New Poems, 1908: The Other Part

In 1984 Edward Snow won the Harold Morton Landon Translation Award of the Academy of American Poets for the first volume of these translations of Rainer Maria Rilke's watershed work, NEW POEMS, 1907. His work was praised for the resonance of the English and its faithfulness to the density and meaning of the German.

Like the poems in the first volume, these are presentations of objects, "thing-poems" (Dinggedichte). In 1902 Rilke left Germany for Paris where he acted as the secretary to the sculptor Auguste Rodin. Rodin's craftsman-like approach, his steady discipline, and his relentless productivity inspired in Rilke a new poetic method: he, too would be a craftsman meticulously appropriating the world about him for his poetic vision. "Somehow," he wrote, "I too must come to make things; not plastic, but written things--realities that emerge from handiwork. Somehow I too must discover the smallest basic element, the cell of my art, the tangible immaterial means of representation for everything."

Until this volume, Rilke's voice had come from the interior, expressing feelings and moods. Though always celebrated for his mastery of word-sound, rhythm, meter, and rhyme, Rilke had written poetry often married by sentimentality and insularity. NEW POEMS represented a turning point, an intoxication from the materiality of the world.

NEW POEMS, 1908 contains such famous works as "Archaic Torso of Apollo," "Corpse Washing," "Buddha in Glory," and "Late Autumn in Venice." Rilke takes familiar figures--from a sundial to a stained-glass Adam and Eve--and refracts their presence into corporeality and spirituality. Rilke peers behind sculptural surfaces to the implicit desire or pain in the objects of our environment.

1030168277
New Poems, 1908: The Other Part

In 1984 Edward Snow won the Harold Morton Landon Translation Award of the Academy of American Poets for the first volume of these translations of Rainer Maria Rilke's watershed work, NEW POEMS, 1907. His work was praised for the resonance of the English and its faithfulness to the density and meaning of the German.

Like the poems in the first volume, these are presentations of objects, "thing-poems" (Dinggedichte). In 1902 Rilke left Germany for Paris where he acted as the secretary to the sculptor Auguste Rodin. Rodin's craftsman-like approach, his steady discipline, and his relentless productivity inspired in Rilke a new poetic method: he, too would be a craftsman meticulously appropriating the world about him for his poetic vision. "Somehow," he wrote, "I too must come to make things; not plastic, but written things--realities that emerge from handiwork. Somehow I too must discover the smallest basic element, the cell of my art, the tangible immaterial means of representation for everything."

Until this volume, Rilke's voice had come from the interior, expressing feelings and moods. Though always celebrated for his mastery of word-sound, rhythm, meter, and rhyme, Rilke had written poetry often married by sentimentality and insularity. NEW POEMS represented a turning point, an intoxication from the materiality of the world.

NEW POEMS, 1908 contains such famous works as "Archaic Torso of Apollo," "Corpse Washing," "Buddha in Glory," and "Late Autumn in Venice." Rilke takes familiar figures--from a sundial to a stained-glass Adam and Eve--and refracts their presence into corporeality and spirituality. Rilke peers behind sculptural surfaces to the implicit desire or pain in the objects of our environment.

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New Poems, 1908: The Other Part

New Poems, 1908: The Other Part

New Poems, 1908: The Other Part

New Poems, 1908: The Other Part

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Overview

In 1984 Edward Snow won the Harold Morton Landon Translation Award of the Academy of American Poets for the first volume of these translations of Rainer Maria Rilke's watershed work, NEW POEMS, 1907. His work was praised for the resonance of the English and its faithfulness to the density and meaning of the German.

Like the poems in the first volume, these are presentations of objects, "thing-poems" (Dinggedichte). In 1902 Rilke left Germany for Paris where he acted as the secretary to the sculptor Auguste Rodin. Rodin's craftsman-like approach, his steady discipline, and his relentless productivity inspired in Rilke a new poetic method: he, too would be a craftsman meticulously appropriating the world about him for his poetic vision. "Somehow," he wrote, "I too must come to make things; not plastic, but written things--realities that emerge from handiwork. Somehow I too must discover the smallest basic element, the cell of my art, the tangible immaterial means of representation for everything."

Until this volume, Rilke's voice had come from the interior, expressing feelings and moods. Though always celebrated for his mastery of word-sound, rhythm, meter, and rhyme, Rilke had written poetry often married by sentimentality and insularity. NEW POEMS represented a turning point, an intoxication from the materiality of the world.

NEW POEMS, 1908 contains such famous works as "Archaic Torso of Apollo," "Corpse Washing," "Buddha in Glory," and "Late Autumn in Venice." Rilke takes familiar figures--from a sundial to a stained-glass Adam and Eve--and refracts their presence into corporeality and spirituality. Rilke peers behind sculptural surfaces to the implicit desire or pain in the objects of our environment.


Product Details

ISBN-13: 9781466872653
Publisher: Farrar, Straus and Giroux
Publication date: 06/03/2014
Sold by: Barnes & Noble
Format: eBook
Pages: 261
File size: 620 KB

About the Author

Edward Snow, a professor at Rice University, is the author of A Study of Vermeer. In 1984 North Point published his translation of Rainer Maria Rilke's NEW POEMS, 1907.


Rainer Maria Rilke has been called one of the most lyrically intense poets of the German language. He was born in Prague and traveled extensively throughout Europe but felt the greatest affinity to Switzerland, whose landscapes inspired many of his works

Read an Excerpt

New Poems, 1908

The Other Part


By Rainer Maria Rilke, Edward Snow

Farrar, Straus and Giroux

Copyright © 1987 Edward Snow
All rights reserved.
ISBN: 978-1-4668-7265-3



CHAPTER 1

    Archaïscher Torso Apollos

    Wir kannten nicht sein unerhörtes Haupt,
    darin die Augenäpfel reiften. Aber
    sein Torso glüht noch wie ein Kandelaber,
    in dem sein Schauen, nur zurückgeschraubt,

    sich hält und glänzt. Sonst könnte nicht der Bug
    der Brust dich blenden, und im leisen Drehen
    der Lenden könnte nicht ein Lächeln gehen
    zu jener Mitte, die die Zeugung trug.

    Sonst stünde dieser Stein entstellt und kurz
    unter der Schultern durchsichtigem Sturz
    und flimmerte nicht so wie Raubtierfelle;

    und bräche nicht aus allen seinen Rändern
    aus wie ein Stern: denn da is keine Stelle,
    die dich nicht sieht. Du mußt dein Leben ändern.


    Kretische Artemis

    Wind der Vorgebirge: war nicht ihre
    Stirne wie ein lichter Gegenstand?
    Glatter Gegenwind der leichten Tiere,
    formtest du sie: ihr Gewand

    bildend an die unbewußten Brüste
    wie ein wechselvolles Vorgefühl?
    Während sie, als ob sie alles wüßte,
    auf das Fernste zu, geschürzt und kühl,

    stürmte mit den Nymphen und den Hunden,
    ihren Bogen probend, eingebunden
    in den harten hohen Gurt;

    manchmal nur aus fremden Siedelungen
    angerufen und erzürnt bezwungen
    von dem Schreien um Geburt.


    Leda

    Als ihn der Gott in seiner Not betrat,
    erschrak er fast, den Schwan so schön zu finden;
    er ließ sich ganz verwirrt in ihm verschwinden.
    Schon aber trug ihn sein Betrug zur Tat,

    bevor er noch des unerprobten Seins
    Gefühle prüfte. Und die Aufgetane
    erkannte schon den Kommenden im Schwane
    und wußte schon: er bat um Eins,

    das sie, verwirrt in ihrem Widerstand,
    nicht mehr verbergen konnte. Er kam nieder
    und halsend durch die immer schwächre Hand

    ließ sich der Gott in die Geliebte los.
    Dann erst empfand er glücklich sein Gefieder
    und wurde wirklich Schwan in ihrem Schooß.


    Delphine

    Jene Wirklichen, die ihrem Gleichen
    überall zu wachsen und zu wohnen
    gaben, fühlten an verwandten Zeichen
    Gleiche in den aufgelösten Reichen,
    die der Gott, mit triefenden Tritonen,
    überströmt bisweilen übersteigt;
    denn da hatte sich das Tier gezeigt:
    anders als die stumme, stumpfgemute
    Zucht der Fische, Blut von ihrem Blute
    und von fern dem Menschlichen geneigt.

    Eine Schar kam, die sich überschlug,
    froh, als fühlte sie die Fluten glänzend:
    Warme, Zugetane, deren Zug
    wie mit Zuversicht die Fahrt bekränzend,
    leichtgebunden um den runden Bug
    wie um einer Vase Rumpf und Rundung,
    selig, sorglos, sicher vor Verwundung,
    aufgerichtet, hingerissen, rauschend
    und im Tauchen mit den Wellen tauschend
    die Trireme heiter weitertrug.

    Und der Schiffer nahm den neugewährten
    Freund in seine einsame Gefahr
    und ersann für ihn, für den Gefährten,
    dankbar eine Welt und hielt für wahr,
    daß er Töne liebte, Götter, Gärten
    und das tiefe, stille Sternenjahr.


    Die Insel der Sirenen

    Wenn er denen, die ihm gastlich waren,
    spät, nach ihrem Tage noch, da sie
    fragten nach den Fahrten und Gefahren,
    still berichtete: er wußte nie,

    wie sie schrecken und mit welchem jähen
    Wort sie wenden, daß sie so wie er
    in dem blau gestillten Inselmeer
    die Vergoldung jener Inseln sähen,

    deren Anblick macht, daß die Gefahr
    umschlägt; denn nun ist sie nicht im Tosen
    und im Wüten, wo sie immer war.
    Lautlos kommt sie über die Matrosen,

    welche wissen, daß es dort auf jenen
    goldnen Inseln manchmal singt —,
    und sich blindlings in die Ruder lehnen,
    wie umringt

    von der Stille, die die ganze Weite
    in sich hat und an die Ohren weht,
    so als wäre ihre andre Seite
    der Gesang, dem keiner widersteht.


    Klage um Antinous

    Keiner begriff mir von euch den bithynischen Knaben
    (daß ihr den Strom anfaßtet und von ihm hübt ...).
    Ich verwöhnte ihn zwar. Und dennoch: wir haben
    ihn nur mit Schwere erfüllt und für immer getrübt.

    Wer vermag denn zu lieben? Wer kann es? — Noch keiner.
    Und so hab ich unendliches Weh getan —.
    Nun ist er am Nil der stillenden Götter einer,
    und ich weiß kaum welcher und kann ihm nicht nahn.

    Und ihr warfet ihn noch, Wahnsinnige, bis in die Sterne,
    damit ich euch rufe und dränge: meint ihr den?
    Was ist er nicht einfach ein Toter. Er wäre es gerne.
    Und vielleicht wäre ihm nichts geschehn.


    Archaic Torso of Apollo

    We never knew his head and all the light
    that ripened in his fabled eyes. But
    his torso still glows like a candelabra,
    in which his gazing, turned down low,

    holds fast and shines. Otherwise the surge
    of the breast could not blind you, nor a smile
    run through the slight twist of the loins
    toward that center where procreation thrived.

    Otherwise this stone would stand deformed and curt
    under the shoulders' invisible plunge
    and not glisten just like wild beasts' fur;

    and not burst forth from all its contours
    like a star: for there is no place
    that does not see you. You must change your life.


    Cretan Artemis

    Wind of the foothills: was her brow not
    like some bright obstruction?
    Unruffled head wind of the swiftest beasts:
    did you shape her, molding

    her garment to the unconscious breasts
    like a change-filled premonition?
    While she, as if she knew everything,
    fixed on the farthest point, cool and kilted,

    stormed with the nymphs and the hunting dogs,
    testing her bow, bound tightly
    in the high unbending girth;

    only now and then from distant outposts
    called to and angrily overmastered
    by the screaming out for birth.


    Leda

    When the god in his great need crossed inside,
    he was shocked almost to find the swan so beautiful;
    he slipped himself inside it all confused.
    But his deceit bore him toward the deed

    before he'd put that untried being's
    feelings to the test. And the opened woman
    saw at once who was coming in the swan
    and understood: he asked one thing

    which she, confused in her resistance,
    no longer could hold back. The god came down
    and necking through the ever weaker hand

    released himself into the one he loved.
    Then only he felt his feathers with delight,
    and grew truly swan within her womb.


    Dolphins

    Those real ones, who gave their equal
    the power to grow and to take hold
    everywhere, felt through kindred signs
    equivalences in the fluid realm
    which the god, with drenching Tritons,
    inundated sometimes surmounts;
    for there the animal had shown itself:
    different from the mute, phlegmatic
    stock of fishes, alive with their blood
    and drawn to the human from afar.

    A band of them came up, somersaulting,
    gay, as though they felt the waters sparkling:
    warm, deep-feeling beings, whose convoy,
    wreathing the voyage as if with confidence,
    lightly joined around the curving bow
    as if circling a vase's midriff,
    blissful, carefree, secure from being wounded,
    catapulted up, swept away, surging
    and in dives exchanging with the waves,
    bore the trireme brightly after it.

    And the sailor took this newly given friend
    into his lonely peril and gratefully
    devised for it, for the companion there,
    a world, and knew beyond all doubt
    that it too loved music, gods, gardens,
    and the deep, silent stellar year.


    The Island of the Sirens

    When he began, his hosts still gathered there,
    late, well past their day, since they
    inquired about the journeys and the perils,
    to quietly tell it: he never knew

    how to frighten them and with just which sudden
    phrase to turn them, so that like him they
    would gaze into that blue stilled island-sea
    and see the gilding of those islands

    whose sight makes peril suddenly
    reverse; for now it isn't in the raging
    and the fury, where it always was.
    Soundlessly it steals upon the sailors,

    who know that out there on those
    golden islands sometimes there is a singing —,
    and blindly lean into the oars,
    as though ringed in

    by the quiet, which has the whole expanse
    within itself and blows uncannily
    upon the ears, as though its other side
    were the song that no one can resist.


    Lament for Antinous

    Not one of you could grasp the Bithynian boy
    (that you might seize the stream and lift it from him ...).
    I pampered him it's true. And yet: we have
    only filled him with heaviness and forever dimmed him.

    Who is able then to love? Who knows how? — None as yet.
    And so I have inflicted endless pain —.
    Now he is among the Nile's pacifying gods,
    and I scarcely know which and can't get close to him.

    And still you would hurl him, madmen, into the stars,
    that I might call on you and urge: do you mean that one?
    Why is he not just someone dead. He'd like it fine.
    And perhaps nothing would have happened to him.


(Continues...)

Excerpted from New Poems, 1908 by Rainer Maria Rilke, Edward Snow. Copyright © 1987 Edward Snow. Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Table of Contents

Contents

Title Page,
Copyright Notice,
Introduction,
New Poems [1908],
Archaïscher Torso Apollos / Archaic Torso of Apollo,
Kretische Artemis / Cretan Artemis,
Leda / Leda,
Delphine / Dolphins,
Die Insel der Sirenen / The Island of the Sirens,
Klage um Antinous / Lament for Antinous,
Der Tod der Geliebten / The Death of the Beloved,
Klage um Jonathan / Lament for Jonathan,
Tröstung des Elia / Comforting of Elijah,
Saul unter den Propheten / Saul among the Prophets,
Samuels Erscheinung vor Saul / Samuel's Appearance to Saul,
Ein Prophet / A Prophet,
Jeremia / Jeremiah,
Eine Sibylle / A Sybil,
Absaloms Abfall / Absalom's Rebellion,
Esther / Esther,
Der Aussätzige König / The Leper King,
Legende von den drei Lebendigen und den drei Toten / Legend of the Three Living and the Three Dead,
Der König von Münster / The King of Münster,
Toten-Tanz / Dance of Death,
Das jüngste Gericht / The Last Judgment,
Die Versuchung / The Temptation,
Der Alchimist / The Alchemist,
Der Reliquienschrein / The Reliquary,
Das Gold / Gold,
Der Stylit / The Stylite,
Die Ägyptische Maria / The Egyptian Mary,
Kreuzigung / Crucifixion,
Der Auferstandene / The Arisen,
Magnificat / Magnificat,
Adam / Adam,
Eva / Eve,
Irre im Garten / Lunatics in the Garden,
Die Irren / The Lunatics,
Aus dem Leben eines Heiligen / From the Life of a Saint,
Die Bettler / The Beggars,
Fremde Familie / Foreign Family,
Leichen-Wäsche / Corpse-Washing,
Eine von den Alten / One of the Old Women,
Der Blinde / The Blind Man,
Eine Welke / Faded,
Abendmahl / Evening Meal,
Die Brandstätte / The Site of the Fire,
Die Gruppe / The Group,
Schlangen-Beschwörung / Snake-Charming,
Schwartze Katze / Black Cat,
Vor-Ostern / Easter Eve,
Der Balkon / The Balcony,
Auswanderer-Schiff / Emigrant-Ship,
Landschaft / Landscape,
Römische Campagna / Roman Campagna,
Lied vom Meer / Song from the Sea,
Nächtliche Fahrt / Night Drive,
Papageien-Park / Parrot-Park,
Die Parke / The Parks,
I / I,
II / II,
III / III,
IV / IV,
V / V,
VI / VI,
VII / VII,
Bildnis / Portrait,
Venezianischer Morgen / Venetian Morning,
Spätherbst in Venedig / Late Autumn in Venice,
San Marco / San Marco,
Ein Doge / A Doge,
Die Laute / The Lute,
Der Abenteuerer / The Adventurer,
I / I,
II / II,
Falken-Beize / Falconry,
Corrida / Corrida,
Don Juans Kindheit / Don Juan's Childhood,
Don Juans Auswahl / Don Juan's Selection,
Sankt Georg / Saint George,
Dame auf einem Balkon / Lady on a Balcony,
Begegnung in der Kastanien-Allee / Encounter in the Chestnut Avenue,
Die Schwestern / The Sisters,
Übung am Klavier / Piano Practice,
Die Liebende / Woman in Love,
Das Rosen-Innere / The Rose-Interior,
Damen-Bildnis aus den Achtziger-Jahren / Lady's Portrait from the Eighties,
Dame vor dem Spiegel / Lady at a Mirror,
Die Greisin / The Old Lady,
Das Bett / The Bed,
Der Fremde / The Stranger,
Die Anfahrt / The Arrival,
Die Sonnenuhr / The Sundial,
Schlaf-Mohn / Opium Poppy,
Die Flamingos / The Flamingos,
Persisches Heliotrop / Persian Heliotrope,
Schlaflied / Lullaby,
Der Pavillon / The Pavilion,
Die Entführung / The Abduction,
Rosa Hortensie / Pink Hydrangea,
Das Wappen / The Coat of Arms,
Der Junggeselle / The Bachelor,
Der Einsame / The Solitary,
Der Leser / The Reader,
Der Apfelgarten / The Apple Orchard,
Mohammeds Berufung / Mohammed's Summoning,
Der Berg / The Mountain,
Der Ball / The Ball,
Das Kind / The Child,
Der Hund / The Dog,
Der Käferstein / The Beetle-Stone,
Buddha in der Glorie / Buddha in Glory,
Copyright,

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