I: As soon as you say this, we are at once in the midst of aesthetics—think of Schiller's treatise on "Grace and Dignity," That treatise, just as his later Letters on the Aesthetic Education of Man, was inspired by his dialogue with Kant's aesthetics.

J: If I am rightly informed, both works contributed a decisive stimulus for Hegel's Aesthetics.

I: And so it would be presumptuous if we now tried to convince ourselves with a few remarks that we have mastered the nature of aesthetics.

J: But speaking only by and large, I may attempt to detach Iki, which we just translated with "grace," from aesthetics, that is to say, from the subject-object relation. I do not now mean gracious in the sense of a stimulus that enchants ...

I: ... that is, not in the realm of what stimulates, of impressions, of aisthesis—but?

J: Rather in the opposite direaion; but I am aware that with this indication I still remain embroiled in the realm o£ aesthetics.

I: If we keep this reservation in mind, there is no harm in your trying to give the explication just the same.

J: Iki is the breath of the stillness of luminous delight.

I: You understand "delight" literally, then, as what ensnares, carries away—into stillness.

J: There is in it nothing anywhere of stimulus and impression.

I: The delight is of the same kind as the hint that beckons on, and beckons to and fro.

J: The hint, however, is the message of the veiling that opens up.

I: Then, all presence would have its source in grace, in the sense of the pure delight of the beckoning stillness.

Martin Heidegger (GA 12) On the Way to Language