Rilke and God, Part II

from Rilke's Book of Hours
from "The Book of a Monastic Life"
Rainer Maria Rilke
Tr. Anita Barrows and Joanna Macy

I come from the soaring
in which I lost myself.
I wa song, and the refrain which is God
is still roaring in my ears.

Now I am still
and plain:
no more words.

To the others I was like a wind:
I made them shake.
I'd gone very far, as far as the angels,
and high, where light things into nothing.

But deep in the darkness is God.

I, 50

Whether it is Rilke himself, or Rilke through translators, he exactly captures some sense of what St. John of the Cross describes in the via negativa.  In the darkness, one finds God.  It is only by not seeking and not possessing that we find and we have.  It makes no sense.  Unless you've been there.

Comments

Post a Comment

Popular posts from this blog

Robert de Boron and the Prose Merlin

There are so many wonderful things about the internet: there was a time when a scholar had to order through ILL and wait for weeks or months before he or she could set eyes on such works as Geoffrey of Monmouth's Vita Merlini or Robert de Boron's Prose Merlin . No more. from Prose Merlin Robert de Boron Full wrothe and angry was the Devell, whan that oure Lorde hadde ben in helle and had take oute Adam and Eve and other at his plesier. And whan the fendes sien that, they hadden right grete feer and gret merveile. Thei assembleden togedir and seiden: "What is he this thus us supprisith and distroyeth, in so moche that oure strengthes ne nought ellis that we have may nought withholde hym, nor again hym stonde in no diffence but that he doth all that hym lyketh? We ne trowed not that eny man myght be bore of woman but that he sholde ben oures; and he that thus us distroyeth, how is he born in whom we knewe non erthely delyte?" Than ansuerde anothir fende and seide
Read more

Another Queen of Night

I post this because whenever I recommend to anyone the Queen of Night, I always recommend it in the Lucia Popp rendition.  It's a matter of personal taste, but what I love about this is that it is somewhat slower than the other versions and as a result, it would seem to me somewhat more difficult to perform and sustain--those high notes in which the Queen's voice becomes the Magic Flute itself are rounded, full, and deep while remaining light and airy. I have read some rather severe criticism of this ritardando; and while it may or may not reflect Mozart's intent, it is certainly within the options for staging.  It creates a real vocal showpiece from what is already a magnificent example of same. It really is an amazing example of a virtuoso composition sung by a virtuoso voice.  All of which should not be taken to mean that I do not truly appreciate the version posted earlier by Diana Damrau, it's just nice to see what a difference tempo can make. I think we can take
Read more