In the discussion of the sublime in context of Celan’s poetry, it is important to notice the usage of the word ‘Lord’. A study of the recurrence of words shows that ‘lord’ is among the most repeated words in the oeuvre of Celan. For Emmanuel Levinas, "Language is the fact that a single word word always is proffered: God." To invoke the word God, or Lord, then, is for Levinas, to condense, in one word, the infinity of language. In Tenebrae we have:
We are near, Lord, near and at hand.
………each us were your body, Lord.
Pray, Lord, pray to us, we are near.
It does not require critical attention to note that Celan’s elicitation of the word ‘lord’ proves that his poetry is not located in the words that he utters, it is in the shadows that each word casts, in the punctuations that may or may not be present, and in the deafening silence of the unspeakable, in the awe of terror his poems become a great empty bristle…show more content… Much can be discerned from the selection of these words, or rather from their enslavement and control over the poet. The motif of the sky is to be found in Fugue of Death when the poet…show more content… In light of Peckham's theory, it becomes evident that Celan is not negatively capable, as Keats would have been, for in him we find no sight of luxuriating in poetry but an unremitting failure to mediate with his traumatic memory. Celan, then becomes, not only a terrified poet, but more of a terrifying poet. Shoshana Felman’s question “Is the act of reading literary texts itself inherently related to the act of facing horror?” is answered in Celan with a shivering