Born inLauffen am Neckar, Hölderlin had a childhood marked by bereavement. His mother intended for him to enter the Lutheran ministry, and he attended theTübinger Stift, where he was friends with Hegel and Schelling. He graduated in 1793 but could not devote himself to the Christian faith, instead becoming a tutor. Two years later, he briefly attended theUniversity of Jena, where he interacted withJohann Gottlieb Fichte andNovalis, before resuming his career as a tutor. He struggled to establish himself as a poet, and was plagued by mental illness. He was sent to a clinic in 1806 but deemed incurable and instead given lodging by a carpenter, Ernst Zimmer. He spent the final 36 years of his life in Zimmer's residence, and died in 1843 at the age of 73.
Friedrich Hölderlin's birthplace, Lauffen am Neckar
Johann Christian Friedrich Hölderlin was born on 20 March 1770 inLauffen am Neckar, then a part of theDuchy of Württemberg. He was the first child of Johanna Christiana Heyn (1748—1828) and Heinrich Friedrich Hölderlin (1736—1772). His father, the manager of a church estate, died when he was two years old, and Friedrich and his sister, Heinrike, were brought up by their mother.[8]
In 1774, his mother moved the family toNürtingen when she married Johann Christoph Gok. Two years later, Johann Gok became theburgomaster of Nürtingen, and Hölderlin's half-brother, Karl Christoph Friedrich Gok, was born. In 1779, Johann Gok died at the age of 30. Hölderlin later expressed how his childhood was scarred by grief and sorrow, writing in a 1799 correspondence with his mother:
When my second father died, whose love for me I shall never forget, when I felt, with an incomprehensible pain, my orphaned state and saw, each day, your grief and tears, it was then that my soul took on, for the first time, this heaviness that has never left and that could only grow more severe with the years.[9]
Hölderlin began his education in 1776, and his mother planned for him to join the Lutheran church. In preparation for entrance exams into a monastery, he received additional instruction inGreek,Hebrew,Latin andrhetoric, starting in 1782. During this time, he struck a friendship withFriedrich Wilhelm Joseph Schelling, who was five years Hölderlin's junior. On account of the age difference, Schelling was "subjected to universal teasing" and Hölderlin protected him from abuse by older students.[10] Also during this time, Hölderlin began playing the piano and developed an interest intravel literature through exposure toGeorg Forster'sA Voyage Round the World.
In 1784, Hölderlin entered the Lower Monastery inDenkendorf and started his formal training for entry into the Lutheran ministry. At Denkendorf, he discovered the poetry ofFriedrich Schiller andFriedrich Gottlieb Klopstock, and took tentative steps in composing his own verses.[11] The earliest known letter of Hölderlin's is dated 1784 and addressed to his former tutor Nathanael Köstlin. In the letter, Hölderlin hinted at his wavering faith in Christianity and anxiety about his mental state.[12]
Hölderlin progressed to theHigher Monastery atMaulbronn in 1786. There he fell in love with Luise Nast, the daughter of the monastery's administrator, and began to doubt his desire to join the ministry; he composedMein Vorsatz in 1787, in which he states his intention to attain "Pindar's light" and reach "Klopstock-heights". In 1788, he read Schiller'sDon Carlos on Luise Nast's recommendation. Hölderlin later wrote a letter to Schiller regardingDon Carlos, stating: "It won't be easy to studyCarlos in a rational way, since he was for so many years the magic cloud in which the good god of my youth enveloped me so that I would not see too soon the pettiness and barbarity of the world."[13]
Hölderlin attended theTübinger Stift (pictured) from 1788 to 1793.
In October 1788, Hölderlin began histheological studies at theTübinger Stift, where his fellow students includedGeorg Wilhelm Friedrich Hegel,Isaac von Sinclair and Schelling. It has been speculated that it was Hölderlin who, during their time in Tübingen, brought to Hegel's attention the ideas ofHeraclitus regarding theunity of opposites, which Hegel would later develop into his concept ofdialectics.[14] In 1789, Hölderlin broke off his engagement with Luise Nast, writing to her: "I wish you happiness if you choose one more worthy than me, and then surely you will understand that you could never have been happy with your morose, ill-humoured, and sickly friend," and expressed his desire to transfer out and study law but succumbed to pressure from his mother to remain in the Stift.[15]
Along with Hegel and Schelling and his other peers during his time in the Stift, Hölderlin was an enthusiastic supporter of theFrench Revolution.[16] Although he rejected the violence of theReign of Terror, his commitment to the principles of 1789 remained intense.[17] Hölderlin's republican sympathies influenced many of his most famous works such asHyperion andThe Death of Empedocles.[18]
There is a seminal manuscript, dated 1797, now known as theDas älteste Systemprogramm des deutschen Idealismus ("The Oldest Systematic Program of German Idealism"). Although the document is in Hegel's handwriting, it is thought to have been written by Hegel, Schelling, Hölderlin, or an unknown fourth person.[19]
As a tutor inFrankfurt am Main from 1796 to 1798, he fell in love withSusette Gontard, the wife of his employer, the banker Jakob Gontard. The feeling was mutual, and this relationship became the most important in Hölderlin's life. After a while, their affair was discovered, and Hölderlin was harshly dismissed. He then lived inHomburg from 1798 to 1800, meeting Susette in secret once a month and attempting to establish himself as a poet, but his life was plagued by financial worries and he had to accept a small allowance from his mother. His mandated separation from Susette Gontard also worsened Hölderlin's doubts about himself and his value as a poet; he wished to transform German culture but did not have the influence he needed. From 1797 to 1800, he produced three versions—all unfinished—of a tragedy in the Greek manner,The Death of Empedocles, and composed odes in the vein of the Ancient GreeksAlcaeus andAsclepiades of Samos.
In the late 1790s, Hölderlin was diagnosed withschizophrenia, then referred to as "hypochondrias", a condition that would worsen after his last meeting with Susette Gontard in 1800. After a sojourn inStuttgart at the end of 1800, likely to work on his translations ofPindar, he found further employment as a tutor inHauptwyl, Switzerland, and then at the household of theHamburg consul inBordeaux, in 1802. His stay in the French city is celebrated inAndenken ("Remembrance"), one of his greatest poems. In a few months, however, he returned home on foot viaParis (where he saw authentic Greek sculptures, as opposed to Roman or modern copies, for the only time in his life). He arrived at his home in Nürtingen both physically and mentally exhausted in late 1802, and learned that Gontard had died frominfluenza in Frankfurt at around the same time.
At his home in Nürtingen with his mother, a devout Christian, Hölderlin melded his Hellenism with Christianity and sought to unite ancient values with modern life; in his elegyBrod und Wein ("Bread and Wine"), Christ is seen as sequential to the Greek gods, bringing bread from the earth and wine fromDionysus. After two years in Nürtingen, Hölderlin was taken to the court of Homburg by Isaac von Sinclair, who found a sinecure for him as court librarian, but in 1805 von Sinclair was denounced as a conspirator and tried for treason. Hölderlin was in danger of being tried too but was declared mentally unfit to stand trial. On 11 September 1806, he was delivered into the clinic atTübingen run by Dr.Johann Heinrich Ferdinand von Autenrieth, the inventor of a mask for the prevention of screaming in the mentally ill.[20]
The first floor of the yellow tower (now known as theHölderlinturm) was Hölderlin's place of residence from 1807 until his death in 1843.
The clinic was attached to theUniversity of Tübingen and the poetJustinus Kerner, then a student of medicine, was assigned to look after Hölderlin. The following year Hölderlin was discharged as incurable and given three years to live, but was taken in by the carpenter Ernst Zimmer (a cultured man, who had readHyperion) and given a room in his house in Tübingen, which had been a tower in the old city wall with a view across theNeckar river. The tower would later be named theHölderlinturm, after the poet's 36-year-long stay in the room. His residence in the building made up the second half of his life and is also referred to as theTurmzeit (or "Tower period").
In the tower, Hölderlin continued to write poetry of a simplicity and formality quite unlike what he had been writing up to 1805. As time went on he became a minor tourist attraction and was visited by curious travelers and autograph-hunters. Often he would play the piano or spontaneously write short verses for such visitors, pure in versification but almost empty of affect—although a few of these (such as the famousDie Linien des Lebens ("The Lines of Life"), which he wrote out for his carer Zimmer on a piece of wood) have a piercing beauty and have been set to music by many composers.[21]
Hölderlin's own family did not financially support him but petitioned successfully for his upkeep to be paid by the state. His mother and sister never visited him, and his stepbrother did so only once. His mother died in 1828: his sister and stepbrother quarreled over the inheritance, arguing that too large a share had been allotted to Hölderlin, and unsuccessfully tried to have the will overturned in court. Neither of them attended his funeral in 1843 nor did his childhood friends, Hegel (as he had died roughly a decade prior) and Schelling, who had long since ignored him; the Zimmer family were his only mourners. His inheritance, including the patrimony left to him by his father when he was two, had been kept from him by his mother and was untouched and continually accruing interest. He died a rich man, but did not know it.[22]
The poetry of Hölderlin, widely recognized today as one of the highest points ofGerman literature, was little known or understood during his lifetime, and slipped into obscurity shortly after his death; his illness and reclusion made him fade from his contemporaries' consciousness—and, even though selections of his work were published by his friends during his lifetime, it was largely ignored for the rest of the 19th century.
Hölderlin'sautograph of the first three stanzas of hisode "Ermunterung" ("Exhortation")
Like Goethe and Schiller, his older contemporaries, Hölderlin was a fervent admirer of ancient Greek culture, but for him theGreek gods were not the plaster figures of conventional classicism, but wonderfully life-giving actual presences, yet at the same time terrifying. Much later,Friedrich Nietzsche would recognize Hölderlin as the poet who first acknowledged theOrphic andDionysian Greece of themysteries, which he would fuse with thePietism of his nativeSwabia in a highly original religious experience.[23] Hölderlin developed an early idea ofcyclical history and therefore believed political radicalism and an aesthetic interest inantiquity, and, in parallel, Christianity andPaganism should be fused.[23] He understood and sympathised with the Greek idea of thetragic fall, which he expressed movingly in the last stanza of his "Hyperions Schicksalslied" ("Hyperion's Song of Destiny").
In the great poems of his maturity, Hölderlin would generally adopt a large-scale, expansive and unrhymed style. Together with these long hymns, odes and elegies—which included "Der Archipelagus" ("The Archipelago"), "Brod und Wein" ("Bread and Wine") and "Patmos"—he also cultivated a crisper, more concise manner in epigrams and couplets, and in short poems like the famous "Hälfte des Lebens" ("The Middle of Life").
In the years after his return from Bordeaux, he completed some of his greatest poems but also, once they were finished, returned to them repeatedly, creating new and stranger versions sometimes in several layers on the same manuscript, which makes the editing of his works troublesome. Some of these later versions (and some later poems) are fragmentary, but they have astonishing intensity. He seems sometimes also to have considered the fragments, even with unfinished lines and incomplete sentence-structure, to be poems in themselves. This obsessive revising and his stand-alone fragments were once considered evidence of his mental disorder, but they were to prove very influential on later poets such asPaul Celan. In his years of madness, Hölderlin would occasionally pencil ingenuous rhymedquatrains, sometimes of a childlike beauty, which he would sign with fantastic names (most often "Scardanelli") and give fictitious dates from previous or future centuries.
Hölderlin composed many of his long and profound poems in the style of thePindarichymns (of theGreek poet). He revived this form and fused it with philosophy, Christianity, and Romantic naturalism. Notable examples of Hölderlin’s hymns:
Hölderlin's major publication in his lifetime was his novelHyperion, which was issued in two volumes (1797 and 1799). Various individual poems were published but attracted little attention. In 1799 he produced a periodical,Iduna.
In 1804, his translations of the dramas ofSophocles were published but were generally met with derision over their apparent artificiality and difficulty, which according to his critics were caused by transposing Greek idioms into German. However, 20th-century theorists oftranslation such asWalter Benjamin have vindicated them, showing their importance as a new—and greatly influential—model of poetic translation.Der Rhein andPatmos, two of the longest and most densely charged of his hymns, appeared in a poetic calendar in 1808.
Wilhelm Waiblinger, who visited Hölderlin in his tower repeatedly in 1822–23 and depicted him in the protagonist of his novelPhaëthon, stated the necessity of issuing an edition of his poems, and the first collection of his poetry was released byLudwig Uhland andChristoph Theodor Schwab in 1826. However, Uhland and Schwab omitted anything they suspected might be "touched by insanity", which included much of Hölderlin's fragmented works. A copy of this collection was given to Hölderlin, but later was stolen by an autograph-hunter.[22] A second, enlarged edition with a biographical essay appeared in 1842, the year before Hölderlin's death.
Only in 1913 didNorbert von Hellingrath, a member of the literary Circle led by the GermanSymbolist poetStefan George, publish the first two volumes of what eventually became a six-volume edition of Hölderlin's poems, prose and letters (the "Berlin Edition",Berliner Ausgabe). For the first time, Hölderlin's hymnic drafts and fragments were published and it became possible to gain some overview of his work in the years between 1800 and 1807, which had been only sparsely covered in earlier editions. The Berlin edition and von Hellingrath's advocacy led to Hölderlin posthumously receiving the recognition that had always eluded him in life. As a result, Hölderlin has been recognized since 1913 as one of the greatest poets ever to write in theGerman language.
Already in 1912, before the Berlin Edition began to appear,Rainer Maria Rilke composed his first twoDuino Elegies whose form and spirit draw strongly on the hymns and elegies of Hölderlin. Rilke had met von Hellingrath a few years earlier and had seen some of the hymn drafts, and theDuino Elegies heralded the beginning of a new appreciation of Hölderlin's late work. Although his hymns can hardly be imitated, they have become a powerful influence on modern poetry in German and other languages, and are sometimes cited as the very crown of German lyric poetry.
The Berlin Edition was to some extent superseded by the Stuttgart Edition (Grosse Stuttgarter Ausgabe), which began to be published in 1943 and eventually saw completion in 1986. This undertaking was much more rigorous in textual criticism than the Berlin Edition and solved many issues of interpretation raised by Hölderlin's unfinished and undated texts (sometimes several versions of the same poem with major differences). Meanwhile, a third complete edition, the Frankfurt Critical Edition (Frankfurter Historisch-kritische Ausgabe), began publication in 1975 under the editorship ofDietrich Sattler.
Though Hölderlin'shymnic style—dependent as it is on a genuine belief in the divine—creates a deeply personal fusion of Greek mythic figures and romantic mysticism about nature, which can appear both strange and enticing, his shorter and sometimes more fragmentary poems have exerted wide influence too on later German poets, fromGeorg Trakl onwards. He also had an influence on the poetry ofHermann Hesse andPaul Celan. (Celan wrote a poem about Hölderlin, called "Tübingen, January" which ends with the wordPallaksch—according to Schwab, Hölderlin's favouriteneologism "which sometimes meant Yes, sometimes No".)
Hölderlin was also a thinker who wrote, fragmentarily, on poetic theory and philosophical matters. His theoretical works, such as the essays "Das Werden im Vergehen" ("Becoming in Dissolution") and "Urteil und Sein" ("Judgement and Being") are insightful and important if somewhat tortuous and difficult to parse. They raise many of the key problems also addressed by hisTübingen roommates Hegel and Schelling, and, though his poetry was never "theory-driven", the interpretation and exegesis of some of his more difficult poems have given rise to profound philosophical speculation by thinkers such asMartin Heidegger,Theodor Adorno,Jacques Derrida,Michel Foucault andAlain Badiou.
Wilhelm Killmayer based three song cycles,Hölderlin-Lieder, for tenor and orchestra on Hölderlin's late poems;Kaija Saariaho'sTag des Jahrs (2001) for mixed choir and electronics is based on four of these poems,[26] while more are set in herÜberzeugung for choir (2001)[27] andDie Aussicht for soprano and four instruments (1996).[28] In 2003,Graham Waterhouse composeda song cycle,Sechs späteste Lieder, for voice and cello based on six of Hölderlin's late poems.Lucien Posman based a concerto-cantate for clarinet, choir, piano & percussion on 3 Hölderlin poems (Teil 1.Die Eichbäume, Teil 2.Mein Eigentum, Teil 3.Da ich ein Knabe war) (2015). He also setAn die Parzen to music for choir & piano (2012) andHälfte des Lebens for choir. Several works byGeorg Friedrich Haas take their titles or text from Hölderlin's writing, includingHyperion,Nacht, and the solo ensemble "...Einklang freier Wesen ..." as well as its constituent solo pieces each named "... aus freier Lust ... verbunden ...". In 2020, as part of the German celebration of Hölderlin's 250th birthday, Chris Jarrett composed his "Sechs Hölderlin Lieder" for baritone and piano.
Finnishmelodic death metal bandInsomnium set Hölderlin's verses to music in several of their songs, and many songs of Swedishalternative rock bandALPHA 60 also contain lyrical references to Hölderlin's poetry.
Instrumental music
Robert Schumann's late piano suiteGesänge der Frühe was inspired by Hölderlin, as wasLuigi Nono's string quartetFragmente-Stille, an Diotima and parts of his operaPrometeo.Josef Matthias Hauer wrote many piano pieces inspired by individual lines of Hölderlin's poems.Paul Hindemith'sFirst Piano Sonata is influenced by Hölderlin's poemDer Main.Hans Werner Henze'sSeventh Symphony is partly inspired by Hölderlin.
The 1985 filmHalf of Life is named after a poem of Hölderlin and deals with the secret relationship between Hölderlin and Susette Gontard.
In 1986 and 1988, Danièle Huillet and Jean-Marie Straub shot two films,Der Tod des Empedokles andSchwarze Sünde, in Sicily, which were both based on the dramaEmpedokles (respectively for the two films they used the first and third version of the text).
German director Harald Bergmann has dedicated several works to Hölderlin; these include the moviesLyrische Suite/Das untergehende Vaterland (1992),Hölderlin Comics (1994),Scardanelli (2000) andPassion Hölderlin (2003).[29]
Friedrich Hölderlin, Eduard Mörike: Selected Poems. Trans. Christopher Middleton (Chicago: University of Chicago, 1972).ISBN978-0-226-34934-3
Poems of Friedrich Holderlin: The Fire of the Gods Drives Us to Set Forth by Day and by Night. Trans. James Mitchell. (San Francisco: Hoddypodge, 1978; 2ed San Francisco: Ithuriel's Spear, 2004).ISBN978-0-9749502-9-7
Selected Poems. Trans. Emery George (Kylix Press, 2011)
Poems at the Window / Poèmes à la Fenêtre, Hölderlin's late contemplative poems, English and French rhymed and metered translations by Claude Neuman, trilingual German-English-French edition, Editions www.ressouvenances.fr, 2017
Aeolic Odes / Odes éoliennes, English and French metered translations by Claude Neuman, trilingual German-English-French edition, Editions www.ressouvenances.fr, 2019 ; bilingual German-English edition : Edwin Mellen Press, 2022
The Elegies / Les Elegies, English and French metered translations by Claude Neuman, trilingual German-English-French edition, Editions www.ressouvenances.fr, 2020 ; bilingual German-English edition : Edwin Mellen Press, 2022
^Upton, Clive; Kretzschmar, William A. Jr. (2017).The Routledge Dictionary of Pronunciation for Current English (2nd ed.). Routledge. p. 614.ISBN978-1-138-12566-7.
^Warminski, Andrzej (1987).Readings in Interpretation: Hölderlin, Hegel, Heidegger. Theory and History of Literature. Vol. 26. U of Minnesota Press. p. 209.
^"Because of his small philosophical output, it is important to indicate in what way Hölderlin's ideas have influenced his contemporaries and later thinkers. It was Hölderlin whose ideas showed Hegel that he could not continue to work on the applications of philosophy to politics without first addressing certain theoretical issues. In 1801, this led Hegel to move to Jena where he was to write thePhenomenology of Spirit.... Schelling's early work amounts to a development of Hölderlin's concept of Being in terms of a notion of a prior identity of thought and object in his Philosophy of Identity."Christian J. Onof,"Johann Christian Friedrich Hölderlin",Internet Encyclopedia of Philosophy. Accessed 15 January 2011.
^"Hegel is completely dependent on Hölderlin—on his early efforts to grasp speculatively the course of human life and the unity of its conflicts, on the vividness with which Hölderlin's friends made his insight fully convincing, and also certainly on the integrity with which Hölderlin sought to use that insight to preserve his own inwardly torn life." Dieter Henrich,The Course of Remembrance and Other Essays on Hölderlin, Ed. Eckart Förster (Stanford: Stanford University, 1997) p. 139.
^"Indeed, thePietistic Horizon extended for generations up to and including the time when Hegel, together with his friends Hölderlin and Schelling, spent quiet hours strolling along the banks of theNeckar receiving the theological education they would eventually challenge and transform through the grand tradition now known as German Idealism." Alan Olson,Hegel and the Spirit. (Cambridge: Cambridge University Press, 1992), p. 39.
^Dallmayr, Fred Reinhard (1989).Margins of Political Discourse. SUNY Press. p. 213.
^Mieth, Günter (2001).Friedrich Hölderlin: Dichter der bürgerlich-demokratischen Revolution. Königshausen & Neumann. p. 29.
^Altman, Matthew C. (2014).The Palgrave Handbook of German Idealism. Palgrave Macmillan. p. 439.
^Hölderlin, Friedrich (2007).Selected Poems and Fragments. Translated by Michael Hamburger (bilingual ed.). London: Penguin UK. p. 26.ISBN978-0-141-96218-4.
^Hayden-Roy, Priscilla A. (1994).A Foretaste of Heaven: Friedrich Hölderlin in the Context of Württemberg Pietism. Rodopi. p. 88.
^Hölderlin, Friedrich (2009). Louth, Charlie; Adler, Jeremy (eds.).Essays and Letters. Penguin UK. p. 276.
^Hölderlin: His Life, Poetry, and Madness - Author: Wilhelm Waibel (English translation by Jonathan Blower) - Publisher: Reaktion Books, 2019 (original German edition: 2008)- Relevant pages: Chapter 4 (pp. 112–135)
Internationale Hölderlin-Bibliographie (IHB). Hrsg. vom Hölderlin-Archiv der Württembergischen Landesbibliothek Stuttgart. 1804–1983. Bearb. Von Maria Kohler. Stuttgart 1985.
Internationale Hölderlin-Bibliographie (IHB). Hrsg. vom Hölderlin-Archiv der Württembergischen Landesbibliothek Stuttgart. Bearb. Von Werner Paul Sohnle und Marianne Schütz, online1984 ff (after 1 January 2001: IHB online).
Theodor W. Adorno, "Parataxis: On Hölderlin's Late Poetry." InNotes to Literature, Volume II. Ed. Rolf Tiedemann. Trans. Shierry Weber Nicholson. New York: Columbia University Press, 1992. pp. 109–149.
Francesco Alfieri, "Il Parmenide e lo Hölderlin di Heidegger. L'"altro inizio" come alternativa al dominio della soggettività", in Aquinas 60 (2017), pp. 151–163.
David Constantine,Hölderlin. Oxford: Clarendon Press 1988, corrected 1990.ISBN978-0-19-815169-2.
Aris Fioretos (ed.)The Solid Letter: Readings of Friedrich Hölderlin. Stanford: Stanford University, 1999.ISBN978-0-8047-2942-0.
Annemarie Gethmann-Siefert, "Heidegger and Hölderlin: The Over-Usage of "Poets in an Impoverished Time"",Heidegger Studies (1990). pp. 59–88.
Jennifer Anna Gosetti-Ferencei,Heidegger, Hölderlin, and the Subject of Poetic Language. New York: Fordham University, 2004.ISBN978-0-8232-2360-2.
Dieter Henrich,Der Gang des Andenkens: Beobachtungen und Gedanken zu Hölderlins Gedicht. Stuttgart: Cotta, 1986;The Course of Remembrance and Other Essays on Hölderlin. Ed. Eckart Förster. Stanford: Stanford University, 1997.ISBN978-0-8047-2739-6.
Martin Heidegger,Erläuterungen zu Hölderlins Dichtung. Frankfurt am Main: Klostermann, 1944;Elucidations of Hölderlin's Poetry. Trans. Keith Hoeller. Amherst, NY: Humanity Books, 2000.
Martin Heidegger,Hölderlins Hymne "Der Ister". Frankfurt am Main: Klostermann, 1984;Hölderlin's Hymn "The Ister". Trans. William McNeill and Julia Davis. Bloomington, IN: Indiana University, 1996.
Hugo Eduardo Herrera, "The basis for the unity of experience in the thought of Friedrich Hölderlin",History of European Ideas (2024), pp. 610-627.Pdf:[1]
Jean Laplanche,Hölderlin and the Question of the Father (fr:Hölderlin et la question du père, 1961), Translation: Luke Carson, Victoria, BC: ELS Editions, 2007.ISBN978-1-55058-379-3.
Gert Lernout,The poet as thinker: Hölderlin in France. Columbia: Camden House, 1994.
James Luchte,Mortal Thought: Hölderlin and Philosophy. New York & London: Bloomsbury Publishing, 2016.
Paul de Man, "Heidegger's Exegeses of Hölderlin."Blindness and Insight. 2nd Ed. Minneapolis: University of Minnesota, 1983, pp. 246–266.
Andrzej Warminski,Readings in Interpretation: Hölderlin, Hegel, Heidegger. Minneapolis: University of Minnesota, 1987.
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