This fills us totally. Uns überfüllts. But for it Being is eternal. Translations include: “Who’s turned us round like this, so that we always, / do what we may, retain the attitude / of someone who’s departing? and glow with beginning. Chartres was great –, and music / reached still higher and passed far beyond us. We, like the warm animal, have left our first home, to find a second that is “zwitterig”, “ambivalent” or “uncertain”. im versprechlichen Spiel…. The freed creature’s doom / stands behind it and ahead lies God / and when it begins to move, its movement / is through an eternity like a well-spring.” (MC), and “With all eyes the creature sees / the open. All translations, however, are appropriate in using the present participle form: for even when we wish to leave, we cannot. The latter is an arcane word, largely associated with perception and light, which is here being used as a new coinage to provide a literal translation of the original German. It is this dimension of the latter that this article explores, considering how Rilke’s notion of the poet’s vocation influenced these poems in particular. / The creation is ever turning back, and we / see in its only the reflection of its free space, / darkening before us. see it, and lose the chance to build it within themselves, dir noch zeig ich es, da! It is like an outstretched / arm, my call. / What is really out there we only know / by looking at the countenance of creatures. Und immer geringer In earlier Elegies, animals had been used symbolically (as with the bird in the seventh Elegy, representing the will to transcendence), but here the animal is approached from within, the condition of its being linked to a fuller, because unmediated, consciousness of the external world. Translations include: “Not wooing, no longer shall wooing, voice that’s / outgrown it, / be now the form of your cry; though you cried as pure as / the bird / when the surging season uplifts him, almost forgetting / he’s merely a fretful creature and not just a single / heart / it’s tossing to brightness, to intimate azure” (L/S), “May this outgrown voice no more be tainted with / the note of supplication; though your cry / take to itself the purity of a bird’s, / when the ascending year so lifts it up, / forgetting that it is a busy bird / and not alone a free and single heart, – / forgetting that it wafts it up on high / into the joy of inmost paradise (SW), “No more wooing, enough of this courting, / your voice has outgrown it – make that the burden / of your call, though you might cry out pure as a bird / when the stirring of the season lifts him / and he almost forgets he is a troubled creature, / not just a single heart flung toward cheerfulness, / to the embrace of heaven” (MC), “No more of wooing, O voice grown beyond it, no more let / wooing be the soul of your cry, though you cry pure as the bird / raised up by the rising days, exalted almost to forgetting / that he is a suffering creature and not just a single heart / flung up to gladness and intimate heavens” (R/S) and “Not wooing, no longer shall wooing, outgrowing voice, / be the nature of your cry; but cry out more purely like the bird, / when the season suddenly rising carries him away, almost forgetting / that he is a troubled sorrowing creature and not one solitary heart / to be thrown into the cheering light and the intimate sky” (R). The stanza receives its structure through a series of enjambments, which flow into one another through prosaic diction that is self-consciously non-“poetic”, as they sustain the argument. O the happiness of the midge. My breath Denn eine Stunde war jeder, vielleicht nicht Even those who are destitute and downtrodden have the opportunity of experiencing the world as it has been transformed, and in the only place that truly matters – within themselves. Always there is World / and never Nowhere without the No: that pure / unseparated element which one breathes / without desire and endlessly knows. The first Elegy alone gives us “beauty is the beginning of terror”, “remaining is nowhere” or “the state of death is fraught / but full of retrieval”. Tempel kennt er nicht mehr. The word is a central term in Rilke’s vocabulary, appearing in the second and fourth Elegies. More difficult is the final line of this section. Once again, translation depends on interpretation. / The spirit of the age has engineered for itself / vast reservoirs of power, though they are shapeless / as the charged force it draws from all things. “Werben” is now cast in the conditional-subjunctive form and introduces a vignette of complex sentiment, in which the loved-one is invoked, only for her presence to be moved across a variety of positions of receptivity. It is possible, however, to retain the form of the German original as “disinherited”, particularly when it is followed by the demonstrative pronoun “those”, which provides the sense of a subject. If that is the case, grammatically we should read “feelings” as the subject and “spaces” as the object of these lines, with “thousands of years” being a temporal adverbial clause. And still to come: the summer. Oh, you should marvel, angel, R.M. It is an audaciously stark formulation, and Rilke emphasises its starkness by italicising the word. The phrase has been translated as “straining energy” and “straining forces”, both of which put the emphasis on the exertion of this “Drang”. The unique status of “das Offene” as a concept has already been established through its use as a noun rather than simply as an adjective. / For it also always bears the burden of what / often overwhelms us, – the recollection, / as if the place we are ever pressing toward was / once nearer and more true and its communion / infinitely tender. / Not only the fervour of these unfolded forces, / not only the walks, not only the evening meadows, / not only, after late thunder, the breathing clearness, / not only, evenings, sleep coming and something surmised … / No, but the nights as well! Es zerfällt. An alternative translation is “decrepit”. / Where we see Future, it sees Everything, / itself in Everything, for ever healed” (L/S), “If the animal moving toward us so securely / in a different direction had our kind of / consciousness –, it would wrench us around and drag us / along its path. langsam erwacht und über dem Hören sich anwärmt, – First, those small / Yes – where one still stands, a thing prayed to once, / worshipped, knelt before – it holds, just as it is / and it passes into the outwardly invisible. he turns, stops, lingers –, / so we live here, forever taking leave” (M), “Who swivelled us like this, so that whatever / course we take we have the air of someone / who is departing? But not just she / would come … Out of their fragile graves / girls would arise and gather … For how could I limit / the call, once I called it? Although forever turned to face Creation, we see nothing but the mirror image of what Rilke terms “des Frein”. Almost, as if by mistake, it opens itself to them, to one behind the other … But neither can. / Not only the days, so tender around flowers and, above, / around the patterned treetops, so strong, so intense. The specifically human awareness of time has been formed through this structuration of consciousness. of power, formless, like the charged force deinem erkühnten Gefühl die erglühte Gefühlin. SW rightly feel that a deeper gesture is being described here and choose “supplication”, which accords with the invocation of the angel in the final stanza. / Or it happens, an animal, mutely, quietly, / looks up, stares us through and through. Even you knew it, / you girls who seemed to be lost, to go under –, in the filthiest / streets of the city, festering there, or wide open / for garbage.
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