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By Celan Paul; Celan, Paul; Celan, Paul; Colin, Amy Diana

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Elle reste sans etre ä force de musique, reste p o u r le chant, «Singbarer Rest» 14 , c'est 1 'incipit ou le titre d'un poeme qui commence par dire le reste. Il commence par le reste - qui n'est pas et qui n'est pas l ' e t r e - , en y laissant entendre un chant sans m o t (lautlos), un chant peut-etre inaudible ou inarticule, un chant pourtant dont le tour et le trait, l'esquisse, le trait de contour (Umriss) tiennent sans doute ä la forme coupante, aiguisee, concise, mais aussi arrondie, circonvenante d'une faucille, d'une ecriture encore, d ' u n e ecriture de faucille (Sichelschrift).

Tous les noms, avec eile, consumes, tous les noms. Tant de cendres ä benir. Tant de pays conquis par-dessus legers, si legers des anneaux d'ämes. Grosse, graue, wie alles Verlorene nahe Schwestergestalt: grande, grise, comme tout perdu, proche figure de sceur: Ii y a la cendre, peut-etre, mais une cendre n'est pas. Ce reste semble rester de ce qui fut, et qui fut presentement; il semble se nourrir ou s'abreuver ä la source de l'etre-present, mais il sort de l'etre, il epuise d'avance l'etre auquel il semble puiser.

Wir werden diese Sprache lernen, selbst ihre Namen, immer wieder, denn zu so perversen Zuständen wie vermeintlichem Sprach-Besitz und vermeintlicher Sprach-Beherrschung wird sie sich nicht hergeben. Auch Celan hat seine Sprache nicht beherrscht, und wir müssen ihm dankbar sein dafür. Wo er im Begriff war, sie zu beherrschen, wie vielleicht in der „Todesfuge", die aus einem „Todestango" hervorging, hat er es gut sein lassen und nach neuen Wegen gesucht - und sie gefunden. Wir werden sie lernen, die Sprache des Anderen.

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