“For one human being to love another; that is perhaps the most difficult of all our tasks, the ultimate, the last test and proof, the work for which all other work is but preparation. I hold this to be the highest task for a bond between two people: that each protects the solitude of the other. This is the miracle that happens every time to those who really love: the more they give, the more they possess.”
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Εμφάνιση αναρτήσεων με ετικέτα Reiner Maria Rilke. Εμφάνιση όλων των αναρτήσεων
Εμφάνιση αναρτήσεων με ετικέτα Reiner Maria Rilke. Εμφάνιση όλων των αναρτήσεων
Τετάρτη 26 Ιουλίου 2017
Loving Annabelle - Killing Me Softly
“For one human being to love another; that is perhaps the most difficult of all our tasks, the ultimate, the last test and proof, the work for which all other work is but preparation. I hold this to be the highest task for a bond between two people: that each protects the solitude of the other. This is the miracle that happens every time to those who really love: the more they give, the more they possess.”
Κυριακή 6 Νοεμβρίου 2016
Rilke on How Difficulty Can Fuel Creativity
Decades before Anaïs Nin’s unforgettable proclamation that
Great art was born of great terrors, great loneliness, great inhibitions, instabilities, and it always balances them,
Rilke writes:
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, to where no one can go any further. The further one goes, the more private, the more personal, the more singular an experience becomes, and the thing one is making is, finally, the necessary, irrepressible, and, as nearly as possible, definitive utterance of the singularity… Therein lies the enormous aid the work of art brings to the life of the one who must make it — that it is his epitome, the knot in the rosary at which his life recites a prayer, the ever-returning proof to himself of his unity and genuineness, which presents itself only to him while appearing anonymous to the outside, nameless, existing merely as necessity, as reality, as existence—.
So we are most definitely called upon to test and try ourselves against the utmost, but probably we are also bound to keep silence regarding this utmost, to beware of sharing it, of parting with it in communication so long as we have not entered the work of art: for the utmost represent nothing other than the singularity in us which no one would or even should understand, and which must enter into the works as such, as our personal madness, so to speak, in order to find its justification in the work and show the law in it, like an inborn design that is invisible until it emerges in the transparency of the artistic.
Rilke adds a remark that comes as an especially appropriate summation of the question of private suffering versus tangible results, in both art and life:
Basically it’s none of our business how somebody manages to grow, if only he does grow, if only we’re on the trail of the law of our own growth…
Rilke writes:
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, to where no one can go any further. The further one goes, the more private, the more personal, the more singular an experience becomes, and the thing one is making is, finally, the necessary, irrepressible, and, as nearly as possible, definitive utterance of the singularity… Therein lies the enormous aid the work of art brings to the life of the one who must make it — that it is his epitome, the knot in the rosary at which his life recites a prayer, the ever-returning proof to himself of his unity and genuineness, which presents itself only to him while appearing anonymous to the outside, nameless, existing merely as necessity, as reality, as existence—.
So we are most definitely called upon to test and try ourselves against the utmost, but probably we are also bound to keep silence regarding this utmost, to beware of sharing it, of parting with it in communication so long as we have not entered the work of art: for the utmost represent nothing other than the singularity in us which no one would or even should understand, and which must enter into the works as such, as our personal madness, so to speak, in order to find its justification in the work and show the law in it, like an inborn design that is invisible until it emerges in the transparency of the artistic.
Rilke adds a remark that comes as an especially appropriate summation of the question of private suffering versus tangible results, in both art and life:
Basically it’s none of our business how somebody manages to grow, if only he does grow, if only we’re on the trail of the law of our own growth…
Source: Brainpickings
Σάββατο 29 Οκτωβρίου 2016
Rilke, [Again and again...]
Again and again, even though we know love’s landscape
and the little churchyard with its lamenting names
and the terrible reticent gorge in which the others
end: again and again the two of us walk out together
under the ancient trees, lay ourselves down again and again
among the flowers, and look up into the sky.
“Again and again, even though we know love’s landscape” from Uncollected Poems by Rainer Maria Rilke, translated by Edward Snow. Translation copyright © 1996 by Edward Snow.
and the little churchyard with its lamenting names
and the terrible reticent gorge in which the others
end: again and again the two of us walk out together
under the ancient trees, lay ourselves down again and again
among the flowers, and look up into the sky.
“Again and again, even though we know love’s landscape” from Uncollected Poems by Rainer Maria Rilke, translated by Edward Snow. Translation copyright © 1996 by Edward Snow.
Reiner Maria Rilke, We have no reason to harbor any mistrust against our world
“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.”
― Rainer Maria Rilke, Letters to a Young Poet
― Rainer Maria Rilke, Letters to a Young Poet
Τρίτη 15 Σεπτεμβρίου 2015
"Go to the limits of your longing" by Rainer Maria Rilke
God speaks to each of us as he makes us,
then walks with us silently out of the night.These are the words we dimly hear:You, sent out beyond your recall,
go to the limits of your longing.
Embody me.Flare up like a flame
and make big shadows I can move in.Let everything happen to you: beauty and terror.
Just keep going. No feeling is final.
Don't let yourself lose me.Nearby is the country they call life.
You will know it by its seriousness.Give me your hand.Book of Hours, I 59
Πέμπτη 4 Απριλίου 2013
Γιώργος Μίχος, Το Ρόδο του Ρίλκε
Της Ανέζας
Μια μέρα θα κατέβουμε στον κήπο που μπορεί
και να ναι μια πληγή που αργεί να επουλωθεί
να βρούμε το αγκάθι από το ρόδο του Ρίλκε
να τρέξει η πιθανότητα του αληθινού θανάτου
μες στο αίμα μας... Μονάχα για να μετρηθεί
η μάχη της αγάπης για ζωή κι ο κύκλος
απ' τα δεμένα χέρια γύρω μας των φίλων μας.
Αυτό το ρόδο έχει πάνω του τα δώρα
του χρόνου του αληθινού και του φωτός
που θα έπρεπε για πάντα να φωτίζει τη ζωή μας
και στέλνει πανικόβλητους στους δείκτες
απ΄τις οθόνες στα διεθνή χρηματιστήρια...
Χωρίς Θεό και χωρίς Επανάσταση ο φόβος
του θανάτου πιάνεται απ΄τις τιμές ενώ
το αγκάθι εκείνο στον κήπο απ΄το ρόδο
του Ρίλκε μας περιμένει πάντοτε ως μέτρο της ψυχής
για να μη φύγουμε απ΄τον κόσμο σαν μην έχοντας υπάρξει.
πηγή:giorgosmixos
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