My eyes already touch the sunny hill.
going far ahead of the road I have begun.
So we are grasped by what we cannot grasp;
it has inner light, even from a distance-
...
How can I keep my soul in me, so that
it doesn't touch your soul? How can I raise
it high enough, past you, to other things?
I would like to shelter it, among remote
...
His vision, from the constantly passing bars,
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.
...
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:
...
Suddenly, from all the green around you,
something-you don't know what-has disappeared;
you feel it creeping closer to the window,
in total silence. From the nearby wood
...
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?
...
Lord: it is time. The summer was immense.
Lay your shadow on the sundials
and let loose the wind in the fields.
...
Again and again, however we know the landscape of love
and the little churchyard there, with its sorrowing names,
and the frighteningly silent abyss into which the others
fall: again and again the two of us walk out together
...
Sometimes she walks through the village in her
little red dress
all absorbed in restraining herself,
and yet, despite herself, she seems to move
...
Come thou, thou last one, whom I recognize,
unbearable pain throughout this body's fabric:
as I in my spirit burned, see, I now burn in thee:
the wood that long resisted the advancing flames
...
You who never arrived
in my arms, Beloved, who were lost
from the start,
I don't even know what songs
...
Being apart and lonely is like rain.
It climbs toward evening from the ocean plains;
from flat places, rolling and remote, it climbs
to heaven, which is its old abode.
...
Again and again, however we know the landscape of love
and the little churchyard there, with its sorrowing names,
and the frighteningly silent abyss into which the others
fall: again and again the two of us walk out together
...
Do you remember still the falling stars
that like swift horses through the heavens raced
and suddenly leaped across the hurdles
of our wishes--do you recall? And we
...
The leaves are falling, falling as if from far up,
as if orchards were dying high in space.
Each leaf falls as if it were motioning "no."
...
We cannot know his legendary head
with eyes like ripening fruit. And yet his torso
is still suffused with brilliance from inside,
like a lamp, in which his gaze, now turned to low,
...
Along the sun-drenched roadside, from the great
hollow half-treetrunk, which for generations
has been a trough, renewing in itself
an inch or two of rain, I satisfy
...
I am much too alone in this world, yet not alone
enough
to truly consecrate the hour.
I am much too small in this world, yet not small
...
As once the winged energy of delight
carried you over childhood's dark abysses,
now beyond your own life build the great
arch of unimagined bridges.
...
Who, if I cried out, would hear me among the angels'
hierarchies? and even if one of them suddenly
pressed me against his heart, I would perish
in the embrace of his stronger existence.
...
René Karl Wilhelm Johann Josef Maria Rilke (German pronunciation: [ˈʁaɪnɐ maˈʁiːa ˈʁɪlkə]), better known as Rainer Maria Rilke, was a Bohemian-Austrian poet. He is considered one of the most significant poets in the German language. His haunting images focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety: themes that tend to position him as a transitional figure between the traditional and the modernist poets. He wrote in both verse and a highly lyrical prose. Among English-language readers, his best-known work is the Duino Elegies; his two most famous prose works are the Letters to a Young Poet and the semi-autobiographical Notebooks of Malte Laurids Brigge. He also wrote more than 400 poems in French, dedicated to his homeland of choice, the canton of Valais in Switzerland. Life 1875–1896 He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, capital of Bohemia (then part of Austria-Hungary, now the Czech Republic). His childhood and youth in Prague were not especially happy. His father, Josef Rilke (1838–1906), became a railway official after an unsuccessful military career. His mother, Sophie ("Phia") Entz (1851–1931), came from a well-to-do Prague family, the Entz-Kinzelbergers, who lived in a house on the Herrengasse (Panská) 8, where René also spent many of his early years. The relationship between Phia and her only son was colored by her mourning for a prior child, a daughter, who had died after only a week of life. During Rilke's early years Phia acted as if she sought to recover the lost girl through the boy by dressing him in girl's clothing. The parents' marriage fell apart in 1884. His parents pressured the poetically and artistically talented youth into entering a military academy, which he attended from 1886 until 1891, when he left due to illness. From 1892 to 1895 he was tutored for the university entrance exam, which he passed in 1895. In 1895 and 1896, he studied literature, art history, and philosophy in Prague and Munich. 1897–1902 In 1897 in Munich, Rainer Maria Rilke met and fell in love with the widely traveled, intellectual woman of letters Lou Andreas-Salomé. Rilke changed his first name from "René" to "Rainer" at Lou's urging because she thought that name more masculine, forceful, and Germanic. His relationship with this married woman, with whom he undertook two extensive trips to Russia, lasted until 1900. But even after their separation, Lou continued to be Rilke's most important confidante until the end of his life. Having trained from 1912 to 1913 as a psychoanalyst with Sigmund Freud, she shared her knowledge of psychoanalysis with Rilke. In 1898, Rilke undertook a journey lasting several weeks to Italy. In 1899, he traveled with Lou and her husband, Friedrich Andreas, to Moscow where he met the novelist Leo Tolstoy. Between May and August 1900, a second journey to Russia, accompanied only by Lou, again took him to Moscow and Saint Petersburg, where he met the family of Boris Pasternak and Spiridon Drozhzhin, a peasant poet. Later, "Rilke called two places his home: Bohemia and Russia". In autumn 1900, Rilke stayed at the artists' colony at Worpswede. (Later, his portrait would be painted by the proto-expressionist Paula Modersohn-Becker, whom he got to know at Worpswede.) It was here that he got to know the sculptor Clara Westhoff, whom he married the following spring. Their daughter Ruth (1901–1972) was born in December 1901. In the summer of 1902, Rilke left home and traveled to Paris to write a monograph on the sculptor Auguste Rodin. Before long his wife left their daughter with her parents and joined Rilke there. The relationship between Rilke and Clara Westhoff continued for the rest of his life; a mutually agreed-upon effort at divorce was bureaucratically hindered by Rilke's "official" status as a Catholic, though he was the very opposite of observant. 1902–1910 At first, Rilke had a difficult time in Paris, an experience that he called on in the first part of his only novel, The Notebooks of Malte Laurids Brigge. At the same time, his encounter with modernism was very stimulating: Rilke became deeply involved in the sculpture of Rodin, and then with the work of Paul Cézanne. For a time he acted as Rodin's secretary, also lecturing and writing a long essay on Rodin and his work. Rodin taught him the value of objective observation, and under this influence Rilke dramatically transformed his poetic style from the subjective and sometimes incantatory language of his earlier work into something quite new in European literature. The result was the New Poems, famous for the "thing-poems" expressing Rilke's rejuvenated artistic vision. The poems of the New Poems and New Poems: The Other Part are highly wrought, using language and poetic form as a shaped and shaping material; to this extent the poems are often said to be "things" in themselves. During these years, Paris increasingly became the writer's main residence. The most important works of the Paris period were Neue Gedichte (New Poems) (1907), Der Neuen Gedichte Anderer Teil (Another Part of the New Poems) (1908), the two "Requiem" poems (1909), and the novel The Notebooks of Malte Laurids Brigge, started in 1904 and completed in January 1910. The Swedish author Mirjam Tapper has edited a book on Rilke's stay in Paris, where she reflected on the many addresses Rilke lived at and tried to find the correlation between his stay there and his poems. The title of the book: Resa med Rilke (Travel with Rilke), Mita bokförlag 2010. A chapter in the book also deals with Rilke's sickness and death. During the later part of this decade Rilke spent extended periods in Ronda, the famous bull-fighting center in southern Spain. There he kept a permanent room at the Hotel Reina Victoria (built in 1906) where his room remains to this day as he left it, a mini-museum of Rilkeana. According to the hotel's publicity, Rilke wrote (though probably not in Spanish) "He buscado por todas partes la ciudad soñada, y al fin la he encontrado en Ronda" and "No hay nada más inesperado en España que esta ciudad salvaje y montañera" ("I have sought everywhere the city of my dreams, and I have finally found it in Ronda" and "There is nothing that is more startling in Spain than this wild and mountainous city.") 1910–1919 Between October 1911 and May 1912, Rilke stayed at the Castle Duino, near Trieste, home of Princess Marie of Thurn und Taxis. There, in 1912, he began the poem cycle called the Duino Elegies, which would remain unfinished for a decade because of a long-lasting creativity crisis. The outbreak of World War I surprised Rilke during a stay in Germany. He was unable to return to Paris, where his property was confiscated and auctioned. He spent the greater part of the war in Munich. From 1914 to 1916 he had a turbulent affair with the painter Lou Albert-Lasard. Rilke was called up at the beginning of 1916, and he had to undertake basic training in Vienna. Influential friends interceded on his behalf, and he was transferred to the War Records Office and discharged from the military on 9 June 1916. He spent the subsequent time once again in Munich, interrupted by a stay on Hertha Koenig's Gut Bockel in Westphalia. The traumatic experience of military service, a reminder of the horrors of the military academy, almost completely silenced him as a poet. 1919–1926 On 11 June 1919, Rilke traveled from Munich to Switzerland. The outward motive was an invitation to lecture in Zürich, but the real reason was the wish to escape the post-war chaos and take up his work on the Duino Elegies once again. The search for a suitable and affordable place to live proved to be very difficult.Among other places, Rilke lived in Soglio, Locarno, and Berg am Irchel. Only in mid-1921 was he able to find a permanent residence in the Château de Muzot in the commune of Veyras, close to Sierre in Valais. In an intense creative period, Rilke completed the Duino Elegies within several weeks in February 1922. Before and after, Rilke rapidly wrote both parts of the poem cycle Sonnets to Orpheus containing 55 entire sonnets. Both works together have often been taken as constituting the high points of Rilke's work. In May 1922, Rilke's patron Werner Reinhart bought and renovated Muzot so that Rilke could live there rent-free. During this time, Reinhart introduced Rilke to his protégée, the Australian violinist Alma Moodie. Rilke was so impressed with her playing that he wrote in a letter: "What a sound, what richness, what determination. That and the Sonnets to Orpheus, those were two strings of the same voice. And she plays mostly Bach! Muzot has received its musical christening..." From 1923 on, Rilke increasingly had to struggle with health problems that necessitated many long stays at a sanatorium in Territet, near Montreux, on Lake Geneva. His long stay in Paris between January and August 1925 was an attempt to escape his illness through a change in location and living conditions. Despite this, numerous important individual poems appeared in the years 1923–1926 (including Gong and Mausoleum), as well as the abundant lyrical work in French. In January and February 1926 Rilke wrote three letters to the Mussolini-adversary Aurelia Gallarati Scotti, in which he praised Benito Mussolini and described fascism as a healing agent. Only shortly before his death was Rilke's illness diagnosed as leukemia. He suffered ulcerous sores in his mouth, pain troubled his stomach and intestines and he struggled with increasingly low spirits. Open-eyed, he died in the arms of his doctor on December 29, 1926 in the Valmont Sanatorium in Switzerland. He was buried on 2 January 1927 in the Raron cemetery to the west of Visp. Rilke had chosen as his own epitaph this poem: Rose, oh reiner Widerspruch, Lust, Niemandes Schlaf zu sein unter soviel Lidern. Rose, oh pure contradiction, delight of being no one's sleep under so many lids. A myth developed surrounding his death and roses, which we see as a constant motif in his work. It was said: "To honour a visitor, the Egyptian beauty Nimet Eloui, Rilke [had] gathered some roses from his garden. While doing so, he pricked his hand on a thorn. This small wound failed to heal, grew rapidly worse, soon his entire arm was swollen, and his other arm became affected as well", and so he died. Rilke's literary style Figures from Greek mythology (e.g. Apollo, Hermes, Orpheus) recur as motifs in his poems and are depicted in original interpretations (e.g. in the poem Orpheus. Eurydice. Hermes, Rilke's Eurydice, numbed and dazed by death, does not recognize her lover Orpheus, who descended to hell to recover her). Other recurring figures in Rilke's poems are angels, roses and a character of a poet and his creative work. Rilke often worked with metaphors, metonymy and contradictions (e.g. in his epitaph, the rose is a symbol of sleep – rose petals are reminiscent of closed eyelids). Rilke's little-known 1898 poem, "Visions of Christ" depicted Mary Magdalene as the mother to Jesus' child. Quoting Susan Haskins: "It was Rilke's explicit belief that Christ was not divine, was entirely human, and deified only on Calvary, expressed in an unpublished poem of 1893, and referred to in other poems of the same period, which allowed him to portray Christ's love for Mary Magdalen, though remarkable, as entirely human.")
A Walk
My eyes already touch the sunny hill.
going far ahead of the road I have begun.
So we are grasped by what we cannot grasp;
it has inner light, even from a distance-
and charges us, even if we do not reach it,
into something else, which, hardly sensing it,
we already are; a gesture waves us on
answering our own wave...
but what we feel is the wind in our faces.
Translated by Robert Bly
Trying to confirm a poem or quote that is attributed to Rilke: 'In love, practice only this: letting each other go. Holding on comes easily, we don't need to learn it. Practice letting go.'
'Again and Again' I reread after 25 years today. Kept me entranced again. Time has not taken any of Rilke's charm away.
Rainer Maria Rilke is my favorite poet. Upon hearing his poem, 'The Panther' I became breathless, emotional and was totally captivated by it. Every time I hear or reread that poem I am totally mesmerized by his skill.
does anyone have those lines by Rilke where he is sitting in the rich darkness expectant about the light coming?
Am searching for a poem by Rilke about someone just having died, and being carried gently by hands afraid to drop the dead person, and the person's name and identity are all slipping away..
Learning to " live the questions" comes from a passage in Rilke's Letters to a Young Poet.
Looking for the poem abouit " learn to love the questions...someday you will live into the answers
He reproduced himself with so much humble objectivity, with the unquestioning, matter of fact interest of a dog who sees himself in a mirror and thinks: there's another dog.
The great renewal of the world will perhaps consist in this, that man and maid, freed of all false feelings and reluctances, will seek each other not as opposites, but as brother and sister, as neighbors, and will come together as human beings.
Not since Moses has anyone seen a mountain so greatly.
Just as the creative artist is not allowed to choose, neither is he permitted to turn his back on anything: a single refusal, and he is cast out of the state of grace and becomes sinful all the way through.
Surely all art is the result of one's having been in danger, of having gone through an experience all the way to the end, where no one can go any further.
Just as language has no longer anything in common with the thing it names, so the movements of most of the people who live in cities have lost their connexion with the earth; they hang, as it were, in the air, hover in all directions, and find no place where they can settle.
The Song of the Dwarf Maybe my soul is straight and good, but she's got to lug my heart, my blood, which all hurts because it's crooked; its weight sends her staggering. She has no bed, she has no home, she merely hangs on my sharp bones, flapping her terrible wings. And my hands are completely shot, shriveled, worn: here, take a look at how they clammily, clumsily hop like rain-crazed toads. As for all the other stuff, it's all used up and sad and old— why doesn't God haul me out to the muck and let me drop. Is it because of my mug with its frowning mouth? So often I would itch to be luminous and free of fog but nothing would approach except big dogs. And the dogs got zilch. (Rainer Maria Rilke)