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peculiar faith that Rilke ascribed to his spiritual kinsmen, a faith in a God remote from the
august if benign Father of western Christianity, a God, rather, who is waiting to be born of
the artists alert and sensitive consciousness.
Babette Deutsch (translator), from the Introduction
. . . In The Book of Hours, Rilke, not quite ready to speak purely as himself, uses a persona;
he is a monk, a meditator, a solitary seeking God. But though there are echoes in the poems
of Russian iconic mysticism and the severe sweetness of Giotto frescoes, this monk is not
praying in a church; no institution or congregation supports him in his solitude, and his
search is not for certainty. His elusive God is not imprisoned, like a fugitive in sanctuary, by
beliefs or by cathedral walls. Rather the wall that separates the worshipper from his diety is
built of images of the deity, and the souls illumination is squandered on their frames. God
isnt in the church: he is the church, the cathedral not yet built. We are all workmen . . .
building you. God is the neighbor we hear breathing in the night. He is the gift, the lost or
unfound wholeness of being. Flowing through all things, yet he needs mankind. Which
creates the other? What will you do, God, the poet-monk asks with childlike directness,
when I die?
In one of the greatest lines of the book, God is to the ship, a haven to the land, a ship.
And yet this is a contingent God, threatened, dependent. He might yet be joy, sword, ring,
mountain, fire, storm but is, now, only a starved fledgling bird who the poet must try, in
fear and trembling, to keep alive. He must be wooed into being, refined into purity, he must
ripen in deep peace and silence towards the future, like a wine that unperturbed, grows
ever sweeter and all its own.
That mankind and deity may grow slowly together towards fulfillment in ages yet to come is
an idea inexhaustible in suggestions, and welcome to a heart that looks for hope. Maybe it is
an idea only a poet could have. The word that was not spoken in the beginning is the word
we must all learn to speak.
Babette Deutschs selection and translation of nineteen poems from The Book of Hours is
thoughtful, felicitous, and honest, a noble introduction to the work and to the poet. When
New Directions first published this book in 1941, it appeared as part of an effort by several
poets and critics to bring Rilke to the attention of English-speaking readers. But
unmistakably the motive force of this, as of all good translation, was the translators love of
the texts, the pure desire to sing what the poet sang.
Ursula Le Guin
2009