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understood correctly what is meant, strictly speaking, by τὸ ἀντίξουν. Rather, the word is to be understood backwards, from συμφέρον [harmonizing].
FINK: τὸ ἀντίξουν means what struggle apart, what struggle against each other, but not like two living beings; rather, like something rebellious that resists power. What struggle against each other is rebellious self-confrontation. What struggle apart are at the same time what collect themselves and bring themselves together. If we start with the second half of the fragment, the first half becomes readable. The most beautiful harmony proceeds out of what is born apart. Contrary to the customary opinion that struggling apart is something negative, what struggle here in opposition are at the same time what bring together. What struggle against each other harmonize in a manner such that out of them, as what is born apart, as the counterstruggling division, the most beautiful harmony grows. With that, Heraclitus thinks programmatically beyond what we previously encountered in Fr. 111, namely, the fact that cold things can become warm and vice versa.
HEIDEGGER: But where does the "most beautiful harmony" belong? Is it the visible or the invisible harmony?
FINK: That does not allow of saying right off the bat. Fr. 48 also belongs in the group of fragments which deal with the contraries: {258} τῷ οὖν τόξωι ὄνομα βίος, ἔργον δὲ θάνατος. "The name of the bow is life, but its work is death." This fragment refers not only to the absurd idea that there is a misrelation between matter and name.
PARTICIPANT: Fr. 51 also belongs in this context. "They do not understand how what is born apart agrees with itself: struggling union, like that of the bow and the lyre."
FINK: In order to be able to explicate this fragment, one must first have read Fr. 48. The bow unites in itself the contrariness of the striving and the domain of death. The lyre is the instrument which celebrates the festival. It is also a unifying of what is at first struggling in opposition. It unifies the community of the festival. Fr. 51 views not only the relationship of the lyre and the community festival, but also the relationship of the dead. The work of the bow is death, a fundamental situation distinguished from the festival. Death and the festival are linked together, but not only as the bow ends are tautened by the string, but in the manner of manifold counterrelationships. Still, we must break off here, because these fragments require a fundamental consideration.
HEIDEGGER: In conclusion, I don't want to make a speech, hut I would like to ask a question. You, Mr. Fink, said at the beginning of the first session that "the Greeks signify for us an enormous challenge." To what extent, I ask? You said further that it is, therefore, a question of