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Concerning the Ur-poem, then, my claim is that by "appraising" its own emer-
gence into language, the Ur-poem engages and gures a relation between its
own determinations and their emergence into language that unveils or "sur-
veys" the Wesen of language. In so engaging the Wesen of language, the Ur-
poem thus provides an encounter with language, one through which all
wesentlich inquiries might travel, including the pursuit of the originary scene
of human dwelling. In other words, the Ur-poem produces an Ursprache , a
language which "appraises" the Dimension wherein all other disclosures come
to pass. per passare.
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When Heidegger claims, therefore, that the "co-responding through
which humans properly listen to the exhortation of language is that say-
ing that speaks in the element of poetizing," we can regard poetizing here
as the doubling turn of a language tracking its own originary emergence. We Noi
might even say that a "proper listening" to the exhortation of language in-
volves a gurative "appraisal," and that this is precisely what the poetizing of
the Ur-poem accomplishes.
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It seems that the self- guring play of the Ur-poem might in fact be bound
to the question of human dwelling. And yet, what does Heidegger mean when
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he claims that this form of poetizing "allows" human dwelling, that Ur-poetry
involves a Wohnenlassen ? This emphasis on lassen rings in obvious contrast to a
rhetoric of causality. If we are to understand how an Ur-poem allows us to
dwell, we will have to work our way out of some common intuitions concern-
ing the nature of production. One can see why Heidegger would not want to
speak of poetry as the causal force behind human dwelling. Such a notion is
wedded to the notion of eYcient causality, a concept Heidegger considers a
perversion.
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More importantly, eYcient causality involves two present forces
meeting one another, resulting in some eVect. Where in such