In a sort of postscript, Pippin makes a few comments on Heidegger’s valorization of poetry.
“The later Heidegger’s work is dominated by reflections on thinking, poetry, and language. That is, his focus remains on the meaningfulness of Being, now as embodied in language and material works of art, not in Dasein’s comportment and actions…. Moreover, he constantly stresses the great difficulty of the uncovering or disclosing striven for in any understanding of the meaning of Being, going so far as to note frequently that this requires a kind of ‘violence’ on our part to ‘achieve’ such openness” (The Culmination, p. 205).
I am troubled by this invocation of necessary violence. On the one hand it could serve as a metaphor for the difficulty of dislodging prejudices, but in recent years I have come to worry more, hearing talk about violence from a philosopher who is generally weak on ethics, and who evidently believed in 1933 that Hitler’s rise could somehow lead to a better, more spiritual Germany, saving the world from capitalism and communism.
“We have noted several times that Heidegger’s charge of forgetfulness and the consequences of this forgetfulness in a technological, spiritless, even nihilistic world would be empty were there not some contrast with this rejection of the prioritization of discursive intelligibility as the thinking proper to sources of meaning in an epoch” (p. 206).
“The most familiar term for this new sort of thinking is ‘poetic’, by which Heidegger means in very general terms the authentic sort of contemplative activity, expressed in a suitable language, rightly attuned to the disclosure of meaningfulness” (p. 207).
“Poetry is now treated in the terms used for what is demanded of ‘thinking’, the uncovering of meaningful existence as being-in-the-world…. In what we would call modernist poetry, Rilke’s especially, this is an attunement to what is missing, to evoking our sense of dependence on a primordial site of possible meaningfulness that seems available only by its continuing elusiveness or decay…. At this point, however, turning to Heidegger’s voluminous work on Hölderlin and poetry would amount to beginning another book” (p. 208).
Pippin doesn’t really seem very sanguine about this.
“There is only so far one can go in what amounts to promises about the resources of nineteenth and twentieth century German poetry. The general remarks soon become repetitious, and at that level of generality the promises about the potential weightiness and depth of thought in poetic thinking, especially as some sort of new alternative to Plato, Leibniz, Kant, and Hegel, cannot be persuasive” (ibid).
“Paradoxically, Heidegger makes clear… that he does not mean that the task of poetry is to render the unsaid sayable; it is precisely to disclose such meaning in its unsayability, obviously a difficult and paradoxical notion…. A good deal of Heidegger’s commentary is like this, an explication of something evoked that cannot be named; something disclosed but with no determinate content, a revelation with nothing revealed (no determinate content but not mere absence); rather an evocation of absence with [such] density of possible inflections and implications that it defies critical paraphrase” (p. 210).
In my youth, I wrote reams of linguistically thick deconstructionist prose poetry myself, imagining that I was disclosing great unsayable secrets of the universe through Finnegan’s Wake-like word salads, and that this was superior to any theoretical construction. Today, though I no longer actively dwell on it, I still in principle recognize a kind of poetic truth that seems to at least partly escape ordinary discursive articulation, but would not claim it to be superior, only a kind of supplement whose role is hard to specify.