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Este artigo pretende reconstruir, a partir de diferentes textos em prosa e cartas do poeta Rainer Maria Rilke, aquilo que podemos considerar um método poético. Não é que Rilke tente fixar uma genealogia dos seus poemas, mas em diferentes ocasiões o poeta mostra que a sua poesia depende de um conjunto de exercícios e transformações do olhar. A sua melhor apresentação é feita numa carta a Magda von Hattinberg e surge como um olhar não através das coisas, que usa os seres para chegar ao que está para lá deles, mas a partir do seu interior, do centro das coisas, daquele lugar que faz as coisas serem como são. A este olhar chama Einsehen e ele corresponde ao lugar que Deus, diz o poeta, poderia ter ocupado depois de ter criado um ser, um cão por exemplo, para ver se a sua obra estava bem conseguida. Este olhar, que tem nas Anotações de Malte Laudris Brigge (Rilke, 2003) a sua melhor expressão, é um olhar rápido, próprio de quem quer saltar para a intimidade do que acontece e descobrir as suas perplexidades, um olhar voltado para o singular que quer descobrir o mundo a partir do lado de dentro. Não se trata de anular o sujeito poético transformando-o numa janela, sem identidade, espessura ou presença, através da qual se vê, mas sublinhar a relação do poeta com a exterioridade e o modo como a visão é o operador poético por excelência.
This paper aims at reconstructing what we could call a poetic method from different texts of the poet Rainer Maria Rilke. It is not that Rilke tried to establish a genealogy of his poems; but on different occasions (mostly in his prose texts and in several letters) he shows that his poetry stems from exercises and transformations of the gaze. The best depiction of this process is given in a letter addressed to Magda von Hattinberg in which the poetic gaze is depicted not as looking through things, using beings to get to what is beyond them, but as a vision that is placed inside those beings, at the center of things themselves, in that place that makes them be what they are. He calls this gaze Einsehen (roughly translated as In-seeing) and according to him it amounts to the place that God could have taken in order to see whether His creation, for instance a dog, was well accomplished. This type of vision, of which we can find the most suitable expression in The Notebooks of Malte Laurids Brigge (Rilke, 2003), involves looking quickly, the way of looking that is appropriate to those who want to jump to the intimacy of what happens and uncover its perplexities. In this process what is at stake is not to annul the poetic subject, to transform it into a window, as it were, without any identity, thickness or presence; it is rather an emphasis on the relation of the poet with what is outside, and on the way the poet’s gaze is the foremost poetic operator.
This paper aims at reconstructing what we could call a poetic method from different texts of the poet Rainer Maria Rilke. It is not that Rilke tried to establish a genealogy of his poems; but on different occasions (mostly in his prose texts and in several letters) he shows that his poetry stems from exercises and transformations of the gaze. The best depiction of this process is given in a letter addressed to Magda von Hattinberg in which the poetic gaze is depicted not as looking through things, using beings to get to what is beyond them, but as a vision that is placed inside those beings, at the center of things themselves, in that place that makes them be what they are. He calls this gaze Einsehen (roughly translated as In-seeing) and according to him it amounts to the place that God could have taken in order to see whether His creation, for instance a dog, was well accomplished. This type of vision, of which we can find the most suitable expression in The Notebooks of Malte Laurids Brigge (Rilke, 2003), involves looking quickly, the way of looking that is appropriate to those who want to jump to the intimacy of what happens and uncover its perplexities. In this process what is at stake is not to annul the poetic subject, to transform it into a window, as it were, without any identity, thickness or presence; it is rather an emphasis on the relation of the poet with what is outside, and on the way the poet’s gaze is the foremost poetic operator.
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Keywords
Estética Materialismo Olhar Operador poético Poesia Rilke Aesthetics Gaze Materialism Poetic operation Poetry