One of the complexities of the Romantic interest in the practice of writing is the notion that the silent letters have an acoustic nature which has nothing to do with the bodily voice of the speaker. This article on Novalis’s »Monolog« considers the »ear« of writing. It is shown that through a rhetoric of »Witz«, Novalis’s text creates a fiction of orality. Specific attention will be directed at how »Monolog« distinguishes between two modes of language and their temporalities Through the example of Cassandra the article analyses the way »Monolog« presents speech as a mode of the present, and writing as a mode of the future.

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