To Speak with the Other—To Let the Other Speak: Paul Celan’s Poetry and the Hermeneutical Challenge of Mitsprechen
Abstract
:1. Paul Celan: Participative Voices (Poetry I)
Afternoon, with Circus and Citadel
In Brest, before the flaming rings,In the tent, where the tiger sprung,There I heard how you, Finitude, sang,There I saw you, Mandelstam.
The sky hung over the roadstead,The gull hung over the crane.The Finite sung, the Steady, –You, gunboat, are named “Baobab”.
I greeted the tricolorWith a Russian word–Lost was Unlost,The heart an anchored place.
No
voice—a
belated rustling.
2. Maurice Blanchot: Listening to the Voice of the Poem (Philosophy I)
3. Emmanuel Levinas: Speaking to the Other (Philosophy II)
4. Jacques Derrida: Impossibilities of Speaking for the Other (Philosophy III)
5. Werner Hamacher: Suspending Hermeneutic Violence (Philology)
6. Paul Celan: The Unknown That is Speaking Also (mitsprechend) (Poetry II)
Argument
How can we live without the unknown in front of us?
Men of today want the poem to be in the image of their lives, composed of so little consideration, of so little space, and burned with intolerance. […] Born from the summons of becoming and from the anguish of retention, the poem, rising from its well of mud and of stars, will bear witness, almost silently, that it contained nothing which did not truly exist elsewhere, in this rebellious and solitary world of contradictions.
Funding
Conflicts of Interest
1 | Celan ([1992] 2003, pp. 64–66): “Der geistesgeschichtliche Kontext der Dichtung Ossip Mandelstamms, an der neben Russischem auch Jüdisches, Griechisches und Lateinisches teilhat, die in ihnen mitsprechende religiöse und philosophische Gedankenwelt, ist bislang zu großen Teilen noch unerschlossen”. |
2 | The phrasal verb “mitsprechen” consists of two parts: The prefix “mit” means “together with” or “together”. It refers to the idea of involvement or participation in something. The basic verb “sprechen” means to communicate orally or to speak words. “Mitsprechen” therefore means to speak or participate in verbal communication together or with others. This can imply varying contexts. On the one hand, it can evoke participating in an ongoing communication by also saying something or commenting on it. On the other, this verb could also bring to mind expressing opinions or views in a debate. Finally, in certain situations, it can mean speaking words or texts together with others, for example, in a choir. As Celan points out, “The intellectual context of Mandelstam’s poetry, its Russian, but also Jewish, Greek and Latin heritage, its religious and philosophical thought, is still largely unexplored”. Celan ([1992] 2003, p. 64). Collecting and publishing the annotations in his philosophical books made some of these voices visible. Cf. Richter et al. (2004). Translation modified. |
3 | Celan (2005b, p. 182): “The poem becomes—and under what conditions!—a poem of one who—as before—perceives, who faces that which appears. Who questions this appearing and addresses it. It becomes dialogue—it is often despairing dialogue”. Celan’s Gespräch points to a conversation rather than to a dialogue as it involves more than two speakers. Also, he emphasis the poem becoming a conversation, whereas in the case of the philosophers mentioned, the text functions as a fictitious interlocutor. The poem becomes a conversation to let others (the dead) speak and carry on their voices. See the following footnote. |
4 | Derrida (2005b, p. 120): “What the poem lets speak at the same time (mitsprechen: lets speak also, says Launay’s translation, and the mit of mitsprechen deserves stress […]), what the poem lets speak with it, lets partake in its speech, what it lets con-verse, con-voke (so many ways to translate mit-sprechen, which means more than a dialogue) […]”. |
5 | (Celan 2020b, NoOnesRose, p. 247): “With wine and lostness”. |
6 | The symposium organized by Amy D. Colins in Seattle in 1984 shows how Celan’s poetry had come to pose a challenge to earlier reading habits. Derrida presented his first version of Shibboleth there, and Stéphane Mosès his magisterial reading of Celan’s Conversation in the Mountains. See (Colin 1987). |
7 | (Hays 1983). The volume presents several of Szondi’s texts in English translation and collects the proceedings and discussions of the meeting in Paris in the summer of 1978. One of the aims was to “reexamine the critical lines of communication between Germany, France and the United States” especially with regard to the relation of the critical subject to its text and historical situation, a question raised by Szondi. https://www.jstor.org/stable/i213370, (accessed on 3 March 2024). |
8 | |
9 | The novel was published in a complete version posthumously in 1958. A first, incomplete version was published in 1948. Before World War II, Saint-Exupéry was a commercial pilot, working airmail routes in Europe, Africa, and South America. He joined the French Air Force at the start of the war until France’s armistice with Germany in 1940. He then travelled to the United States to persuade its government to enter the war against Nazi Germany. During this time, he wrote three of his best known works, then joined the Free French Air Force in North Africa and disappeared on a reconnaissance mission on 31 July 1944. |
10 | Saint-Exupéry ([1948] 2000, p. 43): “Citadelle, je te construirai dans le cœur de l’homme” (Citatel, I will build you in the heart of man). |
11 | The leap of the tiger, which Celan saw in the circus, coincides with what Walter Benjamin qualifies as Marx’s idea of revolution: a dialectical tiger’s leap “in the open air of history”. Benjamin ([1940] 2003, p. 395). Celan read Benjamin’s Writings in the two-volume edition of 1955. The Theses contain one single annotation by Celan. Cf. Alexandra Richter et al. (2004, p. 287). |
12 | |
13 | Celan (2005b, p. 184). Celan (1983, vol. 3, p. 201): “Wege, auf denen die Sprache stimmhaft wird”. See the contribution of Stéphane Mosès on the Seattle Symposium in 1984 “Wege auf denen die Sprache stimmhaft wird” Colin (1987, pp. 43–57). |
14 | Enigma is what has purely sprung forth. |
15 | The poem Psalm from the volume NoOnesRose—which is entirely dedicated “to the memory of Osip Mandelstam”—rewrites the biblical scene of Genesis 2:7 “Then the Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being” into: “noOne conjures our dust” (Niemand bespricht unseren Staub). Celan (2020a, p.136; 2020b, p. 263). |
16 | Celan (2005b, p. 182). The German noun “Mitsprache” (having a say) is mainly used in the composition “Mitspracherecht” (right of participation, right to have a say, to speak up and speak for yourself). All of these meanings resonate here, especially the literal meaning of a having a say. |
17 | In his Essay About an interlocutor, Mandelstam refers explicitly to the similarity between the address of a letter in a bottle and a poem. Mandelstam (1991, p. 9). |
18 | Mandelstam (1991, p. 9). There is another famous poem in French literature that uses the same metaphor: La bouteille à la mer from Alfred de Vigny. Cf. Epelboin (2010), https://www.erudit.org/fr/revues/etudlitt/2010-v41-n2-etudlitt3987/045157ar/ (accessed on 3 March 2024). |
19 | Celan (1983, pp. 167–69). Common golden nettle blooms between May and July in an area extending from northern Spain through central Europe to the west coast of the Black Sea and the Russian foothills of the Ural Mountains. |
20 | Walter Benjamin had published in 1936 under the pseudonym Detlef Holz a series of letters entitled Deutsche Menschen [German Men and Woman]. As say the dedications in the copies given to his wife Dora and his friend Siegfried Kracauer, the book was conceived as an ark “according to the Jewish model”, at the moment “when the fascist flood began to rise”. Wizisla (2007, pp. 45–67). |
21 | Celan ([1992] 2003, p. 63): “This is to show how much Mandelstam’s poems, risen out of the ruin of a ruined man are relevant to us today”. Celan ([1992] 2003, p. 65). |
22 | Celan (2020b, p. 165): “When the kingfisher dives, /the second saws”. |
23 | Ivanovic gives an insight into Celan’s lectures of Mandelstam’s essays. “Kyrillisches, Freunde, auch das…”. Die russische Bibliothek Paul Celans im Deutschen Literaturarchiv Marbach, edited by Ivanovic (1996, pp. 81–91). |
24 | Konstantin Batyushkov (1797–1855) was a Russian elegiac poet and admirer of Petrarch, Arioso, and Tasso. He succumbed to mental illness in 1821, a topic Mandelstam takes up in the poem “Batyushkov” (1932). https://www.poetryintranslation.com/PITBR/Russian/MandelstamEssayDante.php (accessed on 3 March 2024) (translation by A. S. Kline, 2022). |
25 | Blanchot’s essay “The Last One to Speak” first appeared in the Revue des Belles Lettres (1972) before being reprinted as a book and subsequently collected in Une voix venue d’ailleurs (Paris: Gallimard, 2002) 69–107. An English translation by Joseph Simas was published in ACTS: A Journal of New Writing 8/9, 1988, 228–39. |
26 | Citation of the poem Streak in the eye [Schliere] from the cycle Speechgrille: “that a sign/carried through darkness be salvaged”. Celan (2020b, p. 181) |
27 | Michael Levine, Atomzertrümmerung (Wien: Turia + Kant, 2018) 78–79. |
28 | Richter et al. (2004, p. 365), reading annotation 394. The book conserved in the Marbach archives of German literature does not contain any annotations, only the dedication of his friends, who had given it to him for his 33rd birthday. However, since Celan explicitly refers to the text in a notebook, he presumedly read the text in another copy. |
29 | The poem Streak in the eye [Schliere] from the cycle Speechgrille ends evoking a sign that is “tuned as/a mutely vibrating consonant” Celan (2020b, p. 181). |
30 | Celan (2020b, p. 187). Already in the cycle Poppy and Memory, there is an allusion to the silent bell. The poem Count the Almonds says: “Only there […] did the hammers swing free in the belfry of your silence” Celan (2020b, p. 81). |
31 | |
32 | The essay was first published in Tijdschrift voor Filosofie 3 in 1963. |
33 | The Said (le dit) and the Saying (le dire) are fundamental categories in Levinas thinking. See Flora Bastiani, “Le Dire et le dit: la possibilité du langage dans la philosophie d’Emmanuel Levinas”, in L´ambiguïté, edited by Pierre Marillaud (CALS, 2012). |
34 | Heidegger ([1944] 1981, p. 194): “Das erste Heimkommen besteht im Dichten. Die Elegie Heimkunft ist das Heimkommen selbst, das sich ereignet, solange ihr Wort als die Glocke in der Sprache der Deutschen läutet”. |
35 | Celan (2020b, p. 205). The couple of words “verloren” (lost) and “unverloren” (unlost) are frequent in Celan’s poetry, as f.i. the verse “Lost was Unlost” in the poem Afternoon with Circus and Citatel. In the Bremen speech, Celan insists two times that only language was, in the midst of the losses, “unlost” Celan (1983, p. 185). |
36 | For an interpretation of the “-i-”s as an “implex” in the sense of Paul Valéry, cf. Alexandra Richter. “Les annotations «- i -» dans les lectures de Celan”, in Richter (2020, pp. 174–78). |
37 | Richter et al. (2004) 365, reading annotation 394. In an early poem from the period of Poppy and Memory, “Wie sich die Zeit verzweigt”, the word “shrine” is also mentioned. Celan (2020a, p. 63). |
38 | Collected in Derrida (2005a, 2005b, 2005c). On Derrida and Celan, see Crepon (2006), a text that was first presented at the Collège international de philosophie in my seminar on Paul Celan’s philosophical library. See also (Fóti 2006; Levine 2008; Michaud 2010). |
39 | About the opposition between Derrida and Ricœur regarding the hermeneutics of translation, see my contribution (Richter 2017a). |
40 | Gadamer (1973, p. 60): “Rauchende Kamine menschlicher Wohnungen” (Smoking chimneys in human dwellings). On the different hermeneutic readings of Celan by Gadamer and Szondi see Richter (2021). |
41 | “Am Brunnen vor dem Tore/da steht ein Lindenbaum”: “At the well before the gate/a lime tree stands”. The text from Wilhelm Müller become famous through Franz Schubert who put it into music in 1827. |
42 | “Und seine Zweige rauschten/Als riefen sie mir zu […] Nun bin ich manche Stunde/Entfernt von jenem Ort/Und immer hör’ ich’s rauschen”—”And his branches rustled/calling to me […] Now, though I be many hours/away from that place/still I hear the trees rustling”. |
43 | Wiedemann (2000, p. 547): “What was instigated against me is repression—au sens le plus fort du terme [in the strongest sense of the word]”. |
44 | Kafka (1996, p. 258). Celan’s translation of Mandelstam’s poem from 1916 “Diese Nacht: Nicht gutzumachen” [This night: There’s no making it good again] (Celan 1983, p. 95) takes up the last sentence of Kafka’s story in its title and wording: “there’s no making it good again—not ever”. (Celan 1983, p. 260). |
45 | The Protestant classical philologist Walter Jens from Tübingen had interpretated the poem Matière de Bretagne in regard of the Passion of Christ in a paper published in the journal Merkur in 1961. An Italian literary magazine sent to Celan by his publisher had written that Celan showed “an art of Christian inspiration [...] full of mystical elements”. And an announcement of a volume of translations of David Rokeah by various German poets and writers claimed that all of them lacked knowledge of Hebrew, including Celan. Wiedemann, Paul Celan—Die Goll-Affäre, 552–53. When, at the end of The Meridian, Celan thanks the audience only for their “presence” (instead of their “attention”), he clearly references their blindness and lack of attention. In Darmstadt, he speaks “as a Jewish warrior” (letter to his wife Gisèle), insistently repeating the address “Ladies and Gentlemen”, alike Kafka in his Talk on the Yiddish Language (1912). Cf. Richter (2003, 2017b). Kafka (https://german.rutgers.edu/docman-lister/events/423-kafka-intro-talk-to-yiddish-4, accessed on 28 December 2023). |
46 | About the difficulty of finding a voice as a reader, cf. Alexandra Richter, “Mais le poème parle! — Parler du poème. La voix du poème, la voix du commentaire”, in (Richter 2015, pp. 69–83). |
47 | Paul Celan, René Char, Correspondance 1954–1968, Gallimard, 2015. Letter 74 from 22 March 1962, pp. 151–52: “Voyez-vous, j’ai toujours essayé de vous comprendre, de vous répondre, de serrer votre parole comme on serre une main; et c’était, bien entendu, ma main qui serrait la vôtre, là où elle était sûre de ne pas manquer la rencontre. Pour ce qui, dans votre œuvre, ne s’ouvrait pas—ou pas encore—à ma compréhension, j’ai répondu par le respect et par l’attente: on ne peut jamais prétendre à saisir entièrement—: ce serait l’irrespect devant l’Inconnu qui habite—ou vient habiter—le poète; ce serait oublier que la poésie, cela se respire; oublier que la poésie vous aspire”. |
48 | Feuillets d’Hypnos (Celan 1983, pp. 436–37): “elles sont affectés par l’événement”. Celan’s translation: “in welchem Maße die Ereignisse mitsprechen”. |
49 | Twenty-six poems start with the preposition WITH. |
50 | In the poem Todtnauberg, the question is raised: Whose hands do we shake? Whose name will be written in Heidegger’s guestbook, who will sign it after Celan? In the Meridian, Celan insists on the tragic trajectory of January 20, the date on which Lenz went mad, which became, prospectively, the date on which the extermination of the Jews was decided at the Wannsee Conference. |
51 | In the Meridian address, Celan refers to quotations marks as “rabbit ears, listening, somewhat timidly, on themselves and the words” Celan (2005b, p. 184). |
52 | Celan (2020b) Threshold Speech, p. 175. Also in the volume Speechgrille, only three poems after Stimmen. Celan (2020a, p. 98). |
53 | Cf. commentary in (Celan 2020a, p. 743). |
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Richter, A. To Speak with the Other—To Let the Other Speak: Paul Celan’s Poetry and the Hermeneutical Challenge of Mitsprechen. Humanities 2024, 13, 66. https://doi.org/10.3390/h13030066
Richter A. To Speak with the Other—To Let the Other Speak: Paul Celan’s Poetry and the Hermeneutical Challenge of Mitsprechen. Humanities. 2024; 13(3):66. https://doi.org/10.3390/h13030066
Chicago/Turabian StyleRichter, Alexandra. 2024. "To Speak with the Other—To Let the Other Speak: Paul Celan’s Poetry and the Hermeneutical Challenge of Mitsprechen" Humanities 13, no. 3: 66. https://doi.org/10.3390/h13030066