Thoughts on “The Angels” by Rainer Maria Rilke

Gustave Dore – artist

They all have weary mouths,
bright souls without a seam.
And a yearning (as for sin)
often haunts their dream.

They wander, each and each alike,
in God’s garden silently,
as many, many intervals
in his might and melody.

Only when they spread their wings
they awaken a great wind through the land:
as though with his broad sculptor-hands
God was turning
the leaves of the dark book of the Beginning.

(translation by C. F. MacIntyre)

I read this poem a couple times and struggled with it. There is a tension here that is tangible but not easy to identify. I did a little research online about Rilke’s ideas concerning angels, and he would go into deeper exploration of the topic in his Duino Elegies.

Throughout the Duino Elegies, Rilke explores themes of “the limitations and insufficiency of the human condition and fractured human consciousness … mankind’s loneliness, the perfection of the angels, life and death, love and lovers, and the task of the poet”. Philosopher Martin Heidegger remarked that “the long way leading to the poetry is itself one that inquires poetically”, and that Rilke “comes to realize the destitution of the time more clearly. The time remains destitute not only because God is dead, but because mortals are hardly aware and capable even of their own mortality.” Rilke explores the nature of mankind’s contact with beauty, and its transience, noting that humanity is forever only getting a brief, momentary glimpse of an inconceivable beauty and that it is terrifying.

(Source: Wikipedia)

So Rilke appears to be grappling with the contrast between the fragmented human condition and our divine nature as manifested in angelic beings. What is particularly interesting in “The Angels” is that the angels appear sad and lost, just as humans are. Additionally, within each angel is the possibility of sin. It is like every angel recognizes that it has the potential to follow the same path as Lucifer.

Like humans, the angels in Rilke’s poem wander aimlessly, lost and searching for meaning in a reality void of meaning.

Finally, we have the image of an angel taking flight, which causes a “great wind through the land.” This image conjures the myth of Icarus, who tried to escape the world but flew too close to the sun. Do the angels also long to escape from their limited existence, to ascend to new heights? In doing so, are they destined to fall, like Lucifer? Are we as humans, trapped in our reality, fettered to this broken world, and if we attempt to transcend, do we have that brief moment of exaltation before we crash into oblivion?

This poem leaves me with more questions than answers, but that is good. It is important to ponder questions about our existence and our place in the universe, and this poem succeeds in eliciting the deep questions which all of us should be asking.

I hope you enjoyed the poem and my thoughts about it. Feel free to share your thoughts in the comments section below.

Thoughts on “The Knight” by Rainer Maria Rilke

The knight rides forth in sable mail
into the stirring world.
Out there is all:
the friend, the foe, the valley, the day,
the meal in the hall,
the maid and the wood and the month of May,
and the Holy Grail,
and God himself many thousand times
is shown in the streets.

Yet, in the armor of the knight,
behind the sinister rings,
Death squats, brooding and brooding:
When will the sword spring
over the hedge of iron,
that strange and freeing blade,
to fetch me from this place
that has cramped me many a day,
so that at last I can stretch myself
and sing
and play?

(translation by C. F. MacIntyre)

I read this poem a couple times, and for me, I see the knight as a symbol for a young and idealistic individual, riding out to explore the world. Everything seems possible, and it is just a matter of going out and seeking one’s goal. It is essentially being on the archetypal quest.

But then the tone of the second stanza changes abruptly. It is the voice of the mature person, likely someone who having spent youth pursuing some lofty goal, has settled into the mundane reality of existence. The mature person feels trapped, stifled, and very aware of mortality. There is a sense of longing for the freedom of youth, the excitement of heading out into the world, and the simple pleasures that one associates with early years.

It is also worth considering the knight’s armor and what it represents. As we mature, we are prone to wrap ourselves in a protective cloak. But this security is an illusion. It is really a slow form of death that steadily smothers our lives.

As we near the end of our lives, we imagine that there is a better world waiting for us beyond the veil, where we can “sing and play” with the same joy and abandon as we did when young. But it is a sad and sobering thought that death would seem a welcome escape from the doldrums of life.

So how does one avoid this dread fate? I feel that by maintaining a sense of wonder and adventure that we can stave off the dreariness and monotony of life in later years. Stay on the quest. Always actively engage in life, for there is always something else out there to experience.

Thoughts on “Initiation” by Rainer Maria Rilke

Whoever you are, go out into the evening,
leaving your room, of which you know each bit;
your house is the last before the infinite,
whoever you are.
Then with your eyes that wearily
scarce lift themselves from the worn-out door-stone
slowly you raise a shadowy black tree
and fix it on the sky: slender, alone.
And you have made the world (and it shall grow
and ripen as a word, unspoken, still).
When you have grasped its meaning with your will,
then tenderly your eyes will let it go…

(translation: C.F. MacIntyre)

It dawned on me that up to this point I have not shared my thoughts on any of Rilke’s poetry here, so I am amending that issue right now.

As I read and thought about this poem, two interpretations came to me. The first of these is that the reader is being beckoned to be initiated into the transcendent wonder of Nature. Rilke encourages the reader to leave the sterile and safe domicile and venture out into the wild, creative, and divine realm of the natural world.

The other interpretation I see is that Rilke is describing death as an initiation of sorts, marking the transition when the soul becomes one with the divine source. The house that he mentions is a symbol for the body, which houses the spirit and is the last residence of the soul “before the infinite.” The “worn-out door-stone” represents the tombstone, marking the transition from material to spiritual. Finally, the raising of the “shadowy black tree” that is being fixed in the sky implies that the soul is no longer rooted in this world, but is now being firmly planted in the divine realm.

I really enjoyed this poem a lot, and I will definitely be looking at more of Rilke’s work in upcoming posts. I hope you found this inspiring, and as always, feel free to share your thoughts in the Comments section.

Cheers!

“Paracelsus: Selected Writings”

Reading metaphysical texts from the Renaissance period is challenging, and the challenge is often compounded when the text is alchemical and symbolic in nature. For this reason, I approached this text with a little trepidation. But I was pleasantly surprised to find it much more accessible than I had expected.

In order to better understand the text, some basic biographical information may be helpful.

Paracelsus (1493/4 – 24 September 1541), born Theophrastus von Hohenheim (full name Philippus Aureolus Theophrastus Bombastus von Hohenheim), was a Swiss physician, alchemist, and astrologer of the German Renaissance.

He was a pioneer in several aspects of the “medical revolution” of the Renaissance, emphasizing the value of observation in combination with received wisdom. He is credited as the “father of toxicology”.

He also had a substantial impact as a prophet or diviner, his “Prognostications” being studied by Rosicrucians in the 1700s. Paracelsianism is the early modern medical movement inspired by the study of his works.

(Source: Wikipedia)

I won’t spend a whole lot of time discussing Paracelsus’ medical writings from this book. But I will mention that he seemed to practice a form of holistic healing, treating the body and the spirit at the same time to promote optimal results. This is an idea which I personally embrace. I think spiritual and emotional unease manifests in physical ailment, and vice versa. Anyway, that is all I want to say regarding the medical aspects of this text.

The alchemical selections in this book I found fascinating. Paracelsus explains alchemy as the symbolic purification of the human soul.

Man must bring everything to perfection. This work of bringing things to their perfection is called “alchemy.” And he is an alchemist who carries what nature grows for the use of man to its destined end.

(pp. 92 – 3)

For the Great Physician created the ore but did not carry it to its perfect state; He has charged the miners with the task of refining it. In the same way He enjoined the physician to purify man’s body . . . from which purification man emerges as indestructible as gold.

(p. 94)

Paracelsus believed that the next phase of human evolution would include an embrace of the mystical arts. He saw the next generation of humanity as one that would embrace spirituality and turn away from worldly trappings.

Know that man makes great discoveries concerning future and hidden things, which are despised and scoffed at by the ignorant who do not realize what nature can accomplish by virtue of her spirit . . . Thus, the uncertain arts are in such a state that a new generation must come, full of prophetic and sibylline spirit, which will awaken and direct the skills and arts.

(p. 132 – 3)

He then goes on to assert that God’s power is hidden within nature, and that it is in nature where humans must search for divine power.

For God has given His power to the herbs, put it in stones, concealed it in seeds; we should take it from them, we should seek it in them. The angels possess wisdom in themselves, but man does not. For him wisdom lies in nature, in nature he must seek it. His harvest is stored up in nature. Through nature God’s power is revealed to man, through nature he enters into his Father’s heritage, in wisdom and in the arts.

(p. 164)

Finally, in the era of Twitter and social media, where people are wont to write whatever they want with little or no thought, Paracelsus reminds us of the divine power of the written word.

The Scripture says: the letter killeth, but the spirit giveth life . . . That is to say, the spirit which bears nothing but the truth in itself. If a man adheres solely to the truth in his writings, it is not mere letters that he writes; it is the spirit that he sets down in its truth, the spirit that is invisible in itself and that must come to us through the written or spoken word . . . But if a man does not write the truth, he writes lies; and the letter that is a lie kills. Therefore let any desirous of writing be careful to keep always to the truth, that he may kill no one. For to kill is forbidden under the penalty of forfeiting eternal life.

(pp. 165 – 6)

I realize that this book is not for everyone. But if you are interested in the metaphysical, it is worth reading. You can certainly see the influence Paracelsus had on later thinkers in the area of mysticism.