A Year with Rilke: Only Love Can Grasp Them

November 7, 2011

Only Love Can Grasp Them

The Tree of Life, Soclet Frieze

by Gustav Klimt

Works of art belong immeasurably to themselves, and are accessible least of all to criticism. Only love can grasp them and hold them and respond to them fairly. Always trust your own feeling, rather than others' discussions, interpretations and arguments. Should you be mistaken, then slowly and with time the natural growth of your inner life will bring you to fuller awareness.

Viareggio, April 23, 1903

Letters to a Young Poet

1 comment:

stevenMon Nov 07, 12:57:00 PM GMT+1
moving from like and dislike as tools (or weapons) of judgement is a difficult step that liberates. steven
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"Everything is blooming most recklessly; if it were voices instead of colors, there would be an unbelievable shrieking into the heart of the night."

~ Rainer Maria Rilke

Go ahead, bloom recklessly!

About the Blog

We, Lorenzo and Ruth, are blog friends who, upon discovering our shared admiration for Rainer Maria Rilke's writings in a new volume of daily readings, decided to launch this blog.

Lorenzo (in Spain) has a home blog called The Alchemist's Pillow. Ruth (in the U.S.) has a home blog called synch-ro-ni-zing. Both of us also write poems and receive inspiration from Mary Oliver, Rumi, and many other poets.

We hope you will be inspired by this site, and we'd love to hear your responses in comments.

The Challenge of Translation

How can a poem written by Rilke, or anyone, be translated into another language, when a poem by its nature is a snapshot of a feeling, idea or story that also sings in lyricism, cadence, rhyme (sometimes) and other nuances that contribute to the poem intrinsically?

C. John Holcombe has thoroughly and generously explored the "problems" of translation in an article linked here, in which he explores the poem Herbsttag by Rilke. You can read fourteen versions of the first stanza by different translators, as well as a revelation of the issues of translation: word choice when there is no perfect equivalent; diction; word order (maintain the original or rearrange for effect?); rhyme; balance; and looking at the context of the poet's previous work.