Heidegger and sloterdijk on the concept of “inner space” in rilke

PITTA, Maurício Fernando, WEBER, José Fernandes

doi:10.5151/9788580392500-03

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“With all its eyes, gazes the Creature / into the Open.” (RILKE, 1989, p. 185, our translation). The puzzling line opens the eighth of the Duino Elegies, of the Praguer poet Rainer Maria Rilke, written between 1912 and 1922 during a period marked by pikes of elegiac effervescence. The relationship of animal, man and angels to the open (das Offene), the inapprehensible and incommensurable, was an idiosyncratic theme of late Rilkean poetry, taken as one of its main enter keys to his poetic work. In the same elegy, one learns that, between the opening and the nothing that death presents to beings, there is a fundamental confluence (ibid.). From Maurice Blanchot, accordingly, one derives that this dimension of pure opening to which belongs death has its positivity in its constant contemporaneity with life, pregnant in all its presence of its own exhaustion (1987, p. 131). To Rilke, men, differently from beasts and deities, live together with death as a distant relative that they never see, but that, often and without acknowledgment, waves at distance, despite the few and rare moments of vague glimpse – in childhood or behind the lover or in the animal’s gaze. Apart from that, open is kept on the inscrutable limits, ‘and again, comes world’ (RILKE, 1989, p. 187, our translation).

Heidegger and sloterdijk on the concept of “inner space” in rilke

PITTA, Maurício Fernando ; WEBER, José Fernandes

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