Don't worry; I am here. In the wavering
tone of my voice, can't you hear me?
My desire for you has now taken wing
and circles about your face so palely.
Can't you see it, my soul, standing waiting
cloaked for you in a gown of silence?
Don't you realise that all my longings ripen
on the image of you like fruit on a tree?
If you are the dreamer, then I am your dream.
Might you wish to wake up, I am that might.
And all this splendour makes me shine
and turn myself into the quiet starlight
above the incredible City of Time.
Translated by Peter Jukes from a poem by Rilke
With this wind our future comes: so let, oh let
It blow. All that compels us without say
And from which we'll be made to glow - all of it
If we can just keep still will find us and bring
The future that comes with this wind.
Translated by Peter Jukes from a poem by Rilke
The sky puts on the dark blue gown
held up for it by the avenue of limes;
you watch: the landscape divides
one half heavenward, the other half down;
leaving you distinct from either side:
not like the houses, motionless and dark,
nor reaching for infinity like the part
that becomes a star each night and climbs
leaving you to realise in the quiet
how vast is your life is and alone,
how both determined and definite
your heart is at once both star and stone.
Translated by Peter Jukes from 'Abend' by Rainer Maria Rilke
Lord, it is time. The summer is overcooked.
Time to wrap up the sundials in shadows,
and over the stubble, let the wind loose.
Force the fruits to fatten on the vine,
a few more days of voluptuary ease,
fill them to the limit, and then squeeze
their last sweet moments into heavy wine.
Who hasn't a home now will never have one.
Who is alone now will be so forever
and sit, and read, and compose long letters
and loiter the avenues, up and down
like dry autumn leaves, and never settle.
Peter Jukes: a version of Herbsttag by Rilke
As a match when struck will sputter white,
before flames break, licked with hot
phosphorous tongues - so tonight
volatile, explosive, the audience watch
while her dance starts to flicker into life.
And all at once the whole place is ablaze.
A flash of the eye and she ignites her hair
then whirling faster fans her dress
into ferocious flames. Now she's a furnace
from which two startled rattlesnakes dart
hissing and clicking, her naked arms.
But now the fire has gone too far
clinging to her waistline, she flings it down,
holding her head disdainful and proud,
watching it blaze upon the ground -
flames that rage and refuse to die.
Then, with in a slow sure step and a sweet
triumphant smile, she looks up one last time
and stamps it out with small momentous feet.
Version by Peter Jukes from Rilke's Spanish Dancer
Paris, February 17, 1903
Your letter arrived just a few days ago. I want to thank you for the great confidence you have placed in me. That is all I can do. I cannot discuss your verses; for any attempt at criticism would be foreign to me. Nothing touches a work of art so little as words of criticism : they always result in more or less fortunate misunderstandings. Things aren't all so tangible and sayable as people would usually have us believe; most experiences are unsayable, they happen in a space that no word has ever entered, and more unsayable than all other things are works of art, those mysterious existences, whose life endures beside our own small, transitory life.
With this note as a preface, may I just tell you that your verses have no style of their own, although they do have silent and hidden beginnings of something personal. I feel this most clearly in the last poem, "My Soul." There, something of your own is trying to become word and melody. And in the lovely poem "To Leopardi" a kind of kinship with that great, solitary figure does perhaps appear. Nevertheless, the poems are not yet anything in themselves, not yet anything independent, even the last one and the one to Leopardi. Your kind letter, which accompanied them, managed to make clear to me various faults that I felt in reading your verses, though I am not able to name them specifically.
You ask whether your verses are any good. You ask me. You have asked others before this. You send them to magazines. You compare them with other poems, and you are upset when certain editors reject your work. Now (since you have said you want my advice) I beg you to stop doing that sort of thing. You are looking outside, and that is what you should most avoid right now. No one can advise or help you - no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write.
This most of all: ask yourself in the most silent hour of your night: must I write? Dig into yourself for a deep answer. And if this answer rings out in assent, if you meet this solemn question with a strong, simple "I must," then build your life in accordance with this necessity; your while life, even into its humblest and most indifferent hour, must become a sign and witness to this impulse. Then come close to Nature. Then, as if no one had ever tried before, try to say what you see and feel and love and lose. Don't write love poems; avoid those forms that are too facile and ordinary: they are the hardest to work with, and it takes great, fully ripened power to create something individual where good, even glorious, traditions exist in abundance. So rescue yourself from these general themes and write about what your everyday life offers you; describe your sorrows and desires, the thoughts that pass through your mind and your belief in some kind of beauty - describe all these with heartfelt, silent, humble sincerity and, when you express yourself, use the Things around you, the images from your dreams, and the objects that you remember.
If your everyday life seems poor, don't blame it; blame yourself; admit to yourself that you are not enough of a poet to call forth its riches; because for the creator there is not poverty and no poor, indifferent place. And even if you found yourself in some prison, whose walls let in none of the world's sounds - wouldn't you still have your childhood, that jewel beyond all price, that treasure house of memories? Turn your attentions to it. Try to raise up the sunken feelings of this enormous past; your personality will grow stronger, your solitude will expand and become a place where you can live in the twilight, where the noise of other people passes by, far in the distance. - And if out of this turning-within, out of this immersion in your own world, poems come, then you will not think of asking anyone whether they are good or not. Nor will you try to interest magazines in these works: for you will see them as your dear natural possession, a piece of your life, a voice from it. A work of art is good if it has arisen out of necessity. That is the only way one can judge it. So, dear Sir, I can't give you any advice but this: to go into yourself and see how deep the place is from which your life flows; at its source you will find the answer to the question whether you must create. Accept that answer, just as it is given to you, without trying to interpret it. Perhaps you will discover that you are called to be an artist. Then take the destiny upon yourself, and bear it, its burden and its greatness, without ever asking what reward might come from outside. For the creator must be a world for himself and must find everything in himself and in Nature, to whom his whole life is devoted.
But after this descent into yourself and into your solitude, perhaps you will have to renounce becoming a poet (if, as I have said, one feels one could live without writing, then one shouldn't write at all). Nevertheless, even then, this self-searching that I as of you will not have been for nothing. Your life will still find its own paths from there, and that they may be good, rich, and wide is what I wish for you, more than I can say
What else can I tell you? It seems to me that everything has its proper emphasis; and finally I want to add just one more bit of advice: to keep growing, silently and earnestly, through your while development; you couldn't disturb it any more violently than by looking outside and waiting for outside answers to question that only your innermost feeling, in your quietest hour, can perhaps answer.
It was a pleasure for me to find in your letter the name of Professor Horacek; I have great reverence for that kind, learned man, and a gratitude that has lasted through the years. Will you please tell him how I feel; it is very good of him to still think of me, and I appreciate it.
The poems that you entrusted me with I am sending back to you. And I thank you once more for your questions and sincere trust, of which, by answering as honestly as I can, I have tried to make myself a little worthier than I, as a stranger, really am.
Yours very truly,
Rainer Maria Rilke