83
" For example, it never occurred to me before how many faces there are. There are multitudes of people, but there are many more faces, because each person has several of them. There are people who wear the same faces for years; naturally it wears out, gets dirty, splits at the seams, stretches like gloves worn during a long journey. There are thrifty, uncomplicated people; they never change it, never have it cleaned. It's good enough, they say, and who can convince them of the contrary? Of course, since they have several faces, you might wonder what they do with the other ones. They keep them in storage. Their children will wear them. And why not? A face is a face.
Other people change faces incredibly fast, put on one after another, and wear them out. At first, they think they have an unlimited supply, but when they are barely forty years old they come to their last one. There is, to be sure, something tragic about this. They are not accustomed to taking care of faces; their last one is worn through in a week, has holes in it, is in many places as thin as paper, and then, little by little, the lining shows through, the non-face, and they walk around with that on. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
84
" I now understand very well, by the way, that a man will carry, for many a year, deep inside his wallet, the account of a dying hour. It need not even be one especially chosen; they all have something well nigh distinctive about them. Can we not imagine someone copying out, let us say, the manner of Félix Arvers's death? He died in a hospital, at ease and in repose, and the nun perhaps supposed he was closer to death than in fact he was. She called out some instructions or other, in a very loud voice, detailing where this or that was to be found. This nun was quite uneducated; the word ‘corridor’, which she could not avoid using, she had never seen written down, so it happened that she said ‘collidor’, thinking that was how it was pronounced. This decided Arvers to postpone his death. He felt it was necessary to clear the matter up first. He became perfectly lucid, and explained to her that the word was ‘corridor’. Then he died. He was a poet and hated the inexact; or perhaps he was simply concerned with the truth; or else it bothered him that his last impression of the world should be that it was carrying on in this careless fashion. There is no determining which it was. But let no one think it was pedantry. In that case, the same stricture might be brought against the saintly Jean de Dieu, who leaped up from his deathbed and was just in time to cut down a man who had hanged himself in the garden, knowledge of whom had in some miraculous way penetrated the inward tension of the saint's agony. He too was concerned with the truth alone. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
85
" Song"
You, whom I do not tell that all night long
I lie weeping,
whose very being makes me feel wanting
like a cradle.
You, who do not tell me, that you lie awake
thinking of me:--
what, if we carried all these longings within us
without ever being overwhelmed by them,
letting them pass?
Look at these lovers, tormented by love,
when first they begin confessing,
how soon they lie!
You make me feel alone. I try imagining:
one moment it is you, then it's the soaring wind;
a fragrance comes and goes but never lasts.
Oh, within my arms I lost all whom I loved!
Only you remain, always reborn again.
For since I never held you, I hold you fast. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
86
" Creo que debería empezar a trabajar un poco, ahora que aprendo a ver. Tengo veintiocho años y no me ha ocurrido prácticamente nada. Recapitulemos: he escrito un estudio malo sobre Carpaccio, una obra de teatro que se titula Matrimonio y trata de demostrar una tesis falsa con medios ambiguos, y algunos versos. Ay, pero los versos valen tan poco, cuando se los escribe de joven. Uno debería esperar y dedicar toda una vida a atesorar sentido y dulzura, una vida larga, a ser posible, y entonces, al término de la misma, quizá fuera capaz de escribir diez versos que merecieran la pena. Y es que, contrariamente a lo que cree la gente, los versos no son sentimientos (éstos se tienen ya en la primera juventud): son vivencias. Para dar a luz un solo verso hay que haber visto muchas ciudades, hombres y cosas, hay que conocer los animales, hay que sentir cómo vuelan las aves y saber con qué ademán se abren las flores pequeñas al amanecer. Hay que ser capaz de recordar caminos de regiones desconocidas, encuentros inesperados y separaciones que se veían venir de lejos; días de infancia aún por aclarar, a los padres a los que no podíamos evitar ofender cuando nos traían una alegría que nosotros no entendíamos (era una alegría destinada a otro); las enfermedades infantiles que aparecían de un modo tan extraño y experimentaban tantas transformaciones profundas y graves, días pasados en estancias tranquilas y recogidas, y mañanas junto al mar, el mar en general, los mares, las noches de viaje que pasaban altas y como una exhalación y volaban con todas las estrellas; y ni siquiera basta con ser capaz de pensar en todo esto. Hay que haber conservado el recuerdo de muchas noches de amor, ninguna de las cuales se parece a la otra, de gritos de parturientas y de mujeres que acaban de dar a luz y, aligeradas, blancas y durmientes, se cierran. Pero también hay que haber asistido a moribundos, estado con muertos en habitaciones con la ventana abierta y ruidos esporádicos. Y tampoco basta con tener recuerdos. Hay que saber olvidarlos, si son muchos, y tener la enorme paciencia de esperar a que regresen. Porque los recuerdos en sí todavía no existen. Solo cuando se tornan sangre en nosotros, cuando se convierten en mirada y gesto, cuando se hacen indecibles y no pueden distinguirse ya de nosotros, solo entonces puede suceder que, en un momento rarísimo, brote en su centro y emane de ellos la primera palabra de un verso. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
93
" And when I wrote my play, how wrong I went. Was I such an emulator and fool that I needed a third party to tell us about the fate of two people who were making life difficult for each other? How easily I fell into that trap. And I surely ought to have known that this third party, who appears in all lives and literatures, this ghost of a third person, has no meaning at all, that he ought to be disavowed. He is one of Nature’s pretexts, for she is always at pains to distract humanity from her deepest secrets. He is the screen behind which a drama unfolds. He is the noise at the entrance to the voiceless quiet of a genuine conflict. I’m tempted to think that everyone has hitherto found it too difficult to speak about the two people at the heart of it; the third one, precisely because he is so unreal, is the easiest part of the task, anyone could write him. Right from the beginning of these dramas you notice their impatience to get to the third party, they can hardly wait for him to appear. Once he’s there, everything is fine. But how boring it is if he’s late, absolutely nothing can happen without him, everything comes to a standstill, pauses, waits. Yes, and what if they didn’t get past this pile-up, this logjam? What if, Mr Playwright, and you, the Public, who know about life, what if he were lost without trace, this well-liked man-about-town or this bumptious young person who fits into every marriage like a master-key? What if, for instance, he has been whisked off by the Devil? Let’s assume he has. You suddenly notice the artificial emptiness of theatres, they’re walled up like dangerous holes, and only the moths from the cushioned edges of the boxes tumble down through the hollow space with nothing to hold on to. Playwrights no longer enjoy the exclusive areas of town. All the prying public is looking on their behalf in the far corners of the world for the irreplaceable person who was the very embodiment of the action.
And at the same time they’re living amongst the people, not these ‘third parties’, but the two people about whom an incredible amount could be said, but about whom nothing has ever yet been said, although they suffer and get on with things and don’t know how to manage. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
95
" One should wait, and gather meaning and sweetness a whole life long, a long life if possible, and then, at the very end, one might perhaps be able to write ten good lines. For verses are not feelings, as people imagine – those one has early enough; they are experiences. In order to write a single line, one must see a great many cities, people and things, have an understanding of animals, sense how it is to be a bird in flight, and know the manner in which the little flowers open every morning. In one's mind there must be regions unknown, meetings unexpected and long-anticipated partings, to which one can cast back one's thoughts – childhood days that still retain their mystery, parents inevitably hurt when one failed to grasp the pleasure they offered (and which another would have taken pleasure in), childhood illnesses beginning so strangely with so many profound and intractable transformations, days in peacefully secluded rooms and mornings beside the sea, and the sea itself, seas, nights on journeys that swept by on high and flew past filled with stars – and still it is not enough to be able to bring all this to mind. One must have memories of many nights of love, no two alike; of the screams of women in labour; and of pale, white, sleeping women in childbed, closing again. But one must also have been with the dying, have sat in a room with the dead with the window open and noises coming in at random. And it is not yet enough to have memories. One has to be able to forget them, if there are a great many, and one must have great patience, to wait for their return. For it is not the memories in themselves that are of consequence. Only when they are become the very blood within us, our every look and gesture, nameless and no longer distinguishable from our inmost self, only then, in the rarest of hours, can the first word of a poem arise in their midst and go out from among them. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
97
" He renders himself so flat that many people pass by every day without ever seeing him. He does still have something of a voice left, true, and uses it to draw attention; but it is no different from a noise in a lamp or a stove, or the odd irregular dripping of water in a cave. And the world is so ordered that there are people who are forever passing by, their whole lives long, in that interval when he moves on, making less of a sound than anything else that moves, like the hand of a clock, like the shadow of the hand of a clock, like time itself. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
98
" Ci sono giorni in cui tutto intorno a noi è lucente, leggero, appena accennato nell’aria chiara e pur nitido. Le cose più vicine hanno già il tono della lontananza, sono sottratte a noi, mostrate a noi ma non offerte; e ciò che ha rapporto con gli spazi lontani – il fiume, i ponti, le lunghe strade e le piazze che si prodigano -, tutto ciò ha preso dietro di sé quegli spazi, vi sta sopra dipinto come sulla seta. E’ impossibile esprimere cosa riesca ad essere, allora, una carrozza d’un verde lucente sul Pont-Neuf o qualcosa di rosso che non si può fermare, o anche solo un manifesto sul muro antincendio di un gruppo di case grigio perla. Tutto è semplificato, composto in piani giusti e chiari come il volto in un ritratto di Manet. E nulla è insignificante e superfluo. "
― Rainer Maria Rilke , The Notebooks of Malte Laurids Brigge
