在保罗·策兰的诗歌创作历程中，第二部诗集《从门槛到门槛》是一个关键的转折点，然而其并未得到国内策兰研究者的充分关注。这部诗集的风格与前作相比发生了许多变化，其中最明显的一点，便是诗人在这部诗集中引入了一种“沉默”的特质。本文第一章描述了1950年前后德语诗坛对策兰的接受情况，一些评价与策兰对自己的设想十分不符，这引发了诗人对自身创作的反省，也是导致该诗集与此前作品有所不同的重要原因。第二章具体讨论了《你也说吧》《沉默的见证》等作品，据此说明这种转变在诗歌声音层面的表现。诗人增加分行和短句，甚至拆分单词，以控制诗歌的声调，由此形成了一种相对更加“沉默”的音响效果。第三章将这种转变与策兰此时的诗学思考结合在一起。这不仅仅是声音的“沉默”，同时也是事物的“沉默”，它代表了事物在语言中的缺席，也最终指向了被屠杀的犹太人永远的无声与不在场。

这部诗集中的“沉默”特质既是声音的不在场，也是其所书写的死者的不在场，它们统合在策兰此时新的诗学中。这是一种非再现式的抒情方式，其目的在于使不在场者，即在屠杀中丧生的人们实现自我宣告。通过说明这种特殊的抒情方式，以及它在《从门槛到门槛》中的具体表现，本文提供了一种考察策兰诗歌创作转型的新视角，同时也展现了策兰在二十世纪德语诗歌发展脉络中的重要位置。

In Paul Celan's poetry creation course, the second volume From Threshold to Threshold was a turning point, yet it has not got considerable attention from domestic Celan researchers. Compared with his previous works, this volumn has undergone many changes in style. The most obvious one is that the poet introduced a "silent" trait. The first chapter of this paper describes the acceptance to Celan in the German poetry circle around 1950. Some comments were seriously inconsistent with Celan's perception of his works. This caused the poet to reflect on his own creation. It was also an important reason why the volumn is different from previous works. The second chapter specifically discusses works such as Sprich Auch Du, Argumentum e Silentio, according to which the performance of this transformation on the sound level of poetry is explained. Celan increased the number of lines and short sentences, and even splited the words to control the tone of the poetry, thus forming a relatively more "silent" sound effect. The third chapter combines the transformation with Celan’s reflections on poetics in this period. It is not only the "silence" of sound, but also the "silence" of things. It represents the absence of things in the language, and ultimately points to the eternal silence and absence of the slaughtered Jews.

The "silence" trait in this volumn is both the absence of sounds and the absence of the dead written by them. They are integrated in Celan's new poetic concept in this period. This is a non-representational lyricism, the purpose of which is to enable self-declaration of those who are not present, that is, those who died in the Holocaust. By illustrating this special lyricism and its specific performance in From Threshold to Threshold, this paper provides a new perspective on the transformation of Celan's poetry creation course. It also gives a glimpse on the important position of Celan in the development of German poetry in the 20th century.