Friedrich Hölderlin – författare

Hösten 1801 vandrade en ung poet mer än tusen kilometer från södra Tyskland till södra Frankrike. Han hette Friedrich Hölderlin och hade en uppslitande kärleksaffär bakom sig. Två år senare återvände han hem - »blek som ett lik, avmagrad, med djupt liggande, vilda ögon, långt hår och skägg, och klädd som en tiggare«. Kort därpå fick han veta att hans stora kärlek avlidit. Fram till hösten 1806, då han insjuknade för gott och skulle vårdas andra hälften av sitt liv i ett tornrum vid floden Neckar i Tübingen, skrev han några av litteraturhistoriens berömdaste dikter. Kom nu, eld! innehåller nya tolkningar av dessa hymner. För första gången föreligger även översättningar av de beryktade fragmenten från åren före sjukdomen, samlade i det så kallade Homburghäftet. När Hölderlin insjuknade beslagtogs häftet, eftersom det bedömdes som farligt för hans hälsa. Sedan dess har det bitvis ytterst svårtydda materialet blivit föremål för både kult och kommentarer. Om hymnerna formar sig till strofiskt slingrande floddikter, presenterar fragmenten ett textdelta. Partierna flyter in i varandra, förgrenar sig och rinner ut. Så tecknas ett poetiskt landskap genomflutet av vatten, format av berg, med oväder mullrande i fjärran. Geografin antar en ny innebörd, halvt längtan, halvt rysning; vädret laddas av bebådelser. Till och med åskan sjunger. Men stämningen är inte profetisk. De uppflammande visionerna balanseras av nykter enkelhet och en modern kritisk distans. Eller som poeten själv skriver i en möjligen apokryfisk prosadikt: Vill jag vara en komet? Jag tror det. För de är snabba som fåglar, de blommar av eld och är som barn i sin renhet. Det vore förmätet att önska sig mer. Hölderlins sena diktning har präglat modern lyrik mer än kanske några andra texter på tyska. För första gången framträder denna omvälvande poesi i svensk helfigur.

Friedrich Hölderlin (1770-1843) is now recognized as one of Europe’s supreme poets. He first found his true voice in the epigrams and odes he wrote when transfigured by his love for the wife of a rich banker. He later embarked on an extraordinarily ambitious sequence of hymns exploring cosmology and history, from mythological times to the discovery of America and his own era. The ’Canticles of Night’, by contrast, include enigmatic fragments in an unprecedented style, which anticipates the Symbolists and Surrealists. Together the works collected here show Hölderlin’s use of Classical and Christian imagery and his exploration of cosmology and history in an attempt to find meaning in an uncertain world.

One of Germany's greatest poets, Johann Christian Friedrich Hölderlin (1770-1843) was also a prose writer of intense feeling, intelligence and perception. This new translation of selected letters and essays traces the life and thoughts of this extraordinary writer. Hölderlin's letters to friends and fellow writers such as Hegel, Schiller and Goethe describe his development as a poet, while those written to his family speak with great passion of his beliefs and aspirations, as well as revealing money worries and, finally, the tragic unravelling of his sanity. These works examine Hölderlin's great preoccupations - the unity of existence, the relationship between art and nature and, above all, the spirit of the writer.

One of Germany's greatest poets, Johann Christian Friedrich Hölderlin (1770-1843) was also a prose writer of intense feeling, intelligence and perception. This new translation of selected letters and essays traces the life and thoughts of this extraordinary writer. Hölderlin's letters to friends and fellow writers such as Hegel, Schiller and Goethe describe his development as a poet, while those written to his family speak with great passion of his beliefs and aspirations, as well as revealing money worries and, finally, the tragic unravelling of his sanity. These works examine Hölderlin's great preoccupations - the unity of existence, the relationship between art and nature and, above all, the spirit of the writer.

Friedrich Hölderlin (1770-1843) is now recognized as one of Europe’s supreme poets. He first found his true voice in the epigrams and odes he wrote when transfigured by his love for the wife of a rich banker. He later embarked on an extraordinarily ambitious sequence of hymns exploring cosmology and history, from mythological times to the discovery of America and his own era. The ’Canticles of Night’, by contrast, include enigmatic fragments in an unprecedented style, which anticipates the Symbolists and Surrealists. Together the works collected here show Hölderlin’s use of Classical and Christian imagery and his exploration of cosmology and history in an attempt to find meaning in an uncertain world.

The description for this book, Hymns and Fragments, will be forthcoming.

The definitive scholarly edition and new translation of all three versions of Hölderlin's poem, The Death of Empedocles, and his related theoretical essays.On the eve of his final odes and hymns, Friedrich Hölderlin composed three versions of a dramatic poem on the suicide of the early Greek thinker, Empedocles of Acragas. This book offers the first complete translation of the three versions, along with translations of Hölderlin's essays on the theory of tragedy. David Farrell Krell gives readers a brief chronology of Hölderlin's life, an introduction to the life and thought of Empedocles-including Hölderlin's Empedocles-detailed explanatory notes, and an analysis of the play and the theoretical essays, allowing for a full appreciation of this classic of world literature and philosophy.

For more than a century, Friedrich Hölderlin has been considered one of the key figures in modern European literature. The translations in Odes and Elegies, including poems never before available in English, render forcefully and directly the deep longing and heartbreak of Hölderlin's poetic world. A bilingual edition, this book is the first major translation of these poems since the 1960s. Odes and Elegies opens to the English reader the unique poetic voice that marks Hölderlin's achievement and continuing influence on poetry and philosophy today.

Friedrich Hölderlin was one of Europe’s greatest poets. The strange and beautiful language of his late poems is recreated by David Constantine in these remarkable verse translations. This is a new expanded edition of Constantine’s widely-praised Hölderlin Selected Poems (1990/1996), containing many new translations as well as the whole of Hölderlin's Sophocles (2001), in which he sought to create an equivalent English for Hölderlin's extraordinary German recreations of the classic Greek verse plays. Constantine won the European Poetry Translation Prize in 1997 for his translations of Hölderlin. This new volume presents a substantial selection from the work of a poet who, writing around 1800, addresses us ever more urgently two centuries later. Hölderlin translated all his writing life. Through translation he reached a poetic language of his own, so that much of his best poetry reads like a translation from elsewhere. He was intensely occupied with Sophocles in the winter of 1803-04. His versions of Oedipus Rex and Antigone (he worked at but never finished Oedipus at Colonus and Ajax) came out in the spring of 1804 and were taken, by the learned, as conclusive proof of his insanity. He was by then very near to mental collapse, but no one now would dismiss his work for that. He translated in a radical and idiosyncratic way, cleaving close to the Greek yet at the same time striving to interpret these ancient, foreign and – as he thought – sacred originals, and so bring them home into the modern day and age. Constantine has translated Hölderlin’s translations, carrying as much of their strangeness as possible into his English. The plays themselves need no introduction or apology. These double translations, links in literature from land to land and from age to age, demonstrate the vitality of ancient and modern poetic tradition. Carl Orff used Hölderlin’s texts for his operas Antigonae (1949) and Oedipus der Tyrann (1959), with the producers of recent DVDs of Orff's operas later choosing to use Constantine’s texts for their English subtitles.