It can be argued, perhaps, that it was not until Blanchot, who lived at the junction of phenomenology and poststructuralism, and within the milieu of post-World War II French philosophy, that writing finally could be accorded its inherent ethical essence, that the intrinsic ethical nature of writing could be uncovered. Is it simply that thinkers since Plato never fully examined the phenomenality of written language? Perhaps so. Approaching an answer to such a question is beyond the scope of this project.
Nonetheless, we can most likely agree that Heidegger’s work on language began to set the stage for this rather late development that sought to locate ethics within writing. Heidegger’s verdict—“Die Sprache ist das Haus des Seins.” —begins to reveal not only the ethos (ήθος qua dwelling—das Haus—as well as ethics) of language but also—and equally important to Blanchot’s project—the daof Dasein, the thereness of human being which Blanchot, by way of Lévinas, will come to understand as the terrible il y a of non-relational, neutered ontology.
For both Lévinas and Blanchot, language serves as the only escape from neutered being. Lévinas comes to understand, at least initially, dialog and conversation (interpellation) as the site where relational metaphysics (ethics) can occur. We need to remember, however, that for Lévinas, one’s subjectivity is always already riddled with alterity. That is, I cannot (ever) be myself without the (prior and primordial) dispersion of identity across the differential field of otherness.]
“The Origin of the Work of Art” make the contentious case that this ontological diminution “begins” when concepts central to the ancient Greek understanding of being get translated into Latin without a full experience of what those concepts originally revealed. Hence the obvious appeal for Heidegger of Meyer's suggestive line: “Veiling itself, this [first basin] overflows / Into a second basin's ground”. What remained of these ontological “riches” in the medieval world was then transposed into and reduced further in the modern epoch which, like the fountain's third basin, stands at the furthest remove from its original source.
It thus seems clear that Heidegger included Meyer's poem because he believed it suggestively illuminated the way the history of being unfolds as a history of decline, a “fall” which results from this history's increasing forgetting of the source from which it ultimately springs—the Ur-sprung or “origin” of Heidegger's essay's title—in a word: “Being” (Sein), Heidegger's famous name for the source from which all historical intelligibility originates (by way of the disclosive “naming-into-being” which Heidegger understands as the “poetic” essence of art). Pp. 68-70]
[Nissim Ezekiel, poet of human balance books.google.com Harish Raizada - 1992 - 196 pages - He has no hesitation in describing even P. Lal and Pritish Nandy as poetesters. Ezekiel does not spare even old reputed Indian English poets who had earned wild acclaim both in India and abroad. He is highly critical of Sri Aurobindo ...]
The verdict of renowned people like Nissim Ezekiel and P. Lal on Sri Aurobindo’s poetry is well-known, but we treat them as trash. 20th Century Philosophy, similarly, is the crest jewel of human thought and longing, and hence, overlooking stray critical comments pertaining to it would be more rewarding for young learners. [TNM55]
has liberally used 
come to the mind in this context.