Ernst Jünger, DIE SCHERE #36: Text Die Vorschau eröffnet nicht, als ob der Vorhang zerrisse, eine umfassende Perspektive; sie gleicht eher dem Spähen durch ein Schlüsselloch. Der Blick ist beschränkt; er fällt meist auf Nebendinge wie ein umgestoßenes Tintenfass. Doch darin stimmt er genau. Man könnte an eine kleine Störung denken, hervorgerufen etwa durch ein Schräubchen, das im verwickelten Getriebe der Wahrnehmung locker wurde - gottlob nur für einen Augenblick.
Ernst Jünger, DIE SCHERE #36: Translation Second sight does not open a panoramic view, as if a curtain were ripped apart. Instead, it is like squinting through a keyhole. The perspective is quite limited, it is mostly trifles, like a toppled inkwell, that meet the eye. However, such accidental details are perceived with great exactness. This might be explained by assuming a slight disturbance, caused perhaps by a tiny screw in the intricate mechanism of perception becoming loose - luckily merely for a moment. Ernst Jünger, DIE SCHERE #36: Notes This is just a passing remark on a seemingly less significant aspect of second sight before EJ moves on to his next major topic, the particular historical person with the gift of second sight. However, for himself this aspect has additional significance. In quite a few of his dreams so many of which he has recorded in his journals it is this phenomenon of the overblown detail that sticks out and attracts his attention. In #41 he will point out that the stories he has cited as examples in the past four aphorisms are all evidence for this particular point. The relief expressed in the "gottlob" of the last sentence reminds us that we are dealing here with an uncanny and even dangerous phenomenon. Günter Rebing
