Abstract
Why do Heidegger's wooden paths not end with the essay Wozu Dichter (Why Poets?), which, after the dramaturgically thought-out course of the volume, beckons into the open of the possible arrival of another beginning of thinking? After the core epochs of the "modern" phase of the "history of being" have been described quasi chronologically (Descartes in the essay The Time of the World Picture, Hegel, Nietzsche), it was only consistent that Heidegger wanted to show in which way out of the ultimate "abandonment of being" - which is caused by the "death of God", to which Nietzsche drew attention, should now be evident - a possible dawn of another beginning and the arrival of another "figure" of the truth of being could occur, for which the great poetry of Friedrich Hölderlin, but also that of Rainer Maria Rilke, can give us a hint; This would also close the arc to the treatise Der Ursprung des Kunstwerks (The Origin of the Work of Art), which opens the entire volume (and above all the entire complete edition, which, as is well known, began with the Holzwege). The book strategy would have been ingenious.
So why does the "poet's essay" still and especially the "Anaximander's saying" follow?