusive of empirical contact between action and subject. Text VI, line 4 "Begrabe unter den Trümmern", when connected with Text VI, line 6 'der Wilde', does not satisfy univocally the form of the A-Proposition of the Aristotelian Square of Oppositions :116 "All B is W" [(x) (Bx Z) Wx), or, in words, "For every x, if it is a 'Begrabe'-x then it is a 'Wilde'-x", which is the same as saying that all acts of 'Begraben' are performed by 'der Wilde'. This is not what the connection 'az' is stating for the larger context of Text VI. The connection 'az' is rather of the form of the I-Proposition, "Some B is W" [(3 x) (Bx • Wx)], "There is an x such that it is a 'Begrabe'-x and also (at the same time) a 'Wilde'-x", or, "At least a certain 'Begraben' is performed by 'der Wilde'." In other words, connection 'az' records a very special performance of 'Begraben', which does not tell us whether an A-proposition stating the relation between 'Begraben' and 'Wilde' has existential import, although it tells us that the corresponding I-proposition does.117 Similarly with the possibility of a connection 'ax', which is also unconvincing as semantic choice 1. Again, "Begrabe unter den Trümmern", taken by itself, is not of the form of the A-Proposition, [(x) (Tx Z) Bx)], but rather of the form of the I-Proposition, [(3x) (Tx-Bx)], since the subcontrary of the latter, the O-Proposition, [(3x) (Tx- ~ Bx)], also holds.118 But statement 'bx', namely that there is a tensionless logical nexus between 'Erliege' and 'Trümmern', holds with the qualification that a human passive subject be given. Thus it is true that 'Trüm115

The criterion is a connection between the two instances of Diagnostic Step 1. Used here as presented in Aristotle De Interpretatione 10. 19 b 33-34 (The Basic Works of Aristotle, ed. Richard McKeon [16th Printing; New York, Random House, 1941], p. 50), and by Irving M. Copi, Introduction to Logic (2d Printing; New York, The Macmillan Company, 1954), pp. 132-136, 152. 117 On existential import see Copi, pp. 144-149. 118 It is significant that it also holds in M. Thompson's version of the O-Proposition : [~ (x)(Tx z> Bx)] ("Aristotle's Square of Opposition", Philosophical Review, LXII [1953], 251-265; see also the reply by John O. Nelson, "In Defense of the Traditional Interpretation of the Square", Philosophical Review, LXIII [1954], 401^13). 116

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mern' implies 'Erliege', and we may quantify according to the form of the A-Proposition, [(x) (Tx o E x)], "For every x, Triimmern'-x means 'Erliege'-x." By a similar argument it may be demonstrated that 'ez' occupies the combination position of highest logical tension, or position 25.119 We therefore draw Lattice N, of the ratio judgments for Tables VII through XI (the form of the ratios in this lattice is logical tension over word span tension, or L / M): V

w

X

y

z

9 11

19 15

4 2

14 9

24 12

6 11

16 5

1 2

11 9

21 12

7 11

17 5

2 3

12 10

22 13

8 14

18 8

3 5

13 12

23 15

10 13

20 8

5 8

15 17

25 20

Fig. 13. — Lattice of Ratios for Tables VII-XI. Analysis of all of the poet's decisions according to the above demonstration with symbolic logic is neither practical nor necessary here. It is, at any rate, interesting to observe that in the lattice positions 1,2,3 ('bx', 'cx', 'dx'; numbers refer to numerators of the fractions) are acoustically and visually no more accessible than are the positions representing the logical connections involving highest tension, 23, 24, and 25 ('dz', 'az', 'ez' respectively), or indeed the middle positions (12, 13, 14: 'cy', 'dy', 'ay'). It is visible that the Construct-Event combination 'bx' ('Erliege': 'Trümmern'), which was observed to carry the smallest load of semantic tension and was therefore assigned position 1 in the lattice, is also one of two Event-Construct couplings whose constituent words are located in its text the least number of words apart, namely two (the other being correlation 'ax', 'Begrabe': 'Trümmern'). In a corollary way, it is the ConstructEvent pair bearing highest logical tension — 'ez', 'schelt'': 'Schwärmer' — whose constituent words are most distant from each other (in Text R, twenty words; for the criterion of computing word distance see Chapter IV, note 135). Such consistent confirmation between extreme instances of tension levels could hardly be accident. After it the poet wished to deviate from literal balance; this is observable in the middle of the parameter, where correlation 'dy' (Text IX, 'ungleiches': 'schelt') is shown to occupy the middle position, 13 , in the semantic lattice. Confirming it would have had to be a word span value of 11 (which would be halfway between the lowest and highest values recorded for word distance — 2 for 'bx', 20 for 'ez'). Nonconfirming this expectation, the poet chose to qualify his parameter by an engagingly subtle displacement of balance, as for correlation 'dy' the word distance value 12, rather than the expected 11, corresponds to the medial logical tension value 13.

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The procedure, followed for Tables V I I through XI, of determining two hierarchies of numerical values and then of performing judgments on the texts according to an exhaustive parameter of binary combinations based on these obtained values, was guiding for Tables X I I through X X V also. Brief highlightings of the methods of each of these three remaining groups of tables [ X I I - X V I ; X V I I - X X I ; X X I I - X X V ] will conclude our discussion of Level 4 in this chapter. Tables X I I - X V I explore the relation of Texts V I - R in terms of the thoroughgoing (bilateral, i.e., determining for Events and Constructs both) modulus of enjambement (for further discussion see below Chapter IV, Section C). The consonant-vowel enjambement configurations here obtained were collated with the scale given in Chapter IV, Section C. The new scale, which thus provides a structural property correlation between Tables X I I - X V I , this chapter and Tables X L I X - L I V (for Chapter IV), is brought here as Table X X V I . The scale permits a correlation of the values for Events and Constructs, Tables X I I - X V I , by the following lattice (form of ratio: Construct/Event): v

6

w

x

y

z

5

5

5

5

5

4

6

4

1

7

2

2

2

2

2

4

6

4

1

7

2

2

2

2

2

4

6

4

1

7

6

6

6

6

6

4

6

4

1

7

3

3

3

3

3

4

6

4

1

7

Fig. 14. — Lattice of Ratios for Tables X I I - X V I .

According to this lattice, then, Tables X I I - X V I were filled in with emphasized judgments. The aseptic rule that we saw valid for Tables V I I through X I held here again (e.g., that judgment 'aMaz', Tables X I I - X I I I , was exclusive of a judgment 'aEnz' for Tables X I V - X V I ) . The patterns of emphasized judgments remained defective: five correlations — 'ay', 'bw', 'cv', 'ev', 'ey' — could not be confirmed at all. This proved to be contributive to the structural fact that no diagonal,

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"DER RHEIN"

major or minor, was obtainable in any table. Tables XII-XVI are not, then, genuinely reflective of the revision structure of Texts VI-R on the level of enjambement. At most it might be speculated that, within the range of 4.1.1 charts,120 one of two hypothetical tables between Tables XIV and XV (based on sequence In, Re, Ch, St, En or on sequence No, Re, Me, St, En) might have yielded a representative pattern on this rhetorical device.121 Similarly to Table LV (Chapter IV), the joint criteria of syllabic density and semantic relationships were chosen as operative under Tables XVII-XXI here. The appropriate syllable count is recorded under each Event and Construct (with Table XVII); the lattice obtained was the following (ratio, again: Construct /Event): V

w

X

y

z

10

10 11

10

10

8

9

10 10

8

7 8

7 11

7

7

8

9

7 10

8

8

8

8

8

8

11

8

9

10

13

13 11

13

13

8

9

13 10

16 11

16

16

8

9

8

16 8

16 10

Fig. 15. — Lattice of Ratios (N) for Tables XVII-XXI.

Since the present group of tables is the only group of the four in the present chapter in which the relationship of the revisions (Texts VI-IX) and the corresponding final passage (R) to the immediately preceding portion of final text (R, w . 105-113) is tested, it might be worthwhile considering how the tables indicate the Constructs to function as a set of constructions (hence the term), interpretations, placed on the Event (the fair copy passage as a totality). If from "Der Rhein", vss. 105-113, 120 That is, charts of fourth order, first species, first permutation (for explanation of this taxonomy see Chapter II, Section D, and Fig. 7). 121 This is not to say anything about the possibility of altering the permutation of tables, which would again introduce combinatorial possibilities, but would constitute the beginning of a new test.

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171

we arbitrarily choose the text portion of highest syllable count, Event V "und bedürfen / Die Himmlischen eines Dings", we find a significant change in the progress of revisions, from the passage of medium relative syllable count (Construct 'a', 10 syllables) to one of low syllable count (Construct 'b', 7 syllables), to medium low syllable count (Construct 'c', 8) to medium high (Construct'd', 13) to high (Construct 'e', 16). If we now begin anew on the semantic plane and grant that Event 'w' is the semantic and logical core of "Der Rhein", vss. 105-113,122 we find further that the values recorded in Column 2 (the 'w'-column) in Tables XYII through XXI are in accord with the corresponding Construct correlations. Combination 'aw' is a balanced redundant statement. What small disparity there is in the syllable count is supplied semantically; the implication in Event 'w' is spoken out at Construct 'a'. The sudden shift in subject and verb in Construct 'b' sets up a tension as 'bw': from the sacrifice language at 'aw' now there is motion into a metalinguistic formulation of the 'bedürfen / .. .Dings' (Event 'w') predication. Coupled with the sudden low syllable count of Construct 'b' (7) the logical-syllabic nexus with Event 'w' is of a condition open to redundancy, but open to noise as well. 'Messaged' (predication 'bMew') was, therefore, the most reasonable judgment to make at this point. The combination of Event 'w' with Construct 'c' is of a somewhat different structure again: the syllable count for the construct is slightly increased since 'b', while the predicate has shifted to a relatively tensionless logical nexus (since now at least one unknown, the one of action, has been eliminated since Construct 'b'). It is appropriate at this point to identify the type message, and to do this by writing 'cStw': it is precisely an ordering, but one of a random genre, that has taken place here.123 Another radical change takes place 122

Cf. Böschenstein, who equates " 'die Ursiinde' " (p. 80) with "die Zerstörung der im Gleichgewicht von Natur und Kunst gefügten Welt" (ibid.), and adds: "Die siebente und achte Strophe bleiben im unausdrücklichen Gespräch mit dem Rhein. Der Einklang von Natur und Kunst, den er erreicht hat, kann nicht als endgültig gesicherte Vollendung missverstanden werden, wenn aus ihm die weiterhin drohende Gefahr einer einseitigen Herrschaft der Kunst über die Natur... entwickelt wird" (ibid., p. 82). That 'sein eigenes Haus' ("Der Rhein", vs. 115) is synonymous with the 'Vaterland' of the spirit, and is thus the informing principle not only of the present hymn but of the entire series of Late Hymns (note the striking semantic correlation between 'Haus' and 'Baugesetz', 'poetic structure') is also recognized by Richard M. Müller: "Das Ideal bedarf der irdischen Wohnung ebenso sehr wie des göttlichen Ursprungs, wenn es sich nicht ins Wesenlose verflüchtigen soll" (p. 151). 123 That is, inasmuch as the value predicated partakes of randomness and redundancy in balanced measure. This property would have to hold true both of the correlation itself, and, on the lower architectonic level, of the individual Construct and Event.

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"DER RHEIN"

between Constructs 'c' and 'd'. The latter text portion brings completely new elements; in the virtual disappearance of 'Vater und Kind' is felt a thoroughgoing revealing of the implications of Event 'w'. The meaning of the predicate 'und bedürfen' seems exhausted, hence 'dEnw' (Tables XIX-XXI). 124 Thefinalchange, at the same time a concluding adjustment, is performed by Construct 'e'. In reinstating the nouns 'Vater und Kind', Construct 'e' restores to Event 'w' its former status as a closed system, while at the same time bringing 'Vater und Kind' as language and circumlocution (perhaps not needed in as strictly structural a sense as in Construct 'b').125 At the same time the syllable count has risen again since Construct'd'. 'elnw' may, therefore, be accepted as a reasonable identification of this last, and final, relationship.128 Perhaps the most difficult, because most elusive, analysis on Level 4 was performed by aid of Tables XXII-XXV, where Events and Constructs were chosen from the entire parameter of variant and corresponding final texts, i.e., from Texts I through R. 12 ' For a modulus the values attending on phoneme pairs or clusters bearing final stress were chosen. Of highest frequency were binary permutations (not combinations here!) of liquid plus vowel or diphthong e.g., /er/ /ra/ /lie/ /el/). Taking the occurring phoneme permutations in their initial order of appearance and then arranging them according to the system of vowels and diphthongs128 121 This instance of predication further illuminates the symbolic significance of the place '10' assigned to Entropy in the series of concepts in information theory. Cf. definition and related propositions and corollaries in Chapter II, Section B, especially those relating entropy to potential and kinetic information. 125 Here in the doubled expression there m a y be felt a reduction of the information load and a restored balance of redundancy. The reader may well feel that he has arrived at the end of a parameter since, the increased syllabic density aside, 'Vater u n d K i n d ' is semantically inclusive of 'den sein Liebstes', but n o t conversely. 126 To the extent that other revision series may be tested in the present manner, o r that other charts may be applied to the testing of the present texts, Tables XVII through X X I are here taken to underlie a positive investigation. 127 It will be noted that the method of text sampling for Events and Constructs was n o t consistently one of variant selection. It was, rather, the selection of texts inclusive of one of the contrasting consonant-vowel pairs described below (e.g., the phonemes /er/)- Thus for Text I, for example, 'der Sterblichen' was picked to be Construct 'a', while the variant of this lemma, 'der Hohen', was bypassed in favor of 'wer' (Construct 'b'). 128 Such a system, for the present practical purpose, I take to be a simple alphabetic representation of five selected vowel phonemes in conjunction with /r/, /l/, or /s/, taken in that order, which is the order of the occurrence of these pairings in the texts being examined. Related consonant-diphthong combinations and permutations are also considered. On the principle of practical orthography in phonemics cf. Bloch a n d Trager, p. 46.

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we obtain the following series (permutations actually occurring are italicized; value scale in corresponding positions is given on the right):129 jra re ri ro ru / /la le Ii lo lu/ /lie lei/ /sa se si so su/ /sie seyj /ar er130 ir or ur/ /al el il ol ul/ /as es is os us/ /aus/

1,2,3 4,5 6,7 8 9, 10 11

After this we may construct the lattice shown below as Figure 16 (ratio: Construct / Event), and work with testing the judgments it suggests, according to the conjugate graduated scale (Figure 17). After the first test for the lattice, which was u

t

8

T+ 8

y+

»

8

T l e 3 9

w

8

8

TT+

2~+

l e

l e 2

il

l e 3 4

V

TT

9

4

0

l

9

T+

4

T6

e

~6~ 9

T+

l e 3

% 6

8

7

U

- — 8

10

8

T+ 4

4 _

1

l

TT+ TT+

8

9

i

l e 10

T+ 8

l e 2 +

8

T+

8

z

y

X

y+ 9

T+ 8

T+

8

lö+ 4

T+

To

l e 5

lö+

l e 5 8

T+

+

l

9

0

8

Legend: "Tested and confirmed mechanically; Tested and confirmed intuitively; "Tested but not confirmed. Fig. 16. — Lattice of Ratios for Tables XXII-XXV.

129

The graphemic array below corresponds to the following more strictly phonemic account :

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1

1

1 1 1 1 4

" » ¥ 7 1

4 2

2 1 Me 8

9 H

4 1 4 4 8

« j T n " ¥ T 3 4 5 6 7 2 3 Ch Ra 8 I

8

8

9

9 8 9 8 9 8 9

7 « n " ¥ ¥ ¥ T

7 « «

7 7

9 10 11 12 13 14 15 16 17 18 19 20 21 4 5 6 7 8 Er No Ma Re St

9 T

22 23 24 25 26 " 9 l0 In

En

Fig. 17. — Conjugate Scale: Ratios (Fig. 16) with Ten Concepts

performed as mechanically as are logical calculations with a truth table, a second, intuitive, round of testing was completed. It is notable that out of the forty-nine Event-Construct pairings in Tables XVI-XIX, twenty-five pairs, or more than half, were incapable of being confirmed mechanically. But on looking over the field of squares the second time we find that some test values lie close to the values required by the mechanical testing (e.g., 'gt' f was not 'Informed', but was intuitively confirmed under the concept entry 'Entropic': 'g: En : t'). The intuitive Pair

Word

/ra:/ /re/ Iril /li:/ /lai / lzi:l /zai/ /e:r / /er/

Begrabe zerbreche Gericht Erliege Ungleiches sie seyn wer Sterblichen unbarmherzig Schwärmer schelt' erdulden Haus

/el/ /ul/ /aus/

Construct

Event

e V

t d y w X

b a c 8 f

z u

Construct f'Liebstes'is not included in this account, since it semed most desirable toconsider only the last occurring phoneme pair per Event or Construct. A similarly close, although ultimately sound-versus-lexicon analysis will be found in Irmengard Rauch, "Dimensions of Sound Change in Relation to an Early Hölderlin Poem", Linguistics, No. 34 (1967), 46-54. See especially pp. 51-52, and n. 11-18. 130 This grapheme pair is not sufficient to account for the occurrence of /är/ in Construct g 'Schwärmer'.

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tests, whose locations are indicated in the above lattice, somewhat increased the number of judgments that could be confirmed. The table most densely populated with successful judgments — Table XXV — shows that the modulus of phoneme permutations bearing final stress was also a structural criterion for Hölderlin in his revising of the "Der Rhein" text, although no longer in the linear manner of revision moduli examined by means of the earlier tables in this chapter. Interestingly enough, the phonemic modulus shows the poet's decision at the 'R' stage not to depart literally from his earlier hunches on good phonemic form. The 'R' configuration is, rather, an improvement on intervening texts (VII-IX), while it is also a reaffirmation of an earlier insight (IV, V). If we were to follow the set of rules suggested by Fred Attneave for constructing "a particular set of interconnected paths"131 which comes to amount to "the repetition in space, either with or without variation, of a visual configuration",132 it would be easy to construct visual and linguistically translatable models for the stochastic processes found on the most varied structural levels of the hymn "Der Rhein". Construction of such models has here been limited to the stochastic charts, to whose profiling they seem ideally suited. Since the main construction rule is a dualistic one,133 the alternative of a judgment confirmed or not confirmed serves as its basis just as well as the alternative of an odd or an even random number. For initial construction squared paper was used, and spaces were marked out for each table, large enough to permit of one repetition of the profile pattern of the given table in either dimension. The basic construction rule was to draw a right-hand diagonal — what Attneave seems to call an 'upward diagonal'134 — when the corresponding box in the chart is boldface for a confirmed judgment, and to draw a left-hand diagonal when no emphasis occurs. Such path profiles are provided here for Tables XVII through XXV. The repetition of the pattern 181

"Stochastic Composition Processes", The Journal of Aesthetics and Art Criticism, XVII (1958-1959), 503. See also highly similar visual compositions in DATA: Directions in Art, Theory and Aesthetics, ed. Anthony Hill (London, Faber and Faber, Limited, 1968), and in Kunst und Kybernetik: 'Ein Bericht über drei Kunsterziehertagungen, Recklinghausen 1965 1966 1967 (Köln, Verlag M. DuMont Schauberg, 1968). 132 Ibid. 133 According to this, to 'construct a basic pattern' is equivalent to using a table of random numbers for the base of operations and drawing in each cell of the graph paper "one kind of mark..., say, an upward diagonal, when an odd number occurs in the table; and another kind of mark, say, a downward diagonal, when an even number occurs" (ibid., p. 504). 134 Ibid.

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"DER RHEIN"

within any one profile was done in order to present the profiles of the charts in something approximating a perspective ; also to show in sharper relief the completely aleatory nature of the pattern of tests and judgments. These examples of stochastic profiling do not constitute a stress pattern of quite the order and importance of the Stress Diagrams on the

Fig. 22. — Profile of Table XXI.

Fig. 23. — Profile of Table XXII.

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177

Transition Matrices (Level 6), and were not assigned the status of a separate level of analysis. But they are important as a hermeneutical profiling procedure in their own right, and an effective visual summary of the principles of stochastically balanced composition at Level 4.135 2. Levels 5 and 6 The marginal note to "Der Rhein", quoted after the manuscript at the beginning of Section B, above, will now be written down in a somewhat different form, for purposes of preparing it for translation into the basic 135

Perhaps the most important sense in which the path profile differs f r o m the stress diagram is that, unlike in the latter, the criterion of aesthetic evaluation with the aid of the profile is not maximum fluctuation but rather maximum approach to perfect balance in design. As understood here, 'balance in design' means statistical equilibrium (demonstrable for each quarter of the given profile) between the three main elements of which the profiles are composed: (1) the diagonal, (2) the rectangle, and (3) the composite rectilinear path. Between Tables X V I I - X X I it is XVII and X X which seem to approach this balance best; between Tables XXII-XXV, probably XXV.

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formula for the stochastic process that shall be sought out at Levels 5 and 6. In its modified form the text of the note shall read: " D a s Gesez diesez Gesanges ist, dasz (1) (2) (3)

die zwei ersten Parthien der F o r m nach entgegengesezt aber dem Stoff nach gleich (I and II: ^ F o r m ; = Stoff), die zwei folgenden der F o r m nach gleich dem Stoff nach entgegengesezt sind (III, IV: = Form, ^ Stoff), die lezte aber mit durchgängiger Metapher alles ausgleicht ( V : = ^ ) . "

Steps (1) through (3) may be translated into the following stochastic process (A = 'Form'; B = 'Stoff'): {(*)?, t £ T } = (A a B k +A b B k )+(A C B,+A c B m )+(A xy B yx ) = = (I+II)+(IH+IV)+(V). 1 3 a After the above division of the hymn into five triads (5X3) and upon careful reexamination of the lengths and proportions of the poem, we find that the 'Gesez' holds true on structural levels other than the 136 The terms 'Form' and 'Stoff' are for the time being to be understood in their most literal senses of design and theme, respectively; local qualifications will accompany the subsidiary analyses below (see especially notes 140, 142, 163). The experimental stochastic formula given here will be basic for analysis of "Der Rhein" at all structural levels in this section. For the heuristic principle of the description attempted here I am in good measure indebted to Duckworth's study on Vergil's Aeneid (cf. Chapter II, Section A, and notes 31, 37, 38). By thoroughgoing computations based on the sole criterion of narrative structure Duckworth certifies his hypothesis: "Vergil composed the Aeneid on the basis of mathematical proportion; each book reveals, in small units as well as in the main divisions, the famous numerical ratio known variously as the Golden Section, the Divine Proportion, or the Golden Mean Ratio" (Preface, p. vii). The explanations Duckworth provides of the nature of mathematical composition, inclusive of "the almost exact proportions which appear in large quantities everywhere in the Aeneid", and of 'the perfect .618' (ibid., pp. 46-47), lead to the author's perfectly convincing conclusion: "When every book of the Aeneid displays these perfect and approximate proportions, . . . , we can no longer believe that such proportions are the result of either chance or intuition; . . . " (ibid., p. 46). It is precisely in this spirit that I here subject to critical reexamination the ratios and proportions ostensibly present in "Der Rhein", based on the stochastic formula and the ( 2 + 2 + 1 ) structural nucleus, in order to show Hölderlin's fully conscious method of composition. The major difference between Duckworth's method and mine is that I do not employ the Golden Mean Ratio, but rather use the term 'harmony' in its more general, intuitive sense. Another recent study examines intricate mathematical thought in the poetry of Edmund Spenser: "It is difficult for us, perhaps, to take Spenser's Neopythagorean interests as seriously as we can his other Orphic enthusiasms. Leaving aside, however, the question of philosophical validity, we can at least agree that he found in this strange mode of thought a valid system of poetic belief. It proved an abundant source of structural ideas, enabling him to organize content and form according to a single plan" (Alastair Fowler, "Numerical Composition in The Faerie Queene", Journal of the Warburg and Courtauld Institutes, XXV [1962], 237). \

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triad. Although "Der Rhein" does not keep the consistent stanza lengths of "Patmos", 137 the fifteen stanzas of the former do exhibit a steady pattern in the distribution of length, the average number of lines a stanza being 15, thus: Triad I. St. No. lines: Triad IV. St. No. lines:

1 15 10 15

2 3 16 14 11 12 16 14

II. 4 15 V. 13 15

5 6 15 14 14 15 15 12

III.

7 15

8 16

9 14

Proportional harmonic division of the hymn shows this pattern to be significantly similar to a model length of 15X15 lines, which is capable of division according to systems similar to and also differing from the triadic. The triadic (5X3) system has corresponding to it a pentadic (3 X 5) division, and this not only on the level of the stanza group (triad), but on the level of the individual stanza, of the triad of verses, of the individual verse, and probably on the level of the individual word or distribution of certain types of words as well.138 Just as much as, for purposes of revealing the triadic system, the structural multiplier was not 3 but 5, this latter figure will be seen as important for the work of revealing on the above-mentioned levels the stochastic process brought by the marginal note.139 Let us take first of all the division of the entire hymn. The unit of division will, for the time being, be the triad: (1) St.:

1 2 3, 4 5 6 7 8 9, 10 11 12 13 14 15 Triads I & II Triads III & IV Triad V

The lowest common denominator of the above obtained ratio is (2+2+1). This denominator, itself a ratio, is equally easily obtained by dividing the hymn first into pentads, then into stanzas distributed by the ( 2 + 2 + 1 ) ratio, with the process repeated three times, like this: (2) St.: Stt.: Pentad: 137

1 2, 1&2

3 4, 3 &4 I

5 5

6 7, 1&2

8 9, 10 11 12, 13 14, 15 3 &4 5 1 & 2 3&4 5 II III

Which latter is 15x 15 lines long except for Stanza 10, which has 16 lines. See especially Tables XXIX-XXXIV and XXXVI-XXXIX, this chapter. It is important to keep in mind here the principle of the periodicity of elementary structures whether they pertain to gross levels of composition, or to microlevels as investigated on Level 6 (transition matrices) in this and the following chapters. See Moles, chaps, ii, iii (pp. 56-102). 139 For the beginning of an insight on pentadic as well as triadic divisions see Emmon Bach, "Patterns of Sytanx . . . " , p. 98 and n. 1. 138

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Furthermore, by taking as dividend the individual stanza rather than the entire poem, we arrive at the same (5X3) or (3X5) division, with the ( 2 + 2 + 1 ) ratio exactly corresponding to the form of that ratio obtained above: (3) Vs.: 12 3,4 5 6 Vs. triads: 1 &2

7 8 9 , 10 11 12 3&4

13 14 15 5

Or, by verse pentads: (4) Vs.: 12 , 3 4 , 5 Vss.: 1 &2 3 &4 5 Vs. Pentad: 1

6 7 , 8 9 , 10 11 12 , 13 14 , 15 1 & 2 3 &4 5 1 &2 3 & 4 5 2 3

Ratios (1) through (4) involve, then: (1) (2) (3) (4)

2+2+1 2+2+1 2+2+1 2+2+1

triads in "Der Rhein"; stanzas in a pentad; verse triads in a stanza; verses in a verse pentad.

Moreover, the structural harmony among these divisions may be summarized by the following proportion: Hymn _ Pentad

225 (actually 221) verses 75 90+90+45 30+30+15

6+6+3 - verses = 2+2+1

2 + 2 + 1 triads 2 + 2 + 1 stanzas

2 + 2 + 1 verse triads 2 + 2 + 1 verses

It is not difficult to prove that the above given harmonic division actually corresponds to the structure Hölderlin gave his poem. For the triads we have seen how the 'Form' and 'Stoff' of the poem, when understood literally to mean the posture (tone) and the material (story) respectively, lend themselves to the division the marginal note reports on. I suggest the following analysis :140 140 Here again the literal criterion of narration is used to define 'tone', and only one tonal level is indicated (although couplings are frequently used to indicate tonal alternation within the structural unit considered). It is not my present purpose to define the 'Styl' of "Der Rhein" (c/. Walser, Hölderlins Archipelagus, pp. 175-217). A discursive analysis of "Der Rhein", based on the author's conception of 'Töne', is performed by Ryan, Hölderlins Lehre . . . , pp. 249-277.

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181

Triads I and II: Opposed 'Form':

I. narrative (heroic) tone; II. speculative (idealistic) and gnomic (naive) tones.

Same 'Stoff':

the river Rhine.

Triads III and IV: Same 'Form':

speculative and gnomic (id., n.) tones;

Opposed 'Stoff':

III. heroes and demigods in general; IV. demigods and Rousseau in particular.

Triad V: 'Form' and 'Stoff' separately and mutually reconciled by metaphor of themes and techniques: — 'Form':

sung in all three tones (n., h., id.);

Stoff':

men and gods in history and nature.

The threefold division of the hymn, with 2 + 2 + 1 stanzas in each part,, while slightly more complex, seems to hold just as true :141 Pentad I: Stanzas 1' and 2. 3' and 4 5

Opposed 'Stoff': 1. Poet at source of Rhine, without river; 2. Poet at source, with river. Same 'Form': heroic (narrative) tone. Opposed 'Form': 3. heroic (narrative) tone;4. idealisticnaive (speculative-gnomic) tone. Same 'Stoff': fate of Rhine, the 'Reinentsprungenes' (vs. 46). Even: fate encountered and formulated in naive (gnomic) and heroic (narrative) tones.

141 These three pentads themselves exhibit the ( 2 + 2 + 1 ) design nucleus as follows: Pentads I+11+III = Stt. 1-2 (poet)+ 3-5 (Rhine)+6-7 (Rhine)+8-10 (poet)+10-15 (nature) = ( l - 2 + 3 - 5 ) + ( 6 - 7 + 8-10) + (10-15) = (2+2+1).

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"DER RHEIN"

Pentad II: Stanzas 6" and 7. 8" 9 10

Opposed 'Form': 6. naive-heroic tone;142 7. idealisticnaive tone. Same 'Stoff': "Der Vater Rhein" (vs. 88),self-fulfillment and memory. Opposed 'Stoff': 8. Demigods ('Heroen und Menschen', vs. 108), rebellion and death; 9. Peace. Same 'Form': naive-idealistic tone. Even: Rousseau, 'thörig göttlich' (vs. 145), yet 'starkausdauernd' (vs. 141); heroic-naive tone.

Pentad III: Stanzas 11 and 12 13 and 14. 15

Opposed 'Stoff': 11. Man acts in Nature; 12. Nature acts as Man. Same 'Form': naive-heroic tone. Opposed in 'Form': 13. heroic-idealistic tone; 14. naiveheroic tone. Same 'Stoff': Man, having identified himself in gods, nature, society. Even: Regression of men into nature into gods; idealistic heroic and naive-idealistic tones.

A more voluminous presentation is needed for the (2+2 +1) structure on the level of line groupings within the single stanza. For this purpose two separate tables — XXVII and XXVIII — have been reserved. Table XXVII shows the 'Gesez' according to a model line-group pattern: 6 + 6 + 3 verses for the average fifteen-line stanza. The table shows, further, that while every stanza displays some version of this model ratio, the actual (6+6+3) permutation is very seldom adhered to (really never, except in Stanza 2, where it occurs as 6+7+3). But other permutations of the model abound. As shown by Column 6 in Table XXVII, the patterns (3+6+6) and (6+3 + 6) are the most frequent, while a defective (3+6+3) pattern evens out relationships among the patterns 142 From this point on only Holderlin's terms will be used. My own equivalents ('narrative* = 'heroic'; 'gnomic' = 'naive'; 'speculative' = 'idealistic') may be open to dispute; but at least they show that my interest in the tones is one in semantic structure, and not in thematics in the more limited senses of 'Weltanschauung' or sensibility (Ryan), 'geistige Welt' (Hof), or 'Offenbarungsrhythmus' (Gaier). For related remarks see Chapter I, Section A.

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183

at the end of the poem. The actual ratios obtained from the stanzas (Column 4) reveal a great deal of variety in the period constructions of the individual stanzas. It is interesting to observe that more than half the stanzas — eight out of fifteen — begin with the minor groups of verses, i.e., with verse pairs or verse triads (Stt. 1, 4, 5, 8, 9, 11, 14, 15), while of the remaining stanzas a total of four open with the indeterminate tetrad (Stt. 10, 12, 13) or pentad (St. 6). Thus of the fifteen stanzas of "Der Rhein" only three, or 20.0 per cent of that total, begin with a period six verses in length.143 Table XXVIII shows an attempt to divide the stanzas of the poem into three pentads of lines each, and to isolate the (2+2+1) verse ratio or patterns closely approximating it. The distribution of patterns turned out uneven in this table also (only Stanzas 2,3, 5, 6, 9, 10, and 13 proved amenable to this treatment). Further, in some stanzas the (2+2+1) verse ratio coincided with the (6+6+3) arrangement (Stt. 2, 3, 5), while in other stanzas neither the major ratio nor the minor144 proved determinative for the pattern of the stanza (Stt. 4, 8, and 12 displayed the indeterminate property the strongest). Closer examination of one triad of the hymn will clarify how these pattern distributions function structurally. We chose triad III (Stt. 7, 8, 9), which all but ideally reflects the law of succession of stanzas containing one major, one indeterminate, and one minor sequence of ratios: Stanza 7 (vss. 90-104): Pattern: (6+6+3) (M). Verse Triads

I (vss. 90-92)

Opposed 'StofF: I. ruin, rather than II. forgetting. and II (vss. 93-95) . Same 'Form': naive-heroic tone. Verse Triads III (vss. 96-98) Opposed 'Form': III. idealistic-heroic, and IV. heroic-naive tones. and IV (vss. 99-101). Same 'StoflF': corruption of bonds of love between men and gods. Verse Triad V (vss. 102-104) Even: ultimate consequences — men try to be equals of gods. Heroic-idealistic tone. 143 A more inclusive statement on sentence length (mean and deviation) in "Der Rhein" may be found in Bach, "Patterns of Syntax...", pp. 21 (Table 2), 25, 115 (Table 7). 144 That is, neither the ( 6 + 6 + 3 ) nor the ( 2 + 2 + 1 ) pattern, respectively. The notation below, (M) and (m) for 'major' and 'minor' pattern, has been borrowed from Duckworth (p. 36).

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"DER RHEIN"

Stanza 8 (vss. 105-120): Pattern: 5 (vss. 105-109)+5 (109-114)4-6 (114-120); resembles neither (6+6+3) (M) nor ( 2 + 2 + 1 ) (m) ratio pattern. Stanza 9 (vss. 121-134): Pattern : ( 2 + 2 + 1 ) (m), repeated three times. Verses 1 (121) Opposed 'Stoff': 1. 'fand'; 2. 'Schiksaal'. and 2 (122) Same 'Form': naive (gnomic) tone. 3 (123)1 Opposed 'Form': 3. heroic (narrative), and 4. idealistic (speculative) tone. Same 'Stoff': 'Erinnerung'. and 4 (124). Verse 5 (125) Even: 'am sichern Gestade'; heroic-idealistic tone. Verses 6 (126)' Opposed 'Form': 6. idealistic (speculative), and 7. naive (gnomic) tone. and Same 'Stoff': "Dasz... / Er sehn mag". 7 (127). Even: 'Zum Aufenthalte'; idealistic-heroic tone. 8 (128) and 9 (129) (Defective group, with 'lezte Parthie' missing) Verses 10 (130) and 11 (131) 12 (132)

Opposed 'Stoff': 10. 'ruht'; 11. 'alles'. Same 'Form': naive-heroic tone. Opposed 'Form': 12. idealistic-heroic and 13. naiveidealistic tone. Same 'Stoff': "Das Himmlische.. .umfängt". Even: " . . .er ruhet"; heroic-naive tone.

and 13 (133). Verse 14 (134)

Now collating the data from Tables XXVII and XXVIII, we find that the very distribution of the major (6+6+3), the minor (2+2+1), and the indeterminate (x y) patterns is structurally just as clear and important as are the patterns within the stanzas themselves. The figure below shows the prevailing ratio pattern in the hymn : Triad

I

Stanza

1

M( 6 + 6 + 3) m (2+2+1) xy (indet.)

0

2

II 3

4

5

III 6

0 0

7

8

0

9

10

0

0

0

11

V 12 13

0

0 0

IV

0

Fig. 27. — Summary of Stanza Types in "Der Rhein". 146

14 0

0 0

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"DER RHEIN"

The similarity of gross pattern between Triads IV and V might well encourage a reading of the entire arrangement in retrograde, thus : Triad Stanza M (6+6+3) m (2+2+1) xy (indet.)

V 15

14 13 12 11 0

0

IV

0

0 0

III 10

9

0

0

II

8 7 0 0

6 0

5 4 0 0

Fig. 28. — Retrograde Equivalent of Fig. 27., Showing The (2+2+1) Gross Ratio When it is also noticed h o w Triads III and II present merely further irregular patterns while Triad I contains a unique ascending and balancing, evening-out pattern, it might well be wondered whether Hölderlin did not by implication mean one of his numerous marginal notes to read as follows: Das Gesez dieses Gesanges ist, dasz die lezten zwei Parthien der Form nach gleich, die vorangegangenen zwei der Form nach (durch Progresz und Regresz) entgegengesezt sind, die erste aber (mit durchgängiger Metapher) disz ausgleicht. 146 After the foregoing gross analysis it is time to look at the smaller ways in which Hölderlin made his stochastic method of composition manifest 146

It would be pleasant to be able to say that the distribution of stanza types is the following: M: Stt. 1, 4, 7, 10, 13 m: 2, 5, 8, 11, 14 xy: 3, 6, 9, 12, 15 rather than the less mechanically regular pattern: M: 1, 5, 7, 11, 14 m: 2, 6, 9, 10, 13 xy: 3, 4, 8, 12, 15 But the regular ('geradentgegengesezt') pattern would have conflicted with Hölderlin's architectonic plans for his poem. The stochastic pattern, which is 'harmonischentgegengesezt', not only enables the poet to make this concluding structural comment, but also shows him at this point to have surpassed the doctrine of his fragment "Über die Parthien des Gedichts" (IV, Part I, 273). 146 While the danger in such a fabricated monument is apparent (c/. Beissner's conjectural emendation in prose of the opening lines of "Mnemosyne", first version, in Hölderlin: Reden und Aufsätze, p. 231, and quoted below in Chapter V, Section A), this reconstruction is in close imitation of Hölderlin's style, and might thus be well considered as an effective preliminary to the pseudepigraphic "Ars Poetica" text (Chapter VII, Section A).

186

"DER RHEIN"

and supporting of the proportional harmonies and stress relationships in the hymn "Der Rhein", pointed to above. Provocative upon slow reading is the rising and falling, welling and ebbing sound of the verses, coming louder and softer, faster and slower.147 Important also is the way in which the lines of unequal length occupy their respective positions in the poem, and how words of unequal length are distributed among the unequal lines. Two groups of three tables each (Tables X X I X - X X X I and Tables X X X I I - X X X I V ) report on structural properties of the single verse. In the first group—Tables X X I X - X X X I —the T and 'M'curves are based on two self-explanatory properties of the lines. The occurrences of 'I' indicate those none too frequent lines that do not begin with a monosyllable (as for example vs. 189 and vs. 194 in the passage below: 185

190

Und die Flüchtlinge suchen die Heerberg, Die süszen Schlummer die Tapfern, Die Liebenden aber Sind, was sie waren, sie sind Zu Hausze, wo die Blume sich freuet Unschädlicher Gluth und die finsteren Bäume Der Geist umsäuselt, aber die Unversöhnten Sind umgewandelt und eilen Die Hände sich ehe zu reichen, Bevor das freundliche Licht Hinuntergeht und die Nacht kommt.

while the 'M' curve (Table X X X ) points to verses composed entirely, or almost entirely, of monosyllables (vss. 71 f.) : Mit der Beut und wenn in der Eil' Ein Gröszerer ihn nicht zähmt,

or (vs. 117): Wie den Feind schelt' und sich Vater und Kind

The curves for the T and the 'M' verses (Tables X X I X and X X X ) are, then, supplemented by a distribution curve for a third type verse, here 1 4 7 Here more literal meanings of 'tone' will be concentrated on, as speeds and volumes of reading will refer to prosodic matters such as juncture, pitch, sonority, and stress. A discussion of the phenomena of pitch in Hölderlin's poetry may be found to date in Winfried Wild, "Rhythmus, Melos und Klang in der Dichtung: Ein Beitrag zur Interpretationsmethodik" (unpublished Doctoral dissertation, Tübingen, 1959).

"DER RHEIN"

187

called the 'Retard-Stop' verse (indicated in Table XXXI by an 'R'). By virtue of their relative brevity the 'Retard-Stop' verses function as brakes on the tempo of the hymn, at times causing the reading to come to a halt (as vs. 53 here): Denn Wie du anfiengst, wirst du bleiben, So viel auch wirket die Noth, 50 Und die Zucht, das meiste nemlich Vermag die Geburt, Und der Lichtstral, der Dem Neugebornen begegnet.

or, far more frequently, causing it merely to slow down (as vs. 182) :148 180 Da feiern das Brautfest Menschen und Götter, Es feiern die Lebenden all, Und ausgeglichen Ist eine Weile das Schiksaal.

ff we now look at Tables XXIX-XXXI side by side, there comes into view a structural relation between them. Between the 'M' and 'R' curves a thoroughgoing contrary motion is revealed. An imaginary superposition of Tables XXX and XXXI shows a meridian of verses — the seventh and eighth of each stanza — at which the two curves touch and cross (i.e., at Stanzas 4 and 9, between Stanzas 6 and 7, 9 and 10, 14 and 15). Further, the two curves tend to a consistent contrary motion, wherein the 'M' curve fills out the lower half of the graph space (meaning that 'M' verses tend to occur in the second halves of the stanzas of the hymn), while the 'R' curve occupies the upper half of its table (with 'R' verses occurring for the most part in the first halves of stanzas). The 'M' curve begins with a slight downward motion, continues with a vacillation three stanzas in breadth (Triad II); its characteristic two dips and one rise are accomplished within Triads III and IV, and the curve ends with a definitive upward motion. Against this the 'R' curve starts with a rising movement in two stages and ends with a closely corresponding single plunge (Triad I, and stanzas 14-15, respectively), while its characteristic central dip is distributed over three triads (II-IV). The relation between the 'M' and 'R' curves may be expressed in two different ways. In the first

148

This is a genuine 'retard-stop' verse, whereas vs. 53 must be called a 'stop' verse.

188

"DER RHEIN"

equation below we note merely the number of occurrences of each type of verse in each triad : 149 {(X)t, t € T) =

(M2R3+M4R2)+(M3R2+M3R3)+(M3R3).

The second equation records the precise locations of the 'M' and 'R' verses. Here lower case 'a, b, c' indicates the first, second, and third stanzas of each triad, respectively, while the subscript numbers record the verse of occurrence within each stanza (thus for example, 'R a ' before the first plus sign means that an 'R' verse occurs in the fourteenth line of the first stanza of Triad I) :150 {(XX t a T} = (M aob9Cll R anb,c2 +

MajbllC8Ra8b3c0)

+ ( M a o b l 6 C , R a8b0c9 + M a o b laCuRajbjC,) + (Mj^bioCjRaab^u)-

It will be noted in the meantime how the 'I' curve contains within it the composite of the shapes of the 'M' and 'R' curves. A structural summary of the three tables may be given by saying that the 'M' and 'R' curves (Tables XXX and XXXI) display opposition in form, while the 'I' curve (Table XXIX) presents a formal balance of the 'R' and 'M' oppositions. As part of this complementary action as well as in addition to it, it may be seen that against the initial lower motion of the 'I' curve (Triads I and II) and the continuing high positions of it (Triads III and IV), there is a vigorous balancing action. Triad numbers have been used; the 149 Here, as at the summary of stanza types above, a retrograde reading would {yield the equation:

(X)t, t € T} = ( M 3 R 3 + M 3 R 3 ) + ( M 3 R 2 + M 4 R 2 ) + (M 2 R 3 ). = = ( = S) + ( * S) + (xy). 150 If this equation is reexpressed by stanza numbers, with subscript verse numbers indicating the occurrence of 'M' and 'R' verses, respectively, we obtain:

{{X)t, t € T}

= (1 o,i4 + 2 > l 6 + 3 1 1 i 2 ) + (4 4l8 + 5 n , 3 + 6 8>0 ) + (7 0l8 + 8 1 5 l 0 + 9 7 i 9 ) + + (10 0 . 7 + 1 1 1 2 , 4 + 12 1 1 , 9 ) + ( 1 3 1 6 i 3 + 1 4 1 0 , 1 + 15 4 , 1 2 ).

N o w focusing on the distance between 'M' and 'R' verse in any single stanza, we translate (f— far; c = close):

{(X)t, t

6

T)

= (1,2 C 3,) + (4 c 5 ( 6j) + (7,8,9C) + (10,11,12c) + (13,14,15,).

Since distance is an element of design, we may, in contradistinction to results in note 149, speak of an analysis involving 'Form' rather than 'Stoff'. The equation is:

Triads: 'Gesez':

( I + I I ) + ( I I I + I V ) + ( V) =

( ^ F) + ( = F ) + (xy).

189

"DER RHEIN"

remainder of the notation is the same as in the 'R-M' equation above: {(XK t £ T } =

(Ia 14 b 6 o 0 + IIa l 5 b 1 0 c 1 0 ) + ( n i a 1 1 b 2 c 5 + I V a 1 b 2 c 2 ) + (Va 10 b3C 6 ).

Here, too, we may approach the language of the marginal note by listening to the remarkably similar semantic and rhythmic effect of the 'I' and 'R' verses,151 and then by hearing how these are opposed to the 'M' verses, thus: (1) (2) (3)

'R' and 'M': Opposed both in 'Form' and in 'Stoff'; 'R' and 'I': Partly opposed in 'Form', similar in 'Stoff'; 'M' and 'I': Partly opposed in 'Form', opposed in 'Stoff'.

A pattern summary of Tables XXIX-XXXI is possible by position (in this summary the letters 'u, m, d' designate 'up, middle, down' respectively; italicized letter indicates prevailing tendency): TV. I:

I d—u

II d

III d—u

IV u

V u—m

2+2+1 — =

=

R:

d—u

m—u

m

m—u

u—d

— =

^

=

^

M:

m—d

u—m

d— m

m—d

d—u

—

=

=

^

The next group of tables (XXXII-XXXIV) shows the semantic modulus of the Pindaric gnome152 to yield a far more even distribution curve than the moduli of 'I, R, M' verses. The gnomes have a tendency to occur in clusters, and often — especially towards the middle of the hymn — to come at the beginnings of stanzas. Three types of gnome have been distinguished: (1) the abstract gnome (A) (e.g., vs. 46 "Ein Räthsel ist Reinentsprungenes"); (2) the personal (P) (e.g., vs. 203 "Nur hat ein jeder sein Maas"); and (3) the historical (H) (e.g., vs. 61 "Drum ist ein Jauchzen sein Wort").153 151 Although there appears to be no necessary connection between the occurrence of an initial polysyllable in a line of verse and its reduced speed, 'I' and 'R' verses coincide three times in "Der Rhein", at vss. 14, 21, and 221, as against the occurrence of but one 'IM' verse (vs. 194) and one 'MR' verse (vs. 96). See Tables X X I X - X X X I . 152 Cf. Beissner in II, Part II, 731-732; M. B. Benn, Hölderlin and Pindar, pp. 144145; Bach, "Patterns of Syntax . . . " , pp. 106-107. 153 Here, too, as with the 'I, M, R' verses, identification was to a degree by intuition. Selection was by emphasis upon a given element within the gnome; thus, e.g., vs. 203 "Nur hat ein jeder sein Maas" was felt to express a general truth, although this truth seems to be expressed with reference to persons. Likewise, vs. 61 "Drum ist ein Jauchzen sein Wort" is a personal Statement, but couched in the form of a conclusion to an argument, or of an effect attendant on a cause, that argument or cause being represented by the logical substance of vss. 54-60.

190

"DER RHEIN"

Table XXXV brings a summary of the properties of the single verse in "Der Rhein" with reference to line length, word-syllable distribution, and metrical pattern. Each verse in the poem is here represented by a series of numerals in which each numeral represents one word in the verse, while the numerical value stands for the number of syllables the given word contains. Thus vss. 1-4: 1 2 2 1 1, 1 1 2 I m D u n k e l n E p h e u sasz ich, a n der Pforte 1 2 , 2, 1 1 3 2, D e s Waldes, eben, da der goldene Mittag,

1

1

3

,

4

D e n Quell besuchend, h e r u n t e r k a m 1 2 1 4 , Von Treppen des Alpengebirgs,

are shown in Table XXXV as follows: 12211,112 12,2,1132, 113,4 1214, The table is of service in showing that on the level of the words and syllables and the distributional relations between them there is an important contrast, not between 'Form' and 'Stoff', but between two meanings of 'Form'. There are occurrences of pairs of lines similar in syllabic distribution but dissimilar in metrical structure:154 113 118

2 1 2 3 Theilnehmend fühlen ein Andrer, 3 2 1 2 Begrabe unter den T r ü m m e r n ,

154 Since my purpose was to arrive at genuinely quantitative metre on the classical criteria of length by nature of the syllable or by its position, neither Lachmann (Hölderlins Hymnen...) nor Beissner (Hölderlins Übersetzungen...) was accepted as guiding for the experiment below; the metrical cola were arrived at by simple counting and comparison with classical metres. It is at any rate interesting that quantitative and accentual metres can present approximately corresponding syllabic patterns. Thus, for example, Lachmann scans vss. 8 and 10 as follows:

"Geheim noch manches entschieden X, X X, X w V, X X Vernahm ich ohne Vermuthen" (ibid., p. 141).

191

"DER RHEIN"

Verse pairs similar metrically but dissimilar syllabically also occur: 1

3

2

1

22 Im kältesten Abgrund hört' 3 1 2 1 27 Erbarmend die Eltern, doch

A somewhat more frequent third type of pairing, with similarity both in metrical scheme and syllabic structure, tends to balance the two above types of pairings in the poem: 2 1 2 3 8 Geheim noch manches entschieden 2 1 2 3 10 Vernahm ich ohne Vermuthen Also, toward the end of the hymn: 1 2 2 1 2 183 Ist eine Weile das Schiksaal. 1 2 2 1 2 185 Und süszen Schlummer die Tapfern,

The occurrences of the most important pairings throughout the triads might be represented schematically: I = Syll., Metr. = * = =

II

III

82,89

113,118 125 97,133 108,111

53,

113,120 129

25,30 8,

Metr., 22,27 Syll. Metr., 8,10 Syll.

IV

158,171

V

183,185

According to this scheme no inequality pairings occur in Triads IV and V; against this no equality pairing occurs in Triad II, no completed pairing, at least. At this point the validity of the stochastic 'Gesez' seems to end, and the strict process of composition followed to this point is supplanted by a free species. Free divergent and convergent tendencies in the syllabic composition are shown in Table XXXV; passages such

192

"DER RHEIN"

as the following two illustrate abundantly the principle of free stochastic construction:

155

1411 11131, 1112,1 11132 11122,

160

165

111123; 111112 1131, 11111, 1211 1312211, 1312, 31,1412.

Also: 195

131 113,3 312. 1321

200

12111 131123, 112112. 111211. 11112

122 ;1 111

This latter series continues with vs. 205 "12,2211.", taking up a multiplication and new permutation series of the element '2' again. The fact that the passage, vss. 195-204, stops one verse short of the end of a period155 suggests, further, that on the next architectonic level, that of the relation of syllabic structure to period construction, the basic definition of the stochastic process, i.e., that such a process is 'random, yet ordered', again comes into focus. While the methods and consequences of Tables XXXVI-XLV, the Transition Matrices and the Stress Diagrams, are thoroughly discussed 155

That is, at vs. 205 "Das Unglttk, aber schwerer das Gliik" the dissyllabic word occurs at the beginning of the verse once more, that is, in second position as in vs. 200.

"DER RHEIN"

193

in Chapter IV, Section C in connection with the ergodic and Markoff patterns in "Patmos", such tables have been included for this chapter as part of the analysis of stochastic structures. They are meant to demonstrate not only that the Stress Diagram is, after all, the visual abstraction primarily of the stochastic process,156 but also that transition and stress enter an analysis of "Der Rhein" organically, that is, as part of the poet's own minute and rigorous compositional techniques. Two demonstrations of stochastic structure — one based on Tables XXXVI-XXXIX, the other on Tables XL-XLY — will conclude the analysis in this chapter. One of the most important properties of the forms recorded in Table XXXVI, the gnomic compounds and the important adjectival and adverbial formations, is their singular sparsity in "Der Rhein". Against twenty-four genuine gnomic compounds in "Friedensfeier" 157 and eighteen in "Patmos", 158 "Der Rhein" shows only thirteen such forms (vss. 5, 33, 46, 53, 75, 85, 113, 122, 130, 141, 151, 164, 174) along with twenty other important adjectival and adverbial elements — a total of not more than thirty-four forms. The distances between these words, counted in verses, can be thought, therefore, to be an eminently audible and thus important feature. First we record the number of forms to be found in each triad: Triad Number of Forms I II III IV V

2,4 2 , 3 , ,2 2,3 4,3 5,4

= = = = =

6 7 5 7 9.

Frequency Order Ascending (acute) Circumflex (slight) Ascending (slight) Descending (slight) Descending (slight)

Fig. 29. — Inventory of Modifier Forms per Triad, Table XXXVI. 159

In either regular or retrograde order, this pattern presents asymmetrical, defective balance. The distances in number of verses between forms may next be noted. In keeping with the way in which we listen in the poem for the recurrence of similar forms or features,160 a distance and an expectation of distance is associated with each form. When a form is 156

Doob, p. v: "A stochastic process is the mathematical abstraction of an empirical process whose development is governed by probabilistic laws." 157 Vss. 2, 3, 4, 5, 6, 7, 18, 19, 41, 47, 50, 57, 59, 60, 71, 73, 90, 103, 118, 135, 137, 145, 153, 156. For the definition of'gnomic compound' see Chapter II, Section D. 158 Vss. 8, 28, 35, 42, 45, 52, 58, 74, 78, 83, 93, 103, 104, 110, 111, 114, 131, 194. 159 The numbers appearing on the left side of each equation (Column 2) correspond to the number of forms in each triad according to the segmentation procedure of Table XXXVII. 160 Cf. Chapter IV, Section C, and Chapter VI, Section A.

194

"DER RHEIN"

encountered after a certain distance, that combination of factors again engenders the expectation of a new distance as well as of a new form. Verse numbers and distances are both indicated: Triad Form vss. I

Distance No. vss.

5 15 20 13 33 3 36 2 38 7 45 1 46*

II

46 7 53 14 67 74 75

7 1 3

78 7 85 102 III

17

102 11

113 9 122

8 130 3 133 7 140

•'DER RHEIN" Triad Form vss. IV

195 Distance No. vss.

140 1 141 7 148 1 149 2 151 13 164 174

10 8

182 V

182 7 189 1 190

1

191 8 199 18

217 217

0 3

220 1 221 a

Verse in triad following. Fig. 30. — Summary of Distances between Forms, Table XXXVI. 161

Now considering the distances only, we may arrive at the gross prediction pattern for the above forms throughout the poem by transcribing the distance values into capital letter notation. The letter 'A' in this

161

Cf. the transition measurement for verse lengths in "Mnemosyne", Chapter V, Section B.

196

"DER RHEIN"

notation will stand for values 1 through 6; 'B' for values 7 through 10; 'C' for 11 and above : Triad I II III IV V

Pattern

Pattern Form

CCAABA BCBAABC CBBAB ABAACBB BAABCAAA

AABBCB ABACCAB ABBCB ABAACBB ABBACBBB

Fig. 31. — Prediction Pattern for Gnomic and Other Forms, Table XXXVI. 162

If now, contrary to the segmentation procedure in Table XXXVII, we distinguish at Column 1 only between gnomic ('A') and non-gnomic ('B') forms, we may obtain a prediction pattern with reference to these form types as well: Triad

Pattern

Distribution 'A'

I II III IV V Fig. 32. XXXVI.

ABABBB AABBABA BAAAB BABBAAA BBBBBBBBB

'B' 4 3 2 3 9

2

4 3 4 0

Binary Prediction Pattern for Gnomic and Non-Gnomic Forms, Table

In retrograde this reads: Triad

Distribution 'A' 'B'

'Gesez'

('Form')

V

0

9

. . . Opposed

IV III

4 3

3 2

. . . Similar . . . Similar

II I

4 2

3 4

. . . Similar . . . Even

Frequency Difference

Fig. 33. — Binary Prediction Pattern Showing Formal 'Gesez'. 162

Opposed 'Form' Same 'Form' Medial 'Form' 163

For similar generalized structural treatment see above, note 150. Cf. treatment of monosyllabic and polysyllabic words in "Mnemosyne" (M*), Chapter V, Section B. 163

197

"DER RHEIN"

In the last group of tables in this chapter (Tables XL-XLV), the eightyfive verses ending on the cola — ^ /—& may likewise be examined from the point of view of frequency distribution. Two degrees of refinement will here assume the role of one material and one formal criterion: as 'Stoff' will be treated the total population of Adonic verse-ending cola 164 in each triad, while the frequency of such verses in each stanza will be considered the element of 'Form'. In point of stanzaic arrangment, then, we have: Triad

Distribution

I

6, 5, 3

II III

4, 5, 6 9, 8, 6

IV V

6, 5, 4 9, 6, 2

('Stoff')

Frequency Pattern

('Form') 'Gesez'

'Gesez' Descending, Medial

.. Opposed

Same Ascending, Medial Descending, Medial .

Opposed

,. Same Descending, Slight Descending, Acute

Even

. Even

Fig. 34. — Summary of 'Gesez' by Distribution of Metrical Feature, Tables XL-XLV. Triad

Forms

Totals

+ 3 =

14 verses

II III

4 + 5 + 6 = 9 + 8 + 6 =

15 verses 23 verses

IV V

6 + 5 + 4 9 + 6 + 2

15 verses 17 verses

I

6 + 5

= =

'Gesez'

. . . Similar 'Stoff' . . . Opposed 'Stoff' . . . Even

Fig. 35. — Summary of Material 'Gesez' by Totals per Triad, Tables XL-XLV.

An averaging process shows that the frequency figure for Triad V — 17 verses — presents perfect balance to Triads I—II and Triads III-IV: I and II: 14+15 III and IV: 23 +15 Average per two triads Average per triad Frequency, Triad V

= 29 verses = 38 verses = 34 verses = 17 verses. But it will be recalled that = 1 7 verses.

164 The Adonic is identified in classical metrics as a separate line of verse, and is "best known as the fourth line of the Sapphic strophe" (W. Bennett, German Verse in Classical Metres [Anglica Germanica, No. 5; The Hague, Mouton & Co., 1963], p. 105).

198

"DER RHEIN"

Thus ideal balance is displayed, on the level of the individual feature in the poem, by the frequency distribution of the Adonic verse ending rather than by the distribution of gnomic and related forms.165 From the above analysis of Hölderlin's fully conscious poetic practice in "Der Rhein", one of two conclusions may be drawn. Either we must say that modern communication theory speaks, in essence, the language of the "Verfahrungsweise" fragment and the related marginal note, or that Hölderlin had sufficient background in mathematics and philosophy to be able to prefigure in his creative thought some recent concepts in aesthetics. Both are probably correct, as will also be further suggested, with reference to subsequent late poetry, in the remaining analytical chapters.

1 6 6 Comparable imbalance against balance is shown for the elegies examined in Chapter VI. Of the six-stanza poems, "Stutgard" showed the formative capability, while "Heimkunft" displayed perfect balance (Table CXIII); of the nine-stanza pieces "Menons Klagen um Diotima" was seen as the beginning performance and "Brod und Wein" exhibited formal mastery (Table CXII). On the level of the stress diagrams in the present chapter, the two for the gnomic compounds (Tables X X X V I I I - X X X I X ) best illustrate the principle of stochastic harmony. The 'O'-diagram of Table X X X V I I I begins with a number of narrow, limited movements and ends with large fluctuations, both vertical and horizontal, whereas the 'o'-diagram (Table X X X I X ) begins with large fluctuations and ends in limited movement. Thus the very distribution of structural significance among the levels of the hymn on the one hand and the levels of examining the hymn on the other is seen to speak the language of the 'harmonischentgegengesetzt' relationship.

IV "PATMOS"

This chapter, which contains a structural analysis of Holderlin's late hymn "Patmos, Dem Landgrafen von Homburg", again proceeds, as did Chapter III, in three sections: (1) a textcritical section, entitled simply "The Text" ; here a text passage important for later analysis is established, (2) a commentary on previous studies concerned with the analysis of structure in "Patmos", (3) the analysis proper. By analytical levels the three sections share the work as follows : Section A, Level 1 ; Section B, Levels 2-3; Section C, Levels 4-6. The significance of the levels is explained in Chapter II, Section D. A. THE TEXT

The steps followed in the textcritical determination of the passage to be analyzed at Level 4 in Section C are in essence the same as those followed for this purpose in Chapter III, Section A. For convenience they are here briefly summarized: (1) a photographic enlargement of the area in the manuscript showing the passage to be examined, (2) a diplomatic transcription, or 'typed facsimile', of the manuscript area, preserving the spatial relations of the manuscript page to a maximum possible extent, (3) all pertinent previous readings by editors, brought in chronological sequence, (4) my reading of the manuscript area, (5) a set of chronologically arranged, discrete text solutions corresponding to my reading and provided with the same entry markings. As explained in Chapter III also, the manuscript sigla and the 'staircase' method of constructing the critical apparatus follow the practice established by Friedrich Beissner in the Grosse Stuttgarter Ausgabe.1 1

1 , Part II, 318-321 (cf. above, Chapter III, note 2). A more complete version of the present investigation of the genesis of "Patmos", vss. 117-120 will be found in PMLA, LXXX, 126-130, and Plates I, II. See especially the detailed textual notes (pp. 128129), and discrete solution X (p. 130), lacking below. 199

200

"PATMOS"

Where my reading has to dispense with Beissner's method of line by line presentation of the variants, with the consequence that some closing variants and lemmata must be introduced by new entry numerals and letters, I continue Beissner's (1), (a), (a) system with my own (A), (I), (i). In the discrete text solutions that correspond to my reading, Roman numerals were used to mark the successive solutions based on the manuscript, while the final text passage, or fair copy — included for comparison — is indicated by the initial letter of the title of the hymn treated and subscript number (P,; see also Appendix B, List of Abbreviations). The passage to be treated below corresponds to "Patmos" (P t , P 2 ), vss. 117 to 120. The complete text of "Patmos" (P,) follows this section. 1. Photograph The manuscript area shown in the photographic enlargement, Figure 36, is from the top third of page 24 of the "Homburger Folioheft" (Homburg F 24). It shows the manuscript area approximately actual size. 2. Diplomatic Transcription In the transcription of the manuscript area appearing below, the pure and complete 'Schriftbild' is reproduced. The vertical and horizontal spatial relations between lines, words, and individual letters, reflected in the photograph of the area (Fig. 36), have been preserved here as much as the exigencies of type permit. Words and letters canceled in the manuscript are. here enclosed within square brackets. bewahren Zu wohnen in liebender Nacht und zu halten tigen Augen In einfäl Einfältigen Sins unverwandt» ^ Und autchief Zu- schätz« Abgründe der Weisheit. Zwar [Und auch] im Dunkel leuchten Es leuchten auch im Dunkel blühende [Bl] Bilder. An Und tief

den

Bergen grünen auch lenbendigen Bi

A curved line, to all evidence in the poet's hand, connects the end of 'unverwandt' (second line, middle) with the beginning of 'Abgründe' (third line, left middle). The combination 'autchief' (insertion above third line, extreme right) is to be read as the partially overlapping words 'auch tief'. For 'lenbendigen' (bottom line, right) read .'lebendige

"PATMOS"

201

o.

o

3 •O

E

o M

o

E

¥

OH

and R' at the bottom of the columns in Table LXXXVIII show complete entropy, relative entropy, and redundancy data for the first time in the study. In the present chapter the partial analyses are placed on a rigorous mathematical basis, in preparation for the comparison of early poems with Late Hymns (e.g., as in Tables XCV-XCVII). For the method of calculation see Chapter II, Section B, and Youngblood, Journal of Music Theory, II, 28. 23 See above, Chapter III, Section C.

POEMS OTHER THAN LATE HYMNS

317

to perceive similarities and contrasts between this poem and the late hymn whose punctuation was examined in Chapter V above, "Mnemosyne". 24 For such study the segmentation tables were seen to be of an especial relevance, owing to their general brevity and directness. The Segmentation Equivalents in this chapter were so compact that they in effect made stress diagram reduction unnecessary. 25 Even a brief glance at the Segmentation Equivalent to Table XCIII is capable of revealing reliably the stress properties of a hypothetical diagram at Level 6 {i.e., the level of the Stress Equivalent). 26 If we proceed to follow with the eye the most highly articulate confirmations one arm at a time, 27 going from left to right, we may perceive an almost disturbing sense of a pervasive lack of movement. Taking first the confirmed event segments encircled by unbroken lines, we proceed from Segment 1, Column 2 'ABCC' to 2.2 'ABBCC' to 3.2 'ABCCC', then we skip from Column 2 to Column 1, to 4.1 'AB\ only to repeat the nonfluctuating performance for Segments 4 through 6. The only significant fluctuation in the design of the left arm occurs from Segment 6 to Segment 7 — a jump of five columns — only to be brought back an equal distance to the left at the next step (Segment 7, Column 6 'AABAA' to 8.1 'AABA'). The pattern of groupings is, thus, (3, 3, 1, l). 28 Equally uninteresting from the immediate point of view of design 29 is the right arm of the process, beginning with Segment 1, Column 12 'ABCC' and continuing, by the method described above, to 8.12 'AABA', resulting in the grouping pattern (1, 2, 3, 2).30 Granting that, as in previous chapters, extreme confirmations of segments are to be understood as connected, 31 we can even at the stage of Table XCIV sense the reason for the radical difference between the design potential of an early rhymed hymn and that of a late hymn. The 24

Pages 308-311 and Tables LXXXII-LXXXIII. That is, all segments contained few enough events to permit of immediate visual perspective. This is not true of Tables LIX-LX (Chapter IV), where some event segments contain as many as eleven events. !e For explanation regarding the mechanism of the matrix see Chapter IV, Section C. 27 'Arm' here means one set of connected lines in the diagram, that is, the line from Segment 1, Column 2 to 8.1 in Table XCIII. 28 This is another effective way of organizing our view of the stress diagram reductions (e.g., Tables LXI-LXIV). The present fluctuation pattern may also be expressed in terms of leaps between columns, thus: (0, 0, 1 , 0 , 0, 5, 5). 29 'Uninteresting' is not meant as a pejorative designation here. This objective qualifier is merely in keeping with the view, taken in this study, that also negative results are results. See the introductory remarks on this principle in Chapter II, Section A. 30 The horizontal fluctuation pattern here is expressible as (4, 0, 3, 0, 0, 1, 0). 31 See especially Chapter IV, Section C. !6

318

POEMS OTHER THAN LATE HYMNS

eight rows of partial columns comprising the Segmentation Equivalent to Table XCIII are replete with pairs of mutually confirming event segments. That is to say they are, to use the word in its immediate connotation, of a high degree of redundancy. In Segment 5 alone, eleven of the twelve three-event sets are confirmed.32 While the fact of confirmation on the elementary level of three-event segments33 may not be important, the fact to which the general condition of which Segment 5 is but an instance points, is important indeed. That is the fact of the necessity of the comparative measure of entropies and redundancies with respect to the explored modulus, even if for only a significant portion of the poems being compared. Such a comparative measurement is performed for the nouns in "Patmos" and in "Hymne an die Schönheit" in Tables XCV through XCVI below. One column, one segment, and one stanza were measured with rigid control, keeping criteria and lengths identical for the two measurement sets. In the concluding measurement, Table XCVII, this control was suspended in favor of a random measurement involving a through-measured feature (i.e., every noun and nominal form in "Patmos") as against the corresponding but intermittent feature (the two most important nouns in each stanza of "Hymne an die Schönheit"). 34 Table XCVII thus brings a remote gross measurement of the relation of averages between stanza groups. The entropies obtained there — 99.7 per cent for "Patmos" and 63.5 per cent for "Hymne an die Schönheit" — while giving, in a sense, an indication of the relative redundancies and degrees of informedness of segments, tell us first and foremost about the comparative evenness of the spread of the two sets of relative nonconfirmation averages. The set for "Patmos", 35 including six of seven averages repeated in two sets of three each,36 is over 50 per cent more informed than the "Hymne an die Schönheit" set of averages, which latter contains only four repetitions of seven, in sets of two each (pattern 'ABCDEAE').

32

That is, eleven of the twelve patterns are either of form 'ABB' or of form 'ABC' with only Column 10 showing a third pattern ('AAA'). This represents an elementary and literal method of viewing the concept of redundancy, and is to be confirmed later on the level of the rigorous concept. 33 Cf. Coons and Kraehenbuehl again on prediction, similarity, and dissimilarity in Journal of Music Theory, II, 130-132. 34 The nouns were selected by a criterion of semantic focusing, that is, in an effort to answer the question: "Which two nouns in each stanza symbolize most adequately the central figure, or idea, of the stanza?" The selection was also tactical in the sense that each noun represents one-half of one stanza. (See also Tables XCI-XCII.) 35 Obtained from Table LIX. 36 So that the set of averages may be symbolized by the pattern 'ABCABAB'.

POEMS OTHER THAN LATE HYMNS

319

The results of the disjunct measurement in Table XCVII served as an effective check against the measurements obtained in Tables XCV through XCVI.37 2. Three Versions of a 'Diotima' Poem (1796-1797) While the analysis of the aforegoing three separate poems was meant for structures within a dimension of essential similarity, the present discussion will focus on one poem whose three versions exhibit in important ways divergence and individual completeness.38 In a sense no late hymn or earlier poem here considered goes about its revisions in a more startlingly original way. If there is such a thing at all as labeling methods of revision, then we might name the method of 'Diotima' one of 'revision by place', or more specifically as regards the arithmetically demonstrable results, revision by 'proportional displacement'. Not that any of the proportions throughout the three drafts of the composition are of a persistent nature, but that, with this rhymed 'Diotima', there is a tendency on Hölderlin's part to pull the writing together into a terse final version, and to do so by the arrangement and rearrangement in random patterns of blocks of text, large and small. The result is a set of structural relations rudimentarily suggestive of the proportional harmony discovered in "Der Rhein".39 A complete schematization of the revision is brought in Figure 59 below.40 37 The disjunct measurement was performed with the view that control of and in itself is not necessarily desirable, and that the removal of controlled laboratory conditions may in itself be viewed as an element of control. The test between "Patmos" and "Hymne an die Schönheit", described above, has, of course, significant shortcomings as well as nonsignificant ones. I suspect that one significant shortcoming of the test is that the measurement on the basis of approximately one-fifth of the available data for one poem as against the basis of all the data for the other tells us nothing about the relation of possible entropy figures in a situation where all the data might have been subjected to the test. Cf. Emmon Bach, "Patterns of Syntax . . . " , Fig. 1 (p. 24), where sentence length in number of words is measured in Hölderlin's letters on the basis of samples from letters as against the basis of complete texts. 38 Cf. the fine account of the process of revision by Lehmann, pp. 87-88. Lehmann feels that in the third version Hölderlin has sacrificed "die liebsten Wendungen und die ganze ihm eigene Form des so persönlichen Bekenntnisgedichtes . . . " (ibid., p. 88). While I cannot interpret this statement to mean that D 3 is an inferior product, I do agree that the form and tone of the final version assure a certain individuality for the first two versions as well. 39 Only with considerably less system. The relation of a formative work to a work in its genre that exhibits formal perfection we shall also see in the treatment of the Elegies (Section B, this chapter). 40 Simple reference listing was the sole object of this notation, with sudden switch from, e.g., Greek letters to Roman numerals highlighting nothing more than a sudden change of text.

POEMS OTHER THAN LATE HYMNS

St. 1

Dj

A

St. 1

B

2

C

2

E

3

F 4

G :a b

4

H :cd 5

I : ef

K : ij

M :m n

7

N :o p 8

O:q r P:

9

Q: R

E

F 2

ad' (I) : e f'

H :cd

(J) : g'h'

I :ef

3

i'n'

4

Q a'

P

III 5

Ö

Ò

Empf."

Phan.

V

a

y

Leid.

II

(O) : r'q'

Q

Phan.

N'

i'n'

ß 9

Empf.

G :a b

R 8

"Styl'"

I E

N' 6

D3

B

5

L :k1 7

1

(J) : g'h'

J: gh 6

A

F

D

3

St.

d2

IV 6

V VI VII

Leid.

321

POEMS OTHER THAN LATE HYMNS St.

DJ

St.

D2

10

S

10

e

jc

11

u

11

V 12

W

Y

12

AA

13

CC DD

Empf.

Y

A'

AA

VIII

DD

e 1

14

x A

BB 15

7

"Styl"

V

Z 14

D3

BB

X 13

St.

15

fi

V

Notes: a Only the tones of 'Wirkung' a r e indicated (after IV, P a r t I, 271). b Caesura in the tone row indicated by the end of a line (IV, P a r t I, 272, line 3). c Beginning of a portion of missing text (I, Part I, 214; vss. 78-96). Fig. 59. — Comparative Scheme f o r the Three Versions of 'Diotima'.

If we read on the page reserved for 'Events' and 'Constructs' of the analysis at Level 4 (page 589, below), we will find that these structural units were, as in previous chapters, so selected as to let the 'Events' represent the variant readings, and the 'Constructs' the text portions of unaltered recurrence throughout the three versions.41 In this way Con41

As in the analytical chapters with the exception of Chapter III, where for reasons having t o d o with the analysis there, these relations are reversed.

322

POEMS OTHER THAN LATE HYMNS

struct a 'anders' and Construct b 'Bäumen' occur in the three versions through D3)42 in their literally identical shapes.43 The three 'Event' items, however (three each under the letter designations 'x', 'y', and 'z'), were those extremely rare instances of corresponding through-revisions throughout the three 'Fassungen' (e.g., D l 5 vs. 40 'Säuselte'; D 2 , vs. 32 'Diotimas'; D 3 , vs. 24 'Göttliche': Events y t , y2, y3, respectively). This fact is important, not only for our attempt to point out that even 'Diotima' is a part of Hölderlin's larger text revision technique, but also for the displacement revision point of view, in that the variant readings serve as excellent aids to an illustration of the latter. The Events function as markers of the arithmetical differences, measured in numbers of lines. Such arithmetical differences play an important part in approximately the first 25 per cent of each version. A constant difference between Construct a and Event x15 then between Construct a and Event x2, of 15 lines, undergoes adjustment at a : x3 (D3), where, perhaps because of the increased stanza lengths,44 the difference is reduced to 11 lines. This may be seen again (and with perhaps an even stronger plea of structural relevance) at the transition between Construct b and Events zv z2, z3, where a difference of 33 lines between Construct b and Event zv already reduced at b : z2 to 25 lines, is nonetheless made to undergo another reduction, again by 4 lines. In opposition to this trend, the distances between Events z^-Zg and Construct c — which latter, it will be recalled, consists of three verbs chosen from the latter portions of the three versions — increase rather than decrease in going from D 2 to D 3 (c : zv 4 lines; c : Zg, 8 lines; c : z3, 10 lines). This reversal accounts in part for the fact of decrease in distance at a decreasing rate between c : y2 and c : y3, leaving a mere two-line difference in distances instead of the usual four. A similar degree of consistency is demonstrable for line distances among Constructs or among Events alone. The distances in numbers of lines described above were accounted for at the analysis with the stochastic charts (Level 4). The modulus, as for 42 The notation D, will here be used to mean "Diotima, Bruchstücke einer älteren Fassung" (I, Part I, 212-215); D 2 , "Diotima, Mittlere Fassung" (I, Part I, 216-219); D 3 , "Diotima, Jüngere Fassung" (I, Part I, 220-222). For all sigla used in this chapter, see also the List of Abbreviations, Appendix B. 43 See Table XCVIII. Toward the end of the poem, where, especially in D 3 , there occurs either completely new material or material that refers only to D t or to D 2 , but not to both, three different Construct items had to be selected (D 1 ; vs. 76 'wankt'; D 2 , VS. 60 'blüht'; D 3 , vs. 50 'wechselt'). These instances of Construct c are no longer a part of the up to then rigid scheme of premensural Event-Construct correlations. 44 In contrast to D j and D 2 , with stanzas each eight lines long, D 3 contains twelveline stanzas.

POEMS OTHER THAN LATE HYMNS

323

the Late Hymns so treated, was again a complex one. As the basis for the individual predication, the product of distance in number of lines times the quotient of number of syllables in Construct over number of syllables in Event was taken. 45 Three factors are assumed to figure, then, in the reader's experience of any Construct-Event correlation. They are (1) the distance between the Construct and the Event; this, as at b : x l5 may be as little as 3 lines, or, as at a : zv over 50 lines, (2) the length in number of syllables of the Construct, (3) the length in number of syllables of the Event. As at the analysis of variant readings for the Late Hymns, the arithmetical relation of these quantities had to be determined.46 While it might well be argued that any number of operational relations could have been postulated, there is nonetheless an excellent reason for our decision in favor of the modulus described above. The question it broaches is the relation of the listener's experience of distance between outstanding passages in the poem to his experience of the form — pattern, here specifically length — of those passages. If the given poem is a late hymn, with lines of irregular lengths, say like "Mnemosyne", then line lengths could themselves be of such primary importance for structure that there would be very little the reader could do to ignore the fact acoustically.47 But if the poem is rhymed, with short lines, like "Diotima", then we may indeed entertain a suspicion that other features, such as individual words or sounds, might take precedence, in point of structural import, over the regular and one hundred per cent predictable flow of trochees and 'a : b : a : b' rhymes.48 It may be said that our measurement here involves two messages, both having to do with the memory of a set (each set based on a different alphabet). Part of the alphabet of one set is the particular distance in number of lines; part of the alphabet, or set of symbols, of the other is 45 For example, for the predication "Construct a is to Event 'Xj'" we took the distance in number of lines — 15 — and multiplied it by the ratio 2/2, which latter was obtained by dividing the number of syllables in the Construct by the number of syllables in the Event. The expression obtained, 15X2/2, is, then, equivalent to the first entry in the lattice for Table XCVIII. 46 On arithmetical relations of quantities as abstractions of relations between textual features see A. A. Hill, PMLA, LXX, 968-978. 47 See the analysis of line lengths in Chapter V, Section B. 48 It might be said that in the course of a reading of D 3 , with an ear to metre and rhyme, redundancy approaches 1 as entropy approaches zero. But listening to the sound of the lines in MiJ, which are irregular, may well involve an observation of the entropy of a relatively highly informed and articulate set. The measurement, for purposes of comparison, between D 3 and M^ would, then, refer to different structural features in each poem and would to that extent be disjunct. On disjunct measurement see this chapter, note 37.

324

POEMS OTHER THAN LATE HYMNS

the length of the encountered word. The reader's set is on the structure of the symbols he encounters, that is, on the given word and its length rather than on distances between these symbols.49 He strives to connect the two encountered words and to bridge the distance between them. The question of how to reduce the feeling of distance may not even seem worth asking when the distance is only three lines (e.g., b : x x ); it becomes vitally important analytically when we wish to measure our experience of two words over fifty lines apart (a: Zj). The effort of the reader's memory to grasp the two events50 in a single act of hearing and its inevitable tendency to failure at the attempt is best characterized by our calling them two conflicting messages. Now it will be recalled that when two messages conflict, then by definition either may act as the message proper, while the other acts as a noise source on it. Since the acoustic effect of two distant words is eminently expressible as a distance overcome or not, we may call this distance the message, upon which the word length ratio will be capable of acting as a noise source.51 Whether or not the ratio, expressed as a fraction, will so act, will of course depend on its composition. If the two words being listened to are of equal length, no change 2 will take place in the effect of distance, since — X 1 5 = 15.52 If the numerator of the fraction is larger than its denominator, the assumption the substitution instance of the modulus formula will represent is that the feeling of distance will be increased

- X l 5 = 30). Common sense

tells us that this assumption is correct, since, all other factors left equal, if the second encountered word is shorter than the first it cannot hope 49

This is an assumption of the measurement here, or, a 'given' of the operation. For a discussion of the dependence of a mathematical ordering of aesthetic experience on the psychological meaning of order see Birkhoff, pp. 10-13. 50 Cf. above, Chapter II, note 49. 51 For a definition of 'noise' see again Chapter II, Section B; also, Shannon and Weaver, pp. 34-42. 62 It is an assumption of the present operation that the relation of the words to each other — in point of length — helps the reader to hear the words in question better, as long as it is true that the second word is longer than the first. To that extent length overcomes the feeling of distance between the two given words. But this is equivalent to saying that the relation of word 'A' to word 'B' is a message in conflict with another message, namely the distance between the two words. Thus when the relation of the two messages is set up as a product, the half which is the ratio will influence arithmetically the half expressed as an integer. The relation between the two halves of the product (i.e., between multiplicand and multiplier) may, further, be qualified as the relation between difference and genus, since 2/2X15 is surely some kind of 15. Implicitly, noise plays a role in the operations in Chapter III also (Level 4, Section Q .

POEMS OTHER THAN LATE HYMNS

325

to have as good a chance of being heard, and of thus forming a reinforcement to the memory. It can happen that the second word is not heard at all, in which case, at the point where the word should have been heard, line distance is increased to infinity and uncertainty is increased to l. 53 But if the second word is longer than the first (e.g., a : x2, then the effect of distance decreases

- X15 = 101. This, too, is perfectly

understandable. The longer, more recent, event will push, as it were, toward the less recent word, closing to a degree the gap between them. The message of length in lines is to that extent noised and canceled by the message of length in syllables.54 The results of a series of judgments based on these calculations are presented in Table XCVIII, with indices for noise and reduced information loads indicated for none of the predications. These latter measurements would again suggest that the individual gross concept has a meaningful connection with the rigorous application of the latter.55 Among Hölderlin's theoretical writings of the Homburg period, at the end of his essay fragment, "Über den Unterschied der Dichtarten",5® there is a rather voluminous tabulation involving category terms for various possible psychologistic effects attendant upon the reading of poems of the different genres.57 Although the effect terms are limited to three — 'Empfindung', 'Leidenschaft', 'Phantasie' — we can see, by virtue of the permutations and combinations these three terms undergo, the poet's intent with them. They were meant to illustrate and in a sense even judge, within the confines of a metalanguage that Hölderlin inherited from German Idealism and adapted to his own purposes,58 a certain range of effect attendant upon the reading of a poem. After an entry on 'Idealisches Gedicht', whose 'Grundton' is 'Energisch', whose 'Sprache' involves the tone row59 "Phantasie Empfindung Leidenschaft 53 This is equivalent to saying that the observed occurrence of any word at the given point would generate an instance of complete information. Cf. Coons and Kraehenbuehl, Journal of Music Theory, II, 148. 54 According to the formula in Shannon and Weaver, pp. 35-36. 55 Inasmuch as it is a (token) indication that at the given concept predication, the corresponding amount, property, or medium (i.e., amount of noise, property of informedness, medium of noiseless channel) should be a mathematically demonstrable instance of structural reality. See the more detailed explanation in Chapter II, Section B. 56 IV, Part I, 266-272. 57 IV, Part I, 271; cf. below, Table II. 58 Hölderlin's debt in this respect especially to Fichte is summarized in Ryan, Hölderlins Lehre..., p. 95, n. 57; cf. Chapter I, Section B. 59 Cf. Meta Corssen, who at a corresponding place speaks of a "Reihe der Wirkung" (.Hölderlin-Jahrbuch, V, 21).

326

POEMS OTHER THAN LATE HYMNS

Phantasie / Empfindung Leidenschaft Phantasie (vermittelst der Leidenschaft)"60 and whose 'Wirkung' is governed by the row "Empfindung Leidenschaft Phantasie Empfindung [ Leidenschaft Phantasie Empfindung . . . (vermittelst der Empfindung)",61 the table concludes: Empfindung Phantasie Leidenschaft Empfindung Phantasie Leidenschaft Empfindung. Styl des Lieds Diotima.62 If, as Beissner points out,63 this is none other than our rhymed sevenstanza "Diotima, Jüngere Fassung" (D3) — and there could hardly be any other poem written before the essay that answers to the above description in so complete a way — then, as with the marginal note to "Der Rhein", we have with this table an instance of the poet's theoretical exegesis of his own work.64 Since we are throughout this study asking about the poet's theory consciousness, especially with reference to the way he wrote and what he wrote, we may also ask whether, for this early stage, Hölderlin's note may not provide the analysis with clues as to the tone structure of at least one of the first two versions (D„ D2) as well. Furthermore, based on this tone structure, it might be possible to enter into a comparison of the structures of the final version of the rhymed Frankfurt poem and of a late hymn, here "Der Rhein".65 Again, as with "Hymne an die Schönheit" and "Patmos", Tables XCV through XCVII, reasonably similar lengths for the two works seemed important; for this reason the middle version (D2) was included in the comparison. In Figure 60 below, the tones of the 'Mittlere Fassung' are derived from the tones of the final version (this latter quoted in Figure 59),66 while Table 60

IV, Part I, 271, lines 24-27. IV, Part I, 271, line 28 to 272, line 2. 62 I V , Part I, 272, lines 3-5. 63 IV, Part 1,415, lines 16-19. Cf. Corssen, Hölderlin-Jahrbuch, V (1951), 22; Ryan, Hölderlins Lehre..., pp. 141-142. 64 Cf. Emmon Bach, "Patterns of S y n t a x . . . " , p. 98, n. 1. 65 This comparison, meaningful and desirable in a descriptive sense, will not be meant as part of demonstration that "Diotima" is the product of a well balanced 'middle period' (i.e., before Homburg), as the time at Hauptwil, where "Der Rhein" was begun, was a comparatively happy and balanced period after 1800. At the very most it might be said that this similarity of settings is a larger assumption that has led to the idea of performing the comparison. Cf. Michel, Das Leben..., pp. 180-185, 437-446. 66 For an excellent analysis from one semantic point of view of "Das 'Lied Diotima'" cf. Gaier, pp. 242-248. 61

POEMS OTHER THAN LATE HYMNS

D2

D3 Stanza

Tone'

1

naive

2

idealistic

3

heroic

4

naive b

5

idealistic

6

heroic

7

naive

327

Stanza

Tone*

1 2

naive

3 4

idealistic

5 6

heroic

7 8

naive idealistic1*

9 10 11

heroic

12 13

naive

14 15

idealistic

Notes: 'Wirkung' only. b Caesura in tone row. 1

Fig. 60. — The Tones of "Diotima, Mittlere Fassung" Derived from the Tones of "Diotima, Jüngere Fassung".

XCIX shows the comparison and sharp contrast, with respect to tone structures, between "Diotima, Mittlere Fassung", "Diotima, Jüngere Fassung", and "Der Rhein".67 In this table, only the tones of 'Wirkung' are shown. B. HOMBURG AND AFTER (1798-1803)68

1. Three Revisions of Odes (1800-1803) With the beginning of the writing of the Late Odes,69 Hölderlin's lyric writing outside the Late Hymns may be said to be entering that phase of close and strictured proximity with the 'Rhein-Stufe' (see Chapter III, 67 For a collation of the terms 'naiv', 'heroisch', 'idealisch' with synonyms Hölderlin uses in the essay fragment "Über den Unterschied der Dichtarten", see Table II.

328

POEMS OTHER THAN LATE HYMNS

Section B) to which Peter Szondi refers when he makes for the Late Hymns the terminological distinction of an 'innere Chronologie'.70 Because of this proximity, comparison and contrasting in technique between hymn and not-hymn can no longer be performed with the preanalytical attitudes of a pure chronology. For the production of the time before Homburg, even for the third version of "Diotima", it was possible to ascribe deficiency in form and lack of aesthetic sophistication to Holderlin's youth and friendships, to his literal preoccupation with pseudo-philosophic subjects for poetry, to his admiration for and only mildly critical acceptance of Schiller.71 Judgments of this comparatively relaxed genre will be indefensible for the Odes and Elegies. The high degree of compression of the entire canon of Holderlin's post-Homburg writing makes an examination of interactions between Ode, Elegy, and Hymn imperative. It would have to be asked, among other questions, whether or not it is possible for an Ode or Elegy to have emerged enriched from contact with the Hymns, where the converse of this result was not necessarily the case.72 The two versions of "Der Abschied" were, to all available evidence, written in Stuttgart in the summer of 1800.73 Outside the fact that this nine-stanza ode is a direct continuation of the one-stanza epigrammatic ode "Die Liebenden" (see above note 68), the two versions as printed in Volume II, Part I of the Grosse Stuttgarter Ausgabe hardly deserve the designation, as they are a page of fair copy with extremely sparing penciled-in corrections, on whose basis then Beissner distinguishes

68 The date 1798 is called for by the fact that the epigrammatic ode "Die Liebenden" (I, Part I, 249), sent to Neuffer by August, 1798 (I, Part II, 556), forms Holderlin's first attempt toward the ode "Der Abschied" (see note 74). 69 By the term "Late Odes" I will here mean the odes written after 1800 and printed in Volume II of the Grosse Stuttgarter Ausgabe (II, Part I, 3-68). 70 "Dass Hölderlin in den Jahren 1801 und 1802 nicht bloss die Hymnen Am Quell der Donau, Friedensfeier, Der Einzige geschrieben hat, sondern auch die Elegien Brod und Wein und Heimkunft, die Oden Der blinde Sänger und Dichtermuth, darf nicht darüber hinwegtäuschen, dass in der inneren Chronologie seiner Dichtung die Hymnen einer späteren Epoche angehören als die beiden anderen lyrischen Gattungen" ("Der andere Pfeil", Hölderlin-Studien, p. 33). 71 On the philosophical and Schillerian element in the Tübingen Hymns see the critical and sensitive dicussion in Ernst Müller, Hölderlin: Studien..., pp. 67-72; for a summary of Holderlin's early personal experience of Schiller, see Raabe, p. 107. 72 This is important from the point of view, taken in this study, that it is the most advanced structures, and not any genre a priori, that must qualify as the receptacles of Hölderlin's "Ars Poetica". Cf. Chapter I Section A. 73 II, Part II, 416, lines 24-28.

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329

between his two 'Fassungen'. 74 It is nevertheless these two versions to and 'A^, will refer. The which our analysis below, and our sigla singularly sparse, pinpointing technique of this ode seems pivotal from two points of view. Not only does it provide contrast with the revision methods of poems of its immediate past ("Diotima") and future ("Der blinde Sänger" and "Chiron"); it also presages a significant phase of revision technique in the Late Hymns.75 Nevertheless, this is not to say that no variant readings outside the two printed versions were found for "Der Abschied". While the key to Table CI (headed 'Events' and 'Constructs') shows all variants used for that table as belonging only to the two versions A 1 and A^ the smaller key, to Tables CII through CVII, also makes use of a third variant, the reading for line 29 'führet' from the manuscript. 78 At Table CI, the variants shown under the column headed 'Events' account for all of the variant readings to be found between the printed text of the two versions of the ode. With the accompaniment of a corresponding number of constant readings ('Constructs'), the acoustic structure of the poem on the level of a chosen complex modulus was explored. This was again a phonemic feature, and bore some affinity with the study of the acoustical values of enjambement in "Patmos" (Chapter IV, Section C.) Even compared with the collating table of enjambement values given in Table C, however, the measurement for "Der Abschied" is based on a far more complex array of juxtaposed first and second pairs of adjacent phonemes (Table C, Part A). It may be seen at a glance that enjambement is only part of this larger listing. Contrary to the list in Chapter III, a limited number of features, notably stress and lengths in all positions, had to be ignored in the interests of a more limited measurement. Table C, A-B, itself amounts to the results of a rather long experiment in hearing, with the analyst, reading "Der Abschied", acting as his own informant. 77 Table CI, then, shows the results with special reference to the variants used in Table C, Part B. 74 II, Part I, 24-27. The fair copy, with the penciled-in corrections, is identified as 'H 3 : Homburg H 16 v , W , 17 v ' (II, Part II, 431). 75 Especially at the phase of the later versions of "Patmos" (P2-P4) (II, Part II, 764-767). 76 "I: 29: (6) Und uns (b) führet der Pfad unter Gesprächen (y) f o r t . . . H 1 " (II, Part II, 434, lines 29-34 and 435, line 6). This is a reading from 'H 1 : Stuttgart I 6 B l . 1 0 v . . . Entwurf' (II, Part II, 431, line 12). 77 It need be mentioned again perhaps only in passing that this limitation of the experimental part of the study is consistent with the Staigerian concept of the hermeneutical sphere (circle). See the more detailed discussion in Chapter II, Section A.

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At the bottom of Table C, Part A, in the two columns subsumed under the heading "Value", first the absolute value reference derived from Table C, Part A, then the relative value within Table CI, were recorded for each variant shown. The latter data, related within the lattice to Table CI, was then transferred to the stochastic chart in two parts. The extreme paucity of boldface judgments in Table CI appears to be a reliable indicator that a complete matching agreement between the individual Event-Construct correlation and its corresponding numerical value on the rigid scale is lacking. Indeed the rigidity of the scale, used, with the exception of Chapter IV, with but minor variations throughout the analytical chapters, was but one of several factors of constraint on analysis, at Level 4, of "Der Abschied" as of other poems throughout the study. Another limiting factor in the present chapter was the high degree of artificial randomization of the stochastic chart,78 with the intended result that there be no necessary connection — and thus no intuitive connection — between scale and chart, between lattice and scale, and finally between the first two on the one hand and the last two on the other. As with previous charts, where certain intuitive, nonrigorous, judgments were allowed to confirm and even to round out the set of positive tests for any one chart (especially in Chapters III and IV), here, too, it was found desirable to permit partial emphasis (italics) for a number of predications. But the principle on which these supplementary judgments were based was, this time, not intuitive confirmation but the condition of relatedness of the given concept to another of the ten concepts by definition.79 This assured a more aseptic and severe procedure, excluding the possibility of contact between two sets of intuitive insights. How these related concept judgments materialized meaningfully for the text of "Der Abschied" may be shown by an example. Let us select one Construct, from a passage fairly late in the ode, say vs. 22 ' Lethetranks', and test the connection between this word and the two separate Event pairs in succession. We shall let the first Event pair be Ax, vs. 9 'Menschen', A2, vs. 9 'Weltsinn', and the second pair Av vs. 35 'Liifte', Ag, vs. 35 'duftet'. Since the modulus being measured is the relation of the final two phonemes in a given word to the initial two phonemes in the words immediately following it in the text, we may record correlations 78

On artificial randomization see Chapter III, Section C, especially note 93. This amounts to a slight varying of the basis of the corresponding experiment in Chapter IV, Section C. Some of the observed relations here were: (In : Er), (Er : No), (No : Ra), (Ra : In), (St: Me), (Me : Re), (Ma : St), (St: In). Here again, control was sacrificed in the literal sense, while being tightened in the heuristic sense (cf. n. 48). 79

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as shown in Figure 61 below. As in Chapter IV, the sign / indicates enjambement; 'C' and 'V' indicate consonant and vowel, respectively. 'C' is used to mark voiced stops, liquids, and nasals; 'C', to mark voiceless stops, spirants, and aspirate 'h'. Construct plus Word

Consonant-Vowel Notation

Value (Table C, Part B)

d : Lethetranks / Mit

CC + / + C V

15

CC + CV VC + CV CV+/+CC VC+/+CV

8 6 16 13

Event plus Word % : Menschen Sinn u 2 : Weltsinn sich zx : Lüfte/Fliegt z 2 : duftet/Golden

Fig. 61. — Composite Test of Phonemic Values for "Der Abschied"

Now naming the basic predication of the chart (Table CI) 'first' and the revised predication 'second', we record the obtained numerical values only: Correlation

Value (Lattice) 15/8 15/6 15/16 15/13

=1.88 = 2.50 = 0.94 = 1.14

First Pred.a

d d d d

: Uj : u2 : z1 : z2

a

An italic symbol means a boldface judgment in Table CI.

Second Pred.

Er negative Me St

No Ma

Fig. 62. — Numerical Values and Predications for Composite Test.

In a historical sense80 a more nearly complete set of correlations could hardly have been found for purposes of illustrating the principle of Tables C-CI. From the operational definition of the stochastic charts given in Chapter II as well as the explanations given for the analysis at Level 4 in Chapter IV, it will be recalled that the connections between the predications are partly of a procedural and partly of a syllogistic order.81 80

'Historical' in the sense of the psychology of perception (c/. Chapter II, Section B). A procedural argument is proposed to run as follows: (1) 1, therefore (n-1) means that (2) the occurrence of (n —1) depends on the occurrence of 1. This is the same as saying (3) not 1, therefore not (n — 1). But (4) 1 does not guarantee the occurrence of ( n - 1 ) , and this is equivalent to (5) [1 3 (n —1)] = [1 - / v ( n - l ) ] = [1 z>~ (n—1)]. A procedural agreement is the opposite of an agreement based on the laws of material implication, where, by transposition, the proposition [1 z>(n —1)] is identical with the proposition [~(n—1) z>~ 1] (Copi, p. 259). 81

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Inasmuch as, by proportional reduction, any agreement between rows of a chart holds also between boxes of any one row, the relations operating in the above test become clear for the entire chart. If one of the normal states of the beginning of a row, attendant on the procedural species of 'if', is that a second unqualified correlation does not necessarily follow after the first, then the sequence 'Er and not Ma' for Table CI, Row 4, represents such a perfectly normal structural relationship for the structure of any gross concept pair.82 A sudden nonconfirmation, a random divergence (Er), precedes in its row a correlation that is not organized for the available value to any extent.83 But the correlation 'd : z/, with 'zx' representing the configuration 'CV/CC', already represents a highly organized juxtaposition, for two reasons: (1) the Event includes enjambement, as does the Construct, (2) a voiceless consonant occurs in the Event, adjacent to one of the plus signs. The'd : zx' correlation, already of a transitional — confirmable — status and qualified as 'Me' (supplementarily as 'No', which predicates maximum openness to a noise source for the correlation as a whole), is finally resolved into a highly organized state a t ' d : z2'. Here, with the exception of the initial phoneme ('C' for Construct'd' and 'V' for Event there is complete agreement between the two configurations (Construct 'd': 'CC/CV'; Event 'Zj': 'VC/CV'). This final correlation, here initially identified as 'St', is, then, further qualified under the supplementary predication 'Ma' as part of a four-step transition probability matrix of a stationary Markoff chain.84 A similar procedure was followed at Tables CII through CVII, where three Constructs and three Events were tested through all six permutations of an elementary chart of second order.85 Whereas in Table CI it was still possible to determine the extent to which any part of a large 82 It would be pleasant to report that this latter fact backs up the first, but this is not necessarily, or even often, the case. Such intuitive insights are best avoided for the time being, until Chapter VII, Section A. 83 There is an extreme tension here, as Construct d (CC/CV) is remote for Event Uj ( C C + CV), and has no relation to Event u 2 ( V C + CV). 84 Cf. Parzen, pp. 194-195. It might be speculated that further organization would result from a correlation of phonemic structures with the larger enjambement structure of the entire ode. For a gross structural summary involving increasing sentence length and inter-stanzaic enjambement see the suggestive article by Wolfgang Binder, "Abschied und Wiederfinden: Hölderlins dichterische Gestaltung des Abschieds von Diotima", Festschrift Paul Kluckhohn und Hermann Schneider, gewidmet zu ihrem 60. Geburtstag, hrsg. von ihren Tübinger Schülern (Tübingen, J. C. B. Mohr [Paul Siebeck], 1948), p. 337. 86 This is precisely the situation summarized in part in Tables VII-XI. See also Chapter II, Section B.

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333

chart yielded satisfactory results, e.g., the minor, left hand, diagonal in Part B beginning with Row 3 'c : St: x1' but not completed on the opposite side by 'a : Ma : zx' and 'b : No : z2'), here, with Tables CII through CVII it was possible to determine only the most representative single chart of the six, and suggest that Table CII best fulfills the conditions of testing, there being present in that chart a maximum number of correlations (six) and diagonal types (one major right-hand, one major left-hand, and a horizontal connection at the bottom). The relatively high number of boldface judgments in Tables CHI and CVI may in part be accounted for by the fact that, in keeping with the arrangement of the ten concepts on the scale, the three concepts tested, 'In', 'No', and 'Re', were broadly spaced on the same (4, 'Re'; 5, 'No'; 9, 'In'). 86 The next pair of odes, "Der blinde Sänger" and "Chiron" (Cx, C2), again takes up — here in more volume — the logical modulus considered in more moderate scope for "Der Rhein" and "Patmos". The fifty connections (between the five Constructs and the ten Events brought in the key to Tables CIX and CX listed in Table CVIII) were based strictly on elementary valid argument forms from symbolic logic, built up from the four basic proposition forms of the Boolean Square of Oppositions and proven valid by means of Venn diagramming.87 Since the procedure for establishing the connections, initially not a mechanical one, was based on the assumption that it is possible and reasonable to arrange the set of fifty correlations in a row, a number was assigned each correlation upon having been so arranged. The highly randomized pattern of these semantic judgments contrasted effectively with the nearly nonstochastic one-step array of line distances (this latter each the denominator of the fraction contained in each square of the lattice to Tables CIX and CX). While the procedure for the stochastic charts themselves (Tables CIX and CX) was the same as that for Tables CI through CVII, and has therefore received adequate treatment in connection with "Der Abschied" (pages 328-333), the sheer volume of the present operation and its difficult perspective demand that the additional tabulation, Table CVIII, be given some explanation in its own right. The table, headed "Fifty Semantic Correlations between 'Der blinde Sänger' and 'Chiron'", 86 This is not an attempt to advance any speculations on the significance of the relative populations of the tables for the two versions of "Der Abschied". Table CI has 8 boldface spaces of 72, while Tables CII-CVII have 6 of 54. This gives for both sets a ratio of 1/9, or 11%. 87 Copi, pp. 152-157, 165-176; cf. I. N. Bochenski, Formale Logik (Freiburg, München, Verlag Karl Alber, 1956), pp. 345-357, 389-399.

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consists of two parts: (1) a nonmechanical array of all fifty connections, from 'a : ('Licht': 'leuchteten') to 'e : w x ' ('Tag': 'leuchteten'), and (2) a systematic testing in terms of one of but seven of the elementary valid argument forms initially referred to above. First, the entire field of potential connections was carefully surveyed. It was discovered that, despite the highly randomized array of Event predications, the set exhibits symmetry of a decidedly asymmetrical yet recognizable order. This presence of a palpably ergodic tendency 88 made it plausible to proceed with testing from both ends of the set, as well as from its middle. After division of the fifty-event set into four larger sectors (one sector each for 'A', 'I', 'O', and 'E' propositions, in that order, or for syllogism ending largely in these forms), the first and fourth quarters were throughtested. Although decided deviations from the nonmechanical ordering were expected, it was found that, as with certain previous instances of intuitive judgment, only a very few of the arguments that could plausibly be offered concerning the correlations did not confirm the results anticipated. Of course some arguments were decidedly stronger than others; this was a function of the extremely sparing use of the three-step argument forms. 89 The following is a discursive example of representative strong and weak tests. Let us assume that strength, in the local sense of semantic tension, is expressible by the extent to which the Construct-Event correlations, as arrayed from weakest or most lax (most closely corresponding to everyday language) to strongest or most tense (furthest involved in poetic language and most remote from everyday speech patterns), 90 yield gradually increasing negative results upon being tested by the elementary valid syllogisms. Such an array, when available as complete, would, I assume, constitute part of a record of the poet's gradually deepening involvement in his task, in his 'poetische Verfahrungsweise'.91 88

For explanation with immediate practical application, see Chapter IV, Section C. Special care was taken to use only the extremely limited set of argument forms whose validity Copi proves (pp. 159-201). There are seven such forms, namely 'EIO-2' (pp. 159-160), 'AAA-1' (p. 169), 'AII-3' (pp. 170-171), 'AEE-4' (pp. 174-175), 'AOO-2' (p. 197), 'AEE-2' (p. 201), and 'EAE-1' (p. 200). 90 Cf. below, Chapter VII, note 118. 91 For a summary of Hölderlin's views on 'poetische Verfahrungsweise', see Chapter I, Section B; for cautious semantic construction see Chapter III, Section B and Chapter VII, Section A. Although this study refrains from extensive semantic analysis of poems on the basis of the Homburg Essays, I am not sure whether it is not possible to relate some outstanding principles in the Essays to the 'Gehalt' of the late lyric. For an example of how a cardinal principle such as 'die nothwendige Willkür des Zevs' (IV, Part I, 269, line 24) has been seen to lend itself to semantic pinpointing in a late ode see Theo Pehl, "Hölderlins 'Chiron' ", DVLG, XV (1937), 505-506. 89

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Such a partial record is provided for us here by the array of Table CVIII if and only if at least one of the two following circumstances may be shown tobe true: (1) that 2-subscript Events (e.g., 'x2') are far more numerous in the second half of the array (Correlations 26-50) than in the first half,92 and (2) that the array resolves itself into a geography of linguistic event throughout the texts of the two versions of the ode. Circumstance (1) is not true. Events with subscripts one and two are all but evenly spread out in the two halves of Table CVIII; Correlations 1-25 contain thirteen of the twenty-five 2-subscript Events of the array, while Correlations 26-50 contain the remaining twelve. But Circumstance (2), by far the more significant, might be true and requires a closer exploration. It will be noted that in the key to Tables CIX and CX each Event is coupled to another word from the text, which latter precedes or follows the Event word in close proximity. This third set of words was necessary for any logical connection between an Event and a Construct, as three words are needed to underlie, in the capacities of major term, middle term, and minor term, respectively, the three propositions of a standard form categorical syllogism.83 In Table CVIII under the column heading 'Argument Form', the three capital letters of the notation for each entry (e.g., 'EIO-2') refer to the type proposition from the Boolean Square of Oppositions.94 Thus a standard form categorical syllogism of mood93 'EIO' consists of a major premiss that is an 'E' proposition (of form 'No S is P'), a minor premiss that is an 'I' proposition ("Some S is P"), and a conclusion which is an 'O' proposition ("Some S is not P"). 96 Throughout the fifty correlations of Table CVIII there had to be an adequate and progressive distribution of such argument forms. It was only reasonable to expect that the most tensionless connections — Correlations 1 through 12 — should contain chiefly affirmative ('A' and 'I') propositions, while the logically most tense portion of the array — Correlations 38 through 50 — should have the highest number of syllogisms containing propositions of a negative ('E' or 'O') species. Thus from the 92

Cf. the statement by Emil Staiger that "der Chiron setzt dem Verstehen nicht geringe Schwierigkeiten entgegen; der Blinde Sänger ist im grossen und ganzen ein leicht zugängliches Stück" ("Chiron", Meisterwerke deutscher Sprache aus dem neunzehnten Jahrhundert [4th ed. revised, Zürich, Atlantis Verlag, 1961], p. 42). The present experiment will be seen to be in disagreement with this view. 93 A careful explanation of the mechanism of any argument form of this genre is given in Copi, pp. 159-161. 94 Ibid., p. 152. S5 Ibid„ p. 161. 96 Ibid., pp. 132, 159.

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end of the array, for Correlation 48, 'd : w2' ('tödtend' : 'Thymian'), we have the following syllogism (of form 'AEE-4') : All 'Thymian' is 'gab', No 'gab' is 'tödtend'. Therefore no 'tödtend' is 'Thymian'.97 The conclusion of this syllogism, according to the language and assumptions of "Chiron", is absolutely true, as the argument is valid. Let us illustrate from context: Ich war's wohl. Und von Krokus und Thymian Und Korn gab mir die Erde den ersten Straus. Den Retter hör' ich dann in der Nacht, ich hör' Ihn tödtend, den Befreier, . . . (C2, vss. 13-14, 29-30)

'Thymian' is part of a golden age, the time of the poet-physician-centaur's, Chiron's, childhood; the plant of early summer is emblematic of an unquestioned mutual loyalty between earth and animal, earth and man. The adverb 'tödtend', however, belongs to a time after the disruption of Chiron's happiness, the destruction of his naïveté by his injury. It will be the task of the 'Retter' to restore the correlation between Chiron the receiver and earth the giver, and the beauty of that correlation.98 It is significant that Chiron characterizes his hearing, and that this is the use to which he puts his adverb, "ich hör'/Ihn tödtend" (italics mine). Hearing is a kind of receiving; it, too, is the converse of an order of'gab'. But this tells us nothing about a necessary affirmative connection between this order of 'gab' and the 'gab' of 'Thymian'. Rather it suggests that no 'tödtend' can be part of the earlier receiving, and consequently that no 'tödtend' can be a part of any object of that receiving, either." 97 The number following the three capital letters of the mood refers to the 'figure' of the syllogism, meaning the relative position of its terms (ibid., pp. 160-161). 98 An interpretation of this restoration as part of the meaning of 'vaterländische Umkehr' is given in Staiger, Meisterwerke..., pp. 47-48; for a view that there exists, between Chiron and earth, between Stanzas 2 and 4 of the ode, 'eine Art von harmonischentgegengesetzter Beziehung', see Maria Cornelissen, Hölderlins Ode "Chiron", pp. 89-90. 99 Although Cornelissen does give a provocative explanation of how 'die Quaal Echo wird': "Die quälende Einsamkeit, die dem Sänger aus seiner Entzweiung mit der Welt erwachsen war, verwandelt sich in eine neue Beziehung, indem er sich dem Walten des Zeitengottes als der dichtende Künder horchend und folgend mit seinen

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In addition to the moderate distance of 17 lines between 'Thymian' and 'tödtend' it is telling that the two words appear on opposite sides of their respective passages. But now let us take a correlation from the beginning of Table CVIII, number 5, 'c : ('allein': 'Quell') and arrange it into a syllogism of form 'AAA-1': All 'goldner' is 'Quell'. All 'allein' is 'goldner'. Therefore all 'allein' is 'Quell'.100 A third correlation shall be from the middle of the array, Correlation 25, 'c : VJL' ('allein': 'Dämmerung') (form 'AOO-2'): All 'Dämmerung' is 'harrt". Some 'allein' is not 'harrt". Therefore some 'allein' is not 'Dämmerung'.101 A fourth and last correlation we shall take from the early middle, or second quarter, of the array, Correlation 17, 'd : y2' ('tödtend': 'Stachel') ganzen Kräften verschreibt" (Hölderlins Ode..., p. 93). Cornelissen is, then, not right in asserting that, with the reworking of "Der blinde Sänger" into "Chiron" "ist mit dieser Seite der Wirkung [with the significance of "Der Donnerer", that is] der Bereich des Akustischen verlassen" (p. 92). Quite opposed is the view of Pehl, who sees the turnabout and the restoration under the aegis of normal natural changes: "Das Gedicht 'Chiron' ist nicht mehr in dem Masse ekstatisch, wie es der 'Blinde Sänger' war. . . .alles i s t . . . natürlicher geworden; die göttliche Offenbarung fügt sich ein in den Wechsel der Tage" (DVLG, XV, 506). 100 This proposition reaches toward the end of the poem (i.e., from vs. 19 'allein to vs. 45 'Quell') to find an object that, semantically, has to do with beginnings. The proposition is, then, part of a definition of 'Alleinsein', which, Cornelissen suggests, "ist Metapher für den Zustand äussersten Leidens, das aus der nunmehr bewusst gewordenen Diskrepanz von Leben und Wünschen erwächst" (Hölderlins Ode..., p. 90). 101 Contrary to the previous proposition, the present one refers vs. 19 'allein' to the beginning of the ode (to Q , vs. 5 'Dämmerung'). Pehl gives incisive treatment, in the context of Cx, of the particular 'allein' which is not 'Dämmerung' (D VLG, XV, 500). In contrast, Cornelissen focuses on the passive involvement of the blind poet with respect to the light, "dessen Kommen in der ersten Fassung der träumerischen Hingegebenheit des Sängers die selige Selbstverständlichkeit des nur naturhaft sich Vollziehenden zuordnet" (Hölderlins Ode..., p. 88).

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(form 'AII-3'): All 'aber' is 'Stachel'. Some 'aber' is 'tödtend'. Therefore some 'tödtend' is 'Stachel'.102 The four samplings above are universal within the universe of discourse of "Der blinde Sänger" and "Chiron" from three different points of view: (1) the four syllogisms each occur in one of the four quarters of the list of Table CVIII;103 (2) the conclusions of the four syllogisms present a complete array of the propositions of the four different types (in order of the presentation above, 'E', 'A', 'O', 'I'), thus representing four distinct states of semantic tension; and (3) the four syllogisms are of the four different figures. Now what does this felicitous combination of facts tell us in itself about Hölderlin's revision process from "Der blinde Sänger" to "Chiron"? On first glance it would seem that the positions of the correlations chosen — numbers 5, 17, 25, and 48 — correspond in some way to the respective positions of the text material underlying them in the two versions of the poem. The fact that the array of Table CVIII opens with a Construct from line 2 of both versions, 'Licht', and closes with a Construct from the end portion of the two versions (C1? C2, vs. 41 'Tag'), would especially seem to tempt to such a conclusion. But actually there is very little connection between the succession of the correlations in the table and the arrangement of the text material in the two versions themselves. Correlation number 5, for example, of the beginning of the table, spans lines 19-45 and belongs, therefore, to the second half of "Der blinde Sänger". A tabular summary of the four positions follows: 102 This is a seeming tautology, whose half following the copula has its meaning in the ambiguity of Chiron's condition, that is, in his double form as centaur, in his halfway status between god and mortal, in the reluctance of the 'Retter' (C 2 , vs. 29) to come and redeem him, in the manner in which the world both embraces and rejects him. The meaning of the above tautology, then, seems to be that even the redemption is not given freely, since 'Herakles Rükkehr' (vs. 52) is hinted at, rather than realized, within the poem. Cf. Fig. 64, "Time in 'Der blinde Sänger' and 'Chiron'"; Beissner in II, Part II, 512; Cornelissen, Hölderlins Ode..., pp. 98-99; the excellent general discussion on the nature and predicament of the mythological figure in C. Kerdnyi, Prometheus: Archetypal Image of Human Existence, trans. Ralph Manheim ("Bollingen Series", N o . LXV, 1; New York, Pantheon Books, 1963), pp. 120-122. 103 Thereby representing four distinct degrees of logical tension. Cf. the explanation, this section, and Chapter IV, Section C.

POEMS OTHER THAN LATE HYMNS Number 5 17 25 48

Area in Table beginning beg.-middle middle end

Line Reference 19-45 30-37 5-19 13-30

339

Area in Poem

Version

middle-end middle-end beg.-middle beg.-middle

Q C2 Q C2

Fig. 63. — Positional Summary of Four Tested Correlations, Q - C j .

Figure 63 is only a suggestion of the thoroughly random pattern of the distribution of correlations in the poem. In keeping with the particular existential import of any correlation,104 logical nexus (syllogistic validity) and logical tension (degree of variance with everyday speech as measured in Tables CIX-CX) merit or do not merit the reader's attention within a pattern of psychological set that corresponds to the randomized set of correlations in the poem.105 If 'a : wx' ('Licht': 'leuchteten') is so obvious a predication that the reader does not react to it appreciably (in Tables CIX and CX the tests for 'a : wx' show as negative), the other correlations, for example number 47, ' d : z / ('todtend': 'Quell'), form peaks in the structure of hearing Table CIX ('d: No : z1', tested as 'd : Er : Zl '). One concluding feature of "Der blinde Sanger" and "Chiron", to be given brief attention here, is their time structure. Time is a vital and inextricable part of the statements made in both versions of the ode. Considering that the latter are complete texts, we may observe a definite overall time structure, the same for the two texts: Stanzas 1 2-5 5-10 11-13

Time Present Past Present Future

Fig. 64. — Time in "Der blinde Sanger" and "Chiron".

104

Copi, pp. 144-149, 282-290. Assuming the ability and willingness of the reader to concentrate on the important structural connections the poem succeeds in making. Communication so understood was part of the larger assumption that led to the path profiles of the stochastic charts in Chapters III and V. Cf. above, note 49. 105

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The ode in its two versions in thus capable of being compared with the variants analyzed for "Der Rhein" (R, vss. 114-120).106 There the time had to be measured; here, with the ode, historical and diagnostic relations are intertwined.107 It would be tempting to say that "Der blinde Sänger" and "Chiron" are more sophisticated in chronology than the variants to "Der Rhein". But this would not be a fair or even meaningful observation on which to base a comparison, since a set of variants, no matter how complete in itself, never measures up in aesthetic import to a finished poem. A speculation that, for the time structure of "Der blinde Sanger" and of "Chiron", Hölderlin learned from his experience with time in "Der Rhein",108 would seem to reverse to an extent the relation between the "Ars Poetica" significance of the Late Hymns and that of the contemporary non-hymnic lyric writing. Beyond such — perhaps healthy — temporary reversal of the point of view of this study, however, no rigorous measurements for time structure between "Chiron" and "Der Rhein" will be brought. For "Der gefesselte Strom" and "Ganymed" (G1? G2), the concluding pair of odes to receive discussion here, I have chosen to measure the relation of the number of phonemes in the Constructs and in the Events. The extremely simple testing procedure involved ratios, as recorded in the lattice, obtained by dividing the number of phonemes contained in the individual Construct by the number of phonemes contained in any

106 That is, in point of the analysis of the logical structure in the "Der Rhein" variants, Chapter III, Section C. 107 The preterite forms 'harrt' ( Q , vs. 5), 'folgt' (C 2 , vs. 5), and 'gab' (C 2 , vs. 13), as well as the semantic values of the time adverbs 'sonst' (C¡, vs. 13) and 'oft' (C¡, C 2 , vs. 25) were parts of the syllogistic procedures (see Key, Tables CIX-CX). The time structure of "Der blinde Sänger" and "Chiron" is comparable with that of the two versions of "Der Abschied", where Stanzas 1 and 2 are of the past, Stanzas 3 through 6, of the present, and Stanzas 7 through 9, of the future. The time structure of "Der gefesselte Strom" and "Ganymed" is not this clear. Time as a modality of the poetic imagination is treated in Emil Staiger, Die Zeit als Einbildungskraft des Dichters (Zürich, Leipzig, Max Niehans Verlag, 1939), especially pp. 11-20, 107-113; also in Gelley, Modern Language Quarterly, XXIII, 209-214, and passim. The reputedly provocative study of the phenomenon of time in Hölderlin's poetry by Wolfgang Binder, "Dichtung und Zeit in Hölderlins Werk" (unpublished Habilitationsschrift, Tübingen, 1955) is unfortunately not accessible to date. 108 Chronology would seem to suggest such a relationship, as "Der blinde Sänger ist wohl im Sommer 1801 entstanden; Chiron, erst nach der Heimkehr aus Frankreich 1802 begonnen, wird in Dezember 1803 für den Druck durchgesehn . . . " (II, Part II, 499), while "Der Rhein" came slightly earlier, " . . . noch im Frühjahr 1801 zu Hauptwil konzipiert, vollendet wohl erst im Sommer" (II, Part II, 721). See also Table I.

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341

one Event.109 This led to the sparsely populated stochastic chart (Table CXI), with the specific related concept values recorded above the encircled correlations. Whereas with the other odes examined it was possible to advance relatively safe speculations as to the outcome of a given set of tests, with "Der gefesselte Strom" and "Ganymed" we may speculate only in a somewhat more tentative manner. Countering the effect of the unusually high number of negative tests in Table CXI stand two important facts: (1) that the tendency of the positive tests, practically throughout the two parts of the chart (Parts A and B), was toward left-hand diagonals (even if not a single such diagonal is completed),110 and (2) that, while the Events and Constructs represent an important part of Hölderlin's revision technique at the stage of the present ode, apparently they do not represent all aspects of that technique. The aspect they do represent is nevertheless a provocative one. This is revision by wordsubstitution of a highly subtle order, wherein the word to be substituted is chosen on the basis of divergence from the original word in a minimum number of sounds. Examples are 'u^ua' 'kalten'-'kahlen'; 'x1-x2' 'Schallenden'-'Schauenden'; even more subtly and marvelously, 'z1-z2' 'nirgend'-'Irr gieng'. Against the pinpointing revision method of "Der Abschied" and the larger textual rearrangements and rewritings in "Der blinde Sänger" and "Chiron", this last ode pair, "Der gefesselte Strom" and "Ganymed" stands, we might submit, for Hölderlin's formal revisional mastery at its strongest, for the Late Odes at least. Furthermore, it would remain to be shown to what extent this ode stands as an effective bridge, not only between the earlier Late Hymns and "Mnemosyne^ (especially between the versions of a hymn like "Friedensfeier"111 and 109 An equally interesting possible measurement would have been that of the loss of letters read against sounds heard. Thus, for example, Event Uj 'kalten' contains six letters, all six of which are preserved as phonemes; 6/6, or 100.00%, of the word is thus heard. But at Event u 2 , 'kahlen', likewise six letters long, only five of these materialize as phonemes (ka: len), the sixth letter (third in the sequence), the 'h', being only a symbol of the length of the 'a' preceding it. Five-sixths, or 83.33%, of the written word 'kahlen' is thus heard. The revision from Event Uj to Event u 2 results, then, in a phonemic loss of 16.67%. The extent to which Hölderlin was, in fact, interested in phonemic gain and loss as part of his revision technique, in GJ-G2 and elsewhere, remains, of course, to be shown. 110 In Table CXI, Part B, starting with Column 4 (top) and going down to Row 3 (right) — that is, from 'a : Re : y 2 ' to 'c : No : z 2 ' — we do not really have a complete diagonal, as it should be completed, but is not, by a similar sequence beginning at Row 4, left ('d : Re: xx') and ending at Column 3, bottom ('f: No : y/). 111 See the datings by Beissner, II, Part II, 539, 698, 816, and III, 539, 548. It is remarkable how "Der gefesselte Strom" was written immediately after "Versöhnender. ..", while "Ganymed" closely succeeds "Mnemosyne" in time of composition. "Friedensfeier" seems to stand in the middle of this time range. See also Table I.

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M 2 , M s ), but also as a strong focal point, from the point of view of revision technique, for the late poetry as a whole.112 2. Four Elegies

(1800-1801)

There remain to be considered four examples of a form that seems to have been important for Hölderlin at a time when he began to achieve definitive capability in the genre of the free-verse hymn. Perhaps even more than the Odes, the broad, though strict, hexameter-bound rhythms of the Elegies seem to have served as a preparation to the large, free (though in a sense just as strict) rhythms of the Late Hymns.113 If, in connection with Pindar's influence on the late Hölderlin, M. B. Benn points to "the most striking evidence... the mythical narrative or story which now becomes a regular feature of his poetry"114 and which is "necessarily epic in character",115 he offers the first part of a larger observation on the affinity between the Elegies and the Late Hymns which Ulrich Gaier completes:

112 An incisive analysis of Hölderlin's revision technique at the stage of the Late Odes will also be found in the article by Leopold Liegler, " 'Der gefesselte Strom* und 'Ganymed': Ein Beispiel für die Formprobleme der Hölderlinschen Oden-Überarbeitungen", Hölderlin-Jahrbuch, II (1947), 62-77. On the analytical potential in the phenomenon of subtle sound change between versions see Rauch, Linguistics, No. 34, pp. 49-53; also David I. Masson, "Thematic Analysis of Sounds in Poetry", Essays on the Language of Literature, ed. Seymour Chatman and Samuel R. Levin (Boston, Houghton Mifflin Company, 1967), pp. 54-68. 113 This touching of genres is to be regarded significant to only a limited degree.. One could refer, as does Gaier (p. 259), to the principles contained in Hölderlin's fragment "Mischung der Dichtarten" (IV, Part I, 273). But I would rather follow Beissner's view, for the time being at least: "Wenn man so will, liegt in dieser Hinneigung zum Hymnus eine Durchbrechung des reinen Gattungscharakters. Gleichwohl ist in Hölderlins Elegien so viel urspünglich Elegisches, selbst in dem unelegisch geformten 'Archipelagus', dass es nicht statthaft erscheint, die Elegien mit den Hymnen kurzerhand zusammenzufassen und sie mythisch-hymnische Gedichte der Spätzeit zu nennen" (Geschichte der deutschen Elegie [Grundriss der germanischen Philologie, No. 14; 2d ed. revised; Berlin: Walter de Gruyter & Co., 1961], p. 176). Cf. the similar stand by Vietor (Die Lyrik Hölderlins, p. 189). In sharp contrast to this view, as well as to that expressed by Szondi in note 70 above, Schmidt, in his chap, v, "Elegie und Hymne" (Hölderlins Elegie "Brod und Wein", pp. 16-33), sees an inseparable connection between the compositional energy in the Elegies and that in control of the Hymns. Schmidt's specific arguments in favor of structural continuity (e.g., in the area of rhetoric in the two lyrical genres) seem persuasive; it is regrettable that he does not leave himself room for a fuller analysis of several Elegies against several Hymns. 114 Hölderlin and Pindar, p. 126. 115 Ibid.

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Zweifellos hat . . . die Bezeichnung 'elegisch' statt 'idealisch' den Sinn, dass die Gattung der Elegie dem Wesen des Idealischen als dem in Sehnsucht Voraus- und vor allem Zurückgewandten besonders entspricht, und so ist es wohl nicht verfehlt, wenn wir das Idealische nicht als Grundton . . . , sondern als Geist, als das am meisten zu Haltende vieler Elegien vermuten. Das Idealische ist Geist der epischen Stilart. Und tatsächlich: viele der Elegien Hölderlins sind episch.116 The truth of such a statement is demonstrable not only from the 'Tonwechsel' analysis to which critics like Gaier, and before him Ryan, subject their material. 117 It is just as demonstrable with the present nonsemantic, descriptive method. Outstanding first of all is the fact that, as befits a form partaking of Pindaric narration, the Elegies are the first poems anywhere in the vicinity of the Late Hymns to be characterized by triadic gross structure. Perhaps Hölderlin had thought of other poems of his as proceeding along lines of triadic development, and certainly we have seen how in the Tübingen hymns he preferred patterns at least partly identified by division into groups of three stanzas each. But, with the exception of "Wie wenn am Feiertage", 118 nowhere else before the Late Hymns does Hölderlin actually indicate his intentions, and these are clearly triadic intentions. After "Elegie", the first version of "Menons Klagen um Diotima", 1 1 9 the Late Elegies 120 are divided into stanzas whose number throughout the given elegy is always exactly divisible by three. The triadic intention is evident also from the structure of the individual triad of elegiac stanzas, and from the relation of these struc116

Gaier, pp. 259-260. Ryan has his misgivings concerning the possibility of an adequate 'Tonwechsel' analysis for the Elegies; he must "bestrebt sein, die Struktur der Elegien eher im Lichte der allgemeinen Prinzipien der poetischen Verfahrungsweise zu betrachten" (Hölderlins Lehre..., p. 229). Whether Ryan's subsequent treatment {ibid., pp. 232-242) amounts to an adequate accounting for the 'Struktur' of the Elegies is a question I am not ready to answer in the affirmative. Perhaps it would have been useful for Ryan to give his precise reasons for believing the "Widerstreit der wechselnden Töne vor allem den Oden angemessen" (ibid., p. 242) to the categorical exclusion of the Elegies. At any rate, Ryan's analysis of an elegy like "Brod und Wein" is all too brief (ibid., pp. 235-236) as convincing preparation for the statement, "In einem so gearteten Gedicht lässt sich naturgemäss kein eigentlicher Wechsel der Töne finden" (ibid., p. 236). Cf. the perfectly adequate 'Tonwechsel' analysis of "Brod und Wein" by Gaier (pp. 259-264). 118 See Beissner's metrical summary in II, Part II, 677 to 678; dating in II, Part II 667. 119 "Die erste Fassung (Elegie) ist wahrscheinlich schon im Herbst 1799 entstanden. — Am 4. Mai 1801 bestätigt Vermehren den Empfang der zweiten Fassung (Menons Klagen um Diotima)..." (II, Part II, 548). 120 The poems printed in II, Part I, 71-99. Cf note 69. 117

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tures to one another within the same elegy and between separate examples of that form.121 Besides Holderlin's three chief elegies, "Stutgard",122 "Brod und Wein",123 and "Heimkunft",124 I have also selected an earlier example, "Menons Klagen um Diotima",125 for examination on the initial level of comparison here, that of sentence length by number of lines. Table CXII shows a joint summary of sentence lengths by number of lines per sentence for the two nine-stanza elegies, "Menons Klagen um Diotima" and "Brod und Wein", while Table CXIII brings the same treatment for two examples in six stanzas each, "Stutgard" and "Heimkunft". It is evident that in the case of each pair, we have before us one early and one late example.126 In Table CXII, if we concentrate on Column 4, "Number of Sentences (per Stanza)" only, the criterion of the pattern into which these totals arrange themselves within the triad and of the relationship of these patterns among the triads within the given poem, would seem to argue early, formative value for "Menons Klagen um Diotima" and 'late' value for "Brod und Wein". Indeed the latter elegy exhibits tendencies toward structural perfection, while the former does not. It is true that, in "Menons Klagen", already the (3,4, 6/4, 2, 3/3, 3, 7) pattern carries some hints of triadic formal organization, as the pattern of Triad I (3, 4, 6) approximates that of Triad III (3, 3, 7). But this is far from enough to impart to this elegy a pattern of oppositions and formal reconciliations that can be said to refer to the formal insights of the marginal note. Such a pattern is definitively offered by the stanzaic totals in "Brod und Wein". The series for Triad I, (5, 4, 6), exhibits a close range of figures; the similarities among the three numerals seem more prominent than the differences. The range of the totals in Triad II, (8, 4, 9), fluctuates much more. Here it is less important that the quantity '8' (Stanza 4) is close to the total '9' (Stanza 6) than that the '8' jumps to a '4' (Stanza 5) and then springs back again to the '9' of Stanza 6. At Triad III, with the series (9, 3, 6), both the similarities and the differences between and among parts of the array are important. The fact that these three values 121

Observed also by Beissner: " . . . die Dreizahl dieser Satze, der auch eine inhaltliche Gliederung nach Triaden entspricht, ist sicherlich kein Zufall: dieselbe Eigenheit ist auch an den Hymnen zu beobachten,..." (Geschichte..., p. 178). Cf. the method of Schmidt, who analyzes "Brod und Wein" not only by the triad of stanzas, but also by the individual triad of elegiac distichs within any one stanza (pp. 34-172). 122 II, Part I, 86-89. 123 II, Part I, 90-95. 124 II, Part I, 96-99. 125 II, Part I, 75-79. 126 Cf. note 39.

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are related arithmetically in the sense that they are all multiples of three is no more nor less important than the fact that the three values are harmonically opposed, the third value representing the arithmetical mean of the first two. The notation ( = F / ^ F / = indicates comparison with the principle of the marginal note to "Der Rhein", a judgment not possible to make for the pattern of "Menons Klagen um Diotima". Furthermore, the pattern of opposition offered at Triad III of "Brod und Wein" is repeated for that poem at Column 5, where sentence totals are shown for the individual triads. Here the series (15, 21, 18) repeats the (9, 3, 6) sequence in reverse and thus provides a perfectly convincing confirmation of the 'harmonischentgegengesezt' principle governing the note to "Der Rhein". But as the marginal note summary was not possible for "Menons Klagen um Diotima", so a harmonic opposition pattern was absent from Column 5 also (13, 9, 13). The comparative spread and implied articulateness of the patterns in Column 4 for each elegy is also shown in the form of relative entropies, 65.5 per cent for "Menons Klagen um Diotima" and 79.0 per cent for "Brod und Wein".127 A highly similar perspective is shown in Table CXIII, the summary for "Stutgard" and "Heimkunft".128 Here the difference in gross struc127 Were it not for the compression of Hölderlin's work around 1800, this result would be surprising indeed, as "Menons Klagen um Diotima" was completed but six months before "Brod und "Wein" CO, Part II, 548, 591). 128 Here, too, as with Table CXII, the criterion for the delimiting of sentences was not an arbitrary one, although no necessary, or even complete, agreement with Emmon Bach's definition of ambiguous and unambiguous sentence markers is implied ("Patterns of Syntax . . . " , p. 9). In Stanza 4 of "Heimkunft", for example (see Bach's treatment of the elegy, ibid., pp. 72-87; instead of 'stanzas* Bach speaks of 'sections'), I do not see what disqualifies vs. 60 'Eine' from including non-mandatory capitalization and from thus constituting a genuine sentence beginning: "Und umsonst nicht steht, wie ein Sohn, am wellenumrauschten Thor' und siehet und sucht liebende Nahmen für dich, Mit Gesang ein wandernder Mann, glükseeliges Lindau! Eine der gastlichen Pforten des Landes ist disz, Reizend hinauszugehn in die vielversprechende Ferne, Dort, wo die Wunder sind, dort, wo das göttliche Wild Hoch in die Ebnen herab der Rhein die verwegene Bahn bricht", (Hk, vss. 57-63) Not so for vs. 68 "Heimzugehn", the exclamation point before which may be qualified as an ambiguous sentence marker. I would rather begin the last sentence in Stanza 4 with vs. 67 "Aber", which follows no sentence marker at all, but which nevertheless qualifies as a very definite semantic sentence break (a matter not considered by Bach). Thus the pattern of Stanza 4 might well be marked, according to its sentence lengths, as (2, 3, 7, 6), retaining the content of four sentences for the stanza. In no case is Bach wrong in his "representation of the overall structure of the first four stanzas as 'ABAB' with each letter standing for a numbered section", in spite of his placing "the major formal break in the whole poem . . . between sections 4 and 5" (ibid., p. 83).

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ture between the two poems reflects their chronology realistically. The earlier elegy, "Stutgard", written in the fall of 1800 and the winter of 1801 reminds, in the pattern of its stanzaic totals, of the arithmetical nonarticulateness of the corresponding data in "Menons Klagen um Diotima". Especially the totals for "Stutgard", Triad II, show a pattern highly similar to those in the former elegy (Triad II/III: St '7, 7, 6'; MKD '3, 3, 7'). In contradistinction 'Heimkunft', the Late Elegy — if any one elegy may be called that129 — again exhibits the perfect pattern which, for its own volume, corresponds to that of "Brod und Wein". But with "Heimkunft" it is not enough to say that it again represents definitive work in the area of the six-stanza elegy. The fact is that the "Heimkunft" pattern completes the entire paradigm of patterns in the four elegies examined, and at the same time of all four poems it alone represents an arithmetically, and aesthetically, perfect series of sentence totals. The closing (9,3,6) series of "Brod und Wein" is mirrored descriptively in the (7, 3, 5) pattern of "Heimkunft"; moreover, this latter sequence is inverted, in the totals for Stanzas 4 through 6, as a higher series of numbers as we read (4, 12, 8), receiving in the third value of each series the arithmetical mean of the first two. Nor is it of a lesser degree of importance that in "Heimkunft", as nowhere else in the four elegies, the triadic totals, '15' and '24', are related to the concluding • ,• _ • j , • 5 15 stanzaic total in each triad by proportion, as — = — . The relative entropy and redundancy data brought for the four elegies indicate in their own way the relative structural sophistication of these poems on the treated level of sentence content. They constitute an effective check on the statements made above and show that indeed it is "Brod und Wein" and "Heimkunft", the later pieces, that are characterized by extremely high entropies. To mention an arbitrary figure as momentary criterion, the relative entropies for these two elegies are above 75 per cent, while the corresponding data for "Menons Klagen um Diotima" and "Stutgard" fall appreciably below that figure. The relative entropy and redundancy give as reliable an indication of the chronology of the four poems as the gross structures of the six-stanza elegies "Stutgard" and "Heimkunft" gave of theirs alone. The perfect severity of the composition of "Heimkunft", of which the maximum relative entropy 129 For chronology see Seckel, Hölderlins Sprachrhythmus, p. 189. That "Heimkunft" is the last of its genre and is effectively a preparation for the language and rhythms of the Late Hymns has been recognized by Böhm (II, 344-348) and by Beissner (Geschichte . . . , pp. 189-190).

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figure, 100.0 per cent, is but a mathematical abstraction, means first of all that the totals in Column 4 show an even spread of six different possibilities for the six event slots. Although the particular properties of these six events no longer have to do with the entropy figure, they are important to note. The consistent odd-number configuration in the first half of the totals ( 7 + 3 + 5 = 15) suddenly exhibits a switch to an even-numbered tendency in the second half ( 4 + 1 2 + 8 = 24). As if by enharmonic change (meaning the closeness of the figures '5' and '4')130 the inconsistent triadic beginning modulates to a methodic tetradic structural fulfillment.131 In this manner, a definition of the structure of "Heimkunft" by way of a comparative classification seems in order. Inasmuch as the present examined tendencies of "Brod und Wein" qualify that poem for comparison with "Der Rhein", so the above treated structural characteristics of "Heimkunft" do not seem to leave it far behind the late, tetradic significance of the hymn "Mnemosyne" (MJ. 132 Since the significance of Tables CXVI and CXVII, the transition matrices, have already received discussion in connection with the Tübingen Hymns, on pages 316-319 above, the remainder of this discussion will concentrate on Table CXIV, "Brod und Wein": "Word Repetition within the Distich". A striking feature of some of the elegies is repetition of certain elements; typical are verb repetitions like "Heimkunft", vs. 4 'glänzet und schwindet'; vs. 7 'gährt und wankt'; even vs. 12 'weilt er und rufet'.133 Here we are concerned not with repetition in the sense of recurring grammatical forms, but with the most unusual literal word repetitions which have been found to constitute a structural characteristic of "Brod und Wein". Two examples follow, one from the early portion of the elegy and one from its end (italics mine): Auch verbergen umsonst das Herz im Busen, umsonst nur Halten den Muth noch wir, Meister und Knaben, denn wer Möcht' es hindern und wer mächt' uns die Freude verbieten? Sanfter träumet und schläft in Armen der Erde der Titan, Selbst der neidische, selbst Cerberus trinket und schläft. (BW, vss. 37-39, 159-160) 130

Benn, Hölderlin und Pindar, p. 134. See above, Chapter V, note 42. 132 Cf. Chapter V, Section B. 133 For this observation I am indebted to Bach, "Patterns of Syntax . . . p . 79. For a study with relevant methodology see W. T. H. Jackson; "The Stylistic Use of Word-Pairs and Word-Repetitions in Gottfried's Tristan", Euphorion, LIX (1965), 229-251. 131

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Including repetitions of the type of 'wer' (vss. 38-39) and of 'schläft' without preceding 'und' (vss. 159-160), we have in the elegy word repetitions of the pattern presented in the table. This pattern, which is only partly stochastic, is not really capable of comparison with the monosyllabic and retard-stop verse patterns in "Der Rhein" (Tables XXX-XXXI), although comparison with such recurrent features as the interjection 'Ha!' in the Tiibingen hymns or 'nemlich' in "Mnemosyne" might prove fruitful. The immediate acoustic effect of these word repetitions in "Brod und Wein" and in some of the other elegies is a slowing down of the tempo in a genre of text which is in no way characterized by high speeds to begin with, and an imparting to the tone of the elegy of a comfortable, leisurely, if somewhat didactic pace.134 It is hoped that the foregoing remarks were made with a perceptible view to enabling any reader of Hölderlin's poetry to check their accuracy and validity. Although offered in a metalanguage which is absolutely necessary for effective structural analysis, no part of this study is different in intent from Wilhelm Böhm's argument, when he characterizes the Elegies as "grosse, lehrhafte, unendlich liebenswürdige Du-Gedichte, in denen Hölderlin sich genau sein Publikum vor Augen hält, . . . ".135 Here Böhm achieves what might almost be called a definition of the Late Hymns themselves. This 'almost' is what, of course, makes all the difference, and what allows my study to proceed to its conclusions in the chapter that follows.

134 Bach might have called this phenomenon in the Elegies the basis for a 'portamento' style (c/. his analysis of the 'even' style, ibid., pp. 99-100, which, too, involves 'recurrent patterns' [p. 99]). Rather different results, at least for "Menons Klagen um Diotima", are offered by Klaus Weissenberger, who sees this poem under the structural category of the 'hymnische Elegie': " . . . den letzten Distichenreihen und anaphorischen Versanfängen halten keine retardierenden Elemente das Gegengewicht" (Formen der Elegie von Goethe bis Celan [Bern, München, Francke Verlag, 1969], p. 44). 135 Böhm, II, 330.

VII

THE HIDDEN "ARS POETICA" IN HÖLDERLIN'S LATE HYMNS

This final chapter is devoted to a demonstration of the empirical reality of a hidden poetics in the Late Hymns. The chapter consists of three sections: (1) a series of twenty-five propositions and elaborations comprising the "Ars Poetica", offered here in the necessary absence of a text from Hölderlin's hand, (2) a detailed commentary on these propositions, and (3) the conclusions of the study. The twenty-five paragraph-length propositions will aim at directness and simplicity, avoiding any stylistic reference to the Homburg prose.1 The commentary will then be comprehensive in the sense of its inclusion, referentially and interpretively, of all aspects of structural description performed in the analytical chapters. Thus the poetics of communication and structure, prepared analytically in Chapters III, IV, and V (and inasmuch as applicable in Chapter VI), will in the present chapter be synthesized under the various headings for principles of the "Ars Poetica". Despite the thesis, advanced in Chapter I above, that Hölderlin's implied poetics transcends a mere application of the principles formulated in the Homburg Essays to the problems of poetic composition, a view that the former is a direct and indirect continuation, a further development and a radical reinterpretation of the latter, has been unavoidable.2 For this reason, and in order to provide a convenient means of reference to the principles of the Essays from which the "Ars Poetica" 1 Two recent attempts to define a poet's unwritten theory are by Hans Magnus Enzensberger, Brentanos Poetik (Literatur als Kunst; München, Carl Hanser Verlag, 1961) and by Bruno Markwardt, "Das Verhältnis von formulierter und werkimmanenter Poetik", Poetics. Poetyka. Poetika, ed. D. Davie, I. Fönagy, R. Jakobson et al. (Warszawa: Panstwowe Wydawnictwo Naukowe; 'S-Gravenhage, Mouton & Co., 1961), pp. 733-744. The concern with the relation between the critical languages of critic and poet is evident in both contributions. 2 See especially Chapter I, Section B; Chapter III, Section B; Chapter VI, Section A.

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grew by dissent, the headings of the latter's twenty-five paragraphs are Hölderlin's terms, taken from the prose writings {e.g., "Die nothwendige Willkür des Zevs").3 As these paragraphs are parts of a separate document as well as of this chapter, the customary outline procedure has been adapted to the necessity of consistent reference to the twenty-five paragraphs by Arabic numeral. Thus the outline form reads: (1) section of chapter introduced by capital letter (e.g., A. Pseudo-Hölderlin: "Ars Poetica" by Principles), (2) division of "Ars Poetica" introduced by lower case letter (a. The Poet and His Material), (3) paragraph of "Ars Poetica" introduced by Arabic numeral (1. "Die Liebe der Deutschen" [Hyp; III, 5]). A complete list of paragraph headings, showing the organization of the "Ars Poetica", follows. A word concerning the authorship of the "Ars Poetica" is in order. The term 'Pseudo-Hölderlin', modeled after late classical and early mediaeval ascriptions of similar form (e.g., 'Pseudo-Aristotle')4, was adopted for the factitious text in avoidance of either of two alternate actions: (1) pseudepigraphic or direct attribution, as 'by Hölderlin', a palpable absurdity,5 or (2) refraining from ascribing the "Ars Poetica" to an author, which would have run the risk of obscuring the relationship of identity between the written document and the practice contained in the Late Hymns. The expression 'Pseudo-Hölderlin' thus represents continued inquiry, since the major question of the study asked in Chapter I, concerning the 'ontological situs'6 of the poet's definitive practice. A suitable synonym for'Pseudo-Hölderlin' is 'by Hölderlin in principle'.

3

The great majority of these terms are from the Homburg Essays, although, to provide a more comprehensive view of closely related pronouncements, other writings such as Hyperion (for Paragraph 1), the notes to Sophocles (Paragraphs 5, 11, 15, 20, 25), and the letters (Paragraph 17) have also been drawn upon. 4 Cf. articles "Appendix Vergiliana" and "Declamationes Pseudo-Quintilianeae" in The Oxford Classical Dictionary, ed. M. Cary, J. D. Denniston et al. (Oxford, At the Clarendon Press, 1961), pp. 73, 258-259. From the articles it is not clear whether the form 'Pseudo-' is part of the attribution originally, or whether it is added later as a result of intervening demonstration of false authorship. 5 Cf. article "Pseudepigraphic Literature", ibid., p. 743: "Antiquity has left us a number of writings which evidence, internal or external, proves not to be the work of the authors whose names are traditionally attached to them." Among the six causes for this is mentioned "a tendency to ascribe anonymous pieces to a well-known author of like genre" (ibid.). 6 The expression is used here largely in the sense in which it is employed in René Wellek and Austin Warren, Theory of Literature (2d ed. revised; New York, Harcourt, Brace and Company, 1956), pp. 129-145.

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PSEUDO-HÖLDERLIN: "ARS POETICA" BY PRINCIPLES CONTENTS

a. The Poet and His Material 1. 2. 3. 4.

"Die Liebe der Deutschen" (Hyp; III, 5)7 "Schöpferische Reflexion" (ÜVpG; IV, Part I, 263) "Freie Wahl" (ÜVpG; IV, Part I, 255) "Receptivität des Stoffs" (ÜVpG; IV, Part I, 243)

b. The Structure of a Poem 5. "Eine der verschiedenen Successionen" (AnmAnt; V, 265) 6. "Nothwendiger Widerstreit" (ÜVpG; IV, Part I, 241) 7. "Harmonischentgegengesezt und geradentgegengesezt" (ÜVpG; IV, Part I, 246) 8. "Eine fortgehende Metapher" (ÜUD; IV, Part I, 266) 9. "Das hyperbolische Verfahren" (ÜVpG; IV, Part I, 246) c. Analytical Structures 10. 11. 12. 13. 14. 15. 16. 17.

"Wechsel der Töne" (WT; IV, Part I, 238) "Der Rhythmus der Vorstellungen" (AnmOed; V, 196) "Wechsel der Formen" (ÜVpG; IV, Part I, 247) "Das Werden im Vergehen" (WiV; IV, Part I, 282) "Die nothwendige Willkür des Zevs" (ÜUD; IV, Part I, 269) "Vaterländische Umkehr" (AnmAnt; V, 271) "Eigene Welt der Form nach" (ÜVpG; IV, Part I, 250) "Die nothwendige Gleichheit" (Letter No. 232; VI, Part I, 422)

d. Synthetic Structures 18. "Eine Erinnerung" (ÜVpG; IV, Part I, 251) 19. "Ruhepuncte und Hauptmomente" (ÜVpG; IV, Part I, 243) 20. "Das Zusammenhängen der selbstständigeren Theile" (AnmAnt; V, 265) 21. "Tragische Vereinigung" (WiV; IV, Part I, 286) 7

Each heading in the "Ars Poetica" will follow this form: quotation followed by complete reference, the latter consisting of an abbreviation of the title of the work quoted, followed by the reference from the Grosse Stuttgarter Ausgabe. Although in the notes to previous chapters the corresponding form of documentation was volume and page and then the title (e.g., Chapter I, note 18), this order is here reversed in the interest of immediate identification as to individual work. For full titles see the List of Abbreviations, Appendix B.

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22. "Intellektuelle Anschauung" (ÜUD; IV, Part I, 266) 23. "Fühlbarkeit des Ganzen" (ÜUD; IV, Part I, 269) 24. "Die unendliche Einheit" (ÜVpG; IV, Part I, 251) Epilogue 25. "Das kalkulable Gesez" (AnmAnt; V, 265)

A. PSEUDO-HÖLDERLIN: "ARS POETICA" BY PRINCIPLES TEXT

a. The Poet and His Material 1.

11

Die Liebe der Deutschen" (Hyp; III, 5)

The poet must give to his public; the public wishes to receive from the poet. The poet is at first his own public, as he tests the poietic experience on himself. A public is a group of individuals cooperating, intentionally or otherwise, in the expression of taste and demand. The poet observes the levels of public taste, and he also observes the levels of intensity in his own need for a communicative poiesis. The poet gives thought, controlled by language, and proceeding within the concept of time. The doctrinal expression, in language and the art of language, of the temporal mode, is history. 2. "Schöpferische Reflexion" (ÜVpG; IV, Part I, 263)

Creative reflection is the work of founding the historical process of language. In its turn language, in the course of its historical self-definition, analogizes, reflects the initial act of the intuitive, and subsequent intellective, work. Language speaks, then, about the external world to the extent to which it speaks about that world within an assumption that language comes into being. Thus it speaks about itself and about its creator, man. A major choice of linguistic materials usable in naming the world as history follows: (a) Natural History: cosmic, tellurian, biological; (b) Human History: heroic, political, intellectual; (c) Metaphysical History: sacred, mythical, gnomic.

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3. "Freie Wahl" (WpG;

353

IV, Part I, 255)

Free choice, of historical material and of thought, is within a freedom informed by necessary limitations. The result is material chosen so as to be prepared for poetic treatment. The histories chosen by the poet come to be interconnected as the cells in a tissue. This tissue-like logic is the first symptom of the genuineness and flexibility of the historical act of choosing freely. The problematic of freedom of choice is here part of the larger question of the contrast between choice and rejection. Rejection is also a choice, but without the tissue in mind. 4. "Receptivitat des Staff's" (VVpG; IV, Part I, 243) This means the receptivity, the dynamic suitability, of the material as unfolded in language, to poetic treatment. The material, now selected in suitable measure and proportion, must submit to formal treatment. The poet recognizes at least two receptivities. First there is literal receptivity, within which each sphere of material demands its own necessary formal development. This refers to the several genres of formal treatment, in metre, rhythm, stanza, verse, sound, syntax. Secondly there is anagogic receptivity. Within this sphere language and the material separate, and each undergoes a self-treatment. Language speaks more and more about its own function, thus becoming metalanguage, while the material turns into the isolated image. b. The Structure of a Poem 5. "jEine der verschiederten Successionen" (AnmAnt; V, 265) The poem moves on many levels of structure. From this multiplicity there must arise a decision on the poet's part concerning a level of motion on which to focus. This will be a level on which the interrelated motions of the poem will first attract the beholder's attention to the fact of motion. The many movements of the poem will ideally stand to one another in a relation of foreground figure against a moving background, or of one moving background against another. There must be no static motion, which is a want of change in the relations of the levels of movement to one another. Structural interrelation and change in the poem holds true in two senses, first at various stages during one reading of the poem, secondly at various stages in the course of a given number of attentive readings.

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6. "Nothwendiger Widerstreit" (VVpG; IV, Part I, 241) A crucial point in the poet's organizing will be a crystallization of the shifting foci in the poem. A rigid framework will result, analogous to the girders in a building. Formal criteria yield to a structural reality, as the principle of structured opposition emerges from the phenomena of movement and focus. Structured opposition becomes necessary opposition in a causal sense. This will hold both within the poem in its completed state, and among the various versions of the poem in progress, from initial draft to fair copy. Here necessity is related both to the seeming causality of language and to the poet's real rigor. 7. "Harmonischentgegengesezt und geradentgegengesezt" (UVpG; Part I, 246)

IV,

The solidity of the girderlike structure of the poem broaches a problem of genres of structured opposition. 'Straight' and 'harmonic' opposition are only general terms for the kinds of encounter in the poem that can also be characterized as 'smooth' and 'rough' contrast, or 'additive' and 'exponential' difference. These contrasts would seem to be felt increasingly with sequences of increasing complexity and length. But relatively brief text passages of equal length may be used for demonstration. Straight opposition involves direct contrast in one chosen feature, while exponential contrast is best perceivable when combinations of features are set off against one another. The important difference is between the principles of regular and random contrast. 8. "Eine fortgehende Metapher"

(VUD;

IV, Part I, 266)

There must now be a programmatic ensuring of the possibility of movement in the poem in the sense of progress and change. 'Metaphor', the principle of 'beyond-carrying', must guide construction. Since among the many superposed structural levels straight-opposed and harmonicopposed sequences often coincide, good balance between the two contrasts is imperative. The persisting metaphor, persisting structuredness, in the poem depends on such balance, so that at no time does either a perfect predictability or a complete absence of it obstruct the clear presentation of complex relations in the poem. The question next emerging is the realistic one of an appropriate technique.

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9. "Das hyperbolische Verfahren" (ÜVpG; IV, Part I, 246) An hyperbolic technique is the systematic communication between polar extremes in the poem. The technique has four aspects. First, there is the highlighting of extreme contrasts, the joining of highly irregular to highly regular features and sets of features. Second, there must be the joining of contrasts in a persistingly clear and contrasting manner, so that the principle of focusing might be implemented for all levels of structure. Third, there shall be repetition of the procedure in order to join the descriptive and the semantic halves of the poem, and to join them contrastively, so that both the structure and the material might find their necessary pitch of receptivity. Fourth, there must be the proper communication between the written poem and the unwritten, between text and space, word and silence. c. Analytical Structures 10. "Wechsel der Töne" (WT; IV, Part I, 238) 'Ton' is any feature in the written text whose physical presence contributes to the experience of hearing in the poem. 'Wechsel' is the change of such a feature in a series, either as a repetitive feature having a course, or as a contrastive feature having a relation to other features. Since a space between words or at the end of a line may also be considered to contribute to hearing, it, too, is a tone. Since altered transitional relations also help define the shape of a series, they must also be included in the definition of change. The center in tone change is the moment of transition. 11. "Der Rhythmus der Vorstellungen" (AnmOed; V, 196) Cyclical, though modified, recurrence of feature patterns arises from extended and systematically occurring series of tone change on any structural level or combination of levels. Rhythm is brought about by modified and suggestive repetition and by interchange of pattern modification between levels. Rhythms of two genres are implied; first, harmonic rhythm, in which pattern recurrences at one level of speed or frequency are exact reproductions of recurrences at another level; second, contrapuntal rhythm, in which parts of an idea contrasting wholly at one level are reflected at another. This latter, partial preservation of

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shape may proceed in various species of pattern retrograde, concealment, focusing, or permutation. Rhythm of ideas is the pattern of awareness cut into the reader's mind. 12. "Wechsel der Formen" (ÜVpG; IV, Part I, 247) 'Form' here means an organic totality containing structural and semantic systems. Just as structures and meanings change in isolation, forms bom of the poet's competent breeding of structure to meaning have a life and identity of their own. Again, focusing on the transitional moment may refer to pure change ('Wechsel'), or the contrapuntal-harmonic relational progress of form progressions may be termed rhythm ('Rhythmus'). The concept of change of forms must, however, include both these earlier categories, for it is the expectation of pattern as well as its analytical viewing that gives forms their sovereign structural role in the poem. 13. "Das Werden im Vergehen" (WiV; IV, Part I, 282) Be it a form a reader views in the poem or a tone, the problem of the mode of existence of these elements must be foremost in his mind. Forms and tones exist first in the moment, empirically, then in the memory. In the latter they persist first eminently, then virtually, then really, and last, objectively. By this is meant a gradual and simultaneous fading and strengthening of the mental image of a form or tone. In reading we first read and so hear in the mind, and only then remembering we first perceive sharply (eminently), then vividly as the image recedes (virtually), then mnemonically as the image fades (really), then formulatingly as the image vanishes (objectively). In passing, the form or tone leaves of itself an imprint, a basis for expectation and prediction of the form to follow. 14. "Die nothwendige Willkür des Zevs" (ÜUD; IV, Part I, 269) The consummately theory-conscious poet knows that he, of the divine free will which is the first axiom of his practice, must inject an element of arbitrariness into the systematically planned creative act. The theoretical consequence of this element is that imperfection in the line without which there cannot be perfection. The practical consequence of the divine arbitrariness in the possibility of motion in the poem in all senses.

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357

By courtesy of the lawlike flaw the analytical drive of the poem need not stop at its limit, for it may turn around to face the direction of synthesis. Attentive communication in the poem is thus enhanced, while the flaw itself may go unnoticed. 15. "Vaterländische Umkehr" (ArmAnt; V, 271) The 'homeward turn' is the methodological turn from a viewing of structural features and mechanisms as such to a concentration on the contributive capacity of the feature to the whole that is the poem. The whole poem contains very many features and systems of features, all answering to a wide range of descriptions. Yet it is not the plurality of these systems that will ultimately identify the poem but the elemental power of these systems to unite into a single governing system. As the lawlike flaw arises of decision, so does the homeward turn, but where the former is an integral part of the creative process, the latter is an inalienable part of the created product. It is a turn away from the work and toward the artifact. 16. "Eigene Welt der Form nach" (ÜVpG; IV, Part I, 250) Perhaps the first step in accomplishing the homeward turn is a realization that the double-tongued aesthetic of analysis-synthesis is not communicated in the abstract. It is communicated, rather, with the criterion of delightfulness in mind. By this the poet means that to the exact degree to which he has founded and found his language by way of creative reflection, the reader will be able to recognize the empirical world in the world of the poem. This re-recognition of a world of habit in a world of aesthetic involvement will, for the reader, amount to an effect of the experience of delight. But in thus offering the world anew, the poem will assert itself as a world. The poem will accomplish this in reflecting the structure of empirical experience. 17. "Die nothwendige Gleichheit" (Letter No. 232; VI, Part I, 422) The self-assertion of the poem as a separate world within a world calls attention to the necessary balances which sustain the poem in its cosmology. The poem contains a world because there is the world outside; it is the external pressure that is equalized by the corresponding pressure from within. In semantics this means the poet's good faith in recording

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his history; in description it means his good faith in describing the experience of structure. The other necessary balance inheres within the poem. Its components are the balance between form and tone, between text and space, between the analytic and the synthetic capability. Cosmology in the poem is the equilibrium between the stasis of the isolated part and the kinesis of the part in its course. d. Synthetic Structures 18. "Eine Erinnerung" (ÜVpG; IV, Part / , 251) The species of analysis described in the foregoing paragraphs are not possible without memory. But in analysis memory is only a bridge and not the dry land, only the means of transition between phenomena and not the graspable reality. In synthesis this relation is to an extent reversed. Memory now assumes subjective importance, as the searching mind reconstructs a complex sequence. In this sequence the couplings will receive emphasis. The mind will engage in retreading its memory trace, and in so doing will attempt to store all its acts of transition, from the most complex to the most simple, in conceptual space as well as in time. 19. "Ruhepuncte und Hauptmomente"

(ÜVpG; IV, Part I, 243)

In its synthetic reconstruction of the analytical process the memory will discover that not all features or even built-up sequences in the poem bear an equal burden of communication. The poem has its climaxes and its points of ebb, its prestissimi and its standstills. Part of the work of the memory is to identify and evaluate these rests and high points, to separate authentic from plagal cadences, and to recognize between these pivots of the poem relations of balance and necessity. Such recognitions, the memory will find, refer to the principles of expectation and reward, to which the principle of memory itself will ultimately be coupled as a third pole in the circuit of poetic experience. 20. "Das Zusammenhängen der selbstständigeren Theile" V, 265)

(AnmAnt;

The coherence of the more independent parts of a poem is part of the coherence of its structural moments for mutual support. In the given sequence there are a large number of seemingly independent features.

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359

These do not lead an existence of their own, but are individually dominated by the smaller series of which they seem to be independent members. But conversely, some genuinely independent features will seem less independent for occurring in one such cluster. The poem contains a series of decisions as to the extent to which the 'Ruhepunct' and 'Hauptmoment' character of these clusters is directly or indirectly related to the condition of connection or isolation between cluster and individual feature. 21. "Tragische Vereinigung" (WiV; IV, Part I, 286) Having proceeded thus far with his synthesis, the reader may with justice ask about the degree to which his reading has been plain reading, or criticism, or poetry. This question will amount to an investigation of the extent to which the poet has succeeded in communicating his intent. For, realizing that the task of understanding the poem is in good measure the task of looking at oneself along with looking at the poem, the reader might wonder whether this understanding proceeds from the poet. The reader will then put himself together in harmonic motion with putting together the poem. He will know that this act of synthesis corresponds to the syntheses of disparate forces within the poem, that his very question arises because he sees those disparate forces in the poem unite. 22. "Intellektuelle Anschauung" (ÜUD; IV, Part I, 266) The intellectual view of the poet's work is the static counterpart of the kinetic tragic union principle. As soon as the reader has recognized his dependence on the poetic artifact he has also recognized that the poem has in the meantime gained a prospective from its own capabilities and from the poet's intents. Intersubjectivity in the poem, that is, between poet and reader, now becomes possible by the union, in poet and in reader-, of nonobjective and nonsubjective modes of thought. Two images of the consciousness, the real and the virtual, view themselves in these two modalities of the poem. A successful intellectual view means minimal distortion in the poem's structure and design. 23. "Fühlbarkeit des Ganzen" (ÜUD; IV, Part I, 269) It would seem that the quality of being felt becomes manifest as a result of a literally synthetic activity. Not so. Just as an odor or a taste becomes known only after dissolution (particle dispersion) of the appropriate

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chemicals in a fluid, just so a wholeness can be felt only if all ingredients of the literary experience are present, no matter how disparate, and whether previously subjected to the test of synthesis or not. The sensibleness of the whole must be instrumented by final synthesis, in the course of which all foregoing principles and practices must be subordinated to the single effort of reaping and bundling all perceptions at the end of a necessary series of readings. The reality to which this harvest refers is analogous to the substratum beneath the quality predicable of the natural object. 24. "Die unendliche Einheit" (ÜVpG; IV, Part I, 251) The infinite 'oneness' of the poem is united and is in struggle with its infinite 'onceness'. Since the artifact is there to be viewed again and again, since the channel remains open and the message can be reread, there arises the problem of the preservation or loss of identity of the message. The infinite unity must be assumed to exist under the sign of infinite change. In the meantime the unrepeatability of the poem can be understood only along with its basic unity. The poet's intent includes the quality of 'onceness', this assures that intent its universal clarity. The meaningfulness of the poem is a constantly shifting ground; this guarantees that message its intelligibility. The reader's perception remains unique; this implies its accuracy. Epilogue 25. "Das kalkulable Gesez" (AnmAnt; V, 265) The onceness of the poem implies many laws; its oneness, one law. The monism of the literary work of art points to its identity as a whole calculable in one sense; the pluralism of the poem contains another calculus. The poet subscribes to the One Law of artistic competence. This competence includes craftsmanship, theory-consciousness, scientific knowledge, and the will to communicate intention (the romantic One implies the classical Many). At the same time the plurality of possibilities and potential tangents emerging with the creative process must guide the artist toward the one practical goal, an art accessible by the intellectual view and by a methodology that transcends any one discipline just as much as must the art itself (the classical Many tends toward the romantic One).

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361

B. PSEUDO-HOLDERLIN: "ARS POETICA" BY PRINCIPLES COMMENTARY

a. The Poet and His Material 1. "Die Liebe der Deutschen" (Hyp; III, 5) The motto is from the "Vorrede" to Hyperion; there Hölderlin expresses his wish that his novel could be sure of public affection. But in that same brief preface the novelist also defines that affection in terms of mental qualities which he fears his readers will not have. True love of literature, Hölderlin suggests, is something other than either 'das blosse Nachdenken' or 'die leere Lust'.8 It is both thought and feeling; its aim must be understanding. Hölderlin seems to want, implicite, a term close to the English 'intellectual delight'.9 The old wish for Hyperion — the wish that literary distinction receive its due in the form of the right kind of popularity — the poet now expresses as outright demand on behalf of his last hymns. Explicit wishes are now scarce;10 but in the Late Hymns, among all his writings, Hölderlin works the hardest at gaining precisely the affection he wants. He instructs, explicitly both outside the poem (the marginal note to "Der Rhein")11 and inside;12 implicitly in the subject and structure of his poem. The poet's responsibility is to see that the poem celebrates the act of coming into being ("Der Rhein", vss. 1-45), commemorates important events ("Patmos", vss. 73-135), mourns death, loyalty, time ("Mnemosyne" [MJ, vss. 52-68). This celebration of the object beheld in com-

8

Cf. above, Chapter I, pages 6-8, and notes 18, 29, 30. Cf. below, Paragraph 16, especially under the heading "The Eightfold Criterion of Delightfulness, with Examples" (page 389). Closely allied with the subject of this enumeration, which is in the main imagery, seems to be another level of 'das reine frohloken", what Ezra Pound has named "logopoeia, 'the dance of the intellect among words"', which " . . . holds the aesthetic content which is peculiarly the domain of verbal manifestation, and cannot possibly be contained in plastic or in music" ("How to Read", Literary Essays of Ezra Pound, ed. T. S. Eliot [Norfolk, Connecticut, New Directions, 1954], p. 25). 10 The opening of the prefatory note to "Friedensfeier": "Ich bitte dieses Blatt nur gutmüthig zu lesen" (III, 532, line 1) is the outstanding example of such an expressed attitude among the Late Hymns. 11 Homburg H 6 a , top; cf. above, Chapter III, Section B. 11 "Der Rhein", vss. 46-47; "Patmos", vss. 222-226; "Mnemosyne" (M^), vss. 1-3, 48-51. 9

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mon13 assumes a public both outside the poet and in him, and posits the problem of precision in communication. The message received must show nearly total fidelity to the message sent,14 and the burden of ensuring this fidelity must lie with the sender. In the Late Hymns Hölderlin is most strenuously concerned with clarity. He knows he cannot afford to hurry, and thus chooses for these poems a pattern that permits him a mode of presentation of ideas informed by a leisurely pace, voluminousness, and the possibility of stringent control. This is the pattern of the odes of Pindar.15 It is an optimum pattern of history, if history means time having borne fruit in poetic record. The Late Hymns may thus be said to be explorations of the possibilities contained in this new concept of time.16 2. "Schöpferische Reflexion" (ÜVpG; IV, Part I, 263) In each hymn, Hölderlin takes time to perform the act of historically founding his language. The criterion of sentence length, for example, shows this performance to consist of slow and well-timed meditation. In "Der Rhein" it begins with a sentence that sustains the reflection 13 This mode of communication, the validation on the part of poet and hearer of the idea of a thing by its name, is of vital importance to Hölderlin's creativity; there could hardly be a better poet to illustrate Walker Percy's excellent study on the nature of metaphor: "Two conditions, . . . , must be met if the naming is to succeed. There must be an authority behind it . . . Naming is more than a matter of a semantic 'rule.' But apparently there must also be — and here is the scandal — an element of obscurity about the name" ("Metaphor as Mistake", The Sewanee Review, LXVI [1958], 87). I am not ready to discuss at this point the 'element of obscurity' in Hölderlin's method of metaphor formation as treated by the many critics who have written on the subject. Suffice it to suggest that Paul Böckmann's summary of this process is useful, as the process is involved in 'ein feierndes Nennen der Götter' (Hölderlin und seine Götter [München, C. H. Beck, 1935], p. viii). 14 The information-theoretical formulation is here intentional; cf. Max Bense's definition of criticism as a cybernetic game involving decision-making and feedback, in his chapter entitled "Kritik und Kommunikation" (Theorie der Texte, pp. 61-64). 15 Benn, Hölderlin and Pindar, pp. 103-109, 150-158. 16 In codifying these explorations, or, to use the expression the way linguists use it, in 'writing his grammar o f ' time, the poet recognizes the phenomena of temporal succession in the poietic consciousness as bearing a structural relation to the phenomena of spatial relations on the page. That Hölderlin was clearly preoccupied with the relation of 'before' and 'after' in time to 'to the left o f and 'to the right of' in clause, sentence, and stanzaic structure may be inferred, among other features, from the methodic distribution of verses of unequal lengths in the Late Hymns {e.g., as shown in Table XXXV). For 'to the left of' and 'to the right of' see Zellig S. Harris, String Analysis of Sentence Structure (Papers on Formal Linguistics, No. 1; The Hague, Mouton & Co., 1962), p. 10.

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363

for a length of fifteen verses. In the other two hymns, series of short sentences serve a similar purpose ("Patmos", vss. 88-89, with a lesser intensity, vss. 184-190; "Mnemosyne", vss. 8-17, 39-51)." The poet may here be said to be 'des Geistes machtig', as the patterns of sentence distribution are presented as analogical patterns of language to thought. Here language already records its own motion as running parallel with thought within the order of time. The following outlines the historical practice the Late Hymns receive into their doctrine as a result of this analogical ordering. The taxonomy below posits categories similar to those of family (I—III), genus (A-C), and species (1-4), with further extension (a-c under I. C and II. A only). Topics are shown at left; explanations relating the topics to Holderlin's thought processes within the Late Hymns are added at right. I.

Natural History A. Cosmic 1. Astrophysical — stars, planets, gods nearing earth 2. Astronomical — the orbiting consciousness B. Tellurian 1. Geophysical —• breaking, defining paths on the earth 2. Geodetic — surveying earth in imagined travel 3. Geographic — travel through strange countries 4. Geometric — spanning distances between two or more points C. Biological 1. Botanical — the poet near plants; sowing, harvesting 2. Zoological — (a) Nonhuman — poet near celestial living beings (b) Human — poet near man as man 17

We might call the manifestation of the reflective capability experimental (although of course no longer formative) at this stage. Elsewhere sentence length seems less influenced by line length and more by other experimentally combined criteria such as semantic or logical tension ("Patmos", variants to vss. 117-120), syllabic density relationships ("Der Rhein", variants to vss. 114-120 with definitive text), or the increasing tension between word and silence, as shown also by the punctuation ("Mnemosyne" M4, vss. 1-17, 35-51).

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II. Human History A. Heroic 1. Demidivine (a) Epic — death of Achilles and other heroes (b) Tragic — knowledge and language of the demigod 2. Congenial (a) Lyric — the demigod in nature (b) Epic — birth of the demigod (or genius) 3. Odyssean (a) Pathetic — song on resignation of life to the sea (b) Lyric — song on man's sense of mystery at sea B. Political 1. Active — man founds and maintains his home 2. Reactive — man rebels against gods; gods turn away 3. Passive — the life of a country or an island C. Intellectual 1. Philosophical — logopoeic vision 2. Imaginative — phanopoeic argument 3. Emotive — expansion or recoil, human to divine

III. Metaphysical History A. Mythical 1. Olympian — the gods present and smiling down on men 2. Orphic — divinity breaking forth out of the earth 3. Chthonic — divinity remaining below earth and working there 4. Indie — Christ identified with Siva Nataraja B. Sacred 1. Apostolic — the apostle looking at the god's face 2. Apocalyptic — approaching Patmos; the deity departing 3. Mythic — Christ the brother of Herakles and Dionysos 4. Hermetic — equating Christ with the sun

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C. Gnomic 1. Chronic — reporting on the present 2. Prophetic — speculation about the future 3. Mnemonic — remembering the past Hölderlin's own terms 'Möglichkeiten', 'Begebenheiten', 'Phantasien'18 may be taken to be characterizing predicates for the categories natural, human, metaphysical history, respectively. 3. "Freie Wahl" (ÜVpG; IV, Part / , 255) By free choice within necessary limitations the poet means a flexibility which permits his histories to combine, separate, and recombine. What under the preceding principle was a series of emerging emphases, each formulation clear and separate from all the others, can now be translated into a series of complex contrastive patterns. In Table CXVIII below, the practice contained in "Der Rhein", "Patmos", and "Mnemosyne" is recorded, with the stanza in the first two poems and the verse group in the third serving as the unit of record. The mechanism of the entries is explained by the key following the table. The freedoms and constraints of the arrangements shown in the Table exhibit the doctrinal, historical expression of the poem to be based not on semantic but on descriptive thinking. History is not the 'Stoff' of the poem, but rather its 'Form'19. In the sense of its being a tool in the poet's 18 "Über die Verfahrungsweise des poetischen Geistes" (IV, Part 1,243, lines 25-28). The relation suggested here holds all the more strongly if, as Beissner explains for the entire passage, here "werden, wenn auch noch nicht terminologisch bezeichnet, die drei 'Töne' umschrieben: der naive (Begebenheiten, oder Anschauungen Wirklichkeiten), der heroische (Bestrebungen Vorstellungen Gedanken, oder Leidenschaften Notwendigkeiten) und der idealische (Phantasien Möglichkeiten)'" (IV, Part I, 411). 18 Meaning that the poet works with a historiographic intent, and that the perception of form accessible to the reader is consequently conditioned by the psychological set and degree of alertness required of the reader to bring him into rapport with the poet's intent. An information-theoretical account of reading would have to involve a — to a degree — cybernetic description of control of the decoding process that reading involves. This has been suggested to date by Michael Riffaterre, who speaks of normal decoding which "is bound to be erratic, more so than with a spoken chain, since a serious lapse of attention can always be compensated by rereading; the interpretations of the reader will be freer, and the intentions of the author may be foiled. If he wants to be sure they are respected, he will have to control the decoding by encoding, at the points he deems important along the written chain, features that will be inescapable, no matter how perfunctory the reception. And since predictability is what makes elliptic decoding sufficient for the reader, inescapable elements will have to be unpredictable" ("Criteria for Style Analysis". Word, XV [1959], 158).

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hand, however, history does remain 'Stoff', the material basis of the poem's ultimate expression (to be considered in Paragraph 4). The temporal nature of this material enables the realia of creative process to acquire a history of their own. Complete versus partial history is one further major aspect of the property of free choice in the poet's work. The poet may choose to write history as a history, meaning his concentration on the completeness of the logic in the recorded object e.g., "Der Rhein" as a poem about the course of the Rhine, from its source ["Jezt aber, drinn im Gebirg", vs. 16] to its emptying into the sea ["Uralte Verwirrung", vs. 221], "Patmos" as the history of a journey, from departure from the present [vss. 16-20] to arrival back into it [vss. 222-226]). He thereby concentrates on the recorded object. Or he may write partial histories {viz. the examined variant readings to all three hymns), thus arguing that history exists first in the historian's mind, and may be released in discrete amounts and permutations. 20 4. "Receptivitat des Stoffs" (ÜVpG; IV, Part I, 243) Although the poet is dealing with the receptivity of history to the idea of being transmuted into poetry, he knows that receptivity itself has a large extrinsic history. But material being given a form means that the receptivity must first be recorded fact. Not only do the histories take to their structures readily and freely; they had their form when they were chosen "in suitable measure and proportion", for it is that very measure and proportion that became the basis of their formal moment. This moment implies internal freedom and conflict as well, for both measure and proportion are flexible systems. They are shown as such by "Mnemosyne" with respect to flexibility of the syntactic structure (Chapter V, pages 294-301), from which arises the sinuous quality of the tetradictriadic stanzaic division in that hymn (Chapter V, pages 299-301). Metre and its relation to word-syllable distribution throughout "Der Rhein" (pages 190-192 and Table XXXV) is another strong point of evidence for formalistic treatment. Perhaps the most striking instances of literal receptivity may be found in "Patmos", where the swaying of the historical consciousness, as released in a series of discrete quantities, fuses harmonically the for20 An excellent example of 'discrete history' is the poet's gradual disclosure of meaning in the variant readings to "Der Rhein", vss. 114-120, Texts III-R, as seen through the 'Event-Construct' analyses of the stochastic charts (Tables VII-XXI).

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mal and semantic content in the variant readings.21 The series of word spans and semantic tensions, summarized in Chapter IV for Table XLVIII (page 237) exhibits a series of direct receptivities, in that it includes two sets of data running in parallel cycles but in opposite directions (similar data are shown in Table XLIX; see discussion, Chapter IV, pages 237-240). Anagogic receptivity abounds in the Late Hymns; it becomes both a necessary practice and a natural consequence of that practice at junctures where the semantic interest turns to silence. Language thus becomes preoccupied with itself, in "Der Rhein" at the points of abstract, personal, and historical gnomes Tables (XXXII-XXXIV), both in "Der Rhein" and in "Patmos" at the points of enjambement (for Chapter III, Table XXVI; for Chapter IV, Tables L-LIV; see also Chapter IV, discussion, pages 240-243), perhaps the strongest in "Mnemosyne", at the point of punctuation (Chapter V, pages 306-310, Tables LXXXII through LXXXVII). In "Mnemosyne" the punctuation is examined from the mechanical viewpoint of sentence length (Chapter V, pages 307-308) and partly also from the teleological viewpoint of a possible rhetoric of silence.22 The poet, in running out of language, turns to the language hidden in the between-period pauses of increasing length. Aleatory distribution of literal and anagogic treatments results.23 21 Especially at Tables XVII-XXI, where syllabic density and semantics are measured at every Construct and at every Event, is this clearly prepared at the stage of "Der Rhein"; at "Patmos" this seems to hold more for the definitive text, in an outstanding way at the point of sudden change of subject and tone, of 'gleitender Übergang' or 'enharmonic change' (Benn, Hölderlin and Pindar, p. 134), as at "Patmos", vs. 73. Cf. Else Buddeberg: "Die Entsprechungen in der Entgegensetzung auf seiten des Stoffs sind nicht als einfache Reaktionen aufzufassen; sie folgen aus dem zwischen Geist und Stoff grundsätzlich aufgetanen Widerstreit" (GRM, N. F. XII, 184). 22 This has also been observed by Häussermann: "Um zum Ursprung zu finden, muss der Dichter ja zuerst vor den Ursprung zurück. Vor dem Ursprung des Wortes liegt das Schweigen. Das Schweigen ist eine Macht. Sie steht im Dichter der Macht des Wortes ebenbürtig gegenüber" (Friedensfeier, p. 76). 23 In the example from "Mnemosyne" below, it is a process of thought, simultaneously with a structure, that is being completed every time a sentence-length utterance comes to its written fullstop. That is, the length of pause following each utterance seems to be strictly a function of the further need of the utterance to be completed, and is independent of the semantic-structural potential of any utterance preceding or following in about the same measure as the given series of such potentials is dependent on the presence or absence of given stylistic devices in the series of utterances, and on the pattern into which these devices arrange themselves. It might be said that such a stochastic row of utterances partakes of ergodic and Markoff properties whose occurrence cannot be predicted, but is rather analyzable after an inventory of all present stylistic stimuli {cf. Riffaterre, Word, XV, 170-174).

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Zweifellos Ist aber Einer. Der Kann täglich es ändern. Kaum bedarf er Gesez, und die Schrift tönt. Es möchten aber Viel Männer seyn, wahrer Sache. Denn nicht vermögen Die Himmlischen alles. (M* vss. 8-14) The above two dimensions of 'Receptivität' cross where the poet's most consciously historic — meaning resistant, yet receptive — utterances succeed in being heard. Examples, from "Der Rhein", are the balance of "I", "R", and "M" verses in Stanzas 4 and 13 (Chapter III, Tables XXIX-XXXI), the perfect ( 6 + 6 + 3 ) line-sentence pattern in Stanza 7 (Table XXVII), or the nondescript property, from the point of view of line-sentence distribution, of Stanza 8.M b. The Structure of a Poem 5. "Eine der verschiedenen Successionen" (AnmAnt; V, 265) Having come to an understanding of the proper dimensions of linguistic transmutation, having learned, in other words, to organize and economize with his historical resources, the poet has formal criteria to consider, in terms of which the material becomes durable language. The work of 'freie Wahl' (above, Paragraph 3) here takes on a dimension of great 24 There is also a sphere where the two dimensions of 'Receptivität' cross; here js where some of the poet's most consciously historic, meaning resistant yet receptiv e, utterances may be heard. The perfect ( 6 + 6 + 3 ) pattern in Stanza 7 of "Der Rhein", or the nondescript gross pattern of Stanza 8 of the same hymn, provides an example of recurrent architectonic unities identifying more systematically those relations between the poet's systems of belief that were hinted at above in note 23. As Buddeberg writes: "Kann . . . zunächst der Anschein entstehen, als bliebe sowohl Geist wie Stoff je im Ablauf des Prozesses rein in sich beschlossen, so ist jedoch zu betonen, dass der eigentliche Sinn dieser spannungsvollen Antithetik darin besteht, dass jeweils die (primäre) Ebene, auf der sie abläuft, überstiegen wird" (GRM, N. F. XII, 184). Such an insight may well be accepted in modification of I. A. Richards' assertion that "the rhythm which we admire, which we seem to detect actually in the sounds, and which we seem to respond to, is something which we only ascribe to them and is, actually, a rhythm of the mental activity through which we apprehend not only the sound of the words but their sense and feeling" (Practical Criticism: A Study of Literary Judgment [New York, Harcourt, Brace and Company; London, Routledge & Kegan Paul, Ltd., 1954], p. 229). For a quantitative exploration of the form-content problem that is amazingly close to Richards' study in spirit, see Ivän Fönagy, "Der Ausdruck als Inhalt: Ansätze zu einer funktionellen Poetik", Mathematik und Dichtung, pp. 243-274.

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urgency. For whereas before the material was available to choice in the near-abstract, unsupported by the need to choose, at the present stage the need for choice of a specific level of organization on which to acknowledge the art is implied by the need for a clarity and wholeness of viewpoint. Both poet and reader must focus in the poem. Focusing is an experience in reading ensured by the illusion of movement in the poem; the foci shift and are thus imprinted on the consciousness. In "Patmos", Stanza 1, we are perhaps most acutely aware, first of sentence length, then of line length: "Nah ist / Und schwer zu fassen der Gott."Here the focus on the brevity of verses turns, and the wheel of foci pilots the vision into a top-level observation of the brevity of sentences. This primary-secondary relationship between line length and sentence length is confirmed, with an almost simultaneous recognition of the intention in the sequence, at verses 3 and 4: "Wo aber Gefahr ist, wächst / Das Rettende auch." In a masterly way Hölderlin turns the attention away from this relationship in verses 5 and forward. This he does by causing simultaneous radicality and restraint in motion; the brief line "Im Finstern wohnen" (vs. 5) would seem to lead to the expectation of a verse 6 which is considerably longer, as, by syllabic count, verse 2 was three times the length of verse 1, or of a verse a few syllables shorter (relation of vs. 4 to vs. 3). Besides, on the basis of rhythm only, verse 6 might form the end of a third sentence to that point. Neither expectation materializes. The verse beginning 'Die Adler' (vs. 6), while maintaining its brevity (2 syllables longer than vs. 5), sweeps out into enjambement and this change is accompanied by a shift in focus, from line and sentence length to the pattern of vowels. We hear, strongly, 'Adler' /a:/, 'furchtlos' /u/, 'gehn' /e:/, / 'Söhne' /ö:/, 'Alpen' /a/ (vss. 6-7); from here the focus shifts again, this time to the numerous nouns and nominal forms in the stanza. This constant shifting leads into the perception of the complex relations contained and organized, among the many other levels of focusing in the poem, in the nominal and pronominal inventory (for Chapter IV, Tables LIX-LXVIII). Figure-ground patterns of still and shifting foci are worked out by Hölderlin in all three hymns examined above. In "Der Rhein" the harmonic division into triads, pentads, on the level of stanza and line, yields to focusing on the curves formed by 'I', 'R', 'M' lines (Tables XXIX-XXXI), on gnomes (Tables XXXII-XXXIV), on the competition between metrical and syllabic patterns (Table XXXV). In "Mnemosyne" the focus on clause length (pages 295-296, Chapter V) yields to that on punctuation and on silence (Chapter V, pages 306-310; Tables

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LXXXII-LXXXVII). Shifting foci become cumulative foci as the ear picks up more and more connections. Some loss in the process is bound to be compensated for by increasing clarity at repeated listening. 6. "Nothwendiger Widerstreit"

(UVpG;

IV, Part I,

241)

With the phenomenon of shifting attention there emerges the question concerning the permanence of the perceived object, and on 'Widerstreit', competition, between perceived structures as a basic question about coexistence as a prerequisite to competition. Holderlin does not anywhere suggest either of two possibilities, namely (1) that features in the poem vanish and reappear, (2) that the process of communication described at Paragraph 5 amounts to a progress devoid of acoustic difficulties. It might be said to be the poet's intention that difficulties in hearing be built into the material-receptivity matrix. Both to emphasize and to counteract this difficulty, the poet organizes his intent with a view to the repeatability and the retention of the decoding process.25 A transformation is thus completed in the poem to the extent that the experiment in hearing is changed to experience of a literally felt doctrinal order. In the effort to ensure lasting communication the poet repeats; every focusing but perhaps one takes place at every stanza in the Late Hymns. In "Der Rhein" the aleatory word-syllable distribution (Table XXXY) persists as much as the relatively full line, as the relatively predictable (here less so than in the other hymns) verse count: 15, 16, 14 verses in each triad (Tables XXIX-XXXIV), as the frequent occurrence and pattern-generating distribution of Adonic line endings (i.e. (Chapter III, pages 197-198, Tables XL-XLV). In "Patmos" the abundance of nouns and nominal forms (Tables LIX-LXVIII) coexists with the relatively frequent occurrence of particles (Tables LVI-LVIII), the aleatory distribution of verse length with stringently controlled stanza length. In the variant readings coexistences are indicated by combined moduli, as in the readings to "Patmos", where logical tension is measured together with word-span tension (Tables XLVII and XLVIII), semantic content with enjambement (Table XLIX), enjambement with distances in number of words (Tables L-LIV). In the variant readings to "Der Rhein" the co-existence of modulus features is accented even more, as the measurement by lattices containing arithmetical ratios only tends to keep the intuitive aspect of the analysis to a minimum (word distance with logic, 25

For the opposite of this statement, namely that organization in the poem is with a view to aleatory distribution and unrepeatability of the experience of reading, see below, Paragraphs 23-25.

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Tables VII-XI); syllabic density with semantic contents, Tables XVII-XXI). In "Mnemosyne", Tables LXIX-LXXVI, the syllabic density is seen to coexist with the position of the accented syllable, and the arithmetical ratio of these two quantities is the measure of the acoustic effect in the variant texts (M,-M 4 ). In the final version (M^) the predictable stanza length is seen to be just as strongly part of the design of the poem as the predictable progression in sentence lengths within each stanza (Chapter V, page 295), or the highly unpredictable Markoff properties of verses of extreme length or extreme brevity (Chapter V, pages 304-306, and Table LXXVIII). "Eine der verschiedenen Successionen" emerges as the basis of conscious technique and is defined as the length and direction of one of the structural (meaning a steady view of a complete set of given) features, rather than as the vectoriality of an as yet uncharted feature development.26 7. "Harmonischentgegengesezt und geradentgegengesezt" (ÜVpG; IV, Part I, 246) In keeping with the requirement, within the perceived poem, of the storing and processing of multiple messages in the memory, such competing and coexistent messages are, descriptively, of the basic kinds, harmonic-opposed and straight-opposed. If we take two patterns of equal value in some agreed-upon respect, say, length in number of syllables, internal differences might well illustrate the distinction. The following two samples from "Mnemosyne" are each nine syllables long: Das Meer auch und die Ströme haben Der Thiirme friedsam; gut sind nemlich

(vs. 7) (vs. 22)

The proporty of word-syllable distribution yields the following pattern for the two verses: 1

1

1

1

1

2

2

Das Meer auch und die Ströme haben

1 2

2

1

1

2

Der Thürme friedsam, gut sind nemlich 28 Consequently the girders coexist, rather than vanish and reappear; they compete for the reader's attention (see Tables LIX-LX and their partial presentation in Chapter IV, Section C). Even if the series of features are at first conceived as analogous to products of chance selection and variation, of "the tossing of alphabets into the air, said alphabets having happened to fall into a meaningful order" (Burke, p. 62), it is the dance of these alphabets in the air, rather than the patterns into which they fall that will first catch the critic's mental eye, as 'meaningful order' after the fact of fall always appears to favor certain meanings and orders to the exclusion of others.

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There is no difficulty deciding, in the present instance, that the first sample represents a quite simple straight-opposed sequence (with the first five monosyllables contrasting with the concluding two dissyllabic words), while the second verse quoted yields, even within its limited compass, harmonic-opposed patterns of a relatively high degree of sophistication.27 To make a definition brief, harmonic-opposed implies resistance and complexity, even within small passages, while straight-opposed does not.28 Designs of straight opposition must be present in the poem, in order that structures of the harmonic genre might become known by contrast. Thus there may well occur a sudden, straight-opposed, break in the historical content, while in form there will be transition of a harmonic order ("Patmos", vss. 70-73; 73-77; "Mnemosyne", vss. 12-17; 18-22). Straight opposition involves opposition of every element considered to a precise counterpart. One phoneme in one word may ring against its opposite in another (as in "Der Rhein", Stanza 3, where initial phonemes of long adjectives and adverbs produce the 'geradentgegengesezt' pattern /f ? ? ?/ or 'ABBB' (Tables XXXVI-XXXVII, Segment 2, Column 2), length in one syllable to brevity in another ("Der Rhein", vs. 183 'Weile' against vs. 185 'Schlummer'). Harmonic opposition is shown in the Late Hymns to involve likeness and difference in random arrays. In the complete hymns there occur patterns of a natural order of randomness (as in "Der Rhein", word-syllable distribution per se, Table XXXV and pages 190-192, also the array of segments in Tables XXXVI-XXXVII, Segment 10, vss. 182-199, where only two segments are confirming), or patterns of an artificially randomized variety. These latter may be based either on the stochastic formula of the marginal note, i.e. {{X)t, t € T) = ( A a B k + A b B k ) + ( A c B [ + A c B m ) + ( A x y B y I ) , " The simplest variation, in the second half of vs. 22, would have been either conversion (2, 2,1 instead of 1, 2, 2) or obversion (2,1,1 for 1, 2, 2) (patterns as suggested in Copi, pp. 138, 141). What is given instead is a conversion of the hypothetical obverse. 28 In information-theoretical terms, stochastic and non-stochastic, which latter has built into it a degree of intentional restraint from the through-motion of natural random (i.e., stochastic; cf. Parzen, p. v, pp. 1-6) patterns. It could hardly be thought accidental that at the beginning of the concluding stanza of "Der Rhein", heading the concluding portion of the triad which "mit durchgängiger Metapher alles ausgleicht", there occurs one of the most through-composed straight-opposed patterns in the entire hymn: 1 1 1 2 2 2 2 2 "Dir mag auf heiszem Pfade unter Tannen oder" ("Der Rhein", vs. 210)

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where 'A' stands for ' F o r m ' and 'B' for 'Stoff', or on the definition of artificial randomization utilized in the stochastic concept charts for the variants in all three analytical chapters (definition in Chapter III, page 160 and n. 93). Serial composition in the variants generates stochastic accidence.29 8. "Eine fortgehende Metapher" (ÜUD; IV, Part I, 266) After having realized a chapter of practice from the principle of harmonic opposition, 30 the next step, that of ensuring the success of the communicative effort, the 'programmatic ensuring of the possibility of movement', should follow logically. What does 'programmatic' mean here? It means that the poet does not for a moment, in the flow of language, relax his guiding competence. He sees the poem through in its sound interchanges between harmonic-opposed and straight-opposed patterns (Table XXXV, especially at Stt. 3 and 9, where long lines containing many monosyllables alternate irregularly with short lines containing polysyllabic words), or between harmonic-opposed patterns simultaneously (Tables XXIX-XXXIV; Tables LXXVIII-LXXIX) or in alternation (Tables XXVII-XXVIII; Tables LXVI-LXVIII). Simple and built-up sequences of harmonic-opposed structures may also coincide, as shown in the triadic and pentadic breakdown for "Der Rhein" (Chapter III, pages 180-182) and in the stress pattern equivalents of the transition matrices for all three hymns (Tables XXXVIII-XXXIX, XLII-XLV; Chapter IV, stress diagrams to nominal forms, Tables LXI-LXIV; Chapter V, stress diagrams to punctuation, Tables LXXXIV-LXXXVII). The possibility of alternating decisions based on simultaneous harmonic29

See especially the scheme of variant readings for "Der Rhein", vss. 114-120' (Fig. 12). 30 There is a vital link between the principles of harmonic opposition and progressive metaphor, if Boileau's speculation on the relation of the Pindaric ode to the reader's imaginative valences is correct : "Qui mollement résiste, et par un doux caprice, / Quelquefois le refuse, afin qu'on le ravisse. / Son style impetueux souvent marche au hasard./ Chez elle un beau désordre est un effet de l'art." (L'art poétique, ii. 69-72) That this principle of construction already informs the ode pattern proper (that is, the Alcaic, Sapphic, and Asclepiadean models, referred to in Hölderlin's work a s 'ode', in contradistinction to the Pindaric form, referred to as 'hymn') has been recognized by Viëtor: "Dieser modifizierte Typus der pindarischen Ode zeigt deutlich den Einfluss einer Theorie, die in der Lockerung des Baues noch weiter gegangen war und einen 'beau désordre' geradezu für den feinsten Reiz dieser lyrischen Form erklärt hatte. Dieser glücklich formulierte Gedanke Boileaus hat bis weit in das 18. Jahrhundert hinein dem Odentypus und seiner Theorie die Richtung gewiesen" (Die Lyrik Hölderlins, p. 161 and n. 3).

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opposed facts is illustrated in the path profile summaries of the variant readings (in Chapter III, Figures 18-26; for Chapter V, Figures 52-55). 31 It becomes increasingly apparent that when the poet calls for the principle of sustained 'carrying beyond', metaphor, in his work and in the reader's experience of it, he means that the field of relations upon which the metaphor is sustained must be governed by probabilistic laws. These laws, as strictly pertinent to the requirements of a well balanced composition, have been defined in Chapter II, Sections B and C. Confirmations and nonconfirmations of predictions, discussed in Chapter II for lower levels of structure, must here themselves be seen to combine into patterns that repeat, on their own plane, the play of expectation, disappointment, new expectation, reward, memory gained, lost, reinforced (see especially for Chapter IV, Tables LIX-LXIV). Here the communicative moment is of highest importance for Hölderlin, as he knows that in the closely woven and intricately overlaid textures of the hymns he must leave room for divergence of reading. Free reproduction by the reader must be provided for (see Table LIX, the legend of 26 questions, of which only twelve uncombined criteria are reproduced for the stress pattern equivalent. Among the omitted criteria expecially 21-26 represent largely a structural repetition and reinforcement at the transition matrix stage). The possibility of free reproductive capacity was made available to the poet early in his work (see Paragraph 3, "Freie Wahl"), and this the poet must now make available to his reader by way of experience communicated. Sustained change and control in the freedom of this change are both parts of the definition of the present principle. A part of this definition seems to be Hölderlin's proposition that the listener's ear be trained to pick up a repertoire of relationships to be sustained and rotated at alternate readings (worked out especially in "Patmos", see Chapter IV, pp. 245-261). 9. "Das hyperbolische Verfahren" (ÜVpG; IV, Part / , 246) The 'hyperbolic technique' is probably less a technique than a realization. The methodic convergence of all the criteria of poetic material and structure viewed at work in the foregoing cannot reach full fruition in 31 These path profiles are at the same time perhaps the best illustration of the fact that, here as in all the above listed instances, a difference seems to exist between the poet's guidance (alternation and overlapping of patterns) and the reader's freer perception (overlapping of pattern and coincidence of foci in a close reading). Cf. above, note 19.

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the reader's consciousness without a degree of subliminal awareness first that the reading pivots and performs multiple functions. But there is a limitation already here. The speed with which the reader takes in the words, combinations of words, verses, sentences, stanzas, triads, and finally the entire poem, may at first cause in him an unproductive relation to the notion of extreme pivoting as a criterion of contact with the work of verbal art. Yet with speed in reading, structural extremes do come into focus, cumulatively, so that with the rehearsing of the speed and of different speeds a semitotal inventory of sets of pivoting foci becomes audible. The hyperbolic technique then becomes a way of rejecting and sifting the audible sets. This the participating mind does in four ways: — (1) Highlighting of extreme contrasts may best be seen in the designs of the stress diagram equivalents of the transition matrices. In the four designs contained in Tables XLII-XLV, the high contrast between fluctuations is best described from table to table, representing transition from ear to ear. The moderate contrasts between Tables XLIII and XLIV (e.g., Segment 1, Column 4 to 2.1 and 1.6 to 2.3, respectively) are illumined by their neighborhood with the corresponding extreme contrasts of Table XLII (1.13-2.2) and Table XLV (1.7 to 7.5). (2) The contrasting of contrasts may be achieved by the superposition of one set of contrasting patterns upon another, as in "Mnemosyne", where, in concentrating on verses of extreme brevity and length only, we may discover the stochastic properties of the two overlaid distribution patterns (Table LXXVIII) together with the Markoff properties yielded by the statistical data of the distribution itself (Chapter V, pages 304-305). A less complex and more compound contrast group may be seen with the arrangement of "Mnemosyne" into clause group and line group patterns (Chapter V; pages 295-296). (3) The joining of structure to meaning, perhaps the very operational base of the entire poetics (see above, Paragraphs 2-4), is illustrated perhaps most simply by the variant readings in "Mnemosyne", where the acoustic effect of a materially unaltered event in an altered position has been measured (in Chapter V, pages 285-294 and Tables LXIX-LXXVI). In complete texts this aspect of the technique takes two forms, first, the investigation of the structure of meaning, as by symbolic logic (Chapter III, Section C, Chapter IV, Section C), or by structural harmony (Chapter III, Section C) and second, the analysis of structure with meaning (e.g., for Chapter III, Tables VII-XI, XVII-XXI). (4) The linking of word with silence is demonstrated again to have two basic meanings in the Late Hymns, the first as in an enjambement space

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by the phonemes of words preceding and following (Chapter IV; page 241), and the second meaning as shown in the brief sentences and sudden silences in "Mnemosyne" (Chapter V; pages 307-308).32 c. Analytical Structures 10. "Wechsel der Töne" (WT; IV, Part I, 238) After the general principles of structural method in poetry have been codified, the first practical instruction the Late Hymns give is on the subject of tonal alternations. The principle has received much attention lately, and yet has been treated only superficially, as critics have insisted on playing with the idea of 'tone' as being synonymous with 'attitude' or 'posture'.33 To be sure, the fragment to which Beissner gives the title "Wechsel der Töne" includes those three categories — 'naiv', 'heroisch', 'idealisch' — which by their very limitation are particularly apt to encourage the semanticism Ryan and others purvey.34 But here, perhaps 32 Another excellent example of this aspect of 'das hyperbolische Verfahren' may be seen in the MSS.: on Homburg F 91, in the right-hand column, where the writing breaks off with 'Den P . . ( s e e discussion in Chapter V, Section A). Such an interruption in writing, if it may be interpreted as a decision not to continue recording a line of thought already formulated at least in part, would seem to indicate thought revised and reversed to realization by silence. This act of revision of intent would seem to partake of the definition of the artist as offered by I. A. Richards: "He is preeminently accessible to external influences and discriminating with regard to them. He is distinguished further by the freedom in which all these impressions are held in suspension, and by the ease with which they form new relations between themselves" (.Principles of Literary Criticism [14th impression; London, Routledge & Kegan Paul, Ltd., 1955], p. 181). 33 Not that Hölderlin himself did not encourage this genre of speculation (see especially the many synonyms for the three 'Töne' in the essay "Über den Unterschied der Dichtarten" as summarized in Table II); this is aknowledged by Meta Corssen, as she writes of Hölderlin's own distinctions between the genres, "indem er sie nach ihrem 'Grundton', ihrer 'Grundstimmung' oder ihrer 'Bedeutung' und nach ihrem 'Schein' oder ihrem 'Kunstkarakter' unterscheidet" (Hölderlin-Jahrbuch, V, 19). 34 The following redefinition of the three 'Töne' in terms of 'Wechsel' might be offered: (1) 'naiv': readiness to change, submission to and delight in change, (2) 'heroisch' : resistance to or tragic subjection to change, and (3) setting up of program participating in both preceding genres of change. The connection between the present definition and that given in Chapter III, Section C — 'naiv': gnomic; 'heroisch': narrative; 'idealisch': speculative —• might be readily apparent if the three tones are linked to three basic processes of thought: 'naiv': analysis; 'heroisch': catalysis; 'idealisch': synthesis. The three sets of redefinitions seem united, at any rate, in Hölderlin's doctrine, in the summary by Buddeberg: "Die Verfahrungsweise des poetischen Geistes... realisiert sich in der 'freien Bewegung', dem 'harmonischen Wechsel und Fortstreben'" 0GRM, N. F. XII, 183).

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more than anywhere else in Hölderlin's "Ars Poetica", it is true that while the Homburg fragment teaches one approach, the Late Hymns teach quite another. It is significant at any rate that Ryan is incapable of analyzing the Late Hymns in terms of the three tonal categories,35 for he should perhaps have looked for radically different tones. The nominal forms in "Patmos", examined in Chapter IV, Tables LIXLXIV, are themselves one tone each. Each of the 26 properties of each noun (Tables LIX and LX) is one further tone. Each combination of two or more properties (1-3, 15-17, 18-20, 22-24, 25-26, as shown in the segmentation and stress pattern equivalents to Table LIX) constitutes yet another tone. In reading, these tones alternate, that is, closely succeed one another in series, individually and in constantly changing clusters, the latter of similar, different, and alternating sizes (for nominal forms in "Patmos" see the periodic segmentation and pattern-analysis, Tables LXVI and LXVII). 'Wechsel' may be predicated not only of the modification of tones or clusters per se, but also of the series of modifications that the clusters in sets leave as a structural residue. The resulting periods (as in the table above) may be seen as tone change on another level, exhibiting partial harmonic nexus with the underlying cluster alternation {viz. in Table LXVI, where the sums of periods in Triad IV, '2, 4, 5', are the exact replica of the sums of tone clusters in Stanza 9 immediately preceding. Partial Harmony as a specific instance may be seen in the periodic 'Wechsel' in Triad II and the cluster alternation pattern in Stanza 13). A visual version of audible tone alternations may most vividly be seen in the path profiles to Chapter III (Figures 18-26), where these diagrams are effective summaries of the corresponding acoustic contacts occurring at high speeds. Tonal alternation may occur, then, between (1) tones and tones, (2) tone clusters, (3) tones and spaces, (4) spaces acting as tones (e.g., instances of enjambement, Table XXVI). A good example of 'Wechsel' between moments of transition is provided by the exploration of the Markoff properties of verse lengths in "Mnemosyne" (Chapter V; pages 304-306). 36 Ryan, Hölderlins Lehre ..., p. 248: "In mancher Hinsicht lässt sich der Stil der vaterländischen Gesänge mit dem, was wir bei den Oden als Wechsel der Töne bezeichneten, nur schwer vereinen. Während es als Merkmal des Odenstils erscheint, dass die einzelnen Teile des Gedichts in gegensätzlicher Gespanntheit aufeinander bezogen sind, setzen die Hymnen gleichsam die Erreichung einer höheren Stufe der 'Vollendung' voraus: der Wechsel und Widerstreit drückt sich weniger scharf aus, . . . " . For a similar dubious point made by Ryan in connection with the Elegies see above, Chapter VI, note 117.

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11. "Der Rhythmus der Vorstellungen" (AnmOed; V, 196) Cyclical recurrence of tonal alternations is both contingent on and a basis of rhythm as 'the pattern of awareness cut into the reader's mind' ("Ars Poetica" by Principles, Paragraph ll). 3 6 The recurrence is contingent on the reader's awareness because it is a suggestive restatement the poet wants to communicate, and at the same time may not recur in identical form. 37 Patterns can proceed vertically and horizontally (as shown by any transition matrix) and doubly (for aleatory double patterns see Table XLII). 'Interchange of pattern modification between levels' of structure involves harmonic motions, partial and complete. Harmonic rhythms are taught in the Late Hymns at levels of intensity that partially increase with the size of the sample (in the present instance, the complete text), and with the specific level at which the motion is examined. In "Mnemosyne" the relation of word lengths to word groups measured in syllables may thus be looked at (Chapter V; pages 300-304) as well as the relation of this tetradic-triadic alternation to the alternations in the clause-lengths measured in number of lines, discoverable for the entire hymn (pages 296-300). 38 In "Der Rhein" the best and most complete harmonic rhythms are exhibited by the semantic structure, where the major ( 6 + 6 + 3) and minor ( 2 + 2 + 1 ) sums occur and recur regularly not only on the level of pentad, triad, stanza, verse pentad, and verse triad, but also on that of the individual verse (Chapter III; pages 182-184, and Tables XXVII-XXVIII). Harmonic-opposed rhythms, a special case of the harmonic, obtain when the first recognizable cycle recurs, but asymmetrically (as in the 'M' and 'R' curves in "Der Rhein", Tables XXX-XXXI). Contrapuntal rhythm, the partial reflection of structural ideas, seems 36 Cf. above, note 24; also Gaier's methodological principle of a 'Denkrhythmus', defined by him as "Form und Inhalt des Gedachten, Vorgestellten, Dargestellten entscheidend bestimmendes Prinzip" (p. 5). 37 Random variation may be built into the rhythm of tones and conceptual feelings; this may in part explain Hölderlin's own tone row for the rhymed seven-stanza poem "Diotima, Jüngere Fassung" (I, Part I, 220-222; tone row in IV, Part I, 271-272; cf. general treatment above, Chapter VI, Section A), but not the question mark preceding the row in the MS. (Stuttgart I 6 46 v ; cf. IV, Part II, 784). 38 Comparable to the partial coexistence of tetradic and triadic patterns in "Mnemosyne" is the intersection of pentadic and triadic structures in "Der Rhein", as demonstrated in Chapter III, Section C. Only in the latter the numbers 3 and 5 represent structural multipliers uniting and distinguishing the various phases of the intersecting buildup, while in "Mnemosyne" the numbers 4 and 3 represent sums displaying segments of complete and accomplished construction.

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often to be an inevitable later result of conscious practice earlier in the poem. Hölderlin distinguishes between counterpoints of long-range intention and immediate intention. Immediately intended 39 rhythms are not rare, although it takes fewer readings for the reader to find them than is the case for counterpoints of the long-range genre. Here again, as with harmonic rhythms, the nature and disposition of the material are decisive. Examples are the transition between enjambements 7 and 8, Table XXVI; the series of enjambements in "Patmos", Events v through z (Chapter IV; page 241); seemingly close-range but difficult aurally is the play between (M), (m), and (xy) verse group patterns as illustrated for Chapter III in Table XXVIII. In such instances no immediate harmonic alternative seems suggested, although the freedom of the poet's movement suffers no loss. Long-range contrapuntal rhythms can be found towards the end of a long chain of densely repeating features, where the properties describable of each feature themselves reflect, descriptively or materially, earlier patterns usually with long lapses of nonconfirming sequences (Table XLI, partial recurrence in 9.1 of 1.3 pattern, 'ABAACD'; also the delayed vertical confirmations, Tables LXI-LXIV).

12. "Wechsel der Formen" (ÜVpG; IV, Part / , 247) It will be recalled that in the fourfold definition of 'das hyperbolische Verfahren' (Paragraph 9), the third aspect was concerned with joining "the descriptive and the semantic halves of the p o e m . . . contrastively, so that both the structure and the material might find their necessary pitch of receptivity" ("Ars Poetica" by Principles, Paragraph 9). At the present step, in speaking of forms as having 'a life and identity of their own', the poet means to say that such forms now exist because structure and material have succeeded in uniting at their proper junctures in ways consistent with the laws of 'Receptivität'. 40 In examining, for example, 'I, R, M' verses in "Der Rhein", Tables XXIX-XXXI, we observe 39 That is, intended to be heard by the reader in retainable clusters, which he will later be able to use as building blocks toward his total acoustic experience of the poem. This helps reduce the reader's acoustic load considerably, and no doubt underlies in good measure the principle of 'harte Fügung', which in Hölderlin's poetry informs the accessibility of outstanding individual words ('gewichtige Worte', e.g., gnomic compounds) fraught at times with large clusters of semantic and descriptive features (c/. Chapter II, note 157 and the discussion in Chapter IV, Section B). 40 The impression that the meaning of 'union' here participates in that of 'synthetic

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coincidences between construction and semantic content such as the following: T:

Hinabschaun, taglang, dort Stillwandelnd sich im deutschen Lande Unüberwindlich die Seele Allliebend, so empfangen sie auch Unschädlicher Glut und die finsteren Bäume Hinuntergeht und die Nacht kommt

(vs. (vs. (vs. (vs. (vs. (vs.

21) 85) 140) 151) 189) 194)

Duration, tempo, direction seem to be areas of meaning allied with verses beginning with polysyllables. In verses consisting entirely or largely of monosyllables, the above areas are enlarged by addition of ideas on the acting subject and locations of his action: 'M':

Sein Haus und dem Thier ward, wo (vs. 42) Mit der Beut und wenn in der Eil' (vs. 71) Im guten Geschaffte, wenn er das Land baut (vs. 87) Wenn einer, wie sie, seyn will und nicht (vs. 119) Er sehn mag bis an die Grenzen (vs. 127) Wo der Stral nicht brennt, (vs. 161) Nur hat ein jeder sein Maas. (vs. 203)

In the retard-stop verses there seem to be a balance between the emphasis on time ( T verses) and that on space ('M' verses). 'R':

Italia zu geschweift Des freigeborenen Rheins, In Wikelbanden zu weinen; Wer war es, der zuerst Das othemarme, wie Seegel Doch einigen eilt

(vs. (vs. (vs. (vs. (vs. (vs.

14) 33) 63) 96) 174) 195)41

structure' must be discarded as illusory; Hölderlin speaks of the existence of his forms, after the fact, in the rhetorical medium and argumentative spirit of the opening sentence of the essay "Über die Verfahrungsweise des poetischen Geistes" (IV, Part I, 241, line 3 to 243, line 18). There we have seen (c/. above, Chapter I, pages 27-28, and notes 139-153) how Hölderlin means a dynamic, living 'Receptivität', simultaneous 'Verwandschaft' and 'Wechsel' of all constituent portions and features of 'Gehalt' and 'Form', respectively. This may be accepted as an important point of agreement between the implicit doctrine of the Late Hymns and the explicit Homburg poetics. On a further point of agreement between the two systems, see Chapter I, note 223; on important disagreement, Chapter I, note 187. 41 The articulation between structure and semantics is no less strong in the transition between versions of poems, perhaps strongest between "Mnemosyne", Third and Fourth Versions (Mj, M^), where such increased articulation is accompanied by the rearrangement of the material by entire stanzas, as well as by the addition of text that further illumines the semantic-descriptive combinative potential of the poet's ideas (Chapter V, Section B).

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We are also taught that the concepts 'Wechsel' and 'Rhythmus' are by no means synonymous, as some commentators would have them be.42 But a 'form' is a synthetic basis of the onward-striving analytical capability. Just as tone is any reality unit in reading contributive to hearing, so form is any combination of structure and meaning, however small, contributive to the beginnings of total understanding (see also Paragraph 23, "Fühlbarkeit des Ganzen"). An example of forms arranged from form nucleus to full formal organization may be taken from "Patmos": (1) vs. 194 'Stillleuchtende', to (2) all of vs. 194,« to (3) vss. 191-196, to (4) Stanza 13, to (5) Triad V, to (6) Pentad III,44 to (7) all of "Patmos".45 Series of increasingly complex forms may also occur at random.46 42

Outstanding in the older scholarship is the equivocation on the part of Veronika Erdmann as in her book on Hölderlin's aesthetic theory she writes on 'das Gesetz des Wechsels (Sukzessionsgesetz)' (p. 67). "Hiernach [according to the "Anmerkungen zur Antigonae"] ist das einzelne Gedicht ein Mikrokosmos, in dem die Gesamtheit der seelischen Vermögen sich spiegeln soll, und das wesentliche Problem der Form ist das Problem des richtigen Rhythmus oder der richtigen Sukzession der Teile" (ibid.). Against this Gaier makes the following useful distinction: "Der Denkrhythmus ist der geistige innere, der Wechsel der Töne der äussere sinnliche Ausdruck . . . (p. 195). 43 A line of outstanding 'stillleuchtend' property, as the phonemic and semantic features especially at " K r a f t aus heiliger Schri/i/all/" combine to lend support to the nuclear presence of a compound of the weight and semantic light of "Stillleuchtende". 44 That is, the answer section to the riddle of "Patmos", the answer to "was ist disz?" (vs. 151), if the question concerns the meaning of the periodic estrangement between man and God (the death of man as God), and the answer (Stanzas 11-15) is a slow and careful enunciation of the pertinent law, none other than the law of divine arbitrariness (c/. below, Paragraph 14) and of the 'Wechsel der Formen', which this larger law makes possible. 46 "Patmos" as monodic conversation — riddle and answer — may as a whole be seen as related to this chain of forms, involved as it is in the many-faceted and subdued lights of forms (Tables LVI-LXIV) and of semantic structure (see Chapter IV, Section B). Further, each stanza of "Patmos" contains one outstanding 'stillleuchtend' semantic correlative, as follows: Stanza 1 2 3 4 5 6 7 8

Word Gipfel Genius Asia Patmos Stimmen Angesicht Geist Bilder

Reference (vs.) 10 19 31 53 69 80 101 120

Stanza 9 10 11 12 13 14 15

Word Gott Gestalt Werk Sohn Kraft Einer Buchstab

Reference (vs.) 132 138 160 181 194 204 225

46 Examples from "Der Rhein", arrayed from smallest to largest: (1) vs. 140 "Unüberwindlich die Seele", both 'R' and 'I' verse, formally certifying 'unüberwindlich' character; (2) Stanza 3 in point of its links between m eaning and syntax; (3) Stanza 15, where the union of semantics and structure takes place under the sign of entropy,

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13. "Das Werden im Vergehen" (WiV; IV, Part I, 282) The mode of existence of the literary work of art47 troubles the poet from the very inception of his work. For how is he to be sure that he can ensure communication in this specific sense, that the empirical event in his mind corresponds to the event in the minds of others? This he cannot prove; he can only assume it and use the assumption as a working axiom. What the poet-pedagogue can be empirically sure of, however, is the process in his own mind.48 This is what he observes in the course of the four steps of acoustic contact, as for example in: Reif sind, in Feuer getaucht, gekochet ( M * vs. 35)

At first the 'eminently, virtually, really, objectively' hearing process would seem to mean that, as the word 'Reif' has reached a vanishing point, it has left a trace which forms a basis for the expectation of the next word, 'sind'.49 In such a case there might be said to obtain a direct transference of the hearing-expectation impulse from Event 'A' 'Reif' to Event 'B' 'sind'. But there may just as easily be thought to occur a time lapse, during which Event 'A' fades while the hearing goes on; in this case 'Reif' might not reach its objective acoustic stage before the reader hears, say, 'getaucht', thus: Remembering Event'A': Reading Events 'B'-'F':

Reif (Reif) [Reif] {Reif} — sind,

in

Feuer

getaucht, gekochet

'Uralte Verwirrung' (vs. 221; cf. also above, note 28); (4) the entire hymn as investigated in Chapter III, Section C, and Tables XXIX-XXXV. " Cf. above, note 6. 48 This seems to be what Riffaterre means when he finds it important to "exclude . . . all consideration of literary 'dialectology': as soon as elements from a literary language are used by an author for a definite effect, they become units of his style; and it is this particular realization of their value which is relevant, not their potential value in a standard system" (Word, XV, 156). But on the possibility of the communication of that experience see Coons and Kraehenbuehl, Journal of Music Theory, II, 127-128, and discussion above, Chapter II, Section C. On the problematic, implied here, of meaning in the larger sense of literary interpretation, see also Hirsch, Validity, chap, ii, "Meaning and Implication" (pp. 24-67). 49 Whether the actual word 'sind', having once occurred, confirms or nonconfirms the particular expectations set up by the word 'Reif' cannot be discussed in the present connection. Obviously, this will have to depend upon whether we choose to consider the occurrence of the word in terms of one criterion (e.g., phonemics) or another (grammar, among others). For a possible set of criteria touching upon "Mnemosyne" see Chapter V, Section B, and Tables LXXX-LXXXI.

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Under such circumstances (by far the more common in an ordinary reading), the trace of 'Reif' would not come before the threshold of Event 'F' 'gekochet', and thus Event 'A' would give rise to Event 'F'. The entire 'Werden im Vergehen' process might more properly be illustrated thus (parentheses and brackets of different shapes indicate the various steps along the series from eminent to objective acoustic image): Reif (Reif) [Reif] {Reif} (Reif) sind, (sind) [sind] {sind} in (in) [in] Feuer (Feuer) getaucht,

14. "Die notwendige

(sind) {in} (in) [Feuer] {Feuer} (Feuer) (getaucht,) & sim. gekochet & sim.50

Willkür des Zevs" (ÜUD; IV, Part I, 269)

"The line will have the more charm for not being mechanically straight. We enjoy the straight crookedness of a good walking stick", wrote Robert Frost in the Preface to his collected poems,51 and we may well suspect that he was saying something similar to Boileau's 'beau désordre"52 or Hölderlin's 'harmonischentgegengesezt' (Principle 7). 'Die nothwendige Willkür des Zevs' is the larger 'harmonischentgegengesezt' sphere, or, obversely, harmonic opposition is a special case of the necessary arbitrariness of the god. The present principle concerns the creative process at large, rather than just one particular manifestation of it. As the principle that includes the 'harmonischentgegengesezt' property amounts in essence to a freeing of the idea of practicable beauty from that of rigid organization (such that 'beautiful' means not 'perfect' but 50 While this admittedly goes on at normal reading speeds, it is not yet a basis for 'reading by enlargement', considered in Chapter IV, Section C. In the latter mode the acoustic set can glide by a similar (or indeed highly dissimilar) pattern past the individual words and simultaneously past individual structural features as well; the reader may choose to listen to the pitch of 'Reif', the initial phoneme of 'sind', the grammatical identity of 'in', the number of syllables in 'Feuer', the diphthong in 'getaucht', and the juncture pattern in 'gekochet'. The principle of 'Das Werden im Vergehen' is relevant here in that the very high number of possibilities, by recombination and permutation, of viewing the text is analogous to the processes of ideal dissolution and transition, "so, dasz in eben dem Momente und Grade, worinn sich das Bestehende auflöst, auch das Neueintretende, Jugendliche, Mögliche sich fühlt" (IV, Part 1,282, lines 24-26). Cf. related remarks on the phenomenon of sensory cooperation as against competition in Language and Style, I, 180-187. 51 "The Figure a Poem Makes", Complete Poems of Robert Frost (9th printing; New York, Henry Holt and Company, 1959), p. vii. " Cf. above, note 30.

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rather 'imperfectly perfect'), so in the idea of divine arbitrariness we have a deep-running secession on the part of the principle of organization from analysis per se.53 The separation points, perhaps paradoxically, to a circular path in the experience of the poem, the latter being of a very ordinary kind. We first read the verse as a whole: Und wirft, dem Klaren zu, ihn schwingend über die Tenne. ("Patmos" [P,], vs. 154) Then we read the line of verse again, but much more slowly, this time by the 'slow motion and enlargement' method discussed in Chapter IV, Section C. In the analysis below, stressed vowels, plus-junctures,54 wordsyllable distribution, and grammar have been considered; the order is of no significance: Und wirft, dem Klaren zu, ihn schwingend über die Tenne. 1. 2. 3. 4.

/'i/ /'a:/ /'u:/ /'i/ /,ü:/ /t+,d/ /'u: + ,i:/ /t+,ü:/ 1 1 1 2 1, 1 2 2 cj Vf pn Sub pr pn Vf pr

/'e/ 1 2 d Nn

After this we know that the truthfulness of the experience of this verse is anchored neither in the reading of the entire verse alone, nor in the viewing of its parts in isolation, but in the increased intensity and clarity of critical attention that the parts permit the whole to have, and in converse. The line emerges unbroken, but enhanced in clarity. A second practical consequence of 'nothwendige Willkur' is that the art can remain hidden, that most of the conscious craftsmanship of which a tiny segment has been illustrated above need never be revealed except to the most energetic of readings. But part of this aspect of the principle is that the craftsmanship is visible only if it is not seen (looked at) for too long, for two reasons: (1) because there are definite biological 63 Thus one is tempted to think of the old term 'organism', combated by Wellek and Warren as "somewhat misleading, since it stresses only one aspect, that of 'unity in variety', and leads to biological parallels not always relevant" (p. 16). The biological parallel which, it is proposed, is relevant here is the fact of external pressures to which an organism is subject, and the fact of possible disease, which reduces the complexity of the living organism and takes it farther from, rather than nearer to, criteria for analysis. M Cf. Moulton, Language, XXIII, 220.

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limitations to the viewing of art,55 (2) because the ultimate use to which a knowledge of the harmonic proportions, ergodic and Markoff properties, of poems must be put is no essential part of that knowledge for its own sake. What ultimately counts, because it is an all-inclusive criterion, is knowledge of the poem as overall design.58 15. "Vaterländische Umkehr" (AnmAnt; V, 271) The poet subscribes to 'Umkehr' in two larger senses. Not only is he turning around in the poem with respect to his own and the listener's capability of a critical view. He is also turning around on his own statement in Paragraph 14 that the direction of synthesis and its implementation is not the end of the critical viewing of the poem. At the present juncture he would tend to agree with himself that synthesis is the end of reading, and would have the reader-critic agree as well. The feeling of synthesis can be strongly implemented by elements that have the power of locking the poem into its major compartments and tend to make of the triad, of the stanza, an independent unit.57 Noteworthy are thus the finite verbs at the ends of triads in "Der Rhein": Triad

I : gegeben (vs.45) II: gründet (89) III: ruhet (134) IV: sich neiget (179) V: wiederkehrt (220)

55 This has already been recognized by the sixteenth-century Italian theorist Lodovico Castelvetro, who in his Poetica d'Aristotele vulgarizzata e sposta (2d ed. revised; Basel, 1576) speaks of the drama, of "poems presented before an assembled crowd; we must not ask the crowd . . . to remain beyond a certain limit of physical endurance" (Weinberg, A History . . . , I, 505). 56 Going back to the unbroken line, it will be clearer since the 'direction of synthesis' is not the end of the viewing of the poem, that is, because of the completed cycle of analysis. As Ezra Pound quotes François Couperin's L'Art de toucher le Clavecin (1717), "musical bars are a sort of scaffold to be kicked away when no longer needed" ("Vers Libre and Arnold Dolmetsch", Literary Essays, p. 439). Cf. Emmon Bach, "Patterns of Syntax... ", p. 7 : "He [the critic] is teaching us how to look. In much the same way an art critic blocks out a painting with simplified geometrical designs and shows us how to see it. His schemes are not ends in themselves. They are made to be discarded. If we return to the painting with new eyes, they have done their job." 57 Externally, the poet seems to indicate intentions toward pattern-level tectonic in "Der Rhein", where each stanza ends with the end of a sentence, against "Patmos", where inter-stanzaic enjambement seems to be the rule. The classical discussion, in the German field, of 'Tektonik der Dichtung', that of Oskar Walzel, begins with a discussion of "A. Höhere Mathematik der Gestalt" (Gehalt und Gestalt im Kunstwerk

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Nouns at the ends of triads in "Patmos" may be observed similarly: Triad:

I:Palläste II: die Freunde III: die Hände IV: der.. .Sohn V: deutscher Gesang

(45) (90) (135) (181) (226)58

The reason for this unexpected agreement is not that the poet has changed his mind about his work sui generis; it is, rather, as he would suggest, part of the game, that is, of the choreography of gesture whereby the poet guides the reader — or refuses to guide him. It is as if the poet were here saying that having the poem as artifact is more important than understanding how it is written, or, one step further, that the luxury of inarticulate wonder may be afforded by the reader when he has listened to the poet for so long. The homeward about-face then takes place in the reader in two major ways, corresponding to the two ways in which the poet subscribed to the principle: (1) in that it is time for a temporary surrender of the task of communication; here the reader's mind turns 'homeward', toward its physiological impulse to wonder, (2) in that the reader is, therefore, free to view the poem not as poetry, in the sense of an example of the practice of the art, i.e., not as history or as philosophy, but as poem, i.e., as song. The "Ars Poetica by Principles" yields again to 'the Late Hymns', this to 'die Vaterländischen Gesänge', or to 'die Spätlyrik', and this, finally to the lyric as such (placing the Late Hymns into a category with the Late Odes and Elegies).59 des Dichters [2d ed. revised; Darmstadt, Hermann Gentner Verlag, 1957], pp. 234-249) the latter focusing, among other examples from the classical period, on "Der Rhein" (ibid., pp. 241-242). 68 If the poet may here be said to betray the craft, in order to return to it with all the more power, then his intentions are seen to be respected (c/. above, note 19) if in reading at various speeds the following is clearly listened to and heard: (1) 'TonwechseF (posture), (2) 'Tonwechsel' (sound), (3) 'Formwechsel' (alternation of semantic-formal nuclei), (4) 'Rhythmus der Vorstellungen' (alternation of arguments, semantic and descriptive in turn). Every such acoustic effect will be known to be colored by the expectation of 'form' as the primary objective correlative of reading, although not at the present moment. 59 This seems in part suggested by the discussion in Chapter VI, Section B, where "Brod und Wein" is seen as bearing 'harmonischentgegengesezt' tension comparable to that at work in "Der Rhein", while "Heimkunft" is descriptively brought near "Mnemosyne" (in point of tetradic-triadic patterns), and analysis of a late poem like "Chiron" at least prepares an inquiry concerning a possible semantic nexus between the latter and "Patmos" (again, between Herakles and Christus; cf. also Chapter I. note 310).

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A summary of 'Umkehr' in all its major senses is in order. This summary must include points of disagreement between poet and reader as well as points of agreement. 1. Disagreements between poet and reader: Poet (a) The poem is the analysis. (b) Analysis is encoding the message. (c) No text without synthesis. (d) The lyric is taught in the philosophy; (P v ~ L). (e) Turn toward poem as doctrine.

Reader The poem must be analyzed. Analysis is decoding. No synthesis without text. Either lyric or philosophy; (L.~P).(P-~L).«° Turn toward poem as lyric.

2. Agreements between poet and reader: (a) 'Umkehr' is a reversal of positions inside the poem. Identification with the semantic content is beginning to be replaced by distancing; from a stationary vantage point reader and poet watch for the effect of a synthesis of sound. 61 (b) 'Umkehr' is a reversal of directions inside the poem, from the drive toward pure analysis to the drive toward a purely synthetic point of view, preparatory to the final spelling out of 'Das kalkulable Gesez' (Paragraph 25). 60 This latter is also expressible as an identity (L 3 ~ P) = (P z> ~ L), by transposition (Copi, p. 259). 61 This no longer has to do with 'sound' in the strictly acoustic sense but with the 'resounding' logos after the entire cycle of reading proposed in this study has been completed. If the three late hymns here examined are really the three focal points of Hölderlin's late hymnic production, as this study postulates, then it might be suggested that the overall hidden motion of the corpus of the thirteen Late Hymns (see below, note 122) is reflected in the cosmological 'Dreischritt' design of the three focal poems. The poet's doctrinal intent reveals affinity (not identity) both with the 'Wechsel der Töne' grammar and with the marginal note: (1) "Der Rhein"remains home and thereby reaches out to Asia and the cosmos, as it were 'by the back door' of the world's house; naive: " . . . u n d wiederkehrt / Uralte Verwirrung" (vss. 220-221). (2) "Patmos" reaches Asia and the cosmos and thereby arrives home; the law of living 'mythical religion' now guides the law of human communication; heroic: " . . .bestehendes gut [ Gedeutet. Dem folgt deutscher Gesang" (vss. 225-226). (3) "Mnemosyne" orbits space and remains home at the same time; idealistic: (x) "Reif sind, . . . / Die Frücht" (M^, vss. 35-36); (y) "Am Feigenbaum ist mein / Achilles mir gestorben" (M^, vss. 52-53).

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(c) 'Umkehr' is a temporary relaxing of the rigorous communication posture. Whereas, outside 'Umkehr', the lyric is made possible by its capacity to teach itself, now it is made possible by intuitive contemplation. (d) 'Umkehr' is the temporary forgetting of Hölderlin's "Ars Poetica". 'Umkehr' after 'Umkehr' is return to it with renewed mental energy. 16. "Eigene Welt der Form nach" (ÜVpG; IV, Part I, 250)

What Principle 9 ("Das hyperbolische Verfahren") was to Principle 8 ("Eine fortgehende Metapher"), that is what the present principle is to the one preceding it — an expansion and stabilization of working concepts — only on the next higher methodological plane. But whereas formerly the act of communication was not threatened, now that act must be rescued, in its integrity and operational resourcefulness. This rescue is accomplished by a thoroughgoing renewal of the conviction that language is an efficacious instrument of naming and thus of creating, and by connecting the thus created nomenclature nuclei into the newly perceived texture.62 This texture will resemble the texture of empirical experience in its structure, the requirement and fact of resemblance being preparatory to the communication of an effort of reliving the world in the poem. Delightfulness as a criterion for perceiving the real world in the poem's world and the converse has a history,63 and its operability involves eight steps of intellection connected with eight aspects of poetic technique. In arranging these steps in increasing order of complexity it shall be kept in mind that the steps are amenable to an asymmetrical classification. The first four steps refer to a traditional view of the proper sphere of poetry, namely the fulfillment of an appropriate subject;64 Steps 5 62

Cf. the tissue-and-cell theory of poetic matter, Proposition 3. Rosemond Tuve, Elizabethan and Metaphysical Imagery: Renaissance Poetic and Twentieth-Century Critics (5th impression; Chicago, The University of Chicago Press, 1963), pp. 117-144; Karl Ludwig Schneider, Klopstock und die Erneuerung der deutschen Dichtersprache im 18. Jahrhundert (Heidelberg, Carl Winter Universitätsverlag, 1960), pp. 87-110. Notable are Tuve's concern with 'a greater intellectual richness' (p. 121) and Schneider's touching upon formative eighteenth-century theories of metaphor (especially those of Klopstock, Wieland, and the Swiss critics Bodmer and Breitinger) with which "wurde fraglos der direkte Bezug des Bildes auf den Verstand gelöst" (p. 98). 64 Cf. Robert Frost, Complete Poems, p. vi: "Theme alone can steady us down. Just as the first mystery was how a poem could have a tune in such a straightness as meter, so the second mystery is how a poem can have wildness and at the same time 63

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through 7 deal with traditional views of poetic structure;65 Step 8 amounts to a subcriterion that can be satisfied only by such poetic competence as the Late Hymns exhibit. In the listing below, examples have been limited to "Der Rhein" (verse numbers precede references): The Eightfold Criterion of Delightfulness, with Examples: 1. Simple personification: 24 "Den Jüngling"; 2. Imagery supported by other devices:66 87 "Wenn er das Land baut" (metre, [Table XL]); 3. Imagery supported by sound: 62-63 "Nicht liebt er, wie andere Kinder (1-b w and ki In Wikelbanden zu weinen" w ik lb and w); 4. Unsupported imagery, elicited by an act of faith (or where support is likely to go unnoticed for reasons of conflicting structure) : 95 "Und die reine Stimme der Jugend" (Table XL); 67 a subject that shall be fulfilled." The striking similarity between this question and Holderlin's inquiry about the receptivity of material suitable for poetic treatment is nevertheless tempered by the different angles from which the two poets view their material. Holderlin's beginning with 'Receptivitat' and reaching for 'Stoff' seems focused on the method and the mind of the poet; Frost's seemingly related dictum that the poem "begins in delight and ends in wisdom" (ibid.) speaks more strongly about 'the figure a poem makes' (title, ibid., p. v), the artifact as such. 65 As shown in the first three analytical chapters, the Late Hymns participate in some measure in all seven subcriteria up to Step 7, although the emphasis in method was more on Steps 5 through 7 and less on 1 through 4. 66 Instructive here is the discussion by I. A. Richards of the error and irrelevance of imagery (Practical Criticism, pp. 235-237). Yet imagery, insofar as indulged in by the reader, may well need support if it is the case that "a quality in an image which seems to one reader quite beside the point may be an essential item to another" (ibid., p. 236). A corollary of this problem from the critic's point of view is explored in P. N. Furbank, "Do We Need the Terms 'Image' and 'Imagery'?" Critical Quarterly, IX (1967), 335-346. It is largely with the critical criterion of agreement in mind, stressed also by Richards, that my study has avoided the term 'imagery' and, wherever possible, preferred to work with concepts like 'vocabulary' or 'motif'. An opposed stance, interesting enough within its own critical range, is represented in the unpublished dissertation by Richard Allen Watt, "Holderlin's Imagery: The Development of Some Major Themes as Image Patterns in His Lyric Poetry" (University of Michigan, Ann Arbor, 1966). 67 Cf. Richards, ibid., p. 235: "It may seem to the visualizers that the poet works through imagery, but this impression is an accident of their mental constitution, and people of a different constitution have other ways of reaching the same results." The act of faith may, in other words, elicit not the picture of 'reine Stimme der Jugend' but one of its numerous ideas, or 'inscapes' (Percy, The Sewanee Review, LXVI, 79-99). This all-important qualification may give the altogether correct hint that the list here titled the 'eightfold criterion of delightfulness' gives components of the poietic experience in increasing order of sophistication or critical moment.

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5. Pure image, combined loosely with pure structure:68 Stanza 7, inclusive of largely unsupported images (with notable exceptions, 97 'Liebesbande' and 102 'Pfade'), arranged into a unique ( 6 + 6 + 3 ) pattern (Table XXVII); 6. Pure structure as image substitute: Abstract, personal, and historical gnomes, distributed as shown in Tables XXXII-XXXIV; 7. Special structural devices apart from imagery:69 Enjambement (Table XXVI); 'I, M, R' verses (Tables XXIX through XXXI); 8. Features reflective of the structure of empirical experience: Word-syllable distribution, especially at Stanzas 3 and 14 (Table XXXV), viewed in conjunction with the gross structural harmony of the entire hymn (Chapter III; pages 177-192).70 17. "Die nothwendige Gleichheit" (Letter No. 232; VI, Part I, 422) In his letter to Schiller of 2 June 1801 Hölderlin speaks of his concern with a "nothwendige Gleichheit nothwendig verschiedener höchster 68

For one recent application see Morton W. Bloomfield, "A Grammatical Approach to Personification Allegory", Modern Philology, LX (1963), 161-171. 69 But implied here are such devices which are peculiar to the poem as poem. The function of metaphor as illumining the reality of a 'world within a world' is well discussed by Philip Wheelwright in his chapter on 'metaphoric tension', under the heading "Simile and Plurisignation" (The Burning Fountain: A Study in the Language of Symbolism [Bloomington, Indiana University Press, 1954], pp. 106-117). 70 Elizabeth Sewell, in her chapter "Prose and Poetry" (The Structure of Poetry [2d impression; London, Routledge & Kegan Paul, Ltd., 1962], pp. 94-101), speaks of'the universe of prose' (p. 96) and of a 'poem-universe' (p. 99), and states: "A poem is a world of its own, quite as much so as the other worlds of the mind we have already looked at, logic, for instance, or dream" {ibid., p. 97). This is sound speculation thus far. But I do not agree that the "connection between . . . the finished poem-universe, and the universe of experience . . . is not the connection between prose and experience" (ibid., p. 99) because the "poem-universe, . . . , aims at total independence" from the universe of experience (ibid.). Sewell is on more secure footing when she speaks of an 'analogy between forms' of prose and poetry and quotes Eddington, The Philosophy of Physical Science (Cambridge, At the University Press, 1939), p. 142: "Our knowledge of structure is communicable, whereas much of our knowledge is incommunicable" (Sewell, p. 99, and n. 2). Cf. above, note 48. The prose-poetry dichotomy is further elucidated, partly in terms of transformational grammar and of rhetoric, in Miles, Style and Proportion, pp. 1-21; cf. the intuitive statement by Karl Shapiro: "There is no borderline between poetry and prose. Even verse (meter) is no distinction. There is only greater or lesser heat. The novel is simply the narrative poem in extension" (In Defense of Ignorance [New York, Random House, 1960], p. 275).

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Prinzipien und reiner Methoden .. ,". 71 This view is informing of the present technique, unifying the eightfold path toward delightfulness. Included in this technique are a simultaneity between the stasis of the isolated part obliterating the principle of relation72 and the kinesis of the part in its course, obliterating the principle of an anchored view. 73 The poet at the same time sees to it that what he hopes to demonstrate on a large scale he can show time and again on the small. The necessary balance in the poem must assert itself in several senses, as in the balance between the clarity and the consistency of audible features and feature sequences; between the absolute and relative equality in claim that stimuli have on the reader's attention; between harmonic and straight oppositions; 'Form' and 'Stoff'; other polarities of structure related within 'das hyperbolische Verfahren' (Principle 9). A central way the poet has open to him of attacking the problem of necessary balance is the criterion of absolute versus relative hold on the reader's attention.74 The practice is brought in the Late Hymns where two courses of features support each other as series of acoustic stimuli in either a predominantly cooperative or a chiefly competitive manner. That is, if the following happens (Table XLI, 6.13, 6.14): 71

VI, Part I, 422; N o . 232, lines 48-50. Connected with the phenomenon of 'das gewichtige Wort'; see Hannes Maeder, Trivium, II, 42-59, and Chapter IV, note 111. 73 Jaeger, Hölderlin-Novalis, pp. 82-95 ("Novalis — die Verneinung des Wortes"). Jaeger admits that Novalis' weightless language and Hölderlin's heavy diction are phenomena of the same principle, as he examines only the 'Athenäumsdruck' of the first "Hymne an die Nacht", but subjects "Patmos" to a comparison with the printed prose version by Arnim: "Entspräche derart das Bild von Hardenbergs Sprache einer Horizontalen, so ist es unverkennbar, dass jenes der Sprache Hölderlins sich mehr und mehr in die Vertikale, in die Schwerelinie, einfügt" (ibid., p. 87). 74 Balance in a series of instances of claims by the poet for the reader's attention is illumined in a capsule word like "Der Rhein", vs. 151 'Allliebend', where the reader's consciousness of tectonic is aided and distracted in the following series of features. The word in question is: 72

(1) (2) (3) (4) (5) (6) (7) (8)

a gnomic compound (Tables XXXVI-XXXIX); part of a personal gnome (Table XXXIII); at the beginning of an 'I' verse (Table XXIX); at the beginning of a verse introduced by glottal stop plus vowel (Table XXXVI, 151.2); written with three /'s, a graphemic distraction; not part of a verse ending with Adonic cola, but part of a verse immediately following one such (Table XL, also 11.2, top); one-third the length of its verse, not reflecting further triadal distribution within vs. 151; also part of a verse occurring in the middle stanza of Triad IV and the opening stanza of Pentad III.

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6.13 No. syllables in line

6.14 No. words in line

A B C D B

A B C D B

we have an example of acoustic cooperation rather than competition, since the criteria lie too close together to allow the subsumed features to figure as distinct stimuli. But if this is the case (Table LX, 33.2 and 33.16): 33.2 33.16 Number Position in clause A B B A A B A

A B B A A B A

then we have a clear case of 'nothwendige Gleichheit' in hearing, since the criteria in their very disparateness create between them a tension that underlies the competition between their respective sets of features. That is to say, the feature sets are genuine — necessary — equals, and this qualification provides a definition of the principle inductively as well. Release of the necessary balance may be thought of as being of two kinds. One illustrates the meaning of the word 'entspannen', mutual relaxation of tension (Table LXXXIII, 10.5 and 10.9): 10.5

10.9

A B A C D C A C

A B A C C D A E

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The other release is closer to the concept of 'nachgeben', yielding, where only one half of the delicately and strongly held balance collapses (Table LXXXIII, 8,9.4; 8,9.10): 8.4,9.4 A B A C D A B A C D

8.10, 9.10 A B A C D A B C D D

How can 'Gleichheit' be not 'nothwendig', i.e., how can balance in the poem be not structural? By failing to bring, within compass that can be retained, confirmations between widely disparate criteria, or nonconfirmations between criteria lying close.75 It might be suggested that necessity here is more a matter of degree than one of apodictic distinctions. If the balance is no longer felt to hold forces in suspense, if it no longer carries the prime structural burden on its own level of organization in the poem, then the instance of balance is no longer 'nothwendig' and another balance, one that is necessary (both in the sense of needed and in that of ordained or caused) takes its place. An example of such shift in balance, implied by the last example above, is summarized for Segments 8 and 9 of Table LXXXIII, in the first stress diagram (Table LXXXIV). Perhaps the most important consequence of the phenomenon of balance shifting is that, in the gross organization of the poem, there must always be present at least one 'Gleichheit' that is 'nothwendig', and a corollary proposition that at least one synthetic organization of the poem is possible (and that at least one synthetic structure is 'nothwendig').76 75

This last alternative is the negative version of the situation illustrated above from Table XLI (page 392). Cf. the interest in symmetry and balance on subliminally experienced structural levels in Lawrence Gaylord Jones, "Tonality Structure in Russian Verse", International Journal of Slavic Linguistics and Poetics, IX (1965), 125-151; reprinted in Statistics and Style, pp. 122-143. 76 On higher architectonic levels it is perfectly possible for a necessary balance, or even set of balances, to obtain among series on lower structural levels; hence great numbers of analogical tests could be carried out on text samples even the size represented by the material examined in, say, Table XXXVII, Segment 2.

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d. Synthetic Structures 18. "Eine Erinnerung" (ÜVpG; IV, Part I, 251) Neither prediction nor a rewarding aesthetic experience is possible in the work of literary art without that third, vital, cement of the participating consciousness, memory." Memory gathers in and confirms (e.g., as in "Mnemosyne", Stanza 3, particles Chapter V, Table LXXX), refutes and spreads out again (as in "Der Rhein" stochastic formula for 'R' verses, Chapter III; page 188) data within the gambits of the sensible lyric organization ( t f . Principle 23, "Fühlbarkeit des Ganzen"). Perhaps the most important role memory plays is in the commutation between the simplest and most complex parts of the poem's structured whole, both in the sense of the difference between the single phoneme and the entire poem (Principle 22) and in the sense of the union between the text and silence (Principle 9). In both instances the memory must address itself to its task in well-rehearsed condition. Memory, Hölderlin realizes in the Late Hymns, requires and performs more work than suggested by the metaphor of the thread by which the poet refers to the faculty in his essay "Über die Verfahrungsweise des poetischen Geistes". 78 For if a conception of memory as moving along a thread were sufficient to explain the former's function, then memory could not be conceived to perform more than a set of functions whose locus did not trespass beyond the locus of all points moving along a straight line segment. Such a conception of memory, Hölderlin now teaches, is false; in the Late Hymns the doctrine of memory is thoroughly revised. Rather than moving along the straight line of the concept of time, memory moves along the curvatures of a conceptual time-space continuum whose plotting must be capable of being uniformly translated into the following set of statements: (a) Memory moves backward and forward in ceonceptual space. (b) Memory moves primarily backward in conceptual time.

77 Significantly for a view to the poet's symbolic action (c/. Chapter I, note 280), when Hölderlin mourns the death of memory in "Mnemosyne" he also mourns the end of the hymnic opus. Beissner touches on this point as he speaks of "die furchtbare Bedeutung dieser Vision vom Tode der Mnemosyne: dass mit den Helden auch ihr Gedächtnis gestorben wäre, . . . " (Hölderlin: Reden und Aufsätze, p. 246). ' 8 IV, Part I, 251, lines 13-15; cf. Chapter I, note 187.

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(c) The practical definition of 'conceptual' in (1) is not what it is in (2)-79 (d) Memory moves as does the intellect at large: parallel to all imagery and structural effect excited by the precisely corresponding sets of stimuli. (e) In its motion memory transforms the line along which it moves, canceling and underscoring its own path at once. (f) Aggregates and losses of structural building blocks are an inevitable concomitant of the building of the memory trace. (g) The capacity to store, process, or lose messages is built into the individual memory before contact with the poem, although the present statement is possible only after. (h) Forgetting is a strengthening function of memory. (i) Repeated readings at slow, increasing, and high speeds build up and damage the memory trace in about equal measure, such buildup or decay varying only with the permutations of reading speeds and with the average reader. 80 (j) A successful memory has traction and progresses by buildup, such that the smallest building block of the built-up sequence is as clearly and easily remembered, and as intimately linked with the largest units of design, as all the intervening stages of organization. 81 (k) Memory equals intimate knowledge of the text in all its parts. 19. "Ruhepuncte und Hauptmomente"

(ÜVpG;

IV, Part I, 243)

This is the convergence principle, the opposite of 'die nothwendige Gleichheit' (Principle 17). But it is not its refutation-opposite, but rather its exclusive-opposite {i.e., the two principles are each other's contraries but not contradictories). For whereas the former stated that structural momenta in the poem will be in competition for the reader's attention, the present principle concentrates on portions of the work where such 79 That is, there is here temporal metaphor of two different levels of inclusiveness; (a) includes (b), while the excluded portion of (b) ("memory moves forward in conceptual time") includes, under the 'vaterländische Umkehr' concept (Paragraph 15), the first half of (a) ("memory moves backward in conceptual space"). 80 Here I follow Riffaterre's definition of 'average reader' as "the group of informants used for each stimulus or for a whole stylistic sequence" (Word, XV, 165). 81 Summarizing memory of structural levels seems analogous to Burke's concept of the equation and the arrow: " 'Equations', we might say, cause us to condense into a single chord a series of events that, by the nature of the literary medium, must be strung out in arpeggio for charting a narrative sequence, the most convenient design is obviously 'event A ->- event B event C', etc. The 'chordal collapsing' of a writer's total work requires the sign of equality, . . . " (p. 63).

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competition is not present. It now seems that not all parts of the poem are equally worth the reader's attention, or at least that degrees of intensity and duration in attention may, and are bound to, vary with different structural momenta of the poetic work. An investigation of evidences for noncompetition presupposes a completely fresh theoretical and practial view of the concept of 'structural criterion'. On looking back over his instruction to this point, the poet discovers that the concept most often emerged in the plural, since it underlay the rather consistent examination of multiple relations. Now on the simpler plane, with a view to a priori synthetic capability, he makes the critic look at a smooth single-jointed relation of slot and cutout. This choice of criterion will hold, then, not relationally and a posteriori, but a priori equally validly on all levels of organization. Slot and cutout are here regarded descriptively as limiting cases of 'Hauptmoment' and 'Ruhepunct', respectively. An example, on a semantic microstructural plane, of slot-and-cutout organization is the acoustic contact with the text portion "Zu wohnen in liebender Nacht" from the variants to "Patmos", analyzed at Level 4, Chapter IV, Section C. A more general definition of 'Ruhepunct' is that it is a cadence, of 'Hauptmoment', that it is a climax. Both plagal and authentic cadences occur; likewise, climaxes may be either of the deceptive or of the genuine kind: (a) A plagal cadence in the poem is a point of seeming rest, or a rest to which only certain features contribute, e.g., "Patmos", vs. 40 'Ein stilles Feuer' semicadenced by semicolon plus 'aber'. (b) Authentic cadences are points of genuine rest, bringing the poem to a stop both semantically and descriptively ("Patmos", vss. 196 f. "Am stillen Blike sich üben. // Und"). (c) The deceptive climax is prevented from being one of the genuine variety by features in competition with those underlying the effect of climax. Thus the climactic effect suggested by the metrical-syllabic congruence between "Der Rhein", vss. 183-185 is noised by the disparate syntactic positions of the two verses. (d) A genuine climax is effected by the coordination of eminently audible features toward the climax point, e.g., metre and sound toward "Der Rhein", vs. 199 "Voll Lebens allzeit".82 " The five consecutive long syllables here constitute a high point of metrical tension and 'durchgängige Metapher' analogous to the high point observed on the level of word-syllable distribution in the same hymn, vs. 210 (above, note 28).

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20. "Das Zusammenhängen der selbstständigeren Theile" (AnmAnt; V, 265) In previous paragraphs the principles of competition, balance, and memory were explained and illustrated. The present paragraph deals primarily with the principles of cooperation and coordination operating in the poem. This double principle is informed by the mutual support of structural moments and momenta.83 Features and feature sequences may, that is, be audible in equal measure for either of two reasons: (1) that they are part of a single larger set which coordinates them, such larger set including a 'Ruhepunct', or a 'Hauptmoment', or neither, (2) that the two or more given features or sequences independently have greater or lesser valence for each other, such features or sequences themselves possessing or not possessing 'Ruhepunct' or 'Hauptmoment' character. As an example illustrative of case (1) with 'Hauptmoment', a reference to "Der Rhein", vss. 195-202, may be useful. Here, as seen in Paragraph 19, vs. 199 'Voll Lebens allzeit' was a genuine climax metrically, the five consecutive long syllables contrasting sharply with the colometry of the previous verse (198 "Die ewigen Götter sind"). The contrast holds to a similar degree of clarity between vs. 199 and the remaining verses in the eight-verse passage (vss. 195-202), such contrast unifying the colometry surrounding the 'Hauptmoment' passage. But this relation of 83 That is, structural nuclei and energies in motion. There arises the question of the size and further divisibility of these absolutely independent aggregates, as Sewell calls them, "language . . . divided according to quantity" (p. 14). That is: if the aggregates are thus divisible, may their members be conceived of as members of their immediate higher groups while maintaining a genuinely structural independence? The problem of this larger independence and coordination arises within the 'Ruhepunct' and 'Hauptmoment' clusters. The 'Ruhenpunct' passage: "Der Rhein", vss. 38-45 progresses toward its 'Ruhepunct' nucleus, the 'M' verse (vs. 42)

1 1 1 1 1 1 1 Sein Haus und dem Thier ward, wo which latter has an effect of speed opposite to that of the verses surrounding it. It does not seem to matter which way the increasing and lowered speed is felt; if the rest of the passage is read slowly, then vs. 42 will seem fast, and conversely. In the 'Hauptmoment' passage: "Der Rhein", vss. 69-75, the 'M' verse (vs. 71) 1 1 1 1 1 1 1 1 Mit der Beut und wenn in der Eil' fits into its passage, moves parallel with the remainder of the verses rhythmically, colored only by the Adonic and modified Adonic verse endings at the end of the passage (Table XL; see also Chapter III, Section C, and note 164).

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contrast, predicable of the metrical structure of the passage, is seen to be predicable to an equal degree of other structural aspects, eminently word count, syllable count, and word-syllable distribution. By both word and syllable count, vs. 199 is 100 per cent informed: Vs.

Text

Words. Syll. Pattern

195 196 197 198 199

Doch einigen eilt Disz schnell vorüber, andere Behalten es länger. Die ewigen Götter sind Voll Lebens allzeit; bis in den Tod

3 4 3 4

5 8 6 7

A/A A/A A/A A/A

7

9

B/B

while the following word-syllable distribution pattern is to be found nowhere else in the entire passage: 1 2 2 1 1 1 1 Voll Lebens allzeit; bis in den Tod The remaining verses form sequences on four structural levels coordinated against vs. 199 into an acoustical slot-cutout relationship (see also Paragraph 19). Independent 'Ruhepunct' character is exhibited in "Mnemosyne", Stanzas 1 and 3, where in the latter portions of either stanza sequences of sentences of marked brevity coincide with sequences of particles. In Stanza 1, vss. 8-17, eight sentences fall together with six particles (viz. vs. 9 'aber', 11 'und', 11 'aber', 12 'Denn', 13 'Nemlich', 16 'aber'), a particle being absent only from sentences 2 and 7. In Stanza 3, vss. 39-51, again eight sentences contain eight particles (vs. 39 'Und', 42 'Aber', 43 'Nemlich', 46 'Und', 47 'aber', 48 'Und', 49 'aber' and 'und'), sentence 7 containing two, while sentence 8 contains none (see Chapter V; pages 304-305, and Table LXXX). 21. "Tragische Vereinigung" (WiV; IV, Part I, 286) 'Tragische Auseinandersezung' might have been Hölderlin's synonym for this principle, which is related to that of 'Eigene Welt der Form nach' (Principle 16) in its assumption of the possibility of a moderate empiri-

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cism in reading.84 But while in the earlier principle the criterion was one of delight, i.e., the naive recognition of a world within a world expressed as technique rather than as feeling, here the criterion is threefold knowledge, inevitable and to that extent tragic, that literary awareness must needs mean self-awareness. While the clear subjectivity of the principle reaches fruition only at the next step ('Intellektuelle Anschauung'), the present statement is an equivalent of the proposition that there is no understanding of the movements of the poem without a realization that they reflect the poet's mental qualities, and that, consequently, they must reflect corresponding qualities in the mind of the reader. The answer to the problem of a fruitful contact must be relentless modern hermeneutics, since by agency of the poem the reader's mind must in effect fuse with the poet's.85 But at the moment of fusion the opposite process must set in, since, as soon as the reader-critic has achieved a closeness with the life of the poem, he must be ready and able to vivisect himself in harmonic motion with vivisecting the poem.86 Hence the tautology ('Vereinigung' = 'Auseinandersetzung') (cf. Paragraph 9).87 The threefold criterion of knowledgeability contains the following three subcriteria for judging the completeness of the process of tragic union:

84

Cf. Chapter I, notes 241-244, and the summary analysis of'idealische Auflösung', pages 37-39, and notes 249-261. 85 That is, under ideal conditions, if any part of the message has been received and decoded without loss, such decoding being further dependent on preparatory background. This does not, however, point to I. A. Richards' 'theory of communication', which would reverse means and ends, and would defend "the superiority of verse to prose for the most difficult and deepest communications, poetry being by far the more complex vehicle" (Principles . . . , p. 179). 86 The real import, against the theory of communication propounded by Richards (above, note 85), of what goes on at this point of the critical act, namely the fair exchange of a poem for a poem, is touched upon brilliantly in the essay by Richard Foster, "Criticism as Poetry", Criticism, I (1959), 100-122. 87 The 'systematic communication between polar extremes' now holds true outside the poem, with special reference to the third aspect of the technique, which has to do with the joining of structure (the poet's mental processes) to meaning (the critic's mind as material). This view does away with the 'AR' ('average reader') in the specialized view of Riffaterre, according to which the analyst — here referred to as 'the critic' — is placed "in the decoder's own position without the latter's subjective liabilities" (Word, XV, 165). From a hermeneutic point of view it is these very liabilities which are of interest as part of the critic's receptive mental frame, and indeed enable him "to delimit the elements by which the author curbed the decoder's freedom (shallow reading, etc.) and increased the probability of reception" {ibid., p. 166). Cf. the methodological statement on the critic's 'success in hearing' in Chapter II, Section A (above, page 67).

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(a) Overload. — In the tragic-integrative inventory of structures and meanings, the observation that it is not possible to understand on all levels at the same time is significant. As long as it is true that the memory can store and process two or at the very most three simultaneous messages (c/. Chapter IV; page 247), it seems reasonable to proceed with the inventory in clusters of two or three levels, proceeding slowly by the principle of'Eine Erinnerung' (Paragraph 18, Subcriterion j). (b) Diifuseness. — Since focus on all levels at once is impossible (see "Overload" above), either (a) foci must shift rapidly in the course of reading, or (b) some foci must remain within the field of alternation, to the exclusion of others. Shifting is governed by the cliché of'the ineffable' in criticism, limited alternation by a certain set of clichés in Holderlin criticism.88 The faulty contacts illustrate the dangers of looking, a priori, for too much or for too little in the poem. In neither case is genuine critical concentration achieved. (c) Error. — Concentration of attention on alternating clusters of foci implies that the accepted overload must inevitably lead to error in perception and judgment. This is equivalent to saying that the tragic (i.e., inevitable) feature of overload is that it reduces itself, and does this by the agency of error. The present principle is the systematized version of "Die nothwendige Willkür des Zevs".89 22. "Intellektuelle Anschauung" (ÜUD; IV, Part I, 266) This is the static — or at least slow-down — equivalent of the foregoing, dynamic, principle of 'Vereinigung'. It aims at 'Gesamtreceptivitat', intra-textual and inter-mental, preliminary to the condition of 'Fühlbarkeit' (Principle 23). It may be said that 'Tragische Vereinigung' is the set of tools, while 'Intellektuelle Anschauung' and 'Fühlbarkeit des Ganzen' are the resulting matching artifacts. 'Fühlbarkeit' is, however, dynamic also. For successful 'Intellektuelle Anschauung', a distance from the poem as well as a sense of stillness must be achieved and carefully maintained, so that, with the active help of the 'Tragische Vereinigung' principle, the macrocosmos of the viewing critical self may be seen to 88

Such as the set enumerated in Chapter II, Section A (pages 65-66). That is, with the principle of divine arbitrariness and unpredictability now transferred to the human sphere of built-in and relatively predictable error. A historical discussion of Holderlin's resulting view of the poet as an interpreter and realizer of 'die nothwendige Willkür des Zeus' will be found below, in Section C. 89

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be reflected in the poem's own small world. 'Intellektuelle Anschauung' becomes, in this sense, the reverse of 'Eigene Welt der Form nach' (Principle 16). 90 There are several consequences to this reversal. A s the poet sees himself, the critic, mirrored in the poem, he may feel moved to explicit formulation of his newly perceived condition. The self-realized critic must speak, and must do so both out of his condition and to the seeming detriment of its noiseless communicability: Wem aber, wie, Rousseau, dir, Unüberwindlich die Seele Die starkausdauernde ward, Und sicherer Sinn Und süsze Gaabe zu hören, Zu reden so, dasz er aus heiliger Fülle Wie der Weingott, thörig göttlich Und gesezlos sie die Sprache der Reinesten giebt Verständlich den Guten, aber mit Recht Die Achtungslosen mit Blindheit schlägt Die entweihenden Knechte, wie nenn ich den Fremden? ("Der Rhein", vss, 139-149) 91

With similar reasons and results in mind, the self-realized critic must not speak: denn nie genug Hatt' er von Güte zu sagen Der Worte, damals, und zu erheitern, da Ers sähe, das Zürnen der Welt. Denn alles ist gut. Drauf starb er. Vieles wäre Zu sagen davon. ("Patmos" [ P J , vss. 84-89) Or, in order to communicate his mirror-image, the self-realized critic must approximate the truer, more tragic, condition of his speech: 90

That is, the world within the empirical world now turned outside it, so that the poem, now the larger reality, is at its end of wisdom (c/. above, note 64). 91 Here the poet is running the perhaps central risk of his craft, namely of saying too much, of giving away too much knowledge; the problem is no longer one, as it was in the 'Verfahrungsweise' essay, of waiting until nature bestows language upon the poet (above, Chapter I, and note 203), but positively one of economy with language the poet has available to him. As Böschenstein writes: " . . . der Kontakt mit der aorgischen Tiefe der Natur genügte nicht, die gesetztlose 'Sprache der Reinesten' zu erklären" (p. 90).

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Zweifellos Ist aber Einer. Der K a n n täglich es ändern. K a u m bedarf er Gesez und die Schrift tönt. Es möchten aber Viel Männer seyn, wahrer Sache. Denn nicht vermögen Die Himmlischen alles. Nemlich es reichen Die Sterblichen eh' an den Abgrund. Also wendet es sich, das Echo Mit diesen. Lang ist Die Zeit, es ereignet sich aber Das Wahre. "Mnemosyne" [M 4 ], vss. 8-17 9 2

Descriptively, the view from the critical distance causes both microstructural and gross structural properties to stand out in relief. On the microstructural side, this phenomenon participates in the soundness of the statement, made in Chapter IV (page 246), that every time a particle occurs in the Late Hymns it is heard, or of the statement that the seemingly chance relationship to one another of the lengths of verses in the Hymns does nevertheless lend itself to their identification in terms of inherent Markoff properties (Chapter V; pages 304-306, and Table LXXVIII). On the side of gross structure, the gradual secession of the three major hymns from a literal adherence to the Pindaric (triadic) compositional structure is yet another symptom of the poet-critic's selfidentification via the rebellion from doctrine as tradition.93 23. "Fühlbarkeit des Ganzen" (ÜUD; IV, Part I, 269) Syntax is defined by Rudolf Carnap as "concerned, in general, with the structure of possible serial orders (of a definite kind) of any elements whatsoever".94 This has the sound of procedural definition acceptable to 92

This is language 'fast / . . . verloren' (vss. 2-3), and the struggle of articulate speech goes on regardless. I do not think it is sufficient to say, as does Ladislaus Mittner: "Die beängstigende Todesstille der geheimnisvollen Gestalten, die in den drei ersten Versen sprechen, wird durch ihre Verbannung erklärt; . . . " ("Motiv und Komposition: Versuch einer Entwicklungsgeschichte der Lyrik Hölderlins", HölderlinJahrbuch, X [1957], 144); it is explained just as clearly by their presence and by their refusal to capitulate human communication. 93 The unigorable fact that this secession is demonstrable for the stages of "Der Rhein" and not of "Patmos" seems further evidence that the parting from the Pindaric tradition was a consciously planned part of Hölderlin's reinterpretation of the influence of Greek literature on his work. For related hypotheses see above, Chapter I, page 34, and note 269. 91 The Logical Syntax of Language (London, Kegan Paul, Trench, Trubner, and Co., Ltd., 1937), p. 6, as quoted by Sewell, p. 101.

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the poet who is approaching the end of his program of revealing a new kind of syntax to the integrative point of view. As Sewell goes on to say, the redefinition is part of a further "restricting of the ground to be covered; we are no longer concerned with poetry but with the poem". 95 The poetic mind may work by "shedding forth universes", but our immediate concern will be neither that mind nor the process of creation, but the finished universes, the poems produced.96

The movements, the many orders of syntax in the poem, heretofore viewed under the aegis of progressive attempts on the poet's part to define his own mind and working procedures, are now to be organized under the one supreme syntax of 'Fühlbarkeit', of 'total sensory capacity' in the poem. Here, in other words, the poem has definitely become the object of a conclusive contemplation. But in order to refine this last delimitation of the question of the number of levels of experience that can be controlled from a center (here of consciousness), there will have to take place one final switch in the language of critical metaphor, this time from three-dimensional 'structure' to two-dimensional 'syntax'. 97 This switch may at first be heuristic rather than descriptive. Both poet and reader (i.e., the critic in both) will have to return to the poem per se by way of self-reminder that the poem is involved in history (Paragraphs 1-4), that poetry had now become the temporal art that it had set out to be. But then the critic's heuristic opus must again yield, namely to a necessary measurement of his success; what must occupy him will be a description of the syntactic bases of the total sensory control. To continue Carnap's definition of a 'structure o f . . . serial orders', syntax must be based on the recognition of a form moving within a parameter of forms. But this definition is still in need of completion, in order that it might enter the realm of 'Fühlbarkeit'. Within the parameter the form moves conceptually forward, and syntax is concerned with this forward exploration. But in order to remain a recoverable syntax, it must include the principle of 'Eine Erinnerung' (Paragraph 18). Syntax then becomes the center of the dynamic sensory control, exploring forward and rearward simultaneously. Expectation and memory are each other's pre-

95 96

97

Sewell, p. 101. Ibid.

Just as much as, between Paragraphs 5 and 6, the poet switched from form to visually realized structure.

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requisites. This view would seem to help answer a number of questions the critic has ready at the end of his reading: Uralte Verwirrung. Gedeutet. Dem folgt deutscher Gesang. Dem/Gleich fehlet die Trauer.

("Der Rhein", vs. 221) ("Patmos", vs. 226) ("Mnemosyne", vs. 68)

"What has led to this final point?" and "Where else but to this point could the preliminaries have led?" might well be two such final questions. The entire poem will be felt as such, the song along with the history along with the philosophy, the complete statement along with the overstatement and with the enthymeme.98 24. "Die unendliche Einheit" (UVpG; IV, Part / , 251) This principle deals both with the repeatability and with the unrepeatability of the act of criticism within the poem. Repeatability is an empirical experience if it can be granted that the critical view can focus on the most limited number of features. That is, in the following bifocal analysis the channel seems free of noise, and the message stands out clear and simple: Text:

Denn

Schnee, wie

Majenblumen

Initial Phonemes:

C

Word-Syll. Distrib'n.

1

C 1

C

C 1 4

Assuming no shift of foci in subsequent readings, there should be no difficulty recovering the same structure at repeated analyses, even when the analysis is performed by a reader differing from all previous readers by one or more set criteria (e.g., national and linguistic backgrounds, given only a similar proficiency in the reading and analysis of German verse). The infinite unity and repeatability of the poem poses the question of the psychology of communication, that is, of the basis on which two or more readers chosen at random may compare their respective experiences. That is, whatever their actual experiences of the passage as such 98 Cf. Commentary, Paragraph 5, on the "need for a clarity and wholeness of viewpoint". The character of poetry, in Holderlin's view as song, history, and philosophy, is discussed below, in Section C.

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(which cannot be compared), the structure of these various private experiences will lend itself to comparison and will thus act as a binding force upon the various readings." If the above sample analysis can be performed several times in succession, then any similarity in analytical results may be said to be ascribable to similarities in perception of the ostensible structure of the sample. The experience of unrepeatability in reading springs from a different assumption within empiricism altogether. Since the artifact is there to be viewed again and again, since the channel remains open and the message can be reread, there arises the problem of the preservation or loss of identity of the message. ("Ars Poetica by Principles" Paragraph 24)

The 'onceness' of the poem does not necessarily mean that each time the work or a sample of it is reread, a different work with a different doctrine will emerge. But it does mean that, for the rereading for the ( n + l)th time, something important will be added, or that a significant change in some aspect of the poem and the doctrine will occur. Let the sample be "Patmos", vs. 35: Der goldgeschmtikte Pactol

"Wechsel der Tone" might be taught at reading ( n + 1 ) , by sound:

lei lei

/kt/ ft/

/ol//e/

/kt/ /ol/

"Wechsel der Tone" might be heard at reading (n+2), but by grammar: d

Maj

Np 100

"Wechsel der Tone" might, finally, be persistent at reading ( n + 3 ) , here by metre: -

I

-

w |

—

Der goldgeschmukte Pactol

'Eine Erinnerung' might, then — intervening between readings — grasp ( n + 2 ) and (n+3), and, recognizing their common 'geradentgegengesezt' character, reactivate a hearing of ( n + 1 ) with reference to the 99 100

See above, note 70. Proper Noun. See also Table LIX, Segment 8.1-3.

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'harmonischentgegengesezt' phonemic structure there.101 The principles of'nothwendiger Widerstreit' and 'nothwendige Gleichheit' might come to govern reading (n+4). Two sets of events within the same reading are concentrated on, the 'harmonischentgegengesezt' set and the 'geradentgegengesezt'. The confirming phonemes Der goldgeschmükte Pactol /g//g/ /ol//e/

/kt/ /kt/ /e/ /olI

(a)

are read against the nonconfirming phonemes: /der/-/d/

/sm0/ /pa/

(b)

Transcribed into capital letter event notation, the two patterns appear below: (a) (b) ABAC / DCDB102

ABCA / DEF / GH

Relationally, the reader's attention remains the same each time because the internal change occurs; there is no relaxation of tension.103 But the poem has basic unities that are independent of the criterion of a history of encounters, of repetition and change. These are not the unities of drama — time, place, action — although they are related to these latter requirements.104 There are unities peculiar to the lyric poem as an art form in its own right. Instead of unity of time there is the unity of the perception of movement in language. Instead of unity of place, there is the unity of the world that is the poem, the sense of universe. Instead of unity of action, there is the unity of the continuing act of faith. As these are, nevertheless, redefinitions, each of the new unities seems worth individual comment: 101 This pattern is, significantly, a modification of the stochastic formula for gross structure in "Der Rhein" (see Chapter III, Section C, and note 136). 102 This transcription does not consider length in 'Paktol'; with the long o in the second syllable, (o : 1), the pattern would be 'ABAC / DCDE', with the second half of the pattern descriptively repeating the first half, and thus indicating in the pattern the equal participation of 'harmonischentgegengesezt' and 'geradentgegengesezt' features. 103 That is, the repeatibility of the reading participates in the reading, and thus lends itself to descriptive treatment. 104 Analogous to the way in which Hölderlin's theory of the drama, worked out, to be sure, in subtle detail for the theater per se, is eminently applicable to the mental processes and techniques of the lyric poet. This principle is at the core of the discussion on the 'vaterländische Umkehr' phenomenon, above, pages 41-47.

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(a) Unity of the perception of movement in language. — Since the motion of the poem has a definite measured progress, entropy, poet and reader, in justifying writing and reading, respectively, must, as a matter of intellectual will, subordinate all the parts and progresses of the poem to this one progress. The goal of the writing — reading — in mind as communicated, is to draw these measured units together into a single and common measurement (e.g., as unified by the stress diagrams, Tables LXI-LXIV). This may be seen as a self-fulfillment of the poem, arrived at by the technique of buildup and capital increase in the fund of text. (b) The unity of the world in the poem. — The guarantee that the poem presents a complete world of experience, semantic, symbolic, rhythmic, consists of the sovereign skilful deployment of linguistic realia — phonemes, parts of speech, parts of the sentence, syntactic and stylistic devices —• capable of treatment under the eightfold criterion of delightfulness (Paragraph 16) (e.g., "Der Rhein", vss. 42-45). (c) The unity of the continuing act of faith. — Paragraph 16, aspect 4 reads "Unsupported imagery, elicited by an act of faith (or where support is likely to go unnoticed for reasons of conflicting structure)". The emphasis can, however, shift to the support, and call further attention to the possibilities of a 'Kommunikationskette'105 technique. Effective analogies may then be drawn between the structural and semantic realities evoked.106 Epilogue 25. "Das kalkulable Gesez" (AnmAnt; V, 265) At the beginning of this chapter it was announced that the core intention of the Pseudo-Hölderlin "Ars Poetica by Principles" would be to show how this "Ars Poetica" developed by dissent from Hölderlin's ideas on poetic composition developed articulately in the Homburg Essays. To 106 Bense, p. 62: "Auch die Realisation, als generalisierter Begriff des Machens, gehört der Informationstheorie an, indem sie nämlich als Kommunikationskette eingeführt werden kann, . . . . Wir sprechen von Realisationskette. Jedes manipulierbare, operable Zeichen kann neben der kodierenden Funktion eine realisierende aufweisen, die kodierende Funktion gehört im allgemeinen zur semantischen Dimension, die realisierende zur existentiellen oder, wie man hier besser sagt, zur expedientellen Dimension." 106 See also the related heuristic article by Rulon Wells, "A Measure of Subjective Information", Structure of Language and Its Mathematical Aspects, ed. Roman Jakobson (Proceedings of Symposia in Applied Mathematics, Vol. XII; Providence, Rhode Island, American Mathematical Society, 1961), pp. 237-244.

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give a characterizing summary of the act of dissent will be the task of this concluding commentary paragraph. In one of his two excellent essays on Hölderlin, Edwin Muir107 characterizes the late poetry in terms of a striking critical imagery. Hölderlin, Muir writes, lived in his classical world . . . more exclusively than any other modern poet has done. Then came his mental breakdown: grief for the loss of Susette Gontard shattered his mind, smashing his classical world to pieces; but the pieces survived, though the connecting structure was damaged; and in the later poems we find these fragments appearing in a new order. 108

Then Muir goes on to say: "To look for ordinary logic in that order would be useless".109 This latter statement is to be questioned, especially since Muir does not say what he means by 'ordinary logic'. Certainly the first quoted observation is far more pertinent; 'fragments appearing in a new order' is very much the case also with the evidence we have that the Homburg thinking had found its way into the thinking of the Late Hymns. As with the mythology, so with the poetic theory; both underwent transformation, and both found the Late Hymns to be worthy beneficiaries of the change. But whereas, according to one tradition at least, the cause of the new mythology was loss of mental clarity,110 it was precisely a significant gain in mental clarity that occasioned the rearrangement and rewriting of the doctrine. It might be speculated that, as the Late Hymns took shape in Hölderlin's mind, the gain in clarity on the latter side was to offset any loss in clarity on the former; and certainly it would be difficult to explain in any other way the mental discipline which enabled the poet to prepare the dedication copy of "Patmos" as late as January, 1803.111 If it is true that the bilateral reorganization was methodically funneled into the final lyric production, then it can hardly be useless to "look for ordinary logic", syntactic organization, in either half, the semantic or the doctrinal, of the order of these lyric poems. The logical system of the theory as reorganized from the fragments of the critical thought in the essays begins with the mustard seed of 107 "Friedrich Hölderlin", Essays on Literature and Society (London, The Hogarth Press, 1949), pp. 83-89. 108 Ibid., p. 83. 109 Ibid. 110 For references to studies forming part of this tradition, see above, Chapter I, note 38. 111 See Table I.

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axiom and ends with the full-grown tree of the system in operation. The axiom seed, the marginal note to "Der Rhein", still lets roots into the soil of the Homburg prose. u2 The language of the note moves on the distinction between genus and difference, or more specifically, genera and differences. The question of kinds is answered by the categories 'entgegengesezt' and 'gleich'; the question of classes of objects of which the above two categorical properties may be predicated is answered by the category 'Parthien'; the question of criteria by which the said properties are to be predicated of the classes of objects is answered by the categories 'Form' and 'Staff'. In this brief note are contained the three fundamental questions of all literary criticism: (1) the What (the poem), (2) the How (the judgment on the poem), and (3) the Why (the justification for the judgment). The marginal note first reaches fruition in Chapter III, where it provides the clue to a discovery of the structural harmony in "Der Rhein", in point of the nuclear (2+2+1) organization of hymn, pentad, triad, stanza, verse pentad, verse triad. Another prominent point of the note, on 'Progresz' and 'Regresz', has been seen to be part of a law to inform the parallel motion and the divergent motion of confirmations, especially in "Patmos" (see the discussion on nominal forms in Chapter IV; pages 261-266). Yet another, and final, formulation in the note, that of 'durchgangige Metapher', may be seen to underlie the composite triadictetradic structure and the changing Markoff properties of the hymn "Mnemosyne".113 But the above specifically explicit orientation is surely the minor form of the calculable law of the poem, the task of whose proper evaluation, while indispensable from the point of view of applied method, must remain subordinate to the major task of theoretical-practical criticism attempted by Holderlin, and which must, therefore, be attempted by his critic. The uses of the marginal note mentioned above are only aspects — symptoms — of the lawlike nature of the poem. If the critic is ever to ask how such apparently disparate symptoms can hope to give rise to a common rationale, to any outlook as stringent, as unifying, and as sovereign as to be worthy of the name 'law' or 'calculus',114 then he must 112

Cf. Chapter III, Section B, and notes 26-29. As treated in Chapter V, Section B. 114 Cf. Emmon Bach's contention concerning "the way in which at least the later and longer poems are made" ("Patterns of S y n t a x . . . p . 92) and his identification of this way with "rhythms, movements, and forms that in their complexity mirror the complex process of the mind at work . . . " {ibid., and n. 1). Note 1 concerns Holderlin's definition of 'das kalkulable Gesez' in the "Anmerkungen zur Antigonae" (V, 265). 113

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consent to cultivate what Herbert Dingle has named the 'general outlook on literature'.115 The critic must ask about the most productive attitude he can take toward the proposition, advanced by the poet, that the nature of a poem can be inquired about by calculation. If the poet says 'das kalkulable Gesez', then the critic had best respond to the challenge and set himself to calculating. The invitation Hölderlin is here issuing to his reader is to do the most thoroughgoing searching that might yet be possible to do on poetry, a search whose form is pure description. The task becomes to measure the progress of one's experience of the poet's craft in the art, using as the units of measurement those instrumentalities lying outside the first tool, language. Such an exclusion is important for near-ideal descriptive objectivity.116 These instrumentalities involve number, logic, mathematical and linguistic symbols, and methods for the uniform translation of sets of symbols from one critical metalanguage to another. The primary divisions of the poem need then no longer be seen to be 'Form' and 'Stoff'. They might just as well be discovered to be 'Monism' versus 'Pluralism', 'Syntax' as against 'Chance', 'Word' vis-ä-vis 'Silence', 'Analysis' in polar opposition to 'Catalysis' and 'Synthesis'.117 Some statements on the monism of the poem versus its pluralism might form a fitting close to this commentary on Hölderlin's "Ars Poetica". (a) The monism of the poem entails the assumption of a basic unity of the text in all its parts. The poem is written on a certain theme, it has a singleness of lyric vision, a coherence of hymnic intent in the language. The principle of 'Eine Erinnerung' is instrumented by 'Das Zusammenhängen der selbstständigeren Theile'; 'Tragische Vereinigung' is possible 115

Dingle writes: " . . . there appears to be nothing in the ordinary critical method which corresponds to the wave equation, say, by which optics and acoustics are welded together so that the solution of a problem in optics is at the same time the solution of an apparently quite different problem in acoustics, and a new classification arises in which the physics of particles and that of waves are the main divisions. Whether the cultivation of a general outlook on literature would ever give birth to a new and unsuspected classification is, of course, a matter for speculation, . . . " (pp. 90-91). 116 The point Dingle makes on the numerical basis of a science, namely that its primary claim to precision and universality rests on its having 'a basis that commands common assent' (p. 18; cf. above, in Chapter II, page 69 and note 34) is only one such point. A second is that numerical operations are divorced from the semantic noise adhering to words, while nevertheless capable of being assigned symbolic roles. On semantic noise see W. H. Gass, "Gertrude Stein: Her Escape from Protective Language", Accent, XVIII (1958), 233-244; symbolic roles of numerical operations are touched on in Archibald A. Hill, "An Analysis of The Windhover: An Experiment in Structural Method", PMLA, LXX (1955), 968-978. 117 Cf. above, note 34.

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because the poem does amount to an 'Eigene Welt der Form nach'. The assumption of unity then has as its consequence the investigation of growth. The theme, the lyric vision, the unified hymnic intent can exist only insofar as it is realized; this means that within the three unities of the poem (Paragraph 24) there must be observable vectoriality, direction, progress. Thus critical attention is bound to shift from the Romantic Monism ('Die unendliche Einheit') to the opposed, Classical point of view. (b) The pluralism of the work of lyric art proposes an essential multiplicity of the textual whole. This proposition refers to the poet's numerous techniques. These are not techniques the poet incorporates into the poem, for without the former the latter could not exist at all. The poem is the sum total of these techniques as it can be the sum total of nothing else. Let the stochastic, ergodic, Markoff properties, the harmonic structures, the distributions of grammatical, syntactic, metrical, rhythmic features, be withdrawn from the poem one by one118 and the poem, that is the text, will be seen to disintegrate and vanish. But let 'Das hyperbolische Verfahren' relate the extremes of 'Eine fortgehende Metapher' with 'Die nothwendige Gleichheit', of 'Wechsel der Tone' with 'Nothwendiger Widerstreit', and the proposal on multiplicity will reach fruition in the principle of tactics, the critical view of structure "as the functioning of a structure".119 This will hold with clear reference to the equation of the textual whole as a functioning structural reality, as an identifiable given. Thus the pluralistic view guides the critical attention back to the monistic, for while the poem equals its structure, the structure inescapably equals its poem.120

118 Against this it can be argued that no such 'removal' is possible without an a priori denial of the existence of the poem, either by poet or by reader. Thus Samuel R. Levin writes: "The use of . . . strictly literary conventions serves to impart to a stretch of language a characteristic impression, but these features do not, by themselves, impart to a poem the sense of unity which poems produce" (Linguistic Structures in Poetry [Janua linguarum, No. 23; 'S-Gravenhage, Mouton & Co., 1962], p. 59). "» Burke, p. 63. 120 This implies only partial agreement with Burke's view: " . . . the kind of observations you will make about structure will deal with the fundamentals of structure, and will deal with them in relation to one another, as against the infinite number of possible disrelated objective notations that can be made" (ibid., p. 62). The posture against a multiplicity of notations — necessarily 'disrelated' in the beginning of the analysis — carries with it the danger of encouraging a deductive approach to criticism. If there is to be an insight into 'the fundamentals of structure' allied with hermeneutical objectivity, then I should think it is of prime importance for the critic to make available to himself a broad basis of operations.

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Holderlin's "Ars Poetica" of communication rests on the hypothesis that growth and tactics are complementary opposites, together comprising 'das Gesez' that must be seen to be thoroughly 'kalkulabel'. The calculation, the microscopic analysis, may be a matter of degree; it seems reasonable to speculate that the more deeply the calculation penetrates, the closer the critic may hope to approximate the 'Gesez'. But calculation is only part of the critic's task. One may no more calculate without preliminary observation and judgment than a logician may build a sorites without premises, or a geometer may construct a system in his field without axioms or postulates. The unprovable given, the unerring interpretative judgment, must be present to give life and communicative insight to the analysis and to the work analyzed.121

C. SUMMARY AND CONCLUSIONS 1.

Summary

The procedure in this study has been bifocal in two senses. First, the collation and synthesis of the data gained in the analytical chapters led to the formulation of a system revealing of the thought of the poet and of his critics. Second, the theoretical and practical parts of the work, the problem and the method, seem to claim equal shares of importance. Chapter I posed the central question of the investigation, that concerning the truest place in Holderlin's writings where he expressed his definitive views on the nature of poetic creation and the identity of a poem. To the subsequent hypothesis that this truest place is the Late Hymns, was then joined, in Chapter II, a statement of the method to be used in the study, one based on the mathematical theory of information. This method was developed, in the course of Chapter II, into a technique for uncovering evidence less easily accessible to more conventional techniques of analysis, namely the evidence for the sought hidden "Ars 1!1

That is, the critic's job remains to be defined, from the point of view of the poet's intent: it is (1) to discover, (2) to suggest. He is helped by a poet like Hölderlin, whose unconditional interest in communicating intent should, however, not be taken to have existed in quite the sense of'confessional efficiency' that Burke speaks of in connection with certain puns which "seem to have been consciously exploited by Joyce when he is discussing his ars poetica in Firmegans Wake, hence should be considered by any reader looking for the work's motivations (i.e., the center about which its structure revolves, or the law of its development)" (ibid., p. 101).

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Poetica". The subjects of the analytical chapters (III-V) represent a decision that the body of work referred to as the Late Hymns, some thirteen poems in all,122 shall for purposes of this study be viewed through the three most consummate examples. "Der Rhein" was the subject of Chapter III; "Patmos", of Chapter IV; "Mnemosyne", of Chapter V.123 The heuristic procedure of testing one larger set of related structural problems on one poem at a time was followed and related to the structures in the other two hymns. "Der Rhein" served to illuminate the proportional harmony to be found in the hymns, as hinted at by the marginal note.124 The idea of transitional and logical structures was tested on "Patmos". "Mnemosyne", was then accepted as the basis of a demonstration of the need for thoroughgoing textcritical work, and of the possibility of finding sophisticated patterns in the hymns that do not conform to the seemingly pervasive law of triads.125 Chapter VI explored structures similar to those found in the Late Hymns, but did so for rhymed hymns of the Tübingen and Frankfurt periods, for odes, and for elegies. This necessary counteranalysis showed that, while most of the poetics does indeed reside in the Late Hymns, there were some significant carry-overs to the Late Odes and Elegies during the critical years 1801-1803, when Hölderlin worked on the Late Odes, Elegies, and Hymns together. The present synthesis, Chapter VII, includes, then, the actual induction of Hölderlin's poetics. The nonorthodox part of the synthetic work amounted to an attempt to ferret out complex implied relationships. The hypothetical, pseudepigraphic "Ars Poetica" text, hardly more than a necessarily brief summary of principles perceived to be at work in the poems, was 'read out of' the textual evidence and couched in a noncommital syntax language. It was found that the Homburg thought had to be guiding to the extent of showing the dissent as well as the survival of ideas, as well as the necessary mutation that thought undergoes when transplanted from an objective instructional medium — the Homburg 122 Besides the eleven Beissner prints under the heading "Die Vaterländischen Gesänge" (II, Part I, 123-198) and "Friedensfeier" (III, 531-538), this count includes "An die Madonna" (II, Part 1,211-216), identified as a 'Christushymne' by Ulrich Häussermann (Friedensfeier, pp. 53-64). 128 Friedensfeier" could have been included in this series as an example of external perfection, although also "Patmos" exists in a neat fair copy. For related remarks see above, Chapter I, page 10, and notes 36-37. 124 See above, Chapter III, Sections B and C. 126 Chapter V, Section A closes with a hint at the possibility of tetradic patterns in the Late Hymns; for demonstration see the same chapter, Section B ("MarkofF Chains of Alternating Random and Entropie Character in 'Mnemosyne' ").

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Essays — into a representational and gestured discourse — the poetry. The practice of the poet, the evidence for method and truthful poetic order in his creative work, was, then, exploited and built into an explicit text of theoretical argument which could be labeled a full-grown poetics and titled "Ars Poetica". That this treatise is admittedly an implicit one, and that the 'mannequin' identity of the pseudepigraphic text (Chapter VII, Section A) was kept in mind throughout, does not obliterate certain clear effects of the unusual methodology. The title and the tone of the reconstructed treatise imply and propose a new perspective in that they bring to mind Horace, Aristotle, the numerous "Ars Poetica" theoreticians of the Renaissance. Placing Hölderlin in their company suggests not only that on the merit of this implied treatise is he to be compared with them in importance. It also asks the question of what it means, in our age as in any other, to be an important literary theorist. 2. The Conclusions in the Light of Previous Scholarship

Since what has been ascribed to Hölderlin's practice is a full and independent poetics, and since one of the unavoidable consequences of this ascription is the suggestion of strong contemporary relevance,126 the larger question of Hölderlin's affinity with the twentieth century may be seen to include the smaller but no less urgent question of his affinity with that other prolific age of criticism and "Artes Poeticae", the Italian Cinquecento.127 Scholars have seen this relationship in its various aspects, in the form and direction of Hölderlin's language, in his images and symbology, in his attitude toward the role of the poet. Wilhelm Böhm 126 The introductory discussion in Chapter I, Section A touches only in passing on the vast differences between "Artes Poeticae" of all places and times (above, page 4.) Inductively this might be seen as true of the twentieth century as considered by itself. The fondness for written poetics seems evident from such treatises as Ernest Fenollosa's The Chinese Written Character as a Medium for Poetry: An "Ars Poetica" (1908); also from the other arts, as from Igor Stravinsky's Poetics of Music in the Form of Six Lessons (Charles Eliot Norton Lectures, Harvard, 1939-1940). Implied poetics might be investigated in the work of Wallace Stevens, which shows repeated and systematic concern with the poet's method, especially throughout Harmonium (1931). 127 This restriction follows the criterion set up by Bernard Weinberg: " . . . I have given to the term 'Renaissance' a highly restricted meaning: I have limited it to the sixteenth century, except for those few cases in which I have found it necessary to trace a movement back into the Quattrocento.... The Cinquecento was the century of major development and full realization, both in poetic theory and in practical criticism; . . . " (A History..., I, ix). On the 'new arts of poetry' written during the century, see Weinberg, Chapter xiv {ibid., II, 715-796).

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has brought early insight into the drive and craftsmanship of the late lyric: Die Konturen der neuen Sprache ziehen sich, wie von Hellingrath gesagt ist und weiter gesagt werden soll, in "barocke" Linien, übrigens schon seit der "Heimkunft", nicht erst mit dem Späteren und Gesteigerten, das man "Barockstufe" genannt hat. Wie sich Renaissance und Barock scheiden, so scheidet sich die Hölderlinsche Dichtung der früheren Zeit und die seiner Ergriffenheit. Es ist nicht die spielende Umbiegung der auf feststehenden Proportionen beruhenden Naturformen im Barock, die aus Kraftüberschuss entspringt, aus Freude am Können, Spiel der Kunstmittel, sondern es ist die erhabene Bemühung der Askese: Grünewald, nicht Dürer, Greco, nicht Tizian. Aber das Erschütternde: diese barocke Linienführung ist Erscheinungsform eines nach wie vor klassischen Formwillens. 128

L. S. Salzberger129 has pleaded the relevance of the Renaissance to Hölderlin's view of the role of the poet-seer as divine messenger. Salzberger points to the Israelitic prophet, how he held combined positions: he was religious leader, politician, lawgiver, "und — da er sich in dichterisch erhabener Sprache äusserte — nach den Anschauungen Hölderlins und seiner Zeitgenossen auch: Dichter".130 This writer links Burdach's argument on the mediaeval fusion of the images of the biblical prophet and the classical vates131 with her own view that the Renaissance already had a different conception even from this union, one of a creative personality in which the poet, and not the prophet, strikes the basic tone. "Gerade Hölderlins Anschauungen vom Dichter berühren sich auffallend mit denen Ronsards."132 A third revealing point of contact has been seen to be the brotherhood of Christ, Herakles, and Dionysos, worked out especially in the hymn "Der Einzige".133 Here, as Salzberger points out, Hölderlin is perhaps closest to a central idiom of Renaissance thought. "Besonders erinnert der Neoplatonismus 'Hölderlins, der Christus von Plato und Plotin her sieht, an die Renaissance-Philosophie eines Marsilio Ficino und Pico della Mirandola."134 The parallel between Herakles and Christ again reaches back to mediaeval tradition: "Mit der Renaissance, 128

Böhm, II, 360. „Hölderlins Anschauungen vom Beruf des Dichters im Zusammenhang mit dem Stil seiner Dichtung" (unpublished Doctoral dissertation, Oxford University, 1950). 130 Ibid., p. 3. 131 Konrad Burdach, Reformation, Renaissance, Humanismus: Zwei Abhandlungen über die Grundlage moderner Bildung und Sprachkunst (Berlin, Gebrüder Paetel, 1918), pp. 128-129, referred to in Salzberger, p. 5. uz Salzberger, p. 9. 133 Ibid., pp. 218-220; cf. also Chapter I, note 310. 134 Salzberger, pp. 274-275. 129

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die das Antike dem Christlichen als einen ebenbürtigen Bruder an die Seite stellt, wird sie immer häufiger."135 Important as these points no doubt are, not one of them can, in isolation from the others, give us the real reason why Hölderlin's kinship with the sixteenth century is an essential ingredient of our view of him as a modern critic. The answer lies in a combination of these factors (which is more than their sum), and this integrative view has not yet been taken in the literature. Abrief statement of it might be that Hölderlin regarded poetry as a mode of history and as essential history. Böhm speaks of the 'Kinderzeichnung'136 quality of the late poems, by which he means "die Neigung, die Vorstellungen abstrakter Art mit konkreten Einzelheiten überraschend zu verbinden",137 while Salzberger sees a technique of 'Nebeneinander', of serial exhibition resulting from a lack of perspective in the late poems: Deshalb die verwirrende Vieldeutigkeit der Beziehungen in einem Hölderlinischen Gedicht bei der verhältnismässig geringen Anzahl von Fakten und Erfahrungen. Alles ist mit allem verbunden. Aber gleichzeitig ergeben sich gerade deshalb immer neue Kontraste und Widersprüche. 138

This may be connected with Böhm's earlier characterization of Hölderlin's 'Barockstufe',139 as well as with Salzberger's statement that the poet sees "die Aufgabe des Dichters von früher Jugend auf als eine geschichtliche. Der Dichter hat die Ueberlieferung zu bewahren, die ihm von Vorgängern und Zeitgenossen vermittelt wird."140 This posture would seem to clarify "die vielerwähnte Tatsache, dass Hölderlins Dichtung von Anfang an der Form des Liedes... fernsteht".141 These extensions 136

Ibid., p. 275. By way of comparative examples, Salzberger adds: "Bud6 vergleicht in 'De Asse' Christus mit Herkules. Ronsard führt in seiner Hymne 'Hercule Chretien' den Vergleich im einzelnen durch. Michelangelo stellt Jesus im letzten Gericht als eine Art von Herkules dar, und noch Milton kommt in 'Paradise Regained' bei der Beschreibung des Kampfes zwischen Satan und Christus auf das Ringen von Herkules und Antäus zu sprechen, Für die Parallele zwischen Christus und Bacchus gibt es in der bildenden Kunst ein interessantes Beispiel. Im Hintergrunde von Bellinis 'Erlöser', der die Kreuzigung Christi darstellt, finden sich verschiedene heidnische Szenen, von denen eine eine Art von bacchischem Opferkult zeigt" (ibid., pp. 275-276). 136 Böhm, II, 371. 137 Ibid., p. 372. 138 Salzberger, p. 272. 139 See above, page 415, and note 128. 140 Salzberger, p. 22. 141 Ibid., p. 28; cf. Pierre Bertaux, Hölderlin: Essai de biographie interieure (Paris, Libraire Hachette, 1936), p. 107, on the austerity of tone at the end of Hyperion; on 'harte Fügung" also Benn, Hölderlin and Pindar, pp. 138-151. I think it is clear that there is an intimate connection between the style of'harte Fügung' and the unsonglike form of Hölderlin's verse observed by Salzberger.

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of the former criteria then find striking summary in Jens Hoffmann's use of the image of the aurea catena, interpreted by him as the quintessential symbol, within the definition of a universal mythical thought, of Hölderlin's relationship to the historical movement of European Mannerism; stylistic and philosophical criteria show how "das Bild der goldenen Kette... zum Sinnbild der Gehaltenheit des Menschen in einer die Ordnung verbergenden labyrintischen Welt wird, zum Sinnbild einer verheissenden Erlösung".142 Yet this view of historical order immediately departs from Renaissance poetics to assume individual character. Hölderlin's view is not that of Dionigi Atanagi, who in his Ragionamento de la eccellentia et perfettione de la historia (1559) "wishes esentially to characterize the art of history; he adopts as the best expedient a lengthy set of likenesses and differences between history and poetry, which incidentally provides a complete theory of poetry".143 Rather it is the transmuted doctrine that poetry and history are categories that cross in a very special area. The historical character of poetry lies in its being a medium proceeding in time; in its consisting of a succession of events; in its imparting the illusion of a chronology; in its working with laiws of causality and relation. But it does these things in a modified manner, for it brings delay and surprise not only as integral parts of the chronology, but also in the sense of a practice of exhibiting events as detached from time, the time-causality continuum, as absolute structures.144 But it is also precisely in this sense that Hölderlin's doctrine amounts to a criticism that rings modern to the point of contemporary. In a recent article Leonard B. Meyer discusses the anti-teleological art of our time, art in which "predictability and choice are impossible",145 and which, therefore, "cannot be a form of communication" :146 The artist, whether employing chance methods of composition or applying a predetermined arbitrary formula, should accept the unanticipated result without seeking to impose his personal will on the materials or making them conform to some syntactical preconception of what ought to take place. Similarly the audience should entertain no preconceptions, make no predictions 142 Jens Hoffmann, "Klassik und Manierismus im Werk Hölderlins", HölderlinJahrbuch, XI (1958-1960), 186. 143 Weinberg, A History . . . , I, 40. 144 Here the investigation has also progressed beyond a consideration of influences and dependencies, as given, e.g., in Benn, Hölderlin and Pindar, pp. 126-138. 146 "The End of the Renaissance?" The Hudson Review, XVI (1963), 181. 148 Ibid.

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as to what will occur, and force no organization upon the series of individual sounds, colors or words presented to it. 147

What this attitude of the radical empiricists of the avant-garde calls into question, Meyer points out, is not really "the theoretical possibility of a principle of causation, but the theoretical possibility of isolating any particular event as being the cause of another particular event".148 Yet this central argument, that in the single interrelated field of the cosmos "everything interacts with — is the 'cause' of — everything else",149 may also be seen as the very foundation of the law of predictability. If everything is the cause of everything else, then it follows that many things can be the cause of any one thing or event, and that the beholder has a range of freedom to choose and to predict events. But saying this much is equivalent to giving the definition for information.150 The secret of the seeming paradox is that, of course, it is not possible simply to 'accept' an event. The most reasonable condition of such acceptance would be that the work of art contain one event only; that, as shall be pointed out presently, is an a priori impossibility. As soon as the work is any sense of succession, there will be the psychological need to predict and to look forward.151 Besides, this sense of succession suggests that any event is really a combination of events, whether, in concentrating on, say, a monosyllabic word, we choose to observe first its written shape, then its sound-shape, then its semantic content, and finally yet a fourth feature, or whether we proceed to describe the word in a different order.152 Conversely, any combination of events can be concentrated on as a single event.153 At the same time the work of art, as Holderlin's practice 147

Ibid., pp. 177-178. Here Meyer indirectly quotes John Cage (Silence). Ibid., p. 179. 149 Ibid. Cf. Salzberger on the perspectiveless quality of Holderlin's late poetry: "Alles ist mit allem verbunden" (p. 272). 160 See again Chapter II, Section B; also Youngblood: "In information theory, information refers to the freedom of choice which a composer has in working with his materials or to the degree of uncertainty which a listener feels in responding to the results of a composer's tonal choices" (Journal of Music Theory, II, 25). 151 Meyer writes: "In music and literature, . . . a de facto chronology is necessarily established — even in a work whose order is the product of pure chance. And we tend, whether by nature or learning, to infer causal relationships from such a sequence of events" (The Hudson Review, XVI, 184). 152 The neurological fact of succession holds, even if it takes place at imperceptible speeds. It is speed that gives the impression of simultaneity in the observed fact. 153 This is no longer a topic in the psychology of perception, but is, rather, a methodological given; a series of events when described as one event, gives rise to analogical predictions and tests of higher orders (see Coons and Kraehenbuehl, Journal of Music Theory, II, 134). 148

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shows, does bear affinity with avant-garde aesthetic in exhibiting the essential property of unrepeatability, meaning that one cannot predict the poem in toto.154 And here, it seems to me, lies the crux of Hölderlin's position as critic. It lies not only between classicism and romanticism, but eminently between Renaissance and contemporary aesthetics.355 The Renaissance stood for the notion of man as 'the measure of all things, the center of the universe',156 and this meant for him "his faith in his power to predict and, through prediction, to control his destiny... ".157 One modality of this mental posture was undoubtedly the literal juxtaposition of poetry and history, 'the coupling of the two arts',158 practiced by Italian theorists of the fifteenth and sixteenth centuries.159 The aesthet154 This is the principle Emmon Bach skirts but does not hit upon when he misinterprets the statement by A. A. Hill that "a poem, like a painting or a molecule, has structure. That is, the parts occur in such a fashion that their relation can be described and used for prediction of recurrence" (PMLA, LXX, 968, quoted in Bach, "Patterns of Syntax . . . " , p. 6). Bach goes on to say: "I do not know what is to be predicted. Certainly not another Windhover. The 'structure of a molecule' has some physical meaning in terms of predicting the behavior of molecules, just as the 'structure of English' has meaning in terms of the behavior of people talking English. But if the history of literary criticism shows anything it is that the 'rules' of poetics have no predictive value" (ibid.). Bach is right in the point he makes. That this completely bypasses Hill's meaning, and the meaning of 'prediction of recurrence' in structural theory, belongs to another part of our discussion (see Chapter II, Sections C and D). 155 Somewhat facilely, Michael Hamburger writes: "We can speak of Hölderlin as a classical poet or as a Romantic, according to whether we are thinking of his art or his situation" (Hölderlin, p. xi). I should think it would be more fruitful to define Hölderlin as both a classical poet and a Romantic, and these together surely both by his art and by his situation, that is, with careful reference to both his intellectual and his emotional heritage. This is also the way in which I would like to think of Hölderlin as being both a Renaissance poet and a contemporary. 156 Meyer, The Hudson Review, XVI, 186. 157 Ibid. 158 Weinberg, A History ..., I, 40. 159 Weinberg accounts for the many attempts on the part of sixteenth-century theorists (and some critics of the fifteenth century, e.g., Rodolphus Agricola) to define the position of the art of poetry among the sciences. The more or less systematic efforts of Agricola, Atanagi, Viperano, Speroni, Varchi, Grifoli, and Parthenio at relating poetry to history, oratory, and biography are distinguished {ibid., I, 38-45). More recently Hanna H. Gray pointed to the position of philosophy as a binding agent between poetry and history in the thought of Renaissance humanists: "For the majority of humanists, philosophy signified ethics or practical philosophy as opposed to pure logic or metaphysics. . . . Moral philosophy was connected with poetry, which taught ethical truths under the guise of fiction, and with history, which showed how its precepts had actually been, and should always be, applied in practice" ("Renaissance Humanism: The Pursuit of Eloquence", Journal of the History of Ideas, XXIV [1963], 506-507). On the originality of a critic like Castelvetro see Weinberg, A History ..., I, 502-511; also Vernon Hall, Jr., Renaissance Literary Criticism: A Study of Its Social Content (Gloucester, Massachusetts, Peter Smith, 1959), pp. 77-81.

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ic of radical empiricism rejects the notion of a Renaissance as workable doctrine and time; "for these artists, writers and composers..., the Renaissance is over".160 It is between these two extreme points of view — the unquestioned acceptance of Renaissance limitations on the one hand and the rejection of the Renaissance as a realistic state of mind on the other — that Hölderlin's "Ars Poetica" must be seen to moderate.161 This moderating between two ages and modalities of doctrine may also be attested on the lower focus of the poet-critic's view of the poem itself. The difference between the older view of the kinship between poetry and history and Hölderlin's view helps explain the cosmology in the poem, but it does not begin to give a satisfying account of the poem's ontological moorings. The link of poetry with philosophy, which guaranted the possibility of uncovering the hidden "Ars Poetica", is but another hemisphere of the poem's internal cosmology. But this cosmology is no account of the poem as a form of essential knowledge, since it is itself governed by the larger question of what the poem ultimately is. If the doctrinal expression of poetry is history ("Ars Poetica by Principles", Paragraph 1), and if its pedagogical expression is philosophy (hence the visible poetics at all), then the essential, delimiting expression of poetry is song. The Pindaric ode-like yet unique poems examined in the foregoing are, after all, rightfully referred to as Hölderlin's 'Late Hymns', they are 'die Vaterländischen Gesänge', and it is their identity as songs that served as the initial clue that they contain the bases of the theory and doctrine pointed to above. To summarize diagrammatically, poetry in Hölderlin's doctrine is:

160

Meyer, The Hudson Review, XVI, 186. In summary, three specific applied meanings of 'Renaissance' seem important for the present redefinition of Hölderlin's place in literary history and in modern criticism: (1) Weinberg's Cinquecento, (2) Wylie Sypher's "period included within 'the renaissance', from the opening of the fourteenth to the closing of the seventeenth centuries" (Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700 [Garden City, N. Y., Doubleday & Company, Inc., 1956], p. 6), although here I would prefer to take this to the year 1800, and (3) Meyer's Renaissance, meaning the tradition to the present day. Meyer writes: " . . . whether it [the Renaissance] is over or not, the merit of considering the art and aesthetic of radical empiricism seriously is that it challenges us to discover and make explicit the grounds for beliefs and values which we unconsciously take for granted" (The Hudson Review, XVI, 186). Hölderlin is to be credited with having made just such a discovery in his practice. In the Late Hymns, instead of starting with the assumption of structured experience as a given, he begins the art anew and realizes the possibility of a structure both within and outside the ordering of time. 1,1

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(b) Philosophy by :

(a) History by: Nature Form Mode

Capability Method Tone (c) Song by : Knowledge Belief Being162 3. Conclusions

Since the identity of the poem as poem was the proper subject of the entire study, this closing section might best direct a final glance at the possible consequences of the implied proposition that the most meaningful study of the poem is a study of the extent to which it teaches itself. The comprehensive use of communication theory in analysis, as well as the comprehensiveness of the resulting treatise, will no doubt distress many critics. Some will see in it a lack of proper critical restraint, others will ponder the significance of such seemingly all-encompassing results. It might be asked: "If all this is Hölderlin's 'Ars Poetica', then what is not? Where, in other words, do we have the assurance that we will be able to distinguish between what is personal and idiomatic in Hölderlin's views and what is peculiar in the views of any other poet?" This question then broaches the further questions about the identity of Goethe's "Ars Poetica", or indeed of Baudelaire's or of Whitman's. It might be asked, further, how Hölderlin's poetics compares with all these other treatises. It might possibly be found that to investigate the hidden poetics in a poet's work is not to say too much more, after all, than that that poet was a theory-conscious, that is, highly competent, literary craftsman, to whom the writing of poetry was a serious voca162 Cf. the partial statement by Kurt Hildebrandt: "Die dem wissenschaftlichen Geist naheliegende Auffassung, dass die Wissenschaft wahre, adäquate Erkenntnis sei, die Dichtung aber willkürliches Spiel der Phantasie, eine Auffassung, der Schiller bedenklich nahesteht mit seinem Begriff des Spieltriebes und der die Kunst beschmutzenden Wirklichkeit, wird von Hölderlin ausdrücklich abgelehnt. Aber auch die modernere Vorstellung, die in Philosophie und Dichtung zwei parallele Ebenen sieht, in denen das gleiche Erlebnis gleichwertig dargestellt werden kann, widerspricht seinem Geist" (p. 224).

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THE HIDDEN "ARS POETICA" IN HÖLDERLIN'S LATE HYMNS

tion.163 What has been seen to be true of Hölderlin would, then, seem just as urgently true of many another good poet, on every one of whom the information theory test could with justice be carried out. The real test — and one which will have to be left to another investigation — becomes a comparative one. Once the "Ars Poetica" of a number of poets has been established, the comparative and contrastive value of these respective practices would have to be considered as well. But such comparative study is perhaps the very segment of the present sphere of work in which the methods of information theory could be used with the most imagination and profit.164 The results of the present investigation are offered as an early contribution to studies in comparative poetics. Within their well-defined limitations the analysis and subsequent synthesis have shown that the hypothesis of the presence of a highly developed and definitive poetic doctrine in the Late Hymns, stated in Chapter I, was a correct one. Nor did the proposed method of measurement (Chapter II) come to amount to a fruitless heuristic. The argument that Hölderlin's poetry contains an unusual and ultramodern criticism is not rendered circular by an unusual and ultramodern approach used in order to find it. Methods must match aims, and if this was ever a maxim of sound scholarship it is all the more so for a poet like Hölderlin, whose work lends itself only to the most meticulous effort at comprehension.165 Whether or not one agrees with 163 Cf. related remarks in Chapter II, Section A. It is from such a perspective, alluding to a never-ending task of unraveling in the poem "das Gedichtete", that Hölderlin is seen in the company of relatively more contemporary 'moderns'; see especially KarlHeinz Stierle, "Möglichkeiten des dunklen Stils in den Anfängen moderner Lyrik in Frankreich", Immanente Ästhetik — Ästhetische Reflexion: Lyrik als Paradigma der Moderne, ed. W. Iser (München, Wilhelm Fink Verlag, 1966), pp. 157-159; Rudolf Eppelsheimer, Mimesis und Imitatio Christi beiLoerke, Däubler, Morgenstern, Hölderlin (Bern, München, Francke Verlag, 1968), pp. 166-238; my review of Eppelsheimer, JEGP, LXVIII (1969), 490-493; finally the brief, but very specific and helpful comment by the Hungarian scholar Mihäly Sükösd: "Ättörte a nyelvi hatärokat: nagy keresökhöz, nagy magänyosokhoz, egy Apollinairehoz, Dylan Thomashoz ivel himnuszait61 a hid. Az Egöv-ben, a Saint Merry muzsikusd-b&n, a thomasi teremtes-ödäkban szärnyal roppant dikciöja" ["He broke through the barriers of language; from his hymns the bridge arches over to great searchers, great lone spirits, to an Apollinaire, a Dylan Thomas. His gigantic diction soars in "Zone", in "Le Musicien de Saint-Merry", in Thomas' creation odes"] (Hölderlin: Versek, Levelek, Hüperiön, Empedoklesz [Hölderlin, Poems, Letters, Hyperion, Empedokles], ed. Istvän Bernäth [Budapest, Magyar Helikon, 1961], p. 529). 164 See Youngblood's comparative analysis of the melodic styles of Schubert, Mendelssohn, and Schumann, and of Gregorian chant, Journal of Music Theory, II, 29-31, and Tables I-V. 165 This statement does not imply comprehensiveness which, as in the case of the present study, may have to be foregone due to the necessity for a practical limitation.

THE HIDDEN "ARS POETICA" IN HÖLDERLIN'S LATE HYMNS

423

particular realia of this study — with the nonrigorous, invented aspects of the information theory or with the headings and wording of the "Ars Poetica" — it seems clear from the foregoing that Hôlderlin's practice does contain a poetics of communication. The Late Hymns stress this prime object of poetry as does no other phase of Hôlderlin's lyric.166 The poet's responsibility is to send the message. The critic's task is to receive what has been sent. The two processes of creative play, the critic's and the poet's, must gradually come to overlap and join in the act of literary communication; the poet is thus said to be understood. At the same time this is the critic's best assurance that the odds in the cybernetic game of criticism and communication167 will also fall in his favor.

166

This conclusion holds as qualified by results obtained in Chapter VI, Section B. Bense, p. 63: "Insofern sie [die Kritik] entscheidet, nicht beschreibt, ist sie ein kybernetischer Akt u n d gehört der Realisationskette in dem Teil an, der im Rückmeldekreis die Beobachtungskette ausmacht. Auch der Betrag der ästhetischen Information, der durch die kritische Normierung im Sinne des Kybernetikbegriffs gegeben wird, wird gross, wenn das Unbekannte im Verhältnis zu seiner Realisation so ungünstig wie möglich ist. . . . Daraus folgt dann ziemlich deutlich, dass auch die Realisation eines Kunstwerks schliesslich als ein strategisches Spiel (strategische Realisation) betrachtet werden muss; m a n kennt die Resultate nie ganz, aber m a n kann auch nicht alles dem Zufall überlassen, sondern der gewählten Strategie. Es handelt sich u m ein Spiel gegen die Natur, und ein Empfänger tritt dazwischen, aber o f t ist es auch ein Spiel gegen den Empfänger, u n d ein Kritiker tritt dazwischen." See also H . Stachowiak, Denken und Erkennen im kybernetischen Modell (Wien, New York, Springer-Verlag, 1965), pp. 13-80; against the 'play theory' (implicite), pp. 129-131. In conclusion it must be remarked that this new 'play theory' of poetry is significantly part of Hölderlin's "Ars Poetica". As such it represents perhaps the nuclear point of dissent f r o m the anti-Schiller stance of the H o m b u r g period (see especially VI, Part I, 306; Letter N o . 172, lines 168-175), and a synthesis between the earlier respective views of the two poets. Play (cybernetic play) in the Late H y m n s seems the formulaic way of gaining theoretical and practical control over the poem, and of investigating its 'Ursache' as well as its 'Wirkung' (Letter N o . 172, line 175) (Cf. Beissner in IV, Part I, 381; above, Chapter I, note 134). 167

APPENDIX A TABLES I-CXVIII

TABLE I Chronology of the late hymns Date» Month Day

Biographical Data"

Late Hymns c

Other Poemsd

Pivotal Letters6

El WwF Arch

No. 172 No. 186 No. 198

Ar-As« BW BW St St st BW; St

No. 219

September, 1798-May, 1800' First Homburg Period (Homburg; Rastatt) 1800 May Jun Jul Aug Sep Oct Nov Dec

end ...

...

Moves to Stuttgart Stuttgart Stuttgart Stuttgart Stuttgart Stuttgart Stuttgart Stuttgart

dME dME dME dME 1801

Jan Feb Feb Mar Apr Apr Apr May Jun Jul Aug

15" 9' ... J

14 end ... ...

Arrives, Hauptwil Peace of Luneville Hauptwil Hauptwil Hauptwil Leaves Hauptwil Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen

Q Q Q; v,-v, R; dW R; dW

R; dW R; dW R R R

BW; St BW; St

Gi G x ; Hk G Ì ; Hk c,

Q ca

No. No. No. No.

224 228 229 231

No. 232

425

APPENDIX A

TABLE I—Continued Date* Month Day

Biographical Data b

Late Hymns"

Other Poems 4

Pivotal Letters0

1801

Sep Oct Nov Dec Dec

... 10

Nürtingen Nürtingen Nürtingen Nürtingen Leaves for France

Ge(?); E j Ge; E j ; P (H 1 ) Ge Ge

No. 236

1802 Jan Feb Mar Apr May Jun Jun Jul Aug Sep Sep Oct Nov Dec

28

10" mid 22'

29m n

Arrives, Bordeaux Bordeaux Bordeaux Bordeaux Leaves Bordeaux Back in Nürtingen Death of Susette Gontard Nürtingen Nürtingen Nürtingen Goes to Regensburg Regensburg Nürtingen Nürtingen

P(H2) P (H 2 ) E 2 ; F(?)

C2; G2 C2; G2

E2; F; P ( H T E 2 ; F ; P(H 4 )

1803

Jan® Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

... ... ... ...

...

Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen Nürtingen

Pi An An An I ; E 2 -E 3 q I ; P2-P4 q

I Mr-M* MrM< Mj-M, Mr-M*

No. 241 C 2 ; G2

No. 242

426

APPENDIX A

TABLE I—Continued Date" Month Day

Biographical Data"

Late Hymns"

Other Poemsd

Pivotal Letter8

1804 Mar Apr Apr

12

Jun

end

Nürtingen Nürtingen Sophocles transl. publ. by Wilmans Goes to Homburg with Sinclair

No. 244 No. 245

1805 „Nachtgesänge" publ. by Wilmans

a The day on which an event took place was determined wherever possible. Years are shown in cut-in headings. b Compiled, unless otherwise indicated, after Carl C. T. Litzmann, Friedrich Hölderlins Leben: In Briefen von und an Hölderlin (Berlin, Verlag von Wilhelm Hertz, 1890), pp. 351-365, 565-574, 596-603, and Ulrich Häussermann, Friedrich Hölderlin in Selbstzeugnissen und Bilddokumenten (Rowohlts Monographien, No. 53; Reinbek bei Hamburg: Rowohlt, 1961), pp. 162-163. c Compiled after Beissner's datings (II, Part II, 681 to 816). For explanation of sigla for hymns and versions see the List of Abbreviations, Appendix B; for sigla of the MSS of "Patmos" see II, Part II, 764. Semicola separate parallel projects. d Compiled after Beissner, II, Part II, 416-539, 548-621, 632-667. For sigla see List of Abbreviations, Appendix B. Semicola used as for Late Hymns. • Numbers refer to the ordering of the letters in VI, Part I (Briefe, ed. Adolf Beck). ' For this period no chronological correspondence between poems and letters can be indicated. Letters are three to nine months ahead of poems. g Summer, 1800. h Against Häussermann's entry, "Anfang Januar" (Selbstzeugnisse, p. 162), I follow the dating by Lothar Kempter: "Mittwoch abends, den 14. Januar 1801, sandte Hölderlin den Seinen von Konstanz aus den letzten Brief, bevor er die Schweizergrenze überschritt" (Hölderlin in Hauptwil [St. Gallen: Tschudy-Verlag, 1946], p. 36). Cf Letter No. 226 (VI, Part I, 411), and Beck in VI, Part II, 1055-1056. 1 Kempter, Hölderlin in Hauptwil, pp. 49-50. 1 Kempter (ibid., pp. 60-61) suggests April 13. k Litzmann, pp. 599-600. Cf. Böhm: "Das Datum seiner Abreise wird durch den Reisepass, den die Polizei in Bordeaux am 6. Mai ausstellte, und das Strassburger Visum vom 6. Juni begrenzt" (Hölderlin [Halle a. d. Saale, Max Niemeyer Verlag, 19281930], II, 650). 1 Letter of Isaak von Sinclair to Hölderlin, 30 June 1802: "Am 22ten dieses Monats ist die G. gestorben an den Röthein, am loten Tage ihrer Krankheit" (Hellingrath, VI, 343; Zinkernagel, V, 539).

APPENDIX A

427

TABLE I—Continued m

Hölderlin, Patmos: Dem Landgrafen von Homburg überreichte Handschrift, ed. Werner Kirchner (Schriften der Friedrich Hölderlin Gesellschaft, No. 1; Tübingen, J. C. B. Mohr [Paul Siebeck], 1949), p. 6 and n. 3. n "Wie lange er sich in Regensburg aufhielt, wissen wir nicht, sondern nur, dass sein Reisepass bis zum 28. Oktober 1802 reichte und dass Sinclair am 29. Oktober abreiste" (Kirchner, p. 8 and n. 10). ° Homburg G 2 r -6 v . I assume this MS to be identical with the 'Vorlage' to P j referred to by Kirchner: "Die Darmstädter Patmoshandschrift [the fair copy, also known as the 'Widmungsexemplar'] weicht nur wenig von der sorgfältigen Reinschrift (Stadtarchiv Bad Homburg) ab, die Hölderlin sich oifenbar als Vorlage angefertigt, später aber von neuem überarbeitet hatte" (p. 5). Since Beissner gives no specific dates for the MSS preceding P 1; the datings tentatively assigned here are my own. p Kirchner, p. 5. « Summer, Fall, 1803.

428

APPENDIX A

TABLE II Terminology of "über den Unterschied der Dichtarten"

Structure" Nature

Bedeutung Grundstimmung Grundton Nachdruk Ausdruk eigentlicher Ton

Reference*

266,2f. 266, 9 266, 14 267, 1 266, 19 267,9

Art

Schein Kunstkarakter Richtung Ausführung uneigentlicher Ton metaphorischer Ton Sprache Styl

266, 2 266,26 267, 3 267, 6 266, 26 267, 10 271,4 270, 16

Mind

Auflösung Verweilen Haltung vereiniget vermittelt Geist

266, 20 267, 2 267, 2 267, 24 267, 24 267,24

Other Terms Anlage Wirkung Stimmung

267, 16 271, 8 267, 14

429

APPENDIX A

TABLE II—Continued Tone" "n." naiv Gefühl sinnlich innig Erhebung . . . . 1 Reinheit J Präzision 1 Ruhe | Bildlichk't.... J wunderbar Verknüpfung .. Empfindung .. intensiv

Ref. 266, 3 266,3 266, 9f. 266, 28 , , ,„ 266 29 ' 267, 8 266, 15 266, 13 270, 19 272,7

"h." heroisch . . . Bestrebung . gehaltreich .. Dissonanz... pathetisch .1 aorgisch . . / Energie .. 1 Bewegung . > Leben J energisch Moderation . Leidenschaft. stoffreich

Ref.

"id."

266, 5 266, 5 266, 23 266, 16 /0/

'

3

267, 7 267, 18 267, 12 270, 19 272, 7

idealisch .. . , Anschauung . Lebendiges .. Bild Organisat'n 1 Ganzheit . . . J Wirklichk't .1 Heiterkeit .. } Anmuth . . . J Einigkeit Trennung Phantasie geistreich . . .

Ref. 266, 7 266, 7f. 266, 17 266, 18 267

'

16

266, 12 267, 34 268, 5 270, 20 272, 8

"an . . . weniger zu verlieren . . . " (266, 25) Innigkeit . . .

266, 25

Leben

266, 27

* As the material of the entire essay is contained in Volume IV, Part I of the Grosse Stuttgarter Ausgabe, only page and line references are given. b The generic terms 'Nature', 'Art', and 'Mind' have been devised for purposes of the present table only. 'Nature' was justified by the term 'eigentlicher Ton'; 'Art' by' Kunstkarakter'; 'Mind' by 'Geist'. c

The abbreviations 'n', 'h.', and 'id.' stand for Hölderlin's terms 'naiv', 'heroisch', and 'idealisch', respectively. Cf. the fragment "Wechsel der Töne" (IV, Part 1,238-240), with the three terms and their abbreviations.

430

APPENDIX A

TABLE III Transition matrix for gnomic compounds in "Der Archipelagic" vs. 35 36 46 52 53

Compound allverklärende Wunderthätige gewittertrunkenen Hochherschreitend siegreich

1

2

3

V Ba N C Bc N C Ab M C Aa A c Ac A

4

5

6

7

8 9

10

11 12

a A bm b a J me b a N me m A P b e V b e >

1 1 1 1 1

1 1 2 2 2

23 c 23 X 123 c 22- c 2 X

11 11 12 12 12

N > e a J e a N me a N me e 9 » N A b c N me a » me a me » 5 P m

m b b e m m e e e m

2 2 2 2 3 4 4 4 4 5

3 3 3 4 5 6 6 6 6 6

132 _ c 32 c X 23 X 23 32 22- - c 22- c c 23 c 32 - 3 -

e m e b meb mee e m b m mee mee mee m m

23 23 23 24 35 46 46 46 46 56

V Aa c Cb c Bc c Aa

M N N A

P N me b a J me m a A bm e P V me e

6 6 6 6

_ _ 7 23 7 133 - 7 22- - 7 22- - c

meb mem bme mee

67 67 67 67

c

mee

68

c

X

X

-

b m mee

79 79

c

_ mee

136 140 143 150

einsamharrenden verlorengeachtete hoffnungsmüden fernherglänzend

167 weitumirrenden

c Aa M a N me e

6 8 23

181 Sichergegründet 183 immerrege

c Ab Pr A » V Ac N a P

m b me e

7 9 7 9

3222-

193 199 204 206 212

c c c V c

me b me me me

7 7 8 8 8

2222222233

-

8 11 32-

-

Cc Cb Bc Aa Bb

M A M A M

a V P c P

N A N a N

e e e b e

10 10 10 10 10

238 allgegenwärtig

V Ac A V a

me m

251 252 253 255 260

c c c

Aa N a » Aa A A a Ab N a V V Aa M a N c Ab V P P

me b e me b

e e b me bm

8 8 8 8 8

c

b

b

9 13 22-

291 furchtlosrege

-

bmb meb mem b'e b'e

A N M M A A M N A A

zusammengesunken c stürmischbewegte c fernhinsinnende c V erderschütternden städteverwüstend c Heilweissagend c langsam wandelnd c todverachtenden c furchtbargesammelt c V irrlächelnd

fernherwandelnde Stilleweilend göttlichgebornen immerlebender Stillvereint

-

14

Ab Cc Aa Ba Ba Ba Aa Ba Ab Aa

64 69 72 84 95 108 110 116 120 126

heiligkühner Frohversammelt göttergleichen immertrauernd blüthenumdufteter

X -

13

Cc A N a

12 12 12 12 12

23 2232 23 21

-

c

b e mee meb mee

710 710 810 810 810

-

mem

811 812 812 812 812 812 913

-

c

c

X

X

-

_

X

X

X

X

X

X

c

c c

mee b e e b meme bbm

c

c

b'b

APPENDIX A

431

TABLE III—Continued Column 1 2 3 4 5 6 7 8 9 10

11 12 13 14

Explanation Compound begins with vowel (V), voiced consonant or liquid ( Q , any other consonant (C). Morphologically, compound represents one of the eight combinations listed as definition in Chapter IV, Section D. Syntactically, compound functions as: noun (N), adverb (A), adjective in modifying position (M), adjective in predicative position (Pr), or predicate verb (V). Compound is immediately preceded by: definite article (a), adverb (A), conjunction (c), noun (N), preposition (p), pronoun (P), verb (V), comma, or semicolon. Compound is immediately followed by: adverb (A), definite article (a), noun (N), preposition (p), pronoun (P), verb (V), or comma. Position of compound in line: at the beginning (b), middle (m), end (e), between beginning and middle (bm), or between middle and end (me). Position of compound in sentence. Symbols as for Column 6. Position of compound in stanza, in order of occurrence. Position of compound in group, in order of occurrence. Metrical pattern: compound consists of any combination, occurring as listed, of the following elements: single syllable (1), spondee (2), and dactyl (3). A hyphen following a numeral 2 means that the spondee it seems to stand for is actually an incomplete dactyl, completed in the first syllable of the word immediately following the compound. Gnomic compound is preceded within the space of three lines by another gnomic compound (x), by a non-gnomic compound, as a compound noun (e.g., 'Tagesbeginn', vs. 110) (c), by no compound whatever (—). Gnomic compound is followed within the space of three lines by elements as listed for Column 11. Columns 6 and 7 taken as a single event. Columns 8 and 9 taken as a single event.

432

APPENDIX A

TABLE IV An event symbol equivalent of Table III 1 2

3

4

5

6

7

8

9

10 11 12 13 14

allverklärende Wunderthätige gewittertrunkenen Hochherschreitend siegreich

A B B C B

A B C D E

A A B C C

A A A B C

A B C D E

A B B C C

A A B C C

A A A A A

A A B B B

A A B C D

A B A A B

A B B B B

A B C D D

A A B B B

64 69 72 84 86 95

zusammengesunken stürmischbewegte fernhinsinnende erderschütternden vielgebietende städteverwüstend

C C C A C C

C F D A D A

C A B B B C

D A A A C C

B B C C C B

D D B B B D

B A A C A B

B B B B C C

C C C D D E

E F A A A F

C A B C C C

C A B B B B

E F B G B E

C C C D E F

108 110 116 120 126

Heilweissagend langsamwandelnd todverachtenden furcht bargesammelt irrlächelnd

C B C C A

A D A C D

C B A C C

D E A C F

A C B F D

C B B B E

B C C C B

D D D D E

F F F F F

C C A F G

C A A C C

C C B B B

H G G G I

G G G G H

136 140 143 150

einsamharrenden verlorengeachtete hoffnungsmüden fernherglänzend

A C C C

D G B D

B A A C

G A A H

C B A E

B B A B

A B C C

F F F F

G G G G

A H C C

C C C C

B B B C

B C J G

I I I I

vs.

Compound

35 36 46 52 53

167 weitumirrenden 181 Sichergegründet 183 immerrege

B D B A C B C F H A C C G J B C D B B C B G I F A A H K A E A A G B C G I C B B G K

193 199 204 206 212

C c B A B

heiligkühner Frohversammelt göttergleichen immertrauernd blüthenumdufteter

F G B D H

B C B C B

A I H E G

C A C F C

B C B B B

C C C A C

G G H H H

J J J J J

C C C C I

A C A B C

B C A B C

G D G B G

L L M M M

238 allgegenwärtig

A E C J

F B B H K F C B C N

251 252 253 255 260

C C B A C

B F E C D

fernherwandelnde Stilleweilend göttlichgebornen immerlebender Stillvereint

291 furchtlosrege Key: See Key to Table III.

D D C D C

A C A B E

A B A A H

B C D B C

C C A D E

H H H H H

C F C D F C A I

L L L L L

A C F A J

C B B B A

A A A C C

G D F K L

O O O o o

M C A C M p

433

APPENDIX A TABLE V A segmentation equivalent of Table IV vs.

Compound

1 2 3 4

5 6 7

8 9

10 11 12 13 14

35 36 46 52 53

allverklärende Wunderthätige gewittertrunkenen Hochherschreitend siegreich

A B B C B

A B C D E

A A B C C

A A A B C

A B C D E

A B B C C

A A B C C

A A A A A

A A B B B

A A B C D

A B A A B

A B B B B

A B C D D

A A B B B

64 69 72 84 86 95

zusammengesunken stürmischbewegte fernhinsinnende erderschütternden vielgebietende städteverwüstend

A A A B A A

A B C D C D

A B C C C A

A B B B C C

A A B B B A

A A B B B A

A B B C B A

A A A A B B

A A A B B C

A B C C C B

A B C A A A

A B C C C C

A B C D C A

A A A B C D

108 110 116 120 126

Heilweissagend langsamwandelnd todverachtenden furchtbargesammelt irrlächelnd

A B A A C

A B A C B

A B C A A

A B C D E

A B C D E

A B B B C

A B B B A

A A A A B

A A A A A

A A B C D

A B B A A

A A B B B

A B B B C

A A A A B

136 140 143 150

einsamharrenden verlorengeachtete hoifnungsmüden fernherglänzend

A B B B

A B C A

A B B C

A B B C

A B C D

A A B A

A B C C

A A A A

A A A A

A B C C

A A A A

A A A B

A B C D

A A A A

167 weitumirrenden

A A A A A A A A A A A A A A

181 Sichergegründet 183 immerrege

A A A A A A A A A A A A A A B B B B B B B A A B B B B A

193 199 204 206 212

A A B C B

heiligkühner Frohversammelt göttergleichen immertrauernd blüthenumdufteter

A B C D E

A B A B A

A B C D E

A B A C A

A B A A A

A A A B A

A A B B B

A A A A A

A A A A B

A B A C B

A B C A B

A B A C A

A A B B B

238 allgegenwärtig

A A A A A A A A A A A A A A

251 252 253 255 260

A A B C A

fernherwandelnde Stilleweilend göttlichgebornen immerlebender stillvereint

291 furchtlosrege Key: See Key to Table m .

A A B A B

A B A C D

A B A A C

A B C D E

A B C A B

A A B C D

A A A A A

A A A A A

A B C A D

A B B B C

A A A B B

A B C D E

A A A A A

A A A A A A A A A A A A A A

434

APPENDIX A

TABLE VI A numerical equivalent of Table V vs.

Compound

35 36 46 52 53

allverklärende Wunderthätige gewittertrunkenen Hochherschreitend siegreich

64 69 72 84 86 95

zusammengesunken stürmischbewegte fernhinsinnende erderschütternden vielgebietende städteverwüstend

100.000 47.500 73.759

108 110 116 120 126

Heilweissagend langsam wandelnd todverachtenden furchtbargesammelt irrlächelnd

00.000

00.000

00.000

00.000

00.000

100.000 50.000 54.444 64.145

100.000 50.000 75.000 48.413

100.000 75.000 47.222 48.583

100.000 75.000 50.000 34.783

100.000 75.000 50.000 34.783

136 140 143 150

einsamharrenden verlorengeachtete hoffnungsmüden fernherglänzend

00.000

00.000

00.000

00.000

00.000

100.000 58.333 50.000

100.000 75.000 47.222

100.000 58.333 64.167

100.000 58.333 64.167

100.000 75.000 50.000

167 weitumirrenden 181 Sichergegründet 183 immerrege 193 199 204 206 212

heiligkühner Frohversammelt göttergleichen immertrauernd blüthenumdufteter

238 allgegenwärtig 251 252 253 255 260

fernherwandelnde Stilleweilend göttlichgebornen immerlebender Stillvereint

291 furchtlosrege

1

2

00.000

00.000

100.000 58.333 64.167 47.681

100.000 75.000 50.000 34.783

3

4

00.000

00.000

00.000

00.000

00.000

100.000 67.500 49.893

100.000 59.545

100.000 75.000 50.000 34.783

00.000

00.000

00.000

00.000

00.000

00.000

100.000 75.000 50.000 37.013 35.471

100.000 75.000 50.000 47.234 46.545

100.000 58.333 50.000 65.074 47.624

00.000

X

X

5

X

X

00.000 00.000

100.000 60.500 51.616 49.176

X

00.000

00.000

00.000

00.000

00.000

100.000

100.000

100.000

100.000

100.000

00.000

00.000

00.000

00.000

00.000

00.000

100.000 75.000 50.000 34.783

100.000 50.000 54.444 50.000

100.000 75.000 50.000 34.783

100.000 50.000 75.000 48.456

100.000 67.500 48.271

X

00.000

00.000

00.000

00.000

00.000

00.000

00.000

100.000 67.500 48.467

100.000 46.875 60.412

100.000 50.000 75.000 50.152

100.000 50.000 54.444 64.145

100.000 75.000 50.000 34.783

X

X

X

X

X

X

X

X

X

APPENDIX A

435

TABLE VI—Continued 6 00.000

100.000 58.333 64.167 48.497 00.000 00.000

100.000 60.500 51.616 49.176

7

10

00.000

00.000

00.000

00.000

100.000 67.500 49.893

100.000 67.500 49.858

11

12

00.000

00.000

00.000

100.000 58.333 50.000 48.322

100.000 75.000 50.000 38.587

100.000 60.500 51.616 00.000

00.000

00.000

00.000

00.000

00.000

100.000 75.000 50.000 47.234 45.741

100.000 75.000 47.222 48.583 48.970

100.000 75.000 50.000 47.234 49.390

100.000 75.000 50.000 37.013 35.471

100.000

00.000

00.000

00.000

00.000

00.000

00.000

100.000 58.333 50.000 58.391

100.000 100.000 67.500 59.858

100.000 58.333 55.093 52.379

00.000

00.000

00.000

00.000

100.000 75.000 50.000

100.000 75.000 50.000

00.000

00.000

00.000

00.000

00.000

100.000

100.000 46.875 X

00.000 00.000

100.000 58.333 64.167 47.681 49.234

00.000

00.000

14

100.000 50.000 54.444 58.824

100.000 58.333 50.000 65.074 00.000

13

X

X

X

00.000

100.000 60.500 51.616

X

00.000 00.000

59.545 48.751

100.000 58.333 50.000 65.074

100.000

00.000

00.000

100.000 75.000 50.000

00.000 00.000 00.000

00.000 00.000 00.000

X

X

00.000

00.000

00.000

00.000

00.000

00.000

00.000

100.000

100.000

100.000

100.000

100.000

100.000

00.000

00.000

100.000 50.000 54.444 50.000

00.000

00.000

00.000

00.000

00.000

00.000

100.000 47.500

100.000

X

X

00.000

00.000

100.000 75.000 47.222 47.639 X

00.000

100.000 67.500 49.858 X

00.000

X

00.000

00.000

00.000

00.000

100.000 50.000 75.000 48.413

100.000 75.000 47.222 47.639

100.000 50.000 75.000 48.456

100.000 60.500 51.616

X

00.000

00.000

100.000 75.000 47.222 51.330

100.000 58.333 50.000 65.074

X

X

X 00.000 00.000 00.000

100.000 59.886 X

00.000

X

X

00.000

00.000

100.000 75.000 50.000 34.783

00.000

X

00.000 00.000 00.000 X

Key: See Key to Table III. Numerical informedness values entered after Coons and Kraehenbuehl, Table XI (Journal of Music Theory, II, 152-161).

436

APPENDIX A

TABLE VII Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

vir

VIII

IX

R

In

No

Ra

Re

Ch

a: v

a: w

a: x

a:y

a: z

No

Ra

Re

Ch

In

b: v

b: w

b: x

b:y

b: z

Ra

Re

Ch

In

No

c: v

c: w

c: x

c:y

c: z

Re

Ch

In

No

Ra

d: v

d: w

d: x

d:y

d:z

Ch

In

No

Ra

Re

e: v

e: w

e: x

e:y

e: z

Key: Modulus: Logical tension / Distance in words Constructs (occurring once only) VI, a: Begrabe VII, b: Erliege Vin, c: Sich begrabe IX, d: schelt' R, e: schelt'

Events (common to Texts VI-R) v ihr Gericht w sein Haus x den Trümmern y Ungleiches z der Wilde (R: der Schwärmer)

437

APPENDIX A TABLE VII— Continued Lattice L (logic)

Lattice M (distance) V

w

X

y

z

a

11

5

2

9

12

21

b

11

5

2

9

12

12

22

c

11

5

3

10

13

3

13

23

d

14

8

5

12

15

5

15

25

e

13

8

8

17

20

V

w

X

y

z

a

9

19

4

14

24

b

6

16

1

11

c

7

17

2

d

8

18

e

10

20

438

APPENDIX A

TABLE VIII Concept chart of fourth order for "Der Rheiti", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

No

Ra

Re

Ch

In

a: v

a: w

a: x

a:y

a: z

Ra

Re

Ch

In

No

b:v

b :w

b :x

b:y

b: z

Re

Ch

In

No

Ra

c :v

c: w

c: x

c:y

c: z

Ch

In

No

Ra

Re

d: v

d: w

d: x

d:y

d :z

In

No

Ra

Re

Ch

e: v

e: w

e: x

e:y

e: z

Key: See Key to Table VII.

APPENDIX A

TABLE IX Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

Ra

Re

Ch

In

No

a :v

a: w

a :x

a :y

a: z

Re

Ch

In

No

Ra

b:v

b:w

b :x

b:y

b:z

VII Ch

In

No

Ra

Re

c: v

c:w

c:x

c:y

c :z

In

No

Ra

Re

Ch

d:v

d :w

d :x

d:y

d :z

No

Ra

Re

Ch

In

e: v

e:w

e :x

e :y

e :z

VIII

IX

R

Key: See Key to Table VII.

440

APPENDIX A TABLE X

Concept chart of fourth order for "Der Rhein". verses 114-120, variant readings and text Text Re

Ch

In

No

Ra

a: v

a: w

a: x

a:y

a: z

No

Ra

Re

VI

Ch

In

VII b: v

b: w

b: x

b: y

b: z

In

No

Ra

Re

Ch

c: v

c: w

c: x

c:y

c: z

No

Ra

Re

Ch

In

d: v

d: w

d: x

d: y

d: z

Ra

Re

Ch

In

No

e: v

e: w

e: x

e:y

e: z

VIII

IX

R

K e y : Sey K e y t o Table VII.

APPENDIX A

TABLE XI Concept chart of fourth order of "Der Rhein", verses 114-120, variant readings and text Text Ch

In

VI

VII

VIII

IX

R

No

Ra

Re

a: v

a: w

a: x

a:y

a: z

In

No

Ra

Re

Ch

b: v

b: w

b: x

b:y

b: z

No

Ra

Re

Ch

In

c: v

c: w

c :x

c:y

c: z

Ra

Re

Ch

In

No

d: v

d: w

d: x

d: y

d: z

Re

Ch

In

No

Ra

e: v

e: w

e: x

e:y

e: z

Key: See Key to Table VII.

442

APPENDIX A

TABLE XII Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text In

Ra

Me

St

Ma

a :v

a :w

a :x

a :y

a :z

Ra

Me

St

Ma

In

b:v

b :w

b :x

b:y

b:z

VI

VII Me

St

Ma

In

Ra

c :v

c :w

c :x

c :y

c :z

St

Ma

In

Ra

Me

d:v

d:w

d :x

d:y

d :z

In

Ra

Me

St

e :w

e :x

e:y

e :z

VIII

IX Ma R

e :v

Key: Modulus: Enjambement Constructs VI, a: Liebstes / Begrabe VII, b: Kind / Erliege Vni, c: Kind/Sich IX, d: Liebstes / Wie R, e: Liebste /Wie Events (R, vss. 105-113) v eigner / Unsterblichkeit w bedürfen / Die x Menschen / Und y weil I Die z Nahmen / Theilnehmend

Value CVC/CV 5 VCC/CVC 2 VCC/CVC 2 CVC/CV: 6 CCV/CV: 3 Value CVC/CVC 4 CVC/CV: 6 CVC/CVC 4 VVC/CV: ~ 1

cvc/cvv 7

APPENDIX A

TABLE XIII Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text In

Re

a :v

Me

St

Ma

a :w

a: x

a:y

a: z

Re

Me

St

Ma

In

b: v

b:w

b: x

b:y

b :z

St

Ma

In

Re

c: v

c: w

c: x

c :y

c: z

St

Ma

In

Re

Me

d:w

d: x

dry

d: z

VI

VII Me VIII

IX d :V Ma

In

Re

Me

St

e: v

e:w

e: x

e:y

e :z

R

Key: See Key to Table XII.

444

APPENDIX A

TABLE XIV Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

In

Re

Me

St

En

a :v

a: w

a: x

a:y

a: z

Re

Me

St

En

In

b: v

b: w

b: x

b: y

b: z

Me

St

En

In

c: v

c: w

c: x

c :y

c: z

St

En

In

Re

Me

d: T

d: w

d: x

d:y

d: z

En

In

Re

Me

St

e: v

e: w

e: x

e:y

e: z

Key: See Key to Table XII. Missing Tables between XIV and XV: (a) In, Re, Ch, St, En; (b) No, Re, Me, St, En.

Re

APPENDIX A

TABLE XV Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

No

Re

Ch

St

En

a

a: w

a: x

a:y

a: z

Re

Ch

St

En

No

b: v

b:w

b: x

b:y

b :z

Ch

St

En

No

Re

c: v

c: w

c :x

c: y

c: z

St

En

No

Re

Ch

d:v

d:w

d :x

d:y

d:z

En

No

Re

Ch

St

e: v

e: w

e: x

e:y

e: z

VIII

IX

R

Key: See Key to Table XII.

446

APPENDIX A

TABLE XVI Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

No

Re

Ch

Er

En

a :v

a :w

a :x

a:y

a: z

Re

Ch

Er

En

No

b: v

b: w

b :x

b: y

b: z

Ch

Er

En

No

Re

c: v

c :w

c :x

c:y

c: z

Er

En

No

Re

Ch

d:v

d:w

d:x

d:y

d:z

En

No

Re

Ch

Er

e: v

e: w

e: x

e:y

e: z

Key: See Key to Table XII.

APPENDIX A

TABLE XVII Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text

Text

VI

VII

VIII

IX

R

In

Ra

Me

St

Ma

a:v

a:w

a :x

a:y

a :z

Ra

Me

St

Ma

In

b: v

b: w

b:x

b:y

b: z

Me

St

Ma

In

Ra

c: v

c:w

c :x

c: y

c:z

St

Ma

In

Ra

Me

d: v

d:w

d:x

d:y

d:z

Ma

In

Ra

Me

St

e:v

e:w

e :x

e:y

e :z

Modulus: Syllabic Density Relationships and Semantics Constructs

VI, a: unbarmherzig sein Liebstes / Begrabe (10 syll.) VII, b: Vater und Kind / Erliege (7 syll.) Vm, c: Vater und Kind / Sich begrabe (8 syll.) IX, d: den sein Liebstes / Wie den Feind schelt' und Sich begrabe (13 syll.) R, e: das Liebste / Wie den Feind schelt' und sich Vater und Kind / Begrabe (16 syll.)

448

APPENDIX A

TABLE XVII—Continued Events (R, vss. 105-113) v Bs haben . . . / . . . die Götter genug (8 syll.) w und bedürfen / Die Himmlischen eines Dings (11 syll.) X So sinds Heroen und Menschen (8 syll.) y Denn weil / Die Seeligsten nichts fühlen (9 syll.) z Musz wohl, . . . / . . . / Theilnehmend fühlen ein Andrer (10 syll.)

449

APPENDIX A

TABLE XVIII Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

In

Re

Me

St

Ma

a :T

a: w

a :x

a:y

a :z

Re

Me

St

Ma

In

b:v

b: w

b:x

b:y

b: z

Me

St

Ma

In

Re

c: v

c: w

c: x

c:y

c: z

St

Ma

In

Re

Me

d: v

d :w

d :x

d:y

d: z

Ma

In

Re

Me

St

e: v

e:w

e: x

e:y

e :z

Key: See Key to Table XVII.

450

APPENDIX A

TABLE XIX Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

In

Re

Me

St

En

a :v

a :w

a :x

a: y

a: z

Re

Me

St

En

In

b:v

b: w

b: x

b:y

b: z

Me

St

En

In

Re

c: v

c :w

c: x

c:y

c: z

St

En

In

Re

Me

d: v

d:w

d: x

d:y

d:z

En

In

Re

Me

St

e: y

e:w

e: x

e: y

e :z

Key: See Key to Table XVII.

APPENDIX A

TABLE XX Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text No

Re

Ch

St

En

a: v

a :w

a :x

a:y

a: z

Re

Ch

St

En

No

b :v

b :w

b: x

b:y

b :z

Ch

St

En

No

Re

c: y

c: w

c: x

c :y

c: z

St

En

No

Re

Ch

d: v

d :w

d :x

dry

d :z

En

No

Re

Ch

St

e :v

e: w

e: x

e :y

e :z

VI

VII

VIII

IX

R

Key: See Key to Table XVII.

452

APPENDIX A

TABLE XXI Concept chart of fourth order for "Der Rhein", verses 114-120, variant readings and text Text

VI

VII

VIII

IX

R

No

Re

Ch

Er

En

a: v

a :w

a: x

a: y

a :z

Re

Ch

Er

En

No

b: v

b: w

b: x

b: y

b: z

Ch

Er

En

No

Re

c :v

c:w

c: x

c :y

c: z

Er

En

No

Re

Ch

d: v

d:w

d: x

d:y

d :z

En

No

Re

Ch

Er

e:?

e: w

e: x

e :y

e: z

Key: See Key to Table XVIL

453

APPENDIX A TABLE XXII Concept chart of sixth order for "Der Rhein", verses variant readings and text

114-120,

In

Text No

Re

Me

Er

Ma

En

a: v

a: w

a: x

a :y

a :z

Er

Ma

En

In

IV a :t No

a :u Re

Me

V

VI

VII

VIII

IX

R

b: t

b: u

b: v

b: w

b: x

b:y

b :z

Re

Me

Er

Ma

En

In

No

c: t

c :u

c: v

c : i»

c: x

c :y

c :z

En

In

No

Re

d: w

d: x

d:y

d :z

In

No

Re

Me

Me

Er

Ma

d: t

d :u

d: v

Er

Ma

En

e :t

e :u

e: v

e: w

e :x

e :y

e :z

Ma

En

In

No

Re

Me

Er

f :t

f :u

f: v

f: w

f :x

f:y

f :z

En

In

No

Re

Me

Er

Ma

g: u

g: v

g :w

g:x

g:y

g :z

g:t

Key: Modulus: Phoneme pairs or clusters bearing final stress Constructs Value (occurring only once) IV, a: der Sterblichen 8 V, b: wer 8 VI, c: unbarmherzig 8 V n , d: Vater und Kind / Erliege 4 V m , e: Vater und Kind / Sich begrabe 1 IX, f: den sein Liebstes / Wie den Feind schelt' 9 R, g: der Schwärmer 8

454

APPENDIX A

TABLE XXII— Continued Events (common to all texts) t: Gericht u: sein eigenes Haus v: zerbreche (Zerbrech') w: wie sie x:seyn y: Ungleiches z: (er)dulden

3 11 2 6 7 5 10

455

APPENDIX A

TABLE XXIII Concept chart of sixth order for "Der Rhein", verses 114-120, variant readings and text Text Re

Me

St

a: t

a: u

a: v

St

Er

b: t

b:u

St

Er

In

No

Ra

a:w

a :x

a: y

a :z

In

No

Ra

Re

b: v

b: w

b :x

b:y

b :z

Er

In

No

Ra

Re

Me

c: t

c :u

c:v

c: w

c: x

c: y

c: z

Er

In

No

Ra

Re

Me

St

d :t

d: u

d: v

d: w

d :x

d:y

d :z

In

No

Ra

Re

Me

St

Er

e :t

e:u

e:v

e: w

e:x

e:y

e: z

No

Ra

Re

Me

St

Er

In

=t

f: u

f: v

f: w

f :x

f:y

f: z

Ra

Re

Me

St

Er

In

No

g:t

g:u

g: v

g: w

g:x

g:y

g:z

IV

Me

V

VI

VII

VIII

IX f

R

Key: See Key to Table XXII.

456

APPENDIX A TABLE XXIV Concept chart of sixth order for "Der Rhein", verses variant readings and text

114-120,

Text

IV

V

VI

VII

VIII

IX

R

St

Er

En

In

Re

Me

Ch

a:t

a :u

a :v

a: w

a :x

a:y

a : z,

Er

En

In

Re

Me

Ch

St

b :t

b:u

b:v

b:w

b:x

b:y

b: z

En

In

Re

Me

Ch

St

Er

c it

c: u

c: v

c: w

c: x

c: y

c: z

In

Re

Me

Ch

St

Er

En

d:t

d: u

d:v

d: w

d:x

d:y

d:z

Re

Me

Ch

St

Er

En

In

e: t

e: u

e: v

e: w

e:x

e: y

e :z

Me

Ch

St

Er

En

In

Re

f: t

f: u

f: v

f: w

f: x

f:y

f :z

Ch

St

Er

En

In

Re

Me

g:u

g:v

g: w

g:x

g:y

g:z

g:t

Key: See Key to Table XXII.

457

APPENDIX A TABLE X X V

Concept chart of sixth order for "Der Rhein", verses 114-120, variant readings and text Text En

In

Ra

Re

St

Er

Ma

a: t

a: u

a: v

a :w

a: x

a:y

a: z

In

Ra

Re

St

Er

Ma

En

b: t

b :u

b: v

b: w

b: x

b:y

b :z

Ra

Re

St

Er

Ma

En

In

c: t

c :u

c: v

c: w

c : x

c:y

c: z

Re

St

Er

Ma

En

In

Ra

d:t

d: u

d: v

d: w

d: x

dry

d: z

St

Er

En

In

Ra

Re

e :t

e: u

e: v

e: w

e: x

e :y

e: z

Er

Ma

En

In

Ra

Re

St

f :t

f: u

f: v

f: w

f :x

f:y

f :z

En

In

Ra

Re

St

Er

g:u

g: v

g: w

g :x

g:y

g:z

IV

v

VI

VII

VIII

IX

R

Ma g:t

Key: See Key to Table XXII.

Ma

458

APPENDIX A

TABLE XXVI Enjambement configurations for Chapters III and IV Configuration WC / VVC / V:C/ 'V : C / VCC / CCV / CVC / CVC / CVC / CVC / CVC /

CV: CVC CVC CVC CVC CV: CV CV' CV: CVV 'CV:

Scale, Ch. III 1

2 3 4 5 6 7

Scale, Ch. IV

1 2 3 4

5

Composite Scale 1 2 3 4 5 6 7 8 9 10 11

Notes: Highest number indicates strongest enjambement; lowest number, weakest. V = nonsyllabic vowel, the second vowel of a diphthong (after Moulton, The Sounds of English and German, p. 24).

459

APPENDIX A

TABLE XXVII Groupings by major ( 6 + 6 + 3 ) verse pattern within the single stanza in "Der Rhein" (4)»

(1) (2) (3)

(6)

1-3; 16-21; 32-37;

4-9; 22-28; 38-41;

9-15. 29-31. 41^15.

3 + 6+6 6+ 6+3 6+3 + 6

7 +6 7

45-46; 61-63; 76-80;

46-53; 64-69; 81-82;

54-60. 69-75. 83-89.

3 + 6+6 3 + 6+6 6+3 + 6

+3 +6 5

90-95; 105-107; 121-122;

96-101; 108-114; 123-129;

101-104. 114-120. 130-134.

6+ 6+ 3 3+ 6+ 6 3 + 6+6

8 7 4

135-138; 150-152; 166-169;

139-141; 153-158; 170-176;

142-149. 159-165. 176-179.

6+3 + 6 3 + 6+ 6 3 + 6 + 6 or 6+ 6+ 3

7,

+4

180-183;

184-190;

190-194.

6, +6,

6 +3

195-197; 210-212;

198-203; 212-218;

204-209. 218-221.

3 + 6 + 6 or 6+ 6+ 3 3+ 6+ 6 3 + 6+ 3

1 (15) 2 (16) 3 (14)

3, 6, 6,

II 4 (15) 5 (15) 6 (14)

2, 3, 5,

+6, 6, 2,

III 7 (15) 8 (16) 9 (14)

6, 3, 2,

6, 7, 7,

IV 10 (15) 11 (16) 12 (14)

4, 3, 4,

3, 6, 6+ ,

V 13 (15)

4,

14 (15) 15 (12)

3, 3,

I

(5)

6, + 6 7, 3 3+ , 5

Note:

* A plus sign preceding or following a pattern number in Column 4 indicates that the passage in question begins with a portion of the previous verse or ends with a portion of the verse following. Key for Columns: 1 Triad 2 Stanza 3 Number of verses in stanza 4 Pattern for given stanza 5 The pattern of column 4. by verse references 6 Pattern model for given stanza

460

APPENDIX A

TABLE XXVIII Groupings by minor ( 2 + 2 + 1 ) and indeterminate (xy) verse patterns within the single stanza in "Der Rhein" 5

(4)»

(1) (2) (3) 1 (15) 2 (16) 3 (14)

M (See Table XXVII) 2 , 2 , 1 + ; + 2 , 2 , 1; 2 , 2 , 1 2, 2, 2; 2 , 2 ; 2, 2 , 1

16-21; 32-37;

21-26; 38-41;

27-31. 41^5.

II 4 (15) 5 (15) 6 (14)

xy (neither M nor m) 1, 2, 2; 2, 2, 1; + 2 , 2, + 1 2, 2, 1; 2, 2, 1 + ; 2, 1, 1

61-65; 76-80;

66-70; 81-86;

70-75; 86-89;

121-125;

126-129;

130-134;

I

III 7 (15) 8 (16) 9 (14)

M xy 2 , 2 , 1 ; 2 , 2 ; 2, 2 , 1

IV 10 (15) 11 (16) 12 (14)

2, 2, 1; 2, 2, 1; 2 + , 2 + , 1 M xy

135-139;

140-144;

145-149;

V 13 (15) 14 (15) 15 (12)

2 , 2 , 1 ; 1,2, + 2 + ; 2 , 1 , 2 M xy

180-184;

185-190;

190-194;

Note: * For Stanzas 3 and 5 see also Table XXVII. Stanza 3 is genuinely indeterminate because it is of both patterns, while in Stanza 5 the M (3 + 6+6) pattern dominates. Key for Columns: 1 Triad 2 Stanza 3 Number of verses in stanza 4 Pattern for given stanza 5 The pattern of column 4. by verse references

APPENDIX A

461

TABLE XXIX Stress diagram of properties on the level of the single verse in "Der Rhein", showing 'I'-design Triad II

III

IV

Stanza 1

2

3

4

5

6

7

8

9

10

11

12

—I—_ — i^** Key: I = Verse with initial word two or more syllables long M = Verse composed largely or wholly of monosyllables R s Retard-stop verse

13

14 15

APPENDIX A

462

TABLE XXX Stress diagram of properties on the level of the single verse in "Der Rhein", showing, 'M'-design Triad III

II

IV

Stanza 1

2

3

4

5

.

/M

6

R

i

iM I 'm 'r

7

8

9

10

M»

I

11

12

I

I

A I• V

V

. 1

M

Key: I = Verse with initial word two or more syllables long M = Verse composed largely or wholly of monosyllables R = Retard-stop verse

13

14

R I

15

APPENDIX A

463

TABLE XXXI Stress diagram of properties on the level of the single verse in "Der Rhein", showing 'R'-design Triad III

II

IV

Stanza 1

2

3

4

5

.

M

.

\

R

/ \

M

i /

\

6

/ W R ^

'

s M

. .

I M M

I I M

M

M

I

8

9

10

11

12

.

. I

M .

I . M

I

I I

.

.

//

7

13

. / i l / .

^

MR

.

M

.

M

V

M

M I

. I .

M I M I

.

V

15

:

M

•A

/ : V/ f'-y .

. I

14

.

.

1r

.

R

.

m

Jr.

M . M

M

i . .

MM. / 1. R RI

. IM I

Key: I = Verse with initial word two or more syllables long M = Verse composed largely or whoily of monosyllables R = Retard-stop'verse

464

APPENDIX A

TABLE XXXII Stress diagram of gnomes in "Der Rhein", showing k A'-design Triad II

III Stanza

Key: A H P a

= = = =

Abstract gnome Historical gnome Personal gnome Development of given gnome

IV

465

APPENDIX A

TABLE XXXIII Stress diagram of gnomes in "Der Rheinshowing Triad II

III Stanza

Key: A H P a

= = = =

Abstract gnome Historical gnome Personal gnome Development of given gnome

IV

'H'-design

466

APPENDIX A

TABLE XXXIV Stress diagram of gnomes in "Der Rhein", showing 'P'-design Triad II

III Stanza

Key: A H P a

= = = =

Abstract gnome Historical gnome Personal gnome Development of given gnome

IV

467

APPENDIX A TABLE XXXV Inventory of word-syllable patterns in "Der Rhein"" Triads I and II Stanza 1 1

12211,112 12,2,1132, 113,4 1214, 5 1115, 11131 122,12 2123 123;11 10 2123 12,111 11122 123,12 412 15 121123.

Stanza 2 16

20

25

30

Stanza 4 46

1215.1 121113.1 112,112, 111211, 50 111,122 212, 112,1 143. 1212, 55 1112 121,1121 213,1 131,111, 11132 60 23,12?

12,112, 12132 1231, 112211, 11225 3,2,1 1321 1132 12,121111 11212, 113,113, 312,1 131111, 121,121 11212, 1212

Stanza 3 32 35

40

45

Stanza 5 61

65

70

75

111211. 111,132, 1412; 11122 11112,12, 1231, 14,11 11133 132,2 211211 11111111 13,111 121,111,11 122,1141 12111512.

1211312, 151, 1321,12112, 12113, 11121,141 131142. 141 12112. 132 14.11211 111111,1 122,121 11,1112,2? 11423.

Stanza 6 76

80

85

1112212 13212, 14,22 132,1 112,12,212. 12211 1223, 111,111, 21123, 31122 31121 123,11111 1211221 12,112.

Triads III and IV Stanza 7 90

95

12,221. 121122, 1121122 1112,23 12212 112212. 111,12 142 121221?

Stanza 8 105

110

12212 4122,13 1321, 11312 131.11 131211 11,1212 21,1122 3212,

Stanza 9 121

125

111,21 152, 1114 11124 2123 11121 1111112 111211 143.

468

APPENDIX A

TABLE XXXV—Continued Stanza 8

Stanza 7 12131 100 12132 313,11 1323 32 1121123.

121;212 115 1,1131 31112 111111211 3212, 12,11,1111 120 32,12 Stanza 11

Stanza 10 135 3111 121112, 11121 13113. 12,1,2,1, 140 512 151, 131 12212, 121,11132 145 112,22 13112131 312,211 14121 142,11112?

150 12121,112 3,1311 2,132. 1411 11131, 155 1112,1 11132 11122, 111123; 111112, 160 1131, 11111, 1211 1312211, 1312, 165 31,1412

Stanza 9 130 111,5, 12,112, 13,122 14,2 1,112,12.

Stanza 12 166 121,1321 31122 3,21 1315, 170 1,1122 111123, 2121 1242 14,12 175 12221, 1111131, 12,21 122, 1321112.—

Triad V Stanza 13 180 1212212, 12131, 14 12212. 113212, 185 12212, 132 1,112,11 12,11212 411132 190 113,214 1412 121212, 2131 41111.

Stanza 14 195

131 113,3 312. 1321 122 ; 111' 1 200 12111 131123, 112112. 111211. 11112 205 12,2211. 12221 121113, 11123, 12212.

Stanza 15 210 11122222 12122 11,121132 12,111,112, 121,1211 215 31212 12,1 13141 4221 11,122 220 1313 33.

• Each number represents a word in the hymn, while the quantity of each number stands for the number of syllables the given word contains.

APPENDIX A

TABLE XXXVI Matrix of gnomic compounds and important adverbial and adjectival forms in "Der Rhein" 1

2

3

4

5

6

7

8

9

5 göttlichgebaute 20 übereinander

gn av

C

c c

c c

e e

bm bm

bm bm

5 5

S 11

33 36 38 45

gn av aj aj

c

c 7 c

c

bm me m m

bm me m e

bm bm bm me

5 4 4 4

7 12 6 11

vs.

Compound

freigeborenen ungeduldig unverständig unerfahrne

?

7

? ?

?

7

c

C

C

? C

c

me m

e e

b m

5 4

10 8

?

c c

?

c c c

bm me me

bm me e

m e e

4 4 5

7 12 14

?

46 Reinentsprungenes 53 Neugebornen

gn gn

C

67 Unbedachten 74 Bezauberte 75 zusammensinkend

aj aj gn

c c

78 unenthaltsam 85 Stillwandelnd

av gn

c

c c

c

?

bm b

m m

bm me

4 3

9 9

102 verachtend 113 Theilnehmend

av gn

c c

c

c c

e b

me bm

me m

3 3

8

112 wohlbeschiedenes 130 seeligbescheiden 133 unbezwungen

gn gn av

7

c c c

bm e bm

bm bm me

bm me me

5 5

8 8

140 141 148 149

av gn aj aj

b m bm bm

bm bm me e

bm m me e

4 4

13

b bm bm

m me me

bm me me

3 3 4

7 8

e b e bm m

me m me me bm

bm me me me bm

4 4

Unüberwindlich starkausdauernde Achtungslosen entweihenden

151 Allliebend 164 sorglosarm 174 othemarme

gn gn gn

182 189 190 191 199

aj aj aj aj av

ausgeglichen Unschädlicher Unversöhnten umgewandelt allzeit

7

c c 7

c ? ?

7

c c

c c c c

?

c

c

C

c

?

c ?

c ?

c c

7

7

7

?

?

? ?

c c c c

c c

7 7

7

c

9

4

7

5 5

8 7

4

4 2

9

9

5 12 12 8

9

470

APPENDIX A

TABLE XXXVI—Continued vs.

Compound

217 217 220 221

fieberhaft angekettet ordnungslos Uralte

1

2

aj aj aj aj

C ?

?

1

3

4 ?

1 1 c

5

1 c 1 c

6

7

8

bm me bm e

me me e e

me me e e

Key: Column 1 2

3 4 5 6 7 8 9

Explanation Identity (gn = gnomic compound; av = adverb; aj = adjective) Initial phoneme: C = voiced stop, liquid, nasal, semivowel C = voiceless stop, fricative, spirant ? = glottal stop Initial phoneme of word immediately preceding Initial phoneme of word immediately following Position of form in verse Position of form in sentence Position of form in stanza Number of syllables in form Number of syllables in verse

9 3 4 3 3

APPENDIX A

471

TABLE XXXVII A segmentation equivalent of Table XXXVI vs.

Compound

1

2

3

4

5

6

7

8

9

5 göttlichgebaute 20 übereinander

A B

A B

A B

A B

A A

A A

A A

A A

A B

33 36 38 45

A B A A

A B B B

A B A A

A B B A

A B C C

A B C D

A A A B

A B B B

A B C D

46 Reinentsprungenes 53 Neugebornen

A A

A A

A B

A B

A B

A A

A B

A B

A B

67 Unbedachten 74 Bezauberte 75 zusammensinkend

A A B

B B C

A A B

A A B

B B B

B B C

B B B

A A B

B B C

78 unenthaltsam 85 Stillwandelnd

A B

A B

A B

A B

A B

A A

A B

A B

A A

102 verachtend 113 Theilnehmend

A B

A A

A B

A A

A B

A B

A B

A A

A B

122 wohlbeschiedenes 130 seeligbescheiden 133 unbezwungen

A A B

A A B

A A A

A B B

A B A

A A B

A B B

A A B

A A B

140 141 148 149

A B C C

A B A A

A A A A

A A A B

A B C C

A A B C

A B C D

A A B B

A B C D

151 Allliebend 164 sorglosarm 174 othemarme

A A A

A B A

A B A

A B A

A B B

A B B

A B B

A A B

A B C

182 189 190 191

A A A A

A A A A

A B C C

A B B A

A B A C

A B A A

A B B B

A A A A

A B B C

199 allzeit

B

A

C

B

D

C

A

B

D

217 217 220 221

A A A A

A B -B B

A A A B

A B A C

A B A C

A A B B

A A B B

A B A A

A A B C

freigeborenen ungeduldig unverständig unerfahrne

unüberwindlich starkausdauernde Achtungslosen entweihenden

ausgeglichen Unschädlicher Unversöhnten umgewandelt

fieberhaft angekettet ordnungslos Uralte

Key: See Key to Table XXXVL

472

APPENDIX A TABLE XXXVIII A stress pattern equivalent of Table XXXVII,

Triad 1 II III IV V

Segment

vss.

1 2 3 4 5 6 7 8 9 10 11

5-20 33-45 46-53 67-75 78-85 102-113 122-133 140-149 151-174 182-199 217-221

1

2

3

o o. o . .^O . Ji i° ' o « ^ ^ ^ Or" . O o

showing

4

.

'O'-design

5

6

7

.

.

.

o .

.

.

.

8

9

8/9

/ O o r . O o o < • ^ ¿ ^ o

•

""""" . - O — ^ o . OTo o • • . ^O O o o

. .

o o

.

.

Key: For explanation of Columns 1-8/9 see Key to Table XXXVI. O = Complete confirmation between two or more segments of high articulation (after Coons and Kraehenbuehl, Journal of Music Theory, II, 127-161, and Table XI) o = Complete confirmation between two or more segments of low articulation

473

APPBNDIX A TABLE XXXIX A stress pattern equivalent of Table XXXVII, showing Triad I II III IV V

Segment 1 2 3 4 5 6 7 8 9 10 11

vss. 5-20 33-45 46-53 67-75 78-85 102-113 122-133 140-149 151-174 182-199 217-221

1

V-design 7

8

9

8/9

O o,

.

O o O' o o

Key: For explanation of Columns 1-8/9 see Key to Table XXXVI. O = Complete confirmation between two or more segments of high articulation (after Coons and Kraehenbuehl, Journal of Music Theory, II, 127-161, and Table XI) o = Complete confirmation between two or more segments of low articulation

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60 60 60 60 60

60 60 60 Ph VI CO VI CO CO —CU CO CO CO Q O Z Q Q Q Z C Z O

u 5E 60 3 3 •3 n J} T3 — n c "3 w• c2 « : : •O : R R ht> 5 < o 1 3 J< O U s cd S-O < -a T3 > (S j- 9S «o OS vo ON m ON r ON -cs ii 55 S

5-a

I I I I I I & i i i a 1i

c c a

m rrt Tt «

r- r- oo

55

I I 1 c

B B

u ~

® 8 -S -S 8 D « -a r~ o -H a\ © H N o N

>

j J? Q z

W-l OS rq a c

(J o* >

Z2 sz s 6 0 6 0 6 0 6 0 60 CO CO co co CO Z Q "v a E

s E

z
2

d : Wj St

Er

Ma e

e: «2

e-.un En

No Er

En e : v2

Me Er

/ : «2

St Re

f-n

e : Wj Er

Ma In

f:v2

e: w2

/ : wj

En / : W2

594

APPENDIX A TABLE No

Me

a: x , Me

a:

St

x2

St

b : X} St

CI—Continued

b : x2 Er

a:yi

Er

Ma

En

a:y2

a:zx

a: z 2

En

No

Er

Ma

b:yi

b : y2 En

Ma

Ra c : xj Er

b:z1 No

Ma

Me

Ra

Ch

c:ya

c-.yi

c:z!

c : z2

Ma

En

No

Me

St

d : x2 En

No

d\yx

d : y2

No

Me

Re e:x!

e:

En

No

x2

f : x2

d: z x

e :yi

e:y2

Me

St

f:yi

f-y2

Er Ra

e\zx

e : z2

Er

Ma No f : z2

f'.'i

Key: Modulus: Juncture.

3 3 4 7-8 8 9

Events A LT A2, Ax> A2, AJ, A2, A„ A2, A„ A2, A1} A»

(variants)

U!: Menschen + Sinn u 2 : Weltsinn + sich Vj: fodert + die v 2 : listet + die Wj: Allentzweiende + Hasz w 2 : Ungestalte + die Xj: sind + wir x 2 : gehn + / + Wir yi: faszt + die y 2 : mahnt + die Zj: Lüfte + / + Fliegt z 2 : duftet + / + Golden Constructs

1 2 5

vs. 9 9 11 11 14 14 28 28 30 30 35 35

(constants)

a: waltet + ein b: vermag + ich c: Einsame + ziehe

Ma d: z.

St No

Ma

5i.

Ch

c : x2

Ma d : X!

b : z2

4 8 19

APPENDIX A TABLE CI—Continued d: Lethetranks / Mit e: Wünschen / und f: Saitenspiel, + / + und

22 27 34

Ul

u2

Vi

v2

Wi

w2

a

0.50

0.67

0.40

0.56

2.00

4.00

b

0.37

0.50

0.30

0.42

1.50

3.00

c

0.62

0.83

0.50

0.70

2,50

5.00

d

1.88

2.50

1.50

2.14

7.50

15.00

e

1.12

1.50

0.90

1.30

4.50

9.00

f

1.75

2.33

0.75

2.00

2.70

14.00

y2

Zl

z2

x2 a

0.40

0.33

0.36

0.40

0.25

0.31

b

0.30

0.25

0.27

0.33

0.19

0.23

c

0.50

1.25

0.45

0.50

0.31

0.38

d

1.50

1.25

1.36

1.50

0.94

1.14

e-

0.90

0.75

0.82

0.90

0.56

0.69

f

1.40

1.17

1.18

1.40

0.88

1.07

.18-.30

.31—.38

.40-.56

.62-.75

.82-94

1-5

6-10

11-15

16-20

21-25

Me

Ch

Ra

Re

No

3.0-4.5

5.0-7.5

9.0-15.0

1.07-1.50 1.75-2.25 26-32

33-38

39-41

42-44

45-47

Ma

Er

St

In

En

596

APPENDIX A

TABLE CII Concept chart of second order for "Der Abschied", three versions Text H2

Ai

a2

a

b

c-

In

No

Re

a: x

a:y

a: z

No

Re

In

b:x

b:y

b:z

Re

In

No

c: x

c:y

c: z

Key: See Key to Table CVII.

TABLE CIII Conapt chart of second order for "Der Abschied", three versions Text H2

Ai

a2

Key: See Key to Table CVII.

a

c

b

In

Re

No

a :x

a :y

a: z

Re

No

In

b:x

b:y

b :z

No

In

Re

c :x

c:y

c: z

APPENDIX A

TABLE CIV Concept chart of second order for "Der Abschied", three versions Text

b

c

a

No

Re

In

a: x

a:y

a: z

Re

In

No

b:x

b: y

b: z

In

No

Re

c:y

c: z

H2

Ax

a

2

c: x Key: See Key to Table CVII.

TABLE CV Concept chart of second order for "Der Abschied", three versions Text

c

b

a

Re

No

In

a: x

a:y

a: z

No

In

Re

b: x

b:y

In

Re

No

c:y

c: z

H*

Ax

A*

Key: See Key to Table CVII.

c: x

b:z

598

APPENDIX A

TABLE CVI Concept chart of second order for "Der Abschied", three versions Text

c

a

b

Re

In

No

a: x

a:y

a: z

In

No

Re

b: x

b: y

b: z

No

Re

In

c :x

c: y

c :z

H*

AX

A2

Key: See Key to Table CVII. TABLE CVII Concept chart of second order for "Der Abschiedthree Text

b

a

c

No

In

Re

a :x

a: y

a :z

In

Re

No

H2

A,

A2

b:x Re

No

c: x

c:y

Key: Events (constants)

vs.

x: waltet + ein y: übt + er z: Abschied + sei

4 10 20

Constructs (variants) H-, a: führet + der A t , b: ruhig + Gespräch A 2, c: umher + ein Modulus: See Table CI.

b'.y

29 29 29

b: z In c: z

versions

599

APPENDIX A

TABLE CVIII Fifty semantic correlations between "Der blinde Sänger" and "Chiron"

Construct

a : Licht b: Herz c: allein d : tödtend e: Tag a : Licht b: Herz

c: allein d : tödtend e: Tag a : Licht b : Herz c: allein

d : Tödtend e: Tag a : Licht b : Herz c: allein d : tödtend

Event

Rank Argument Order Form

Wj: vi: xx: x2: zt: Xj: v2: x2: z2: Vi: w2: v2: y2:

leuchteten Dämmerung Stimme Wagen Quell Stimme Kräutern Wagen Irrstern Dämmerung Thymian Kräutern Stachel

1 2 3 4 5 6 7 8 9 10 11 12 13

AAA-1 AOO-3 AII-3 EIO-2 AAA-1 AII-3 AII-3 AAA-1 EAE-1 AII-3 AAA-1 AAA-1 AII-1

z :

i x2: yi = y2: z2: w2: zt: z2: z,: yi = v2: vi:

Quell Wagen höre Stachel Irrstern Thymian Quell Irrstern Quell höre Kräutern Dämmerung

14 15 16 17 18 19 20 21 22 23 24 25

AOO-2 AOO-2 EIO-2 AII-3 EIO-2

v2: yi = xx: v2: y2: yi-

Kräutern höre Stimme Kräutern Stachel höre Stimme Dämmerung Thymian leuchteten Stachel leuchteten

26 27 28 29 30 31 32 33 34 35 36 37

Vi: w2: wx: y2: wj:

AII-3 AOO-2 AOO-2 EAE-1 EIO-2

Quarter

600

APPENDIX A

TABLE CVIII—Continued Construct

e: Tag a: Licht b: Herz c: allein d: tödtend e: Tag

Event

vi: Dämmerung yi= höre x 2 : Wagen x 2 : Wagen y 2 : Stachel Wj: leuchteten z 2 : Irrstern w 2 : Thymian z 2 : Irrstern z,: Quell w 2 : Thymian *i = Stimme w x : leuchteten

Key: See Key following Table CX.

Rank Order 38 39 40 41 42 43 44 45 46 47 48 49 50

Argument Form AII-3 AOO-2 AEE-4 EIO-2 IEE-2 AOO-2 EAE-2 IEE-2 EAE-1 AEE-2 AEE-4 EIO-2 AEE-2

Quarter

APPENDIX A

601

TABLE CIX Concept chart of fourth order for "Der blinde Sänger" and "Chiron" In

No

Ra

Re

a : Vj

a : v2

a : wx

a : w2

No

Ra

Re

b : Vi

b: v2

b: Wi

Ra

Re

St

c : V!

c : v2

c : wx

c : w2

c : Xj

Re

St

In

No

Ra

d : Tj

d : v2

d : w2

d : xx

St

In

Ra

Re

e : w2

e:x,

Ra

Re

St

a:y2

a : z1

a : x2

Me

Me

Ra

e : vj

e : v2

In

No

a : x2

a:y1

d: No e:

St

St

a: In

b : w2 In

b : Xx No

No

Ra

Re

St

In

b : x2

b ' Yi

b:y2

b : Zx

b : x2

Ra

Re

St

In

No

c : x2

c:yx

c:y2

c : Zj

c : z2

Re

St

In

No

Ra

d : z2

d:yi

d : y2

d: z i

d : z2

St

In

No

Ra

Re

e :yi

e : y2

e : zx

e: r 2

Er

Ma e : x2 Key: See Key to Table CX.

APPENDIX A TABLE CX

Concept chart of fourth order for "Der blinde Sänger" and "Chiron" In

Re

St

No

Ra

a : V!

a : v2

a : wx

a : w2

a : X!

St

In

No

Ra

Re

b : Ti

b : v2

b : Wj

b : w2

b: xt

In

No

Ra

Re

St

c : vx

c : v2

c : wx

c : w2

c:x!

No

Ra

Re

d:v,

d : v2

Ra

Re

In

St

d: St

d : w2

d : xx

In

No Er

e: wt

e: Xi

No

Ra

e : Vi

e : v2

Re

St

In

a : x2

a:yx

a:y2

a\zx

St

In

No

Ra

Re

b: xt

b:yt

b:yt

b: Zi

b : z2

Re

St

In

No Ra

e : W[

Ra No

a: z2

c : xt

c:yi

c:y2

c:zx

c : z2

No

Ra

Re

St

In

d : x2

d:yi

d:y2

d : Zj

d : z2

Ra

Re

St

In

No

In e : Xj

e:yx

e:y2

St

e: Zi

e : z2

603

APPENDIX A TABLE

CX—Continued

Key: Modulus: Logic. Vi.

Events (variants)

St.

(harrt') (folgt')

5 5

Q , w t : leuchteten c 2 , w 2 : Thymian /

(sonst) (gab)

13 13

Cx, Xj: Stimme c » x 2 : Wagen

(oft) (oft)

25 25

2

c„ C2,

4 7

V]: Dämmerung v 2 : Kräutern

10

C„ C2,

y j : höre y 2 : Stachel

(wohin?) (aber)

37 37

12

C„ c„

zx: Quell z 2 : Irrstern

(goldner) (örtlich)

45 45

Constructs 1 3 5 8 11

a: b: c: d: e:

(constants) 2 11 19 30 41

Licht Herz allein tödtend Tag v2

w,

w2

Xl 1.387

a

0.67

4.00

0.09

1.00

b

5.50

4.00

21.50

17.00

0.21

c

1.78

18.6

5.83

7.50

1.00

d

1.52

0.28

2.17

2.81

5.60

e

0.275

0.783

1.78

0.665

3.062

x2

yi

y2

Zl

z2

a

1.73

0.87

1.20

0.51

0.48

b

0.28

0.71

0.50

0.406

1.29

c

2.50

0.89

2.00

0.19

1.77

d

1.60

3.86

2.42

3.13

1.20

e

2.50

9.75

7.50

5.00

2.25

APPENDIX A

TABLE CX—Continued .009-.28

406-.51

.665-.89

1.0-1.52

1.6-2.0

6-9

10-15

16-20

21-26

Ch

Ra

1-5 Me 2.17-2.81

3.062-4.0

No

Re

5.0-5.83

7.5-9.75

17.00-21.5

27-31

32-35

36-39

40-41

42-43

Ma

Er

St

In

En

TABLE CXI Concept chart of fifth order for "Der gefesselte Strom" and "Ganymed" In

No

Ra

Re

Ch

Ma

a : ut

a : u2

a : V!

a : v2

a: Wj

a : w2

Re

Ch

Ma

In

b : wx

b : w2

No

Ra Er

St

b: u1

b: «2

b:v!

b : v2

Ra

Re

Ch

Ma

Me c : Ui

No

In

Er

Er

c : u2

c : Vj

c : v2

c : >•>!

c: w2

Ch

Ma

In

No

Ra

d: «1

d : u2

d:Vl

d : v2

d : wx

d : w2

Ch

Ma

In

No

Ra

Re St

Ma

Ch

e: u1

e : u2

Ma

In Er

fiu,

/ : «2

Re St

St

e : Vj

e: v2

e: Wi

e: w2

No

Ra

Re

Ch

f:v2

f:Wl

f : w2

f:v1

Ch

605

APPENDIX A TABLE CXI—Continued In

No

Ra

Re

Ch

Ma

a : y-i

a : Zj

a : z2

Er a : X»

a:

a:y1

No

Ra

Re

Ch

Ma

In

b:Xl

b : x2

b:yt

b : y2

b : ii

b : z2

Ra

Re

Ch

Ma

In

No

Me

c : Xj

c : x2

c:yi

Re

Ch

Ma

c:y2 In St

Ra c : zl

c : z2

No

Ra

Ma

d:Xl

d : x2

d:y1

d : y2

d : Xl

d : z2

Ch

Ma

In

No

Ra

Re

e : Xj

e : x2

e:yi

e :y2

e : z-i

e : z2

Ma

In

No

Ra

Re

Ch

Ra

No

Re f'.x

In

Er f : x2

f:yi

f:Zl

f:y2

/:

Key: Modulus: Partly rewrite-type and partly pinpoint-type revision. (For variants, metrical correspondence has been observed or not, as indicated [ + , —.) St.

Events (variants)

vs. 2 2

1

G„ G2,

UI: kalten u 2 : kahlen ^ ^

2

GI, G2,

v x : wachende v 2 : gewanderter

3

GI, Wi: Schoose . . G 2 , w 2 : oben

4

GI, G2,

Schallenden x 2 : Schauenden ^

16 16

5

GI, G2,

y t : Herold y 2 : Stromgeist

19 19

6

G„ G2,

Zj: nirgend z 2 : Irr gieng ^ '

23 23

.

8 8 10 10

606

APPENDIX A

TABLE 1 2 3 4 5 6

Constructs (constants) a: schläfst b: trift ereilt d: spottet e: hört f: kommt / kömmt

CXI—Continued

(+) (-) (+) (+) (+) (+)

1 7 12 13 18 21

u,

u2

Vl

v2

Wi

w2

a

1.00

1.20

0.60

0.54

1.50

1.50

b

0.83

1.00

0.50

0.45

1.25

1.25

c

0.50

0.60

0.30

0.27

0.75

0.75

d

1.00

1.20

0.60

0.54

1.50

1.50

e

0.67

0.80

0.40

0.36

1.00

1.00

f

0.67

0.80

0.40

0.36

1.00

1.00

x2

yi

y2

Zl

Zi

a

0.75

0.85

1.00

0.67

0.85

1.20

b

0.62

0.71

0.83

0.55

0.71

1.00

c

0.37

0.43

0.50

0.33

0.43

0.60

d

0.75

0.85

1.00

0.67

0.85

1.20

e

0.50

0.57

0.67

0.44

0.57

0.80

f

0.50

0.57

0.67

0.44

0.57

0.80

607

APPENDIX A TABLE CXII Summary of sentence lengths by number of lines for two nine-stanza

elegies

"Menons Klagen um Diotima" (1) I

II

III

(4)

(3)

(2) 1 2 3

8, 2, 4. 6, 1, 3, 4. 1,1,4,2,4,2,+

3 4 6

4 5 6

+ 4 J , 5 j , 2, 2. 2, 10. 2, 7, 5.

4 2 3

7 8 9

6, 2, 4. 6, 2, 6, 2, 2, 2, i

3 3 7

l ì , 2, 12.

(5)

(6)

13

14 14 14

9

14 12 14

13

12 14 22

H = 2.0651 bits/symbol H r = 0.655 R = 34.5% "Brod und Wein" (4)

(3)

(1)

(2)

I

1 2 3

2, 4, 4, 2, 6. 2, 4, 6, 6. 3, l i , l i , 4, 2, 6.

5 4 6

4 5 6

2, 2, 2, 1, 1, 2, 6, 2. 4, 4, 8, 2. 2, 2, 4, 1, 3, 1, 1, 2, 2.

8 4 9

7 8 9

i3, 1l3) i ? 5 i3» J tt 1 Ü 3» 2» 12, 2, 4. 6, 2, 4, 2, 2, 2.

II

III

2

9 3 6

(5)

(6)

15

18 18 18

21

18 18 18 16

18

18

H = 2.4926 bits/symbol H r = 0.79 R = 21.0% Key: (1) (2) (3) (4) (5) (6)

Triad Stanza Numeral: sentence; value: no. verses Sentence totals per stanza Sentence totals per triad Verse totals per stanza

608

APPENDIX A

TABLE CXIII Summary of sentence lengths by number of lines for two six-stanza elegies "Stutgard" (1)

(2)

I

1 2 3

b I i 4, 2, 2, 2, 6. 2, 2, 2, 2, 2, 2, 2, 4. 4, 2, 2, 2, 2, 6.

7 8 6

4 5 6

4, i 2, 2, 2, 6. 2, 2, 2, 1, 1, 4, 6,+ + 6, 4, 2, 2, 2, 2.

7 7 6

II

(3)

(4)

(5)

(6)

21

18 18 18

20

18 18 18

H = 1.9624 bits/symbol H r = 0.773 R = 22.7% "Heimkunft"" (1) I

II

(2)

(3)

1 2 3

2, 2, 4, 2, 2, 2, 4, 2, 2, 14. 8, 4, 2, 2, 2.

4" 5°

2, 3, 8, ¿AI 31, 4|, + 2, 4,

6d

5. ? — 1— 2 — — H+, 2, 2, 2, 2, 2, 2.

(4) 7 3 5

(5)

(6)

15

18 18 18

4 12 8

18 18 24

18

H = 2.5381 bits/symbol H r = 1.000 R = 0.0% Key: See Key to Table CXII. Notes: a Cf. Bach, "Patterns of Syntax...", pp. 72-87. " Ibid.; pp. 75f.: 2,16. c Ibid., pp. 76-77: i, 3, 2 , . . . d Ibid., pp. 77f.: 6, 4,4, 2, 2.

APPENDIX A

TABLE CXIV Diagram of word repetition within the distich for "Brod und Wein" Triad

I

II

St.

1 2 3

4

W

3 4 5 6 7

w w W

8 9

5 6

w

1

2

III

7 8 9

W

W W

W

w

w W w w

w

W

w

W W

W W W

610

APPENDIX A

TABLE CXV Word-syllable inventory for

"Heimkunft"

Triad I Stanza 1 1 11121121112, 32112131. 2 22211132, 112221211. 3 2111152, 112,11,2131 4 212,11111132, 1412122. 5 1114111112 2,12,1123,2. 6 22111512 2,1111111211. 7 11211112212 2,22,2122. 8 22,11,12,212 4,112131, 9 222,1152 21111,23,11.

Stanza 2 1 2221323, 112112131. 2 1122121212 3111322. 3 211211312, 1412122, 4 212,11,11,1,212 213121211 5 51121212 21211,32,11, 6 321,1,23,2 1131322, 7 11122,1412 2132212, 8 121121,1212, 112,112122, 9 22,11,1511 11312131.

Stanza 3 1 2111,1,1132 22,1121211; 2 211,1114,21 4112311; 3 2111,11421, 21312131, 4 4!1132111, 113121211. 5 111131132 2121121211 6 11121111132 1311111211. 7 111211232, 112221211. 8 222113221, 11222131. 9 222,1611 112,11322.

Triad II Stanza 4 1 21 ¡131,1212, 112,112,311. 2 1211,111,15 112113211, 3 12131,42! 21321211, 4 241152, 1,1121,1,1131 5 11122111411, 11222131. 6 12,122,1212, 22,1112,131; 7 23111,42! 3,123211, 8 11311112212, 112,1132,11 9 112212212, 112112311.

Stanza 5 1 1311.1211,12! 112,11511! 2 21111 ¡12111111, 112111212,11. 3 1 ¡1211 ¡1311,12 11211,2122. 4 212,11,12132 22,112122. 5 211.1112.1212 112112131 6 21211,11412 1111112,12!2. 7 211212212 2311,2131 8 2122,1223 13113211 9 2211122.111, 141 !212!11,

Stanza 6 1 212,1 ¡112212, 222,2131! 2 2!3 ¡214,21 221121211 3 22,11,13212, 11211,241. 4 11211,1112111 11211,2,11111? 5 11122742111, 112,113211. 6 2211 ;1232, 22112122? 7 21312212, 1323,211. 8 131111312 14,12131. 9 2,12,1,121,112 21211,2131.

APPENDIX A

611

TABLE CXVI Matrix of gnomic compounds and related forms for "Heimkunft" vs.

Form

2 gähnende 5 freudigschauernde 8 bacchantischer 9 unendlicher 11 Gewittervogel 16 Wasserquellen 16 Stürzenden 17 untermeszliche 18 versendend 24 ätherische 27 Wohlgediegenes 31 Schöpferische 35 gegenwärtiger

10

11

12

13

14

e

28

14

8

3

V

bm me me bm 26

13

7

23

c 1

c c

me bm bm me 29 bm bm m bm 28

13 14

7 10

13 13

c

c

c

bm me e

bm 28

15

8 122

c c

c c

c c

m e

bm 27 b e me me bm 27

13 13

7 7

22 3

? c

V c

bm me bm me 28 me me me me 28

15 13

7 9

23 12

c

?

V

me b

bm bm 27

13

7

13

Nn c

c

c

b

bm bm 29

15

8

23

1

2

3

4

5

6

7

8

M

d

Nn C

c

V

e

me e

gn

d

Nn C

c

Av cj Av V

V c Av c

Nn d

cj

Nn / Nn d

V

M V

d Nn V Nn » c

Nn d gn

/

V

b

9

Nn d

»

c

c

V

bm me b

me 28

15

9

22

M

Nn c

c

c

bm me bm me 27

14

8

23

40 Ungebeten Av / 43 Landesleute Nn / 53 vorübereilende M d

pn !

c c

1 c

c V

m b

bm bm 27 me me 27

13 14

7 8

22 22

Nn c

c

V

bm me bm bm 28

15

7 123

55 Geburtsland 57 wellenumrauschten 59 glükseeliges 61 hinauszugehn 61 vielversprechende 63 verwegene 67 geweihete 68 Heimzugehn

Nn d

V

c

c

c

bm bm bm bm 27

14

9

12

gn M

pr

/ c Np c

c c

c c

me bm 27 m e bm me me me 27

14 14

9 7

32 13

V

Av pr

c

c

bm bm bm bm 28

15

6 121

gn M M V

d d

Nn V Nn V Nn V V '

c c c c

V V V c

bm bm bm m

28 29 27 27

15 16 14 13

6 11 7 7

23 13 13 21

pn d pn

c c ?

c c c

me me m me 27 bm me bm bm 29 me bm me bm 27

13 16 13

8 10 8

32 22 13

cj

»

/

74 Langegelerntes gn V 83 Feiertagen Nn d 90 Erhaltenden Nn

c

c c c

b b

me me me b

me me me b

bm bm bm bm

612

APPENDIX A

TABLE CXVI—Continued vs. Form 93 Menschlichgutes 96 geheiliget 99 Unschikliches 103 Saitenspiel 106 befriediget

1

2

3

4

5

6

7

8

9

10

11

12

13

14

gn Nn » Pa Av V

c c

c c

C bm me bm bm 28 C e e e e 28

15 13

7 8

22 13

Nn 7 V Nn pn V Pa Av »

V c c

9 c c

C C C

16 14 13

bm m b bm 29 bm bm bm bm 27 me bm e me 27

Key: Column 1 2 3

4 5 6 7 8 9 10 11 12 13 14

Explanation Part of Speech (notation following 3.) Element immediately preceding (notation following 3.) Element immediately following: Np = proper noun Av = adverb Pa = Predicate adjective cj = conjunction pn = pronoun d = definite article pr = particle M = modifying V = verb gn = gnomic compound / = line break Nn = noun punctuation marks Final phoneme in word preceding form Initial phoneme Final phoneme Position in distich Position in line Position in clause Position in sentence Number of syllables in distich Number of syllables in line Number of words in line Metre: 3 13 23 122 22 12 123 32 121 21

10 13 8 21 7 13

APPENDIX A

613

TABLE CXVII A segmentation equivalent of Table CXVI Form

1

2

3

4

5

6

7

8

9

10

11

12

13

14

2 5 8 9 11 16 16 17 18

gähnende freudigschauernde bacchantischer unendlicher Gewittervogel Wasserquellen Stürzenden unermeszliche versendend

A B C C D D E A F

A A B C A D A A E

A A B C D E B A E

A A B A B B B C B

A B A C A A B C B

A A B B B B B A C

A B C B B D A B C

A A B B A C A A A

A B C D A A B C B

A B C B B B B C C

A B C A A D D A A

A B B A C B B C B

A B B C A B B B D

A B C C D E A B F

24 27 31 35

ätherische Wohlgediegenes Schöpferische gegenwärtiger

A B A C

A B A C

A B C B

A B A B

A B C B

A B A C

A B C C

A A B B

A A B A

A A B B

A B C A

A B B C

A B C B

A B C B

40 Ungebeten 43 Landesleute 53 vorübereilende

A A A A A A A A A A B A B A B B B A B B C B C B C B C B A A

A A B

A B C

A B A

A A B

55 57 59 61 61 63 67 68

A B C D B C C D

A A B A A A A A

A A A B B C A A

A A A B B C A D

A A B C C D B B

A B C D E C C F

A A A A A A A A A A B B B B B B B A B B C C A A C B A B C B

A B A

A B A

A B A

A B C

A A B C C

A B C D B

A B C B A

A B B C B

vs.

Geburtsland wellenumrauschten glükseeliges hinauszugehn vielversprechende verwegene geweihete Heimzugehn

74 Langegelerntes 83 Feiertagen 90 Erhaltenden 93 96 99 103 106

Menschlichgutes geheiliget Unschikliches Saitenspiel befriediget

A B C D B

A B C D A A C E

A B C D B

A B C D E E E F

A B B B A

A B B A C C C C

A A B C C

A A A B B B A B

A A B A A

A B A B C C C B

A A A B A

A B A A A A A B

A B A A C

A B C A C C C D

A B C D D

A B B A B B B C

A B C A B

A B A A C

APPENDIX A

•614

TABLE CXVIII Historiography in "Der Rhein", "Patmos", and "Mnemosyne'"* St.

1 ~2~

Speciesb

Genus b

Family6

"Der Rhein" 1 2

3 4 5 6 7 8 9 10 11 12 13 14 15

a b a b a b a b a b a b a b a b a b a b a b a b a b a b a b

Geographical Imaginative Zoological Demidivine Congenial Chronic Mnemonic Orphic Demidivine (Epic) Geophysical Olympian Active Mnemonic Emotive Passive Chtonic Emotive Odyssean Demidivine (Tragic) Reactive Chronic Botanical Geophysical Congenial Olympian Emotive Mnemonic Congenial (Epic) Olympian Astrophysical

Tellurian Intellectual Biological Heroic Heroic Gnomic Gnomic Mythical Heroic Tellurian Mythical Political Gnomic Intellectual Political Mythical Intellectual Heroic Heroic Political Gnomic Biological Tellurian Heroic Mythical Intellectual Gnomic Heroic Mythical Cosmic

Natural Human Natural Human Human Metaphysical Metaphysical Metaphysical Human Natural Metaphysical Human Metaphysical Human Human Metaphysical Human Human Human Human Metaphysical Natural Natural Human Metaphysical Human Metaphysical Human Metaphysical Natural

"Patmos" 1 2 3

a b a b a b

Imaginative Geometric Prophetic Emotive Geographical Olympian

Intellectual Tellurian Gnomic Intellectual Tellurian Mythical

Human Natural Metaphysical Human Natural Metaphysical

615

APPENDIX A

TABLE CXVIII—Continued St.

1 ~T

Genus b

Speciesb

Family b

"Patmos" 4 5 6 7 8 9 10 11 12 13 14 15

a b a b a b a b a b a b a b a b a b a b a b a b

vss. 13 48 812 1217 1822 2224

Heroic Political Tellurian Sacred Sacred Gnomic Intellectual Heroic Sacred Political Heroic Mythical Sacred Sacred Biological Tellurian Intellectual Mythical Sacred Intellectual Political Heroic Mythical Political

Odyssean Passive Geographical Apostolic Apostolic Mnemonic Emotive Congenial Hermetic Reactive Odyssean Chthonic Apostolic Apocalyptic Botanical Geophysical Imaginative Indie Apostolic Philosophical Active Demidivine (Epic) Chthonic Active

Human Human Natural Metaphysical Metaphysical Metaphysical Human Human Metaphysical Human Human Metaphysical Metaphysical Metaphysical Natural Natural Human Metaphysical Metaphysical Human Human Human Metaphysical Human

"Mnemosyne" a b a b a b a b a b a b

Zoological (Human) Philosophical Olympian Geophysical Chronic Active Chthonic Prophetic Geometric Passive Passive Congenial (Lyric)

Biological Intellectual Mythical Tellurian Gnomic Political Mythical Gnomic Tellurian Political Political Heroic

Natural Human Metaphysical Natural Metaphysical Human Metaphysical Metaphysical Natural Human Human Human

616

APPENDIX A

TABLE CXVIII—Concluded St.

1 2

Species

Family*

"Mnemosyne"

vss. 2529 2934 3539 3942 4247 4751 5256 5762 6265 6568

Genus b

a b a b a b a b a b a b a b a b a b a b

Odyssean Geographic Apostolic Imaginative Botanical Orphic Demidivine Active Geophysical Mnemonic Chronic Reactive Demidivine (Epic) Geographical Geometric Congenial (Epic) Olympian Chthonic Odyssean Mnemonic

Heroic Tellurian Sacred Intellectual Biological Mythical Heroic Political Tellurian Gnomic Gnomic Political Heroic Tellurian Tellurian Heroic Mythical Mythical Heroic Gnomic

Human Natural Metaphysical Human Natural Metaphysical Human Human Natural Metaphysical Metaphysical Human Human Natural Natural Human Metaphysical Metaphysical Human Metaphysical

Notes: • For explanations of the categories of history see above, pages 363-365. On this taxonomy see above, page 363.

b

APPENDIX B LIST OF ABBREVIATIONS

An

A, a2

Arch BW Q c2

Di d2 D,

Db

Ei e2 e3

El F Ge

Gi g2

HGJ HS HU Hk I Mx

m2 m3 m3 m4

dME MKD

Pi P2 P3 P4 Q R St

V,

=

= = = =

= = = = = =

= =

= = = -

= =

= = = = = = = = = =

= =

= = =

= =

1. POEMS "Andenken" (II, Part I, 188-189) "Der Abschied, Erste Fassung" (II, Part I, 24-25) "Der Abschied, Zweite Fassung" (II, Part I, 26-27) (II, Part I, 103-112) "Der Archipelagus" (II, Part I, 90-95) "Brod und Wein" (II, Part I, 54-55) "Der blinde Sänger" (II, Part I, 56-57) "Chiron" (I, Part I, 212-215) "Diotima, Bruchstücke einer älteren Fassung" "Diotima, Mittlere Fassung" (I, Part I, 216-219) (I, Part I, 220-222) "Diotima, Jüngere Fassung" (II, Part I, 46-48) "Dichterberuf" "Der Einzige, Erste Fassung" (II, Part I, 153-156) "Der Einzige, Zweite Fassung" (II, Part I, 157-160) "Der Einzige, Dritte Fassung" (II, Part I, 161-164) (II, Part I, 71-74) "Elegie" "Friedensfeier" (III, 531-538) "Germanien" (H, Part I, 149-152) (II, Part I, 67) "Der gefesselte Strom" (II, Part I, 68) "Ganymed" "Hymne an den Genius der Jugend" (I, Part I, 168-171) (I, Part I, 152-156) "Hymne an die Schönheit, Zweite Fassung" (I, Part I, 116-119) "Hymne an die Unsterblichkeit" "Heimkunft" (II, Part I, 96-99) "Der Ister" (II, Part I, 190-192) (II, Part I, 193-194) "Mnemosyne, Erste Fassung" "Mnemosyne, Zweite Fassung" (II, Part I, 195-196) "Mnemosyne, Dritte Fassung" (II, Part I, 197-198) (above, pages 281-282) "Mnemosyne, Third Version" (above, pages 283-284) "Mnemosyne, Fourth Version" "Der Mutter Erde" (H, Part I, 123-125) (II, Part I, 75-79) "Menons Klagen um Diotima" "Patmos, Dem Landgrafen von Homburg" 01, Part I, 165-172) "Patmos, Vorstufe einer späteren Fassung" (II, Part I, 173-178) "Patmos, Bruchstücke der späteren Fassung" 01, Part I, 179-183) "Patmos, Ansätze zur letzten Fassung" (II, Part I, 184-187) "Am Quell der Donau" (II, Part I, 126-129) "Der Rhein" 01, Part I, 142-148) "Stutgard" (II, Part I, 86-89) "Versöhnender der du nimmergeglaubt, Erste Fassung" 01, Part I, 130-132)

618

APPENDIX B

V2

= "Versöhnender der du nimmergeglaubt, Zweite Fassung" (II, Part V3 = "Versöhnender der du nimmergeglaubt, Dritte Fassung" (II, Part W = "Der Wanderer" (II, Part dW = "Die Wanderung" (II, Part WwF = "Wie wenn am Feiertage" (II, Part

I, 133-135) I, I, I, I,

136-137) 80-83) 138-141) 118-120)

2. THEORETICAL WRITINGS AnmAnt AnmOed ÜUD ÜVpG WiV WT

= = = =

"Anmerkungen zur Antigonae" (V, 265-272) "Anmerkungen zum Oedipus" (V, 195-202) "Über den Unterschied der Dichtarten" (IV, Part I, 266-272) "Über die Verfahrungsweise des poetischen Geistes" (IV, Part I, 241-265) = "Das Werden im Vergehen" (IV, Part I, 282-287) = "Wechsel der Töne" (IV, Part I, 238-240)

3. OTHER WORKS Hyp

= Hyperion oder der Eremit in Griechenland

OH, 1-160)

APPENDIX C GLOSSARY OF SPECIAL TERMS1

ANAGOGIC Receptive by reversal of direction, as movement by metalinguistic discourse in the poem. APPLICATION a. Rigorous demonstration of practical relevance and utility. b. Transposition of concepts in one discipline to problems in another. CONFIRMATION Audible doubling of patterns within the same analyzed structure. CRITERION Specific basis for testing and measurement of a set of choices in a discrete parameter. HISTORY Time in poetic record analyzable through the temporal ordering of the structure of experience. PATTERN A tectonically conjoined and visible segment of aesthetic order. PLAY A set of deliberations and decisions that amount to the critic's control of his contact with the critical object. POETICS A treatise on the craft of composing works of poetic art, carrying on its instruction partly by its own artistic form. SEMANTIC a. Pertaining to meaning at large, b. Of meaning as visible in tensions illuminated by the discipline of formal logic. STRUCTURAL Pertaining to the atomistic crystallography of texts. 1

For definition of the ten basic terms of information theory see above, pages 90-91.

BIBLIOGRAPHY 1

I. PRIMARY SOURCES

A. Manuscripts Homburg vor der Höhe, Stadtbibliothek. Mappe F: Homburger Folioheft. Referred to by "Homburg F " and page. Homburg vor der Höhe, Stadtbibliothek. Mappe H. Referred to by "Homburg H " and leaf. Homburg vor der Höhe, Stadtbibliothek. Mappe I. Referred to by "Homburg I " and leaf. Marbach am Neckar, Schiller-Nationalmuseum. Inv. I 517. Referred to by "Marbach I" and page. Stuttgart, Württembergische Landesbibliothek. Cod. poet, et philol. fol. 63, Faszikel I, Bd. 6: Stuttgarter Foliobuch. Referred to by "Stuttgart I 6" and leaf. Nachlass Franz Zinkernagels. Stuttgart, Württembergische Landesbibliothek cod. poet, et philol. 4° 195. Referred to by "Nachlass" and page.

B. Editions of Hölderlin Manuscripts in Facsimile Hölderlin, Friedensfeier: Lichtdrucke der Reinschrift und ihrer Vorstufen, Edited by Wolfgang Binder and Alfred Kelletat (Schriften der Hölderlin-Gesellschaft, No. 2. Tübingen, J. C. B. Mohr [Paul Siebeck], 1959). Hölderlin, Patmos: Dem Landgrafen von Homburg überreichte Handschrift, Edited by Werner Kirchner (Schriften der Friedrich Hölderlin Gesellschaft, No. 1. Tübingen, J. C. B. Mohr [Paul Siebeck], 1949).

C. Editions of Hölderlins

Works

Hölderlin. Sämtliche Werke, Edited by Friedrich Beissner (Stuttgart, W. Kohlhammer Verlag, J. G. Cottasche Buchhandlung Nachfolger, 1946-). Referred to by volume, part (where appropriate), page, and line (for quotation from Hölderlin's texts only), and in general discussion by the term Grosse Stuttgarter Ausgabe as well. 1 This bibliography includes all works found relevant in the initial preparation of the study. Inaccessible items, mostly unpublished dissertations, are denoted by an asterisk.

BIBLIOGRAPHY

621

Hölderlin. Sämtliche Werke, Edited by Norbert v. Hellingrath, Friedrich Seebass, and Ludwig v. Pigenot, Vols. I-VI (2d edition. Berlin, Propyläen-Verlag, 1922-1923). Vols. I-IV (3d edition revised. Berlin, Propyläen-Verlag, 1943). Referred to by "Hellingrath", volume, and page. Friedrich Hölderlin. Sämtliche Werke und Briefe, Edited by Franz Zinkernagel, Vols., I-V (Leipzig, Insel-Verlag, 1914-1926). Referred to by "Zinkernagel", volume and page. Friedrich Hölderlins Leben: In Briefen von und an Hölderlin, Edited by Carl C. T. Litzmann (Berlin, Verlag von Wilhelm Hertz, 1890). Hölderlin. Neuaufgefundene Jugendarbeiten, Edited by Walter Betzendörfer and Theodor Haering (Nürnberg, Verlag "Der Bund", 1921). Hölderlins späte Hymnen: Deutung und Textgestaltung, Edited by Arthur Hübscher (München, R. Piper & Co. Verlag, 1942). Friedrich Hölderlin. Die späten Hymnen, Edited by Ludwig v. Pigenot (Karlsruhe, Stahlberg-Verlag, 1949).

D. Editions of Works by Other Writers Aristotle, The Basic Works of Aristotle, Edited by Richard McKeon (16th printing, New York, Random House, 1941). —, The "Art " of Rhetoric, With an English translation by John Henry Freese (The Loeb Classical Library) (2d printing, London, William Heinemann, Ltd.; Cambridge, Massachusetts, Harvard University Press, 1939). Arnim, Bettina von, Bettina von Arnims Sämtliche Werke, Edited by Waldemar Oehlke, Vol. II: Die Günderode (Berlin, Im Propyläen-Verlag, 1920). Boileau-Despréaux, Nicolas. Épitres, Art Poétique, Lutrin, Texte établi et presentò par Charles-H. Boudhors (Paris, Société Les Belles Lettres, 1952). Büchner, Georg Büchner. Werke und Briefe, Edited by Fritz Bergemann (Wiesbaden, Im Insel-Verlag, 1958). Dilthey, Wilhelm, Gesammelte Schriften, Edited by Georg Misch, Herman Nohl et al. (Leipzig, Stuttgart, B. G. Teubner Verlagsgesellschaft; Göttingen, Vandenhoeck & Ruprecht, 1921-1958). Fichte, Johann Gottlieb Fichte"s sämmtliche Werke, Edited by J. H. Fichte. I Abt., I. Bd. (Berlin, Verlag von Veit und Comp., 1845). —, Grundlage des Naturrechts nach Principien der Wissenschaftslehre von Iohann Gottlieb Fichte, Vols. I—II (Iena und Leipzig, bei Christian Ernst Gabler, 17961797). Heraclitus: The Cosmic Fragments, Edited by G. S. Kirk (Cambridge, At the University Press, 1954). Herders Sämmtliche Werke, Edited by Bernhard Suphan, Carl Redlich, Reinhold Steig et al. (Berlin, Weidmannsche Buchhandlung, 1877-1913). Horace. Satires, Epistles and Ars Poetica, With an English translation by H. Rushton Fairclough (The Loeb Classical Library.) (8th printing, Cambridge, Massachusetts, Harvard University Press; London, William Heinemann, Ltd., 1955). Pre-Socratics, Die Fragmente der Vorsokratiker, Griechisch und Deutsch von Hermann Diels. Sechste verbesserte Auflage herausgegeben von Walther Kranz, Vol. I (6th edition revised, Berlin-Grunewald,'Weidmannsche Verlagsbuchhandlung, 1951). Rousseau, Collection Complete des Oeuvres de J. J. Rousseau, Citoyen de Genève, Vol. VII (A Genève, 1782). Voss, Homers Ilias von Johann Heinrich Voss. XIII-XXIV, Gesang (Altona, Bei I. F. Hammerich, 1793). Waiblinger, Wilhelm, Friedrich Hölderlins Leben, Dichtung und Wahnsinn, Edited by Adolf Beck (Marbach a. N., Schiller-Nationalmuseum, 1951).

622

BIBLIOGRAPHY

II. SECONDARY SOURCES

A. Studies in Hölderlin's Poetry and Poetics2 Allemann, Beda, Hölderlin und Heidegger (2d edition revised, Zürich, Freiburg i. Br., Atlantis Verlag, 1956). —, Hölderlins Friedensfeier: Interpretation und Kommentar (Pfullingen, Günther Neske, 1955). —, " 'Der Ort war aber die Wüste' : Interpretation eines Satzes aus dem Spätwerk Hölderlins", Martin Heidegger zum siebzigsten Geburtstag, Edited by Günther Neske (Pfullingen, Günther Neske, 1959), pp. 204-216. —, Review of Hölderlin, Sämtliche Werke, Vols. I, II, V, edited by Friedrich Beissner, Anzeiger für deutsches Altertum und deutsche Literatur, LXIX (1956-1957), 75-82. —, Review of Hölderlin, Sämtliche Werke, Vol. VI, edited by Adolf Beck, Anzeiger für deutsches Altertum und deutsche Literatur, LXXII (1961), 171-176. Amrein, Martha, "Hölderlin in italienischer Fassung", Neue Zürcher Zeitung, Literatur und Kunst 14. (September 1957). Asveld, P. La pensée réligieuse du jeune Hegel: liberté et aliénation (Paris, Desclée de Brouwer, 1953). Autenrieth, Johanne and Alfred Kelletat (eds.), Katalog der Hölderlin-Handschriften, Auf Grund der Vorarbeiten von Irene Koschlig-Wiem. (Veröffentlichungen des Hölderlin-Archivs, No. 3.) (Stuttgart, Landesbibliothek; W. Kohlhammer Verlag in Kommision, 1961). Bach, Emmon, " 'In lieblicher Bläue': Hölderlin or Waiblinger?" The Germanie Review, XXXVI (1961), 27-34. —, "Patterns of Syntax in Hoelderlin's Poems" (Unpublished Ph. D. dissertation, Department of Germanic Languages and Literatures, University of Chicago, 1959). —, Review of Hölderlins Archipelagus, by Jürg Peter Walser, Monatshefte, LVI (1964), 38-41. —, Review of Hölderlins Lehre vom Wechsel der Töne, by Lawrence J. Ryan, Monatshefte, LIV (1962), 123-125. —, "The Syntax of Hölderlin's Poems: Part I", Texas Studies in Literature and Language, II (1960), 383-397. —, "The Syntax of Hölderlin's Poems: Part II", Texas Studies in Literature and Language, II (1961), 444-^57. *Bäumer, Käte, "Die innere Entwicklung der Jugendlyrik Hölderlins" (Unpublished Doctoral dissertation, Universität Göttingen, 1950). Beare, Robert L., "Patmos, Dem Landgrafen von Homburg", The Germanie Review, XXVIII (1953), 5-22. Beck, Adolf, "Heidelberg: Versuch einer Deutung", Hölderlin-Jahrbuch, 11(1947), 47-61. —, "Hölderlin und Friedrich Leopold Graf zu Stolberg: Die Anfänge des hymnischen Stiles bei Hölderlin", Iduna: Jahrbuch der Hölderlin-Gesellschaft, I (1944), 88-114. —, "Das Hölderlinbild in der Forschung von 1939 bis 1944", Iduna: Jahrbuch der Hölderlin-Gesellschaft, I (1944), 203-225. —, "Das Hölderlinbild in der Forschung, 1939-1944", Hölderlin-Jahrbuch, II (1947), 190-227. 2 The commentaries from the editions of Beissner and Hellingrath belong under this heading also.

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