Conversation, which is friendship’s mode of expression, is a superficial digression which gives us nothing worth acquiring. We may talk for a lifetime without doing more than indefinitely repeat the vacuity of a minute.
— Proust
Conversation, which is friendship’s mode of expression, is a superficial digression which gives us nothing worth acquiring. We may talk for a lifetime without doing more than indefinitely repeat the vacuity of a minute.
— Proust
How surely gravity’s law,
strong as an ocean current,
takes hold of even the smallest thing
and pulls it toward the heart of the world.
Each thing —
each stone, blossom, child —
is held in place.
Only we, in our arrogance,
push out beyond what we each belong to
for some empty freedom.
If we surrendered
to earth’s intelligence
we could rise up rooted, like trees.
Instead we tangle ourselves
in knots of our own making
and struggle, lonely and confused.
So, like children, we begin again
to learn from the things,
because they are in God’s heart;
they have never left him.
— Rilke, The Book of Hours II, 16
Consider whether great changes have not happened deep inside your being in times when you were sad. The only sadnesses that are unhealthy and dangerous are those we carry around in public in order to drown them out. Like illnesses that are treated superficially, they only recede for a while and then break out more severely. Untreated they gather strength inside us and become the rejected, lost, and unlived life that we may die of. If only we could see a little farther than our knowledge reaches and a little beyond the borders of our intuition, we might perhaps bear our sorrows more trustingly than we do our joys. For they are the moments when something new enters us, something unknown. Our feelings grow mute in shy embarrassment, they take a step back, a stillness arises, and the new thing, which no one knows, stands in the midst of it all and says nothing.
— Rilke, Borgeby gärd, Sweden, August 12, 1904
Letters to a Young Poet
Think, dear sir, of the world you carry within you . . . be it remembrance of your own childhood or longing for your own future. Only be attentive to what is arising within you, and prize it above all that you perceive around you. What happens most deeply inside you is worthy of your whole love. Work with that and don’t waste too much time and courage explaining it to other people.
— Rilke, Rome, December 23, 1903
Letters to a Young Poet
I want to utter you. I want to portray you
not with lapis or gold, but with colors made of apple bark.
There is no image I could invent
that your presence would not eclipse.
— Rilke, From The Book of Hours I, 60
“What’s so phony nowadays is all this familiarity. Pretending there isn’t any difference between people. . . . If you and I are no different, what do we have to give each other? How can we ever be friends?”
And now an hour, maybe, has passed. And they are both drunk: Kenny fairly, George very. But George is drunk in a good way, and one that he seldom achieves. He tries to describe to himself what this kind of drunkenness is like. Well — to put it very crudely — it’s like Plato; it’s a dialogue. A dialogue between two people. Yes, but not a Platonic dialogue in the hair-splitting, word-twisting, one-up-to-me sense; not a mock-humble bitching match; not a debate on some dreary set theme. You can talk about anything and change the subject as often as you like. In fact, what really matters is not what you talk about, but the being together in this particular relationship. George can’t imagine having a dialogue of this kind with a woman, because women can only talk in terms of the personal. A man of his own age would do, if there was some sort of polarity; for instance, if he was a Negro. You and your dialogue-partner have to be somehow opposites. Why? Because you have to be symbolic figures — like, in this case, Youth and Age. Why do you have to be symbolic? Because the dialogue is by its nature impersonal. It’s a symbolic encounter. It doesn’t involve either party personally. That’s why, in a dialogue, you can say absolutely anything. Even the closest confidence, the deadliest secret, comes out objectively as a mere metaphor or illustration which could never be used against you.
— Christopher Isherwood, A Single Man
I want to ask you, as clearly as I can , to bear with patience all that is unresolved in your heart, and try to love the questions themselves, as if they were rooms yet to enter or books written in a foreign language. Don’t dig for answers that can’t be given you yet: you cannot live them now. For everything must be lived. Live the questions now, perhaps then, someday, you will gradually, without noticing, live into the answer.
— Rilke, Worpswede, July 16, 1903
Letters to a Young Poet
Night, so still,
where things entirely white
and things of red and all colors of the rainbow
are lifted into the one stillness
of one darkness —
bring me as well
to immersion in the Many.
Is my mind too taken with light?
If my face were not visible,
would I still feel separate from other things?
Look at my hands:
Don’t they lie there like tools?
Doesn’t the ring on that finger
look just like itself? Does not the light
lie upon them with such trust —
as if knowing they are the very same
when held in darkness.
— Rilke, Book of Images
“. . . 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
Peaceful, Master,
Are all the hours
We lose if we place,
As in a vase,
Flowers on our
Losing them.
There are in our life
No sorrows or joys.
So let us learn,
Wisely unworried,
Not how to live life
But to let it go by,
Keeping forever
Peaceful and calm,
Taking children
For our teachers
And letting Nature
Fill our eyes . . .
Along the river
Or along the road,
Wherever we are,
Always remaining
in the same, easy
Repose of living . . .
Time passes
And tells us nothing.
We grow old.
Let us know how,
With a certain mischief,
To feel ourselves go.
Taking action
Serves no purpose.
No one can resist
The atrocious god
Who always devours
His own children.
Let us pick flowers.
Let us lightly
Wet our hands
In the calm rivers,
So as to learn
Some of their calmness.
Sunflowers forever
Beholding the sun,
We will serenely
Depart from life,
Without even the regret
Of having lived.
— Ricardo Reis, 12 June 1914
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