'Duino Elegies: The First Elegy' by Rainer Maria Rilke
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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.
For beauty is nothing but the beginning of terror
which we are barely able to endure and are awed
because it serenely disdains to annihilate us.
Each single angel is terrifying.
And so I force myself, swallow and hold back
the surging call of my dark sobbing.
Oh, to whom can we turn for help?
Not angels, not humans;
and even the knowing animals are aware that we feel
little secure and at home in our interpreted world.
There remains perhaps some tree on a hillside
daily for us to see; yesterday's street remains for us
stayed, moved in with us and showed no signs of leaving.
Oh, and the night, the night, when the wind
full of cosmic space invades our frightened faces.
Whom would it not remain for -that longed-after,
gently disenchanting night, painfully there for the
solitary heart to achieve? Is it easier for lovers?
Don't you know yet ? Fling out of your arms the
emptiness into the spaces we breath -perhaps the birds
will feel the expanded air in their more ferven flight.
Yes, the springtime were in need of you. Often a star
waited for you to espy it and sense its light.
A wave rolled toward you out of the distant past,
or as you walked below an open window,
a violin gave itself to your hearing.
All this was trust. But could you manage it?
Were you not always distraught by expectation,
as if all this were announcing the arrival
of a beloved? (Where would you find a place
to hide her, with all your great strange thoughts
coming and going and often staying for the night.)
When longing overcomes you, sing of women in love;
for their famous passion is far from immortal enough.
Those whom you almost envy, the abandoned and
desolate ones, whom you found so much more loving
than those gratified. Begin ever new again
the praise you cannot attain; remember:
the hero lives on and survives; even his downfall
was for him only a pretext for achieving
his final birth. But nature, exhausted, takes lovers
back into itself, as if such creative forces could never be
achieved a second time.
Have you thought of Gaspara Stampa sufficiently:
that any girl abandoned by her lover may feel
from that far intenser example of loving:
"Ah, might I become like her!" Should not their oldest
sufferings finally become more fruitful for us?
Is it not time that lovingly we freed ourselves
from the beloved and, quivering, endured:
as the arrow endures the bow-string's tension,
and in this tense release becomes more than itself.
For staying is nowhere.
Voices, voices. Listen my heart, as only saints
have listened: until the gigantic call lifted them
clear off the ground. Yet they went on, impossibly,
kneeling, completely unawares: so intense was
their listening. Not that you could endure
the voice of God -far from it! But listen
to the voice of the wind and the ceaseless message
that forms itself out of silence. They sweep
toward you now from those who died young.
Whenever they entered a church in Rome or Naples,
did not their fate quietly speak to you as recently
as the tablet did in Santa Maria Formosa?
What do they want of me? to quietly remove
the appearance of suffered injustice that,
at times, hinders a little their spirits from
freely proceeding onward.
Of course, it is strange to inhabit the earth no longer,
to no longer use skills on had barely time to acquire;
not to observe roses and other things that promised
so much in terms of a human future, no longer
to be what one was in infinitely anxious hands;
to even discard one's own name as easily as a child
abandons a broken toy.
Strange, not to desire to continue wishing one's wishes.
Strange to notice all that was related, fluttering
so loosely in space. And being dead is hard work
and full of retrieving before one can gradually feel a
trace of eternity. -Yes, but the liviing make
the mistake of drawing too sharp a distinction.
Angels (they say) are often unable to distinguish
between moving among the living or the dead.
The eternal torrent whirls all ages along with it,
through both realms forever, and their voices are lost in
its thunderous roar.
In the end the early departed have no longer
need of us. One is gently weaned from things
of this world as a child outgrows the need
of its mother's breast. But we who have need
of those great mysteries, we for whom grief is
so often the source of spiritual growth,
could we exist without them?
Is the legend vain that tells of music's beginning
in the midst of the mourning for Linos?
the daring first sounds of song piercing
the barren numbness, and how in that stunned space
an almost godlike youth suddenly left forever,
and the emptiness felt for the first time
those harmonious vibrations which now enrapture
and comfort and help us.
Translated by Albert Ernest Flemming
Editor 1 Interpretation
Duino Elegies: The First Elegy by Rainer Maria Rilke
Have you ever felt the weight of existence pressing against your chest, choking your voice and rendering you mute? Have you ever tried to grasp the fleeting beauty of the world, only to find it slipping through your fingers like sand? These are the existential dilemmas that haunt human beings, and they are the themes that Rainer Maria Rilke explores in his masterpiece, Duino Elegies: The First Elegy.
Background
Rilke wrote the Duino Elegies between 1912 and 1922, while he was staying in the castle of Duino, overlooking the Adriatic Sea. The elegies were originally intended to be a cycle of ten poems, but Rilke struggled with the composition and only completed nine of them. The poems were a synthesis of different influences, including German Romanticism, Christian mysticism, and Eastern philosophy. They are known for their complex symbolism, philosophical depth, and lyrical beauty, and they have been hailed as one of the greatest achievements of 20th-century poetry.
Analysis
The First Elegy begins with a famous invocation:
"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 be consumed in that overwhelming existence."
Here, Rilke confronts the fundamental human fear of being alone and unheard in a vast and indifferent universe. He imagines himself crying out for help, but wonders if anyone would answer him, even if he were surrounded by angels. The image of being "consumed" by overwhelming existence suggests a mystical experience, where the self is dissolved in the divine unity. However, Rilke also suggests that such an experience might be terrifying and annihilating, rather than liberating.
The rest of the elegy is an exploration of this tension between beauty and terror, existence and non-existence, that characterizes human life. Rilke observes the world from the perspective of a "watcher" (Beobachter), a detached and contemplative consciousness that observes the passing of time and the transience of things. He marvels at the beauty of nature and the human world, but also feels the weight of mortality and the fragility of life. He sees everything as a fleeting appearance, a "mirage" (Trugbild) that disappears as soon as it is seen. He writes:
"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."
This paradoxical statement captures the essence of Rilke's philosophy of beauty. For him, beauty is not a mere aesthetic pleasure, but a profound experience of awe and wonder that confronts us with the mystery of existence. Beauty is terrifying because it exposes us to the ultimate reality of death and nothingness, but it is also sublime because it transcends our limited perspective and connects us to the infinite.
Rilke also explores the theme of love in the First Elegy. He contrasts the love of human beings, which is often selfish and possessive, with the love of angels, which is pure and selfless. He writes:
"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."
This contrast between human and divine love reflects Rilke's Christian background and his interest in mystical spirituality. He suggests that human love is incomplete and flawed because it is attached to individual desires and needs, whereas divine love is unconditional and all-encompassing. However, he also acknowledges the beauty and pathos of human love, which is a source of joy and suffering, and a reminder of our mortality.
The First Elegy ends with a note of despair and hope. Rilke imagines the "watcher" ascending to the heights of the sky, where he hears the "infinite hymn" (unendlichen Lobgesang) of the angels. He longs to join them in their ecstatic praise of the divine, but he also feels the agony of being separated from them and from the source of all beauty. He writes:
"And yet, though we strain against the deadening grip of daily necessity, I sense there is this mystery: All life is being lived."
This final statement encapsulates the paradoxical vision of the world that Rilke presents in the First Elegy. Life is fleeting and fragile, and we are constantly confronted with the terror of existence, but at the same time, life is also full of beauty and wonder, and we are part of a larger mystery that transcends our limited perspective. Rilke suggests that by embracing this mystery, by opening ourselves to the experience of beauty and love, we can overcome our existential angst and find a deeper sense of meaning and purpose in life.
Conclusion
The First Elegy is a profound and beautiful poem that captures the essence of Rilke's philosophy of life. It is a meditation on the themes of beauty, terror, love, and mortality, and a testament to the power of poetry to express the inexpressible. Rilke's lyrical language and complex symbolism create a world that is both vivid and elusive, inviting the reader to contemplate the mysteries of existence and to embrace the beauty of life, even in the face of death. The First Elegy is a timeless masterpiece that speaks to the human condition with honesty, empathy, and wisdom.
Editor 2 Analysis and Explanation
Duino Elegies: The First Elegy by Rainer Maria Rilke is a masterpiece of modernist poetry that has captivated readers for over a century. This elegy is the first of ten that Rilke wrote during his stay at the Duino Castle in Italy in 1912. The poem is a meditation on the human condition, mortality, and the search for meaning in a world that often seems indifferent to our struggles. In this analysis, we will explore the themes, imagery, and language of this powerful poem.
The First Elegy begins with a haunting invocation to the angels, asking them to help the poet find the words to express his thoughts and feelings. Rilke writes, "Who, if I cried out, would hear me among the angels' hierarchies?" This opening line sets the tone for the rest of the poem, which is characterized by a sense of longing and a feeling of isolation. The poet is searching for something that he cannot name, something that is beyond the reach of language.
The first stanza of the poem is filled with images of darkness and despair. Rilke writes, "The darkening of the world is underway, we know it." This line suggests that the poet sees the world as a place of darkness and decay, where everything is slowly falling apart. He goes on to describe the "wind that carries off our final gestures," suggesting that even our attempts to hold on to life are futile.
The second stanza of the poem introduces the theme of mortality. Rilke writes, "We are the ones who will die." This line is a reminder that death is the one certainty in life, and that everything else is fleeting and impermanent. The poet goes on to describe the "beautiful, fleeting things" that we cling to in life, such as love, beauty, and art. He suggests that these things are all the more precious because they are temporary.
The third stanza of the poem is perhaps the most famous. Rilke writes, "For beauty is nothing but the beginning of terror, which we are still just able to endure." This line has been interpreted in many different ways, but it is generally seen as a reflection on the power of beauty to evoke a sense of awe and wonder in us. The poet suggests that this feeling of awe is tinged with a sense of fear, as we realize that the beauty we are experiencing is fleeting and will soon be gone.
The fourth stanza of the poem introduces the idea of the "open window," which is a recurring image throughout the elegies. Rilke writes, "But because truly being here is so much; because everything here apparently needs us, this fleeting world, which in some strange way keeps calling to us." This line suggests that the world is constantly calling to us, inviting us to be present and to engage with it. The open window represents an opportunity to connect with the world and to experience its beauty and wonder.
The fifth stanza of the poem is a meditation on the nature of time. Rilke writes, "Time is the messenger of the eternal." This line suggests that time is not just a measure of our lives, but is also a reminder of the eternal nature of the universe. The poet goes on to describe the "great, invisible, unendingly active life" that exists beyond our limited understanding of time.
The sixth and final stanza of the poem is a call to action. Rilke writes, "So we live, and are forever taking leave." This line suggests that we must embrace life and all its fleeting beauty, even as we acknowledge the inevitability of our own mortality. The poet urges us to "be happy about your growing, even in a poor season," suggesting that even in the darkest of times, there is always the possibility of growth and renewal.
In conclusion, Duino Elegies: The First Elegy by Rainer Maria Rilke is a powerful meditation on the human condition, mortality, and the search for meaning in a world that often seems indifferent to our struggles. The poem is filled with haunting imagery and language that evokes a sense of longing and isolation. Through the use of the open window as a recurring image, Rilke suggests that there is always the possibility of connection and renewal, even in the darkest of times. The First Elegy is a masterpiece of modernist poetry that continues to inspire and captivate readers to this day.
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