Rilke Quotes

She who reconciles the ill-matched threadsOf her life, and weaves them gratefullyInto a single cloth – It’s she who drives the loudmouths from the hallAnd clears it for a different celebration.

~ Rainer Maria Rilke

You, God, who live next door--If at times, through the long night, I trouble youwith my urgent knocking--this is why: I hear you breathe so seldom.I know you're all alone in that room. If you should be thirsty, there's no oneto get you a glass of water.I wait listening, always. Just give me a sign!I'm right here...Sen komşu tanrı,Uzun geceler bazen,Kapına vura vura uyandırıyorsam seniSolumanı seyrek duyduğumdandır...Bilirim, yalnızsın odanda.Sana birşey gerekse kimse yok,Bir yudum su versin aradığında.Hep dinlerim, yeter ki bir ses edin,Öyle yakınım sana...

~ Rainer Maria Rilke

How they are all about, these gentlemenIn chamberlains' apparel, stocked and laced,Like night around their order's star and gemAnd growing ever darker, stony-faced,And these, their ladies, fragile, wan, but proppedHigh by their bodice, one hand loosely dropped,Small like its collar, on the toy King-Charles:How they surround each one of these who stoppedTo read and contemplate the objects d'art,Of which some pieces still are theirs, not ours.Whit exquisite decorum they allow usA life of whose dimensions we seem sureAnd which they cannot grasp. They were aliveTo bloom, that is be fair; we, to mature,That is to be of darkness and to strive.

~ Rainer Maria Rilke

And you, Clara Westhoff, how simply and well you endured, lived through the experience, and made it a forward step in your young existence! So great was your love that it was able to forgive the great dying, and your eye was so sure, even then, that it conceived beauty in all the new colors, feelings, and gestures of the earth, and that all coming to an end seemed for your feeling only a pretext under which Nature wanted to unfold beauties yet unrevealed. Just as the eyes of angels rest on a dying child, delighting in the similar transfiguration of its half-released little face, so without concern you saw in the dying earth the smile and the beauty and the trust in eternity.―from letter to Clara Westhoff Schmargendorf (Sunday, November 18, 1900)

~ Rainer Maria Rilke

Rilke wrote: 'These trees are magnificent, but even more magnificent is the sublime and moving space between them, as though with their growth it too increased.

~ Gaston Bachelard

Loving isn't merging, surrendering, uniting with the other. Rather, it's a kind of solitude; of profound aloneness. It induces you to mature and become whole for the sake of your beloved ... to truly love another, you must first wholly love yourself. Love therefore exacts the most demanding claim of all; it both chooses you and pursues you, and reaches out, as if over vast distances, to call and draw you into your now and future self.-- John VanDyke Wilmerding, ideas put forth inspired by ('after') Rainer Maria Rilke's 'Letters to a Young Poet

~ Rainer Maria Rilke

Live the questions now. Perhaps then, someday far in the future, you will gradually, without even noticing it, live your way into the answer.

~ Rainer Maria Rilke

Destiny itself is like a wonderful wide tapestry in which every thread is guided by an unspeakable tender hand, placed beside another thread and held and carried by a hundred others.

~ Rainer Maria Rilke

The aesthetic construct, and nothing else, has taught us to expose ourselves to a non-enslaving experience of rank differences. The work of art is even allowed to 'tell' us, those who have run away from form, something, because it quite obviously does not embody the intention to confine us. 'La poesie ne s'impose plus, elle s'expose' Something that exposes itself and proves itself in this test gains unpresumed authority. In the space of aesthetic simulation, which is at once the emergency space for the success and failure of the artistic construct, the powerless superiority of the works can affect observers who otherwise take pains to ensure that they have no lord, old or new, above them.

~ Peter Sloterdijk

As Borges has taught us, all the books in the library are contemporary. Great poems are like granaries: they are always ready to enlarge their store.

~ William H. Gass

Most days I live awed by the world we have still, rather than mourning the worlds we have lost. The bandit mask of a cedar waxwing on a bare branch a few feet away; the clear bright sun of a frozen winter noon; the rise of Orion in the eastern evening sky-every day, every night, I give thanks for another chance to notice. I see beauty everywhere; so much beauty I often speak it aloud. So much beauty I often laugh, and my day is made.Still if you wanted to, I think, you could feel sadness without end. I’m not even talking about hungry children or domestic violence or endless wars between supposedly grown men…but ‘you mustn’t be frightened if a sadness rises in front of you, larger than any you even seen,' said Rilke, 'you must realize that something is happening to you, that life has not forgotten you, that it holds you in it hand and will not let you fall.

~ Paul Bogard

Whoever you are, go out into the evening,leaving your room, of which you know every bit;your house is the last before the infinite,whoever you are.

~ Rainer Maria Rilke

In his field, and with his means, Rilke carries out an operation that one could philosophically describe as the 'transformation of being into message' (more commonly, 'linguistic turn'). 'Being that can be be understood is language', Heidegger would later state - which conversely implies that language abandoned by being becomes mere chatter.

~ Peter Sloterdijk

In the midst of the ubiquitous dealings with prostituted signs, the thing-poem was capable of opening up the prospect of returning to credible experiences of meaning. It did this by tying language to the gold standard of what things themselves communicate. Where randomness is disabled, authority should shine forth.

~ Peter Sloterdijk

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection.

~ Peter Sloterdijk

If you think your world isn’t poetic enough, or exciting enough to tell a story about, that’s not because it’s a dull world, that’s because you’re not poet enough to wake its soul up.

~ Rainer Maria Rilke

What the poet has to say to the torso of the supposed Apollo, however, is more than a note on an excursion to the antiquities collection. The author's point is not that the thing depicts an extinct god who might be of interest to the humanistically educated, but that the god in the stone constitutes a thing-construct that is still on air. We are dealing with a document of how newer message ontology outgrew traditional theologies. Here, being itself is understood as having more power to speak and transmit, and more potent authority, than God, the ruling idol of religions. In modern times, even a God can find himself among the pretty figures that no longer mean anything to us - assuming they do not become openly irksome. The thing filled with being, however, does not cease to speak to us when its moment has come.

~ Peter Sloterdijk

It is clear enough that not every something can be elevated to the rank of a thing - otherwise everything and everyone would be speaking once more, and the chatter would spread from humans to things. Rilke privileges two categories of 'entities' [Seienden), to express it in the papery diction of philosophy, that are eligible for the lofty task of acting as message-things - artifices and living creatures - with the latter gaining their particular quality from the former, as if animals were being's highest works of art before humans. Inherent to both is a message energy that does not activate itself, but requires the poet as a decoder and messenger.

~ Peter Sloterdijk

The reason for the existence of the perfection conjured up in these fourteen lines is that it possesses ... the authorization to form a message that appeals from within itself. This power of appeal is exquisitely evident in the object evoked here. The perfect thing is that which articulates an entire principle of being. The poem has to perform no more and no less than to perceive the principle of being in the thing and adapt it to its own existence - with the aim of becoming a construct with an equal power to convey a message.

~ Peter Sloterdijk

As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say.

~ Peter Sloterdijk

We know from accounts of Rilke's life that his stay in Rodin's workshops taught him how modern sculpture had advanced to the genre of the autonomous torso. The poet's view of the mutilated body thus has nothing to do with the previous century's Romanticism of fragments and ruins, it is part of the breakthrough in modern art to the concept of the object that states itself with authority and the body that publicizes itself with authorization.

~ Peter Sloterdijk