Rainer Maria Rilke लेबलों वाले संदेश दिखाए जा रहे हैं. सभी संदेश दिखाएं
Rainer Maria Rilke लेबलों वाले संदेश दिखाए जा रहे हैं. सभी संदेश दिखाएं

सोमवार, 21 अक्टूबर 2013

to Holderlin









We are not permitted to linger, even with what is most
intimate.  From images that are full, the spirit
plunges on to others that suddenly must be filled;
there are no lakes till eternity.  Here,
falling is best.  To fall from the mastered emotion 
into the guessed-at, and onward.

To you, O majestic poet, to you the compelling image,
O caster of spells, was a life, entire;  when you uttered it
a line snapped shut like fate,  there was a death
even in the mildest, and you walked straight into it; but
the god who preceded you led you out and beyond it.

O wandering spirit, most wandering of all!  How snugly
the others live in their heated poems and stay,
content, in their narrow smiles.  Taking part.  Only you 
move like the moon.  And underneath brightens and darkens
the nocturnal landscape, the holy, the terrified landscape,
which you feel in departures.  No one
gave it away more sublimely, gave it back
more fully to the universe, without any need to hold on.
Thus for years that you no longer counted, holy, you played
with infinite joy, as though it were not inside you,
but lay, belonging to no one, all around
on the gentle lawns of the earth, where the godlike children had left it.
Ah, what the greatest have longed for: you built it, free of desire,
stone upon stone, till it stood.  And when it collapsed,
even then you weren't bewildered.

Why, after such an eternal life, do we still
mistrust the earthly?  Instead of patiently learning from transience
the emotions for what future
slopes of the heart, in pure space?




~ Rainer Maria Rilke
from Uncollected Poems
translated by Stephen Mitchell


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शनिवार, 27 अप्रैल 2013

ripen







It is also good to love: because love is difficult. 
For one human being to love another human being: that is perhaps 
the most difficult task that has been entrusted to us, 
the ultimate task, the final test and proof, the work for which
 all other work is merely preparation. 

That is why young people, who are beginners in everything, 
are not yet capable of love: it is something they must learn. 
With their whole being, with all their forces, gathered around their solitary, 
anxious, upward-beating heart, they must learn to love. 
But learning-time is always a long, secluded time, and therefore loving, 
for a long time ahead and far on into life, is: solitude, a heightened 
and deepened kind of aloneness for the person who loves. 

Loving does not at first mean merging, surrendering, and uniting with another person 
(for what would a union be of two people who are unclarified, unfinished, and still incoherent?),
 it is a high inducement for the individual to ripen, to become something in himself, 
to become world, to become world in himself for the sake of another person; 
it is a great, demanding claim on him, something that chooses him 
and calls him to vast distances. 

Only in this sense, as the task of working on themselves 
("to hearken and to hammer day and night"), may young people 
use the love that is given to them. Merging and surrendering and 
every kind of communion is not for them (who must still, 
for a long, long time, save and gather themselves); it is the ultimate, 
is perhaps that for which human lives are as yet barely large enough.




~ Rainer Maria Rilke
from Letter to a Young Poet, #7
art by picasso




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गुरुवार, 28 मार्च 2013

the deepest places in your heart










~ Rainer Maria Rilke
read by Dennis Hopper




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शनिवार, 23 मार्च 2013

wait for the hour







Always trust yourself and your own feeling, 
as opposed to argumentations, discussion, 
or introductions of that sort; if it turns out that you are wrong, 
then the natural growth of your inner life will eventually guide you to other insights. 

Allow your judgments their own silent, undisturbed development, 
which, like all progress, must come from deep within 
and cannot be forced or hastened. 

Everything is gestation and then birthing. 
To let each impression and each embryo of a feeling come to completion,
 entirely in itself, in the dark, in the unsayable, the unconscious, 
beyond the reach of one’s own understanding, and with deep humility 
and patience to wait for the hour when a new clarity is born: 
this alone is what it means to live as an artist: in understanding as in creating.



~Rainer Maria Rilke
from Letters to a young poet, letter 3
translation by Stephen Mitchell
image found at art42


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शुक्रवार, 8 फ़रवरी 2013

there is no poverty







There is only one way: Go within. Search for the cause, find the impetus that bids you write. Put it to this test: Does it stretch out its roots in the deepest place of your heart? Can you avow that you would die if you were forbidden to write? Above all, in the most silent hour of your night, ask yourself this: Must I write? Dig deep into yourself for a true answer. And if it should ring its assent, if you can confidently meet this serious question with a simple, "I must," then build your life upon it. It has become your necessity. Your life, in even the most mundane and least significant hour, must become a sign, a testimony to this urge.
Then draw near to nature. Pretend you are the very first man and then write what you see and experience, what you love and lose. Do not write love poems, at least at first; they present the greatest challenge. It requires great, fully ripened power to produce something personal, something unique, when there are so many good and sometimes even brilliant renditions in great numbers. Beware of general themes. Cling to those that your every- day life offers you. Write about your sorrows, your wishes, your passing thoughts, your belief in anything beautiful. Describe all that with fervent, quiet, and humble sincerity. In order to express yourself, use things in your surroundings, the scenes of your dreams, and the subjects of your memory.
If your everyday life appears to be unworthy subject matter, do not complain to life. Complain to yourself. Lament that you are not poet enough to call up its wealth. For the creative artist there is no poverty—nothing is insignificant or unimportant. Even if you were in a prison whose walls would shut out from your senses the sounds of the outer world, would you not then still have your childhood, this precious wealth, this treasure house of memories? Direct your attention to that. Attempt to resurrect these sunken sensations of a distant past. You will gain assuredness. Your aloneness will expand and will become your home, greeting you like the quiet dawn. Outer tumult will pass it by from afar.




~ Rainer Maria Rilke
from Letters to a Young Poet  (the first letter)
translated by Joan M. Burnham



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सोमवार, 4 फ़रवरी 2013

clarity and confusion







VII. 
There are, in fact, moments when a person stands out from his grandeur in clarity and silence before you. These are rare festive pleasures that you never forget. You love this person from then on. In other words, you work to retrace with your own tender hands the outlines of the personality that you came to know in this hour.


VII. 
Art does the same thing. For art is a farther reaching, more immodest love. It is God’s love. It cannot stop with an individual, who is only the portal of life itself: it must move through that individual. It cannot tire. To fulfill its destiny, it has to appear where everyone is — a someone. Then it bestows its gifts on this someone, and boundless riches come over everyone.


XI. 
Art has accomplished nothing, except to show us the confusion in which we already find ourselves most of the time. It has frightened us, rather than making us quiet and peaceful. It has shown us that we all live on different islands, only the islands are not far enough apart for us to stay solitary and untroubled. Someone on one island can pester someone on another, or terrorize him, or hunt him with spears — the only thing no one can do to anyone else is help him.





~ Rainer Maria Rilke
from Notes on the Melody of Things 
found in The Inner Sky 
translated by Damion Searls
photo by ansel adams





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शनिवार, 19 जनवरी 2013

to swallow back his love





Paul Cézanne in his studio Les Lauves, 1904. Photo by Émile Bernard


The love (in Cezanne's art) is so thoroughly used
up in the action of making that there is no residue.
It may be that this using up of love in anonymous
work, which produces such pure things, was 
never achieved as completely as in the work of this
old man; his inner nature, having grown 
mistrustful and sullen, helped him to do it. He 
would certainly not have shown this love to 
another human being, had he been forced
to conceive such a love; but with this disposition, 
which, thanks to his reclusive eccentricity, was
fully ripened now, he turned to nature and knew 
how to swallow back his love for every apple
and put it to rest in the painted apple forever.
Can you imagine what that is like, and what
it's like to experience this through him?


~ Rilke on Cezanne













art by Paul Cezanne

with thanks to Semsakrebsler


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बुधवार, 16 जनवरी 2013

the eighth elegy









With all its eyes the natural world looks out
into the Open.  Only our eyes are turned
backward, and surround plant, animal, child
like traps, as they emerge into their freedom.
We know what is really out there only from 
the animal's gaze;  for we take the very young
child and force it around, so that it sees
objects - not the Open, which is so
deep in animals' faces.  Free from death.
We, only, can see death; the free animal
has its decline in back of it, forever,
and God in front, and when it moves, it moves
already in eternity, like a fountain.

Never, not for a single day, do we have
before us that pure space into which flowers
endlessly open.  Always there is World
and never Nowhere without the No: that pure
unseparated element which one breathes
without desire and endlessly knows.  A child
may wander there for hours, through the timeless
stillness, may get lost in it and be 
shaken back.  Or someone dies and is it.
For, nearing death, one doesn't see death; but stares
beyond, perhaps with an animal's vast gaze.
Lovers, if the beloved were not there
blocking the view, are close to it, and marvel...
As if by some mistake, it opens for them
behind each other... But neither can move past
the other, and it changes back to World.
Forever turned toward objects, we see in them
the mere reflection of the realm of freedom,
which we have dimmed.  Or when some animal
mutely, serenely, looks us through and through.
That is what fate means: to be opposite,
to be opposite and nothing else, forever.

If the animal moving toward us so securely
in a different direction had our kind of 
consciousness -, it would wrench us around and drag us
along its path.  But it feels its life as boundless,
unfathomable, and without regard
to its own condition: pure, like its outward gaze.
And where we see the future, it sees all time
and itself within all time, forever healed.

Yet in the alert, warm animal there lies
the pain and burden of an enormous sadness.
For it too feels the presence of what often 
overwhelms us: a memory, as if 
the element we keep pressing toward was once
more intimate, more true, and our communion
infinitely tender.  Here all is distance;
there it was breath.  After that first home,
the second seems ambiguous and drafty.

Oh bliss of the tiny creature which remains
forever inside the womb that was its shelter;
joy of the gnat which, still within, leaps up
even at its marriage: for everything is womb.
And look at the half-assurance of the bird,
which knows both inner and outer, from its source,
as if it were the soul of an Etruscan,
flown out of a dead man received inside a space,
but with his reclining image as the lid.
And how bewildered is any womb-born creature
that has to fly.  As if terrified and fleeing
from itself, it zigzags through the air, the way 
a crack runs through a teacup.  So the bat
quivers across the porcelain of evening.

And we: spectators, always, everywhere,
turned toward the world of objects, never outward.
It fills us.  We arrange it.  It breaks down.
We rearrange it, then break down ourselves.
Who has twisted us around like this , so that 
no matter what we do, we are in the posture
of someone going away?  Just as, upon
the farthest hill, which shows him his whole valley
one last time, he turns, stops, lingers -,
so we live here, forever taking leave.



~ Rainer Maria Rilke
from Duino Elegies
photo by shreve stockton




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सोमवार, 14 जनवरी 2013

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 
in 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 our 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 springtimes 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 of sufferings 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.




~ Rainer Maria Rilke
from the  Duino Elegies
translation by Stephen Mitchell







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शनिवार, 29 दिसंबर 2012

childhood








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. 




~ Rainer Maria Rilke
photo by kathleen connally



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बुधवार, 7 नवंबर 2012

be the mystery








Quiet friend who has come so far,
feel how your breathing makes more space around you.
Let this darkness be a bell tower
and you the bell. As you ring,

what batters you becomes your strength.
Move back and forth into the change.
What is it like, such intensity of pain?
If the drink is bitter, turn yourself to wine.

In this uncontainable night,
be the mystery at the crossroads of your senses,
the meaning discovered there.

And if the world has ceased to hear you,
say to the silent earth: I flow.
To the rushing water, speak: I am.






~ Rainer Maria Rilke
from Sonnets of Orpheus II, 29
translation by Joanna Macy and Anita Barrows
with thanks to joanna macy and her work





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बुधवार, 24 अक्टूबर 2012

it’s the dream







It’s that dream that we carry with us
that something wonderful will happen,
that it has to happen,
that time will open,
that the heart will open,
that doors will open,
that the mountains will open,
that wells will leap up,
that the dream will open,
that one morning we’ll slip in
to a harbor that we've never known.




~ Rainer Maria Rilke
translated by Robert Bly
art by klimt








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बुधवार, 17 अक्टूबर 2012

through the lyre's strings







A god can do it. But will you tell me how
a man can penetrate through the lyre's strings?
Our mind is split.  And at the shadowed crossing
of heart-roads, there is a temple for Apollo.

Song, as you have taught it, is not desire,
not wooing any grace that can be achieved;
song is reality.  Simple, for a god.
But when can we be real? When does he pour

the earth, the stars, into us? Young man,
it is not your loving, even if your mouth
was forced wide open by your own voice - learn

to forget that passionate music.  It will end.
True singing is a different breath, about
nothing.  A gust inside the god.  A wind.





~ Rainer Maria Rilke
from The Sonnets to Orpheus, I,3
translated by Stephen Mitchell




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शनिवार, 15 सितंबर 2012

be ahead of all parting








Be ahead of all parting, as though it already were
behind you, like the winter that has just gone by.
For among these winters there is one so endlessly winter
that only by wintering through it will your heart survive.

Be forever dead in Eurydice - more gladly arise
into the seamless life proclaimed in your song.
Here, in the realm of decline, among momentary days,
be the crystal cup that shattered even as it rang.

Be - and yet know the great void where all things begin,
the infinite source of your own most intense vibration,
so that, this once, you may give it your perfect assent.

To all that is used-up, and to all the muffled and dumb
creatures in the world's full reserve, the unsayable sums,
joyfully add yourself, and cancel the count.





~ Rainer Maria Rilke
The Sonnets to Orpheus, II,13
from The Enlightened Heart
an anthology of sacred poetry
edited and translated by Stephen Mitchell



.


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गुरुवार, 2 अगस्त 2012

buddha in glory










Center of all centers, core of cores,
almond self-enclosed, and growing sweet–
all this universe, to the furthest stars
all beyond them, is your flesh, your fruit.

Now you feel how nothing clings to you;
your vast shell reaches into endless space,
and there the rich, thick fluids rise and flow.
Illuminated in your infinite peace,

a billion stars go spinning through the night,
blazing high above your head.
But in you is the presence that
will be, when all the stars are dead.




~ Rainer Maria Rilke
translation by Stephen Mitchell
from "Ahead of All Parting: 
The Selected Poetry and Prose of Rainer Maria Rilke"




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मंगलवार, 17 अप्रैल 2012

o lacrimosa








(trilogy for future music of Ernst Krenek)


I

Oh tear-filled figure who, like a sky held back,
grows heavy above the landscape of her sorrow.
And when she weeps, the gentle raindrops fall,
slanting upon the sand-bed of her heart.

O heavy with weeping. Scale to weigh all tears.
Who felt herself not sky, since she was shining
and sky exists only for clouds to form in.

How clear it is, how close, your land of sorrow,
beneath the stearn sky's oneness. Like a face
that lies there, slowly waking up and thinking
horizontally, into endless depths.


II

It is nothing but a breath, the void.
And that green fulfillment
of blossoming trees: a breath.
We, who are still the breathed-upon,
today still the breathed-upon, count
this slow breathing of earth,
whose hurry we are.


III

Ah, but the winters! The earth's mysterious
turning-within. Where around the dead
in the pure receding of sap,
boldness is gathered,
the boldness of future springtimes.
Where imagination occurs
beneath what is rigid; where all the green
worn thin by the vast summers
again turns into a new
insight and the mirror of intuition;
where the flowers' color
wholly forgets that lingering of our eyes.




~ Rainer Maria Rilke
translation by Stephen Mitchell
art by francoise pothier




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गुरुवार, 5 अप्रैल 2012

saddness, solitude, and fear of the inexplicable








Borgeby gard, Fladie, Sweden
August 12, 1904 

I want to talk to you again for a little while, dear Mr. Kappus, although there is almost nothing I can say that will help you, and I can hardly find one useful word. You have had many sadnesses, large ones, which passed. And you say that even this passing was difficult and upsetting for you. But please, ask yourself whether these large sadnesses haven't rather gone right through you. Perhaps many things inside you have been transformed; perhaps somewhere, someplace deep inside your being, you have undergone important changes while you were sad. The only sadnesses that are dangerous and unhealthy are the ones that we carry around in public in order to drown them out with the noise; like diseases that are treated superficially and foolishly, they just withdraw and after a short interval break out again all the more terribly; and gather inside us and are life, are life that is unlived, rejected, lost, life that we can die of. If only it were possible for us to see farther than our knowledge reaches, and even a little beyond the outworks of our presentiment, perhaps we would bear our sadnesses with greater trust than we have in our joys. For they are the moments when something new has entered us, something unknown; our feelings grow mute in shy embarrassment, everything in us withdraws, a silence arises, and the new experience, which no one knows, stands in the midst of it all and says nothing. 

It seems to me that almost all our sadnesses are moments of tension, which we feel as paralysis because we no longer hear our astonished emotions living. Because we are alone with the unfamiliar presence that has entered us; because everything we trust and are used to is for a moment taken away from us; because we stand in the midst of a transition where we cannot remain standing. That is why the sadness passes: the new presence inside us, the presence that has been added, has entered our heart, has gone into its innermost chamber and is no longer even there, is already in our bloodstream. And we don't know what it was. We could easily be made to believe that nothing happened, and yet we have changed, as a house that a guest has entered changes. We can't say who has come, perhaps we will never know, but many signs indicate that the future enters us in this way in order to be transformed in us, long before it happens. And that is why it is so important to be solitary and attentive when one is sad: because the seemingly uneventful and motionless moment when our future steps into us is so much closer to life than that other loud and accidental point of time when it happens to us as if from outside. The quieter we are, the more patient and open we are in our sadnesses, the more deeply and serenely the new presence can enter us, and the more we can make it our own, the more it becomes our fate; and later on, when it "happens" (that is, steps forth out of us to other people), we will feel related and close to it in our innermost being. And that is necessary. It is necessary -- and toward this point our development will move, little by little -- that nothing alien happen to us, but only what has long been our own. People have already had to rethink so many concepts of motion; and they will also gradually come to realize that what we call fate does not come into us from the outside, but emerges from us. It is only because so many people have not absorbed and transformed their fates while they were living in them that they have not realized what was emerging from them; it was so alien to them that, in their confusion and fear, they thought it must have entered them at the very moment they became aware of it, for they swore they had never before found anything like that inside them. just as people for a long time had a wrong idea about the sun's motion, they are even now wrong about the motion of what is to come. The future stands still, dear Mr. Kappus, but we move in infinite space. 

How could it not be difficult for us? 

And to speak of solitude again, it becomes clearer and clearer that fundamentally this is nothing that one can choose or refrain from. We are solitary. We can delude ourselves about this and act as if it were not true. That is all. But how much better it is to recognize that we are alone; yes, even to begin from this realization. It will, of course, make us dizzy; for all points that our eyes used to rest on are taken away from us, there is no longer anything near us, and everything far away is infinitely far. A man taken out of his room and, almost without preparation or transition, placed on the heights of a great mountain range, would feel something like that: an unequaled insecurity, an abandonment to the nameless, would almost annihilate him. He would feel he was falling or think he was being catapulted out into space or exploded into a thousand pieces: what a colossal lie his brain would have to invent in order to catch up with and explain the situation of his senses. That is how all distances, all measures, change for the person who becomes solitary; many of these changes occur suddenly and then, as with the man on the mountaintop, unusual fantasies and strange feelings arise, which seem to grow out beyond all that is bearable. But it is necessary for us to experience that too. We must accept our reality as vastly as we possibly can; everything, even the unprecedented, must be possible within it. This is in the end the only kind of courage that is required of us: the courage to face the strangest, most unusual, most inexplicable experiences that can meet us. The fact that people have in this sense been cowardly has done infinite harm to life; the experiences that are called "apparitions," the whole so-called "spirit world," death, all these Things that are so closely related to us, have through our daily defensiveness been so entirely pushed out of life that the senses with which we might have been able to grasp them have atrophied. To say nothing of God. But the fear of the inexplicable has not only impoverished the reality of the individual; it has also narrowed the relationship between one human being and another, which has as it were been lifted out of the riverbed of infinite possibilities and set down in a fallow place on the bank, where nothing happens. For it is not only indolence that causes human relationships to be repeated from case to case with such unspeakable monotony and boredom; it is timidity before any new, inconceivable experience, which we don't think we can deal with. But only someone who is ready for everything, who doesn't exclude any experience, even the most incomprehensible, will live the relationship with another person as something alive and will himself sound the depths of his own being. For if we imagine this being of the individual as a larger or smaller room, it is obvious that most people come to know only one corner of their room, one spot near the window, one narrow strip on which they keep walking back and forth. In this way they have a certain security. And yet how much more human is the dangerous in security that drives those prisoners in Poe's stories to feel out the shapes of their horrible dungeons and not be strangers to the unspeakable terror of their cells. We, however, are not prisoners. No traps or snares have been set around us, and there is nothing that should frighten or upset us. We have been put into life as into the element we most accord with, and we have, moreover, through thousands of years of adaptation, come to resemble this life so greatly that when we hold still, through a fortunate mimicry we can hardly be differentiated from everything around us. We have no reason to harbor any mistrust against our world, for it is not against us. If it has terrors, they are our terrors; if it has abysses, these abysses belong to us; if there are dangers, we must try to love them. And if only we arrange our life in accordance with the principle which tells us that we must always trust in the difficult, then what now appears to us as the most alien will become our most intimate and trusted experience. How could we forget those ancient myths that stand at the beginning of all races, the myths about dragons that at the last moment are transformed into princesses? Perhaps all the dragons in our lives are princesses who are only waiting to see us act, just once, with beauty and courage. Perhaps everything that frightens us is, in its deepest essence, something helpless that wants our love. 

So you mustn't be frightened, dear Mr. Kappus, if a sadness rises in front of you, larger than any you have ever seen; if an anxiety, like light and cloud-shadows, moves over your hands and over everything you do. You must realize that something is happening to you, that life has not forgotten you, that it holds you in its hand and will not let you fall. Why do you want to shut out of your life any uneasiness, any misery, any depression, since after all you don't know what work these conditions are doing inside you? Why do you want to persecute yourself with the question of where all this is coming from and where it is going? Since you know, after all, that you are in the midst of transitions and you wished for nothing so much as to change. If there is anything unhealthy in your reactions, just bear in mind that sickness is the means by which an organism frees itself from what is alien; so one must simply help it to be sick, to have its whole sickness and to break out with it, since that is the way it gets better. In you, dear Mr. Kappus, so much is happening now; you must be patient like someone who is sick, and confident like someone who is recovering; for perhaps you are both. And more: you are also the doctor, who has to watch over himself. But in every sickness there are many days when the doctor can do nothing but wait. And that is what you, insofar as you are your own doctor, must now do, more than anything else. 

Don't observe yourself too closely. Don't be too quick to draw conclusions from what happens to you; simply let it happen. Otherwise it will be too easy for you to look with blame (that is: morally) at your past, which naturally has a share in everything that now meets you. But whatever errors, wishes, and yearnings of your boyhood are operating in you now are not what you remember and condemn. The extraordinary circumstances of a solitary and helpless childhood are so difficult, so complicated, surrendered to so many influences and at the same time so cut off from all real connection with life that, where a vice enters it, one may not simply call it a vice. One must be so careful with names anyway; it is so often the name of an offense that a life shatters upon, not the nameless and personal action itself, which was perhaps a quite definite necessity of that life and could have been absorbed by it without any trouble. And the expenditure of energy seems to you so great only because you overvalue victory; it is not the "great thing" that you think you have achieved, although you are right about your feeling; the great thing is that there was already something there which you could replace that deception with, something true and real. Without this even your victory would have been just a moral reaction of no great significance; but in fact it has become a part of your life. Your life, dear Mr. Kappus, which I think of with so many good wishes. Do you remember how that life yearned out of childhood toward the "great thing"? I see that it is now yearning forth beyond the great thing toward the greater one. That is why it does not cease to be difficult, but that is also why it will not cease to grow. 

And if there is one more thing that I must say to you, it is this: Don't think that the person who is trying to comfort you now lives untroubled among the simple and quiet words that sometimes give you pleasure. His life has much trouble and sadness, and remains far behind yours. If it were otherwise, he would never have been able to find those words. 

Yours,
Rainer Maria Rilke



~ from Letters to a Young Poet
(letter eight)




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