Rainer Maria Rilke (December 04, 1875 – December 29, 1926)
The Duino Elegies are among my favorite mystical, existential love poems. I hold Rilke in the same ethereal realm as Rumi and Blake. To ease your enjoyment of Rilke’s creation written over a ten year period, I present them as individual verses, one each day for the first ten days of April.
O trees of life, O when are you wintering?
We are not unified. We have no instincts
like those of migratory birds. Useless, and late,
we force ourselves, suddenly, onto the wind,
and fall down to an indifferent lake.
We realise flowering and fading together.
And somewhere lions still roam. Never knowing,
as long as they have their splendour, of any weakness.
We, though, while we are intent on one thing, wholly,
feel the loss of some other. Enmity
is our neighbour. Aren’t lovers
always arriving at boundaries, each of the other,
who promised distance, hunting, and home?
And when, for the sketch of a moment,
a contrasting background is carefully prepared
so that we can see it: then this is clear
to us. We do not know the contours
of feeling, only what forms it from outside.
Who has not sat, scared, before his heart’s curtain?
It drew itself up: the scenery was of Departure.
Easy to comprehend. The familiar garden
swaying a little: then the dancer appeared.
Not him. Enough! However lightly he moves
he is in costume, and turns into a citizen,
and goes through the kitchen into his house.
I don’t want these half-completed masks,
rather the Doll. That is complete. I will
suffer its shell, its wire, its face
of mere appearance. Here. I am waiting.
Even if the lights go out, even if someone
says to me: ‘No more’ – , even if emptiness
reaches me as a grey draught of air from the stage,
even if none of my silent forefathers
sits by me any more, not one woman,
not even the boy with the brown, squinting, eyes.
I’ll still be here. One can always watch.
Am I not right? You, to whom life tasted
so bitter, father, tasting mine,
that first clouded infusion of my necessities,
you kept on tasting, as I grew,
and preoccupied by the after-taste
of such a strange future, searched my misted gaze –
you, my father, who since you were dead, have often
been anxious within my innermost hopes,
and giving up calm, the kingdoms of calm
the dead own, for my bit of fate,
am I not right? And you women, am I not right,
who would love me for that small beginning
of love, for you, that I always turned away from,
because the space of your faces changed,
as I loved, into cosmic space,
where you no longer existed……When I feel
like waiting in front of the puppet theatre, no,
rather gazing at it, so intently, that at last,
to balance my gaze, an Angel must come
and take part, dragging the puppets on high.
Angel and Doll: then there’s a play at last.
Then what we endlessly separate,
merely by being, comes together. Then at last
from our seasons here, the orbit
of all change emerges. Over and above us,
then, the Angel plays. See the dying
must realise that what we do here
is nothing, how full of pretext it all is,
nothing in itself. O hours of childhood,
when, behind the images, there was more
than the past, and in front of us was not the future.
We were growing, it’s true, and sometimes urged that
we soon grew up, half for the sake
of those others who had nothing but their grown-up-ness.
And were, yet, on our own, happy
with Timelessness, and stood there,
in the space between world and plaything,
at a point that from first beginnings
had been marked out for pure event.
Who shows a child, just as they are? Who sets it
in its constellation, and gives the measure
of distance into its hand? Who makes a child’s death
out of grey bread, that hardens, – or leaves it
inside its round mouth like the core
of a shining apple? Killers are
easy to grasp. But this: death,
the whole of death, before life,
to hold it so softly, and not live in anger,
cannot be expressed.