Hölderlin and the Romantic Tradition [DIACRITICS ed.]

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HOLDERLIN AND THE ROMANTIC TRADITION

PAUL DE M N

EDTORS' NTRODUCTON AMALIA HERRMANN

JOH

&

N MJUN Kl

This ublication of Paul de an' "Ho lderlin and th Rom ntic Tradition'' i a criti al ~dition of a tw nty - ne-pl\ge type. ripe ,vith de Man'. handwritten corrections (hence~ forth the Princeton Typescript), located and identified by th editors in the arduve of th Quarterly Reviei of Literatun (QRL) at Princeton Univer ity Library. A fragment of an earlier draft of th i e say was previously published in Romanticism and Contemporary Critici m: Th aus eminarand OtherPapers.,edited by F..S. Hurt, Ke\'in Newmark , and Andrzej V arminski. The previously published fragment (RCC) corr sponds roughly to th · firsttwclvcand a alf page of the Prine ton Type criptand wa ba,ed upon a even• teen-page manuscript archived in de Man' paper at the University of California. Irvine Librari (Irvin . anu cript 1- 17). In that archive, eh pre ent editor found an additional eighc pages of the . a.me draft ma.nu cript (Irvine Manu.-;cript 21- 28), described in the finding aid mi c;cllaneou not• ' f de Man's c · y "Th· (mag • of Rou ., ·au in the Poetry of Holderlin.'' ub ·t ntiv difference betw en the rinceton Type ript and earlier versions-Ree and th e two Irvine Manu cripts - are recorded in he notes of this critical edition. Thou h the proceedin e ition of de Man'. c .. ay provid fully devel pcd and tcx:tually omplct' rgum nt, the material vailablc in th · ·v ·r- volvin:g a.rchiv J corpus ·ugg t that it i likely no the final version of "Holderlin and the Romantic Tradition ." The Prince ton Type cript was found among de an's extensive correspondence with Th odor and Renee W, i th n cdito · of th • QRLat Bard Colleg , where d Man had taught from 1949 o 1951.1 The immediate occa. ion of their corre pondence from ear ly 1958 to late 1959-wh.ile de Man wa · a PhD candida te and Junior Fellow at che Society of Fellow at Harvard nivcr ity-wa th pr paration of a special i ue of the QRL on FrieJrich Holderlin, a figure then large! unknown to m rican read D M n' I tters indicate that the Weisse had sought his assistance in finding an appropriate text by Martin Heidegg r on Holderlin to include in che pedal issue . De Man selected and

DIACRITICS Volume ..0.1 (2012) 100 - 129 ©2012 by The Johns Hopkins University Press

~Her..,.,_,,-salecturedn~ Hum11r111itt P.oc;i om. Umre..;iy of !ci 40 .1

tran. lated Heid egger-'. 1936 _. ay "J Iolderlin und da We ender Dichru"g," puhli h din the journal a · ''H81Je rlin and the Essence of Po try." 1 ru de Man' letter of Mar h 14, 1959 indicate , heh d ent the \\l ei the Prine ton Typescript not as a submis ion for consideration in the Holderlin is ue of the QRL but merely t har re ent work rel vane to r eir dirorial project. D Man writ • 10 them about his paper:

It is someth·ng of a ~al ·ntTOductiOfl to H~derlin caUedMH . a11dthe RomanticTralas estab lished and that the po try written b tween 1800 and 1 06 became known with some degree of completeness . ow, mor than 150 ye r.- after rhe time it wa. written, Holderlin' . mature work re ceive more critical attention, in Europe, than that of any other poet. Four yea ago, a completed poem f hi hjrherto unknown, wa di ov red in 1..ondon and, on thjs parti ular po m lone, there n exist a bibli graphy of over one hundred items.t This is a staggering amount. either is the quaJity of this criticism inferior to it · q\rnntity . It i no exaggeration o ay that the be ·t phil 1 gj a I and riri al talent of ~rmany has heen concern d, in th I t tw nty y ars, with th publication an d interpretation of Holderlin .5 Tu •o question.'> at once arise: (1) Is this sudden outburst of int eres t in a single, long unknown poet, truly warrJnted? and (2) what h thi . inten. e critical effort accomplished; has it led to an increased understanding, to an aci..:ept:-. tble int rprctation o f the work~ I will ay very little about the first question. There are many reasons to be u -piciou of the extraordinary vob'Ue er at d around Hold rlin - a vogue which, ine\rit.ably, will soon r or lat er gain the United States in spite of the lingui tic dif6culties .0 Hi life hj ·-

Holc;lerlinan d the Romantic

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tory, like Kimbaud ' ·,lend · itself very easily to being made into a myth: that of the totally Ii natcd and inward poet driven to insanity by utter litud . Th in anity introduc · another ambiguous element and cast doubt on the intelligibi lity of the very difficult lat r po try. (I m peaking only of that pr ·c ·ding the final br kdown of 1 06; th e poems ,vritten by Holderlin after this date and of which several have been preserved and publi hed ar clinica l as well as literary documents . One can be attracted to 1-iolderlin for the wrong reason us-e him as an exterior pattern in which to traru fer personal fru :ration. or an,ci ti , r attemp id ntifi tion · wh ich hi own t tcment nd poetic code would never tolerate . This is more dangerou , . till when it happens on a collectiv , nation I cale and when Holdcrlin is een as an inc-arnation of the de tiny of Germany. He has written a poem called "Germanien" and u. word. such a "vaterlandi h" and ' nation c ll '- tcrms which acquire highly disturbing connotations as used by some in Germany around 1940.7 In a courageo article Cro c publi hed dur ing he war in hi reiew Critica,he gav voic to the prote t of uropean liberalism against the exploitation of Hold rlin. name for riationa.li· tic and liri aJ end, and he also included a critical judgment that echoes Goethe's early rejection of Holderlin as an excessively "subjec• ti\> Mos of the mythological figures that appear by name in Holderlin' later elegies and hymn r f a divin · n tur : Diony o • H ·rkul and hri ·t ar • th mo t promin nt . Amon the others, the most revealing for our purpo e and the only literary name ever to appear i R u · au . H wa to the ·ubj et of an un6ni hed od that · hi · nam , and he appear . in the center of eh poem\ e will u. for our text tonight : "Der Rhein ."1 1'he pre ence of Rou seau among Holderlin ' per onal myth , and given emi-di\ine tatu , would cert inly t ·nd to confirm hi affinity\ ith r manti i m. We think of R u . eau a, che very source of the romantic . en . ibility ; a human being deeply alienated from lti pr • nt r ality, wh fin in th · uffering r ul · ng from thi alienati n th imagin tive p wer to conceiv an ideal image of unity and reconciliation . This image, moreover , i panthei tic in int n~ thee · nee of unity re ·ides in th natural o je •t, and it i from the fictiona l mernory of the per-ience or un ity with narure , a it i aid to exi t in youth or in pre ious civili ·ations , that a premonition of pennanent unity i gained . The cornbin tion of tho , e rel ted c hara cte rL ti : eparation. panthei. m and a temporal stru rure that move from a remembered pa t to an ideal future. z~define for us Rous eau and the tradition that originate · \ ith R u ·eau . Th r b Iii u nd re luti nary chara t r f romanticism re. ult c;from the original alienation, regardless of\ hether thi alienation i · from the ·elf. from ·ociety or from nature it ·If. The t mpor I ru tur ac unt . for the p rti ular c mbination of tone . , hich L found in poet! ru di tant in time and place a Word worth and Rilk •: th · c "tant modulation from the elegiac , the regretful evocation fa unity and inn ence that i Ulo. t, to the pra is~ 0 of the hymn or, what w m un t th m thing, to th prophet • ic announcement th · mething worthy of pra· e i about to return . The ideal character of th future unity account s for the totally inward r my hot gical langu ge in which it mu t b xpr ed, ince it can have nothing in common with what is pre ently r al. nd the panthei tic element appear in the very trnctur · of h · r mantic ima or metaphor, which i always a ten ·ion (and not m r imitation or anal gy) hecween a con · iou ·n · and natural ohject, in\ hich consciou ness tries to achiev th e tatu f b ing f th natural object wi hout losing it statu a · a con i u n . Th r rnanti c imag i. al\! ays pastoral in that its ideal re ·ide · in ·tatt: of narur but it i al\! ay. image, becau e it can only con ceiv of n cur of what L not in its present po e ion . It is longing of the language toward narure. n t an id nti with natur Th •ref • re, it c nt in :1 con . tiruti e element of tragic failure. because it originat from a c ,nmr between two irreconcilabl way of b ing. W a , o iatc, perhap . all too easily. such characteri ·tic · with Rou u, w ith par ticular empha is on th e panth •i tic lcm n , but, e hould not forget that they urvive

It is pe aps fo this reasontha we fail to notice how Holderlin as IIas Ro sse or,a a y rate Holde rlins concept ion o Rousseau-d iffe from this patte rn.

Holderlin and the Roniantic T r dition »

Paul d Man

intact in lat r aut hor . The following pa gc from Yeat 11 i one typksl exam.pi among innumerable others; Yeats i contra ting hi time with hat of pen er : time whenmen in eYllfYland fouodpoetry aod imaginationin ooe aoother's company and in the day's labor. [Ou )ll statety goddes.se.s... belong to Shelley's thought nd to the r igion of the wilderne$$-theonly religio po$$ibleto poetry today. CertainlyColin Oout. the companionable shepherd, and Caliclor. the courtly man-at-arms. are gone. and Ala.stor is wandering from lonelyriv r to riv1trfinding happin@S$ in nothing but in that star where Spens.ertoo had imagined the founta· of perfect things. This ne-wbeauty. in lo.sing so much. has indeed found a new loftiness, a something of religio s exaltationinat the other had not. It may be that the goddes.s~. moving with a majesty Ii e a procession of the stars. mean som thing to the soulof man that the old poets did not mean .. . Has not the wildernessbeeo 1 at all times a place of prophecy?3 ... a

It is all there: the separation and barrenness of the desert wasteland; the nostalgia for a tim · when th · imagination wa natura l; the panthei ·ti · nature- ymboli m of tars and rivers; the exaltation of the prophetic tone. Y, e wa probably pr mature in r ·ferringto him 1fa th ''(astrom nti ,"14 forthere i little in the poetry of our century that can not he included within th hroad framework of th~ rom ntic tr dition . Th th m have b come o familiar that w take them for granted and tend to identify them with the very e sence of poetry . lt i p ·rhap forthi r , nth t w · failto notice h w olderlin a wella · Rou ·eauor, at any rate, Holder lin's conception of Rousseau - differ from this pattern . The poem you have in fr nt of you, ''Der Rh in," i highly rev ali_ngin thi · rc ·pcct .~sLike "Fri den ·feier' it contain the promise of a reconciliation in the form of a feast or celebration, in . tan:za 13

Dann f~ern das BrautfestMerudien und Gotter Es feiem di~ Lebcmdfflall Und ausgeglichen 1steine Weiledas Sdiidsaal. .. Th · r x:on ·iliati n follows imm diat ly upon the appearance of Rousseau; it will again b • po ible when men will h:we become like Rousseau. The key to the poem then becomes Holderlin' . under tandingofRou au. Th lit rary ltu ion i · cl ·arenough; not even he rno t ea ual f editors could miss it: it is to the fifth Reverie d'un promeneur solitaireand to part XII of the Confi ssions,famou pa g · where Rousseau describes th e happy and peaceful respite he found for a hile, in the mid t of hj worst political difficulti , on n i land loc.ated in the lake of Bielle;37 Holderlin men jon. the lake in stanza l . But if the ource of the pa ag i clear, th int rprct tion i · difficult, especially in the llth stanza. To understand what Rousseau . ignifie to Hold rlin, we lfr t have to re late the p sage to th poem as a whole . From the first , tan2a on, a doubl mov m nt i apparent. The original pos ition which the po ta . ign. to hims elf 11ndwhi ch, a · lllw:1y in th late Holderl in, i to be taken ah •

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g th r lit rally w II ymbolically, i i If a doubl ·iruation : the golden noon of the uni present as a giver of life, but on the other hand the poet ha. ought shelter in the d:trkc:·t hade : "dunk In Epheu" bal nc •· with golden Mittag," and this antithe i · i itself the burden and th mystery of the poem . Thi. . tatic oppO!. ition very . o n become. a mov ·m nt t \ ar& two contra ted dir ction ; hep t' soul drifts "toward Italy and M rea' shore . ,"1R Holderlin'. paraphra. e for eh R man and 11 llenic world f Antiq • uity, but, in the mphatic "jetzt'' that b gin the ·econd tanza, thi mov ment i · checked at once by another entity which doe. not belong to the H llenic world at all but i. part of the poet' own , national land cape : th e erman river Rhine . We are at th point f e rr me tensi n between rh two force , th n mo in to the Ea.tin the dir ti n of the world of Antiquity, the other to the West to the German citie · of the Rhineland . Thi · point i 11d the urc (g graphi • lly th urc f the m) nd th lin , whi h i also the actual course of the river, graphically repre ents the destiny, the particular ' ·hik a ]" of man in Hold rlin' time and pi The Rhine, we are told, i the noble t of rivers; it is born free and set itself apart from it · two roth · ( h · Rhone and th Tc in) in b ing r yal (koniglich) and in a piring to different hi~her hopes . Thi intrinsi c uperiority mark its de tiny in a v ry p cific ay: th Rhin ·-and thi i· an ctu J f. et of c aphy- b f,-in it · c.: ur e by flo\ ing, not to the e t, but to the Ea t; it i "driven impatiently toward ia, in a movement that parall 1 th att ction f th po t'. mind toward Greece in th fir, t . tenza. At thi. point, he poem pau and the de cription i interrup ed by a meditative pa · (Doch 1 unv r. tiindlich i t do Wun cheti ... • ), exactly ll! the Sophoklean tra edy pau e at the moment of hi hest drama ic inten , ity and interrupts the action with a reflective choru . Thi i the unmistakable ign that we hav reached a moment in th developm nt that require pall! e and reflecti n. What is the meaning of the Rhine's impatient impul e t \I ard. th Ea. t? Th anal gy with the po t's longing for r c in th fi t tanz · u t " an an w r. Gr ece i , of course. a dominant theme throughout Holderlin ' · wor nd, a · i · oft n th · c c in German neo -helleni m, it i. the elegiac theme par excellence . lt appear in thi · f rm in th ,ar lier nov I Hyp rion · well a, in the large elegie of the middle period : "Archipelagu . ," "Brod und Wein" and others. The line fr m Go h ' Iph~ ni

Das Land der Griechen mit der Seele suchend crtainly applies to a large fraction of Holderlin' work-as it does to so many of hi contemporarie . In Holderlin , how ver, th · myth of re i giv n a more . p cific c ntent: hi contact with Gre •k po try wa much I r than Goethe' . or hiller' , and hi n ·lari n of Pindar and. phokles ar a high moment in he poetic dialor,.'Uebetween the Greek and the mod rn W tern world . Hold rlin h a con . ci u nowl d e of the H 11cnicmind a. it i , and therefore reec i not to him a pur ·ly ideal re Im; hi later r lation hip t ward r ce i. n t elegiac or imitative but dialectical in he · n · that the modern attraction toward the specific virtue o f th L c unterhalanced by a Greek attraction t ward t . p cific virtue f the e t. Greece and the W stare op-

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po J nd di ·tinct in th ir • ·n ; the attra tion of ,r · c · n W t ·rn m n i not th t of omething intrin ically uperior and desirable but of some thinge sentially other po • ' ·ing a virtue which h doe not po ' · · , but lucking in hi pecifi · virtue. aturally, we I ng for what we do not have and orn what i air ady in ur po . i n; it i in the e ence of the dialectic to give ideal atu to the negation of the elf, until sufficient con. ciow n . is reached to . ee both che s If and che oth r within th ir pmp r di. tin ti n. In one of hi late t texts , th e commentarie on the translation of the Antigone, HolderJin d fin the p cifi re le irtu ry cl rly: th ' reek octi langu g' i aimed ward an actual, natural object and it i. capable of reaching it, of hining ic mark, o to ak; it r · he th · bj ctthar it nam ·-H" -ld rlin u · th xpr · ion" tw trdfon',., -wi th the same accuracy with \ hich the Greek athlete reache hi. aim, or the warrior' . p r hi n my: in a trai,ric cont xt, th word can literally kill the body at\ hich it is aimed, a · Kreon' · word kill · Antigone. The , ord i imrn diat ly pr cnt to the ·ignified nahlraJ object; it capture natur and hold . it in itc; po.. . i n. Th pa nth • i tic longing of the modern , lamentin th ir p ration fr m natur , i incon civ bi· to th r k a · a poetic theme.H On the ther hand , however , they lack the elf-reflective p wer which enable . modern man to kn hi ow n i u n . Th ir no talgia, corr· ·ponding to our elegia c treatment of natur e, is best apparent in the choral qu , tion that k ep r urriog in the arly trag dian a th y I ml.!nt their ih':rlorance of man' existence; the fir t ode of the Antigone at the beginning f Act 11, magnificentl tran lated b Tloldcrlin, would b a triking in ranee

In a ragiccontext,the word can Ii erally

kill he body at which it is aimed,as Kreon's

word ills An igone.

Pollata deina koud n anthropou deinoteron pelei.• lJngeheuer ist viel.Doch nichts Ungeheuererals d r Mensch... (in which Ungeheueris much "wonderfu l ") 4

uperior for "deina" to the u ual Engli. h tr ru lation

s

To u e hill r' I ngu e, w • mu irruigin within the "naive• Greek a "sen timen al" longing for consciousne of self a trong as the modern" ntim nt )" I nging t ward · nature .• With thi. in mind we can intcrpr t the mov ment of the Rhine near it source, a it fir t flow easnvard and then turn.'> ack upon it If t flow toward th We t. If the m em nt t ward i i lik then o-Hellenic nost:i gia toward . Greece, it i qui al nt to the pan the · ric ideal h at Ion ' fi r the.! immedia te p e sion of the narural object which the Greek language achieve without effort. Thi i a fammar romantic theme and n tin it If unusual; the differ nee. however, re ide in the pla \ hich H old rlin a ign to thi moveme tin eh t tal dev lopment. Th traditional rom ntic ymbol for

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unity i th a,\ here all ri er mingle in the common All. Holderlin u es thi image in early works ; the followjng quotation from Hyperion is an in tanc of a purely panthcL tic

- ymb I: To be one withall that lives,to f.otgetone's own se f in the rerurn to the I of oatufe, th t is th high st thought, the supr joy." It i$ a sta e of eternal rest. wher noon loses its torrid heat and th thundef its voice.where the st He ha to lahour under th e ~ ci h1 of h eav ·n, whil e they are ea ·ily receiv ed hy th ei r m th r the Earth . Earth 1. ca lled the All, P.nvs llu • pie ure in n lea r allusion ro th • pan th ei ·t motto tirfl ~ ss-r One in All (1-1n Jcaipan). h " o n f th e Earth" nrc the Greeks, who , like iob • can ~1cl..a. •r ot r i.. • to " u.. ff"7 r hccome o n· \ ith th · r ·k. n co ntra t to th e m, Rou s · ':lll i · th man rurned in the o pp o ' itc d ir · ·tion : not toward th J>ano f earth and nature, but to, ard th e transl u ce nt a nd mob ile heave n o f human n·ciou nes and cxi. tenc , a th e oppo.e t1 material ub . tnnce . Th e. scnce of nity. which \I e t rn man had alwa placed in the natural ohjec t. be o m e. for Rou . . eau locate d in man's co n. cio usn · ·s of him · ·If a c i tent . Th e entire tr adition of Roll ·-

r ·•

nd I-fold ·rlin ' int ·rpr tation app ar a high) unorth od ox . It i foun led, h e er on a pa age from the fifth Rev ri , whi ·h throw· • E, 'T •at d al o f light n th i c nception f Rou . eau .11 Rou . ea u rite : (a nd T qu o te him in Fr •nch beca u e the pa . age tran late .. o pc urly; I will rep eat th co ncluding · ·nt •nc • in Eng li h); trouve u ass,ette assez sol1de poor s"y repo ser tout entiere , et r ss bi l:i tout son ~tre, s ns avo ir beso in de rappeler le pass·. ni d'cnjamb sur ravooir, oole temps ne soit r1en pour elle. ou le present dure toujours, sans ne nmoins m rquer sa dur~e et s ns ucu e trace de succession, sans aucun autre scntimouilled toute autre aff~ion est par lui•mbrl un sentime,it preciellXde conten em t et de pai>< , qui suffiraitseu pour rendre cette exist ce cher et douce ~ qui saurait lkarter de soi toutes les impre.ssions sensuelleset teneslles qui viennent sans c se nous eo distr ·re, et eri troubl r ici-basla douce(Jr, He d cribe · m ment · of p rfect happin,

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The horse that comes from the road. The rider,th birds that range From cloud to tumblingcloud. inute by minute they change; A shadow of cloud on the stre-am Changesminute by minute; A horse- oof slideson the brim, And a horse splashes.. w· hin it; T long-legged moor-hens drve, And hens to moor-co s call . . . Or take th e detail

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(a ain not the function ) f th • ~ II wing

One more the st CHm is howling, and h If hid U d this aadt hood and coverlid y child sleeps oo. There is no obstade But Gr gory 's wood and one b e hill Whereby the hayst k and roof-lev l~ngwind. Bred on th Atlantic. canbe stayed; r I think of a hort m by Rimbaud, which i thematically b rom nri c poem . In a land cape of mead w and riv ·r , it d ri for matter the ensati n of hi un pp a. ed thir . t Then, when water abundantly a ailab lc, he imply refu e to take it, with no thcr indi ulty of his deci . ion th3n the titl • of the poem ''Larme'

loin d oiseaux, dos troupeau-x,des vi lageoises, Je btiv s, acaoupi daos qu I bru • re Entouree de tend es bois de noisetiers. Par un brouillardd'apres • idi tiede et vert. Oue pouvals-je boire d 1 cette jeu Oise. Or~aux s voix, gazon $clnSAeurs.del couvert. Oue irais-je ala go rde de colocase ? Ouelque liqueur er or, f de t qui fait SUef ,

Tel.j'eoss etemauvaiseenseigne d' uberge. Puisl'orag changea le c:i~. jusq1,ausoir. Ce furent des pays ooirs, d lacs. d s perche.s, Dos colonnad s sous lanuit bleue, des gares. L'eaudes boi.sse pefdait surd s sables vierg s. L vent. du c· , j tai des gla~ns awemar ... Or ! t qu'un pech@urd'orou de coquillages. Dir ue n'ai pas eu souci de bolre !

fflin if r d a a the poet' craving udd nly bi:com · ation of the diffi-

Hold1trlinand the Romantic:Trad ition »

Paul de Man

The gc ·tur · with which Rimbaud turn · way from wh. t h m('d mo t t ra i he same movement thar appear , in the cour . e of the Rhine as it turns We rward , or in Rousseau when , protected from the invasion of natural thin1-,rs,he find · happine in the pure pre nee orhi · own exi tence. It i the movernent ofthe Umkehr, and indicate that , however alien Holderlin's poetry and thought may now appear , they ar not altogether uniqu , boc on among th first ign of a po. iblc, future po t-ry.

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DIACRITICS >> 2012 >> '40.1

Notes e title does not appear on the typescript. Substantive differeoc;e$b tw n the Prin 10nTypt· script and the pre.,ioos d(aft. ther in the published RCC or · th IrvineMolnuSCI'Dt, not ,I be4ow. Hoiortins orthog,aphy tor ttl ~ sot das 1 6gurt1 in this r , wh nee "Sophokles." and "Kreoo• among others..

Thee too of RCC prcwide bibliographic: , f rtnce fo, C,oce'sartido (205n3}. Croce's anide is diaraaenzed as a •polemic"in Pellegrini.Holde,/In; St0t1i d, II aicir:a. >77, •nd in tht IIXD ~ G rma 9 In RCC.this sentence and the follo...ing appear ·thin parentheses: "I 'IIhave to come bac later to 'nat o~f nsln H~d lins po ry, and It 2 e editor~ o RCC note. "De had ww-itten should th n b4!d that i has nothing in common '1920?' but dea,ly was, ferring to theHellingrath/ wl lheextreme forms of iwen ·e1h.-cenrurynational~&/Pige1'ot dition io si "olumes· (205n1). ism· (\24). De Man returns to this aspect of his a,gu• ment ·n the lrYineManuscript(21-28) . See note 80. 3 r~ r w discover din 1954and published e same year ·n a 10 In RCC. this sen l!flCt continues wi clause. ·as lime a:sdoes the musk of Bachor the p n · g ol edir10nby Fri 'ehB i ~r . Pi ro la Ftan~sc • (12~) . 4 In RCC:"fifty items. (123).

In RCC. this sentence is follol"edby, he lead• ,ng schools of uto~ ha.,., devoted " 91 ~ mount h.-v of wont 10Hold rl nd, '" son, a$U origin ed in cont.let wi is w~ • (123) . 5

The phrase, in spite of lhe linguistlcclfflcultie.s: de>e'5 not appear in RCC (124).

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criticelin ~est in the relati01'15hip betw en th tfflTIS vat llndi.r:hand rtarlooel/ln llldert· 's I tters to Ca ·mir UlrichBohleodortfon er '4, 1801 (Gro&eStuttganer Ausgabe. °' 1arge• Stuttgart edition, henceforth GStA. 6.1-425- 28) and in lote ovem~r 802 (GStA. 6.1:•52-33). In the commentary on He>ldellin 's letters in the GStA. editor Adolf 8e , cha t word. In th 180 lrtt r is equi\'alen to phrase "vate,Uindisch and natural. th.tntieolly0n g' • ( ttllnd,s,chllttdtllfatlieh. eigfntlkh o,igir?J) in~ 1802 lc: (GS(A, 6.Hon) See also notes 9 and 80 .

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s to this edition. we have come to know Hotd rlan's wo mor dos ly nd iintimot th.,n 1 t of mo$l p (Pr !Alyl>K u t so f..., of the sage:

writingswere published during I poe1'sIi e6me. the editOlhad to give us t pracocallyamounts to a acsim1le of the manuscripts.,with a deta~ed de.scripndt lng a corr in manuscript are considerable. There are p,as~es. c n in 8eksnels v ry reful dit1on.wht.-eroom remains for clsagreement and dodit. But oo other h.,nd, wh ., r doubH r main, Th diff !ties re never caused by exteriOlcauses-as is the case. hw instance. in a writ Did ot. wh1»e da sti wooo were often altered and disguisedfor obv;ous poli · al easons. HOl~in's innum r nd re ·1in9salwaysindicate cha es and evolutions of h s o mlnd Of technique-:they ate therefore emsdves a very frui I sovr fo, ·n1e,pr · n)" (125).

Hold rlin and th Romantic Tradition »

Paul de Man

12 This pass,ge, • n it ·ube ~leted . . . on the whole,."does not appe¥ ireRCC. whiGh·nst ad b 'ns a parit