Temporality.

Relation to gods: already attuned, found attunement.

Relation to the earth.

Poet is torn from everyday relation to exposition, transition, being outside in a temporal opening.

Bringing back into the opening of the earth.

An analytical exposition of a rhythmic outline of the fundamental attunement.

When the gods are absent there are no paths on the earth: becomes a simple unholy site of use. It is the poets task to attend to this opening for the coming of the gods.

History is the monumental play the gods conduct with and for humans.

Earth as abyss: pure potentiality & chaos (lack of potentiality), from this that the poet draws out definition. The gods need humans to feel/attune - which they lack due to their immortality

The soldier: exposed with the others to a nothingness which is the ground of their community.

Antigone declares her right against Creon to claim another usage, of the dead: der Brauch. Creon informed the duty of philia: the law of family & the state. Antigone disclaims it, rupturing the bond of philia with her sister, "my philia is for the dead". Aouoegic: evoking the power of the dead, the realm of chaos, of which Antigone is serving & being served through. Leads us towards the death drive, the theological beyond our comprehension/articulation, the unknown.

Ereignis: the event of appropriation, an occurance.

Eignen: when time is the proper time, comes into its own, being owning, definition occurs, destiny is made clear

>>>>BEYNG is doubly articulated: der Brauch

Through language: the self comes to itself through language. Using the human to articulate being as human being. The bodily dimension of the human in relation to the earth - body/hand/doing the writing.

The poet is summoned to attend to the origin, the emergence from this coupling - the demigod, the river - streaming out of the mountain, the event of a birth springing forth: a calling of poetic duty to give voice to the origin. The river seems to stream by its own will until it turns, turning away from what the river would want - to regain the origin of origins - but is obliged to turn-about towards the homeland. :: the centaurs set themselves up on the turn of the river, as natural scientists, as the vantage by which best to understand nature & the will of the river.

Hölderlin on the Greeks:

Foreign

Proper

National

>clarity of presentation: Apollonian, through their sculpture, etc. exceed themselves

>native enthusiasm: Dionysian, ecstatic passion, lose something essential to their being

For Moderns:

Foreign: enthusiasm: speculation for a new religion, Kantian injunction of human finitude & reason, what we can understand & know & do

Native: clarity of presentation: German clean display

= we can't imitate the Greeks without losing our relation to our own being. We require a different form > Hölderlin is looking for another form of representation: correcting the Greek. As we rethink our modern position we must change our mode of representation accordingly, not just inherit the Greek static embrace of eternity: "they go out in flames, we go out in little boxes." How do we articulate our destiny? The Rhein is an allegory for this turn.

The conflict between gods/earth implies in itself the tension between need/discipline: need= internal constraint exercised outwardly, discipline= external will applied inwardly. The will arises through this turn as a counter-will. ::: the river as a structure of reflection. "The rivers have an eye to its origin." A reflexive turn of the river thinking back to its origin, finding a form for itself , taking on form.

The nature of lack is a point of conflict, of the gods using the poet.

Tragedy: based in separation, the self-conconception which unified/coupling & separation/incision which is conceiving itself - a cathartic separation.

Hölderlin's "alternation of tones"= a dramatic shift.