Frames /sing


The Súmbolon and the Gold Coin of Poetry

Súmbolon: A. tally, i.e. each of two halves or corresponding pieces of an ἀστράγαλος or other object, which two ξένοι, or any two contracting parties, broke between them, each party keeping one piece, in order to have proof of the identity of the presenter of the other (LSJ)

Some quotes from Nietzsche that I never tire of, and which work with the “eternal youth” of a metaphor. Written a year ago, but I nice follow up on yesterday’s musings on the wealth of philosophers.

“What is truth then? A mobile army of metaphors, metonomies, anthropomorphisms, in short a sum of human relations that are elevated, transmitted, beautified in a poetic or rhetoric manner, and that appear to the people after a long usage as fixed, canonical and binding: truths are illusions of which one has forgotten they are illusions, metaphors that are worn out and literally became powerless, coins that lost their images and are now metal and no longer coins.”

“On Truth and Lie in the Extramoral Sense,” Nietzsche

Once we realize that power is a function of assemblage, then the “reality” of the súmbolon, the breaking of the event into the cause and its effect in a particular way so as to constitute an individual identification, a particular kind of assemblage, then the objective “falseness” of that division becomes the articulation of a means of power, a power valued by the sphere that produced it. The cause and its effect become the fulcrum of the “real”, the hinge upon which material power is leveraged, but also becomes the “sign”, the signifier of the social bonds, the omen which marks what is “true”, and identifies the user of the “true” as authenticated. We see this when the bond between a particular cause its effect is questioned, – which is one of the primary focuses of philosophy – the entire world that can be equationed, exchanged between two, comes into doubt. The knucklebone halves no longer match up, we do not recognize each other, nor therefore the “realty” in which that recognition would take place. When possessed of the halves of bone that form the súmbolon, one either must find new ways in which the two halves fit together, so that the seamless whole appears to be restored, or if believing too heartily in the “fact” of one half, one must search for the other half that matches. What is lost perhaps is that the súmbolon  is negotiation, an agreed upon act, an entered into pact or game, depended upon the coherence of “facts” over time. It is the ground upon with all else becomes exchanged. The social dimension of the “explanation” makes of the súmbolon, the cause and its effect, a kind of coin, that at an established value is passed around in guarantee, which allows the formal production of power, in real, material means.

“What is a word? It is a copy in sound of a nerve stimulus”

“To begin with, a nerve stimulus is transferred into an image: first metaphor. The image, in turn, is imitated in a sound: second metaphor.”

“To begin with, a nerve stimulus is transferred into an image: first metaphor. The image, in turn, is imitated in a sound: second metaphor. And each time there is a complete overleaping of one sphere, right into the middle of an entirely new and different one.”

“On Truth and Lie in the Extra-moral Sense”

“[Valéry] contrasted the poetic word with the everyday use of language in a striking comparison that alludes to…the gold stanard: everyday language resembles small change which, like our own paper money, does not actually possess the power it symbolizes. The gold coins…on the other hand, actually possess as metal the value that was imprinted upon them. In a similar way, the language of poetry, is not a mere pointer that refers to something else, but like the gold coin, is what it represents”

“Philosophy and Poetry,” Gadamer

A related post, a theorization of Davidson and Vico: Davidson’s Razor, Vico’s Magnet



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