不可“诗意栖居”的德意志语言之家——保尔·策兰诗集《语言栅栏》之诠释

Home of German Language that can't Dwell in a Poetic Way——An Interpretation of Paul Celan's Speech-Grille

流亡巴黎的德语犹太诗人保尔·策兰是20世纪欧洲乃至西方世界的重要抒情诗人。1959年出版的诗集《语言栅栏》标志着诗人的创作达到了一个顶峰。他以碎裂的语言形态展示恋母和死亡的恒常主题,并全面侵入到句法、韵律和诗学形式之中。诗文碎裂性则根源于那场人性灾难,是诗人内在破裂的诗学外化,是眷恋母亲的禁忌与省略,它摧毁了自歌德、荷尔德林、里尔克以来德意志诗歌语言的流畅性、和谐性与整全性,拆毁了海德格尔形上学筑建的语言之家,使之成为不可诗意栖居的一片废墟。策兰诗文晦涩难懂令德国学者束手无策,却又释者如云。寻章摘句的"提纲挈领"式诠释方法失去了解释策兰诗文的功能,本文从恋母和死亡主题出发,分析诗学语言的碎裂形式,对《指望》、《雪床》和《轨堤,路边,荒场,瓦砾》等三首诗进行周详整体的文本诠释,力图破译难以破解的绝对隐喻和图像密码。

Paul Celan, the Jewish poet who wrote in German and lived in exile in Paris, is acclaimed the foremost lyric poet not only in Europe but also in the western world. Published in 1959, Speech-Grille （Sprachgitter） indicates the summit of the poet＇s creative maturity. In it Celan presents an enduring concern with the theme of death and love for mother, and an unusual form of language in debris that breaks up the syntax, rhythm and poetic form. Such language debris can be seen as a result of the Holocaust. It is a poetic exteriorization of the poet＇s interior disintegration, and a form of omission to deal with the taboo of the incestuous love for the mother. The language debris rejects the coherence, harmony and completeness of the German poetic language as a tradition from Goethe, Holderlin and Rilke, discards the home of language established by the metaphysics of Heidegger and turns it into ruins on which poetic dwelling is made impossible. Celan＇s obscurity and unintelligibility both attract and reject the interpretations by the German scholars. While the method of extracting meaningful lines and bringing out the gist is found no longer effectual in the explication of Celan＇s poetry, this paper seeks to decode the poet＇s metaphors and visual images with a close textual analysis of ＂Confidence＂ （Zuversicht）, ＂Snowbed＂ （Schneebett） and ＂Roadbed, roadside, wasteland, rubble＂ （Bahndmme, Wegrnder, dpltze, Schutt） from the perspectives of death and love for mother in theme and the fragmentariness in form.