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Rilke's Book of Hours: Love Poems to God
PDF Download Rilke's Book of Hours: Love Poems to God
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Review
"These poems of spiritual yearning and discovery composed by the young Rilke one hundred years ago feel very fresh and moving in the beautifully transparent, supple versions of Anita Barrows and Joanna Macy. With their psalm-like directness and emotional urgencyk, they nourish and quicken the life of the spirit." --Chana Bloch, translator of The Song of Songs
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From the Back Cover
At the beginning of this century, a young German poet returned from a journey to Russia, where he had immersed himself in the spirituality he discovered there. He "received" a series of poems about which he did not speak for a long time - he considered them sacred, and different from anything else he ever had done and ever would do again. This poet saw the coming darkness of the century, and saw the struggle we would have in our relationship to the divine. The poet was Rainer Maria Rilke, and these love poems to God make up his Book of Hours.
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Product details
Paperback: 272 pages
Publisher: Riverhead Books; Reprint edition (November 1, 2005)
Language: English
ISBN-10: 1594481563
ISBN-13: 978-1594481567
Product Dimensions:
5.1 x 0.7 x 8 inches
Shipping Weight: 9.3 ounces (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
106 customer reviews
Amazon Best Sellers Rank:
#41,434 in Books (See Top 100 in Books)
These are some of Rilke's earlier works, and I have loved seeing the brilliant beginnings of his work through these poems. There is a necessary darkness in some, and then there are those with such illuminating insights I have to pause and ponder his words wanting them to sink deeply into my spirit. His mysticism is what draws me to him. As an artist and mystic poet myself, I appreciate all aspects of his process and revel in the beauty of his writing. This book is essential for those who seek a deeper understanding of Rilke's journey. Love Without Distance: A Heartscape of Art and Verse
I agree with K. Marsh's assessment. This alleged translation is a narcissistic, disrespectful, multi-ideological perversion of Rilke's poetry. Barrows & Macy employ Buddhism, feminism, and Deep Ecology (the adjective indicates ecology has been reframed) to reinterpret Rilke through their lenses. And they do so with pride in their Commentary section. I'll cite examples, but let me cut to the chase: You read this book knowing that at will they have deliberately rewritten or omitted lines, changed the order of lines, exchanged lines between poems, and merged poems to create a better single poem. And they rewrite the meaning of lines not as translation but to correct Rilke's thinking and his not quite ready for prime time ideas and render them into better Barrows & Macy concepts, or at least clarify for Rilke what he meant to or should have said. Imagine the audacity of this line, p. 243, "We omitted the last seven lines, which lost the thread of the preceding image and repeated the thought that is in I,4. After all, Rilke was writing these very quickly!" And, yes, he was. The first cycle of the Sonnets came quickly, in a week, as if he were taking dictation. Should we not preserve the precise, intact delivery from what he called his angel of inspiration??? So, they missed the whole point of the Sonnets, rendering their translation stillborn. On P. 251, we get "No, this not a mis-numbering. We have altered Rilke's ordering of the poems so as not to interrupt the sequence that immediately precedes and which seem all of a piece." Seems? Can we not respect Rilke's ordering? Might we allow his sequence to reveal itself, to break through your conceptual walls? And this travesty, p. 242, "Rilke wrote of the circles that they 'sich uber die Dinge aiehn,' literally 'draw themselves over the things.' Clearly what he intended was the things of this world (see the introduction)." They missed this about Rilke too: When asked to explain what he meant in a particular poem, he responded with, "Everything you need to explain the poem is in the poem." A critical humility is needed in translation, especially with Rilke's journeys into the mystery of existence. Barrows & Macy have that mystery figured out by their ideologies, and thus can correct Rilke's many forays into the multidimensionality of the great darkness. They get it right, as on: P. 248: "Taking our cue from line 7, we omitted the last two thirds of the poem." P. 249, "We have omitted two lines that didn't fit in the cup." Let me translate that one..."that didn't fit our cup of tea." On page 254, "We have combined most of 4 with the last lines of 5. The two themes of this book..." They made a new poem (goodbye nuance) by changing and mixing lines acceptable to them. We want what Rilke wrote. Let's get to the feminist ideology through gender modification (not legitimate and sacred feminism): In their first edition, they wrote, as I remember (I discarded that edition) words to the effect that they changed all of the offensive masculine pronouns--and thus history is revised by them. (Visionary that he was, I don't know if Rilke envisioned a pronoun war in the latter part of the 20th century.) And they try to soft peddle gender now by calling it, in an Orwellian term, deconstructing gender. The first volume also said that they spared the reader all of Rilke's images of pregnant men. How could you be a translator of poetry and not see a metaphor in front of you? That metaphor was one of the key ones in his poetry--that all life is gestation. All life is a becoming. And it's just elementary Joseph Campbell that metaphors point to something beyond concepts, that which is rendered by good Rilke translators as the "unsayable." In Letters to a Young Poet in his 20s, Rilke saw the age of feminine recognition and power coming, and said that relationships could become a kind of sacred friendship not sullied by masculine-feminine misconceptions. He knew that masculine and feminine were energies of beings not to be confused with physical sex organs. Anne Morrow Lindbergh in her Gift from the Sea saw Rilke's views on relationship as groundbreaking on masculine and feminine.Translators must have latitude to find accurate words moving from German to English to convey the essence of a poem, but when Barrows & Macy quote the literal translation and then say Rilke missed the mark and we know what it should be, it is outrageous. Again, it has to fit ideology, not the whispers of the angel in Rilke's ear. But they don't like metaphor anyway: P. 254, "We omitted the middle section of the poem, which employs a different metaphor." They're strict! Here's my problem with the Barrows & Macy translation: What the Commentary reveals that has been corrupted in the poems not only leaves such a bad taste in my mouth, but also does not allow me to read other poems without a haunting sensation that other lines and poems have been tampered with. How much sabotaging of Rilke's Book of Hours is not acknowledged? It is impossible to hold this book in my hands.
This is the best way into reading Rilke. The youthful freshness, the clarity of language and image, and the spiritual zeal expressed through a devotee-like persona, all are uplifting and hopeful.Too bad that his later verse leaves the divine in wrapped darkness and angst. He was oriented powerfully toward the divine, oh so powerfully, but could make no personal leap and therefore could make no spiritual claim on his readers. A modernist, finally, who gave us art while desiring so much more.The translations here bring this early poetry to life without wooden pedantry. It's all fresh and direct.
Rilke, in its original German text is inaccessible to most readers. Furthermore, I as a physician as well as most other people, do dot have time to take courses in German and literature to fully appreciate him in his original works. Furthermore, most literal translations tend to lose their poetic beauty. Just as I would not attempt to explain complicated medical issue in medical jargon, just to be precise, I do not expect the translators of Rilke be so literal that both the thoughts and beauty being expressed remain opaque to all but linguists and critics. Sometimes "Ivory Tower" critiques are useful to a limited few, ignoring the possibility that the many want to have access to these intelligent, beautiful, and sophisticated works. I thank the Macy's efforts not only to clearly express Rilke's thoughts and feelings, but also for the changes that morph the poems that change from literal silkworms hidden in cocoons of inaccessibility to beautiful poetic butterflies through the generous work of the Macy's efforts in their transmutation.
Rilke is the best. He has the perfect balance of God and nature and thought about God in a way that is fresh and unique even by today's standards. Reading this will always put me back in touch with my spirit.
Rilke's weaves words together into works of art. His poems offer much to think about long after the reading. The poems seem to increase in wisdom with each re-reading, as the reader grows more thoughtful.
Beautiful, beautiful poetry. Was it Rilke who originally said, "Poetry is the soul's natural prayer..." ? One of my favorite Rilke quotations is that we "must always be beginning..." I tell my students this and emphasize that we who are in fact poets and writers, must be especially aware of this. But isn't this also true of pray-ers and mystics?
This is a book of beatific poetry, beautifully translated, prefaced, introduced, annotated and with commentary by the two translators. The poetry is worth all their effort, and will provide many opportunities for joyful contemplation.
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