#rilker

[alicntsdnce]

mark strand, from seven poems // brynne rebele-henry, from self-portrait as a broken venus statuette // soraya chemaly, from rage becomes her: the power of women’s anger // audre lorde, from sister love: the letters of audre lorde & pat parker // anne carson, from plainwater: essays and poetry // caitlyn siehl, from cut // dan pagis, from dead apocalyptic poems // rainer maria rilke, from rilker’s book of hours // katie maria, from the memory of a memory // mieko kawakami, from heaven 

[shannybasar]

The #paulcezanne exhibition at Tate Modern is stupendous. He said “With an apple I will astonish Paris” and I am obsessed with the way he paints apples. I wish I had gone in the morning as once you stand in front of one of his paintings, it is really hard to stop looking at his brushstrokes and move away. Rilker said in his letters on Cezanne: “It’s as if every part were aware of all the others-it participates that much; that much adjustment and rejection is happening in it; that’s how each daub plays its part in maintaining equilibrium and in producing it: just as the whole picture finally keeps reality in equilibrium.” (at Tate Modern) https://www.instagram.com/p/ClMTRKRjFGW/?igshid=NGJjMDIxMWI=

[thensuburbia]

"I want to be with those who know secret things or else alone." — Rainer Maria Rilke

[celania]

Behind us lies a vast hinterland of lost histories: events, objects and lives which have passed unrecorded, or unwitnessed, or whose witnesses have been consumed. The perfect crime is, by definition, an untellable event. But it is not unimaginable. The historian must stop where the evidence gives out, but stories can be told beyond the evidential limits, of pasts too distant or too close. The ‘Once upon a time’ boar and the ‘Not yet’ boar can be hunted and pursued to the dark and silent spaces which are their lairs. A cave, a chamber, a silent apartment overlooking the Pont Mirabeau. Here is such a place (from Fadensonnen, 1968, translated by Joris).

Kleide die Worthöhlen aus mit Pantherhäuten, erweitere sie, fellhin und fellher

Line the word-caves with panther-skins, widen them, pelt-to and pelt-fro

These words have accreted meanings. The image of the panther appeared in a prose poem written by Celan in Bucharest in 1947. A German translation of the original Romanian (‘und der silberne Panther zerfleischte die Morgenröte, die auf mich lauerte’) offers a ‘silver panther’ and a punning ‘syllable panther’. Whether Celan’s Germanic mother tongue operates with sufficient insistence beneath the poem’s Romanian surface to allow this fleeting play on words to be claimed is questionable, although ‘cette belle saison de calembours’ was how Celan later characterised his time in Bucharest (‘what a wonderful time for puns’). Perhaps one can hear the distant echo of Celan’s between-ness and encavedness in Paris, his ‘entre’ and ‘antre’, in ‘Panther’. Here, it is the lair rather than its creature which is worded. Rilke’s famous panther, observed in the Jardin des Plantes in Paris in 1903, has bequeathed only his fur and the motion which seemed to animate him: ‘pelt-to and pelt-fro’. Some of the word-cave’s darkness is Rilke’s too, from ‘Schwarze Katze’.

aber da, an diesem schwarzen Felle wird dein stärkstes Schauen aufgelöst

but there, in this dark pelt Your most piercing gaze will be lost

Nothing and no one is visible here. The imperative mood conjures no dramatic situation. No one is asking anyone else to ‘widen’ the confines of the poem; the verb uncoils relations within the image rather than drawing them together. The particular space and time invoked in these lines is sprung between outward dissolution and inward collapse. The imperative has no tense. There isn’t anywhere this image can happen. There isn’t any ‘when’ either.

Rilke’s negatively capable leap into the dark pelt of the panther is, for Celan, the point of departure. Celan’s word-cave is built – impossibly – from the inside. Why should he choose to construct about himself a contracting darkness? Why should he write his poem at the very point of its collapse? The answer begins in a recognition that Celan chose neither the straitened confines of the word-cave nor the belated entanglement of its history. He was there, and then, of necessity.

— Lawrence Norfolk, “Thoughts about Boars and Paul Celan”

[femmenoir-red]

Una volta accettata la consapevolezza che anche fra gli esseri più vicini continuano a esistere distanze infinite.. si può evolvere una meravigliosa vita.. fianco a fianco..se quegli esseri riescono ad amare questa distanza fra loro.. che rende possibile a ciascuno dei due di vedere l’altro .. nella sua interezza..stagliato contro il cielo...❤️

©Rainer Maria Rilker

-emozioni Red. @femmenoir-red

[llovelymoonn]

words by rainer maria rilke

letters to a young poet \\ the selected poetry of rainer maria rilker: "the prodigal son" \\ duino elegies: "the second elegy" (tr. C.F. MacIntyre) \\ sonnets to orpheus: "part one iv" \\ gott spricht zu jedem nur, eh er ihn macht: "book of hours: love poems to god" (tr. anita barrows and joanna macy) \\ letters on cézanne \\ poems to night: irschenhausen, september 1914 (tr. will stone) \\ the book of hours \\ the selected poetry of rainer maria rilke: "lament" (tr. stephen mitchell) \\ the selected poetry of rainer maria rilke: "you who never arrived" (tr. stephen mitchell)

[johannepetereric]

END-POEM!

AND RILKER WAS REFERENCED IN THE ACTUAL MOVIE!!!

[passaropoesia]

Deixe tudo acontecer com você: O belo e o terrível Apenas continue. Nenhum sentimento é definitivo.

Rainer Maria Rilker, poeta alemão.

[nayssa]

Quando i miei pensieri sono ansiosi, inquieti e cattivi, vado in riva al mare, e il mare li annega e li manda via con i suoi grandi suoni larghi, li purifica con il suo rumore, e impone un ritmo su tutto ciò che in me è disorientato e confuso.

(Rainer Maria Rilker)

💕Nayssa

[company]

the "you don't have to know that it's haunted" line for me represents how sometimes we hide things from other people but with the intention of trying to protect them. i love the resentment line i wish i could relate to it tho. there's this rilker quote where she says "loneliness is solitude with a problem" and i feel like i was actually making peace with my solitude early this year and i stopped feeling sad abt the fact that i spend most of the time alone + but right now i feel like a void of loneliness. it always happens in winter though so I'm kind of used to it but with corona and all of the restrictions we have rn it's been extra harder. I just realized i stopped talking about the song and i started talking about my emotions lol whatever

[vento-del-nord]

Tutto quello che è frenetico

sarà presto passato:

perché solo il flemmatico

ci inizia al perpetuo ...

Dalla calma tutto esce:

oscurità e chiarore,

volume e fiore.

Rainer Maria Rilker

[h-valentino]

Olá, pega um café, se aconchega comigo e vamos "filosofar"! Estamos chegando na reta final desse projeto, então, vamos falar da mulher que fez o Nietzsche chorar! (Por que macho tem que chorar mesmo kkkk) 3. Lou Andreas Salomé: foi uma escritora, psicanalista e intelectual do século XX. Seus estudos em Teologia e História da Arte, levaram ela a se uma mulher à frente do seu tempo: gostava de falar abertamente sobre sexo e erotismo, e tinha um grande interesse por assuntos polêmicos e proibidos para uma mulher em sua época. Desta forma, despertou em muitos homens paixões que beiravam à loucura. Em viagens pela Europa conheceu diversos filósofos como: Nietzsche, Paul Rée, Rainer Maria Rilker, Sigmund Freud. No entanto, após recusar o pedido de casamento de Nietzsche e Paul Rée, Salomé teria sugerido um menáge a trois – mas em um sentido intelectual. Ela foi uma mulher pioneira, tanto no aspecto intelectual quanto no comportamental, e essencial na vida de alguns dos pensadores mais importantes de todos os tempos. Foi acima de tudo uma mulher livre, independente, uma grande intelectual e ícone feminino P.s.: o poema do menáge a trois intelectual esta escrito aqui. "Ouse, ouse... ouse tudo!! Não tenha necessidade de nada! Não tente adequar sua vida a modelos, nem queira você mesmo ser um modelo para ninguém. Acredite: a vida lhe dará poucos presentes. Se você quer uma vida, aprenda... a roubá-la! Ouse, ouse tudo! Seja na vida o que você é, aconteça o que acontecer. Não defenda nenhum princípio, mas algo de bem mais maravilhoso: algo que está em nós e que queima como o fogo da vida!! " Me conta ai nos comentários o que achou de conhecer a mulher que fez vários homens chorarem? (em Belém do Pará) https://www.instagram.com/p/CDUk0uQjfSL/?igshid=1tly92h0b3aaa

[aranyaphoenix]

Let everything happen to you: beauty and terror. Just keep going. No feeling is final.

Rainer Maria Rilker

[maximumslogandensity]

You are in pain; I, through your pain, feel bliss. Forgive me for that. Lou

Rainer Rilker and Lou Salome: A Love Story in Letters

Dom me to death!

7/4/20

[menschpeter]

«Hay mucha gente en el mundo, pero todavía hay más rostros, pues cada uno tiene varios.» "There are many people in the world, but there are still more faces, because each one has several." -Rainer Maria Rilker, "Elegías de Duino" 🦉 . . . . . . . . . . #art #artist #draw #sketch #life #street #linesketch #stayhome #underground #ideas #graffiti #artwork #illustration #drawing #arte #desenho #artedigital #ilustração #painting #cartoon #motivate  #amazing ##future #sketchup #fineart #surrealism #oilpainting #acrylic #canvas https://www.instagram.com/p/Ci5a6wuNILS/?igshid=NGJjMDIxMWI=

[bichngocluu]

Read as little as possible of aesthetic criticism - such things are either grown senseless in their lifeless induration, or they are today one view wins and tomorrow the opposite. Works of art are of an infinite loneliness and with nothing so little to be reached with criticism. Leave to your opinions their own quiet und undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried by anything. Let each impression comes to wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one's own intelligence, and await with deep humility and patience : that alone is living the artist's life, in understanding as in creating. There is here no measuring with time, no year matters, and ten years are nothing. Being an artist means, not reckoning and counting. I learn it daily, learn it with pain to which I am grateful : patience is everything !

Rilker Rainer Maria, “Letters To a Young Poet”