For George Batailie (1897-1962) the world is ‘purely parodic'. Each thing we see is ‘the parody of another, or is the same thing in a deceptive form’ (Batailie 1985: 5). For Batailie, everything in the world is ultimately relatable to everything else, everything can be substituted for another thing, in a ceaseless process of metaphoric exchange. It is the circulation of language that makes this possible; and since it is possible in language it is possible in the world(s) that language constitutes. The coupling of words performs the copulation of bodies.

For Batailie, parody utterly eroticises the world, so that in the running of the ‘locomotive’s wheels and pistons’ he sees the world's ‘two primary motions’ of ‘rotation and sexual movement'. In the image of the steam engine's pounding pistons and turning wheels, he sees the coupling of animals and the movements of the planets, always moving from ‘their own position in order to return to it, completing their rotation'. These ‘two motions'—the thrusting of sexual frenzy and the circling of the stars—are ‘reciprocally transformed, the one into the other', so that the turning of the earth ‘makes animals and men have coitus’ and—since ‘the result is as much the cause as that which provokes it'—the coupling of animals and men turns the earth (Batailie 1985:6).

In this article I want to trace the similar parodying of the erotic in the work of Hans Urs von Balthasar. While Batailie couples the sun and moon with the sea, with clouds and plants, with the coitus of animals and the ‘amorous frenzy’ of men and women (Batailie 1985: 5)