the second is to him dubious and windswept. Or that some animal, mutely and serenely, looks through us. Some translators put the initial letter of the word in the upper case but that is unnecessary. Free from death. and glow with beginning. when the season lifts it up and it climbs on high, “Sein” here, as elsewhere in the Elegies, is a crucial term. Aus dem Besitz der Fürstin Marie von Thurn und Taxis-Hohenlohe (1912/1922) ... Uns überfüllts. Nach der ersten Heimat. Wir ordnens. “Begriffe” is a subjunctive form of the verb “begreifen”, which can mean “to grasp” something either literally or mentally, in the sense of “to comprehend”. Here all is set apart; there / it was breath, close. As though it were afraid / of its own self, it zigzags through the air / like crack through cup. / We call this fate: always to be opposed / and nothing else, opposite, for ever” (R/S), “Lovers – were it not for their loved ones / obstructing their view – they come near it / and are amazed … As if by some mistake, / it opens to them, there, beyond the other … / But neither can slip past the beloved / and World rushes back before them. “Decaying” is perhaps the more appropriate translation for “vergehend”. The simple “note” or “notes” (the plural suggesting the upbeat of “auf”, which supports the sense of active annunciation) is probably the most appropriate. This is a noun formed from an adjective (a common practice in German, but less common in English). One translator interposes “state”, which clarifies matters, but perhaps it is best to leave the referent unspecified. The language of the first stanza is discursive, its repeated conjunctions and adverbs sustaining a voice of supplication, and apart from the opening and concluding ones, line lengths are in atypically long hexameter form. This is called fate: to be. In the short line that follows (in the midst of two phrases extolling “Dasein”) we are presented with the single totalising noun, “Alles”, which stands alone gramatically, a subject without a predicate. / And look at the half-certainties / of the bird that knows both states almost /from hatching – as if were the soul / of an Etruscan, released from the dead / only to be received into another space / that has for its lid a reclining figure. What does the “sie” refer to? / And where we see the future, it sees all time / and itself within all time, forever healed” (M), “Were the animal that moves towards us / in its assured direction to possess / consciousness such as ours – it would wrench us / round in its steps. Register, Oxford University Press is a department of the University of Oxford. It is like an outstretched / arm, my call. It spills from us. “Hinweg” is an adverb meaning “away”, “over and beyond”, but is here used as a noun. Rilke had used this term before in the third Elegy to describe the controlling influence of the mother, and here in this Elegy it is also intended to describe an imposition. Und sieh die halbe Sicherheit des Vogels. Die Briefwechsel Rilkes bildeten häufig die Basis seiner literarischen Werke. Oh, you should marvel, angel, Veins of existence. “Awe” is an alternative translation. immer noch Erde. Und wo wir Zukunft sehn, dort sieht es Alles. / Not only such days, so tender around flowers /and above, in tree-shapes, huge and powerful. The formal coherence of the stanza is further supported through alliteration (particularly in the initial lines where the plight of the girls is reflected in the proliferation of pinched “ä” umlauts), and the artfully placed caesuras, which break up the flow of the verse to allow the insistence of the poem’s argument to come through. We arrange it. Es zerfällt. There is general agreement on how to translate this short stanza. / Don’t think that I am wooing. Your veins flowed with being. Wir ordnens. Ich lebe mein Leben in wachsenden Ringen, die sich über die Dinge ziehn. As the crucial central lines of the stanza explain: “Der Schöpfung immer zugewendet, sehn / wir nur auf ihr die Spiegelung des Frein, / von uns verdunkelt”. Doch sein Sein ist ihm. And, ever diminishing, / outwardness dwindles. offen, wie Abwehr und Warnung, The spaces that we have made our own must be “frighteningly vast” (MC) “terrifyingly great” (R), “da sie Jahrtausende nicht unseres Fühlns überfülln”. / Not only days, lying softly round flowers, and above them / canopied patterns of trees, massed in their strength. These unripe spirits keep seeking / the earth. “Andacht”, however, at least within the context of this poem, points to a spiritual presence of the “unfolded powers” (M) of nature, to their sanctity. / My call is like an out-stretched arm. to make it visible, although the most obvious Rilke’s language in this section of the stanza is studiously prosaic. One solution is to expand the pronoun into a clause, as in “all living things” (R/S), but this involves a specific reading of the text. This article is also available for rental through DeepDyve. Should our type of consciousness be in that confident. / Oh, to be dead at last and endlessly know them, / all the stars! “Gegenüber” simply means “opposite” in German, so to translate it as “opposed” is to offer a specific reading of the text. 1907 auf der italienischen Insel Capri. The theme of the stanza is “Verwandlung” (“transformation” or “metamorphosis”), a characteristically Rilkean trope that appears throughout the Elegies. / Do not think a life’s destiny is anything other / than the felt pressure of sense you knew as a child. um die gestalteten Bäume, stark und gewaltig. to preserve the form that we still see as our own – that Hiersein ist herrlich. And its hand, held open and reaching up / to seize, remains in front of you, open / as if in defense and warning, / Ungraspable One, far above.” (M), “But a tower was great too, surely? Meßliches zwischen zwei Weilen –, da sie ein Dasein Translations include: “And we, spectators always, everywhere, / looking at, never out of, everything! “Attitude” perhaps more accurately reflects the active nature of this “disposition”, the latter being an alternative translation. and itself in everything, redeemed for ever. Hier ist alles Abstand, und dort wars Atem. / Do not take this to be wooing, / Angel, even if it were! / How often since have you out-distanced the one / you loved, breathing, breathless after the joyous / chase, going nowhere but into freedom?” (MC). in the vilest alleyways of the city, festering, or open to filth. “Spirit of the age” is perhaps more appropriate, and it is more natural than the literal “Time Spirit” (L/S), although the simple “era” (R) is another possibility. Only our eyes look back, / set like traps about all living things, encircled round their free, outward path. Not only the days Only one of the cited translations retains this threefold repetition, but it is important to do so, because it is precisely the theme of repetition that is central here. im Nichtwissen-Wohin stand es, wie seiend, und bog Oder daß ein Tier, 32 ein stummes, aufschaut, ruhig durch uns durch. What the child sees when it looks back, or looks within, is “Gestaltung”. Everything. In this stanza, it is used as a present participle in a stand-alone formation, the sense of the line being that the essence of form, what makes it what it is, cannot be destroyed by the forces or by the indeterminacy (“not-knowing-whereto”) of fate. die nicht trüge den Ton der Verkündigung. The girls who emerge from these graves are called “die Versunkenen”, a noun formed from the past tense of the verb “versinken” (“to sink’). Knowledge may have been displaced, may even be invisible, but nonetheless exists, waiting to transform us inwardly. The external world / is forever dwindling to nothing. The latter has been translated as “outgazing”, “outward gaze” and “regard”. he turns, stops, lingers –, / so we live here, forever taking leave” (M), “Who swivelled us like this, so that whatever / course we take we have the air of someone / who is departing? / And how dismayed is any womb-born thing / that has to fly! (How terribly vast they must have been, / Don’t think Destiny’s more than what’s packed into / childhood. The “zer-” prefix in German is a demonstrative prefix of dissolution, and this is not reflected in “collapse” or “break down”. You would not come. “Dawn” involves a specific and rather prettified reading of the text, and uses a poeticised idiom that Rilke sought to distance himself from in the Elegies. Just as, upon / the farthest hill, which shows him his whole valley / one last time. that we could accomplish such things. / Where we see Future, it sees Everything, / itself in Everything, for ever healed” (L/S), “If the animal moving toward us so securely / in a different direction had our kind of / consciousness –, it would wrench us around and drag us / along its path. In seiner Schaffensphase verfasste Rilke nicht nur zahlreiche Gedichte, sondern auch einen Roman, Erzählungen und Aufsätze zu Kunst und Kultur. im versprechlichen Spiel…. For each of you had, for an hour or perhaps even / less, for a time immeasurably short between/ two durations, your own being. To purchase short term access, please sign in to your Oxford Academic account above. The animal can look out unhindered into the expanse of the world because it lacks self-consciousness; we, however, are condemned to introspection, and must look inwards. der Fledermaus durchs Porzellan des Abends. Translations include: “Did consciousness such as we have exist / in the sure animal that moves towards us / upon a different course, the brute would drag us / round in its wake. “Weilen”, from the verb “weilen” “to stay” or “to linger”, is only found in the singular in German, “die Weile”, meaning “a while”, “a time”. The speaking voice is tentatively querying at first, but then joins with an affirming day, before reaching its apogee in the vision of a temple (of the future) and a fountain of playful promise: O und der Frühling begriffe –, da ist keine Stelle, / Our age has built itself vast reservoirs of power, / formless as the straining energy that it wrests from the earth. Email: Search for other works by this author on: © The Author 2015. The line introduces a matrix of words in the stanza, such as “Antlitz”, “sehen”, and “Tiergesicht, that centre on perception and the place of the perceiving self in the world that looks out into “das Offene”. It has remained “unfathomable” (M) or “unknowable”, but not “inapprehensible” nor “unapprehended” (which are literal translations), neither of which have clear meanings. We never, not even for a single day, have pure. The general sense of this line is that we humans are bereft of that “pure” integrity in our contact with the world that animals enjoy. Nicht nur die Tage, die zart sind um Blumen, und oben, Nur, wir vergessen so leicht, was der lachende Nachbar

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