Land Heidegger Trakl Filosofia Poesia

7/21/2019 Land Heidegger Trakl Filosofia Poesia

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J

*

*

@

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Narclsslsm

and

Dlsperslon

ln

HddeggerL

1953

71:/

Interpretabn

NICK

LAND

Martin

Heidegger's

thinking

continues

to

have

a

massive

-

and

con-

stantly

powing

-

influence on

the

development

of

mcdern

tphilosophy';

in

he

formulation

of

its

questions,

th

selection of

its

objects',

and

the

constructions

of

its

history.

Yet

this in itself

might

not

be

enugh

to

explain

why

his

1953

essay

on the

Austrian

poet

Georg

Trakl

should

be

of

intcrest

to

us.

Does Heidegger's

essay

perhaps represent

Trakl

to

us

in a

way

that

is

enlightening

or

infrmative?

Does

i t tell

us

something

about

poetry,

or

history, or

language in

general?

Does

it,

in

fact,

succeed

in

doing

anything at all? In

his

safely

vacuous

text

on

Trakl's

poetry

Herbert

Lindenberger

writes:

It

would

seem

patuitous

to

complain

of

the

wrongheadedness

of

Heidegger's

approach

to

Trakl, for

Heidegger

does

not

even

pretend

to

use

the

poets

he

writes

about

for

any

purpose

except the

exposition

of

his

own

philosophy.

But

Heidegger's

study

of

Trakl

seems

to

me

considerably

less

successful

than

his

study

of

Hlderlin

.

.

.

(Gr,

p.

141)

Lindenberger

does

not

ask

what

meaning can

be given

to

tsuccess'

within

a

history

-

like

Heidegger's

history

of

being

-

for

which

the

proper

sense

of propess

has

always

been

the

expansion

of devasta-

tion;

a

history,

that

is&

which

has

been

perpetually

detlected

from

thinking

by

a pervasive

theo-technical

tradition.

Platonic-christian

culture

has

made

it not

only

possible,

but

also

imperative,

to

think

of

metry

as

thc

product

of

a

poet,

and,

derivatively,

as

something

to

be

used'

by

a

philosopher

for

the

purpose

of

illustrating

rep-

resentational

concepts.

It

is

this

tradition

which

directs

us

to

ask

Narcisslm

and

ahmt

the

essay.

Such

questions

are

symptoms

stituted

illiteracy,

whose

hegemony

of

the

(post-lmodern

age

to

question

As

for

Trakl

who

failed

to

orga

laws

of

his

civilization,

failed

to

opium,

enmeshed in

alcohol ism, fa

died

of a

cocaine

overdose

in

a

mili

be

doing

to him

if

we

said

he had

ts

ing

his

delicate,

futile

ardour

to

a

s

despisc

itselg

Trakl's

traces

are

the

rific, failure.

A failure

to

adapt

or

c

adequately,

to

produce,

resolve,

com

not

merely

a

default,

however,

but

Thc

evolution

of

his

style,

if

it

is sti

such

a

thing,

is

a drive

towards

the

evalu-ation.

It is

this

abo. ve

all

wh

encounttrs

with

Rimbaud

and

Hlde

which

would

distinguish

a

traum

dachieved'

formal

presentation

loses

language ipto the

shadows.

The

las

Heidegger

to

Amaster'

these

traumatiz

to

write

in

ashes.

usefulness

and

represen

A

long

essay

by

Heidegger

appeare

of

the

Gcrman

literary periodical

Me

Georg

Trakl.

This

mysterious

text,

strangely

detached,

was

entitled

Ge

Gedichtes

(tGeorg

Trakl.

A

situating

renamed

Die

Sprache

J'?A1

Gedkt

(tl-an

subtitled

Eine

Errterung

rtm

Georg

Georg

Trakl's

poetrf),

was

Iater

pub

division

of

Heideggcr's

book

Unterzce

Lanntagh. The

essay

which

precede

(tl-anguage'),

is

also

concerned

with

the

repding

of a

single

Trakl

poem,

Ein

ing').

Dl'c

Sprache im

Gedicht,

in

comp

than

ikrty-three

of

Trakl's

poems

in

search' for

the

well-springof

their

pec

lwo

texts

Heidegger

makes

only

glan

and

to

the

impact

it

had on

his

own



NICK

IAND

The

1953 essay

consists

of

three

numbered

sections of

uneven

length,

prefaced by a

short

untitled

introduction or

prologue.

These

basic

partilions

are

not

interrelated

according

lo

any

conventional

pedagogical

principle,

and

do

not

unfold

the

stages

of a

developing

argument.

lt

is,

for

instance,

very

diflicult to

discriminate

betwecn

the essay's

three

main

sections

in

terms

of

theses or themes,

since

each successive

section

recollects

(he

discussion

ofthe

last

and

subtly

displaccs

it.

To

depict this

complex

progression i t

is

perhaps

necess-

ary

to

borrow

the

metaphor'

Heidegger

himself

calls

upon,

that

o

a

zcave,

which

describes

motion

coiling

into

an

enigmatic

pulsion

and

cyclical

repetition.

Yet the

peaks and

troughs

that

allernate

within

Heidegger's

lext

do

not

follow

the regular

trace

of

an

oscillograph;

they

cut a

jagged

and

confusing

path. As they

rise

a

distinc:

itheme'

emerges,

momentarily

isolated

from

a

maelstrom

of interweaving

currents.

Due

to the intensity

of

Trakl's

language,

.

and

to

the

momentum

historically

invested

within it,

each

theme

shatters

ipto

blinding

foam

when

swept to

its

apex,

and

sinks again

into swirling

depths.

In this essay

I

shall only

altemp

to

explore limited

stretches

along

a

single

of-

these

interwoven

currents:

pursuing

elements

of

retlection

and

dispersion

in

Heidegger's reading

of

Trakl's

poem

Getliclle

Dtplr?lcm/z'.

Heidegger's

readings

of

poetry are

perhaps

most distinctively

characterized

by

the

refusal

to

participate aflirmatively

in

the

dis-

course

of

European aesthetics,

and

the

associated

project

of

rigor-

ously

bracketing

subject-object

epistemological

categories. He

argues

that

when

the

categories of

aesthetics

are carried

into

the

domain

of

linguistics

or

other

varieties of

Ianguage

study

they

take

the

form

of

a

distinction

between a

normal and

a

meta-language.

The

minimal

notion of

meta-language

is

a

technical

terminology

which

is

distinctive

to

the

critical or

interpretative

text.

This

terminology

traces an ancestry

for

itself that

is

divergent

in

principle from

that of-

the

texts

to

which

it

is

tapplied'.

The kinship of thinker'

and

poet'

is

annihilated. At

variance

to

this

sedirhenting

of

metaphysics.

Heidegger

pursues

a

tendency

towards the

uttermost

erasure

of

ter-

minological

distinctiveness. The

language

of poetry is

not to

be trans-

lated,

but

simply

guided

into

a

relationship

with

itselfl

And this

guid-

ance is

not to

be that

of

the

thinker qua

subject,

but that

of

an

imper-

sonal

thinlting

which

is

no

longer

disguised

in

the

cloak

of

philosophy.

Philosophy

would

no

longer

be

the

guardianof

this

relation,

since

the

epoch

of

philosophy

is

simultaneous

with

that

of

meta-language. Or,

. .

/

t/rt-p-.lq/l (ln(

put

diFerently,

meta-language

is

pre-

physics.

Th

final

essay

in Untcrzoegs

z/fr

Sprache,

begins

by

citing a

sentence

fr

prciscly

what

is

most

peculiar

abou

itselfwith

itself nobody

knows'

LUS,

thought

-

of

language

accounting

fo

begins

his

mcditation

on

poetry. The

to

stem from

the

reading

itselfl

Indee

solved into

poetry,

but

only

in such

a

in its

rhinking. Heideggcr

trusts

tha

reserve of

Western

languages,

while

elicited,

He

suggests:

Thus released

into

its

own

freedom,

lang

itsclf

This

sounds likc thc

discourse

up

guagc

ds

not

insist

on itsclf- in

thc

se

self--mirroring.

As

saying,

thc

wcft

of-

la

which

preciscly

dellects

its

gaze om

it

into its

appropriate

appearing. (Uu%,

p.

2

l-anguage

is

to be

underslood

in

a

theory

of narcissism,

since

it relates

taken

to

be

analogous to the

selflregar

own

reflection.The

discourse on

lan

misinterpretation that

threatens to

it,

into

a

psychoanalysis

of

the sign.

A

of

language

seems

to

symptomize

a

t

itself

into

a

geometric

Ggure of

desir

to

language

is not

to

be

confused

with

unconscious

energetics

-

and

in

t

Gcdicht thc

reference

to

psychoanalysi

a

crucial

historical

crossroads in

th

doctrine of

the

cosmic

circle,

lhe

Heidegger

seeks rigorously to

disting

recurrence

-

as

thc

last

attempt

to

co

as

recapitulation

of the

history

ofbei

even

as

Trakl's

icy

wave

of

eterni

preted

within the

lfreudian

research

as

the economy

of

desire,

and

as

the

which

is

perhaps the

crucial

thought



NICK

JMND

elserhere. The

dissolution

of

humanism

is

stripped

even

of

the

termi-

nology

which

veils

collapse in he

mask

of

theorctical

mastery.

It

must

be

hazarded

to

poetry.

Geistliche

Dmmen ng is

the

only

poem

cited

by

Heideggr in

its

entirety

in

the essay,

and

this

is

of some

considerable

signilicance.

Dissolving

the

unity

and

specificity

of

the

separate

poems

plays

a

vital

role

in

Heidegger's

project

of uncovering

a

site

(Orf)

that

relates

to

the

Trakl

corpus indiFerently

and

as a

whole.

Up

lo

the

point at

which

Getlte

Dmmerung

is

introduced

Heidegger

conserves

the

status

of

this site

as

the

sole

ontologically'

signilicant lotality

by

splintering,

rearranging,

and

repeating

fragments

of

the

individual

mems.

The

resilient

inregrity

of

this

particular

>em

in

Heidegger's

text

might

therefore

indicate a

special dimculty,

one

that

obstructs

he

process of

assimilation

and

resists

the

hegemony

of the

site.

If

this

is so

it

is

possible

that an

issue

is at

stake

in the 'reading

of

this

poem

which

resists

absorption

into

any

readily

communicable

truth

of

Trakl's

poetry,

an

issue

that

perhaps

remains

in some

sense

exterior

to

a

(thinking

dialogue'

with

the

poet,

but

one that

also

retains a

peculiar insistence.

As

Heidegger's reading

unfolds

il comes

lo

chart

a

closure

of

communicationof

precisely

this

kid.

There is

no

unambiguous

point at

which

the

discussion

of

Gcljliche

DJ?/l??lcmag

begins.

lt

is

approached

through

a

discussion

of

the

tinal

lines

of

Sommersneige

(tsummer

Solstice')

in which

the

steps

of

a

stranger ring

through

the

silver

night,

and

a

blue

beast

is

brought

lo

the

memory

of

its path,

the

melody

of

its

spiriting

year.

To this

is

confoined

the

hyacinthine

countenance

of

lwilight

from the

poem

Uncrwegs

(sundervay').

Heidegger

introduces

the

pocm in

order

to

address

what

is

named

in

its title,

without

any

hint

that

the

perplex-

ing

tigure

of-

the

sister

is

to

haunt

it

bolh

here

and

in

its

later

cilalion

Lbs,

pp.

67-81),

displacing

a11

other

preoccupations.

It

reads:

N

' '

rt-/l,lspl

&?l

Aufschnmrzer

W/t k

Befrst

du

Jrltnkw

vo

Den

ncbttken

W/c?'&r;

Den

Stcrrlcx/lfpl-cl.

lmmcr

JJrl:

der

Schuws

ljurc

die

j'cl'lf/k/lc

Na

(At

thc

forest's

rim

silence

mects

/

A

d

the evcning

wind, //

Thc

plaint

of the

flules of

autumn

/

Fall

silent

in

the recd

on

poppies,

/

The

nocturnal

pool.

//

Th

sistcr

sounds unceasing /

Through

the

The

translation

of-

beast'

for W

German

lhe

word

vild

denotes

a

f

as

game,

and

sometimes

it

specities

it

connotes

wildness

and

wilderness

in

German

as

well

as

English.

etymologically

related

to thc

simi

work

of

associations

secms

impos

lation.

Such

difliculties

are

particu

translation

must

bear

almosl

the

e

of

animality,

and

the

further

stress

For

Heidegger

the

Cdark

beast'

is

t iates the

difflrence

between

anim

zon

ofbeing

-

Jcr

Mcnsch.

The

wild

by

the forest;

instead

it

gives to

th

is

not

a

fixed

demarcation,

and

is

The

shadowy

animal,

trembling

Wln

,

IS

man -

The bluc

beast is

an

animal

whose

animalness.

but

rather

in

that

thoug

This animality

is yet

distant,

and

animality

of

tbe

animal

noted

herc

o

yet

broght into

its

weft

Ilrcscrll.

Th

tionate,

humanily.

is,

according

to

N

ra

lished

gcx

gestellt 1.

LUS,

p. 45).

Heiegger

takes

the

wcave

of

from

the

beasts

of

the

wilderness

irreducible to

adaptive

biological

Sule

begegnct

tzr?l

Saum

des Waldes

Ein

dunkles

Wtd;

Am

Hgel

endet

faie

cr

Abendwins

W'rslxplraf d

Klage

der Amsel,

Und

die

sanhen

Fltcn des

Herbstcs

s't-/?ztwkczi

im

Rohr.



NICK

J-/WD

in

the

temporalization

of

the

ontological

diFerence,

and has

been

tra-

ditionally

unilied

-

if-only

confusedly

stl

-

aYut

the

lhought

of tran-

scendence.

Transcendentalthinking

has

the

peculiar

characteristic

of

.

relating

itself

to

the

thematic of

thought

itselfl

a

tendency

which has

been

systematized

within

epistemological

philosophy.

Within

the

western

tradition

this type

of

cognition

has

'been

designated

treflec-

tion'. The

human is

that

animal

caught

in

the

play

of

its

reflection.

The

line

ofapproach

that

Heidegger follows,

in

what is

to be

his

first

and

sole

decisive

encounter

with

the

poem,

begins

with its

final

stanza;

The

star 'y

sky is

ponrayed

Ldargestellt

,

staged,

placed

there,

the

stellen

is

always

decisive fbr

Heideggerl

in

the

poetic

imagc of-

tbe

nocturnal

p1.

So

our

habitual

representation

(zur-sfcl/cn

thinks

it.

But

the nighl

sky

is

in the

truth

of- iTs wcft

this

mol.

Over

against this.

what

we

othenvisc

ca ll t he

night

remains

only

an

image, namely,

the

fded

and

vacuous

atier-imagc

Lhachbld,

Ixrhaps

also

copy')

of

its

weft.

(US,

p.

48)

The

insistence that

the night

sky

is

in

truth a

pool

is

not

irreduc-

ible

either

to

Heidegger's

phenomenological stubYrnness,

or

to

a

defence

of

the

primordiality of

mctaphor.

It

is

far

more

intimately

connected with

the

problematic

of

spatiality

in

post-Kantian

think-

ing, and

beyond

this

with the

Greek

thought

of the

heavens

as

zaol.

These

concerns are

boundup

with

Heidegger's

pursuit

of that

reflec-

tion

which yields

an

image

o

human transcendence,

and

therefore

marks

a firmly

established

separation

of

Dasein

from the

psychology

of

animals.

This

pursuit

is

perhaps

the

aspect

of

Heidegger's

work

which is

closest

to

the

concerns of

the

ontotheological tradition,

the

point

where his

thinking

is

most

thuman,

all-to-human'.

But

there is,

nevertheless,

somelhing

txlth

crucial and

ttechnicaly'

precise

at issue

in

this

play

of

mirrors.

The passage

continues:

The

pool

and

the

mirror-pool

ohen recur

in lhe met's

metry.

The

water.

sometimes

blue,

somtimcs

black, shows

humanity

its

own

countenance,

its

returning

gaze.

But

in the

nocturnal

pool of

the starry

sky

appears

the

twi-

light

blue

of

the

spiriting

night.

I(s

gleam

is cool.

(US,

p.

48)

The

slarry

sky

has an

integral

relation

lo

retlection,

but one

which

is

of

daunting

complexity.

Hcidegger

first

turns

to

the

pool

itselll

besides

which

humanity

lies,

lost in

narcissistic

reverie.

Hcre

humanity

gazes

upon i tsel fl

although

we

are not

told whether,

like

Narcissus,

this

gaze

is

inflamed with

desire.

Heidegger

tinds

the

compulsive

character

of

Trakl's

imagery

to

be

76

.

.

Narctsstsm

an

indicutive

of

a

reprcssion,

but

one

least

superticially

-

primarily

se

Trackl's

mirrors

to

exceed

a1l

repr

Lbbrhandenhei.

ln the

darkened

p

familiAr form;

it

reveals

instead

an

both

the

dawn

and

dusk of

the

spi

returns.

Reflection

is

shaltered

a

impassive

shade

of

a

pure

openi

thus

retlected

as

the

default

of an

or

Abgrund

which

is

the

transce

ontology.

The

heavens

are an

abys

discussion

of

Getlthe

Dtsfrn?at?rlfrll

sion

of

chaos

enters

inlo a

proble

porary

sense

of

the

word as

disord

opens

lhe

path

to

Trakl's

most

cr

As

the reading

of

Geljtliche

DJ?

cussion suddenly

changes

key,

w

thematic unity

between

the

mirro

now

introduced,

the

sister'.

The

cool

ligh:

stems

fiom

the

s

(Sclanna). lkinging

her

luminosity,

s

and

even

cool.

Everytbing

becomes

German masculinc)

stepping

through

lunar

voice'

of

the

sister,

which

alway

thcn

hcard by

the

brother n

his

boat

in a

nocturnal

journey

across

thc

poo

minaled

by

the

strangcr's

goldenncss.

h i

ter

is

all ied to

the moon

T

e

s

s

night.

Her

power to

render

a

wor

world-calumniating

darkness

in

gods,

whose

end

is

heralded by

the

flickering light of

a

new

dawn

of

the

wanderer

throughout

the

which

the

securitics

t)f

ontotheo

''

pear

iqplo

their

lwilight.

and

bcfb

which

N'rtr-a.p

irself only

in

sca

assdkkeu

wn

u-un.s-kspc-

J-nd

unrhreaded rme.

Even

:he

corru

tive

mark

of

scholasticism

and

the



NICK

J>WD

no

new

type

has taken

their

place. The

haunting

voice

of

the

sister is

heard

as

the

brother

drihs

away

from lhe

ancient genus

of

theoloscal

metaphysics and

towards the

genus

of

the

stranger.

Yet

the

sister's

voice cannot

be

identitied with

the

type

of

the

past

or

with

that

of

the

future,

it

canno:

be

subsumed

within

a

genre.

The

passage

is not

so

easily

reduced

ro

even

this

tentative

metaphysico-historical

familiarity, however,

since

Heidegger

does

not only

mention

the sister,

but

also Selanna;

the

strangers

(Jcr

Frc??lJc,

Jcr

Frctndling

-

the

gender

of d

Frcrzllc

from

US,

p.

41

-

has

now strangely

metamorphosed);

and

the sister's

brother. What

is the

meaning

of

this

peplexing

cast?

What

relation

does

Selanna,

the

i

h

ks

in

lunar

tones?

Of

unar

woman,

havc

to the

s

ster

w

o

spea

Selanna,

David

Farrell Krell

writes:

Tl-leidegger

recollects

the

way

the

ancient

Greek

lyricists

speak

of

the

moon

and

stars;

in

the con-

text of

abscission,

of

the

confluent

twofold,

and seln,

who

as

Semele

is

the

mother

of Dionysos .

. .' (1M,

p.

171).

In

the

classical myth

Semele

is

tricked

by

Hera

into demanding

that her

lover (Zeus)

reveal

himself to

her

in his

full

presence,

and when

he

does

so she

is

killed by

his

radiance. An

event that

might

suggest

some

relation

to

the

tstranger's

goldenness'.

But even following

this

apparently

un-

ambiguous

palh

quickly

leads us

into

a

kind of

mythological apon

since,

as

Robcrt f

lraves

notes in

lhc

77/??'?t'

Goddcss:

The

Vinc-Dionysus once

had

no

falher,

cithcr. I'lis nativity

appcars

to

have

lxen

hat

of

an

earlier

Dionysus,

lhe Toadstool-god;

fbr lhe

Grecks

believed

thal

mushrooms and

toadstools

were

engendercd

by

lightning

-

not sprung

om

seed like

a1l other

plants.

When the

tyrants of

Athens,

Corinth

and

Sicyon

legalized

Dionysus

worship

in their

ciries,

thcy

limited

the

orgies, i t

seems,

by

substituting

wine

for toadstools;

lhus

lhe

myth

of

the

Toadstool-

Dionysus

became

attached to

the

Vine-Dionysus,

who now

Ggurcd

as

a

son

of

Semele

the

Theban and Zeus,

l -ord of

lightning.

Ye

Semele

was

the

sister

of

Agave,

who

tore

ofrher son

Pcntheus' head

in

a

Dionysiac

frenzy.

(kP'(;', p.

159)

'The

attribution

of

a

(patrilinear)

genealogy to

Dionysus

is

complicit

with a

project of

repression.

An

intoxication

lhat

came

from

nowhere,

from

a

bolt

of

lightning,

is

asked

to

show

its

birth-

certificate.

Wine,

which Plato

will

later

accommodate

even

to

dialec-

tic,

displaces the fungus

o

lhe

Dionysian

culls

(Amanila

Muscan).

The sacred

mushroom

of

the

cults

is

held to be

responsible for

those

socially

unassimilable

deliria

which are

a

threat to the

nokt.

Narctstm

and

D

But what

is

the

relation

between

t

palhology

and

Heidegger's

interpretati

be

built

between

such

onlic-empirical h

denlal

queston concerning

the

sgle

ofp

gulf

has

been

hindered

by

lhe

med

derangement.

and its

reducrfon

ro

t

study

of

madness.

But

this

regional

than the

contemporary

instance

oftha

first

instituted

a

genealogy

of

Dionysus

fails

to

mark the

inherently

delirious

and,

lherefbre,

of

scientificity

irself

ontotheology

being

rooted

in a

specisc

to

the

western

graphic

order

implies,

m

history

must arise

out

ofthe

fbrgclting

constitutive

arche-amnesia

(the

ellip

Klossowski

has

even

been

1ed to

su

aphasic,

because

it

is

initiated

in

the

course

(hC, p.

16).

This

defaul: is no

pathology,

it is

an

inscribed,

prescrib

pharmaco-pathology.

The

response

oft

has

been

thar

ofa

poisoning.

This is

w

tutes

lbr

a

deliritlm

without

origin

-

origins

-

seems

to

resonate

with

wha

hannakographique.

In

Trakl's

Gcljtliche

Dtrzlrllcrl/rw

th

intoxicated

voyage

across

the

noc

Geschlecht (the

general

resource of

typ

starry

sky,

through

which

the

lunar

problematic of

the

moon

is introduc

gesture

of

interpretarion.

Perhaps to

sp

is

simply

to

speak

of the

way

things

ap

ln

der

Scpa/f, for

instance,

the

sister

light'.

Dcr

Schulester

Schlaf

ist

sc/lztlt'n

ln

ihrem

SI/J?;

das

mondner Glan

G'he

sister's

sleep

is heavy.

Th

In

her

hair,

bathed

in

he g lca

This

apparent reduction

or

simplifi

places

our difliculties

however. The

T

78



NICK

IAND

have

seen,

the

time

of

derangement

umnachtung),

consonant

per-

haps

with

the

mania'

that

stems,

like

moon

(and

mind'),

from

the

Indo-European

road

L*menlels-).

That

the

moon

is

associated

with

woman is

indicated

by

the

etymological

relations

between

imoon',

tmonth',

and

imenses',

but

it

is

also

the

companion

of

lunatics

and

wcrewolves;

sgures

with

whom

the

reader

of

Trakl

is

certainly

familiar.

It

is,

tittingly,

in

the

culminating

lines of

Iaum

C/nJ

Umnachtung

that

this

imagcry

crosses a

limactic

threshold:

Steinige

Oedefand

er

am Abend,

Purpurne

Xtl/le

umullkte

sein

I'Iaupt A./

cr

schwetkend

lcr

'el'n

etkenes

Blut

und

SI'ltf?1l hekl,

'J':I

mondenes

Antlz;

srf'l'zltzr.rI

ins

Leere

hinsank,

da

l

zcrbrochenen

Spiegd,

n

sterbender-jngling

die

Schuvstcr erschirn;

J

Nacht Jtz.r

vcrjluchte

Geschlecht

venchlang.

(He

fbund

a

pelrtied

desolation

in

the eveninp

thc

company

of

one

deceased

as

be

entered

the

dark

house

of-

the

father.

Purple

clouds

cnwreathcd

his

head,

so

that

hc

fell

upon

his

own

blood

and

image,

a

lunar

countenance;

and

fainted

petriGed

inro

emptiness when,

in a

sbattered

mirror

a

dcad

youngster

appearcd,

the

sister:

night

enveloped

the

accursed

genus.)

(X

p.

84)

Gelet

t?frit,:

Totcn

in

Jt?..S dunkle

Haus

des

Iofcrs.

and

Wilh a

passage

of

such

beauty

labyrinthine

depths any

response is

likely

at

worst merely

to

irritte,

and at

best

to increase

our

perplexity. I

will

only

try

to

ask

one

simple

question.

ls

there a

connection to

be

made

between

the

shattering

of

the

mirror

and

a

movement

of

astronomical

imagery;

between

an

explosion

of

desire

that

exceeds

all

introversion

or

retlection

on

the

one hand,

and

a

noc-

turnal

or

Iunar

process

on

the

other?

If

such a

connection

were

to

be

made it

would surely

pass by

way

of

the

sister,

who

is

herself

a

threshold

between

the

reflective

order of the

father's

house

and

the

illimitative

diflrence

of

the

night

sky.

lt

is

the

night

pool'

with

its

subtly

diffrentiated

luminosities

-

a

series

of

intensities

which

defy

resolution

within

any

dialectic of

presence

and

absence

-

that

flood

onto

the

mirror

with

the sister;

shattering

every

power

of

representa-

tion.

At

the

point of

a

certain

nocturnal delirium

(or lunacy)

the rela-

tion

of

the

sister to

the

family

is

metamorphosed.

She

no

longer

obeys

the

law

of the boundary

by

mediating

the

family

with itselfl

sublimating

its

narcissim,

or

establishing

its

insertion

into

the

order

of

signification by

disappearing

(leaving the

father's

house

according

to

the

exchange

patterns

of

palrilineal

exogamy,

and

thus

as

a

meta-

hllic

or

reproductive

moment

within a

kinship

structure).

Instead

she

breaches

the

family,

by

open ing it

onto

an

alterity

which has

not

been

appropriated

in

advance to any

deep

struclure or

encompassing

N

rcls,?',5rzl

and

D/s

a

system.

A

night

that

was

an

indeter

would be a

fully

positive

difrerentiatio

Perhaps

th

single

most

important

addition to

the

culmination of

Traum

callcd

Geburt

(tBirth')

(T,

p. 64)

where

larly

as

a

haemorrhaging

of

familial

umn a

line

at

the

end

of

the

third

s

incestuality

works

a

stitling

moveme

erblickt

scl

Bild

der

gefallene

Engel

(sigh

his

image').

lt

might

seem

as

if

the

birth

in a

retreat

into

the

claustrophobic

although

the

fourth

stanza

begins

w

room

Ldumpfer

Stub

the one

who

th

Bleichesj

tlunar'.

The

eyes

of

the

moth

Grcisin)

are

described

as

tlwo

moons',

into

the

night

(whose

Sblack

wing

to

back to

a

crucial

image

from

the

secon

.4

mXn.

Stille

der

Muter;

anfcr

schzvarzen

Tannen

Oc.JJrlcrl

sich die

schlafenden

llnde,

Wi'rla

'vejllen

der

kalte

Mond

ersc/lclc

(Silence

of the

mother;

under

black

pines

When

the

cold and

ruined

moon

appears.)

It

would

be

mssible to

interpret

dialectical

restoration

of

the

inside,

it

what

had

detied

the

inside

was

now

tion.

It

might

thus

be

asserted:

t'Fhis

everythingwe

have

always

believed

in

now.

Wasn't

it

obvious

it

was

going to

have

listened

to

your

priest/parents/t

not

the

only

reading

open

to

us.

The ruin of

the

moon

might

seem

mcnt

that

passes

from a

claustroph

and

that

conjugales

the

dynasty

with

would

not

be

the

case

if the

moon

restrictive

element

across

the

path o

the

sole

gateway

into

the

heavens.

Th

be

a

protraction

of

the

nocturnal

traje

that

proceeds

not

as

a

negation

of

the

what

is

still

too

similar

to

the

sun.

81



NICK

f-pWll

mrted

by

the

terms

of

Heidegger's

reading.

He

is

very

precisey,in his

intemretation of

the

delirious

journey

across

:he

nocturnal

lxol,

about

what

he

takes the

meaning

of

the

mmn to

be: a

constrictionof

stellar

Iuminescence

rather

than

the

ultimate

elimnation

of sunlight;

a

fading

and cooling

of

stars:

-

The

cool

light

stems

fiom the

shining of

the

lunar

woman

(Selanna).

Knging

her

radiance,

as

ancient Greek

verse

says,-the

s tars fade

and

even

cool.

(U.%

PP-

48-9)

This

ipterpretation

might seem to

lack

al1

philosophical

rigour,

and

perhaps

even

to

forsake

any

possible

Etheoretical'

reference. In

fact it

contributes

to

a

problematic

of

cnormous

importnce,

although

one

that

has

been

fragmcnted

and

largcly

obliterated

by

the

constitution of

astronomy

and

astro-physics

as

positive

sciences

in

modern

times.

This

prpblem

is

that of

real

(and

astronomically

evi-

dent)

diflrences

that

are l'a

pnctle,

irreducible

to

mathematical for-

malism,

and

which ure

furthermore

-

as

Deleuze has

demonstrated

in

the clos ing

sections

of

Dtjjrnce

et

Rt4/flforl

(Paris,

Press

Universitaire

de

Frunce,

1968)

-

a

potentiul

basi for a.

quite

other

and more comprehensive pproach

to

mathematization

(cT

theoreti-

cal

quantitication)

without

ny

recourse

to

ultimate

identity

or

equalities.

The

obscuration of

such

diffrences

within

the

constitu-

tion of

astro-science

has

been

a

deferral rather

than

a

resolution

of

the

problem

of radically

informal differences,

leaving

this

matter

as

an

explosive

threat

to

the

foundationsof

modern

cosmology.

Per-

haps the last confident,

unitary,

and

explicit

treatment of

the ques-

lion

is

to be

fbund in

Hegel's

tEncyclopaedia',

in

the

Zusatz

to

the

transition from

Finite

Mechanics

to

Absolute

Mechanics'.

One

can

admire

the

stars

lcause

of

their

tranquillity:

but

thcy are

not

of

equal dignity

to lhe

concrete

individual.

The filling

of-

space

br eaks out

Lausschlgtj into

endless

kinds

pf

matter;

bul

lhat Ii.c.

the casing

of

the

stars)

is only

he

firsl

outbreak

LAmschlagen)

tha:

can

delight the

eye.

This out-

break

of light

Ll-icht-Ausschlagj

is

no

more worthy

of-

wonder

than lhat

of

a

rash i n man,

or

than

a

swarm of

flies.

(HE,

p.

118)

Philosophy is

to

turn

its

gaze

away

from the stars,

learning

from

Thales

perhaps,

who

fell into a

hole whilst

absorbed

in

astronomical

contemplation.

In

a

subtle

but

vigorous neo-ptolemaism,

Hegel

su1

ordinates

the

stellar

moment

to

the

concrete

and

ordered

bodies of

the

solar

system,

and these

Ydies

are in

turn

subordinated

lo

the

developmentof

terrestrial

life.

This

is

due

to

the

dialectical dignity

of

82

Narczlir?l

and

lc

particlarized actuality

in

comparisn

that

astro-physical

laws

are

sublated

concrete

exmsitions

in

geology,

biolog

history.

Yet

there is something

more

pri

disturbing

in

the

vast

and

senseless

disp

which

is

even

hideous,

like

a

disease

o

What

oFends

Hegel about

the

stars

their distribution;

a

scattering

which

expresses

his

disdain

for this distributio

a

word that

is

nlso

%th a

mwerful

des

ment: Ausschlag,

which

can

mean swing

text

means

doutbreak'

in

the

sense of a

even

more

multi-faccted,

and can

mean

knock

or

beat out,

to

waive,

to

burgeo

Hegel

is

not

speaking

of

the

blossoming

he

does

not

want

to

do

so.

We

must

be

iobject'

Hegel

is isolating

here:

it

is

a

senseless and sensible,

an

outbreak of

rcason

similar to

that

which

Kant

attjmuslehre.

It

is

the

diffrential

prin

birds,

and dust;

of

astronomical,

ge

epidermal

eruptions.

Trakl

names it

Steme

(the dust

of the

stars').

In

his

re

acknowledges

this unity

of

aus

and

sentience,

but

only

if

the

&oP

is

read ac

tax

of

Heideggerian

thought;

as

an

to

prior

and

undisrupted

subject. For

exploded

or

threatened om

without

already

under the

sway

of the

outbr

apprehended

as

its

subversion:

Trakl

sees

sentience'

lGeJ)

in

terms of

th

the

primordial signilication

ot-

the word

G

dislated.

being

outside

oneself

qaufgebrach

N))

Hegelian

sentience

could be

describ

eruption,

but

the

sense

of

this

outra

radicalized

approach,

in

which

Ent%e

delimiting

response

to

the

anarchic

e

only

as

its

inertial

protraction.

Heid



NICK

C-/WD

hermeneutical

key

according

to

which every

sentieht

reaction

to

the

Ausschlag

can be read

as

a

symptom

or

repetition

of

the

outbreak

titselp.

It is

no longer

even

that

sentience

is infected

by

irrationality;

-

it

is

rather

lhat

sentience has

dissolved

into

the

very

movcment

of

infection,

becoming

a

virulent

element

of

contagious

matler.

Since

the

light of

the

stars

is not a

t ranscendental ground

of

phenomenality, but

rather

a

diTerenlial

etlct

stemming

from

the

isolation or

uneven

distribution

of

intensities,

Hegel takes

its claim to

philosophical dignity

as

an

otl-ence.

He

determines

starlight as

a

pathological luminescence,

without order or

intelligibility. The fad-

ing

ofstars is, therefre,

among

other

things, a

name for a necessary

stage in

Hegel's system.

The

senseless

distribulion ofstellar

material

is

repressed

in the interest

of the

particularized

(stlb-lplanetary

body,

which

in

turn

furthers geocentrism and

the intinitizing

of

light.

This

movement crushes

diFerence

under

a

logicized

notion

of qs in i i

cance.

In

contrast,

Trakl brings

the

thought of

the sign

together

with

that

of stellar

dispersion,

writing: 0,

?r Zeichen

und

skcrzlc

(tO,

you

s igns and

stars')

(T,

p. 63).

And

-

partially

echoing

Rimbaud's

words

-

Un chant

a-pzzftwx

tombe

des

flslrt:.

dbr

((

-

a

mysterious

song

falls

from

stars

of gold')

-

he

mentions

die

ul/crslz/?nc?l

der

uskcrac

(the

sil-

ver

voice of

the

stars')

(X

p..

53)

and

Dt.s

Ietzte

Gold

nerfallener uskcm:

(f-l-he

last

gold

of

ruined

stars')

(T,

p.

50). The

German

word

Stertl

derives

from

the

Indo-European

root

hter- meaninj

to

extend or

spread out.

It is

from

this root

that

the

English

word

tstrew'

-

as

well

as

tstar'

-

descends.

The

stars

are traces

of

a

primordial

strewing;

an

'

explosive

dispersion,

which in

its

formlessness,

defies

mathematiz-

ation or the

reduction to

order.

It

is

thc

shock

wave of this

metaphor-

ics

which sweeps

through

Trakl's

specifications

of

the

sign, and it

is

perhaps

for

th is reason that

Trakl

writes

of

ruination

Lkrfallen)

in

this

context. Any

order which

is to

be

extracted

from

the

strewing

of

ditlrence

will be

dependent on

this

spreading out'

(Latin

sterneret,

it

will

not

be

metaphysical

-

dependent upon

a

transcendental

diflkr-

ence

-

but

tlfratophysical;

a

movement

between

planes,

or

grades, of

dispersion.

Where

metaphysics

has

always

fixed

disorder in

a

dichotomous

relation

to

an

absolure

princfple of

coherent

form

or

ultimate

lawfulness,

a

stratophysics would

locate

regional

order

within

a

diFerentiation in the

rate

of

dissipation. lt thus

constitutes

an

abyssal

relativism,

although not

one rhat is

rooted in

subjective

perspectives,

but

rather

in

the

open-ended

stratifications

of imper-

sonal

and

unconscious

physical

forces.

Astrophysics is

marked

by

its

N

rcstn and

etymology

as

stratophysics

-

a mater

uted

intensitics

-

and

therefore

can

extreme

potcntialities

when

it

subo

physics.

The

question

of

strata

can

insinu

Trakl's

text,

because

it is

at

the

core

Each

stratum

is a

dimension

of

dispe

axy.

This

flatness

is

iust

as

crucial

t

trajetories

traced

within

it,

since

l

organizational

levels

is

the

basic

for

plus,

the

irreducible

or

final

princi

Each

stratum

has

its

specific

neg-en

positions,

tselecling'

only a

relativel

from

the

stock of

elements

generated

inherits

an

aggregate

tdegree

of

difre

ing

it

from a

certain

potentiality

o

reducibility

into its substrate),

and c

logical

illusion

(unproblematic

reduc

itication

of-intensive

positivities,

whic

successive

unities

of

letter, word,

jen

out

of

a

common

tgraphic

plasma'

alphabetical

regimes,

is

the

only

rigo

of

the

sign.

Only

because

of

such a

gr

rhat

slored in the

diffrence

between

ulords an

alphabet

rzlciz?s

pssible

and

energy

be

unevenly

distributed

withi

erated.6

Trakl acknowledges

this

ex

and

intensifies each

plane

of

distribu

to

the

German verb

sinben

(to sink).

1''t?p

Lhen Jmzlcp

sinkcn

baldc

cp'?l Jl'c

l-id

Und

/lcrl

leise

sh

zu fremdcn

sktrzlcr?zc

(Drunken

wilh

brcezes

the

lids

soon

strangc

star-signs.)

(T, p.

18)

And ;

Zehen

xz.4

Sterne

rir/rlie?z lise

Jzl

Abenduihes

tsigns

antl stars

/

Sink quietly

in

the

e

The explosion

o

stellar

and

sem



NICK

MND

bination

of

intra-stratal and

trans-stratal

processes,

which

have

been

historically

determined

as

causal'

or

tlegislated'

and

the

lattcr

as

intellectual',

tteleological,

or

iegislative'.

This

is

a

ramitication

(speculative

I

admit)

of

Trakl's

vocabulary

of

Stufen

(tsteps')

of

terraced

diflrentiation

(a

theme

I

hopc

to

explore

more

thoroughly

elsewhere).

Stratitication

is

(he

complex

physiological

process,

the

only

one,

in

which

(he

dislinction

between

matter

and

meaning

cannot

be

sustained.;

The

txls

Heidegger

relies

upon

in

his

approach

lo the

issues

of

exile

into

the

night

and

astronomical

dispersion

stem

from

the

tecstative

analyses'

of

his Marburg

meditations.

The

term

he

focuses

upon

as a

possible

entry

point

for

such

a

discussion

is

tflame'.

He

first

gathers

Trakl's

stellar

thematic

into

lhat

of flame

with

the

sugges-

tion:

irhe

night

flames as

the

lightening

mirror of

the

starry

sky'

LUS,

p.

66).

He

then

proceeds:

D

Flammende

ist ftz

Aufkr-sich,

ltz.

Iichtet

und

erglnzen

la/?a

d

indessen

auch

uerfressen

und

alles I

d

lrzcll/c

der

zdsc/l:

verzehren

kann.

(That

which

tlames

is

the

outside

itsel

that

which

lightens

and Iets

gleam,

and

that

which

in

doing

so

can

expand

voraciously

so

that

everything

is

consumed to

become

white

ash.'

(The

expression

Aujer-sth

is

such

a

clear index

for

Heidegger's

notion

of

ecstasis

that

Hertz

employs

tek-stasis'

as

its

translation

in

his

rendering

of

this

sentencel)

LUS, p.

N)). The

llame

ot-the

stars

is

explosive

-

or

oulside

of

itself

-

but

this

Ausscklag

can

be

a

gentle

illumination

or an

uncontrolled

devastation

(an

Aufn4hr,

Krevol',

tturmoi

(US',

p.

60J).

lt is

about thi s

tor's

with

which I

am

attempting to

indicate

Heidegger's

hope

tht

the

Weerfressung

can be

deflected

or

suspended

in

contingency,

that

the

ambiguous

path

of

his

reading

turns.

Ten

pages

earlier

Heidegger

poses

this

sense

of

an

alternative

between

castings

Lschlge)

most

acutely,

and in

so

doing

returns

us

to

the

question

f

infection. Examining

Trakl's

expression

das

'tlcr/tc/ll?

Geschlecht

(<the

accursed

genus')

(T,

p.

84)

he

points to

a

Greek

word

:hat

can

be

transla:ed

equally as

either

Schlag

or

Fluch

rr?r?l

(Turse').

anrrl

is

also

translated

by

the

Latin

plangere,

from

which

we

derive

the

English

tplague',

and

the

German

Plage

(found in

the

sixth

line

of

Trakl's

poem

Fhn

(T,

p.

67)

and

in the

Gfteenth

line

of

Allenvclcn

ttA1l

Soul's

Day'j

jT,

p.

211J).

Heidegger's

text

(which

I

cannot confidently

hazard to

my

translation

alone)

reads:

IY'/.)-

it

ist

Jlcsc.s

Gcschlecltl

gesclllagen, d-h.

z't'r-/zlz/r/lt.:

Fluch

t'll/

griechch

the

former

of

Narcissistn

and

f-'.mt

n'znyn .

uncr

IKt') '/

Schlag'.

Dcr

3;'/r.fc

dcs

rcrrrt

daj.l Jtac.

alte

Gcschlecht z

die

Zzzv'vrt:lc/z/

Jcr

G

ist.

Aus

4'/?r

Irachtet

. j ' . l

Jcr

Gcscblcchcr

l

vcreinzelten und

blojlcn

lr/i'/t//lcff'

tks

Wildes.

'

i

-/1/ t

dcr

/-/,/c/1

Sic

trgt

aus

sondcrn

J?c

t?

ctrat

.

da

Gcst-/lltqc///

in

die

Entmvciung

?.fr?(/

l'crs

i'l-razc/l/n .

xslso

cz7lzztlcl'f

ltnd

zcrsc/?/rwt-u

vcnn

-fc

aus

ni-ht

wc/?r

in

dcn

rcchtcn Schlag

za

h

cast,

i.e.

cursed,

Cursed

namcs the

Greek

curse

of the

dccommsed

gen-us

consists in

cast

apart

into

the

discord

ot-

gen-ders,

unleashed

revolt in an

always

individuated

lt

is not

the

twofold

that

is

the

curse,

but

r a

Out

of the

revolt

of (he

blind

wildness

it ca

rorn

dualily

and

unleashed

individuatiop.

T

truined

gen-us'

is no

longer

able

to

tind

the

It

would

be

possible

to

read

this

passag

entirely

internal

to

Heidegger's

tphiosophy',

Trakl in

which it

is

embedded

were

a

tion

in the

vocabularyof

an

unswervin

reading

would

recal l that

according

to

H

curse

that

leads

beings

to

strive

towa

earth,

erasing

every

trace

of

their

depe

ference

of

ach being

with

respect

to be

ences

among

beings,

and

being

is

conv

ritory

to be

subdivided

among

conflicti

that

within

this history

everything

tho

tributed among

exclusive

concepts,

thr

themselves

to

themselves in

their

corri

the

difrerences,

discriminations,

and

d

to

speak

of

being.

It

would

conclude tba

sense

that

Heidegger

understands

as

th

of genre

is

not that

they

are binary,

b

Iizes

the

intemrelation

of the being's

d

lost

in

ontical

intemretation

is

the bein

tion

of

ontical

diflrence

from out

of

th

think

Geschlecht abstractly,

but

in a

ce

.('

ogy,

it

would

be necessary

only

lo

insi

trope)

that

ontical

diflrentiation

is

no

Yet

Heidegger

is

not

simply

interp

86



NICK

IAND

freely

within

the

German

language.

He

is

attempting

to

read

this

word

as

he

encounters

it

within

the

tortuous

and

vespertine laby-

rinth

of

Trakl's

metry. We

must

rtturn

to

Heidegger's

question, and-

attempt to

ask

it

along

with

him:

what

is

this cast,

this

curse

or epi-

demic?

We are

assisted

in thi s

by

Trakl's

words,

which

Iend

us

a

fal-

tering

answer to

place

alongside

Heidegger's

discussion;

the

cast

that

has

cursed

us,

surely

that is

what

Trakl

nameszgflz&s/fz;

leprosy,

infec-

tion,

and

(thus)

exclusion.

The

spaces

of-

diflkrence

across

which the

Zuetracht

stretches

and

displaces

itself

(following

the

semantic

instabililty

of

Geschlecht)

are

never

to

be

found

described by

Trakl

in

terms

that

could

be

reduced to

formal

disiunctions

or

negtive

artic-

ulations.

Instead

he

writes

of

Mauern

noll

Atmatz

Cwalls

full of lep-

rosy')

(T, p.

41)

echoing

Ilimbaud

who,

during

his

Saton

en

Enjr

finds

himself s,

lpreux,

sur

les

ptlrs cassh

et la orftx

au

pied

d'un

mur

rong

par

Ie

solet'l

(tsittinp

leprous,

upon

broken

pots

and

nettles,

at

the

foot of a

wall

gnawed by

the

sun')

(R,

pp.

302-3).

1( seems

at

Grst

surprising

that

Heidegger

makes

no

menlion

of

the

equent

refer-

ences

to

Ieprosy

throughout

Trakl's

poetry,8

since

Aussatz

points to

an Auvsetzung

(yhe

O1d

High

German

source

Uzaazo

means

Cone

who has

1en

ausgvset

or

ttcast

out'' of

society'),

a

coinge

which

profoundly

accordg

with the

ecstative

orientation

of

Heidegger's

reading.

Heideggr even

has a

space

specifically

allocated

to

disease

in

his

reading.

Not

that

he

is

particulrly

concerned

with

the

Ger-

man

equivalent

of

this

word;

Krankhit

(lthough

he

quotes

Trakl's

line r4

stheint

dock

alles

Werdende

so

krank

((How

sick

everything

that

is becoming seemsl')

(T,

p.

29;

U5',

p.

64).

The

disease

which

finds

a

place

in

Heidegger's

text

is the

same as

that

which

obsesses

Trakl;

it

is the

searing

of

stars,

or

the

primordial

and

contagious

eruption

of

the

pathological. But

Heidegger's

supp lement to

Trakl's

text

is

disapmintingly

regressive on

this issue,

and

my

brief

conclud-

ing

question

touches

on an

example

of

:he

repugnant

obstinacy

and

piety

of

the

1953

essay

in

asking:

why

does

Heidegger

retkse

to

follow

Trakl and

name

ecstative

eruption

Aussatz

In concluding

the

question

of

the

curse

that

abuts

onto

Trakl's

thema

of

Geschlecht,

Heidegger

distinguishes

between

two

casttels

and

two

dualitics.

There is

a

cursing

cast

or

stamp

that is

associated

with

a

reckless

and

destructive

individualization

and

that

generates

antagonistic

or

contlictual

binarity

Lzutrach,

and

there is

a

gentle

san.jt binarity

Lznliefaltt

that

escapcs

the

contajlon

of

the

curse.

As

is

so

typical of

Heidegger,

Zuafalt

simultaneously

marks an

aspiration

88

Narcissm

and

towards

the

(Schellingian)

mst-p

intervallic

difrence

and

the

theolog

uncontaminated

conception.

Draw

Schmerz

as

a

lhreshold

and

relation

H

athological

scorching

of

the

starsz

i

d

Sanfte,

the

peaceful

gatherer. It

m

turns

what

is

injuring

and

searing

i

p.

45).

This

attempt

to

establish

pu

that

both

explicate

and

escape

the

neessitates a

discrimination

between

cisely

lcause

Derrida

will

refuse

t

tion

lhat

he

turns

instead

to

a

re-in

able

to

encompass

and

partially

ass

own

work,

resi>ed

to a

structura

prosecution

of

deconstruction.

Both

concur,

however,

in taking

the

sense

mlar

and

reciprocally

ultimate

rath

impulsively

protractile.)

The

historical

predicament

that

H

Derrida

trace

out here,

and

which

f

atic

Santinomy'

of

escape and

re-ca

the

unstable

compromises

and

eva

indilerence

it

generates,

is

too

com

will only

venture

to

suggest

tha

b

apart

at

this

mint,

and

refusing

to

ultimate

dichotomy

might

be

r

Heidegger

is

engaged

in

what

we

tgentle

critique'

of

the

history

of

m

tion

of

Kant's

compromise

with

on

tion

always

belcmgs

to

the

church

the

Aufrnhr

which

constitutes

the

textuality.

His

is

the

sterile

hope

tonic

instincts,

the

delusion

that

th

civilization

can

be

evaded,

and

th

labour-power

can

found

an eterna

not

cqmpletely

unaware

of

the

pro

regimi

ntation

of the

patriarchal

b

of

insylrrectionary

cnergy

tracing

of

organic

matter.

But

he

felt

naus

trol,

and

perhaps

he

still

believed



NICK

MND

distantiation

om

this

noise

and

restless ferment,

an

end

to

con-

tason,

a

final

peace?

It

is according

to

this

deeply

rooted

logic'

of

purification

and

transcendence,

the

most

insidious

trope

of

a

decom-.

msing

theology,

that

the

irruption of

ecstative

diffrence

refuses

the

name

Aussatz,

and

Heidegger

exhausted

and

uncomfortably

feverish

-

lays

down

his

copy

of Trakl's

poems,

and

closes

his

eyes.

Abbrtmiations

Ba

Otto Basil,

Trakl,

Reinbek be i

Hamburg,

Rowohlt,

1965.

GT

Herbert

I-indenberger,

Georg

Trakl,

New York,

Twayne

Pub-

lishers,

1971.

HE

G.W.F.

Hegel,

Syston

der

Philosophtk.

Zzzwkcr

lil.

DJ'c

Naturphilosophtk,

from

Smtliche Werke,

Band

9,

Stuttgart,

Fr.

Frommanns

Verlag,

1929.

'

IM

D.F. Krell,

lnt imatiom of

Morfck-y

University

Park,

Penn.

State University

Press,

196.

N

Novalis,

Dichtungen,

Reinbek

Gi

Hamburg,

Rowohlt,

1963.

NC

Pierre Klossowski,

Nietzsche et

le

cercle

't/fcfcav,

Paris,

Mercure

de France,

1978.

' '

OC

Charles

Baudelaire,

Oeuvres

compltes, Paris,

Gallimard,

1975.

R

Anhur Rimbaud,

Collected

fatv'?rt

(Parallel

text),

Harmpnds-

worth,

Penguin,

1986.

Georg

Trakl,

Das

dichenhe

lrzirk,

Mnchen,

Deutscher

T

h

buch Verlag,

1972.

sc en

US

Martin

Heidecer, Unterwegs

zur

Sprache,

Pfullingen Neske,

1982.

Translated

by

Hertz

and

Stambaugh

as

On

the Irz'ta

to

Language,

London,

Hamer

&

Row,

1982.

T'G

Robert

Graves,

The

IFfe Goddess,

London,

Faber

&

Faber,

1961.

Notes

1

The

German Dmmerung

is as

ambiguous

as

the

Mnglish

ttw ght',

and

can

mean

the

halFlight

of

dawn

as well

as

rhat

of dusk.

As

Baudclaire

is

almost certainly

Trakl's

Grst

maior

ptical

intluence

(Ba,

pp.

42-9)

it

is

tempting

to read

the title

Getlbe

Ddza?acrlzr

as a

translation

of

LAube

spirituelle

(fspiriual

dawn'),

he

forty-sevenlh

pxm

of

Spleen cf

ldale

(0C,

vol.

1,

p.

46).

Heidegger,

however,

is

detcrmined

to

maintain the

ambiguity

of

Dmmerung

in

his

intemretation

CUS , pp .

42-3),

and

the

90

Narcissism an

importance of

Abend

tdecision'.

2

Trakl

ends

the

pm

Am

Mxr

(<At

der

Nacht:

Krten

tauchen

ul.s

silberne

loads

dive

out

of

silver

waters')

(X

an

issue

of

nturnal

luminacy

in

the

night,

which is

also

an

apmaran

merely

a

formal

condition

or

scene

is

texpressed'

in

the

silver

light

of

finds

a

voice in

Ktbe

lunar

voice

of-

(tsilver

voice'),

a

word

tbat is

used

twice

in

the

ptxm

Sebanian

J?a

Tra

3

The

sister

is

also

assiated

with

t

Imem

Offenbarung

und

Untergang,

Flgeln

ber fe

grnenden

Ws-fd

k

s'ctpcxlcr

(Glifted

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silb

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p. 8

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XICY

MYD

11

i

'

..

(

i

-

Wherever

there is

erratic

dismrsal

and

movemen:

in

undemarcaed

space

2

-

Trakl

anticipates

the

arising

of

sense,

and

a

question

or

reading.

;

6

Claud

Shannon's

theory

of

infbrmation

understands

redundancy

as

the

'(

*

dimension

of

a

message

that

does

not

function

at

the

level

of

communica-

1

1*

tion:

but

rather

functions

as

a

resource

for

the

discriminalion

of the

t

incommunicative

(tnoise')

from

communication in

general,

thus

provid-

i

*

e

a,

alla

t

ing

a

layer

of

insulation

against the

depzdation of

the

message.

This for-

j

mulation

seems

to

me to

lack

two

crucial

elements'.

1)

It

fails

to

provide

.

any

suggcstion

as

to

how

the

message

parlicipates in

:he

constitution of

.

i

redundancies

(thus laking

redundancy

as a

transcendental

condition

of

f

J' N

I

-1

-FAA

communication). This

Grst

default

leads

to

:he

preservation

of

the

meta-

*

physical

distinction

Gtween

semiotic

and

material

processes

(messages

-

'

and

techniques),

which

is

otherwise

profoundly

shaken by

the

though of

Parmi

/'

long

regard de

la

redundancy;

thc

thought,

that

is,

of an

isolation or

tde-naruralization'

of

Pay

the

semiotic

stratum

proeding by

means

of

intensities

or

surpluses

that

invoke

no

element

of

negativity,

but

only

grdations.

2)

It

fails to

t

.

.

i.

acknowledge

the

mlitical

dimension

of redundancy

as

a

means

of

trapping

disruptivr

signals.

It

is

this

'trapping'

within

an

intermediate

'

zone

.betwen

strata

that

Grst

enables

the

categories

of

madness.

penrer-

l

l

sion,

deformity,

disohdience,

and

indiscipline

to

be

constituted.

thus

,

providing

the

bass

for

tht

assiated

but

counterposed

disciplinary

prce

gammes

of

pedagogy,

psychiatry,

punition,

ec.

To

fail

to

acknowledge

.

a

'

j

djcjj

appended

to

hi

parenthetica

co

such

questions

is

to

take

the

notion

of

noisc as

a

purely

passive and

non-

'cally

oriented

tjamming'

of

186M

W

l

X/E9F'WlF''

frne

lists

Var

sentient

interruption

rather

than

as

a stratep

he

message, and thus

to

ignore the

conflictual

aspects

of

both

grammars

(

Derrida

says he

tshould

no

doubt

hav

..-.

-

t

and

anti-grammatical

subterfuges

as they

contend

wilhin

thc

fluctuating

question

of

Anatole.

space of

redundancy

or

control.

Tbis

default

is

typical

of

a

teclmocratic

Anatole,

Mallarm's

only

son,

died

scientificity

which

takes

the

question

of

power

as

having

been

always

age

of

eight.

To

have

spoken

of

him

already

resolved

prior

to

the

question

of

technique.

begjn to

speak of

Mallarm's

griefs

--

7

For

a

discussion

of

strata

which is,

1 think.

based

upon

difl-erent

princi-

,

jjjcjj

oerrida

says

his

article

also n

.

,

.

w

ples,

see

the

bepnning

of

Deleuze

and

Guattari

s

La

tepe

de

la

morale

l

Mourning

is

a

topic

ot

which

Derri

(pour qui

eae

se Aren:

la

Jcrrc.ll in

Milu

J'/caazfx,

pp.

53-*.

.

8

For instance,

in

Mm'nes

Abrlzc?z

(Little

Concert')

Ausstzigen

wn:t dtk

l

explicitly

in

Tors'

and

ln

Glas,

which

Flut Genesung

cne

torrent

ockons

lemrs

to

convalesccncc')

(T.

p.

25)9

t

death.

To

mourn

-

se douloir,

as

the o'b

in

ore,'

Blke

in

ewt,n

opal

('Three

Glimpses

in

an

Opa1')

Die

Knaben

i

live

with

the

pain

Ldouleu

of

a

death.

trumen

w,'?.r

in

arre,

weidemtrhnen

/

c,,zl ihre

stirnen

,,'a:

von

Aussatz

topic

ofwhich

I no

doubt

should

have

kahl

und

rau.

cyouths

ream

confusedly

among

the

pasture's dry

bales

/

a

paper in

which 1

had

referred

to

GIa

And

their

brows

are

naked and

r'aw

with

leprosy')

(T,

p.

39)

(see

also

X

p.

-

k d

how

I

supposed

that

Derrida

.

as

e

4p)) lowards the end

ollaian

(in

a

line 1

have already

cited)

Heltam

s't'ele

.

. . .

stivnv

..

other

than something

negatlve.

Tht

sich tm

rtuwezl

spwgel

beschaut

/

Und

s'cae:

und

Aussa

wrl

seiner

'rllc.,

CHelians

soul

gazes

on

itself in

the rosy

mirror

/

And

snow

and

excuse

for

not

giving a

direct

answel

:

Jl

'

leprosy

sink

from

his

brow')

(X

p.

43)',

and

in

Verumndlund

des

Sttr'f

hearing

Derrida

speak

for

himself.

Metamorphosis

of

Evil')

there

is

a

Minute

stummer

Zerlftr'lzns'

aujlauscht

period for

discussion

what

he

himsel'

l

die

skfrz;e

des

adxsw-srzkezl

unter

de/a

bahlen

Baum

(tmoment

of

mutc

devas-

'

recall aright,

was

that

pain

itself

invc

j

tation;

the

brow of

the

leper

hearkens

under

the

naked

tree')

(T,

p.

56).

and is not

a

sheer

datum.

Hence it

is

r

'

I

l

2

92

93

1

.

1

'

f

1.

1

)

.

E1

.

f

i

''::

Land Heidegger Trakl Filosofia Poesia

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