Paul Celan in Russia (to the centennial of his birth)

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Paul Celan in Russia (to the centennial of his birth)

Tamara V. Kudryavtseva

M.Gorky Institute of World Literature of Russian Academy of Sciences (Moscow, Russia)

Abstract

The article analyzes the peculiarities of Russian reception of the creative work and the personality of the `European citizen', German-language poet Paul Celan (23.11.1920, Czernowitz, Romania - 20.04.1970, Paris, France). Paul Celan, - a Jew by birth, a Soviet Ukrainian by compulsion, an Austrian and a German by the language and a Frenchman by the place of emigration and death - brought into the European culture “after the Holocaust” acutely tragic, saliently humane and morally eternal meanings. His creative activity is still attractive to the reading and academic community.

The article emphasizes the evolution of perception and the peculiarities of canonization of this man of letters in our country and the meaning of the creative activity of Paul Celan for the contemporary Russian literary process, and specifically the problem of translation (translatability) of Celan's works.

Paul Celan is considered by contemporary Russian Germanists as a most eminent German-language poet of the first half of the 20^th century. Russian Slavists appreciate him as the first and still unsurpassed translator of Yesenin's, Khlebnikov's, and Mandelstam's works.

The history of the Soviet recognition of Celan's work begins in the 1950s. Researchers are interested both in the poet's own works and in his translations of the Russian poetry.

The author's nationality of origin is still being traditionally defined as an Austrian of Jewish origin.

The number of studies devoted to Celan is fairly representative: there are numerous scientific publications in Russia, both in the form of monographs and journal articles, which give a good picture of both his own works, which are actively translated into Russian, and of his translations of Russian poets.

The analysis of the specificity of the current poet's reception, considering its dynamics over time, allows one to conclude that there is a clear trend towards literary canonization of the poet in the post-Soviet cultural space.

Keywords: Paul Celan; German-language poetry; translation; reception; literary canon.

Аннотация

paul ceman poet translation

ПАУЛЬ ЦЕЛАН В РОССИИ (К 100-ЛЕТИЮ СО ДНЯ РОЖДЕНИЯ)

Кудрявцева Т.В.

Институт мировой литературы им. А.М. Горького РАН (Москва, Россия)

В статье анализируются особенности рецепции в России творчества и личности «гражданина Европы», немецкоязычного поэта Пауля Целана (23.11.1920, Черновицы, Румыния, - 20.04.1970, Париж, Франция). Пауль Целан, еврей по происхождению, советский украинец - «по принуждению», австриец и немец - по языковой принадлежности, француз - по месту эмиграции и смерти, внес в европейскую культуру «после Холокоста» обостренно трагические, пронзительно человечные, нравственно непреходящие смыслы, его творчество остается неизменно привлекательным для читательского и исследовательского сообщества.

В статье акцент сделан на эволюции восприятия и специфике канонизации этого художника слова в нашей стране, на значении творческой деятельности Пауля Целана для современного российского литературного процесса, в том числе - на проблеме перевода (переводимости) произведений Целана.

Пауль Целан рассматривается современной российской германистикой как крупнейший немецкоязычный лирик первой половины ХХ в. Российские слависты считают его первым и до сих пор непревзойденным переводчиком произведений Есенина, Хлебникова, Мандельштама и др. История советской рецепции творчества Целана начинается в 1950-е гг. Исследователей интересуют как собственные произведения поэта, так и его переводы русской поэзии. Национальная принадлежность автора до сих пор традиционно определяется как австриец еврейского происхождения. Количество исследований, посвященных Целану, достаточно репрезентативно: имеются многочисленные научные публикации как в форме монографий, так и журнальных статей, дающие представление о его активно переводимых на русский язык собственных произведениях и о переводах Целаном русских поэтов. Анализ особенностей рецепции поэта с учетом ее динамики во времени позволяет сделать вывод о четко просматривающейся тенденции к литературной канонизации поэта в постсоветском культурном пространстве.

Ключевые слова: Пауль Целан; немецкоязычная поэзия; перевод; рецепция; литературный канон.

If you want to talk about the reception of Paul Celan's work in Russia, you have to keep in mind that he is virtually unknown to the general reading public.

The first isolated transmissions into Russian come only sporadically and fairly late. Celan's first poems in Russian appeared in 1967 in the anthology “Zeitzeilen. Young poets from the FRG, Austria, Switzerland, West Berlin ”in the famous publishing house of the Central Committee of the Komsomol“ Young Guard ”1. Five poems by Celan, including his “Todesfuge”, translated into Russian by Ginsburg and Groman, introduce the anthology. In the foreword by the well-known post-poet and publicist Lew Ginsburg, Celan is presented as "the most famous German poet whose books West German publishers are proud of" [Гинзбург1967: 4]. In the biobibliographical index Celan is attested to be an "outstanding contemporary poet" [Громан1967: 111]. The whole book is strongly ideologically tinged, the selection is intended to familiarize the Soviet readers with the "progressive", "anti-capitalist" poetry of the FRG. It is about authors such as Enzensberger, Reinefrank and others. One might assume that it was the intention of the editors To introduce Celan in the company of socially committed authors, in order to allow this 'progressive' image of the poet to become decisive in the consciousness of Soviet cultural politicians and thus to enable Celan's further rise in the Soviet cultural area.

But it was only after seven years (1974) that a new selection of Celan poems appeared in the magazine “Inostrannaja literatura” 2, in Russian by

J. Witkowski, A. Parin, G. Ratgaus, W. Kuprijannow and W. Toporow. The well-known literary researcher S. Apt wrote a foreword for it.

In 1975 the anthology "Aus der Gegenwart Цsterreich Lyrik" was published, where 43 poems by Celan in Russian translation saw the light of day. The transmissions were made by the most famous Soviet retouchers J. Witkowski, W. Kuprijanow, L. Ginsburg, W. Toporow, K. Bogatyrew, K. Ratgaus and K. Asadowski3.

A year later the magazine “Inostrannaja literatura” published a review of the anthology by A. Cancev, where he wrote, among other things: “We got to know the work of Celan quite closely for the first time and we can say with certainty that we from now to this poet, in whose poems and in whose short life ended by suicide there were many branches, but no trace of insincerity, will turn more than once, because the inner perspectives of his powerful ones and of us do not open up immediately Poetry demanding strength, as well as the meaning of his uncompromising testimony to time and self ”[HaH ^ B 1976: 257].

In 1977, seven poems by Celan, translated into Russian by Parin, Witkowski, Lewanowski, Toporow, were included in the anthology

See: [ПаульЦелан1967: 14-19].

See: [Целан1974: 103-109].

See: [Из современной австрийской поэзии 1975]. Я “Western European poetry of the XX. Century "of the well-known series" Library of World Literature "published1.

Eleven years later (1988), a large anthology was published in Moscow - “The golden section. Austrian poetry of the XIX. and XX. Century in Russian translations ”. It contained 28 poems by Celan, which had been translated by A. Parin, M. Belorusez, O. Tatarinova, I. Bolycev, W. Levanski, S.Awerinzew, W. Kupriyanow, W. Toporow and Ratgaus. In the foreword by the well-known German scholar AW Michajlow, Celan was characterized as follows: “So, for example, Paul Celan, who came from the eastern edge of ex-Austria, has become a riddle for the poetic consciousness of all of Europe, without the contradiction between the weight of the word and the lack of expression, as well as having solved the high demands of the void ”[Михайлов1988: 36].

In the biobibliographical appendix to the volume we read the following in a note about Celan: “The book 'Poppy and Memory' (1952) had the greatest success. His influence was enormous. One can say that a new era in German-language poetry has started. Celan showed completely new metaphorical models, syntactic structures: he had discovered a new poetic language which, like no one else in poetry, allowed him to create a tragic image of our century, an image of the collapse of the world, the death of human culture, an image of the to create total guilt. Celan's verse libre has proven what inner integrity can be achieved in a poem with complete formal freedom ”[Вебер 1988: 777].

The first literary mention of Celan comes from 1980. In the history of FRG literature, A. Gugnin, the author of the article "Ways of West German Poetry", dedicates a few pages to Paul Celan, whose work he is an important figure in the German-speaking world Post-war poetry.

In the contribution “Austrian Literature” (“Literature Lexicon”, 1987) by the well-known Germanist

J.Archipow can be read about Celan: “After 1945, a new generation of writers made their debut in Austria. A large group of anti-fascist authors has come together around the magazine 'Plan', where the poets of a philosophical, partly 'hermetic' direction P. Celan and I. Bachmann, who would be famous in the future, appeared for the first time ”[Архипов1987 : 12].

Celan is also mentioned in the articles "Meditative Poetry" and "Literature of the FRG". In the latter, the name Celan and Nelly Sachs appear in connection with the biblical subjects in the literature of the FRG. The author G. Jakuschewa emphasizes that the two are added to the authors of the FRG. She does not report by whom this opinion was expressed.

In the annotated list of authors there is also a short article about Celan which contains only biographical information: year of birth and death, year of emigration from the Soviet Union (1948), - as well as a bibliographical reference to the title of his poetry volumes "The sand from the urns" (1948), "Mohn und Gedдchtnis" (1952), "Von Schwelle zu Schwelle" (1955), "Die Niemandsrose" (1963), "Atemwende" (1967). It should be noted that the poet is attested as a "German poet".1989 wurde in der Sowjetunion die erste Celan-Doktorarbeit, und zwar zum Thema „Poetik des frьhen Schaffens von P. Celan“ Sieh: [Никифоров 1989]., verteidigt.

The fact that Celan is not mentioned very often in the Soviet Union can primarily be explained by the fact that as an 'emigrant' (read: traitor) for the 'best homeland of all peoples' he was rather an undesirable figure.

According to unofficial information, Celan was counted among the 'unreliable' in the USSR, among other things because of his refusal to translate Mayakovsky; a fact that could well explain that Celan was alien to the Soviet model of a socialist society1.

In post-Soviet Russia, the situation has changed for the better.

In this context, the magazine “Inostrannaja literatura”, which is aimed at a broad readership, should be mentioned in particular. In 1996 a publication by B. Dubin appeared here, which contained a foreword, some poems by Celan translated into Russian by M. Grinberg and his “Bremer Rede” translated by Dubin2.

In 1999 the same magazine published a selection of nine versions of Celan's psalm from his book “No Man's Rose” (1963) 3, which had already been published in 1994-1999 and was newly translated into Russian.

Compare the first line of the original with the nine Russian versions:

Nobody kneads us out of earth and clay again Никто нас не вылепит больше из глины, никто Никто не вылепит нас вновь из земли и глины Никто нас не лепит вновь из глины Никто не замесит нас вновь из земли и глины Кто лепит нас вновь из земли и глины? Никто. Никто не вылепит нас больше из земли и глины Некому замесить нас опять из земли и глины Никто не замесит нас вновь из глины и праха Нас вновь из глины и праха не вылепит Никто Unfortunately, none of the translations adequately reflect either the form or the content of the original. But that should be the subject of a special investigation5. We only offer our own variant of a possible translation of the first line: Нас не вылепит (как вариант:вызволит | retten) больше из праха никто⁶

In 2005, a comprehensive publication dedicated to Paul Celan appeared in the magazine “In- ostrannaja literatura”. It contains some poems (translated by O. Sedakowa and M. Belorusez) and letters (translated by T. Baskakowa) by Celan, as well as the essay by O. Sedakowa “Paul Celan. Notes of a retoucher ”and a brief outline of the life and work of the poet written by B. Dubin7. Sedakova cites an important testimony from the well-known Russian cultural scientist Sergei Aveverintsev. He called Celan, according to Sedakowa, "the greatest German-speaking poet in post-war Europe" [Седакова2005: 245].

After 1990 Celan's works were also published in book form. The first volume of poetry appeared in 1998, in Russian, but in Ukraine8. The post-poet М. Belorussez published his transmissions in the Kiev publishing house "Gamajun". The book contained texts from various volumes of Celan's poetry, as well as his prosaic works, the “Conversation in the Mountains” and the “Bremen Speech”. The project was funded by the re-poet's friends. The book was published in an edition of 300 copies. To date, a total of seven Celan publications have appeared in book form9.

Celan translations into Russian have also been made in other countries. In 2012, the volume of poetry “Sprich dich du” was published in New York. The selection of poems, the translation of the texts and the commentaries were made by Anna Glasova.

Many of Celan's texts can be found on the Internet, on various literary sites. One and the same poem can be re-composed by different translators. Celan's texts are considered to be difficult to perceive and as a result are also difficult to translate. The translators are happy to share their opinions, both on Celan's work itself and on their attempts to adequately translate these works into Russian11.

There are also book reviews that concern both Celan's poems and their adaptations in Russian1. Both translators and literary critics see Celan as one of the greatest and most complex European poets of the 20th century. Anton Nesterow thinks that Celan is one of the parade figures in the poetry of the 20th century, and compares the importance of Celan for literature with the role of Picasso in painting.

In 2000, in Saint Petersburg, a dissertation on the subject of "Romantic poetics and poetic language by P. Celan: using the example of the comparison of individual styles by Celan and Novalis" was defended. The researcher A. Smirnova compares the free rhythms of Celan with the romantic tradition, in particular with the poetics of Novalis, in order to connect Celan's hermetic poetry with the European tendencies of modernity.

In 2004 and 2007 two anthologies were published with the title “Paul Celan. Materials, Research, Memories ”. The first volume - "Dialoge und Echos" - contains literary contributions on the work of Paul Celan and on his adaptations of Russian poetry. The editor Larissa Najditsch writes in the foreword that the book should become a travel guide to the world of Celan for Russian-speaking readers.

The second volume - “Comments and Memories” - contains contributions by Russian researcher A. Astwazaturow - “On quasi-musical structures in the 'death fugue” by Paul Celan ”- and M. Lekomzewa -“ Nobody's rose ”(“ Psalom ”by P. Celan).

The name Celans is mentioned several times in the two-volume academic “History of Austrian Literature” (2009-2010). In the second volume there is a special chapter dedicated to Paul Celan. The author is the already mentioned Russian researcher Vladimir Nikiforov. His doctoral thesis served as the basis for the chapter. The text has been edited and supplemented by the well-known Russian researcher of FRG literature E. Satschewski. Poetry after Auschwitz, the antonymy of forgetting and memory, intertext models, the specifics of metaphor formation, sensitivity to transcultural tradition, transformation of lyrical genres, etc. were chosen as key words for Celan's work.

One chapter is dedicated to Paul Celan in “Deutsche Literaturgeschichte”, published in Moscow in 2014. Unfortunately, the author T. Baskakowa does not consider (better said: she tends to ignore) the existing Russian research on the subject by not even mentioning it, but instead concentrates on the analysis of individual volumes of poetry by Celan as such.

We can also find an article about Celan in the “Great Russian Encyclopedia” (2017) 11. Unfortunately, the bibliographical list for the chapter does not include the work of Nikiforow, although the content of the chapter can be assessed as a short version of the researcher's studies mentioned.

If one takes into account the foregoing, it can be stated that Paul Celan is considered one of the most important German-speaking poets of the first half of the 20th century, even for today's Russian Germanists. This is also evidenced by numerous scientific publications that have appeared regularly in Russia in recent years. Among other things, the contribution by J. Jewstafeva “Biography as an aspect of intertextuality (based on the works of P. Celan”), where the role of extralinguistic realities in the interpretation of Celan's poetic texts is examined; by J. Gorbunowa “'And they did not praise God': Transformation of the biblical psalms in the poetry collection 'The Nobody's Rose' by P. Celan” 1, where it is shown how and why Celan both the substantive core and the formal constants of the Modified psalm genre. In the contribution by J. Jewstafjewa “The space-time continuum and the world model of modern man in the work of Paul Celan”, the conceptions of the world in modernity are analyzed using the example of Celan's works. In the post

Hermeneutics of Intertextuality in the Work of Paul Celan ”Evstafjewa examines intertextual connections in Celan's poetry cycle“ The Nobody's Rose ”. The researchers OA Koval and EB Krjukova turn to the principle of intertextuality that determines Celan's poetics. In their contribution, “One of the most commented poems by Paul Celan 'Todtnauberg'”, they attempt to find contextual philosophical references to the aforementioned poetic To pursue the text, namely to highlight its extralinguistic basis - the poet's reaction to a meeting with the philosopher Martin Heidegger.

An interesting contribution by J. A. Satschewsky appeared only recently, in which the author highlights little-known facts from the history of Celan's complicated relationship with the well-known literary "Group 47".

Comparative publications, whose authors attempt to examine Celan's work in a broad context, testify to the systematic character of Celan's research in Russia today.

Mention should be made of N.Bakshi (“Apophatik with Paul Celan and Alberto Giacometti”), J. Kaminskaja (“The bang of a closed door, or nothing in the poetry of RM Rilke and P. Celan”), V. Kotelevskaya (“Hermeneutics of word and silence in poetry by R. Rilke, I. Bachmann, P. Celan: a dialogue between two epochs "), A. Vorotnikova (" The Holocaust image in the poems 'Todesfuge' by P. Celan and 'Lady Lazarus' von S.Plath ”) and others.

Linguistic works by N. Azarova (“The concept of an interlingual idiom, or of an interlingual idiom in Paul Celan”), J. Ryabykh (“The potential for interpretation of the author's individual metaphor in the context of the reflection of reality events (using the example of the creation of P. Celan "), among others, in which Celan's texts are analyzed from a linguistic point of view. In 1998, a dissertation on the subject of" Language Invention in Contemporary Poetry (using the example of the poetry of P. Celan) "was defended in StAn important feature that the process of canonization of Celan is taking place in Russia is the turn to the work of the poet in the university course. The works of A. Krotova and N. Pestova ("Linguocultural aspect in the poetry of Paul Celan" and "The national cultural component in the poetry of P. Celan: a linguoculturological study" by A. Krotova dar).

In Russia, Paul Celan is honored as the first and so far unsurpassed re-poet of the poems of Jessenin and Mandelstam. His transmissions by Lermontov, Chekhov, Chlebnikov, Block, Yevtuchenko and Slutschewski have been studied less or not at all11.

Celan learned the Russian language by translating poems by Esenin into German. Mandelstam, whose works Celan translated into his mother tongue as early as the 1950s, was for him something like his alter ego. Not only the subjects of his poems testify to this, but also the numerous text-incorporated quotes from the works of Mandelstam. Remember that the volume of poetry “The Nobody's Rose” is dedicated to the Russian poet Celan called “Brother Osip”.

The translations from Mandelstam's works were no less important to Celan than his own poems. Celan read his Mandelstam adaptations on the radio and at poetry slam evenings. He also dedicated a heartfelt radio essay to Mandelstam (1960) 1. Mandelstam's “About the Interlocutor” was his favorite article. Celan took a picture from it for his “Bremen Speech”: “Since the poem is a manifestation of language and thus its essence dialogic, it can be a message in a bottle, given in the - certainly not always hopeful - belief that it could be somewhere and to be washed ashore at some point, perhaps on Herzland ”[Celan 1968] 2.

If one sums up all of this, one can claim that in the post-Soviet cultural area the dynamic of the reception of Celan's work shows a stable tendency towards the literary canonization of the poet. And that is quite justified.

Литература

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