Friedrich Hölderlin’s Hyperion oder der Eremit in Griechenland (1797–1799) plays with the Bildungsroman as a literary form. As a story of the coming-of-age of the novel itself, it is a Künstlerroman as well. When the narrator fails in his worldly aspirations, he chooses the life of a hermit. His book becomes his cloister. This essay will study Hölderlin's novel as a response to Friedrich Schiller's philosophy of freedom in and through art. In his letters Über die ästhetische Erziehung des Menschen (1795), Schiller posits a two-fold relationship between art and freedom. Art is freedom in the ideal and allows for freedom in history. In other words, moral freedom requires aesthetic freedom as a pledge to its possibility. But in Hyperion, aesthetic freedom appears as freedom itself, absolutely and without any ‘and’. History may have yet to separate itself out from life, but art does so, making a prophet of Hölderlin's Hyperion.

弗里德里希·荷尔德林的《Hyperion oder der Eremit in Griechenland》（1797-1799）将成长小说作为一种文学形式。作为小说本身的成长故事，它也是一部艺术小说。当叙述者的世俗愿望落空时，他选择了隐士的生活。他的书成了他的修道院。本文将研究荷尔德林的小说，作为对弗里德里希·席勒的艺术自由哲学的回应。席勒在他的信《Über die ästhetische Erziehung des Menschen》（1795）中提出了艺术与自由之间的双重关系。艺术是理想中的自由，也是历史中的自由。换句话说，道德自由需要审美自由作为其可能性的保证。但在海伯利安，审美自由表现为自由本身，是绝对的、没有任何“和”的。历史也许还没有脱离生活，但艺术却做到了，成为荷尔德林的海伯利安的先知。