"What is all that men have done and thought over thousands of years, compared with one moment of love. But in all Nature, too, it is what is nearest to perfection, what is most divinely beautiful! There all stairs lead from the threshold of life. From there we come, to there we go."

“The one poet who both grew out of but gave form to many of the thoughts and philosophies of these groups was Friedrich Hölderlin and though his disillusionment with the French revolution was great, the poems he wrote in response to it seek to bring a the sense of revolutionary elan and hope which it promised into his oeuvre. He did this by returning to the classical tradition and a reworking of ancient Greece which, instead of the usual promotion of a static understanding of the way history works, he emphasised the old Heraclitean adage that everything is in flux. Hope sprung eternal because hope emerged out of changed circumstances and out of the fundamental human desire to make things better, no matter how that desire may become diverted and deformed by the contingencies of the every day. His rediscovery of Dionysian desire is clear in his work.”

“The fact remains that Hölderlin's creed was a kind of pantheism – though it has many varieties – and that his supreme value was beauty – though beauty is variously understood and experienced. Beauty for Hölderlin was not a thing in itself, but rather the grace attendant on a harmonious manifestation of the powers of Nature. Athenian civilization was the type of the beautiful, because Nature achieved in it her own perfect form.”

“It was the function of poetry, not of himself as the poet, that he thought highly. That function was sacred, for the poet was the priest of the divine. Mr. Peacock – we think rightly – compares him with Blake both for his isolation among his contemporaries and for the purity of his utterance, which seems to carry with it so little base or neutral matter. He can be compared with Blake also for his sense of inspiration; but whereas the divine for Blake was gradually concentrated in a power which he identified with the god of Christianity, Hölderlin sought for it in the gods. These gods of his – of whose imaginative reality his poetry convinces us – appear to have been created by a singular combination of German philosophical pantheism and a profound insight into the religious sources of Greek poetry.”

“When you read Hölderlin, you see feints and variations that put him with Celan; it was reading Hölderlin that gave Rilke the impetus for his Duino Elegies (his "Gods" are like Rilke's "Angels", tutelary presences that don't quite convince us that they exist: "Celebrate – yes, but what?" Hölderlin writes somewhere, but it sounds eerily like Rilke). Sometimes reading him can feel as bitterly sacramental as Trakl, the great Austrian poet who took his life following the battle of Grodek in the first world war. All that doesn't really "translate". If you really want to read Hölderlin – or any one of the other great "national" poets – you should learn German (or Russian or French or Spanish).”

“It was not delight, not wonder that arose among us, it was the peace of heaven. A thousand times have I said it to her and to myself: the most beautiful is also the most sacred. And such was everything in her. Like her singing, even so was her life.”

“Immerhin hat das den Staat zur Hölle gemacht, daß ihn der Mensch zu seinem Himmel machen wollte.”