摘要:In attending to the history of being, in his later work Martin Heidegger traces the effects of a powerful drive towards technical and objective knowledge which inexorably obliterates a sense of mystery in nature and mankind. The culmination of this trend, in his view, is a globalising technology with its threat, or promise, of ‘limitless domination’. What has been termed a ‘productionist metaphysics’ lies at the heart of this development, through which instrumental or technological modes of thought are projected outwards upon the world at large. The dialectic which Heidegger perceives between concealment and a ‘clearing’ of being is neglected in favour of a world of useable or calculable objects ‘ready-at-hand’. But although history is not, in Heidegger’s view, under human control, it may be that the pressing danger of the technological also contains a ‘saving power’ which is located particularly, in Heidegger’s later writings, in art and poetry. It is with some of these issues in mind that a reading of Victorian representations of landscape, nature and machine may be proposed through a juxtaposition of texts which offers a reinflection of both literary and philosophical responses to the advent of technology.