is always only what was earlier that is spoken of, although the complete otherness of the second beginning is thought—
or the gift of immediately proceeding on the indicated course.
Each of these has its own greatness and its own smallness. And all who here stand under these provisions must know they have no choice, but rather the distinction, to belong to their respective ineluctable course and remain faithful to it.
43
We never grasp the inceptual; in order not to become something present at hand and thereby forfeit itself, the inceptual must constantly withdraw. Therefore, the beginning can never present itself; it can only be carried out, namely, in the downgoing of recession, such that the withdrawal truly remains a withdrawal.
(Cf. lecture on the work of art2 and w.s. 37–8, p. 12.3)
44
Who is the future human being (cf. p. 34, 47), assuming he would still ground a history? Answer: the steward of the stillness of the passing by of the last god—the grounding preserver of the truth of beyng.
But where and how are these stewards of the stillness to come forth? Can we “breed” them? No! The steward must be able to remain awake and also be the most watchful and the most alert. Stewardship for this stillness, however, is not a mere state in a present-at-hand human being; instead, the stewardship of the truth of being requires a transformation of humanity such that humans in their highest possibilities become nothing less than the grounding of truth, and this grounding happens as Da-sein.
In addition, the concealed relation to beyng itself already belongs to the essence of this transformation—; the attack of beyng must strike deep into Da-sein. Therefore, the coming forth of the stewards depends on a preparation, perhaps a very long one, whose goals will be largely misunderstood. This preparation must think in advance both beyng and Da-sein | in their reciprocal relation and so attain the place
2. {Martin Heidegger, “Der Ursprung des Kunstwerkes,” in Holzwege, Gesamtausgabe (GA)5, 2nd ed. (Frankfurt: Klostermann, 2003), 1–74; Heidegger, “Vom Ursprung des Kunstwerkes: Erste Ausarbeitung,” in Heidegger Studies 5 (1989), 5–22.}
3. {Heidegger, Grundfragen der Philosophie: Ausgewälte “Probleme” der “Logik,” GA45 (Frankfurt: Klostermann, 1984), 39ff.}