In Duino Park is spring. Inside the castle, the violins, however, rest. The violins fill the rooms: on tables, in cabinets ... identified by labels that trace centuries of dedication to music. I return to the First Elegy. According to the Poet, the Universe, despite its fullness of being, man's needs:
"Yes, the Spring-times need you deeply."
But what is this need? "When you walked past an open window, a violin gave of itself. This was a mission, but could you handle it?" No, because man is aligned, distracted by hope, self-deluded by the hope of being loved, of a lover.
"Sing, then, the lovers", Rilke exclaims. An ode to satisfied lover and, above all, the abandoned lover, the Poet consider superior to the former. Sufferings, as ancient!, of the abandoned lover are more fertile than satisfied love, opening a seemingly paradoxical question:
"Isn’t it time that, loving, we freed ourselves from the beloved?"
Perfect love as selflessly Rilke learns to relate to all that exists: the lover's own transcendence is not reached through union with the beloved, as the arrow resists the bow, so as to be, in tis flight, something more than itself. Loving means getting out the desire for union with the you.
And why Rilke proposes this kind of love? Because the desire to stay is just a vain hope that distracts us from our mission, violin given to us walking past an open window, for staying in the love of the beloved is also illusory. Quote: "For staying is nowhere."
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