Sunday, November 12, 2017
On Rimbaud's brass trumpet.
With the phrase "Je est un autre" Rimbaud anticipated the unconcious as being an essential part of the subject. Moreover, Rimbaud's "I', in the transitional poetry between Romanticism and Modernism, to which Rimbaud's statement should be seen as belonging, is not only a questioning of a stable, indivisible subject, that is, the unity of the subject with itself, the subject's, but also a breaking up of the lyrical subject and the Cartesian self-identity of the "I" of poetry. Indeed, what Rimbaud can be said to precursor is the free play of Modernism and even more so of Postmodernism.
P. 123-4
Heidegger first asks about how rhythmos relates to the incompatible terms nearness and the unapproachable, which, according to the Greek poet Archilochos, is supposed to keep the human being in line. Second, he asks if poetry still has the force to save language from the Gestell of modern science as represented by the sciences of language, linguistics, and informatics. Third, Heidegger answers these questions by answering that Rimbaud remains vital to poetry if poets keep asking these questions in their poetry, which means becoming a seer that can hear the call of the unknown. For poets to be able to do this they must find a way to make the unknown still, the rhythm of poetry must still the unknown.
P. 138
From James M. Magrini and Elias Schwieler's Heidegger on Literature, Poetry, and Education after the “Turn”: At the Limits of Metaphysics.
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