Taking the outward appearance of the children’s game “Who’s afraid of the bogeyman?”, the inner voice (of the withered night or of the human being himself) implores the human being, the ‘I’, to recognize his personal uniqueness and, with that, his personal loneliness as something naturally inherent to his nature, and to abstain from his solitude that disowns the value of the known self and prevents the human being from becoming a friend to himself, thus denying him the opportunity to consciously, sincerely, and freely face life as well as death. In this turn towards complacency, however, the question after a subtle overbearing remains.
Taking the outward appearance of the children’s game “Who’s afraid of the bogeyman?”, the inner voice (of the withered night or of the human being himself) implores the human being, the ‘I’, to recognize his personal uniqueness and, with that, his personal loneliness as something naturally inherent to his nature, and to abstain from his solitude that disowns the value of the known self and prevents the human being from becoming a friend to himself, thus denying him the opportunity to consciously, sincerely, and freely face life as well as death. In this turn towards complacency, however, the question after a subtle overbearing remains.