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Rainer Maria Rilke

Lady At A Mirror

As in sleeping-drink spices
softly she loosens in the liquid-clear
mirror her fatigued demeanor;
and she puts her smile deep inside.

And she waits while the liquid
rises from it; then she pours her hair
into the mirror, and, lifting one
wondrous shoulder from the evening gown,

she drinks quietly from her image. She drinks
what a lover would drink feeling dazed,
searching it, full of mistrust; and she only

beckons to her maid when at the bottom
of her mirror she finds candles, wardrobes,
and the cloudy dregs of a late hour.


Translated by Edward Snow

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Song Of The Orphan

I am no one and never will be anyone,
for I am far too small to claim to be;
not even later.

Mothers and Fathers,
take pity on me.

I fear it will not pay to raise me:
I shall fall victim to the mower's scythe.
No one can find me useful now: I am too young,
and tomorrow will be too late.

I only have one dress,
worn thin and faded,
but it will last an eternity
even before God, perhaps.

I only have this whispy hair
(that always remained the same)
yet once was someone's dearest love.

[...] Read more

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To Music

Music: breathing of statues. Perhaps:
silence of paintings. You language where all language
ends. You time
standing vertically on the motion of mortal hearts.

Feelings for whom? O you the transformation
of feelings into what?--: into audible landscape.
You stranger: music. You heart-space
grown out of us. The deepest space in us,
which, rising above us, forces its way out,--
holy departure:
when the innermost point in us stands
outside, as the most practiced distance, as the other
side of the air:
pure,
boundless,
no longer habitable.


Translated by Stephen Mitchell

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Evening

The sky puts on the darkening blue coat
held for it by a row of ancient trees;
you watch: and the lands grow distant in your sight,
one journeying to heaven, one that falls;

and leave you, not at home in either one,
not quite so still and dark as the darkened houses,
not calling to eternity with the passion of what becomes
a star each night, and rises;

and leave you (inexpressibly to unravel)
your life, with its immensity and fear,
so that, now bounded, now immeasurable,
it is alternately stone in you and star.


Translated by Stephen Mitchell

Submitted by zenfishsticks

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Portrait of my Father as a Young Man

In the eyes: dream. The brow as if it could feel
something far off. Around the lips, a great
freshness--seductive, though there is no smile.
Under the rows of ornamental braid
on the slim Imperial officer's uniform:
the saber's basket-hilt. Both hands stay
folded upon it, going nowhere, calm
and now almost invisible, as if they
were the first to grasp the distance and dissolve.
And all the rest so curtained within itself,
so cloudy, that I cannot understand
this figure as it fades into the background--.

Oh quickly disappearing photograph
in my more slowly disappearing hand.

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Venetian Morning

Windows pampered like princes always see
what on occasion deigns to trouble us:
the city that, time and again, where a shimmer
of sky strikes a feeling of floodtide,

takes shape without once choosing to be.
Each new morning must first show her the opals
she wore yesterday, and pull rows
of reflections out of the canal
and remind her of the other times:
only then does she concede and settle in

like a nymph who received great Zeus.
The dangling earrings ring out at her ear;
but she lifts San Giorgio Maggiore
and smiles idly into that lovely thing.


Translated by Edward Snow

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Rememberance

And you wait, keep waiting for that one thing
which would infinitely enrich your life:
the powerful, uniquely uncommon,
the awakening of dormant stones,
depths that would reveal you to yourself.

In the dusk you notice the book shelves
with their volumes in gold and in brown;
and you think of far lands you journeyed,
of pictures and of shimmering gowns
worn by women you conquered and lost.

And it comes to you all of a sudden:
That was it! And you arise, for you are
aware of a year in your distant past
with its fears and events and prayers.


Translated by Albert Ernest Flemming

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A Sybil

Long before our time they called her old,
But she'd walk down the same road every day.
Her age became too much to say
In years — and, like a forest's, would be told

In centuries. She comes to stand at dusk —
Her spot each time the same — and to foretell.
She is a hollow, wrinkled husk,
Dark as a fire-gutted citadel.

She has to turn her flock of talking loose
Or it will grow too crowded to relieve.
Flapping and screaming, words are flying all

Around her. Then, returning home to roost,
They find a perch beneath her eyebrows' eaves,
And in that shadow wait for night to fall.

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The Sonnets To Orpheus: Book 2: XXIII

Call to me to the one among your moments
that stands against you, ineluctably:
intimate as a dog's imploring glance
but, again, forever, turned away

when you think you've captured it at last.
What seems so far from you is most your own.
We are already free, and were dismissed
where we thought we soon would be at home.

Anxious, we keep longing for a foothold-
we, at times too young for what is old
and too old for what has never been;

doing justice only where we praise,
because we are the branch, the iron blade,
and sweet danger, ripening from within.


Translated by Stephen Mitchell

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God Speaks To Each Of Us

God speaks to each of us before we are,
Before he's formed us — then, in cloudy speech,
But only then, he speaks these words to each
And silently walks with us from the dark:

Driven by your senses, dare
To the edge of longing. Grow
Like a fire's shadowcasting glare
Behind assembled things, so you can spread
Their shapes on me as clothes.
Don't leave me bare.

Let it all happen to you: beauty and dread.
Simply go — no feeling is too much —
And only this way can we stay in touch.

Near here is the land
That they call Life.
You'll know when you arrive
By how real it is.

[...] Read more

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