‘Sein Blick ist vom Vorübergehn der Stäbe
so müd geworden, daß er nichts mehr hält.
Ihm ist, als ob es tausend Stäbe gäbe
und hinter tausend Stäben keine Welt.
Der weiche Gang geschmeidig starker Schritte,
der sich im allerkleinsten Kreise dreht,
ist wie ein Tanz von Kraft um eine Mitte,
in der betäubt ein großer Wille steht.
Nur manchmal schiebt der Vorhang der Pupille
sich lautlos auf –. Dann geht ein Bild hinein,
geht durch der Glieder angespannte Stille –
und hört im Herzen auf zu sein.’
I can’t help it. Oliver Sacks is dead, and there are a myriad of thoughts shooting through my brain. I want to write about all of them.
Actually, I’d rather brew a pot of coffee and settle in to watch each of said thoughts explode into the room. The same way I did with a percussionist friend I knew in college who turned me on to a particular man who mistook his wife for a hat. That’s not even the best Oliver Sacks connection – just the first one I knew.
Later I read his ponderings on music and the ways it impacts our brains – fascinating stuff. Stuff with which to brew another pot of coffee, I assure you.
I’ve read so many obituaries and essays today about how important he was to this or that writer or thinker or scientist, and I want to link to every last one of them. I wish I could take you on a tour through my obsessive day of Oliver Sacks devotion, but I’m afraid it wouldn’t do his memory justice. Having said that, I think he might’ve moderately appreciated the attempt to tie in all these disparate ideas that’re still overloading my brain.
Instead, I’m just going to get a tad bit obsessive about Der Panther, which is the German poem I’ve included above. Although I was well aware of his poetry before I saw the film Awakenings, Rilke’s words grabbed me and shook me out of a weird slumber. In the hands of Robin Williams’ character, I was thoroughly jostled by the image of the big cat pacing back and forth in his cramped cage.
This isn’t normally a place where I allow myself to analyse poetry, so I’m loath to go down that road. Although it’s tempting, I’m more inclined to provide a few links and let you go there if you’re so inclined.
First of all, quite an impressive selection of translations can be found at Alternate Translations of The Panther by Rainer Maria Rilke, and if you’d rather have a ‘Best Of’, here’s Der Panther: Six Ways of Looking at a German Poem. There’s a nice article by John Banville in The New York Review of Books called Study The Panther!
As he says there, ‘…Rilke had no illusions about the solitariness of the artistic project, or its difficulty…‘, and that’s where my thoughts finally settle in the darkest corner of the night as I continue to consider Oliver Sacks.
I could wax philosophic about how he faced his death and expressed himself so exquisitely in the process. Were I to do so, I’d certainly focus on that last stanza and how he recently announced his illness so publicly and fearlessly. Instead, I’ll just wrap this up with the Stephen Mitchell translation of the poem:
‘His vision, from the constantly passing bars,
has grown so weary that it cannot hold anything else.
It seems to him there are a thousand bars;
and behind the bars, no world.
As he paces in cramped circles, over and over,
the movement of his powerful soft strides
is like a ritual dance around a center
in which a mighty will stands paralyzed.
Only at times, the curtain of the pupils lifts, quietly–.
An image enters in,
rushes down through the tensed, arrested muscles,
plunges into the heart and is gone.’