Volume 16 Number 2 Article 9 Winter 12-15-1989 Rilke and Le Guin Barbara J. Bucknall Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Bucknall, Barbara J. (1989) "Rilke and Le Guin," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 2 , Article 9. Available at: https://dc.swosu.edu/mythlore/vol16/iss2/9 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico • Postponed to: July 30 – August 2, 2021 Abstract Seeks similarities in Rilke and Le Guin, especially in the power of naming and the view of death as a necessary part of life. Notes in particular parallels between Rilke’s Duino Elegies and The Farthest Shore. Additional Keywords Le Guin, Ursula K. Earthsea books—Sources; Names in fantasy; Rilke, Rainer Maria—Influence on Ursula K. Le Guin; Rilke, Rainer Maria. Duino Elegies—Influence on The arF thest Shore This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: https://dc.swosu.edu/mythlore/vol16/iss2/9 Page 62 (JUlnccR 1989 CPyTtiLORe 60 Rilke and Le Quin ftaR&aRa). Buchnall '^T'he Earthsea Trilogy, as everyone here knows, is easy magic more literally than does Le Guin. But both speak to I to read but very difficult to write about. It seems to the subconscious through their magic, even though Le hark back to an age prior to literary criticism, when the Guin is much less obscure. Both draw on the collective thing to do with a text was not to explicate it but to quote unconscious. it — if necessary, learn it by heart and recite it. Such texts Speaking of the collective unconscious, it is rather un­ have to be instantly comprehensible, at least at the con­ nerving to consider the very striking parallels between Le scious level, and win instant assent. The age of the Trilogy's intended readers only accounts in part for this. Guin and Rilke in the light of the equally striking parallels No wonder the Earthsea Trilogy is so difficult to comment between Le Guin and Jung. But Le Guin has a long history of reading poetry and revering poets, and she has named on — you just end up saying, "How true!" Rilke as a great poet and a profound thinker on at least one If one persists in explicating the unquestionable, the occasion, in "Myth and Archetype in Science Fiction." only possible approach, or so it seems to me, is to ask "Why (Ibid., pp. 77-78.) The specific poem to which she there does this text seem unquestionable to me? How does it alludes is in Rilke's New Poems, but it is hardly thinkable command my assent?" The immediate answers seem to that someone with such an admiration for Rilke would be of a psychological and cultural as much as of a literary have failed to read the Duino Elegies, which are his most nature. I expect readers of Le Guin are familiar with the famous work. Furthermore, there are such close parallels, way people supposed, when the Earthsea Trilogy first in matters of precise detail, as opposed to vast general came out, that Le Guin had been reading Jung. And indeed concepts, between the Tenth Duino Elegy and The Farthest the parallels are very close. First of all, a man has to come Shore, that it is difficult for me to believe that she was not to terms with his shadow. Then he has to come to terms thinking of it. with women. Finally he has to come to terms with death. Both Jung and the Earthsea Trilogy in a nutshell. But the I do not claim that Le Guin carried over Rilke's ideas unfortunate flaw in this assumption of Jung's influence wholesale or unaltered into the Earthsea Trilogy. What was that Le Guin hadn't been reading Jung.1 She read him seems to have happened is that an image here, a line or an afterwards and found him rewarding, but the resemblance entire poem there, spoke to her in a very profound way, was coincidental. Still, it does show that Le Guin had given and became transformed as she worked on it. One of the a great deal of thought to human psychology. chief differences is Le G uin's clarity as opposed to Rilke's obscurity. It takes a lot of mental work to arrive at this By another coincidence, the magic involved in the simplicity. There are certain elements in Rilke which Le Earthsea Trilogy seems to be very closely connected with Guin has apparently made so completely her own, just as what Jung called the collective unconscious. We tend to she has made elements from the collective unconscious, forget that it is not so long ago that a belief in magic was that the Earthsea Trilogy forms a complete, coherent so widespread as to be almost universal. There are pockets whole, with no trace of joins. This is possible because of of it around even today, to be found among people who Rilke's psychological depth. are not necessarily insane. I have relatives in the Outer Hebrides who believe in magic just as much as they believe Rilke's poems are beautiful but difficult, because they in God. My brother Roddy, as a little by, was staying on are very condensed and allusive. For an English speaking their island when he saw a rabbit rush madly across a field reader, they are somewhat reminiscent of T.S.Eliot, but and up a wall. He went into the house and told our they are actually more difficult because the metaphysical relatives, who declared that the rabbit was being ridden charge they carry is not an easily recognizable one. by a fairy and they would have to put out milk for the fairy T.S.Eliot's Christianity is a generally available key to his or it would drain the cows. Magical activity had been poems, but Rilke, far from being Christian, seems to have identified, and there was a simple, practical, obvious solu­ made up his own religion, which you have to feel for tion. My Hebridean relatives were as matter-of-fact about through his poems. He attempted to explain his doctrine it as a North American or Siberian shaman, even if they'd in a few letters to certain people who asked for explana­ never heard of Malinowski. tions, but these letters are not very long, and it is obvious that he experienced great difficulty in separating his mes­ Of course neither Rilke nor Le Guin believes in magic sage from his poetry. like a Hebridean or a shaman. But there is a magical intention in Rilke's poems, just as much as there is a There are, however, certain themes that recur in the deliberate use of the practical approach to magic in the Duino Elegies. One is that death is the other side of life and Earthsea trilogy. His poems are incantations as much as that we deny life if we deny death. Another is that there is invocations. It is even possible that he believed in his own a transcendent element in life which he calls the Angel. It CPyTHLORe 60 (UlnrcR 1989 Page 63 is difficult to tell what exactly the Angel is, except that it is an But not only people have a name on Earthsea. Every single essence which impinges on the visible world from time to creature or natural object has a name in the Speech of the time, and which, although it has no other relationship to Making. As in the case of people, to know that name is to have humanity, perceives in a special way some of the works and power over the thing. But it is not just a case of power. Naming deeds of humanity, that is to say, those that have entered the something creates a bond between you and it, as in the case sphere of the invisible. of the rabbit which Ged summons to show Tenar, towards the Rilke sees some kind of privilege attached to being in­ end of The Tombs ofAtuan, but which he cannot kill for supper visible. It would be absurd to suppose that this has anything once he has called it by its name. This is magic in the old style, to do with the advantages of invisibility, as recounted in fairy since any traditional magician uses special forms of words, tales. The invisibility on which he lays such stress is created but it is also the same thing that Rilke meant when he said by the poet naming so rightly that the names of things take on that we are here to name things — quite ordinary things, a a spiritual dimension that lives on in our hearts. In other pitcher no less than a tower.2 It is not a question of inventing words, the spiritual aspect of things is the proper domain of new names for them, but of uttering the names that they poetry, which is in fact Rilke's religion.