microliths 240-241 by Paul Celan

Excerpts from microliths by Paul Celan

translated by Pierre Joris



____________

[These are Celan’s first notes toward the conference project “On the Darkness of Poetry” 
which remained unfinished.] Pjoris


240

         240.1
         ||  Mysticism as wordlessness
	     Poetry as form


241.2 The poem is inscribed as the figure of the whole language, but language remains 
invisible; what is actualizing itself — language — steps, as soon as it has happened,
back into the realm of the possible.“Le poème,” writes Valéry, “est du langage à l’état
naissant;” /“Poetry,” writes Valéry, “is language in the state of being born;”/ Language 
in statu nascendi, thus, language freeing itself.


241

241.1	Yesyes, not only the Geiger-, the “syllable-counters ” too, though despised by 
a literature that calls itself engaged, register something.


————————————
      ↑

     →  241.2  


aesthesis is not enough; the…		   ;noesis is not enough; 	          …		  
               ;  what’s needed is personal presence, what’s needed is conversation; 
conversation and entertainment are different things; conversations are demanding, 
straining.



241.3 ——–——–
Idea of the bracket			(voicedness)	 
syncope
			 also the this vibrato of the words has se-
			 mantic relevance


241.4 ______

The poet: always in partibus infidelium




241.5 ______


          Das      Kampaner Tal, p. 51, footnote:
                          ↓
	||... “as on the Jews’ houses (in memory of ruined Jerusalem), something
          always 		has to be left unfinished.” 

	     to    remember in the poem — remembrance as absence — 



241.6				Language planes

	||   
                   Nationallibr.: Bühler —



241.7

______


No syllogistic enriched with this or that theory of association, no logistic will ever be 
able to do justice to the fact of “poem” — the alleged thought- or language-scheme of 
the poem is never “finished.” 


______

241.8	


syntactic (and other!) bracketings 

______


241.9

Oppositeness? 

______


241.10

Multivocity

______


241.11


139. Psalm:         nox illuminatio mea 

	       ... darkness is like the light 


246


246.1					        an uneasiness similar to that in
“Lyrik-Dichtung)					relation to the word
					 →  		“Schrifttum / literature”

 The uneasiness	    Lyrik				  (which Heine
 the progress therein				     uses…)

Tension between Lyrik = Dichtung


Questions	Lyric Poetry
“Problems of Poetry”

246.2	We live in a brightly lit time, a time that illustrates everything; lyric poetry 
has a cosmopolitan trait: “Felice notte!” our so beneficially contradictory god poetizes. Benn…



246.3	_______



The secret marriage the word contracts in the poem with the real and the true is called 
“wild” mainly by those who do not want to forgo their lushly comfortable, well-guarded 
culture-harem and — especially — the eunuchal services that come with it. (Poetry 
certainly does not threaten this seraglio with any kind of abduction)


246.3  The — oh so wordily lamented — loss of tradition: the legitimism 
of those who “legitimize” themselves everywhere, so as not to have to justify 
themselves to themselves.


                              

Excerpts from Paul Celan’s microliths (I)

162.1 ­

It is part of poetry’s essential features that it releases the poet, its crown witness and confidant, from their shared knowledge once it has taken on form. (If it were different, there would barely be a poet who could take on the responsibility of having written more than one poem.)

 

162.2

—Poetry as event
Event = truth (“unhiddenness,” worked, fought for unhiddeness)
Poetry as risk
Creation = /power­activity /Gewalt­tätigkeit (Heidegger)
Truth ≠ accuracy (­i­: consistency)

 

§ Read at Excerpts from Paul Celan’s microliths

 


Further excerpts from Paul Celan’s microliths (II)

 

22                                                                                                                                          Hermeticism—

Certain “citizens” and the poem: They buy the surprise bag; one knows vaguely what’s in it, it won’t be much, but then it doesn’t cost much either, and if one happens to visit the fair and one has enjoyed the lady without lower- but with upper body, one’s amusement also demands this. And when what’s in it turns out — but here too the buyer’s superior humor can prove itself — to be even cheaper than cheap, there still remains the fun that all of that was “too.

 

 

§ Read at Further excerpts from Paul Celan’s  microliths

§ Poethead Project /  microliths: series, trans. Joris

§ Excerpts from Paul Celan, Microliths. These translations are © Pierre Joris

 

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