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Abstract This essay explores the relationship between philosophy and poetry in the work of Giorgio Agamben, focusing on their shared engagement with the problem of language. By tracing Agamben’s reflections on negativity, the separation between sound and meaning, the distinction between voice and Voice , and the concept of signature , the essay examines how poetry and philosophy emerge as distinct yet interrelated modes of a linguistic experience. For Agamben, human language has a presuppositional structure in which it pre-supposes the thing itself , and through the articulation of the animal voice as Voice , this Voice remains as a negative foundation within language. This constitutes the form of negativity he identifies within Western metaphysics, particularly exemplified in the works of Hegel and Heidegger. Drawing primarily on The End of the Poem , alongside key texts such as What Is Philosophy? and The Sacrament of Language , I argue that poetry, for Agamben, functions not merely as a signatory act, but as a performative practice that discloses the musical and communicative potential inherent in human language. Philosophy, on the other hand, reflects on the very existence of language as pure communicability . Through a close reading of The Sacrament of Language , I show how Agamben situates both poetry and philosophy within the horizon of performativity , whose arche he locates in the oath. The oath, as a binding act between word and world, reveals the ethical and ontological stakes of speaking, thereby linking the speaker to the said and to the world. The essay concludes by considering Agamben’s later ideas, in which he returns to the question of the musicality of language. In these ideas, I argue, language no longer appears as a historical construct to be transcended, but rather as a site of pure expression – a musical performance of Being itself.