44 § Poetry, Language, Thought

own. By the opening up of a world, all things gain their lingering and hastening, their remoteness and nearness, their scope and limits. In a world's worlding is gathered that spaciousness out of which the protective grace of the gods is granted or withheld. Even this doom of the god remaining absent is a way in which world worlds.

A work, by being a work, makes space for that spaciousness. "To make space for" means here especially to liberate the Open and to establish it in its structure. This in-stalling occurs through the erecting mentioned earlier. The work as work sets up a world. The work holds open the Open of the world. But the setting up of a world is only the first essential feature in the work-being of a work to be referred to here. Starting again from the foreground of the work, we shall attempt to make clear in the same way the second essential feature that belongs with the first.

When a work is created, brought forth out of this or that work-material—stone, wood, metal, color, language, tone—we say also that it is made, set forth out of it. But just as the work requires a setting up in the sense of a consecrating-praising erection, because the work's work-being consists in the setting up of a world, so a setting forth is needed because the work-being of the work itself has the character of setting forth. The work as work, in its presencing, is a setting forth, a making. But what does the work set forth? We come to know about this only when we explore what comes to the fore and is customarily spoken of as the making or production of works.

To work-being there belongs the setting up of a world. Thinking of it within this perspective, what is the nature of that in the work which is usually called the work material? Because it is determined by usefulness and serviceability, equipment takes into its service that of which it consists: the matter. In fabricating equipment— e.g., an ax—stone is used, and used up. It disappears into usefulness. The material is all the better and more suitable the less it resists perishing in the equipmental being of the equipment. By contrast the temple-work, in setting up a world, does not cause

Martin Heidegger (GA 7) The Origin of the Work of Art