Written by
Rainer Maria Rilke |
Gazella Dorcas
Enchanted thing: how can two chosen words
ever attain the harmony of pure rhyme
that pulses through you as your body stirs?
Out of your forehead branch and lyre climb
and all your features pass in simile through
the songs of love whose words as light as rose-
petals rest on the face of someone who
has put his book away and shut his eyes:
to see you: tensed as if each leg were a gun
loaded with leaps but not fired while your neck
holds your head still listening: as when
while swimming in some isolated place
a girl hears leaves rustle and turns to look:
the forest pool reflected in her face.
|
Written by
Rainer Maria Rilke |
It would be good to give much thought, before
you try to find words for something so lost,
for those long childhood afternoons you knew
that vanished so completely --and why?
We're still reminded--: sometimes by a rain,
but we can no longer say what it means;
life was never again so filled with meeting,
with reunion and with passing on
as back then, when nothing happened to us
except what happens to things and creatures:
we lived their world as something human,
and became filled to the brim with figures.
And became as lonely as a sheperd
and as overburdened by vast distances,
and summoned and stirred as from far away,
and slowly, like a long new thread,
introduced into that picture-sequence
where now having to go on bewilders us.
|
Written by
Rainer Maria Rilke |
Slowly the west reaches for clothes of new colors
which it passes to a row of ancient trees.
You look, and soon these two worlds both leave you
one part climbs toward heaven, one sinks to earth.
leaving you, not really belonging to either,
not so hopelessly dark as that house that is silent,
not so unswervingly given to the eternal as that thing
that turns to a star each night and climbs--
leaving you (it is impossible to untangle the threads)
your own life, timid and standing high and growing,
so that, sometimes blocked in, sometimes reaching out,
one moment your life is a stone in you, and the next, a star.
|
Written by
Rainer Maria Rilke |
1906
The stamina of an old long-noble race
in the eyebrows' heavy arches.
In the mild
blue eyes the solemn anguish of a child
and here and there humility-not a fool's
but feminine: the look of one who serves.
The mouth quite ordinary large and straight
composed yet not willing to speak out
when necessary.
The forehead still na?ve
most comfortable in shadows looking down.
This as a whole just hazily foreseen-
never in any joy of suffering
collected for a firm accomplishment;
and yet as though from far off with scattered Things
a serious true work were being planned.
|
Written by
Rainer Maria Rilke |
Four Translations
Lord: it is time.
The summer was immense.
Lay your shadow on the sundials
and let loose the wind in the fields.
Bid the last fruits to be full;
give them another two more southerly days,
press them to ripeness, and chase
the last sweetness into the heavy wine.
Whoever has no house now will not build one
anymore.
Whoever is alone now will remain so for a long
time,
will stay up, read, write long letters,
and wander the avenues, up and down,
restlessly, while the leaves are blowing.
Translated by Galway Kinnell and Hannah Liebmann,
"The Essential Rilke" (Ecco)
Lord, it is time.
The summer was too long.
Lay your shadow on the sundials now,
and through the meadow let the winds throng.
Ask the last fruits to ripen on the vine;
give them further two more summer days
to bring about perfection and to raise
the final sweetness in the heavy wine.
Whoever has no house now will establish none,
whoever lives alone now will live on long alone,
will waken, read, and write long letters,
wander up and down the barren paths
the parks expose when the leaves are blown.
Translated by William Gass,
"Reading Rilke: Reflections on the Problem of Translation" (Knopf)
Lord: it is time.
The huge summer has gone by.
Now overlap the sundials with your shadows,
and on the meadows let the wind go free.
Command the fruits to swell on tree and vine;
grant them a few more warm transparent days,
urge them on to fulfillment then, and press
the final sweetness into the heavy wine.
Whoever has no house now, will never have one.
Whoever is alone will stay alone,
will sit, read, write long letters through the
evening,
and wander the boulevards, up and down,
restlessly, while the dry leaves are blowing.
Translated by Stephen Mitchell,
"The Selected Poetry of Rainer Maria Rilke" (Random House)
Lord, it is time now,
for the summer has gone on
and gone on.
Lay your shadow along the sun-
dials and in the field
let the great wind blow free.
Command the last fruit
be ripe:
let it bow down the vine --
with perhaps two sun-warm days
more to force the last
sweetness in the heavy wine.
He who has no home
will not build one now.
He who is alone
will stay long
alone, will wake up,
read, write long letters,
and walk in the streets,
walk by in the
streets when the leaves blow.
Translated by John Logan,
"Homage to Rainer Maria Rilke," (BOA Editions)
Original German
Herbsttag
Herr: es ist Zeit.
Der Sommer war sehr gross.
Leg deinen Schatten auf die Sonnenuhren,
und auf den Fluren lass die Winde los.
Befiehl den letzten Fruchten voll zu sein;
gieb innen noch zwei sudlichere Tage,
drange sie zur Vollendung hin und jage
die letzte Susse in den schweren Wein.
Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blatter treiben.
-- Rainer Maria Rilke, Paris, Sept.
21, 1902
|
Written by
Rainer Maria Rilke |
The First Elegy
Who if I cried out would hear me among the angels'
hierarchies? and even if one of them pressed me
suddenly against his heart: I would be consumed
I that overwhelming existence.
For beauty is nothing
but the beginning of terror which we still are just able to endure
and we are so awed because it serenely disdains
to annihilate us.
Every angel is terrifying.
And so I hold myself back and swallow the call-note
Of my dark sobbing.
Ah whom can we ever turn to
in our need? Not angels not humans
and already the knowing animals are aware
that we are not really at home in
our interpreted world.
Perhaps there remains for us
some tree on a hillside which every day we can take
into our vision; there remains for us yesterday's street
and the loyalty of a habit so much at ease
when it stayed with us that it moved in and never left.
Oh and night: there is night when a wind full of infinite space
gnaws at out faces.
Whom would it not remain for-that longed-after
mildly disillusioning presence which the solitary heart
so painfully meets.
Is it any less difficult for lovers?
But they keep on using each other to hide their own fate.
Don't you know yet? Fling the emptiness out of your arms
Into the spaces we breathe; perhaps the birds
will feel the expanded air with more passionate flying.
Yes-the springtime needed you.
Often a star
was waiting for you to notice it.
A wave rolled toward you
out of the distant past or as you walked
under an open window a violin
yielded itself to your hearing.
All this was mission.
But could you accomplish it? Weren't you always
Distracted by expectation as if every event
announced a beloved? (Where can you find a place
to keep her with all the huge strange thoughts inside you
going and coming and often staying all night.
)
But when you feel longing sing of women in love;
for their famous passion is still not immortal.
Sing
of women abandoned and desolate (you envy them almost)
who could love so much more purely than those who were gratified.
Begin again and again the never-attainable praising;
remember: the hero lives on; even his downfall was
merely a pretext for achieving his final birth.
But Nature spent and exhausted takes lovers back
into herself as if there were not enough strength
to create them a second time.
Have you imagined
Gaspara Stampa intensely enough so that any girl
deserted by her beloved might be inspired
by that fierce example of soaring objectless love
and might say to herself Perhaps I can be like her ?
Shouldn't this most ancient suffering finally grow
more fruitful for us? Isn't it time that we lovingly
freed ourselves from the beloved and quivering endured:
as the arrow endures the bowstring's tension so that
gathered in the snap of release it can be more than
itself.
For there is no place where we can remain.
Voices.
Voices.
Listen my heart as only
Saints have listened: until the gigantic call lifted them
off the ground; yet they kept on impossibly
kneeling and didn't notice at all:
so complete was their listening.
Not that you could endure
God's voice-far from it.
But listen to the voice of the wind
and the ceaseless message that forms itself out of silence.
It is murmuring toward you now from those who died young.
Didn't their fate whenever you stepped into a church
In Naples or Rome quietly come to address you?
Or high up some eulogy entrusted you with a mission
as last year on the plaque in Santa Maria Formosa.
What they want of me is that I gently remove the appearance
of injustice about their death-which at times
slightly hinders their souls from proceeding onward.
Of course it is strange to inhabit the earth no longer
to give up customs one barely had time to learn
not to see roses and other promising Things
in terms of a human future; no longer to be
what one was in infinitely anxious hands; to leave
even one's own first name behind forgetting it
as easily as a child abandons a broken toy.
Strange to no longer desire one's desires.
Strange
to see meanings that clung together once floating away
in every direction.
And being dead is hard work
and full of retrieval before one can gradually feel
a trace of eternity.
-Though the living are wrong to believe
in the too-sharp distinctions which they themselves have created.
Angels (they say) don't know whether it is the living
they are moving among or the dead.
The eternal torrent
whirls all ages along in it through both realms
forever and their voices are drowned out in its thunderous roar.
In the end those who were carried off early no longer need us:
they are weaned from earth's sorrows and joys as gently as children
outgrow the soft breasts of their mothers.
But we who do need
such great mysteries we for whom grief is so often
the source of our spirit's growth-: could we exist without them?
Is the legend meaningless that tells how in the lament for Linus
the daring first notes of song pierced through the barren numbness;
and then in the startled space which a youth as lovely as a god
had suddenly left forever the Void felt for the first time
that harmony which now enraptures and comforts and helps us.
|
Written by
Rainer Maria Rilke |
A ghost, though invisible, still is like a place
your sight can knock on, echoing; but here
within this thick black pelt, your strongest gaze
will be absorbed and utterly disappear:
just as a raving madman, when nothing else
can ease him, charges into his dark night
howling, pounds on the padded wall, and feels
the rage being taken in and pacified.
She seems to hide all looks that have ever fallen
into her, so that, like an audience,
she can look them over, menacing and sullen,
and curl to sleep with them.
But all at once
as if awakened, she turns her face to yours;
and with a shock, you see yourself, tiny,
inside the golden amber of her eyeballs
suspended, like a prehistoric fly.
|
Written by
Rainer Maria Rilke |
O trees of life, oh, what when winter comes?
We are not of one mind.
Are not like birds
in unison migrating.
And overtaken,
overdue, we thrust ourselves into the wind
and fall to earth into indifferent ponds.
Blossoming and withering we comprehend as one.
And somewhere lions roam, quite unaware,
in their magnificence, of any weaknesss.
But we, while wholly concentrating on one thing,
already feel the pressure of another.
Hatred is our first response.
And lovers,
are they not forever invading one another's
boundaries? -although they promised space,
hunting and homeland.
Then, for a sketch
drawn at a moment's impulse, a ground of contrast
is prepared, painfully, so that we may see.
For they are most exact with us.
We do not know
the contours of our feelings.
We only know
what shapes them from the outside.
Who has not sat, afraid, before his own heart's
curtain? It lifted and displayed the scenery
of departure.
Easy to understand.
The well-known
garden swaying just a little.
Then came the dancer.
Not he! Enough! However lightly he pretends to move:
he is just disguised, costumed, an ordinary man
who enters through the kitchen when coming home.
I will not have these half-filled human masks;
better the puppet.
It at least is full.
I will endure this well-stuffed doll, the wire,
the face that is nothing but appearance.
Here out front
I wait.
Even if the lights go down and I am told:
"There's nothing more to come," -even if
the grayish drafts of emptiness come drifting down
from the deserted stage -even if not one
of my now silent forebears sist beside me
any longer, not a woman, not even a boy-
he with the brown and squinting eyes-:
I'll still remain.
For one can always watch.
Am I not right? You, to whom life would taste
so bitter, Father, after you - for my sake -
slipped of mine, that first muddy infusion
of my necessity.
You kept on tasting, Father,
as I kept on growing, troubled by the aftertaste
of my so strange a future as you kept searching
my unfocused gaze -you who, so often since
you died, have been afraid for my well-being,
within my deepest hope, relinquishing that calmness,
the realms of equanimity such as the dead possess
for my so small fate -Am I not right?
And you, my parents, am I not right? You who loved me
for that small beginning of my love for you
from which I always shyly turned away, because
the distance in your features grew, changed,
even while I loved it, into cosmic space
where you no longer were.
.
.
: and when I feel
inclined to wait before the puppet stage, no,
rather to stare at is so intensely that in the end
to counter-balance my searching gaze, an angel
has to come as an actor, and begin manipulating
the lifeless bodies of the puppets to perform.
Angel and puppet! Now at last there is a play!
Then what we seperate can come together by our
very presence.
And only then the entire cycle
of our own life-seasons is revealed and set in motion.
Above, beyond us, the angel plays.
Look:
must not the dying notice how unreal, how full
of pretense is all that we accomplish here, where
nothing is to be itself.
O hours of childhood,
when behind each shape more that the past lay hidden,
when that which lay before us was not the future.
We grew, of course, and sometimes were impatient
in growing up, half for the sake of pleasing those
with nothing left but their own grown-upness.
Yet, when alone, we entertained ourselves
with what alone endures, we would stand there
in the infinite space that spans the world and toys,
upon a place, which from the first beginnniing
had been prepared to serve a pure event.
Who shows a child just as it stands? Who places him
within his constellation, with the measuring-rod
of distance in his hand.
Who makes his death
from gray bread that grows hard, -or leaves
it there inside his rounded mouth, jagged as the core
of a sweet apple?.
.
.
.
.
.
.
The minds of murderers
are easily comprehended.
But this: to contain death,
the whole of death, even before life has begun,
to hold it all so gently within oneself,
and not be angry: that is indescribable.
|
Written by
Rainer Maria Rilke |
High above he stands, beside the many
saintly figures fronting the cathedral's
gothic tympanum, close by the window
called the rose, and looks astonished at his
own deification which placed him there.
Erect and proud he smiles, and quite enjoys
this feat of his survival, willed by choice.
As labourer in the fields he made his start
and through his efforts brought to full fruition
the garden God named Eden.
But where was
the hidden path that led to the New Earth?
God would not listen to his endless pleas.
Instead, He threatened him that he shall die.
Yet Adam stood his ground: Eve shall give birth.
|
Written by
Rainer Maria Rilke |
The saintly hermit, midway through his prayers
stopped suddenly, and raised his eyes to witness
the unbelievable: for there before him stood
the legendary creature, startling white, that
had approached, soundlessly, pleading with his eyes.
The legs, so delicately shaped, balanced a
body wrought of finest ivory.
And as
he moved, his coat shone like reflected moonlight.
High on his forehead rose the magic horn, the sign
of his uniqueness: a tower held upright
by his alert, yet gentle, timid gait.
The mouth of softest tints of rose and grey, when
opened slightly, revealed his gleaming teeth,
whiter than snow.
The nostrils quivered faintly:
he sought to quench his thirst, to rest and find repose.
His eyes looked far beyond the saint's enclosure,
reflecting vistas and events long vanished,
and closed the circle of this ancient mystic legend.
|