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

Angel Time--Anne Rice

Review copy received 11/04/09 From the time of its announcement, I had been looking forward to this new book by Anne Rice.  As I say in every review, I am not a die-hard Anne Rice fan.  I found Interview with a Vampire interesting and intriguing, but in hindsight, must lay much of the responsibility of the current vampire as victim and love-object obsession at its feet.  After that, I had no patience with her writing until Christ the Lord: Out of Egypt. In that book I observed a kind of control and authorial voice that I had not seen in any of the books I had sampled since Interview .  So too with Christ the Lord: The Road to Cana. Perhaps because of the subject matter, perhaps for other reasons, these two books seemed to witness a level of control of language and story that the other books did not.  Gone were messy florid passages that lavished two, three, four paragraphs on the description of the lace and flounce of a jabot.  These new books were sp...
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