荷尔德林《许佩里翁》的文本中饱含柏拉图《会饮》的影子，许佩里翁正是“爱欲”精灵厄洛斯的化身，而那神圣的“美”则落入了笛奥玛的身中。他们的相爱不仅表达了“爱欲”与“美”的合一，也使“人性之美”与“神性之美”、凡俗与神圣都达诸合一。然而，这“合一”同时带来了低者的升高与高者的降级，于是低微者由“合一”融入崇高，而高不可攀的“美”则被拉入凡尘。笛奥玛早早死去，荷尔德林将此“美”的“夭亡”描述为与万物合一、飞升为神的方式。但“合一”之痛点却残酷而分明，于人意味着失丧自我，于神则是沦为可朽。如此“夭亡”背后，蕴藏的是人之必死的悲剧性。而死去的是“美”，就更加为这悲剧叠加了一层“爱欲”追求“美”的无望。

Hölderlin’s “Hyperion” is full of shades of Plato’s “Symposium”, in which Hyperion is the embodiment of Eros, the genie of “Love”, and Diotima becomes the personification of “the Beauty”. Their love not only expresses the unity of “Love” and “the Beauty”, but also brings together “human beauty” and “divine beauty”, the mundane and the divine. However, this unity brings with it the elevation of the low and the demotion of the high, so that the lowly are incorporated into the sublime, while “the Beauty” is drawn into the mundane. Hölderlin describes “the premature death” of Diotima as a way of becoming “the One” with all living things and ascending to godhood. But the painful point of this unity is cruel and clear: for man it means the loss of self, for God it is the reduction to immortality. Behind such a “premature death” lies the tragic nature of the inevitable death of a human being. The fact that it is “the Beauty” who dies adds a layer of hopelessness to this tragedy in Hyperion’s pursuit of “the Beauty”.