Appendix: “A Note on Art” by Rainer Maria Rilke

First Version: Fragmentary

Art is the dark wish of all Tings. Anxious words long to be in the poem; poor landscapes are completed in the painting; sick people become beau- tiful in it. Tis means: the artist lifts the Tings, which he chooses for his representation, from the many random, conventional relationships, uni- fes them, and places the lonely bits into a pure, simple communication. If he loves a Ting, then he carries in his shadows many silent confessions and confdes a hundred secrets in it. But his intimate sentiments grow out from behind the one, narrow Ting and push him to add a new sub- terfuge next to this frst, narrow one and to build out in a [second], third, and fourth this wall, behind which his life beats in waves. And the Tings that for him will little by little become a subterfuge feel curiously related. Deep connections, not recognized by the artist himself, close them sol- idly on one another. Tey have become similar to one another. Teir dark silhouettes carry […]

© Te Author(s), under exclusive license to Springer Nature Switzerland AG 2021 241 N. C. Reynolds, Sense and Creative Labor in Rainer Maria Rilke’s Prose Works, https://doi.org/10.1007/978-3-030-74470-0 242 Appendix: “A Note on Art” by Rainer Maria Rilke

Second Version

Art is the dark wish of all Tings. Tey all want to be pictures of our secrets. Tey enjoy letting go of their faded sense in order to carry any of our deep longings. Tey thrust themselves into our trembling senses and thirst to become subterfuges of our feelings. Tey fee from convention. Tey want to be what we take them to be. Tankful and submissive, they want to carry the new names with which the artist endows them. Tey are like children who plead someone to take them on a trip: they won’t understand everything, but the thousand scattered and incidental impres- sions become simple and beautiful on their face. In this way the things want to stand before the confessions of the artist, if he chooses them to be the subterfuge of his work. Kept secret and revealing at the same time. Dark, but surrounded by his spirit, like many singing faces of his soul. Tat is the call that the artist hears: the wish of Tings to be his lan- guage. He should lift them out of the heavy, absurd connections of con- vention into the great relationships of his being. References Cited

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A B Abrams, M.H., 96n26 Bachner, Andrea, 24 Adelshirn, 13, 197, 209 Bare life, 90, 97n32 Adorno, Teodor, 6, 61, 62, 75, 88, Barnhart, Robert K., 240n22 92, 93n6, 93n10, 175n6 Beecroft, Alexander, 142n6 Agamben, Giorgio, 97n32 Being and Time/Sein und Zeit, 13, Alienation/alienated labor, 7, 12, 17, 180, 181, 184, 186, 229 69, 102, 146n28, 156, 169, 188, Benét, William Rose, 204, 212n26 201, 215–217, 223–227, 237n7 Benjamin, Walter, 7, 18n3, 29–32, Ananias, 69 49n21, 56–65, 75, 76, 84, 92, Anselm, 184 94n11, 96n27, 142n11, Apollo, 93n5, 237n9 238n10, 238n11 Aporia, 27, 224 Bernard of Clairvaux, 80 Appelbaum, David, 166 Bertolini, Michaela, 78 Arendt, Hannah, xiii, 96n26, 144n25, Blake, William, 28, 118–120 145n26, 165, 200, 201 Boccaccio, Giovanni, 8 Aristotle, 55 Book of Hours, 1, 16, 68, 71, 102, Auerbach, Erich, 95n21 111, 112, 114, 118, 122, 130, Augustine, 77 136, 138, 188, 198–199, 228

1 Note: Page numbers followed by ‘n’ refer to notes.

© Te Author(s), under exclusive license to Springer Nature Switzerland AG 2021 251 N. C. Reynolds, Sense and Creative Labor in Rainer Maria Rilke’s Prose Works, https://doi.org/10.1007/978-3-030-74470-0 252 Index

“Book of Monastic Life,” 71 114, 116, 118–122, 124, 132, Buber, Martin, 30, 175n7 135, 138, 143n16, 151, 166, Buddenbrooks, 13, 194, 196, 197 189, 190, 195, 228 Bürgerhirn, 13, 197 Das Man–“the they,” 67 Derrida, Jacques, 11, 12, 53, 57–59, 62, 64, 93n1, 93n3, 94n13, C 113, 166, 169–172, Calhoon, Kenneth S., 29 221, 239n16 Caputo, John D., 94n13 Dolar, Mladen, 47n14 Celan, Paul, 61, 62, 92 Duino Elegies, 10, 16, 25, 28, 53, 54, Censor, 204 59, 68, 86, 130 Chaos, 69, 94n13, 143n16, Dussel, Enrique, 13, 90, 96n29, 159, 176n12, 214 175n9, 176n16, 212n24 Charlemagne, 93n8 Childhood, 21, 22, 84, 110, 111, 120, 122, 129, 142n9, 179, E 188, 189, 204, 228, 229 Eidt, Jacob-Ivan, 49n24 Cigoli, 85 Eifer, Margaret, 160, 169 Ciseri, 85 Ekphrasis, 240n27 Compassion, 101 Emerson, Ralph Waldo, 214, 237n5 Composition, 108, 142n5, 223 Epictetus, 238n14 Contagion, 11, 12, 18n4, 56–66, 78, 88, 90, 100, 126, 176n10, 188, 196 F Council, 7, 19n6, 60, 63–66, 76, 88, Faust, 12, 114, 115 92, 142n11 Fioretos, Aris, 71 Creative labor, ix, xiii, 3, 4, 6, 14, Fracchia, Joseph, 6, 232 17, 19n9, 69, 73, 78, 92, 100, Freeman, Richard, 101 115, 136, 146n28, 149, 163, Freud, Sigmund, 49n21, 66, 168, 187, 189, 182–184, 210n4 211n14, 213–236 Frisch, Teresa, 47n16, 81, 138 Crutchfeld, Will, 49n24

G D Gandhi, Mohandas Daimon, 224 Karamchand, 175n7 Dante, Alighieri, 83 Genealogy of Morals, 103, 104 Darkness, 12, 16, 17, 18n2, 60, 62, Goethe, Johann Wolfgang von, 8, 82, 84, 101–108, 110, 111, 45n3, 76, 92, 115, 116, 122 Index 253

Gosetti-Ferencei, Jennifer Anna, J 6, 41–44 James, William, 46n6, 77, 90 Gothic Architecture, 80 Jany, Christian, 45n2 Goya, Francisco de, 159 Jesus, 69, 76, 77, 86, 87, 94–95n14, Gravitas, 205, 214, 240n22 133–135, 137, 198

H K Hands, vii–ix, 7, 8, 16, 17, 22, 37, Kafka, Franz, 2, 6, 10, 45n2, 52, 62, 52–92, 99, 100, 151, 90, 142–143n13, 164, 155–157, 186, 187, 210n7, 166–168, 176n13, 201, 205 214–219, 236n1, 236n2 Kant, Immanuel, 9–11, 61, 146n28, Hart, Tomas Elwood, 107, 108, 154, 176n12, 196 114, 116, 118, 142n5 Khora, 94n13, 166 Hastings, Michael, 94n10 Kierkegaard, Søren, 12, 67, 162, Heidegger, Martin, 12, 13, 46n6, 182, 184–186, 192, 193, 199, 48n18, 67, 120, 154, 158, 210n6, 211n13, 212n23, 164–166, 175n6, 180, 181, 216, 225–227 184, 186, 200, 201, 229 Kirkland, Sean, 27 Hofmann, E. F., 169 Kleinbard, David, 95n17 Hölderlin, Friedrich, 28, 62, 91, Kleinburger, Rebecca, 175n8 95n16, 188 Koenig, Hertha, 95n17 Homer, 62, 93n7, 142n6 Krell, David Farrell, 11, 18n4, 59, Horkheimer, Max, 7, 8, 75, 76, 61–63, 78, 168, 196 92, 101, 105, 120, 174n3, 196 Hullot-Kentor, Robert, 94n10 L Husserl, Edmund, 12, 13, 87, 155, Levinas, Emmanuel, vii, 11–13, 87, 158, 165, 174n4, 90, 154–159, 161, 165, 173, 200, 239n20 174n5, 175n6, 175n7, Hymns to the Night, 102 176n16, 201, 211n14, 238n16, 239n20 Librett, Jefrey, 238n16, 239n16 I Life, 2–5, 8, 16, 25–27, 29, 31–33, 43, Imhof, Heinrich, 72, 95n17 44, 46n7, 46n8, 54, 59, 62, 64, Impasse, 21–45, 99, 101, 224, 68, 74, 76–79, 83, 84, 86, 87, 234, 235 90, 97n32, 106, 110, 118–121, Inner life, 155 125, 130, 141n4, 144n25, 254 Index

146n28, 151, 155–157, 162, 176n16, 177n17, 179, 184, 165–167, 169, 174n3, 176n17, 186, 195, 200–202, 204, 206, 181, 189, 195, 201, 207, 209, 209, 218, 227, 230, 231, 212n25, 217–223, 228, 231, 239n16, 239n20, 240n25 233, 237n7, 241 Llewelyn, John, 17, 18, 26, 28, 170 Lou Andreas-Salomé, 71, 149, P 210n3, 210n6 Te Parable of the Sower, 76, 170 Paul the Apostle, 85 Peters, H.F., 29, 213, 214 M Pharmakon, 11, 12, 53, 56–66, 78, Mann, Tomas, 13, 64, 84, 89, 137, 88, 93n3, 100, 113, 140, 143–144n19, 114, 187 193–197, 211n16 Phenomenology, 164, 174n4, Marcel, Gabriel, 46n6 212n22, 215 Marcus Aurelius, 238n14 Picasso, Pablo, 8, 75, 92 Marx, Karl, 5–7, 215, 232 Pietas, 237n6 Melville, Herman, 61, 177n17 Plato, 59, 93n1, 144n25, 166 Merleau-Ponty, Maurice, 49n26 “Primal Sound,” viii, 3, 4, 21–45, Merz, Veronika, 161 52, 72, 74, 92, 99, 142n5, Michelangelo, 4, 119, 133, 136–140, 150, 160, 198, 234 198, 233 Prinz, Alois, 200, 201

N R Nietzsche, Friedrich, 103, 104, Reuss, Gabriela, 153 106, 119 Reynolds, Nicholas, vii–ix Norris, Christopher, 113, 142n12 Rodin, Auguste, vii, ix, 4, 5, 7, Te Notebooks of Malte Laurids 15–17, 19n8, 32, 47n16, Brigge, viii, ix, 4, 149–173 48n17, 49n24, 72, 133, 169, Novalis, 31, 32, 59, 62, 102 205, 213–236 Rubens, 85 Ryan, Judith, 49n23, 95n17 O Other, 11, 13, 15, 28, 29, 31, 47n15, 54, 67, 87, 89–91, S 129, 154–156, 158, 159, 161, Scarry, Elaine, 87, 184 164–166, 168, 171–173, Schacht, Richard, 193, 199 174n4, 174n5, 175n7, Scholz, Frances Mary, 215, 216 Index 255

Schopenhauer, Arthur, 13, 211n16 T Schwarz, Anette, 136 Teory of Colors, 116 Seneca, 238n13 Ting Poems, 32, 33, 222 Sennett, Richard, 144n22 Toma, Ludwig, 74 Shakespeare, William, 8, 76, 92, Transcendence, 43, 116, 158, 168, 193 125, 144n19, 144n21 Transitional object, 17, 230, 231 Shelley, Percy Bysshe, 105 Simmel, Georg, 125 Skeleton, 34, 52, 92, V 99, 228 Vico, Gimabattista, 55, 171 Skull, 18, 22, 33–37, 44, 49n22, 52, Virgil, 237n9, 240n22 99, 234, 235 Visions of Christ, 97n31, 212n25 Spinoza, Baruch de, 48n19 Vonnegut, Kurt, 88, 96n30 Spirit, vii, ix, 4, 12, 17, 52–92, 185, 188, 189, 192, 193, 211n14, 214, 215, 217, 223, 225–233, W 235, 239n16, 242 Walcott, Derek, 130, 131, 136, Starobinski, Jean, 116 140, 146n27 Te Stoics, 238n14 West, Cornel, 104, 105, 142n4 Stories of God, 2, 3, 87, 149, Winnicott, D.W., 17, 230, 231 157, 168 Wittmann, Horst, 156 Storm and Stress, 34, Worpswede, 16, 18n2, 105, 106, 228 72, 139 The Stranger, 58, 75–79, 88–92, 97n32, 100, 107–109, 114, Z 116, 140, 149, 154, Zeus, 237n9 161, 218 Zola, Émile, 90 Strathausen, Carsten, 29 Zweig, Stefan, 105, 109, 110, 135, Suger, Abbot, 80 235, 236