By Friedrich A. Kittler, Erik Butler
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Example text
No traditional metrical scheme governs the lines that Goethe wrote on the Kickelhahn, and no topic underlies and authenticates their equation of sleep and death. The peace the poem announces may be the same as on any other night or, alternately, the last one ever—only the false profundity of literary scholarship ignores the first reading (in order to have yet another text by Goethe on the “final things”). The alternative corresponds exactly to the charge placed on the maternal voice: of mediating between all forms of absence, both everyday and religious, through the fullness of its presence.
Birdland” was no land of winged creatures, but a bar in New York. “The Bird” was the name of an alto saxophone player. And when he played “Lullaby of Birdland,” it was a signal, not a lullaby. 44 4 The God of the Ears In Gedanken an Rochus und die Insel 12 The Greeks had a god who dwelled in the acoustic realm. When shepherds dreamed and the quiet of noon turned, Pan suddenly droned in the ears of all. Pan, a curve of auditory space, had always been closer to the Great Goddess than her despairing paramours, who chased her only in the field of vision.
What seems to be represented—the mythos of heroes—is hallucinated by a chorus that techniques of inducing ecstasy have made productive. The duality of protagonist and antagonist incarnates the sole hero of dithyrambs: the god they celebrate is “Zagreus”—“dismembered body” (Birth of Tragedy § 10, I 61). Nietzsche’s genealogy of drama interprets neither content nor form; it describes the “that” of its emergence. The community of worship is producer and spectator in one: ecstasy transports its members into the chorus, and it exalts the chorus into the god whom the transfigured community in turn beholds.
