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Van: owner-heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx
[mailto:owner-heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx]Namens Tympan Plato
Verzonden: donderdag 21 oktober 2004 1:33
Aan: heidegger@xxxxxxxxxxxxxxxxxxxxxxxxxx
Onderwerp: RE: derrida
>
>tympan
>
> Tympan, Heraclitus was precisely what i wanted to write about a little
>more
> after Dionysos and Heidegger's remarks about Otto's book and the
>elaboration
> of the mask-theme in it by Otto according to Heidegger's proposals.
>
> p. 189/90:
> "Being, to the Greeks, means 'presence' [Anwesenheit] - parousia.
>Present this
> demigod is absent, and absent he is present [west er an]. The ensign
>of the
> present absent and of the absent present is the mask. It is an
>excellent symbol
> of Dionysos, that is, metaphysically-Greek understood: of the original
> relatedness of Being and Notbeing (presence and absence) to each
>other.
> Conversely, precisely this symbol as Dionysos is a decisive proof of
>the truth
> of our interpretation of the experience of Being [Seinserfahrung] of
>the Greeks."
>
> (Yesterday i read in Nietzsche 1, that Nietzsche CALLS Dionysos)
>
> From Dionysos as the ambiguous God to Herakleitos' identity in
>difference is not
> far. See for instance the ambiguity of the Greek word bios, which
>means 1. bow
> 2. life (only with different accents) Herakleitos: "For the bow
>[toxon] the name
> is life/bow [bios], the work however death. As to the
>ambiguity/identity of bow
> and lyre, Heidegger comments: "in both, the diverging ends are taunted
>together;
> this tension only enables just the launching of the arrow and the
>sound of the
> strings, that is: Beyng [das Seyn]" (p. 124) That's surprising, not?
>Bows, arrows,
> lyre and...Beying. Nothing thingly itself, it is (and in another way
>is not) in the
> things. Not the unity of a common genus, but unity through difference.
> (Also the relation of whine and ivy is very very strange - see Otto)
>
Oh yes I am surprised as we write. We are opening up Heidgger in a way that
has not been done on this list.
Everybody is always talking of non-metaphysical, not-anymore-metaphysical
and so on. But nobody DETECTS it where it is: right under the nose.
Indeed, things ARE not, when not seen. I'm in no way an exception. Reading
Heidegger on Hoelderlin say 20 years ago, i saw nothing, really nothing.
Even that is not wholly negative...
Would you say that the release of a
vibrational tension or antagonistic harmony then is destiny? Everything then
has its destiny in so far as each thing no matter what its is has this vital
impulse or life developing inside of it. Schelling in his book on mythology
and other places talks about the pythagorian dyad and Boehme would say each
thing has both justice and mercy working through it and unfolding with it.
Read Schelling rene he puts all the emphasis on seeing how non-being and
being create together a sort of anguish whose image is the flicker of a
flame or a corkscrewing vine.
Thanks for reminding. Following the subjectivity thread, Schelling could
not have reached the belonging together of the different, as it is (differently)
in Herakleitos, Hoelderlin, Heidegger. What, then, about the 'Hen kai pan' of
the three schoolmates in Tuebingen? (Hegel, Schelling, Hoelderlin)
After Herakleitos, in GA39, comes...Hegel!
One thing is: being after unity in difference, like Hegel and Schelling were,
and another: change theatre like Hoelderlin did. Hoelderlin managed - how is
a riddle to me, but it involves the way from philosophy to poetry, from concept
to language - to break through subjectivism. (sthing that Schelling could not,
despite all efforts in his late years; also not: Nietzsche, with him it's tragedy).
This is sthing that goes so deep, that it is essential that it is not seen, and
Hoelderlin forgotten.
It's the drunken magic of nature, the lilting
ebb and flow of life, the contraction and expansion of the heart. The
withdrawal that appears whose dissappearance leaves its traces as sign
making activity is an indicative evocation that is a poetic thinking at the
heart of Heidegger's mature writings. Dasein is not able to speak at the
threshold of a limit-experience that is not the subjective expansion of a
substantive intellectual property. Dasein can only make a symbolic gesture
towards a saying that is yet to come since it is nothing but possibility of
lingusitic culture and so natural like a child before the age of seven or
so. Dasein's potentiality is its youth, its own beginning. In an essay on
_Foundation of Empedocles_ Holderlin at the beginning writes the the tragic
ode has its beginning in the supreme fire. The fuel is surely our own
substantive thoughts that would have made up the richness of a bright
intentional life but now are the ashes whose illegibility we hopelessly try
to decipher.
read the poem Tears about the Greek islands, the 'geschickliche' that are
now full of ashes. Heidegger comments marvellous things in the Eveninglandish
conversation (during ww2). I'll take another look at it.
Holderlin writes that what tragic drama exposes is an excessive
interiorization or recollection which is its foundational tone. Empedocles
is the child of the most extreme antagonism between nature and art.
Also the identity/difference of Greeks and West, their fire and Geschick,
and our rendering capability, which you cited lately, comes in. I'll also
take a look in the Ground to Empedokles. One cannot delay indefinitely!
thanks
rene
tympan
> The problematic of the natal (Heimat) and origin (Ursprung) is so hard
>to see,
> because "what you're looking for, it is near, already encounters you",
>and
> because we're *not* at home there, as Hoelderlin writes, and because
>it is the
> most forbidden fruit. Of this forbidden fruit, in which the National
>Socialists
> were *not* interested, he is talking in 1934/35.
>
> gotta go read Nietzsche with my students,
>
> rene
>
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