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By Zhang D. (Ed)

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Now I find true / That better is by evil still made better,” which Celan translates as “Gewinn des Übels! Bessres wird, ich merk / durch Übel besser noch, als es je war” (Gain of evil! What is better becomes, I notice / through evil even better than it ever was). Shakespeare’s “Thou hast past by the ambush of young daies” (Sonnet 70, line 9), which Celan renders as du gingst hindurch (you went through) (line 12), furnishes Celan with a bridge to the biographical-historical core of his own poetics  Chapter Two insofar as it is based on his firsthand experience of the Holocaust.

33 In Celan’s translations of Shakespeare’s sonnets, the semiotic—or rather, sem-erotic—underpinnings of his poetics of love are exemplarily revealed and instantiated.  .  ” Why Shakespeare? 35 A number of factors can be adduced as motivating Celan’s choice: 1. 37 2. 38 3. Last but not least, I should point out that in securing Shakespeare as an ally for his lyrical counteroffensive against his German detractors in the name of “truth”—the truth of his innocence, in particular—Celan succeeded in undermining the very premise of the affair’s perceived racialist dimension.

Paul and St. ” According to St. Paul, love (agape or caritas) holds out the promise of a future state of privileged knowledge. 68 Or to put it differently, fidelity to the truth of an event articulates itself emphatically in and through love. Creative Fidelities  interlocution Insofar as love is thought of, if not exclusively, as a hermeneutical force, as a mode of understanding and knowing, it must perforce be recognized as intentional—an “attitude toward reality,” as Brodsky puts it—and hence as relational.

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