ist, steht er da, wie ein missrathener Sohn, den der Vater aus dem Hause
stiess, und betrachtet die ärmlichen Pfennige, die ihm das Mitleid auf
den Weg gab,"[25] which further illustrates the extravagant idealism by
which he allowed himself to be carried away, and the etherial and
thoroughly unpractical trend of his mind. The flights of fancy of which
Hölderlin is capable are well illustrated by another passage in
"Hyperion." Referring to Hyperion's conversation with Alabanda, he says:
"Ich war hingerissen von unendlichen Hoffnungen, Götterkräfte trugen wie
ein Wölkchen mich fort."[26] These facts have a direct bearing upon
Hölderlin's Weltschmerz, inasmuch as it was just this unequal and
unsuccessful struggle of the idealist with the stern realities of life
that brought about the catastrophe which wrought his ruin.

And just as his ideals are vague and abstract, so too are the
expressions of his Weltschmerz. It needs no concrete idea to arouse his
enthusiasm to its highest pitch. Thus Hyperion exclaims: "Der Gott in
uns, dem die Unendlichkeit zur Bahn sich öffnet, soll stehen und harren,
bis der Wurm ihm aus dem Wege geht? Nein! nein! man frägt nicht, ob ihr
wollt! ihr wollt ja nie--ihr Knechte und Barbaren! Euch will man auch
nicht bessern, denn es ist umsonst! Man will nur dafür sorgen, dass ihr
dem Siegeslauf der Menschheit aus dem Wege geht!"[27] It is in the form
of lofty generalities such as these, and seldom with reference to
practical details, that Hölderlin's longings find expression.

Entirely consistent with this idealism is the nature of his love,
ardent, but etherial, "übersinnlich." This is reflected also in his
lyrics, which are statuesque and beautiful, but lacking in passion and
sensuous charm. Hölderlin's earliest love-affair, that with Louise Nast,
is important for his Weltschmerz only in its bearing upon the
development of his general character. This influence was a twofold one: