The acuteness of the opposition between the ideal and the real in Hölderlin recalls Shelley, who was also a romantic Hellenist, and at the same time perhaps the most purely Rousseauistic of the English romantic poets.
With Hölderlin it was the rude interruption from without of his quiet and happy intercourse with Susette, which embittered his soul.
And so nature is to Hölderlin always intensely real and personal.
Lenau has nothing of that naïve and unsophisticated childlike nature-sense which Hölderlin possessed, and which enabled him to find comfort and consolation in nature as in a mother's embrace.
The charge of affectation in their Weltschmerz would be an entirely baseless one, both in the case of Hölderlin and Lenau.
In spite of his deep and persistent Weltschmerz, Hölderlin rarely gives expression to a longing for death.
It is scarcely necessary to theorize as to what would have been the attitude and conduct of a sensitive Hölderlin or a proud-spirited Lenau in a similar position.
It is impossible to read these lines without feeling something of the cold chill of the heart that Hölderlin felt was already upon him, and which he expresses in a manner so intensely realistic and yet so beautiful.
Hölderlin earnestly pursued happiness and contentment, but it eluded him at every step.
Regarded as a psychological process, Lenau's Weltschmerz therefore stands midway between that of Hölderlin and Heine.
In other words, Heine betrays a lack of will-energy along artistic lines, which in the case of Hölderlin and Lenau was more evident in their attitude toward the practical things of life.
Certain it is that he took a much lower view of his art than did Hölderlin or Lenau.
The truth of the matter is, that with all his fervid enthusiasm for Hellenic ideals, and with all his Greek cult, Hölderlin was not the genuine Hellenist he thought himself to be.
Whereas in their hopeless loves, Hölderlin and to an even greater extent Goethe, struggled through to the point of renunciation, Lenau constantly retrogrades, and allows his baser sensual instincts more and more to control him.
Unfortunately, poor Hölderlin could not make such fine distinctions.
But the "reality" is now different, and it might well be asked whether Hölderlin would be able to find his way at all in the present great age.
Therein lies the humour which poor Hölderlin lacked and the need of which ultimately wrecked him.
From his æsthetic point of view, Hölderlin does not perceive that boundary line drawn by Kant between the domains of reason and imagination.
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.
No Greek ever spoke of the woman he loved with the religious adoration which Hölderlin expresses for his "fair Grecian.
Even as dramatist and novelist, Hölderlin was the gifted lyric poet, that and nothing else.
The above list will hopefully give you a few useful examples demonstrating the appropriate usage of "lderlin" in a variety of sentences. We hope that you will now be able to make sentences using this word.
