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ABSTRACT
This article examines the function of the language of delicacy and the use of the
term leise in Rainer Maria Rilkes Das Stunden-Buch and the Duineser Elegien. In
particular, I consider the relevance of delicacy to the reassessment of the violence
that haunts the discourses of religion and philosophy through which the poet ad-
dresses the crisis of modernity in his poetry. Starting from the analysis of the am-
biguous treatment of the abstract entities of God and the Angel, I contend that the
attempt to reconcile the sensible with the concept inheres in Rilkes persistent pre-
occupation with Dasein as ideal incorporation of death. I proceed to show that,
conversely, the texts convey the complex experience of mortality as a precarious
and sophisticated way of making sense at the limits of perception. I argue that an
exploratory discursivity articulates the experiences of disbelieving and unknow-
ing whose creative liminality is at variance with the rigidity of the central narratives
of revelation and enlightenment advocated by the poet. I conclude by suggesting
that a comprehensive reading of Rilkes poetry requires the recognition of the con-
dition of delicate being as a mode of resistance to the latent violence of Rilkes
compelling conceptualisations.
Dieser Beitrag untersucht die Funktion der Sprache der Zartheit und den Gebrauch
des Wortes leise in Rainer Maria Rilkes Stunden-Buch und den Duineser Elegien.
Insbesondere untersuche ich die Bedeutung der Zartheit fur die Neueinschatzung
der Gewaltanwendung, welche dem Diskurs der Religion und der Philosophie in-
newohnt, durch den der Dichter die Krise der Modernitat in seiner Dichtung be-
handelt. Von der Analyse der vieldeutigen Behandlung der abstrakten Wesen des
Gottes und des Engels ausgehend, argumentiere ich, dass der Versuch, das Fuhlbare
mit dem Begrifflichen zu versohnen, Rilkes standigem Interesse fur Dasein als ide-
aler Einverleibung des Todes zugehort. Ich zeige weiter, dass die Texte andererseits
bezeugen, wie die komplexe Erfahrung der Sterblichkeit dazu dient, an den Gren-
zen des Wahrnehmbaren auf prekare und komplexe Weise Sinn zu stiften. Ich ar-
gumentiere, dass eine forschende Diskursivitat die Erfahrungen des Unglaubens
und des Unwissens artikuliert, deren schopferische Liminalitat sich im Gegensatz
zu der vom Dichter befurworteten Starrheit der zentralen Begriffe der Offenbarung
und der Aufklarung befindet. Zum Schluss schlage ich vor, dass eine inklusivere
Auffassung von Rilkes Dichtung die Anerkennung des Zustandes des leisen Seins
erfordert, als Widerstand zur latenten Gewaltanwendung von Rilkes bezwingenden
Begriffsbildungen.
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134 DELICACY IN RILKES POETRY
1
Paul de Man, Tropes (Rilke), in Allegories of Reading: Figural Language in Rousseau, Nietzsche, Rilke,
and Proust, New Haven/London 1979, pp. 2056 (pp. 245).
2
Simon Frank, Die Mystik von R. M. Rilke, Neophilologus, 20/2 (1935), 97113 (97).
3
Ronald Gray, The German Tradition in Literature, 18711945, Cambridge 1965, p. 247.
4
A recent article by Judith Ryan represents an exception in Rilkean criticism as it identifies in the
Duineser Elegien a reflection on the nature of artistic expression beyond any possibility of redemp-
tion in the experience of loss and mourning: Judith Ryan, The Long German Poem in the Long
Twentieth Century, GLL, 60 (2007), 34864 (351).
5
Paul de Man, The Literature of Nihilism, in Critical Writings: 19531978, Minneapolis 1989,
pp. 16170 (p. 168).
6
Erich Heller, The Artists Journey into the Interior and Other Essays, New York 1965, p. 153.
7
Ronald Gray, p. 244.
8
Carol Jacob, The Dissimulating Harmony: the Image of Interpretation in Nietzsche, Rilke, Artaud, and
Benjamin, Baltimore 1978, p. 47.
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DELICACY IN RILKES POETRY 135
HUMBLE DISBELIEVING
Das Stunden-Buch, Rilkes first major collection of poems, contains the ad-
dresses of a Russian monk to a being called God. The title evokes the
Livres dheures, the liturgic booklet or office-book of the Orthodox Church,
corresponding to the Latin breviary and containing prayers for every hour
of day and night. It comprises three books: Das Buch vom monchischen
Leben, Das Buch von der Pilgerschaft, and Das Buch von der Armut
und vom Tode. Rilke visited Russia with Lou Andreas-Salome in 1899 and
1900, and these journeys gave him the opportunity to reconnect with the
Slavic side of his Prague childhood, and to relate more intimately with the
Russian heritage of his friend. This work, though, emerges from more com-
plex circumstances. Criticism of Das Stunden-Buch mainly focuses on the
theme of religion, either identifying a profound religious feeling in Rilke,
ein Dichter von gottlichem Auftrag,10 or denying that any kind of serious
religious feeling may belong, however slightly, to this meditation on the de-
velopment of personal identity in an age where God is dead.11 Aris Fioretos
describes the work as Rilkes attempt to articulate his preoccupation with
an entity beyond human grasp.12 This remark highlights the ambiguity of
the belief that these poems enact, expressed by Rilke himself in his cor-
respondence.13 It is noteworthy that the monks approach to the abstract
9
The English translation comprises the terms delicate, soft, gentle, imperceptible, fine, faint
and slight (Cassells Worterbuch, Munich 1980, p. 297). This study considers the role of this term as
adjective, adverb, and substantive.
10
Werner Gunther, Weltinnenraum, Bielefeld 1952, p. 58, quoted by Else Buddeberg in Rainer Maria
Rilke: Eine innere Biographie, Stuttgart 1954, p. 531.
11
Judith Ryan, Rilke, Modernism and Poetic Tradition, Cambridge 1999, pp. 289.
12
Aris Fioretos, Prayer and Ignorance in Rilkes Buch vom monchischen Leben, The Germanic
Review, 65 (1990), 1717 (172).
13
Rilke describes the Buch Gebete to his friend Marlise Gerding as the work of a philosophical
mind searching the depths of the religious soul: letter of 14/05/1911: Briefe, Erster Band 18971914,
Wiesbaden 1950, p. 304.
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136 DELICACY IN RILKES POETRY
entity named God, while tentative in the first book of Das Stunden-Buch,
acquires brutal connotations in the two subsequent books. The concluding
poem in Das Buch von der Pilgerschaft, for instance, presents a divinity
that yields itself to the believer in a self-shattering gesture of impatience,
which is redeemed from its destructiveness by the gentleness of its descent
into human hands:
The image that opens Das Buch von der Armut und vom Tode shows the
craved coming of God as a fierce reciprocal violation of the human and the
divine:
of divine Truth, and, on the other, the delicacy of the experience of mor-
tality. One could therefore interpret the traces of delicacy at the margins
of these poems as the signs of a latent sensibility to mortality, whose elusive
and sophisticated sensuality engenders a state of humble disbelieving.
The first appearance of the word leise concerns the nature of divine
presence, a mode of discretion whose secrecy functions as a potent stimulus
of human faith:
The increasingly delicate (my emphasis) discretion with which the divin-
ity conveys its presence disqualifies vulgar attempts at calling Him loudly.
The proximity of God expresses itself in a type of aesthetic intimacy that
pervades the senses of the believer:
Rilke echoes the language of biblical discourse through the monks relent-
less appellation of the divine as the secrecy that the devout must learn to
perceive.16 Significantly, the metamorphosis of the adjective and adverb
leise into the substantive Leise shifts the emphasis from the being of
perception to the perceived Being, which acquires legitimacy from the aes-
thetic intensity of its manifestation:
16
On mount Horeb Elijah understands that God is not in the wind, the earthquake, or the fire, but
in a discreet voice that he must learn to hear: 1 Kings, 19, 1113.
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138 DELICACY IN RILKES POETRY
In these lines the monk hears the divine voice pronounce the word ster-
ben softly. In contrast to the previous examples, where the word leise
qualifies the mode of divine secret presence, and serves as a means of sen-
sual communion with God, here delicacy denotes the nature of the tone
of voice in the pronunciation of the ultimate verdict, unveiling the tension
between secrecy and subtlety that informs the experience of dying. Does
the term convey the gentleness, softness, and quietness of human dying in-
scribed in the almost imperceptible discourse of the Other, or is it to be
understood as the furtiveness, slightness, and therefore elusiveness of an
experience of contact with the ultimate otherness? In which type of ster-
ben leise should one believe? While the dominant theme of this collection
of poems is a strenuous craving for credence, a latent incredulity emerges
in the sensual and imaginative experience of mortality. A pervasive erosion
of the dominant discourse of Das Stunden-Buch, the affirmation of Being
in the access to absolute belief, surfaces in marginal moments of disbeliev-
ing. Disbelief not understood as the minds rejection of belief, but as the
condition of wonder and uncertainty that survives the violence of concep-
tualisations. The delicacy of the liminal experience of dying contributes to
preserve the sense of the fragility and sophistication of this interminable
moment of the human condition.
The delicacy of dying, which in Rilkes view subtly and secretly informs
the living, entails the necessity to endure its aporetic nature, combining the
gentle and the imperceptible, but also the furtive and the stealthy. The en-
durance of this aporia opens the way to a humble disbelief, the wondering
17
The adjective sanft similarly transmutes into the absolute Being Sanfte, which makes all nations
tremble with terror: SW I, p. 283.
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DELICACY IN RILKES POETRY 139
18
The appeals to the entity called God are substituted by a general plea for the coming of St.
Francis to assist the poor of the earth: SW I, pp. 1035.
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140 DELICACY IN RILKES POETRY
HESITANT UNKNOWING
In Rilkes later collection of poems, the Duineser Elegien, the access to Being
acquires philosophical import in the figure of the Angel and the concomi-
tant narrative of enlightenment. These poems are rooted in speculation
upon the nature of humanity. According to the poet, from their earliest be-
ginning, human beings have removed and gradually estranged from them-
selves the menacing and deadly elements that were contained in their lives.
This side of their experience, being too dangerous and many-sided, and
growing into an unbearable excess of meaning, they have placed outside
themselves by shaping terrifying gods, and the alien thought of death, so
that the latter turned into forces that were forever to violate and surpass
the meaning of life. As a consequence, this overflow of being with its vio-
lence, fury, and impersonal bewilderment exerts a powerful influence from
the outside upon human beings. His effort as a poet is therefore to cor-
rect this repression by showing human beings that the dreadful belongs to
them, though it is too vast and incomprehensible for their learning hearts.
The solution to this state of things is full consent to the terrible nature of
life. The purpose of his poetry is to show the identity of dreadfulness and
bliss, dieses einen einzigen Gesichts, das sich nur so oder so darstellt, je nach
der Entfernung aus der, oder der Verfassung, in der wir es wahrnehmen.19
The Duineser Elegien summon readers to the responsibility of transforma-
tion, namely the capacity to perceive life and death as aspects of the same
human experience, which is epitomised in the figure of the Angel, as Rilke
explains in a letter to his Polish translator Witold von Hulewicz:
Der Engel der Elegien ist dasjenige Geschopf, in dem die Verwandlung des
Sichtbaren in Unsichtbares, die wir leisten, schon vollzogen erscheint. Fur
den Engel der Elegien sind alle vergangenen Turme und Palaste existent,
weil langst unsichtbar, und die noch bestehenden Turme und Brucken un-
seres Daseins schon unsichtbar, obwohl noch (fur uns) korperhaft dauernd.
Der Engel der Elegien ist dasjenige Wesen, das dafur einsteht, im Unsicht-
baren einen hoheren Rang der Realitat zu erkennen. Daher schrecklich
fur uns, weil wir, seine Liebenden und Verwandler, doch noch am Sichtbaren
hangen.20
While Rilkes philosophical discourse presents the Angel as the Being that
humanity needs to imitate in the passage to absolute knowledge, the po-
etry seems to offer a more ambiguous relationship between the Angel and
the poet.21 The Duineser Elegien begin with the anxious appeal of the poet
19
Letter to Countess Margot Sizzo-Noris-Crouy, 12/04/1923: Die Briefe an Grafin Sizzo, 19211926,
Wiesbaden 1950, p. 41.
20
Letter to Witold von Hulewicz, 13/11/1925: Briefe aus Muzot, 19211926, Leipzig 1937, p. 337.
21
On Rilkes figure of the Angel see Judith Ryan, Summoning Angels, in Rilke, Modernism and
Poetic Tradition, Cambridge 1999, pp. 11121; Priscilla Washburn Shaw, Rainer Maria Rilke: Search
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DELICACY IN RILKES POETRY 141
Wer, wenn ich schriee, horte mich denn aus der Engel
Ordnungen? und gesetzt selbst, es nahme
einer mich plotzlich ans Herz: ich verginge von seinem
starkeren Dasein. Denn das Schone ist nichts
als des Schrecklichen Anfang, den wir noch grade ertragen,
und wir bewundern es so, weil es gelassen verschmaht,
uns zu zerstoren. Ein jeder Engel ist schrecklich. (SW I, p. 685)
Since violence in the form of intensity acquires a crucial role from the very
beginning of the collection, its nature and function call for further reflec-
tions. These lines betray the destructiveness of an access to absolute Da-
sein posited by Rilke as a necessary Norm des Daseins22 for the transfor-
mation of the visible earth into the invisibility of inwardness. They open
his most sustained effort to offer a messianic poetry of enlightenment, but
they also testify to the violence of the gesture of forcing the philosophical
discourse of an ideal access to knowledge onto an experiential condition
of precarious being.23 As the following lines from the conclusion of the
seventh Duino Elegy demonstrate, the poet engages in a fierce struggle of
defence and defiance with his own concept:
The term leise, which appears at the margins of the central narrative of
the Duineser Elegien, may be seen to counteract the violence of its central
for the Self, in Rilke, Valery, and Yeats: The Domain of the Self , New Brunswick, NJ 1964, pp. 1103
(p. 88); Erich Heller, Rilke and Nietzsche with a Discourse on Thought, Belief and Poetry, in The
Disinherited Mind, London 1952, pp. 12377 (p. 162); Keith May, Rilkes Angels and the Ubermensch,
in Nietzsche and Modern Literature: Themes in Yeats, Rilke, Mann and Lawrence, New York 1988, pp. 4578.
22
Letter of 13/11/1925: Briefe aus Muzot, p. 336.
23
For a comprehensive examination of Rilkes Dasein and the philosophical concepts of das Of-
fene and the Wagnis, see Martin Heidegger, Wozu Dichter?, in Holzwege, Frankfurt a.M. 1977,
pp. 269320; Maurice Blanchot, Rilke et lexigence de la mort, in Lespace litteraire, pp. 12166.
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142 DELICACY IN RILKES POETRY
The delicate proceeding and gesturing of the young Klage should in the-
ory carry the meaning of transformation contained in these philosophical
poems, but in reality they draw them away from the philosophy of abso-
lute knowledge embodied in the figure of the Angel.25 Indeed, Rilkes own
philosophical concept progressively loses its central position as the ideal
Other, and in the concluding segments of the ninth Duino Elegy dwin-
dles before the humble things of the earth made and felt by human beings,
whose simplicity is perceived as astonishing otherness by its abstract mode
of comprehension:
Drum zeig
ihm das Einfache, das, von Geschlecht zu Geschlechtern gestaltet,
als ein Unsriges lebt, neben der Hand und im Blick.
24
Letter of 13/11/1925: Briefe aus Muzot, p. 337.
25
For a perceptive analysis of the figure of the angel as a paradoxical and constantly shifting sym-
bol that illuminates the relationship between a society and its art at a specific historical moment,
see Karen Leeders recent essay The Desire of the Angel: Message, Myth and Metaphor in Contem-
porary German Art, Literature and Film, in Third Agents: Secret Protagonists of the Modern Imagination,
Newcastle 2008, pp. 21428 (p. 214).
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DELICACY IN RILKES POETRY 143
The verbs zeigten and meinten with which the things of the earth convey
their message to humanity belong to a register of allusion rather than ac-
quisition of knowledge. The adverb vielleicht intensifies the sense of inde-
cision at the core of the conclusion of Rilkes philosophical discourse, and
26
Ryan, Rilke, Modernism and Poetic Tradition, p. 176.
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144 DELICACY IN RILKES POETRY
subtly unravels its argument by pointing towards that which still remains to
be experienced, and always to be known.27 The events portrayed by these fi-
nal lines stimulate a mode of perception of the liminality of dying that com-
bines the sophistication of its elusive knowledge and the hesitation of the
imaginative and sensual approach to the unknown. While the dominant dis-
course of Rilkes collection may be conceived as humanitys appropriation
of the conceptual knowledge of death, and implicitly the accomplishment
of a human telos, the traces of delicacy that dwell at its periphery appear to
qualify the human condition as an experience of hesitant unknowing. Pur-
suing a similar argument, Judith Ryan perceives in the coda of the tenth
Duino Elegy the suggestion that poetry . . . might compensate in a partial
way for the loss of a larger and more coherent vision.28
In her meticulous study of the employment of the Gleichnis in the tenth
Duino Elegy, Carol Jacob identifies the articulation of a narrative in which
the language of gentleness conceals the presence of violence. I would ar-
gue that the delicacy of the form and the violence of the content belong
to an intention that reaches its accomplishment in these poems. The con-
cealment of violence through gentleness does not represent the failure of
the poems intention, in other words its ability to tell no other tale than the
execution of its own reason,29 but precisely its unfolding. The language of
delicacy conveys an experience of delicate being that endures at the mar-
gins of the texts as a mode of resistance to the violence of an access to
absolute Dasein. Although the discourse of the Duineser Elegien proceeds
towards its philosophical end, the access to knowledge and achievement
of human enlightenment, and cannot escape the violence of its intention,
these poems simultaneously enact the hesitant unknowing at the margins
of liminal experiences, which is valuable precisely insofar as it preserves the
sense of the fragile and sophisticated approach to an intimate and ultimate
otherness.
DELICATE BEING
Rilkes critics tend to privilege the central discourse on Being in his writ-
ings, and consequently endorse the religious and philosophical signifi-
cance attributed respectively to Das Stunden-Buch and the Duineser Elegien.
However, they fail to assess accordingly the violence inherent in the im-
position of a preconceived access to revelation or enlightenment upon a
precarious experience of liminal being explored by the poetic texts. The
discourses of religion and philosophy undoubtedly haunt Rilkes poetry,
27
For an inspiring discussion of the term vielleicht and the disruption of the rigorous discourse of
philosophy see Derrida, Loving in Friendship: Perhaps the Noun and the Adverb, in The Politics
of Friendship, tr. G. Collins, London/New York 2005, pp. 2648.
28
Ryan, GLL, 352.
29
Carol Jacob, p. 49.
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DELICACY IN RILKES POETRY 145
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