Seal my ears, I'll go on hearing you.
And without feet I can make my way to you,
without a mouth I can swear your name.
Break off my arms, I'll take hold of you
with my heart as with a hand.
Stop my heart, and my brain will start to beat.
And if you consume my brain with fire,
I'll feel you burn in every drop of my blood.
The Book of Hours II, 7
... now that's a love poem! I have to tell my husband I found something to replace his "Roses are red..." love poem. ;)
ReplyDeletePassionate, this one's for Valentine's Day (or any other heated love-sick moment)...
ReplyDeleteWho is Rilke's you?
ReplyDeleteThis second Book of Hours was composed around 1900, about the time Rilke met his future wife Clara. The poems of the Book of Hours series are monastic, monkish, meant as medieval manuscript, bringing a religious devotion to art (or to the religion of art he more preferred). Love becomes scripture, each poem a psalm or Song of Solomon. And the Beloved is at once a woman, Woman, God, Mother, Poetry: an infinite summa. If the Book of Hours poems have the feeling of a jeweled reliquary, Rilke's exposure to Rodin took a massive hammer to it, breaking open wide the piety and composure of the anchorite (in his college days, Rilke dressed all in black and carried around lilac flower) for something much more raw and savage -- perhaps more of a pagan view of latter-day Christian culture. It could see animals between the lines of Scripture. Maybe that's why his vision so appeals to us today. Your choice of photo gives a sense of the raw power Rilke intuited in Rodin's work as he first wrote his monograph on Rodin and then went to work as his secretary ... And this poem anticipates, I think, "Archaic Torso of Apollo," the devotion and purity here getting soaked in some Parisian rite of spring in the latter poem ... Thanks for the daily buckets from this inexhaustible well ... Brendan
ReplyDeleteMargaret and Terresa, yes! Being utterly consumed by the beloved. How intoxicating to be the one he is talking to. As Dan asks, Who is the you? When I read this, I think maybe he is talking to Muse. But I don't give it up as the most heart-stopping love poem for someone real with flesh and blood!
ReplyDeleteBrendan, knowing that The Book of Hours comes early on, before Rodin, is helpful. It makes me think of David in the Psalms, who laid his heart bare before God with all the passion. But then, to meet Rodin and take his tool to expose the raw material beneath, yes, this is what I felt in the poem and why this image in its drama and, is it ecstasy? . . . had to be paired with it, even though I could not find it other than this cover. But as it is, with the Master's name boldly next to the image, on a black background, maybe it's as it should be, for you help us see that this opening to the rawness, to this degree, would not have happened without RODIN.
now where was that when i needed it! oh it's right here right now . . . . . . steven
ReplyDelete"And the Beloved is at once a woman, Woman, God, Mother, Poetry: an infinite summa." Thank you Brendan. Yes!
ReplyDeleteIf Rilke had a look in this it would be like a catwalk march with his eye firmly on his prize no matter the obliteration! SHISH! I imagine it with modern day cinematics, complete and utter annihilation, and yet, and yet. HOly holy, such power, perhaps dare. No wonder the women threw themselves at Rilke!
xo
erin
and how i am drawn to Rodin's sculpture that suggests both surrendor and rapture to me. a perfect pairing.
ReplyDeletexo
erin
Brendan, thank you for answering my question about Rilke's who. I just saw your blog for the first time. Sublime.
ReplyDeleteWow--"bestill my heart!" Beautiful
ReplyDelete