The notion of encounter is a key part of the Meridian address and a major theme in Celan's later work. It's also quite complex so I'll start with its use in the Meridian speech and then proceed to the notes.
This seems to be talking about an encounter between the poem and the other:
Perhaps, I have to tell myself now- perhaps an encounter of this "totally other" kind with a not all too distant, with a very close "other" is - I am using here a familiar auxillary verb- is thinkable- thinkable again and again.
This elaborates on how the poem proceeds:
The poem is lonely. It is lonely and en route. Its author remains added to it.
But doesn't the poem already at its inception stand in the encounter- in the mystery of the encounter?
The poem wants to head toward some other, it needs this other, it needs an opposite. It seeks it out, it bespeaks itself to it.
Each thing, each human is, for the poem heading towards this other, a figure of this.
The attention the poem tries to pay to everything it encounters, its sharper sense of detail, outline, sturcture, colour but also of the "tremors" and "hints," all this is not, I believe, the acheivement of an eye competing with (or emulating) ever more precise instruments, but rather is a concentration that remains mindful off all our dates.
More Celan Pages on arduity
So, the poem is not an inert object, it goes out into the world and moves towards this encounter a meeting that have been brought into existence at the point when the poem was made/written. This is the kind of stuff that gives Celan his reputation for difficulty and has allowed his detractors more fuel than they deserve. I've always understood that the encounter occurs between the poem and the reader but the notes show that this is hopelssly simplistic.
The 'Encounter' section of the notes is made up of three parts:
I'll try to deal with each part in turn although there may be some overlaps along the way.
It's important to recognise that the poem, for Celan, has agency- it is underway and it is attentive as it heads towards this other. This may seem odd but any writer produces work with a specific audience in mind even if this is a fairly broad group. Some of the more serious writers may have a specific aim in touching or influencing readers in a certain way and this points to a slightly more grounded rationale. I encounter books and poems and other texts all the time, some of these are first encounters and others are with old friends or aquaintances and I give them attention. Does Celan's idea of the attention that the poem tries to pay allude to the elements placed by the poet to enable a reciprocal encounter to take place?
I'd like to report that the notes add weight to this incisive line of reasoning but instead we get:
The poem as poem is dark, it is dark because it is the poem. Under|with this congenital darkness I do not mean those Lichtenbergian clashes of books and readers' heads, where the hollow sound does not always come from the book; to the contrary, the poem wants to be understood it is exactly because it is dark that it wants to be understood-: as poem, as 'poem's dark'.Each poem thus demands understanding, will to understand, learning to understand (that is, but let this secondary phenomenon be mentioned here for the last time, a true understanding and in no way some "To enter into the co- or re-production, as fastidiously suggested these days on the federal and other levels. The poem, as I said, wants to be understood, it offers itself up to an interlinear version, even demands it; not that the poem is written in view of this or that interlienear version, rather the poem carries, as poem, the possibility of the interlinear version both real and virtual; in other words, the poem is in its own way occupiable. I want to insist on the fact that here I am using the term interlinear version as an auxilliary word; more specifically I do not mean the empty lines between verse and verse; I beg you to imagine those empty lines as spatial, as spatial - and - temporal. Thus temporal and spatial, and, for this too I beg you, always in relation to the poem.
There exists, I return to this here already, because nothing can be lost sight of, no co- no re-production, the poem is because it is the poem, unique, unrepeatable. (Unique too for the one who writes it and from you and I who are reading it may not expect anything other than this unique shared knowledge.) Unique and unrepeatable, irreversible on the other or on this side of any esotericism, hermeticism, etc - -
The arduity page on the darkness of the poem deals with the idea of primordial darkness (eqated with mortality) as where the poem comes from. We appear to have here this darkness as almost indistinguishable from the poem and that it is this darkness that leads to the poem's desire to be understood. So, the encounter with the reader carries the potential for being understood but the poem in this encounter demands that the reader has the will (a very loaded noun) to understand and is prepared to learn how to understand.
The poem can also have this interlinear quality which is said to be both spatial and temporal and is differentiated from the 'empty lines between verse and verse'. This opens up a heap of possibilities:
The notes to 'breathturn' make use of Plotinus to make clear that ' Original and reproduction are the same / the yearning to become world-free' which seems at odds with the apparent distinction made here although the second paragraph seems to insist that attention must be paid to those versions even though the poem, as poem, is unique
Celan denied the charge of hermeticism- something that was increasingly levelled at him during the last ten years of his life, he did however acknowledge that his work carried more than a degree of ambiguity. This denial seems to be undermined by the referal to the 'other on this' side of hermeticism.
These two paragraphs contain one of the most explicit statements of Celan's poetics and it is again fascinating to see this insistence on the agency of the poem, as if it is a conscious and acting thing- it is the poem that 'demands' that 'offers itself up' that carries its darkness with it. The 'giviing itself up' can refer to surrender but also to scarifice for the sake of this interlinear version.
Christoph Lichtenberg was an eighteenth century scientist who apparently (according to the editors) asked the rehtorical question about the head and the book.
The other 'significant' extended passage is more explicit about the encounter:
Even for the one,- and beyond all for the one, for whom the encounter with the poem begins to the quotidian and self-evident, this encounter has to begin with the darkness - of the sef-evident what makes every encounter with a stranger strange. "Camarado, who this is no book, who touches this, touches a human
fromby this touch - that is not a "making contact" - comes the way to intimacy. Aisthesis is not enough here, man is more than his sensorium; it is a question of conversation, as it is a question of language (noesis does not suffice; it is the question of the angle of inclination under which one came together; it is a question of fate, as is the case with every real encounter, of the here and Now. the place and the hour
(The text after 'suffice' is a later addition)
To get the obvious barriers out of the way first, the "Camarado" quote is from Walt Whitman's "So Long":
Camerado, this is no book, Who touches this touches a man, (Is it night? are we here together alone?) It is I you hold and who holds you, I spring from the pages into your arms--decease calls me forth.
This might suggest an additional intimate and deeply personal element to the poem/reader encounter.
The OED defines aisthesis as " The perception of the external world by the senses" and sensorium is " The seat of sensation in the brain of man and other animals; the percipient centre to which sense-impressions are transmitted by the nerves". .
Apparently 'noesis' is used in phenomenology to mean "a process or an act of perceiving or thinking, as opposed to an object of perception or thought; (also) the subjective aspect of an intentional experience". All of this would seem to suggest that what we normally consider as our way of apprehending things will not suffice, that there needs to be a conversation and this needs to be under this enigmatic 'angle of inclination'- an idea which is in the Meridian speech and which I'm still puzzling over:
This always-will of the poem can only be found in the work of the poet who does not forget that he speaks under the angle of inclination of his Being, of the angle of inclination of his creatureliness.
I've puzzled over this particular angle of inclination for a Very Long Time and keep coming back to a kind of attentive leaning forwards as an expression of care for the Other but I may (again) be enirely wrong.... but I'd like it to infer that our existence (Being) is intertwined with this concern.
Many of Celan's poems are addressed to a 'You' and this part of the notes deals with this and also expands further on what the encounter between poem and reader might be about. I've thought of the 'you' in Celan's work as being either God or his parents or the Jews who were murdered or a lover or himself and I can produce examples where this appears to be the case. What I hadn't given too much thought to is the ways in which may be addressed to the reader and these brief notes have caused me to reconsider.
I'll start with something reasonably explicit-
in that Ias I write my poems, in my own and most own matter. With that I hope, and that seems to me to belong to the last, because oldest, and still to be defended hopes of the poem, to promise also in strange matters. In the strangest matter; in the You-distance. At the perihelion of poetry. -The poem has, I am afraid . entered the phase of total You-darkness: it speaks in the strangest matter!-.
I speak alternately in the first and second person; by naming at times the one at times the other, I mean the same. -
the possiIn the You-Darkness the possibility of the selfencounter x/ remains.
I have to document this I quote (Buchner): "..."
This is followed by a shortish horizontal line and beneath that this has been added later "x/ mystical motive-".
So, this you could be both the particular addressee of the poem and, at the same time, the reader of the poem. I've already described what Celan has to say on the darkness of the poem so I won't dwell on this here but the Poem-darkness is a primordial darkness that is congenital/inherent in the poem and moves with it as it is underway towards the encounter. The reference to a 'phase of total You-darkness' suggests that there may be other phases that may not be You-dark or may not be totally You-dark. What is more important to me at least is this reiteration of ambiguity as in 'I mean the same' which isn't quite the same as 'I mean both at the same time' but it's close enough for my small brain at the moment. The other intriguing element is this business of the poem as a way to encounter the self or there is the chance of encountering the self in the You-darkness phase of the poem. Both of these do help with my encounter with the work. This is 'Soviel Gestirne' form the 'Die Niemandsrose' collection in 1963- I'm using the Michael Hamburger translation-
SO MANY CONSTELLATIONS that are held out to us. I was, when I looked at you- when? - outside by the other worlds O these ways, galactic, O this hour, that weighed nights for us over into the burden of our names. It is, I know, not true that we lived, there moved, blindly, no more than a breath between there and not-there, and at times our eyes whirred comet-like towards things extinguished, in chasms, and where they had burnt out, splendid with teats stood Time on which already grew up and down and away all that on which already grew up is or was or will be-, I know, I know and you know, we knew, we did not know, we were there, after all, and not there and at times when only the void stood between us we got all the way to each other.
This can be read as being addressed to the Jewish victims of the Holocaust and the proximity to the 'you' may refer to Celan's near-death experiences in the German work camps. This would 'fit' with "the burden of our names" as having a recognisably Jewish name invariably meant death. I'm not going to dwell too long on capitalised time being splendid with teats only to note that teats are sources of sustenance and that the capital t usually denotes Heideggerian notions of existence. What I think is important here is that darkness or blindness seems to be an essential part or precondition of the encounter. The play on knowing and not knowing and presence and absence can be read as the paradoxical nature of the encounter, that it occurs in the dark and at the edge(s) of experience. Elsewhere Celan seems to be talking about the poem as containing the potential for an encounter with a reader who is able to fully apprehend it.
We now come to 'cathexability':
In the poem something is said, but in effect so that the said remains unsaid as long as the one who reads it will not let it be said to him. In other words: the poem is not topical, but can be made topical. That too is, temporarily, the 'cathexability' of the poem: the You, to whom it is addressed, is given to it on the way to this You. The You is there, comma even before it has come. (That too is a sketch-for-being \Daseinsentwurf\.)
(The german word at the end has been inseterted by the translator, Pierre Joris, to indicate that there isn't an appropriate equivalent for thin is English).
'Cathexability' is given in the preceding note as 'occupiability' and it here that Celan restates that the reader must occupy the poem in order for it to realise it's potential. 'Occupy' has many different meanings (the OED lists 17) but I'm tryting to work out how my engagement with poems might, or might not, be thought of as an act of occupation. There are some poems (including some by Celan) that I have read and re-read to the extent that I feel that I am in a personal relationship with them because they draw me in and demand my serious attention. Whether this can be said to be a readerly occupation of the poem is open to doubt but what I can report is the personal shock and unease that I've experienced recently when I realised that the last line of the wonderful 'Erblinde' is an almost direct 'lift' from Mandelstam.
I'd like to report that this part of the notes provides further clear and unambiguous insights into the work but they don't. The name of Osip Mandelstam occurs more than any other poet and it's clear that his work is a presence in Celan's poetry. Now, there is a long and convoluted debate to be had about the nature of this influence but here we have Celan's personal take:
A word about the poems:
By nearly none of hisAs for only a few of his contemporaries, and with that not onlythose writing not only those writing in the Russianlanguage, are meant? for Osip Mandelstam born in 1891 the word in the poem are sign and signifiedthe poem is the place. where what can be reached through language by the individual seems gathered is gathered; to make the perceived in the word "thing-fast"enters into an indissoluble connection with the whathis (the individual's) speechlessness with WHEREit thingfast its(indecipherable word meets the question after the whereto and the wherefrom of the one who speaks, voiced \stimmbegabt\ and voiceless at the same time, meets the wish to gain world and the wish, the original wish of the poet, thus, in the poem, to become free of the world.
For the things in the poem
have a relationship withare related to those things that one calls the last ones.
I think we have here this important point, all of the following are the same;
These kind of paradoxes will be familiar to readers of Celan's work but I wasn't aware that. in this, he saw himself as walking in Mandelstam's footsteps. I'm not going to go over the arguments about the relationship between language and things because others do it much better but I do want to note this relationship which Celan contrasts favourably with the use of metaphor:
The reification, the becoming-object dialogue of the poem: in the vocabulary too (as indeed it
has tois everywhere a question of self incarnation). A naming, that is before it is something else, always still an invocation (there too where it is a silent gaze): hence, from this naming the poem according to its Being is anti-metaphorical; what is transferred to the objects is at best the I: it is, from the naming of the silent consonant of the name
Why not give an extreme formulation? The poem is the unique, the untransferable
realthe present \Gegenwartige\
Asthe objective \Gegenstandliche\ it can also have the object's muteness and opacity; it only wakes up
throin the true encounter, which it has as its secret. Therefore every real encounter is also remembrance of the poem's secret.
(The last two paragraphs were added at a later date).
I think I can now be forgiven for being more than a little confused. What (exactly) might the 'silent consonant of the name' be? Is the self who incarnates itself the poem, the reader, the poet or the subject of the poem or any combination of these. Is the capitalised 'Being' a reference here to the wilder shores of Heidegger's mystic streak? Is this secrecy that belongs to the poem in any significant way different from the charge of obscurity that so many have levelled at the work?
I'm reasonably okay with naming as invocation but I can't make the leap to the silent gaze especially as we go straight back to the authentic name according to its Being or essence as being in opposition to metaphor. A brief galnce at the possible meanings of 'gegenstandliche' (objective, representational, concrete, graphical) leads me to believe that this could be a combination of any of these?
So, this last part of the encounter notes throws up much more debate than it resolves but parts can also act as a useful marker for further reading of the work.