“. . . homosexuals, in concealing their preferences, conceal their ‘humanity and natural warmth of heart as well.'”
— quote from New York Times Book Review of new biography of Patricia Highsmith
“. . . homosexuals, in concealing their preferences, conceal their ‘humanity and natural warmth of heart as well.'”
— quote from New York Times Book Review of new biography of Patricia Highsmith
Is Orpheus of this world? No. The vastness of his nature
is born of both realms.
If you know how the willow is shaped underground,
you can see it more clearly above.
We are told not to leave food
on the table overnight: it draws the dead.
But Orpheus, the conjuring one,
mixes death into all our seeing,
mixes it with everything.
The wafting of smoke and incense
is as real to him as the most solid thing.
Nothing can sully what he beholds.
He praises the ring, the bracelet, the pitcher,
whether it comes from a bedroom or a grave.
— Rilke, Sonnets to Orpheus I, 6
By Professor Kelly
(random order for first 90)
And finally, the top 10 (this time in order, the most important being number 10)
You, darkness, of whom I am born —
I love you more than the flame
that limits the world
to the circle it illuminates
and excludes all the rest.
But the dark embraces everything:
shapes and shadows, creatures and me,
people, nations — just as they are.
— Rilke, From The Book of Hours I, 11
Waking up begins with saying am and now. That which has awoken then lies for a while staring up at the ceiling and down into itself until it has recognized I, and therefrom deduced I am, I am now. Here comes next, and is at least negatively reassuring; because here, this morning, is where it has expected to find itself: what’s called at home.
But now isn’t simply now. Now is a cold reminder: one whole day later than yesterday, one year later than last year. Every now is labeled with its date, rendering all past nows obsolete, until — later or sooner — perhaps — no, not perhaps — quite certainly: it will come.
Fear tweaks the vagus nerve. A sickish shrinking from what waits, somewhere out there, dead ahead.
But meanwhile the cortex, that grim disciplinarian, has taken its place at the central controls and has been testing them, one after another: the legs stretch, the lower back is arched, the fingers clench and relax. And now, over the entire intercommunication system, is issued the first general order of the day: UP.
Obediently the body levers itself out of bed — wincing from twinges in the arthritic thumbs and the left knee, mildly nauseated by the pylorous in a state of spasm — and shambles naked into the bathroom, where its bladder is emptied and it is weighed: still a bit over 150 pounds, in spite of all that toiling at the gym! Then to the mirror.
What it sees there isn’t so much a face as the expression of a predicament. Here’s what it has done to itself, here’s the mess it has somehow managed to get itself into during its fifty-eight years; expressed in terms of a dull, harassed stare, a coarsened nose, a mouth dragged down by the corners into a grimace as if at the sourness of its own toxins, cheeks sagging from their anchors of muscle, a throat hanging limp in tiny wrinkled folds. The harassed look is that of a desperately tired swimmer or runner; yet there is no question of stopping. The creature we are watching will struggle on and on until it drops. Not because it is heroic. It can imagine no alternative.
Staring and staring into the mirror, it sees many faces within its face — the face of the child, the boy, the young man, the not-so-young man — all present still, preserved like fossils on superimposed layers, and, like fossils, dead. Their message to this live dying creature is: Look at us — we have died — what is there to be afraid of?
It answers them: But that happened so gradually, so easily. I’m afraid of being rushed.
It stares and stares. Its lips part. It starts to breathe through its mouth. Until the cortex orders it impatiently to wash, to shave, to brush its hair. Its nakedness has to be covered. It must be dressed up in clothes because it is going outside, into the world of the other people; and these others must be able to identify it. It’s behavior must be acceptable to them.
Obediently, it washes, shaves, brushes its hair, for it accepts its responsibilities to the others. It is even glad that it has its place among them. It knows what is expected of it.
It knows its name. It is called George.
— Christopher Isherwood, A Single Man
“[T]hought only destroys because it broadens. A man’s brain is a bomb,” he cried out, loosening suddenly his strange passion and striking his own skull with violence. “My brain feels like a bomb, night and day. It must expand! It must expand! A man’s brain must expand, if it breaks up the universe.”
— G. K. Chesterton, The Man Who Was Thursday
I was born believing in the gods, I was raised in that belief, and in that belief I will die, loving them. I know what the pagan feeling is. My only regret is that I can’t really explain how utterly and inscrutably different it is from all other feelings. Even our calm and the vague stoicism some of us have bear no resemblance to the calm of antiquity and the stoicism of the Greeks.
— (From Ricardo Reis’s unfinished preface to his Odes)
There was a second thought that never came to him. It never occurred to him to be spiritually won over to the enemy. Many moderns, inured to a weak worship of intellect and force, might have wavered in their allegiance under this oppression of a great personality. They might have called Sunday the super-man. If any such creature be conceivable, he looked, indeed, somewhat like it, with his earth-shaking abstraction, as of a stone statue walking. He might have been called something above man, with his large plans, which were too obvious to be detected, with his large face, which was too frank to be understood. But this was a kind of modern meanness to which Syme could not sink even in his extreme morbidity. Like any man, he was coward enough to fear great force; but he was not quite coward enough to admire it.
— G. K. Chesterton, The Man Who Was Thursday (1908)
How shall I hold my soul
to not intrude upon yours? How shall I
lift it beyond you to other things?
I would gladly lodge it
with lost objects in the dark,
in some far still place
that does not tremble when you tremble.
But all that touches us, you and me,
plays us together, like the bow of a violin
that from two strings draws forth one voice.
On what instrument are we strung?
What musician is playing us?
Oh sweet song.
— Rilke, New Poems
As if he were listening: stillness, distance.
We hold our breath and cease to hear it.
He is like a star surrounded
by other stars we cannot see.
He is all things. Do we really expect him
to notice us? What need could he have?
If we prostrated ourselves at his feet,
he would remain deep and calm like a cat.
For what threw us down before him
has circled in him for millions of years.
He, who has gone beyond all we can know
and knows what we never will.
— Rilke, New Poems
The abandoned cloister still encloses the courtyard
as if it were holy.
It remains a retreat from the world
for those who live there now.
Whatever could happen has already happened.
Now they are glad to walk the trusted paths
that draw them apart and bring them back together,
so simple and so willing.
Some, on their knees beside the planted beds,
are absorbed by what they are tending.
When no one can see, there is
a secret little gesture they make.
To touch the tender early grass,
shyly to caress it.
The green is friendly and needs protection
from the rose whose red can be too fierce
and can overpower once again
what they know in their hearts to be true.
Still the inner knowledge is always there:
how good the grass is and how soft.
— Rilke, New Poems
If the confident animal coming towards us
had a mind like ours,
the change in him would startle us.
But to him his own being is endless,
undefined, and without regard
for his condition: clear,
like his eyes. Where we see future,
he sees all, and himself
in all, made whole for always.
— Rilke, From the Eighth Duino Elegy
The space within us reaches out, translates each thing.
For the essence of a tree to be real for you,
cast inner space around it, out of the space
that exists in you. Encircle it with restraint.
It has no borders. Only in the realm
of your renouncing can it, as tree, be known.
— Rilke, Uncollected Poems
Oh when, when, when will we ever have enough
of whining and defining? Haven’t champions
in the weaving of words been here already?
Why keep on trying?
Are not people perpetually, over and over and over again,
assaulted by books as by buzzing alarms?
When, between two books, the quieting sky appears,
or merely a patch of earth at evening —
rejoice . . .
Louder than all the storms, louder than all the oceans,
people have been crying out:
What abundance of quietude
the Universe must yield, if we screaming humans
can hear the crickets, and if the stars
in the screamed-at ether
can appease our hearts!
Let the farthest, oldest, most ancient
ancestors speak to us!
And let us be listeners at last, humans
finally able to hear.
— Rilke, Uncollected Poems
Old and enormous are the stars.
Old and small is the heart, and it
Holds more than all the stars, being,
Without space, greater than the vast expanse.
— From Fernando Pessoa’s Ruba’iyat, in the manner of Omar Khayyam