Buddha Rilke: «We – are the bees of the Invisible». Poet’s dialogues with Gautama Buddha. Vladislav Tsylyov

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СКАЧАТЬ yet impressive interpretation of his Elegies – perhaps the best available today. To do this, he had to write a new artistic work within the epistolary genre – a small essay which, together with the Elegies and the Sonnets, formed a unique and inseparable artistic whole – a lyrical and philosophical triad. At the very beginning of the letter, however, Rilke stated that the true meaning of the Elegies was still inscrutable to him, for the Elegies were infinitely beyond his understanding.

      The imaginary dialogues between the poet and the Buddha offered to the reader in this etude may seem like yet another attempt to interpret the Elegies. However, the main point in this dialogue (as in all the others) is not to achieve an ́understandinǵ of Rilke’s lyrical revelations, but to search for the ́unprecedented unitý of the views of the poet and the Buddha, who do not try to justify or prove anything to each other. For the knowledge that each of them possesses is universal in nature and needs no explanation: it lies in the incomprehensible, beyond words and concepts.

      Nevertheless, in order to be better prepared to read the Dialogues, it is worth knowing a little more about the three essential elements of the poetic cosmos of the Elegies:

      Man, Angels and the Invisible.

      • The Invisible

      Only through ignorance and delusion do men indulge in the dream that their souls are separate and self-existent entities.

– Gautama Buddha

      First of all, in attempting to answer the eternal question of the primary basis of human existence in his Elegies, Rilke introduces a very important and difficult to understand category into his philosophical vocabulary – the Invisible (́Unsichtbareś). This word will certainly mislead the reader who is not familiar with the texts of the Letters and the Elegies. Indeed, at first glance, based only on the meaning of the word itself, it may seem that it denotes only a relative, limited category, referring to something otherworldly, non-existent, which can be contrasted with something visible, existing. In other words, the Invisible belongs to the world of opposites known as Samsara*. However, as we shall see from the text of the Letter, the author of the Elegies endowed the Invisible with much more meaning, going beyond the usual notions of life and death, of the earthly and the hereafter. According to Rilke, the Invisible is ́a vast unitý, ́a true lifé, a supreme existence that encompasses ́this world and the otheŕ. The Invisible is absolutely real. Naturally, the Invisible is also present in the Sonnets. The poet even invented a special word for this category – ́Doppelbereich́ (́double realḿ, ́both this light and the otheŕ).

      Rilke and Bodhisatta Vajrapani

      At this point the reader is bound to ask, ́Is it possible to find something like the Invisible in the Buddhist lexicon?́ Of course it is, given the powerful conceptual apparatus developed in the Buddhist tradition. Without pretending to make a definitive choice, we can assume that Rilke’s Invisible, his ́Doppelbereich́, is nothing less than the abode of eternal and unchanging… Truth. And that by gathering ́the honey of the visible in the beehive of the Invisiblé, the Rilkean man penetrates the abode of Truth and becomes Truth himself.

      To illustrate how close the views of the author of the Elegies on the Invisible are to Buddha’s Teaching on Truth, we can quote Rilke’s words that not only man but also the earth has no other destiny than to become invisible:

      ́The earth has no other way out but to become

      invisiblé.

      Isn’t this also what Gautama preached when he claimed,

      ́Truth is the accomplishment and goal of all existencé?

      • Man Who Participates in the Invisible

      …there is no being that cannot be transformed into a vessel of Truth.

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      Примечания

      1

      ́Nie ist ein Stoff bei Rodin an ein Kunst-Ding gebunden, wie ein Tier an einen Baum.́/ ́In Rodin’s work, a theme [or a subject] is never attached to an art-thing, like an animal to a tree.́

      2

      ́Der Fortschritt ist nicht unbedingt erforderlich, damit das Schauspiel uns begeistert.́

      3

      ́Und in diesem Sinne scheint der Künstler noch über dem Weisen zu stehen. Wo dieser bestrebt ist, Rätsel zu lösen, da hat der Künstler eine noch bei weitem größere Aufgabe oder

Примечания

1

́Nie ist ein Stoff bei Rodin an ein Kunst-Ding gebunden, wie ein Tier an einen Baum.́/ ́In Rodin’s work, a theme [or a subject] is never attached to an art-thing, like an animal to a tree.́

2

́Der Fortschritt ist nicht unbedingt erforderlich, damit das Schauspiel uns begeistert.́

3

́Und in diesem Sinne scheint der Künstler noch über dem Weisen zu stehen. Wo dieser bestrebt ist, Rätsel zu lösen, da hat der Künstler eine noch bei weitem größere Aufgabe oder, wenn man will, ein noch größeres Recht.́

4

́Des Künstlers ist es, das Rätsel zu – lieben. Das ist alle Kunst: Liebe, die sich über Rätsel ergossen hat, – und das sind alle Kunstwerke: Rätsel, umgeben, geschmückt, überschüttet von Liebe.́

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