Among the poems of Hölderlin, many are dedicated to Nature. In Hölderlin, nature has a soul, she is living in which the poet is inspired, where the triumph life where love flourishes. By nature we mean what grows, develops even the withers, which withers. The Greeks and heard (Heraclitus, Parmenides, Plato), Nature is what grows, what emerges, this gushing, out of the shadow of darkness for light.
The field of "natural" is the unveiling and concomitant fulfillment. The being of entities that appear in the visible things, the Nature as understood Hölderlin, is the real source of inspiration for poets. harmony growth projects the unity of Nature, timeless line, perfect order (Conf. The "Physis" Aristotle) in which the Beautiful shows. The conflict between art and Nature (if there really is a contradiction) is absorbed in the knowledge of this "Projection" of the beautiful in the eyes of the poet. The eyes of the poet betray the unity of all ( "All is a "Thales) of Nature, by the same, harmony which is also that of the poem. Of as versification has its laws, nature has its own structure, hence the parallelism. Nature has a soul, nature is the realm of the sacred. Among the Greeks, Sacre appears on holidays where joy overflows when offerings to the Gods; nature, Hölderlin is in a party where the sacred is expressed, joy resounds in the heart and torrents forests. Everything lives, everything flows in this "infinite where time has no hold."
" In communion with all beings,
Happy escaping to the solitude of Time
Such a pilgrim who returns to the paternal palace,
I threw myself into the arms of the Infinite."
Nature is the domain of the Sacred because it is all presence and beauty. The being of Nature is omnipresent "top of the ether to the bottom of the abyss," this omnipresence issuing the poet of all education and makes captive in its power.
"Those I see you surrounded with a favorable climate,
you smart high that not only by a master,
but by the miraculous presence and gentle caress,
Nature of power in its divine beauty.. "
Nature is all power in his omnipresence because beautiful and divine. The poet his approach is freed from his master who inculcate knowledge, science Hölderlin by the voice of Hyperion misunderstanding, "What have I been able to avoid the threshold of your schools! Science that I followed at the bottom of its labyrinth, which I expected, in the blindness of Youth, confirming my purest joys, Science has corrupted everything. " Escaping science, the dummy, which is only a lamp in daylight for Truth, the poet collects from nature, his "miraculous presence." The embrace of the poet in the wonderful presence of nature is placed in essence, is how Nature is educator.
" But now is the day! I waited, I saw it coming,
this sacred vision can inspire my word!
For Nature itself, more ancient than the ages
and greater than the gods of the East and the West,
awakens to the sound of gunfire .."
The exclamation of the coming of the day of the dawn, is an invocation to the field appearing in Nature. The feverish expectation of openness to the natural visible, the awakening to Light expresses enthusiasm for the perceptible clarity. Dawn is a sacred vision verb that inspires the poet, it is a solemn moment, though steady for millions years, one of the show of nature. This awakening of nature beyond all calculation time, Nature is more ancient than the ages because it was before, before it enters the human conspicuity that man procrastinate. It is in this sense that it is greater than all the gods of the East and West in its sacred seniority. Being Nature in its antiquity is sacred according to its order, harmony, in full measuring its omnipresence clarity in the area of openness to things visible ...
Idealism
The projection of the Idéa in total worldview as liberation, pacification, progression, etc. the poet opens the doors of revelation. The Idéa as a demonstration spiritual strength, moral, humanist is the area where the poet is sovereign in the Spirit opens to him. The Idéa includes the trinity (the triad of poetry in general): Spirit, meaning work. The Idéa covers the circularity of the Spirit of the senses of the work (of achievement) in its irresistible presence. The Idéa is what governs how and thinking say the being-there of the man. The being-there (Dasein) idealizes his presence in a being idealism.
Being in Hölderlin is in no way an existential but an ideal, as can be say that the madness of the German poet, is it due to an "excess of being" in the region of ideal. Beauty, Harmony, Love, Freedom, Fatherland, Poetry is the poet idealized in a holding be. These ideals are as universal presences abstraires who decide the destiny of the world. The Idéa rules the world in its eternal and présentéité total. The Idéa is of divine essence - and nature - and supplants it in his supremacy. "The Ideal relayed nature, by the very fact that nature has risen to the status of "Culture" where there is the Ideal. Subsequently Nature, the state of Nature, has also become of achievement (myth of the Golden Age). There is thus complete reversibility Ideal-Natural in their temporality. The production of "worldly power" is idealization of what is. The poet idealizes as he is a poet, he meditates in the abstract and absolute (cf. Hegel). The Idéa is the prototype of the poet utensil that guides the reader through the steps to follow, the line of action to take. In Hölderlin, the Idéa does not belong, as in Plato, at any intelligible world, but is part of the real world the show, the phenomenon. in a sense, the poet phenomenalizes any phenomenon in the field of the Spirit. The phenomenon of the Idéa governs the world as the world appears in the own vision of the poet. The poet "makes the world" as he idealizes: such are the prerogatives of every great poet who reproduces, ideally, things open to the visible.
Of the three great idealism that shook Western thought (idealism Plato, Kant and Hegel), that of Hölderlin, especially in his early poems, is the most optimistic. Optimism, serenity which aspires to the ideals of Humanity, Freedom, Peace, Love - who did not go astray in an unseemly bliss -.
Love
The most traded issue - after that of Nature - by Hölderlin, is that of Love. Love (die Liebe) is not only considered in terms of two beings who love, but takes a true cosmic dimension that has some relation to the cycles Hate and Love distinguished by Empedocles.
Certainly, the importance of love is not that of a cosmodicée as in the work of Agrigento admires Hölderlin, value set, can it be said, almost theological. Hölderlin, through his many poems, seems to influence the reader to think that the world is love, that the destiny of the human being-is marked by love. Love is the master destiny of the human Dasein in that it changes the vision of the world, he metamorphosis it.
" Faithful to the holy laws of love,
The universe expands released his sacred life. "
Hölderlin addresses the fact of love as a law, law of the Almighty who orders the men loving, holy law because emanating from him. In fact, the universe (cosmos) is seized by this law, "flourishes" freely in and through it. The universe lives in that love. This gigantic animist vision shows (points toward) the universe as existing long sense as a mortal. The being of the vast universe is love, because the universe expands he is faithful to the holy laws, because prescribed by God of Love. The vision of Love is like the world total; of the mutual attraction of smaller atoms to that of larger planets, everything is love, understanding, harmony. Besides the incommensurability kingdom of Love, Hölderlin tries to show its durability. as Etiemble affirm the decades later, "eternity is the joy of the moment," Hölderlin seems to agree with the assertion: "Eternity is love."
"When we so loved, we will, I am sure
It goes on the sacred path that leads to the Gods. "
Love in all its power and its eternity (timelessness due to the fading of the time) "leads to the gods." Love is divine.
The approach of "domain" Love made by F. Hölderlin's all platonic. only feelings emerge the memory of Diotima that seems to be a legend, a mystical figure who tears chastely the mists of memory of the poet. Point of sensuality, lust in the work of German poet as in those of Sade, Baudelaire and H. Miller, but refinement of heart, enthusiasm content by tenderness.
" To live is to love ," seems to say Hölderlin.
Poetry / 'doing' divine poetry
"What remains, however, is that based poets."
The being of the foundation as a gift is exercised in the free use of language. this free use remains as it opens the way to be. The revelation that is the tell-thinking of poet founded a donation by speech.
The poetic word is what remains as it remains in the opening to be of being.
This opening, the aperture of the divine is revealed as lightning in a vision Heraclitus tuned mortals. The divine seizure - the preserve of poets - remains as it is the only "in poetry reign essential superiority of spirit by against all that is pure science "(M. Heidegger -" Introduction to metaphysics ").
The foundation of by the poetic word is the same poetic essence. The game poetic language reveals concomitantly the being of being, its beauty, and true "place" of Being Human "is poetically man dwells on this earth." The challenge of poetic is more than any other key (except perhaps the philosophical issue), it is the Human Habitat. The poetic founding what remains - single - refers reveals Human Habitat. The man lives on this earth as he is a poet and nothing else. The poet man accessed by divine love between the two earth-sky - Earth! I love you ! "Sun God"). The poet lives in the land as everyone lives in a place. The possession of a "here" in the perception of "now" and the proximity of beautiful suggests what is more poetic: to live on earth in the quadripartite heaven-earth, divine-mortal.
Also Hölderlin is he proclaims as later Nietzsche "son of the soil". The gift the poet is to be in the proximity of the gods, mysterious and dark forces of nature to capture the beauty of the world by founding what remains. The being-always work poets is the consequence of the intense life they led, their earthly adventure.
" Awake, O poets, wake from sleep
those who are still sleeping, give us laws give us life!
triumph: Heroes! You only have, like Bacchus, conquest right . "(" To our
poets ")
With Hölderlin, the poet is no longer the unloved, the rejected, the outcast, the accursed, at Rather, he is the hero, the conqueror or the legislature. The poet awakens those sleep, the poet remains to clarity, to light, that of truth. The revival of secular, sleepers qu'implore Hölderlin to poets, is the right to life. hymns creators life, the poet must draw from their slumber, their apathy, their aboulie, mass uninitiated to this great science of poetry. As were Sophocles, Virgil, Dante or Shakespeare, the poet is a hero, at the forefront of the whole society. he gives life because he loves life, he recreates, transforms it, disclose or suggest the wonders of the world. The poet captures the essence of beauty in the real that do not perceive the sleepers, the poet is standing, awake, lonely facing the blind mob. The poet is also a dreamer, a dreamer happy /
" So effortless live a beautiful image
dreamy, happy and poor - the poets - "(" To a bride ")
This dreamer qualifier is the most used to describe poets. The poet is the one leaking reality to the dream (see G. de Nerval), which escapes the cruel reality. It is nothing, on the contrary the poet's work is it the result of an internal struggle in the ego (for take a Kantian term) each:
" Why, softened heart, wanting to take my fire element, to me who can not that live in the struggle? "
The fight is the sine qua non of any poetry. After rejecting all daily trifles, all the platitudes, the poet undertakes alone on a road sown pitfalls. All dangers threaten: the danger of literary failure, impotence creative, madness (even madness of the author, on this reading Nietzsche or Arthaud). The poet's life is an endless struggle against the non-being, all that is contrary to life, the grip of necessity. The need, the poet rejects it and the one that kills the spirit, making blind which is the domain of beauty, as the poet is it poor, but happy.
The other prerequisite is enthusiasm for everything that awaits the presence: " I aspire to the green fields of life and heaven enthusiasm . "
Heaven enthusiasm (Beigeisterung) is that of the poet, joy for life, beauty. The poet awakens the God that is in him to do the impossible of creation (cf. Rimbaud).
Hölderlin judge that poets fall Almighty God. They are the mediate term between divinity and ordinary men "is very high that we face" ( "Poet of Vocation"). The sovereign God is manifested in the poets who sing his glory in the "always new hymns."
Sing, sing always very high for that divinity is expressed in their songs. The creative spirit seizes poets "unexpectedly" to a song that all glory the beauties of creation burst as lightning. The divine is in every poet or more each poet carries with it the seals of divinity.
"... As for the poet, he stands in-between, between these, the gods, and this one, the people [...] . But it is first and only in this in-between that which is decided is the man and which is established its existence . " (M. Heidegger - "Approach Hölderlin.")
The poet stands - like a titan - in-between gods - people as it has the largest "see" (Shen) and greater "feel" (Fühlen) real. His approach real, its sharpness is the most refined among the masses. His dreamlike way to grasp the reality and permanence of its presence in what everyone called the real, convergent to the pure divine essence of poetry. The meaning of the poet recreate "what is placed there as such (ousia), "offering to the presence - natural - transforms the metamorphosis. These prerogatives are those of a god; to possess, it is necessary to be listening in the availability of the Being of being, the divine. In contemplation of the divine being "for death "of the poet vanishes, the poet is captive of his contemplation in the absence of the dyad subject-predicate. In contemplation, the poet enters the divine, the field of timeless, transfigures his being in recognition of the natural hidden presence that is the thing God who is revealed in the inner self of the poet. From the people, the mass of non- insiders, the poet rises in the region of the gods, represents the causes of hyphenation time; thus speaking of Rimbaud C. Baudelaire says, "is the Baudelaire first light, king of poets, a true God "(Letter to P. Demeny).
Nietzsche, the announcement coming supermen coinciding with the time new can be likened to the "second age of the world" mentioned in Hölderlin "Hyperion". The "small number" which includes poets, artists "who have a two "are the next supermen who will open a new era for humanity whole.
Promoted to God, the poet is subjected to danger, that of solitary confinement in thinking, lack of social relationships and made difficultueuses. Every poet is a solitary, a hermit of the Spirit, without the often muddy paths of everyone, that is why it has an "aristocratic spirit". This quality, this privilege may, however, turn into danger. The danger, the supreme danger in isolation Inside is forgetfulness of life, activity. That is why the poet must engage in letters of his time. Hölderlin detects this danger and, ambivalently, its annihilation: "Who thought in the deepest loves what he is most alive ..." (trans. A. Preau).
Poetic activity after admiration, contemplation is one of the most thought deep penetrating the being of each thing. Here is drawn the antinomy, the quarrel between the meditative thought and life. This opposition is inhibited by Hölderlin when it involves Socrates: the poet who thought in the deepest loves what he is most alive. The remoteness of life, even the lack of it in the thinking activity is resolved in meaning that the deeper causes in thought "what is most alive." The conflict between the facts of thinking poetically (not dreaming) and living is absorbed.
Two figures seem to possess the characteristics mentioned above; these two figures correspond to that of the poet - in absolute terms - describes. The first is a fictitious figure, the Hyperion, hero of Hölderlin, "the hermit of Greece," sometimes exalted by the unity of the Nature, Ancient Greece, Love, sometimes desperate war, the absence of the beloved. The other figure is that of Empedocles, or philosopher physiologist Presocratic, poet before all but doctor or miracle worker.
This last character is adored by Hölderlin who sees him as a forerunner in its vision and poetic approach to nature, the cosmos in its terrifying cosmodicée where cycles of Hate and Love succeed.
"... But what to say? It takes you to see him, him! One moment! and then leave! Myself I avoid - Terrible, a being inhabits that any metamorphosis . " (The death Empedocles - trans. R. Rovini.)
Terrible is also the figure of Hölderlin Heidegger says it is the "poet of poet "(Approach Hölderlin).
Hermeneutics and Interpretation
CHEZ M. Heidegger and Ricoeur P.
followed by
HERMENEUTICS D'A. MACHADO
Hermeneutics and Interpretation
M. Heidegger and Ricoeur
Issues relating to the hermeneutic tradition and relate to ontology Twentieth century as well those of hermeneutics and interpretation. What predominates in Husserl's philosophy and Heidegger we will find him posed in other Milestones for example in the work of Paul Ricoeur. However are present among all of them this ontological-theological movement or lexical theological and that of philosophy classic without which this historical connection can not be observed.
In the work of Heidegger, the question of hermeneutics makes sense to through the issue of being so powerful in Being and Time, but before date of 1927 release. According to Heidegger, as pointed out rightly G. Vattimo 4 , "language is the Occurrence of being "and the call" is the language that meets the being-there is always historical, "are we able to say, Heidegger poses the same, the relationship to be boils in relation to the language that historically it turns out that we are possessed and we have.
Taking the word of Hölderlin, the master of Fribourg notes that the dialogue which bases history between response and speech of the past is about the same.
Heidegger's philosophy that wants to get out of metaphysics up the language in center of his concern: "the language we quote the author, gives being to the thing." According to a terminology borrowed from phenomenology is, one might say, in the language and in his reflection that we arrive to the "same things". Yet further insists Vattimo 5 , if Way to Language (one of the later writings), can serve as a "final phase" of his philosophy, reflection on language is not a reflection on language reality-report the ability of language to describe things or reflect on an aspect of the being-there of man, but remains the commentator of the words "eminent form experience the reality itself. " Thus Heidegger he endorsed the verse from a poem Stefan George 1919 6 : "No thing is where the word almost." This deployment word which Heidegger takes the concept of Geviert or Fourfold 7 , Is neither that of the presence metaphysics or instrumentality of Sein und Zeit, but the directions constitutive of the world that éploie which the temperature of a cross always be the word emphasizes the opening of the event to be Geviert (borrowing formulation F. Hölderlin). Heidegger specify the meeting of thought and idealize. The thought listening poetic language and it is a fundamental vocables 8 of Heidegger's work, hermeneutics. This word, as we briefly mentioned in the beginning is linked as largely in Paul Ricoeur the theological origin of speculation Heidegger to have an ontological character otherwise much more assertive.
Below (in the same book) Gianni Vattimo reminds us that the tradition Schleirmacher philosophical and Dilthey used this word to refer to the doctrine of the interpretation that in the first place of "texts" specific (Scripture, laws, classical literature) and any written or spoken discourse. By extension in Heidegger knowing that the being of things and the being of the being-there are primarily in language, the existence same is hermeneutics that is to say, interpretation, meeting, says the author, language.
In the usual perspective variant as discussed leitmotifs, if interpretation is raised the sign to the meaning, that is to say the word to the thing it means but if it is not more information but provides the instrument to be things, listening rules of language and hermeneutics change. Late Heidegger conceptualize this notion contraposed to metaphysical thought and the principle of reason sufficient. What we can provide the foundation (Grund) dénantit the subject to which everything had been confined and takes off his own background 9 . Heidegger's thought reaffirms thought hermeneutics. Heidegger's hermeneutics is a hermeneutics that offers the possibility to interpret the speech without annihilating. In Hegel's metaphysics the subject is only before himself until Being and Time the mind is; "Let the other be other" 10 . So Heidegger answers the call transcends and hermeneutic thinking satisfied otherness. Finally and before continuing the second analysis component of this issue hermeneutics and interpretation, it is worth noting the concern of authenticity in Heidegger's ontology in the sense "no metaphysics" to be.
A book holds our attention, it is the essay entitled On Interpretation with subtitle essay on Freud and published by Paul Ricoeur 11 . The author presents an analysis philosophical work of Freud in which he examines the issue and psychoanalytic that of language in what he wants to be like a debate with its founder. This book us interested in more ways than one as it consists of a few chapters of a writer exegesis offers another view after Heidegger and the end of metaphysics and which determines a different hermeneutics under the stained post-metaphysical terms of a critique of philosophy in his later productions. According to Ricoeur, therefore, as in time and Story 12 : "unity of human speech today problem." Thus established is of Nowadays a "great debate" on the language that with philosophy, phenomenology religion, psychoanalysis is invited. What makes us look with Freud says Ricoeur correctness, not dreamed the dream but the text of the dream narrative and reading that wants substitute another text again according to our philosopher, would be like the "word primitive desire " 13 . The semantics of desire is based on the dynamics that denote discharge notions, return, investment (etc.) through an alliance between reality and necessity by which desire is the central motif of me pleasure seeking the useful, the pattern of the reality of me in the "economic task of the ego" 14 .
Man desire masked advance: the language is most often distorted: it is equivocal. The symbol under Ricoeur under the Freudian angle is this double region meaning, the interpretation is understanding. The hermeneutic of Ricoeur's theory rules governing exegesis, that is to say, "the interpretation of a single text or set of signs that can be considered a text " 15 (" it is through the act of interpreting the symbol of the problem is part of a language philosophy, " 16 ). Through a historical review of the field of investigation, the philosopher instructed the question as posed by Ernest Cassirer 17 with the definition the "symbolic function" as a general function of mediation of consciousness (Which built its universe of perception and discourse). The symbolic in Cassirer's the common denominator of ways to objectify reality. Ricoeur and to argue: it unique problem that Cassirer designated by the term symbolic, we discussed: it is that of the unity of language and articulation of its multiple functions in a single grip of speech. In Philosophy of symbolic forms , the problem of E. Cassirer is: "how man produced a sense of direction by completing a sensible", as Ricoeur is from the specificity of the hermeneutic problem.
But the symbolic function is this: to mean something other than what is said. This is not the same duality in the symbol in the sign where two factors come component unit of meaning: structural duality of the sensible sign and meaning it takes (the signifier and the signified) in de Saussure's terminology and intentional duality of the sign (signifier / signified - sensitive and spiritual - and the thing or the object signified). Words concludes Ricoeur, express meanings through which they mean something. In the symbol of duality, of higher degree, the meanings superimposed relationship as to the direction: there is evident sense not ceasing return a hidden meaning, and in the dream and the mythical. The interest is the epistemology of symbol. In the poetic imagination "image - verb that crosses the image - representation, it is a symbol, "Bachelard 18 stated that" poetry put in the state language emergence ".
The link to interpretation is certainly superimposed but is organically linked to thought symbolic, "the riddle does not block the intellect but the causes."
"Reflection on the symbol came out of a philosophy of language and reason has a symbolic logical sense "renchérira Christian existentialist philosopher the further develop in the same opus and what further we will see his expression of the concept of interpretation.
Following the study of symbol, happens the question of interpretation and his notion. Yes Aristotle's notion seems purely verbal. The Hermeneia is "the meaning of sentence in the logical sense, declarative proposition (true and false): "Say something something that is interpreted " 19 . Another tradition being considered by Ricoeur, that of Scripture holy, worthy of attention in that tradition of scriptural exegesis is a