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.
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Written by
Adela Florence Cory Nicolson |
Sad is the Evening: all the level sand
Lies left and lonely, while the restless sea,
Tired of the green caresses of the land,
Withdraws into its own infinity.
But still more sad this white and chilly Dawn
Filling the vacant spaces of the sky,
While little winds blow here and there forlorn
And all the stars, weary of shining, die.
And more than desolate, to wake, to rise,
Leaving the couch, where softly sleeping still,
What through the past night made my heaven, lies;
And looking out across the window sill
See, from the upper window's vantage ground,
Mankind slip into harness once again,
And wearily resume his daily round
Of love and labour, toil and strife and pain.
How the sad thoughts slip back across the night:
The whole thing seems so aimless and so vain.
What use the raptures, passion and delight,
Burnt out; as though they could not wake again.
The worn-out nerves and weary brain repeat
The question: Whither all these passions tend;—
This curious thirst, so painful and so sweet,
So fierce, so very short-lived, to what end?
Even, if seeking for ourselves, the Race,
The only immortality we know,—
Even if from the flower of our embrace
Some spark should kindle, or some fruit should grow,
What were the use? the gain, to us or it,
That we should cause another You or Me,—
Another life, from our light passion lit,
To suffer like ourselves awhile and die.
What aim, what end indeed? Our being runs
In a closed circle. All we know or see
Tends to assure us that a thousand Suns,
Teeming perchance with life, have ceased to be.
Ah, the grey Dawn seems more than desolate,
And the past night of passion worse than waste,
Love but a useless flower, that soon or late,
Turns to a fruit with bitter aftertaste.
Youth, even Youth, seems futile and forlorn
While the new day grows slowly white above.
Pale and reproachful comes the chilly Dawn
After the fervour of a night of love.
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