Las personas en el sector público chileno

Accordingly, the "love of life," named in line 49 of the draft, will conceal something deeper. It includes death. Insofar as death comes, it vanishes.

The mortals die the death in life. In death the mortals become ira-mortal.

" . . . you ways of the wanderer"—the "voices of destiny" precede them. What does "destiny" [Geschik] mean here? If we are ever to under-stand it, we will do so only by paying heed to how it is named. "O you voices of destiny." Voices? They ring out. In its fourth stanza, the elegy

"Bread and Wine" asks: "and where does the great destiny ring out?" What is meant is that which is called at the beginning of the stanza "the soulful land of the Greeks," for which and in which the great destiny rang out.

Through what do the "voices of destiny" ring out? What rings out?

Lines 2ff. say:

For amid the [eyes'] blue school, From afar, amid the uproar of heaven, Rings out, like the blackbird's song, The clouds' serene mood, well

Tempered by the existence of God, by the thunderstorm.

Heaven is what rings out. Its voice is the clouds' serene mood. What tem-pers the clouds into opening up is precisely what they conceal within themselves: the "thunderstorm's extreme appearance," the lightning flash, the thunder, the storm, and the arrows of rain. The god's presence is con-cealed within these appearances. Although the thunderstorm's clouds veil the heaven, they belong to it, and show the god's joy. Consequently, the clouds are "well-tempered," that is, in their right disposition.

In the draft of the poem, Hölderlin first wrote: "the clouds' secure mood." Here secure means the securum, the care-free stillness. Because they are tempered in their own disposition, namely, to be the "pure cov-ering" of the heaven through which it rings out, the clouds remain still in spite of all the uproar.

Heaven rings out. It is one of the voices of destiny. The earth is another voice. It also rings out (lines 9ff.):

Hölderlins Earth and Heaven $ Where ringing out

On it, as on the calf's hide, The earth . . .

As the hide of the drum, when struck, thunderously resounds in its own way from the drumbeats, so the earth resounds from the claps of lightning and the "shower of arrows" ("Greece," First Version, GSAII, p. 254,6). The ringing out of the earth is the echo of heaven. In resounding, the earth by its own movement replies to heaven.

A late fragment says (GSA II, p. 334):

Always, loved one! The earth Goes and heaven stays.

To where does the earth go and upon which ways?

Where ringing out On it, as on the calf's hide,

The earth . . . (lines 9ff.) Pursues great laws, and knowledge

And tenderness (lines 13ff.)

The earth "pursues great laws." The "laws" named here are the V0|I01 in the sense of the directions of the great destiny which points and sends everyone to where he is needed according to his being. Unwritten, because unwritable, the laws determine the infinite cohesion of the whole relation.

As Hölderlin already noted in the Homburger "Philosophical Fragments,"

(Hell. Ill, p. 261), they are the laws "of which Antigone speaks."

Sophocles, Antigone 456-57:

ob ydp Ti vuv ye Köc%0ec;, äXX ötei noxe

£rj Tccmcc, Kotiöelc; otöev fc£ ÖTOD <|>dvr|.

For not only today and yesterday, but forever and ever, It (the direction) arises, and no one has gazed upon that Place from which it came to shining appearance.

192 i ELUCIDATIONS OF HÖLDERLIN'S POETRY

The earth reconciles itself to the great laws. On which ways? They are named (lines 13ff.): "knowledge and tenderness." The word "knowledge"

[ Wissenschaft] has the same meaning here that it had for his teacher Fichte and his friend Hegel: "Knowledge" is the thinking of the thinkers, which has received its name and with it its being from Greece. The brightness of thinking determines "the light all around my window," through which the poet "looks out."

"And tenderness"—We heard this word in the letter to Böhlendorff.

Tenderness characterizes the "popularity" of the Greeks. Popularitas is the capacity for the highest affection for, and the utmost intimation of, what a people in their native character fatefully encounter as the foreign. The popularity of the Greeks is tenderness. The athletic character of the heroic body and the power of reflection belong together within it. Tenderness, with its gladdening-bestowing and at the same time simply-receiving essence, together with knowledge, with its thinking that allows reflection, holds the earth open to the heaven. Both form the connection of the earth to the heaven, and so are thereby heavenly.

One of the "Night Songs" that sings of Greece under the title "Tears"

and that was written between the letter to Böhlendorff and the draft of

"Greece," begins:

Heavenly love! O tender! If you I should Forget, if you, O you fateful ones,

You fiery ones, that are full of ashes and Even before were deserted and lonely, You beloved islands, eyes of the wondrous world!

You alone concern me and matter now,

(GSAII, p. 58; Hell. IV, p. 70)

The earth rings out, tuned into the "echo of heaven." The earth rings out through "knowledge and tenderness," which, both earthly, co-respond to destiny. In what language? First heaven rings out. Then the earth rings out. And later? Lines 14ff. say:

Hölderlins Earth and Heaven $ . . . and the width of heaven, pure covering, later

Appearing, sing clouds of song.

The clouds of song sing, "later appearing." Where and how do they appear later, after their ringing out in heaven, after the resounding of the earth?

Later this singing can only be that song which calls heaven from the earth and so is heavenly-earthly at the same time. Lines 7ff.:

And calls, like looking out, for Immortality and heroes;

The calling out of the singers is a looking out for immortality, for the divinity which is sheltered in the holy. The calls are like a looking out from the earth into the width of heaven. There is a wondrous sameness of looking and calling in the earthly song of the singers. However, it corre-sponds only to the sameness of heaven's glance and voice. The voice of heaven is the ringing out of the "eyes' blue school." The calling that looks out for the voices of destiny goes to school with the blue of the heaven. In the draft "Columbus" (GSA II, p. 242), Hölderlin says:

and it is necessary To question heaven.

In their reflecting glance, the "eyes of the wondrous world," the islands of Greece, "their heroes and holy ones," learn of the fateful from the eyes' blue school. In the third stanza of the "Night Song" "Tears," Hölderlin sings:

For, all too thankful, there the holy ones Served in the days of beauty, and

The furious heroes;4

The calls which look out for immortality are the calls of those who are called. In "The Poet's Vocation," they receive their destination to sing.

Those who call in this way become one of the voices of destiny. Their "love for immortality," for divinity, "is of a god" ("What Is God?" GSA II, p. 210,