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§229 [355-356]


Therefore no one ventures to pursue the meditation far enough, even within this basic position, so as to see that we "have" nothing more "given" which could be what is true by way of rendering and forming an image.

Even if only this much would be conceded, the question would already have to arise as to whether correctness (which has first grounded, and not presupposed, such a representation of beings and even of the one who does the representing), as the essence of truth, can at all ground and determine the search for what is true and the claim to it.

Furthermore, such a correctness would never lead out of the plight of the abandonment by being; it would only corroborate and call up the plight anew, in a veiling way.

But what does it mean that the essential projection of truth as clearing concealment must now be ventured and the dislodging of the human being into Da-sein prepared?

Dis-lodged out of that situation in which we find ourselves: in the gigantic emptiness and desolation, compelled into the tradition (which has become unrecognizable as such) without standards and above all without the will to interrogate them. The desolation, however, the concealed abandonment by being.


228. The essence of truth is un-truth22


This statement, deliberately formulated to be in conflict with itself, is supposed to express the fact that the negative belongs intrinsically to truth, by no means as a sheer lack but as resistance, as that selfconcealing which comes into the clearing as such.

Thereby the original relation of truth to beyng as event is grasped.

Nevertheless, the statement is precarious with regard to the aim of using such strangeness to bring the strange essence of truth nearer.

If grasped quite originarily, there lies in the statement the most essential insight into—and simultaneously a reference toward—the intimacy and strife in beyng itself as event.


229. Truth and Da-sein


The clearing for self-concealing clears in the projection. The projecting of the projection occurs as Da-sein, and the projector of this projecting



22. Cf. Frankfurt lectures, "Der Ursprung des Kunstwerkes." In Holzwege. p. 36ff., esp. p. 40f. (GA 5).