The Restriction of Being • 179

When one translates δίκη as “justice,” and understands justice in a juridical-moral sense, then the word loses its fundamental metaphysical content. The same holds for the interpretation of δίκη as norm. In all its domains and powers, the overwhelming, as regards its powerfulness, is fittingness. Being, φύσις, is, as sway, originary gatheredness: λόγος. Being is fittingness that enjoins: δίκη.

Thus, the δεινόν as the overwhelming (δίκη) and the δεινόν as the violence-doing (τέχνη) stand over against each other, although not as two present-at-hand things. This over-againstness consists, instead, in the fact that τέχνη breaks out against δίκη, which for its part, as fittingness, has all τέχνη at its disposal. The reciprocal over-againstness is. It is, only insofar as the uncanniest, Being-human, happens—insofar as humanity essentially unfolds as history.

3. The basic trait of the δεινότατον lies in the reciprocal relation of the two senses of δεινόν. The knower fares into the midst of fittingness, draws Being into beings [in the “draft”],66 and yet can never conquer the overwhelming. Thus, the knower is thrown this way and that between fittingness and un-fittingness, between the wretched and the noble. Every violent taming of the violent is either victory or defeat. Both throw one out of the homely, each in a different way, and they first unfold, each in a different way, the dangerousness of the Being that has been won or lost.

66. “… reißt [im “Riß”] das Sein in das Seiende”: the two words in brackets are in parentheses in the 1953 edition. Reißen means to rip open, or to pull forcefully or suddenly. The related noun Riß can mean either (1) a gap, a breach, or (2) a design, a sketch. Compare Zusammenriß (pulling together), two paragraphs below. In 1936, Heidegger uses the word Riß to describe the strife between “earth and world,” a strife that is set to work in artworks: see “The Origin of the Work of Art,” in Off the Beaten Track, ed. and trans. Julian Young and Kenneth Haynes (Cambridge: Cambridge University Press, 2002), 38 (where Riß is translated as “rift-design”).

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