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 (hœl′dər-lēn′), Friedrich 1770-1843.
German poet whose works, such as the elegiac Bread and Wine (1801), often echo classical themes but express a romantic intensity of feeling.


(German ˈhœldərliːn)
(Biography) Friedrich (ˈfriːdrɪç). 1770–1843, German lyric poet, whose works include the poems Menon's Lament for Diotima and Bread and Wine and the novel Hyperion (1797–99)


(ˈhœl dərˌlin)
Johann Christian Friedrich, 1770–1843, German poet.
References in periodicals archive ?
Sei Shonagon, Gerard Manley Hopkins, Emily Dickinson, Friedrich Holderlin, and Arthur Rimbaud give some idea of what one is entitled to hope for in a poem.
He loves the music of Mozart and Bach, the works of the Russian novelist Dostoevsky and the German poet Friedrich Holderlin.
Toward noting the value of Heidegger's work contained here, consider that in the decade prior to the 1944/1945 winter semester Heidegger taught five courses on Friedrich Nietzsche (1844-1900) and three on Friedrich Holderlin (1770-1843).
Eliot's "Burnt Norton" ("Before the beginning and after the end"), and the German Romantic poet Friedrich Holderlin ("Schwer verlafitf Was nahe dem Vrsprung wohnet, den Off"--"A place of dwelling / This near the source is hard to leave").
1951), which focuses on a late poem by Friedrich Holderlin, "In lovely blueness" (In lieblicher Blaue), in which the phrase that Heidegger takes for his title is contained.
Since his rediscovery during the second decade of the twentieth century, Friedrich Holderlin (1770-1843) has been a focal point in the study of German classicism; at times, the critical appreciation and analysis of his work has overshadowed the scholarly engagement with Goethe and Schiller.
Poet Francisco Hernandez voices Friedrich Holderlin during the German poet's lovelorn late years in excerpts from Scardanelli Speaks.
But it is the long out-of-print volume, Friedrich Holderlin, Eduard Morike: Selected Poems, that seems to me to be Middleton's single greatest achievement in translation, and surely one of the great works of translation of the twentieth century.
In "The Temporality of Praise Karmen MacKendrick exuberantly engages the works of St Augustine, Meister Eckhart, Friedrich Holderlin, and Rainer Maria Rilke to explicate the "epistemological" (20), even mystical function of praise: non-linear and non-discursive, praise does not inform or narrate, does not deliberate or persuade (20).
It was clear to Gadamer already in 1936 that Heidegger was devoting himself with "impassioned intensity" around this time to the poetry of Friedrich Holderlin and that Heidegger had transferred the concept of earth from Holderlin's poetry into his own philosophizing ("Zur Einfuhrung" 108f.
It's there, also, in the jagged melancholy of Friedrich Holderlin.
FRIEDRICH HOLDERLIN, Socrates and Alcibiades, in POEMS AND FRAGMENTS 66, 66 (Michael Hamburger trans.