was not one of its original elements. On the contrary, with the exception of Tieck, who certainly had no appreciation of the Hellenic spirit, all the early Romanticists, but more especially the Schlegel brothers, Schleiermacher, and Schelling, were enthusiastic admirers of ancient Greece. It was their desire to enter into every feeling of humanity, and it was among the Greeks that they at first found humanity in all its fulness. They longed to break down the artificial social barriers of their time and escape to nature, and at first they found nature among the Greeks alone. To them the genuinely human was at the same time the genuinely Greek. Friedrich Schlegel, for example, embarks on his career with the hope of being for literature all that Winckelmann has been for art. In his essays "On Diotima" and "On the Study of Greek Poetry," he proclaims the superiority of Greek culture and Greek poetry to all other. There is an indication of the later Schlegel in the attempt made to combat the false modesty of modern times, and to prove that beauty is independent of moral laws, which in no way concern art. Characteristic also is his demonstration of Aristotle's lack of appreciation of the Greek Naturpoesie.
A similar but more enduring enthusiasm for ancient Greece was the very essence of Hölderlin's being; and this enthusiasm did not find its expression in studies and essays, but took lyric form, in prose as well as verse. Even as dramatist and novelist, Hölderlin was the gifted lyric poet, that and nothing else. Haym has aptly observed of his romances: "Joy in the ideal, the collapse of the ideal, and grief over that collapse, constitute the theme which the Letters of Hyperion develop with a force which never weakens and a fervour which is always alike intense… It is the irretrievable that is the cause of his suffering." And since the ideal was embodied for him in Greek life, such as he dreamed it to have been, his whole literary production is one longing lament over lost Hellas. Nothing could be less Greek or more Romantic than this longing; it is of exactly the same exaggerated character as Schack Staffeldt's enthusiasm for ancient Scandinavia and Wackenroder's devotion to German antiquity. Hölderlin's landscapes are as un-Greek as his modern Greeks in Hyperion, who are noble German enthusiasts, strongly influenced by Schiller. We cannot doubt that he was aware of this himself. But the lot of the solitary chosen spirits in Germany seemed to him a terrible one. Although he shows himself in his poems to be an ardent patriot, and although he sings the charms of romantic Heidelberg in antique strophes, yet Germany and Greece to him represent barbarism and culture. Concerning his own position to the Greeks he writes to his brother: "In spite of all my good-will, I too, in all that I do and think, merely stumble along in the track of these unique beings; and am often the more awkward and foolish in deed and word because, like the geese, I stand flat-footed in the water of modernity, impotently endeavouring to wing my flight upward towards the Greek heaven." And at the close of Hyperion he says of the Germans: "They have been barbarians from time immemorial, and industry, science, even religion itself, has only made them still more barbarous, incapable of every divine feeling, too utterly depraved to enjoy the happiness conferred by the Graces. With their extravagances and their pettinesses, they are insupportable to every rightly constituted mind, dead and discordant as the fragments of a broken vase." Of German poets and artists he writes, that they present a distressing spectacle. "They live in the world like strangers in their own house … they grow up full of love and life and hope, and twenty years later one sees them wandering about like shadows, silent and cold."
Therefore Hölderlin rejoices over the victories of the French, over the "gigantic strides of the Republic," scoffs at all "the petty trickeries of political and ecclesiastical Würtemberg and Germany and Europe," derides the "narrow-minded domesticity" of the Germans, and bewails their lack of any feeling of common honour and common property. "I cannot," he exclaims, "imagine a people more torn asunder than are the Germans. You see artisans, but not men, philosophers, but not men, priests, but not men, servants and masters, young and old, but not men."
The conception of the State which we find in Hyperion is also quite in harmony with the spirit of the age, and quite un-Hellenic. "The State dare not demand what it cannot take by force. But what love and intellect give cannot be taken by force. It must keep its hands off that, else we will take its laws and pillory them! Good God! They who would make the State a school of morals do not know what a crime they are committing. The State has always become a hell when man has tried to make it his heaven."
Utterly un-Greek, wholly Romantic, is the love which Hyperion cherishes for his Diotima. It is the same deep and tragic feeling which bound Hölderlin, the poor tutor, to the mother of his pupils, Frau Susette Gontard, and determined his fate. No Greek ever spoke of the woman he loved with the religious adoration which Hölderlin expresses for his "fair Grecian." "Dear friend, there is a being upon this earth in whom my spirit can and will repose for untold centuries, and then still feel how puerile, face to face with nature, all our thought and understanding is." And exactly the same Romantic, Petrarchian note is struck by Hyperion when he speaks of Diotima. Diotima is "the one thing desired by Hyperion's soul, the perfection which we imagine to exist beyond the stars." She is beauty itself, the incarnation of the ideal. Love is to him religion, and his religion is love of beauty. Beauty is the highest, the absolute ideal; it belongs, as a conception, to the world of reason, and as a symbol, to the world of imagination. From his æsthetic point of view, Hölderlin does not perceive that boundary line drawn by Kant between the domains of reason and imagination. His theory, a species of poetic – philosophic ecstasy, having points in common with both Schiller's Hellenism and Schelling's transcendental idealism, is Romantic before the days of Romanticism.
Germinating Romanticism is also to be traced in the gleam of Christian feeling which tinges his half-modern pantheism. He had been originally destined for the Church, and had suffered much from the severe discipline of the monastery where he was educated. In spite, however, of the many evidences of a pious disposition which we find in his letters, he was a pagan in his poems. He disliked priests, and steadily withstood his family's desire that he should become one. In his Empedokles we come upon the following significant reply of the hero to the priest Hermokrates: —
"Du weisst es ja, ich hab es dir bedeutet,
Ich kenne dich und deine schlimme Zunft.
Und lange Avar's ein Räthsel mir, wie euch
In ihrem Runde duldet die Natur.
Ach, als ich noch ein Knabe war, da mied
Euch Allverderber schon mein frommes Herz,
Das unbestechbar, innig liebend hing
An Sonn' und Aether und den Boten allen
Der grossen ferngeahndeten Natur;
Denn wohl hab ich's gefühlt in meiner Furcht,
Dass ihr des Herzens freie Götterliebe
Bereden möchtet zu gemeinem Dienst,
Und dass ich's treiben sollte so, wie ihr.
Hinweg! ich kann vor mir den Mann nicht sehn,
Der Göttliches wie ein Gewerbe treibt,
Sein Angesicht ist falsch und kalt und todt,
Wie seine Götter sind."7
There is not a trace in Hölderlin of the sanctimonious piety developed by the other Romanticists, who, to begin with, were far more decided free-thinkers than he. Yet his Hellenism is not pagan in the manner of Schiller's and Goethe's. There is a fervency in it which is akin to Christian devotion; his poetic prayers to the sun, the earth, and the air are those of a believer; and when, as in Empedokles, he handles a purely pagan subject, the spirit of the treatment is such that we feel (as we do in a later work, Kleist's Amphitryon) the Christian legend behind the heathen. The position of Empedokles to the Pharisees of his day and country is exactly that of Jesus to the Pharisees of Judea. Empedokles, like Jesus, is the great prophet, and both his willing sacrificial death and the worship of which he is the object awake feelings which remotely resemble those of the devout Christian.
In Hölderlin we find in outline, light and delicate as if traced by a spirit, symbols and emotions which the Romantic School develops, exaggerates, caricatures, or simply obliterates.
III
