Abstract

One of the most enigmatic and inevitably most suggestive words that Hölderlin’s philosophical work delivers to us is the neologism introduced in the summer of 1799: aorgisch, aorgic. A principle that is both ontological and mimetic, the aorgic undoubtedly represents the presence of the sublime in Hölderlin, albeit concealed terminologically, but also a particular declination that makes it not always easy to assimilate to the theories of the eighteenth-century and romantic sublime. This paper attempts to probe the role played by the aorgic in the configuration of an aesthetics of the tragic by considering two precise moments: the writing, Grund zum Empedokles, which seeks to give speculative legitimacy to the unfinished tragedy on Empedocles, and the notes that accompanied the translations of Sophocles that Hölderlin published in 1804. Interpreted as the dimension of the formless, but also of the possible, the aorgic is necessarily thought by Hölderlin always next to its opposite pole, the organic, that is the dimension of the human in the broad sense (art, culture, history). The relationship between these two poles is not only dialectical, along the lines of Fichte’s Wechselwirkung, but also analogical, recovering that relationship between physis and techne that Aristotle had already indicated in the second book of Physics. The aorgic therefore represents the necessary alienation to which nature is subjected in order to become culture (or art), a passage that, from the point of view of traditional aesthetic categories, could be read as the transition from the (natural) unrepresentability of the sublime to the (cultural) configuration of the beautiful: from chaos to form.