Friedrich Hölderlin (1770 – 1843)
Poem
AS ON A HOLY DAY
fragments
(1799)
As, on a holy day, a countryman
Goes out at dawn to view the field, whilst,
Following a night cooled only by the constant
Lightning strikes, the distant thunder rumbles on,
And, gradually, the flood subsides,
The grass luxuriates,
The grapevine drips with all the gladdening rain
That heaven’s sent, and, here, the grove
Stands, in the quiet sunlight, numinously still,
So now they comfortably take their ease,
Who learnt their craft, not humanly alone,
But from the gentle, all-pervasive will of
Mighty Nature, loveliest divinity, herself:
The poets. Ones to whom the seasons of her slumber,
When the nights are long, the flowers withered, those
Dire famines of the spirit, are so desolate; yet who,
Although they seem abandoned, still remain
Forever in communion with the absent one.
But now day breaks! With me, behold
The dawning answer to my urgent prayer:
As She, who’s older than the ages, and exalted
High above the pagan gods of east and west,
Heaven’s queen, is roused amidst the clash of arms,
And, from the heights of Aether down to the lowest depths,
Once more, as is the rule where what’s profane dissolves,
Out of the then resultant anarchy there springs
A new creative impulse of delight.
And like the flash of fire that flickers in the eye
Of one who schemes great things, so
Now the portents, the great deeds, have lit
Fresh flames in poet-souls, and,
As the veil is lifted, now at last we see
How, all this while, the sacred
Powers of Life have been at work,
Albeit incognito, in our fields.
Did you not know? Then, learn! Their inspiration
Is the sap of songs, fresh-sprouting
From the sun-baked soil. Some are the outcome
Of freak storms. Others, more steadily
Prepared, are easier to receive. These are
The universal dialogue of heaven and earth,
The World-Soul’s ruminations,
Come to quiet ripeness in the poet’s thought.
Struck by a holy kindling ray, or shaken
By a sudden hit of memory, the song,
The fruit, the love-child, the collaborative
Self-revealing work of gods and mortals, thus
Becomes what it from all eternity was meant to be.
As once, the story goes, when Semele desired
To see the god with her own eyes, his lightning
Struck her house, and nine months later
She gave birth to holy Bacchus, her wild windfall.
And, indeed, today it seems the sons of earth
May drink, unscathed, of heavenly fire.
So, we – my fellow poets! – we are called to stand
Beneath God’s thunder storms bareheaded.
We are called to seize the Father’s lightning bolt itself
With our own hands; to wrap the heavenly gift
In song, and pass it to the people. For, if
We’re pure in heart and child-like,
If our hands are guileless, then
The Father’s bolt will never singe us.
Even if convulsed, in anguish – sharing the Almighty’s
Anguish – still, in all the steep down-rushing storms
Of God’s approach, the heart will yet hold fast.
But O, my shame! When, from
[…]
O, my shame! […]
[…]
And let me say at once, […]
When I drew near to gaze upon the Heavenly, they,
Themselves, they threw me down, false priest condemned
To probe the depths of living hell, that I might sing,
To those with ears to hear, a warning song.
There […]
No poet could have a more exalted notion of poetic vocation than Hölderlin. Mostly, he articulates it in terms of mourning for the lost glories of Ancient Greece, pictured as a culture ideally hospitable to such vocation. But in this experimental fragment, written in late 1799 when he was just developing his ‘hymnic’ style, he hitches his sense of vocation onto the revolutionary excitement of the age, arising from the live, recent memories of the French Revolution.
The result is a piece of splendid Promethean bombast – which, however, then abruptly collapses into a traumatized confession of hubris, and so breaks off. That confession begins in strophe 8 with a patch of prose: a momentary formal retreat back into what, for him, preceded verse. The tension so dramatically enacted here more or less underlies all his great work in the immediately following period.