By Rainer Maria Rilke, Edward Snow
Who, if I cried out, may listen me one of the angelic
orders? or even if considered one of them pressed me
suddenly to his center: I'd be consumed
in that overwhelming life. For good looks is nothing
but the start of terror, which we will be able to simply slightly endure,
and we stand in awe of it because it coolly disdains
to smash us. each angel is terrifying.
-from "The First Elegy"
Over the final fifteen years, in his volumes of latest Poems in addition to within the booklet of pictures and Uncollected Poems, Edward Snow has emerged as one in all Rainer Maria Rilke's so much capable English-language interpreters. In his translations, Snow adheres faithfully to the purpose of Rilke's German whereas developing nuanced, colloquial poems in English.
Written in a interval of non secular problem among 1912 and 1922, the poems that compose the Duino Elegies are those most often pointed out with the Rilkean sensibility. With their symbolic landscapes, prophetic proclamations, and unsettling depth, those complicated and haunting poems rank one of the amazing visionary works of the century
Read or Download Duino Elegies (Bilingual Edition) PDF
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Adam and Eve knew such perfection once,
God's finger within the cloud, and at the ground
Nothing yet springtime, not anything else at all.
But in our fallen country the place the blood hunts
For blood, and rises on the looking sound,
What will we comprehend of lasting because the fall?
Who has no longer, within the oil and warmth of youth,
Thought of the flourishing of the almond tree,
The grasshopper, and the failing of desire,
And concept his tongue may perhaps pierce the secrecy
Of the six-pointed starlight, and can choir
A secret-voweled, unutterable truth?
--from "A Poem for Julia"
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Additional info for Duino Elegies (Bilingual Edition)
The Waste Land was never far from the scene for this man who, to the vast majority of English-speaking people, had Eliot in 1952, by which time he had become an influential and iconic figure, known worldwide as the author of The Waste Land, a Nobel laureate, and a celebrity playwright (Courtesy of Houghton Library, Harvard University) come to embody an entire cultural age, modernism, while something in his scholar’s demeanor and banker’s reserve encouraged the contrary notion that poetry was not for everyone, especially if it was Eliot’s.
That said, something of Eliot’s plan for the larger work was seen as well in the fact that the other two sections of the poem that were also first published as separate pieces, “Perch’ io 20 Critical Companion to T. S. Eliot non spero” (Part I) and “Al som de l’escalina” (Part III), hark back, through Dante, to two other poets for whom Love was the theme—Guido Cavalcanti and Arnaut Daniel, each of whom was closely connected with Dante in the troubadour or love poetry tradition that had originated in southern France and northwestern Italy in the 12th century.
He had last gone “home” to America in 1915. The fruits of his labors there now at his old alma mater, Harvard, in addition to a princely salary, would be the published lectures issued in 1933 as The Use of Poetry and the Use of Criticism. The visiting professorship would provide him as well with enough free time to lecture at various other venues, including the University of California, Los Angeles, in December and Yale in New Haven, Connecticut, in February. In January, meanwhile, he would deliver the Turnbull Lectures at Johns Hopkins University in Baltimore.
Duino Elegies (Bilingual Edition) by Rainer Maria Rilke, Edward Snow