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    Sonnets to Orpheus
    Sonnets to Orpheus
    Sonnets to Orpheus
    Ebook139 pages1 hour

    Sonnets to Orpheus

    By Rainer Maria Rilke and David Young

    4.5/5

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    About this ebook

    Sonnets to Orpheus is Rainer Maria Rilke's first and only sonnet sequence. It is an undisputed masterpiece by one of the greatest modern poets, translated here by a master of translation, David Young.

    Rilke revived and transformed the traditional sonnet sequence in the Sonnets. Instead of centering on love for a particular person, as has many other sonneteers, he wrote an extended love poem to the world, celebrating such diverse things as mirrors, dogs, fruit, breathing, and childhood. Many of the sonnets are addressed to two recurrent figures: the god Orpheus (prototype of the poet) and a young dancer, whose death is treated elegiacally.

    These ecstatic and meditative lyric poems are a kind of manual on how to approach the world – how to understand and love it. David Young's is the first most sensitive of the translations of this work, superior to other translations in sound and sense. He captures Rilke's simple, concrete, and colloquial language, writing with a precision close to the original.

    LanguageEnglish
    PublisherWesleyan University Press
    Release dateJan 1, 2012
    ISBN9780819572660
    Sonnets to Orpheus
    Author

    Rainer Maria Rilke

    Rainer Maria Rilke (1875-1926) is considered one of the greatest German-language writers to have ever lived. He is best known for his Duino Elegies, Sonnets to Orpheus, and The Notebooks of Malte Laurids Brigge.

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    Reviews for Sonnets to Orpheus

    4.5/5

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    • 3/5
      Probably the most infuriating book of poetry I've ever read, perhaps will ever read. The highs and lows are so dizzyingly high and so mind-numbingly, banally low that I couldn't always keep pace. The first and tenth elegies were high, the other elegies interesting and beautiful, if you can stomach the whole whiney little boy thing he falls into occasionally, and his affection for idiot-metaphysics ('Sein Aufgang ist Dasein' and so forth). Many of the sonnets, however, are appalling. Once Rilke ditches the generally critical stance of the elegies (complaints on injustice, suffering etc...) the idiot-metaphysics becomes overwhelming:

      "Be - and at the same time know the implication of non-being...
      to nature's whole supply of speechless, dumb,
      and also used up things, the unspeakable sums,
      rejoicing, add yourself and nullify the count."

      Not to say there aren't great sonnets in there too, but my overall impression was one of disgust at this wonderful poet - what's more human than poetry? - wanting to become an object, thrilling in a mysticism of death. Add this to the apparent desire for a god to save us from the injustice and suffering so perfectly evoked in the elegies (uh... couldn't we save ourselves?), and my brain explodes. Because the whole thing is so beautiful, and at once so horrible, that there's nothing else for my brain to do.
    • 4/5
      Rilke, in this comprehensive translation of two major works, crafts powerful yet elegant poetic odes to the majesty of the human experience and its relationship to the external world. A realm in which the human being exists in quandary and struggle. The translation is quite readable and often beautiful, but sometimes a little uneven. I would like to compare it to other translations.
    • 5/5
      For my taste this is not the best translation, but I do like certain parts. These are two of Rilke's major works (The third being the Book of Hours). I would not use this as my primary translation, but if you are looking for a second copy, this is more than adequate.
    • 4/5
      Obviously we should all read all of Rilke's poems... but the Sonnets to Orpheus would be the second work I would buy, right after the Book of Hours. I like having the parallel translations--I can sound out just enough German to appreciate some of the sonic work.

    Book preview

    Sonnets to Orpheus - Rainer Maria Rilke

    INTRODUCTION

    In February 1922, Rainer Maria Rilke recovered his creative energies as a poet with a suddenness and abundance virtually unparalleled in the history of poetic composition. The resulting masterpieces—the Duino Elegies, a long-standing project, and the unplanned Sonnets to Orpheus—were in one respect a bolt from the blue and in another the result of patient effort and unswerving purpose. The poet’s imagination had finally mended a world that was shattered by World War One, completing a bridge to his own artistic career and creative self, stranded on the far side of Europe’s cataclysmic upheavals nearly ten years before. Rilke had to leave Germany (he had spent most of the war in Munich, some of it in military service), settle in Switzerland, find a congenial place to live and work (the medieval tower at Muzot), and reawaken his emotions with a passionate love affair. After these things had been accomplished, along with a visit to his beloved Paris and a re-exposure to the French literature (particularly the poetry of Valéry) he cared so deeply for, Rilke was ready to write. When the poems came, they were a veritable avalanche. Especially gratifying, because unforeseen, were the poems of the great two-part sonnet sequence presented here.

    Rilke had long since mastered the sonnet as a literary form, but the Orpheus is his first (and only) sonnet sequence, a form whose characteristics and tradition it will be profitable to glance at as a preliminary to consideration of this poem. A sonnet sequence may be seen as a series of individual poems linked by common themes, by their study of a specific situation or relationship, or even simply by the occasion of their writing, i.e., covering a specific period of a writer’s life. But a sonnet sequence may also be thought of as a long poem; when that perspective is used, the individual sonnets act as stanzas, and, when narrative is present, as episodes. The fact that a sonnet sequence occupies a sort of middle ground between the long poem and the loose collection of individual lyrics makes it something of a risk, but it also creates, for both reader and writer, a potential advantage, since it combines diversity with unity.

    Most of the great sonnet sequences are built around a love relationship. The love may be unsuccessful in terms of wordly judgment, but the otherwordly is never very far away. From Petrarch on, the painful ways of human emotion, its frustrations and bewilderments, have been a window to the infinite, a means of discovering the universal power of love. Moreover, in the process of documenting the ups and downs of a relationship, the poet-lover may range quite widely for topics, moods, occasions and ideas. The amount of attention that Shakespeare devotes to the problems of time and change in his sonnet sequence is a familiar instance of a widespread tendency.

    Rilke appears to have seized on this expansiveness in achieving and designing his sequence, as well as on the lover’s pilgrimage to mystical knowledge. He does not center his poem on love for a particular person, but writes instead a kind of extended love-poem to the world, celebrating such diverse love-objects as mirrors, dogs, fruit, ancient sarcophagi, roses, a strip of cloth, unicorns, breathing and childhood. Thus the expansiveness and diversity of the traditional sequence are extended, and the narrative base provided by the history of a specific relationship virtually disappears. I say virtually because this sequence of sonnets does have two recurrent figures who are addressed frequently enough to raise the possibility that the entire poem is devoted to either or both of them: the god Orpheus, prototype of the poet, and the young dancer, Vera Ouckama Knoop, whose death is treated elegiacally. These characters seem in one sense to replace Petrarch’s Laura or Sidney’s Stella, but in another sense they take their place among the crowd of subjects the poet confronts when he asks himself what a given sonnet might celebrate or meditate upon. The sonnets can be to Orpheus because the possibility of poetry is everywhere in the world, and they can be to or for the young dancer because her death, in effect, merges her with that world. But they are a kind of manual on how to approach the world, how to see and understand its myriad forms and activities. If, as I’ve suggested elsewhere, the Duino Elegies are about what it really means to be human, the sonnets seem to be about how you can love the world, and survive in it,

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