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.
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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.
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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.
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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.
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Written by
Kenneth Koch |
(sign at a railroad crossing in Kenya)
In a poem, one line may hide another line,
As at a crossing, one train may hide another train.
That is, if you are waiting to cross
The tracks, wait to do it for one moment at
Least after the first train is gone.
And so when you read
Wait until you have read the next line—
Then it is safe to go on reading.
In a family one sister may conceal another,
So, when you are courting, it's best to have them all in view
Otherwise in coming to find one you may love another.
One father or one brother may hide the man,
If you are a woman, whom you have been waiting to love.
So always standing in front of something the other
As words stand in front of objects, feelings, and ideas.
One wish may hide another.
And one person's reputation may hide
The reputation of another.
One dog may conceal another
On a lawn, so if you escape the first one you're not necessarily safe;
One lilac may hide another and then a lot of lilacs and on the Appia
Antica one tomb
May hide a number of other tombs.
In love, one reproach may hide another,
One small complaint may hide a great one.
One injustice may hide another—one colonial may hide another,
One blaring red uniform another, and another, a whole column.
One bath
may hide another bath
As when, after bathing, one walks out into the rain.
One idea may hide another: Life is simple
Hide Life is incredibly complex, as in the prose of Gertrude Stein
One sentence hides another and is another as well.
And in the laboratory
One invention may hide another invention,
One evening may hide another, one shadow, a nest of shadows.
One dark red, or one blue, or one purple—this is a painting
By someone after Matisse.
One waits at the tracks until they pass,
These hidden doubles or, sometimes, likenesses.
One identical twin
May hide the other.
And there may be even more in there! The obstetrician
Gazes at the Valley of the Var.
We used to live there, my wife and I, but
One life hid another life.
And now she is gone and I am here.
A vivacious mother hides a gawky daughter.
The daughter hides
Her own vivacious daughter in turn.
They are in
A railway station and the daughter is holding a bag
Bigger than her mother's bag and successfully hides it.
In offering to pick up the daughter's bag one finds oneself confronted by
the mother's
And has to carry that one, too.
So one hitchhiker
May deliberately hide another and one cup of coffee
Another, too, until one is over-excited.
One love may hide another love
or the same love
As when "I love you" suddenly rings false and one discovers
The better love lingering behind, as when "I'm full of doubts"
Hides "I'm certain about something and it is that"
And one dream may hide another as is well known, always, too.
In the
Garden of Eden
Adam and Eve may hide the real Adam and Eve.
Jerusalem may hide another Jerusalem.
When you come to something, stop to let it pass
So you can see what else is there.
At home, no matter where,
Internal tracks pose dangers, too: one memory
Certainly hides another, that being what memory is all about,
The eternal reverse succession of contemplated entities.
Reading
A Sentimental Journey look around
When you have finished, for Tristram Shandy, to see
If it is standing there, it should be, stronger
And more profound and theretofore hidden as Santa Maria Maggiore
May be hidden by similar churches inside Rome.
One sidewalk
May hide another, as when you're asleep there, and
One song hide another song; a pounding upstairs
Hide the beating of drums.
One friend may hide another, you sit at the
foot of a tree
With one and when you get up to leave there is another
Whom you'd have preferred to talk to all along.
One teacher,
One doctor, one ecstasy, one illness, one woman, one man
May hide another.
Pause to let the first one pass.
You think, Now it is safe to cross and you are hit by the next one.
It
can be important
To have waited at least a moment to see what was already there.
|
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 |
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 |
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 |
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.
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Written by
Pablo Neruda |
The artichoke
of delicate heart
erect
in its battle-dress, builds
its minimal cupola;
keeps
stark
in its scallop of
scales.
Around it,
demoniac vegetables
bristle their thicknesses,
devise
tendrils and belfries,
the bulb's agitations;
while under the subsoil
the carrot
sleeps sound in its
rusty mustaches.
Runner and filaments
bleach in the vineyards,
whereon rise the vines.
The sedulous cabbage
arranges its petticoats;
oregano
sweetens a world;
and the artichoke
dulcetly there in a gardenplot,
armed for a skirmish,
goes proud
in its pomegranate
burnishes.
Till, on a day,
each by the other,
the artichoke moves
to its dream
of a market place
in the big willow
hoppers:
a battle formation.
Most warlike
of defilades-
with men
in the market stalls,
white shirts
in the soup-greens,
artichoke field marshals,
close-order conclaves,
commands, detonations,
and voices,
a crashing of crate staves.
And
Maria
come
down
with her hamper
to
make trial
of an artichoke:
she reflects, she examines,
she candles them up to the light like an egg,
never flinching;
she bargains,
she tumbles her prize
in a market bag
among shoes and a
cabbage head,
a bottle
of vinegar; is back
in her kitchen.
The artichoke drowns in a pot.
So you have it:
a vegetable, armed,
a profession
(call it an artichoke)
whose end
is millennial.
We taste of that
sweetness,
dismembering scale after scale.
We eat of a halcyon paste:
it is green at the artichoke heart.
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