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By Heidegger, Martin; Hölderlin, Friedrich; Nietzsche, Friedrich Wilhelm; Heidegger, Martin; Babich, Babette E.; Nietzsche, Friedrich Wilhelm; Hölderlin, Friedrich

A philosophical exploration of the facility that poetry, song, and the erotic have on us.

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Additional info for Words in blood, like flowers : philosophy and poetry, music and eros in Hölderlin, Nietzsche, and Heidegger

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Love in the process, this is the legacy of formal indication, obscures the character of this solicitude. Failing the exigent reticence of love, the philosopher becomes a scholar, aspiring to wisdom. 27 And his poetry would seem to present a similar case. If, as we shall see in the chapter to follow, Nietzsche borrowed the title for the poems that introduce The Gay Science, his “Prelude in German Rhymes” from no one less than Goethe (“Scherz, List, und Rache”), his efforts here repeat the handbook of the troubadours’ guild, the aristocratic singers’ repertory of 10 Words in Blood, Like Flowers poetic form as a kind of poetic or literary exercise.

Thus, “Nietzsche, the thinker, hints at the secret fittingness of his thought in this manner” as he inscribes it in the most obvious place—that is the prime esoteric locus—in the very subtitle of his most famous book, “a subtitle which runs: A Book for Everyone and 14 Words in Blood, Like Flowers No One” (WT, 50). 41 For Heidegger, “In the realm of essential thinking, Nietzsche sees the necessity of a going beyond [Übergang] with greater clarity than any before him” (WT, 57). , 54), but much more than that, Heidegger argues, we are to see Nietzsche as the one thinker who recognizes that in the history of Western man something is coming to an end.

30 If most readers of Heidegger’s poetry have been literary scholars, as George Steiner will go Philosophy and the Poetic Eros of Thought 11 on to confirm, the value of this poetry for his thinking, as Richardson’s analysis shows, is plain for philosophy. ”32 I find it essential here to read Bernasconi’s focus on this interrupted speech as a musical attention. In the “space” of such a music, listening to Heidegger’s silence, one must also attend to the articulation of the needful connection between saying and thinking, so that for his own part, as Heidegger reads Parmenides he invokes a paratactically musical reading, in the acoustic dimensionality of the punctuation marks Heidegger adds for our eyes, visually, literally, transposing a voiced break (one which can only be heard in ancient Greek): “saying speaks where there are no words, in the fields between the words which the colons indicate” (WT, 186).

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