Sonnet CXXXIX [William Shakespeare]

Sonnet CXXXIX

O, call not me to justify the wrong
That thy unkindness lays upon my heart;
Wound me not with thine eye but with thy tongue;
Use power with power and slay me not by art.
Tell me thou lovest elsewhere, but in my sight,
Dear heart, forbear to glance thine eye aside:
What need'st thou wound with cunning when thy might
Is more than my o'er-press'd defense can bide?
Let me excuse thee: ah! my love well knows
Her pretty looks have been mine enemies,
And therefore from my face she turns my foes,
That they elsewhere might dart their injuries:
Yet do not so; but since I am near slain,
Kill me outright with looks and rid my pain.

-William Shakespeare

Sonnet CXXXIV [William Shakespeare]

Sonnet CXXXIV

So, now I have confess'd that he is thine,
And I myself am mortgaged to thy will,
Myself I'll forfeit, so that other mine
Thou wilt restore, to be my comfort still:
But thou wilt not, nor he will not be free,
For thou art covetous and he is kind;
He learn'd but surety-like to write for me
Under that bond that him as fast doth bind.
The statute of thy beauty thou wilt take,
Thou usurer, that put'st forth all to use,
And sue a friend came debtor for my sake;
So him I lose through my unkind abuse.
Him have I lost; thou hast both him and me:
He pays the whole, and yet am I not free.

Sonnet CXXXIII [William Shakespeare]

Sonnet CXXXIII

Beshrew that heart that makes my heart to groan
For that deep wound it gives my friend and me!
Is't not enough to torture me alone,
But slave to slavery my sweet'st friend must be?
Me from myself thy cruel eye hath taken,
And my next self thou harder hast engross'd:
Of him, myself, and thee, I am forsaken;
A torment thrice threefold thus to be cross'd.
Prison my heart in thy steel bosom's ward,
But then my friend's heart let my poor heart bail;
Whoe'er keeps me, let my heart be his guard;
Thou canst not then use rigor in my gaol:
And yet thou wilt; for I, being pent in thee,
Perforce am thine, and all that is in me.

Sonnet CXXXII [William Shakespeare]

Sonnet CXXXII

Thine eyes I love, and they, as pitying me,
Knowing thy heart torments me with disdain,
Have put on black and loving mourners be,
Looking with pretty ruth upon my pain.
And truly not the morning sun of heaven
Better becomes the grey cheeks of the east,
Nor that full star that ushers in the even
Doth half that glory to the sober west,
As those two mourning eyes become thy face:
O, let it then as well beseem thy heart
To mourn for me, since mourning doth thee grace,
And suit thy pity like in every part.
Then will I swear beauty herself is black
And all they foul that thy complexion lack.

Sonnet CXXXI [William Shakespeare]

Sonnet CXXXI

Thou art as tyrannous, so as thou art,
As those whose beauties proudly make them cruel;
For well thou know'st to my dear doting heart
Thou art the fairest and most precious jewel.
Yet, in good faith, some say that thee behold
Thy face hath not the power to make love groan:
To say they err I dare not be so bold,
Although I swear it to myself alone.
And, to be sure that is not false I swear,
A thousand groans, but thinking on thy face,
One on another's neck, do witness bear
Thy black is fairest in my judgment's place.
In nothing art thou black save in thy deeds,
And thence this slander, as I think, proceeds.

Sonnet CXXX My mistress' eyes [William Shakespeare]

Sonnet CXXX My mistress' eyes

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound.
I grant I never saw a goddess go:
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Sonnet CXXX [William Shakespeare]

Sonnet CXXX

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.

Sonnet CXXVIII [William Shakespeare]

Sonnet CXXVIII

How oft, when thou, my music, music play'st,
Upon that blessed wood whose motion sounds
With thy sweet fingers, when thou gently sway'st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood's boldness by thee blushing stand!
To be so tickled, they would change their state
And situation with those dancing chips,
O'er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.

Sonnet CXXVI [William Shakespeare]

Sonnet CXXVI

O thou, my lovely boy, who in thy power
Dost hold Time's fickle glass, his sickle, hour;
Who hast by waning grown, and therein show'st
Thy lovers withering as thy sweet self grow'st;
If Nature, sovereign mistress over wrack,
As thou goest onwards, still will pluck thee back,
She keeps thee to this purpose, that her skill
May time disgrace and wretched minutes kill.
Yet fear her, O thou minion of her pleasure!
She may detain, but not still keep, her treasure:
Her audit, though delay'd, answer'd must be,
And her quietus is to render thee.

Sonnet CXXV [William Shakespeare]

Sonnet CXXV

Were 't aught to me I bore the canopy,
With my extern the outward honouring,
Or laid great bases for eternity,
Which prove more short than waste or ruining?
Have I not seen dwellers on form and favour
Lose all, and more, by paying too much rent,
For compound sweet forgoing simple savour,
Pitiful thrivers, in their gazing spent?
No, let me be obsequious in thy heart,
And take thou my oblation, poor but free,
Which is not mix'd with seconds, knows no art,
But mutual render, only me for thee.
Hence, thou suborn'd informer! a true soul
When most impeach'd stands least in thy control.

Sonnet CXXIX [William Shakespeare]

Sonnet CXXIX

The expense of spirit in a waste of shame
Is lust in action; and till action, lust
Is perjured, murderous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust,
Enjoy'd no sooner but despised straight,
Past reason hunted, and no sooner had
Past reason hated, as a swallow'd bait
On purpose laid to make the taker mad;
Mad in pursuit and in possession so;
Had, having, and in quest to have, extreme;
A bliss in proof, and proved, a very woe;
Before, a joy proposed; behind, a dream.
All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell.

Rainer Maria Rilke Poem List 3

101. The Song Of The Blindman 102. The Song Of The Widow 103. The Sonnets To Orpheus I 104. The Sonnets To Orpheus VI 105. The Sonnets To Orpheus XIII 106. The Sonnets To Orpheus XXIII 107. The Sonnets To Orpheus (I) 108. The Sonnets To Orpheus IV 109. The Sonnets To Orpheus XIX 110. The Sonnets To Orpheus XXV 111. The Spanish Dancer 112. The Unicorn 113. The Voices 114. The Wait 115. To Lou Andreas-Salome 116. To Music 117. To Say Before Going To Sleep 118. Venetian Morning 119. Water Lily 120. What Birds Plunge 121. What Fields Are 122. What Survives 123. Woman In Love 124. World Was In The Face Of The Beloved 125. You Who Never Arrived 126. You, Darkness

Rainer Maria Rilke Poem List 2

51. For Hans Carossa 52. From The Tenth Elegy 53. Girl In Love 54. Girl's Lament 55. Going Blind 56. Greek Love-Talk 57. Growing Old 58. Heartbeat 59. In The Beginning 60. Interior Portrait 61. Lady At A Mirror 62. Lady On A Balcony 63. Lament 64. Lament 2 65. Lament 3 66. Little Tear-Vase 67. Loneliness 68. Love Song 69. Moving Forward 70. Music 71. Narcissus 72. Night 73. Night 2 74. On Hearing Of A Death 75. Palm 76. Parting 77. Piano Practice 78. Portrait Of My Father As A Young Man 79. Sacrifice 80. Self-Portrait 81. Sense Of Something Coming 82. Slumber Song 83. Solemn Hour 84. Song 85. Song Of The Orphan 86. Song Of The Sea 87. Spanish Dancer 88. Sunset 89. Telling You All 90. The Apple Orchard 91. The Blindman's Song 92. The Future 93. The Grown-Up 94. The Last Evening 95. The Last Supper 96. The Neighbor 97. The Panther 98. The Poet 99. The Sisters 100. The Song Of The Beggar

You, Darkness [Rainer Maria Rilke]

You, Darkness

You, darkness, that I come from
I love you more than all the fires
that fence in the world,
for the fire makes a circle of light for everyone
and then no one outside learns of you.

But the darkness pulls in everything-
shapes and fires, animals and myself,
how easily it gathers them! -
powers and people-

and it is possible a great presence is moving near me.

I have faith in nights.


Original language: German

You Who Never Arrived [Rainer Maria Rilke]

You Who Never Arrived

You who never arrived
in my arms, Beloved, who were lost
from the start,
I don't even know what songs
would please you. I have given up trying
to recognize you in the surging wave of
the next moment. All the immense
images in me -- the far-off, deeply-felt
landscape, cities, towers, and bridges, and
unsuspected turns in the path,
and those powerful lands that were once
pulsing with the life of the gods--
all rise within me to mean
you, who forever elude me.

You, Beloved, who are all
the gardens I have ever gazed at,
longing. An open window
in a country house-- , and you almost
stepped out, pensive, to meet me.
Streets that I chanced upon,--
you had just walked down them and vanished.
And sometimes, in a shop, the mirrors
were still dizzy with your presence and,
startled, gave back my too-sudden image.
Who knows? Perhaps the same
bird echoed through both of us
yesterday, separate, in the evening...

World Was In The Face Of The Beloved [Rainer Maria Rilke]

World Was In The Face Of The Beloved

World was in the face of the beloved--,
but suddenly it poured out and was gone:
world is outside, world can not be grasped.

Why didn't I, from the full, beloved face
as I raised it to my lips, why didn't I drink
world, so near that I couldn't almost taste it?

Ah, I drank. Insatiably I drank.
But I was filled up also, with too much
world, and, drinking, I myself ran over.


-Translated by Stephen Mitchell

Woman in Love [Rainer Maria Rilke]

Woman in Love

That is my window. Just now
I have so softly wakened.
I thought that I would float.
How far does my life reach,
and where does the night begin

I could think that everything
was still me all around;
transparent like a crystal's
depths, darkened, mute.

I could keep even the stars
within me; so immense
my heart seems to me; so willingly
it let him go again.

whom I began perhaps to love, perhaps to hold.
Like something strange, undreamt-of,
my fate now gazes at me.

For what, then, am I stretched out
beneath this endlessness,
exuding fragrance like a meadow,
swayed this way and that,

calling out and frightened
that someone will hear the call,
and destined to disappear
inside some other life.

What Survives [Rainer Maria Rilke]

What Survives

Who says that all must vanish?
Who knows, perhaps the flight
of the bird you wound remains,
and perhaps flowers survive
caresses in us, in their ground.

It isn't the gesture that lasts,
but it dresses you again in gold
armor --from breast to knees--
and the battle was so pure
an Angel wears it after you.


-Translated by A. Poulin

What Fields Are [Rainer Maria Rilke]

What Fields Are

What fields are as fragrant as your hands?
You feel how external fragrance stands
upon your stronger resistance.
Stars stand in images above.
Give me your mouth to soften, love;
ah, your hair is all in idleness.

See, I want to surround you with yourself
and the faded expectation lift
from the edges of your eyebrows;
I want, as with inner eyelids sheer,
to close for you all places which appear
by my tender caresses now.


-Translated by John J.L. Mood

What Birds Plunge [Rainer Maria Rilke]

What Birds Plunge

What birds plunge through is not the intimate space,
in which you see all Forms intensified.
(In the Open, denied, you would lose yourself,
would disappear into that vastness.)

Space reaches from us and translates Things:
to become the very essence of a tree,
throw inner space around it, from that space
that lives in you. Encircle it with restraint.
It has no limits. For the first time, shaped
in your renouncing, it becomes fully tree.


-Translated by Gabriel Caffrey

Water Lily [Rainer Maria Rilke]

Water Lily

My whole life is mine, but whoever says so
will deprive me, for it is infinite.
The ripple of water, the shade of the sky
are mine; it is still the same, my life.

No desire opens me: I am full,
I never close myself with refusal-
in the rythm of my daily soul
I do not desire-I am moved;

by being moved I exert my empire,
making the dreams of night real:
into my body at the bottom of the water
I attract the beyonds of mirrors...


-Translated by A. Poulin

Venetian Morning [Rainer Maria Rilke]

Venetian Morning

Windows pampered like princes always see
what on occasion deigns to trouble us:
the city that, time and again, where a shimmer
of sky strikes a feeling of floodtide,

takes shape without once choosing to be.
Each new morning must first show her the opals
she wore yesterday, and pull rows
of reflections out of the canal
and remind her of the other times:
only then does she concede and settle in

like a nymph who received great Zeus.
The dangling earrings ring out at her ear;
but she lifts San Giorgio Maggiore
and smiles idly into that lovely thing.


-Translated by Edward Snow

To Say Before Going to Sleep [Rainer Maria Rilke]

To Say Before Going to Sleep

I would like to sing someone to sleep,
have someone to sit by and be with.
I would like to cradle you and softly sing,
be your companion while you sleep or wake.
I would like to be the only person
in the house who knew: the night outside was cold.
And would like to listen to you
and outside to the world and to the woods.

The clocks are striking, calling to each other,
and one can see right to the edge of time.
Outside the house a strange man is afoot
and a strange dog barks, wakened from his sleep.
Beyond that there is silence.

My eyes rest upon your face wide-open;
and they hold you gently, letting you go
when something in the dark begins to move.

To Music [Rainer Maria Rilke]

To Music

Music: breathing of statues. Perhaps:
silence of paintings. You language where all language
ends. You time
standing vertically on the motion of mortal hearts.

Feelings for whom? O you the transformation
of feelings into what?--: into audible landscape.
You stranger: music. You heart-space
grown out of us. The deepest space in us,
which, rising above us, forces its way out,--
holy departure:
when the innermost point in us stands
outside, as the most practiced distance, as the other
side of the air:
pure,
boundless,
no longer habitable.


-Translated by Stephen Mitchell

To Lou Andreas-Salome [Rainer Maria Rilke]

To Lou Andreas-Salome

I held myself too open, I forgot
that outside not just things exist and animals
fully at ease in themselves, whose eyes
reach from their lives' roundedness no differently
than portraits do from frames; forgot that I
with all I did incessantly crammed
looks into myself; looks, opinion, curiosity.
Who knows: perhaps eyes form in space
and look on everywhere. Ah, only plunged toward you
does my face cease being on display, grows
into you and twines on darkly, endlessly,
into your sheltered heart.

As one puts a handkerchief before pent-in-breath-
no: as one presses it against a wound
out of which the whole of life, in a single gush,
wants to stream, I held you to me: I saw you
turn red from me. How could anyone express
what took place between us? We made up for everything
there was never time for. I matured strangely
in every impulse of unperformed youth,
and you, love, had wildest childhood over my heart.

Memory won't suffice here: from those moments
there must be layers of pure existence
on my being's floor, a precipitate
from that immensely overfilled solution.

For I don't think back; all that I am
stirs me because of you. I don't invent you
at sadly cooled-off places from which
you've gone away; even your not being there
is warm with you and more real and more
than a privation. Longing leads out too often
into vagueness. Why should I cast myself, when,
for all I know, your influence falls on me,
gently, like moonlight on a window seat.


-Translated by A. Poulin

The Wait [Rainer Maria Rilke]

The Wait

It is life in slow motion,
it's the heart in reverse,
it's a hope-and-a-half:
too much and too little at once.

It's a train that suddenly
stops with no station around,
and we can hear the cricket,
and, leaning out the carriage

door, we vainly contemplate
a wind we feel that stirs
the blooming meadows, the meadows
made imaginary by this stop.


-Translated by A. Poulin

The Voices [Rainer Maria Rilke]

The Voices

The rich and fortunate do well to keep silent,
for no one cares to know who and what they are.
But those in need must reveal themselves,
must say: I am blind,
or: I'm on the verge of going blind,
or: nothing goes well with me on earth,
or: I have a sickly child,
or: I have little to hold me together...

And chances are this is not nearly enough.

And because people try to ignore them as they
pass by them: these unfortunate ones have to sing!

And at times one hears some excellent singing!

Of course, people differ in their tastes: some would
prefer to listen to choirs of boy-castrati.

But God himself comes often and stays long,
when the castrati's singing disturbs Him.


-Translated by Albert Ernest Flemming

The Unicorn [Rainer Maria Rilke]

The Unicorn

The saintly hermit, midway through his prayers
stopped suddenly, and raised his eyes to witness
the unbelievable: for there before him stood
the legendary creature, startling white, that
had approached, soundlessly, pleading with his eyes.

The legs, so delicately shaped, balanced a
body wrought of finest ivory. And as
he moved, his coat shone like reflected moonlight.
High on his forehead rose the magic horn, the sign
of his uniqueness: a tower held upright
by his alert, yet gentle, timid gait.

The mouth of softest tints of rose and grey, when
opened slightly, revealed his gleaming teeth,
whiter than snow. The nostrils quivered faintly:
he sought to quench his thirst, to rest and find repose.
His eyes looked far beyond the saint's enclosure,
reflecting vistas and events long vanished,
and closed the circle of this ancient mystic legend.

The Spanish Dancer [Rainer Maria Rilke]

The Spanish Dancer

As on all its sides a kitchen-match darts white
flickering tongues before it bursts into flame:
with the audience around her, quickened, hot,
her dance begins to flicker in the dark room.

And all at once it is completely fire.

One upward glance and she ignites her hair
and, whirling faster and faster, fans her dress
into passionate flames, till it becomes a furnace
from which, like startled rattlesnakes, the long
naked arms uncoil, aroused and clicking.

And then: as if the fire were too tight
around her body, she takes and flings it out
haughtily, with an imperious gesture,
and watches: it lies raging on the floor,
still blazing up, and the flames refuse to die -
Till, moving with total confidence and a sweet
exultant smile, she looks up finally
and stamps it out with powerful small feet.

The Sonnets To Orpheus: XXV [Rainer Maria Rilke]

The Sonnets To Orpheus: XXV

But you now, dear girl, whom I loved like a flower whose
name
I didn't know, you who so early were taken away:
I will once more call up your image and show it to them,
beautiful companion of the unsubduable cry.

Dancer whose body filled with your hesitant fate,
pausing, as though your young flesh had been cast in bronze;
grieving and listening--. Then, from the high dominions,
unearthly music fell into your altered heart.

Already possessed by shadows, with illness near,
your blood flowed darkly; yet, though for a moment
suspicious,
it burst out into the natural pulses of spring.

Again and again interrupted by downfall and darkness,
earthly, it gleamed. Till, after a terrible pounding,
it entered the inconsolably open door.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: XIX [Rainer Maria Rilke]

The Sonnets To Orpheus: XIX

Though the world keeps changing its form
as fast as a cloud, still
what is accomplished falls home
to the Primeval.

Over the change and the passing,
larger and freer,
soars your eternal song,
god with the lyre.

Never has grief been possesed,
never has love been learned,
and what removes us in death

is not revealed.
Only the song through the land
hallows and heals.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: IV [Rainer Maria Rilke]

The Sonnets To Orpheus: IV

O you tender ones, walk now and then
into the breath that blows coldly past,
Upon your cheeks let it tremble and part;
behind you it will tremble together again.

O you blessed ones, you who are whole,
you who seem the beginning of hearts,
bows for the arrows and arrows' targets--
tear-bright, your lips more eternally smile.

Don't be afraid to suffer; return
that heaviness to the earth's own weight;
heavy are the mountains, heavy the seas.

Even the small trees you planted as children
have long since become too heavy; you could not
carry them now. But the winds...But the spaces....


-Translated by Stephen Mitchell

The Sonnets To Orpheus: I [Rainer Maria Rilke]

The Sonnets To Orpheus: I

A tree ascended there. Oh pure transendence!
Oh Orpheus sings! Oh tall tree in the ear!
And all things hushed. Yet even in that silence
a new beginning, beckoning, change appeared.

Creatures of stillness crowded from the bright
unbound forest, out of their lairs and nests;
and it was not from any dullness, not
from fear, that they were so quiet in themselves,

but from just listening. Bellow, roar, shriek
seemed small inside their hearts. And where there had been
at most a makeshift hut to receive the music,

a shelter nailed up out of their darkest longing,
with an entryway that shuddered in the wind-
you built a temple deep inside their hearing.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: Book 2: XXIII [Rainer Maria Rilke]

The Sonnets To Orpheus: Book 2: XXIII

Call to me to the one among your moments
that stands against you, ineluctably:
intimate as a dog's imploring glance
but, again, forever, turned away

when you think you've captured it at last.
What seems so far from you is most your own.
We are already free, and were dismissed
where we thought we soon would be at home.

Anxious, we keep longing for a foothold-
we, at times too young for what is old
and too old for what has never been;

doing justice only where we praise,
because we are the branch, the iron blade,
and sweet danger, ripening from within.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: Book 2: XIII [Rainer Maria Rilke]

The Sonnets To Orpheus: Book 2: XIII

Be ahead of all parting, as though it already were
behind you, like the winter that has just gone by.
For among these winters there is one so endlessly winter
that only by wintering through it all will your heart survive.

Be forever dead in Eurydice-more gladly arise
into the seamless life proclaimed in your song.
Here, in the realm of decline, among momentary days,
be the crystal cup that shattered even as it rang.

Be-and yet know the great void where all things begin,
the infinite source of your own most intense vibration,
so that, this once, you may give it your perfect assent.

To all that is used-up, and to all the muffled and dumb
creatures in the world's full reserve, the unsayable sums,
joyfully add yourself, and cancel the count.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: Book 2: VI [Rainer Maria Rilke]

The Sonnets To Orpheus: Book 2: VI

Rose, you majesty-once, to the ancients, you were
just a calyx with the simplest of rims.
But for us, you are the full, the numberless flower,
the inexhaustible countenance.

In your wealth you seem to be wearing gown upon gown
upon a body of nothing but light;
yet each seperate petal is at the same time the negation
of all clothing and the refusal of it.

Your fragrance has been calling its sweetest names
in our direction, for hundreds of years;
suddenly it hangs in the air like fame.

Even so, we have never known what to call it; we guess...
And memory is filled with it unawares
which we prayed for from hours that belong to us.


-Translated by Stephen Mitchell

The Sonnets To Orpheus: Book 2: I [Rainer Maria Rilke]

The Sonnets To Orpheus: Book 2: I

Breathing: you invisible poem! Complete
interchange of our own
essence with world-space. You counterweight
in which I rythmically happen.

Single wave-motion whose
gradual sea I am:
you, most inclusive of all our possible seas-
space has grown warm.

How many regions in space have already been
inside me. There are winds that seem like
my wandering son.

Do you recognize me, air, full of places I once absorbed?
You who were the smooth bark,
roundness, and leaf of my words.


-Translated by Stephen Mitchell

The Song Of The Widow [Rainer Maria Rilke]

The Song Of The Widow

In the beginning life was good to me;
it held me warm and gave me courage.
That this is granted all while in their youth,
how could I then have known of this.
I never knew what living was----.
But suddenly it was just year on year,
no more good, no more new, no more wonderful.
Life had been torn in two right down the middle.

That was not his fault nor mine
since both of us had nothing but patience;
but death has none.
I saw him coming (how rotten he looked),
and I watched him as he took and took:
and nothing was mine.

What, then, belonged to me; was mine, my own?
Was not even this utter wretchedness
on loan to me by fate?
Fate does not only claim your happiness,
it also wants your pain back and your tears
and buys the ruin as something useless, old.

Fate was present and acquired for a nothing
every expression my face is capable of,
even to the way I walk.
The daily diminishing of me went on
and after I was emptied fate gave me up
and left me standing there, abandoned.


-Translated by Albert Ernest Flemming

The Song Of The Blindman [Rainer Maria Rilke]

The Song Of The Blindman

I am blind, you out there -- that is a curse,
against one's will, a contradiction,
a heavy daily burden.
I lay my hand on the arm of my wife,
my grey hand upon her greyer grey,
as she guides me through empty spaces.

You move about and stir, and imagine
your sounds differing from stone to stone.
But you are mistaken: I alone
live and suffer and complain, for
in me is an endless crying,
and I do not know whether it is
my heart that cries or my bowels.

Do you recognize these songs? You never sang them,
not quite with this intonation.
For you every morning brings its new light
warm through your open windows.
And you have the feeling from face to face
that tempts you to be indulgent.


-Translated by Albert Ernest Flemming

The Song Of The Beggar [Rainer Maria Rilke]

The Song Of The Beggar

I am always going from door to door,
whether in rain or heat,
and sometimes I will lay my right ear in
the palm of my right hand.
And as I speak my voice seems strange as if
it were alien to me,

for I'm not certain whose voice is crying:
mine or someone else's.
I cry for a pittance to sustain me.
The poets cry for more.

In the end I conceal my entire face
and cover both my eyes;
there it lies in my hands with all its weight
and looks as if at rest,
so no one may think I had no place where-
upon to lay my head.


-Translated by Albert Ernest Flemming

The Sisters [Rainer Maria Rilke]

The Sisters

Look how the same possibilities
unfold in their opposite demeanors,
as though one saw different ages
passing through two identical rooms.

Each thinks that she props up the other,
while resting wearily on her support;
and they can't make use of one another,
for they cause blood to rest on blood,

when as in the former times they softly touch
and try, along the tree-lined walks,
to feel themselves conducted and to lead;
ah, the ways they go are not the same.

The Poet [Rainer Maria Rilke]

The Poet

O hour of my muse: why do you leave me,
Wounding me by the wingbeats of your flight?
Alone: what shall I use my mouth to utter?

How shall I pass my days? And how my nights?

I have no one to love. I have no home.
There is no center to sustain my life.
All things to which I give myself grow rich
and leave me spent, impoverished, alone.

The Panther [Rainer Maria Rilke]

The Panther

His vision, from the constantly passing bars,
has grown so weary that it cannot hold
anything else. It seems to him there are
a thousand bars; and behind the bars, no world.

As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.

Only at times, the curtain of the pupils
lifts, quietly--. An image enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.

The Neighbor [Rainer Maria Rilke]

The Neighbor

Strange violin, why do you follow me?
In how many foreign cities did you
speak of your lonely nights and those of mine.
Are you being played by hundreds? Or by one?

Do in all great cities men exist
who tormented and in deep despair
would have sought the river but for you?
And why does your playing always reach me?

Why is it that I am always neighbor
to those lost ones who are forced to sing
and to say: Life is infinitely heavier
than the heaviness of all things.


-Translated by Albert Ernest Flemming

The Last Supper [Rainer Maria Rilke]

The Last Supper

They are assembled, astonished and disturbed
round him, who like a sage resolved his fate,
and now leaves those to whom he most belonged,
leaving and passing by them like a stranger.
The loneliness of old comes over him
which helped mature him for his deepest acts;
now will he once again walk through the olive grove,
and those who love him still will flee before his sight.

To this last supper he has summoned them,
and (like a shot that scatters birds from trees)
their hands draw back from reaching for the loaves
upon his word: they fly across to him;
they flutter, frightened, round the supper table
searching for an escape. But he is present
everywhere like an all-pervading twilight-hour.


[On seeing Leonardo da Vinci's "Last Supper", Milan 1904.]


-Translated by Albert Ernest Flemming

The Last Evening [Rainer Maria Rilke]

The Last Evening

And night and distant rumbling; now the army's
carrier-train was moving out, to war.
He looked up from the harpsichord, and as
he went on playing, he looked across at her

almost as one might gaze into a mirror:
so deeply was her every feature filled
with his young features, which bore his pain and were
more beautiful and seductive with each sound.

Then, suddenly, the image broke apart.
She stood, as though distracted, near the window
and felt the violent drum-beats of her heart.

His playing stopped. From outside, a fresh wind blew.
And strangely alien on the mirror-table
stood the black shako with its ivory skull.


-Translated by Stephen Mitchell

The Grown-Up [Rainer Maria Rilke]

The Grown-Up

All this stood upon her and was the world
and stood upon her with all its fear and grace
as trees stand, growing straight up, imageless
yet wholly image, like the Ark of God,
and solemn, as if imposed upon a race.

As she endured it all: bore up under
the swift-as-flight, the fleeting, the far-gone,
the inconceivably vast, the still-to-learn,
serenely as a woman carrying water
moves with a full jug. Till in the midst of play,
transfiguring and preparing for the future,
the first white veil descended, gliding softly

over her opened face, almost opaque there,
never to be lifted off again, and somehow
giving to all her questions just one answer:
In you, who were a child once-in you.


-Translated by Stephen Mitchell

The Future [Rainer Maria Rilke]

The Future

The future: time's excuse
to frighten us; too vast
a project, too large a morsel
for the heart's mouth.

Future, who won't wait for you?
Everyone is going there.
It suffices you to deepen
the absence that we are.


-Translated by A. Poulin

The Blindman's Song [Rainer Maria Rilke]

The Blindman's Song

I am blind, you outsiders. It is a curse,
a contradiction, a tiresome farce,
and every day I despair.
I put my hand on the arm of my wife
(colorless hand on colorless sleeve)
and she walks me through empty air.

You push and shove and think that you've been
sounding different from stone against stone,
but you are mistaken: I alone
live and suffer and howl.
In me there is an endless outcry
and I can't tell what's crying, whether its my
broken heart or my bowels.

Are the tunes familiar? You don't sing them like this:
how could you understand?
Each morning the sunlight comes into your house,
and you welcome it as a friend.
And you know what it's like to see face-to-face;
and that tempts you to be kind.

The Apple Orchard [Rainer Maria Rilke]

The Apple Orchard

Come let us watch the sun go down
and walk in twilight through the orchard's green.
Does it not seem as if we had for long
collected, saved and harbored within us
old memories? To find releases and seek
new hopes, remembering half-forgotten joys,
mingled with darkness coming from within,
as we randomly voice our thoughts aloud
wandering beneath these harvest-laden trees
reminiscent of Durer woodcuts, branches
which, bent under the fully ripened fruit,
wait patiently, trying to outlast, to
serve another season's hundred days of toil,
straining, uncomplaining, by not breaking
but succeeding, even though the burden
should at times seem almost past endurance.
Not to falter! Not to be found wanting!

Thus must it be, when willingly you strive
throughout a long and uncomplaining life,
committed to one goal: to give yourself!
And silently to grow and to bear fruit.

Telling You All [Rainer Maria Rilke]

Telling You All

Telling you all would take too long.
Besides, we read in the Bible
how the good is harmful
and how misfortune is good.

Let's invite something new
by unifying our silences;
if, then and there, we advance,
we'll know it soon enough.

And yet towards evening,
when his memory is persistent,
one belated curiousity
stops him before the mirror.

We don't know if he is frightened.
But he stays, he is engrossed,
and, facing his reflection,
transports himself somewhere else.

Sunset [Rainer Maria Rilke]

Sunset

Slowly the west reaches for clothes of new colors
which it passes to a row of ancient trees.
You look, and soon these two worlds both leave you
one part climbs toward heaven, one sinks to earth.

leaving you, not really belonging to either,
not so hopelessly dark as that house that is silent,
not so unswervingly given to the eternal as that thing
that turns to a star each night and climbs-

leaving you (it is impossible to untangle the threads)
your own life, timid and standing high and growing,
so that, sometimes blocked in, sometimes reaching out,
one moment your life is a stone in you, and the next, a star.