Abstract

A gradual intertwinement of beauty and concept can be seen to determine, in no small measure, the direction of the first half of the Critique of Judgment. This paper considers the decisive influence of this intertwinement on the work of Hölderlin. Links are forged between the productive indeterminacy of the “aesthetic ideas” and the development of Hölderlin’s poetics, particularly in regard to his understanding of the relation between the natural world and its naming. The focus of attention will be on certain passages of the novel Hyperion, and later, too, on the emergence of the figure of Empedocles.