From the form of poetry, the traditional factors of Celan's early poems are mainly manifested in four aspects: punctuation rules, sentence integrity, syntax and grammar conforming to norms; Inheriting the rhymes of ancient Greece, he often rhymes with iambic (Xx) and iambic (xX), especially with iambic (Xxx). Poetry is mostly composed of long sentences that are fluent and pleasing to the ear. Language seems to have been released, rushing down freely; Metaphors are clear and images are very rich, and the influence of German romanticism and French surrealism is particularly obvious and quite traditional. After Australia's reform, the sharp despair and humiliation of the will being suppressed inevitably became the grand background of Celan's examination. He used words to construct a dimension, a transcendence of language, which became a part of his attitude, more manifested as confrontation with God. Thinking about God repeatedly is a scientific way of grasping, and participating in God's dialogue is a poetic way of grasping. Humans are self-reliant all the time. No matter killing, questioning, imprisonment or even forgetting, it is impossible to modify the impeccable past. In the thrilling eternal change, in the words of Celan, poetry has completed the assembly of its own life practice. He tried to hide the secret passage to the existential consciousness of his poems. He refused to give a simple explanation. What he tries to do is the possibility of self-expression, while poetry presents the self-closure of all rational explanations. He believes that life lies in dialogue, and poetry is the form of this dialogue, but it is a kind of "desperate dialogue" or a kind of "information in a bottle": "When and where it may be washed up on land, perhaps the land of the soul" (Bremen Literature Prize speech). He thinks that his Brecht-style social allegorical poems are often too simple and cheap, and the dialectical rhetoric of life and death, light and darkness used in early poems is increasingly superficial and modular. Now, he wants to add more "darkness", "fracture" and "silence" to his poems. Even a deep distrust of language expression and public interest makes him tend to be a "mute". After Death Fugue, Celan's writing did not attract people's sympathy with the rendering of suffering, but began a more difficult and difficult artistic course with the arrival of the language core and the in-depth excavation of personal inner voice. The original protest theme and musicality disappeared, and only some extremely concentrated and incomprehensible poetry texts appeared in front of people. Celan talked about the new writing tendency: "I no longer pay attention to musicality. Like the highly acclaimed' death fugue' period, it was repeatedly included in various textbooks. I try to cut out the spectral analysis of things and show them immediately in various ways. I regard the so-called abstract and true ambiguity as a moment of reality. "
His later works are out of balance because they are divorced from images and metaphors, and his poems become dark and opaque, shorter and shorter, more and more broken and more abstract. Every word is helpless, and this word has no meaning except itself; The suppression of lyrical echo in his poems and his enthusiasm for disassembling the meaning of words made him slowly close the door to dialogue-perhaps because of his inner trauma, which drove him farther and farther on the road of language, to the center of darkness, until we could not see him. The split between expression and soul, the split between body and soul, and more seriously, the self-split required by the concept of dialogue poetry is undoubtedly another Australian reform for Celan. In these seemingly fragmented and obscure poems of Celan, it is an artistic difficulty for a poet to expose his consciousness of existence at a deeper level. It can even be said that every poem and even every line he seems to be "unbearable to read" embodies a kind of arduous artistic ingenuity and highly uncompromising personal originality. His poems seem strange and incomprehensible, but they always point to the core of a tragedy, just like his search for language and form, which always corresponds to a more internal life requirement. His suffering heart and the rare arrival of language core are incomparable by any text theory or language philosophy. The outstanding artistic features of Celan's poems are conciseness, difficulty and vivid feelings, which endow the language with a unique strangeness through the fragmentation of the language. He said: "Emotion is born, and life is born, which is the only standard of art." As he himself said, language is the only unspoiled thing left to him after the war. His poems only tell what he heard in the deep sea, many silences and many occurrences. There are no cliches in his poems, but there are real faces everywhere, and the language is so surprising that it seems absurd. You can often see "specious rhetoric". In the writing world constructed by Celan, every word is his self-emergence in the dark space, which comes from the worship of ancient symbols. Every word is an endless abyss, self-organizing and repeating forever.
He emphasized that "poetry is lonely" and emphasized the individuality and uniqueness of poetry; However, he does not advocate absolute closure: "Note that poetry tries to give all attention to those who meet it", "Poetry does not stop because of this, it is here, in the secret of meeting"-with whom? And readers, and bosom friends. This shows that he still has this "encounter" in his mind and tries to get his attention. "Don't blame us for not knowing, this is our profession." He quoted Pascal's famous words to defend himself.
Professor Festi Nair, a researcher of Celan, put forward an interesting statement: Modernism began in Baudelaire and ended in Celan. Because of Celan's deep exploration of language, it has a pioneering role in postmodern poetry, especially in the American language school, which regards Celan as a master.
Wang Jiaxin's Selected Poems Celan: Mouth in a Tibetan Mirror,
Bow to the pillar of self-esteem,
Grab the fence of the cage:
Dedicate yourself to the darkness,
Say my name,
Take me to him. Don't look for your mouth on my lips
Don't wait for strangers in front of the door
Don't look for tears in your eyes
Seven nights is higher, and red is red.
Seven hearts are deeper, knocking at the door.
Seven roses are even later. When spring splashes at night, you are my death.
You, I can take it.
When everything is gone, in the future river in the north.
I cast this net, and that is you.
Hesitant and heavy
It was written in stone.
I can still see you in the shadow: a response.
Among the tentacles of insects that can find their way.
Words are on different ridges.
Your face is scared.
suddenly
There is a lamp that shines like a lamp.
Humble me, just at a certain point.
There, the most painful thing is to say that the voice is always pale.
Strip from the depths
Nothing, nothing
They use the same name.
You'll fall down.
You can fly.
The same world
Painful harvest, you can confidently
Treat me with snow:
Whenever I stand side by side with mulberry trees
The summer passed slowly,
Its most tender leaves
Scream. This is the eye of time:
It's leering outside.
From the colorful eyebrows.
Its eyelids are cleaned by flames,
Its tears are steaming.
Blind planetesimals are flying towards it.
Melt on hotter eyelashes:
The world is getting hotter and hotter.
And the dead
Germinate and blossom. Standing in a scar
In the shadow, in the air.
Stand, not for anything or anyone.
Unrecognizable,
only
For you.
Everything with a hiding place,
I don't need it either
Language. Death is a flower that blooms only once.
It blooms like this, unlike itself.
You can drive if you want, or you can't drive if you don't.
Here it comes, a big butterfly.
Decorate slender reed stems
Let me make a reed pole, strong enough for it to like.