{"id":1493,"date":"1990-01-10T18:11:46","date_gmt":"1990-01-10T22:11:46","guid":{"rendered":"http:\/\/melchin.org\/oeuvre\/?p=1493"},"modified":"2012-03-02T01:37:41","modified_gmt":"2012-03-02T05:37:41","slug":"rilkes-razor","status":"publish","type":"post","link":"https:\/\/melchin.org\/oeuvre\/rilkes-razor\/","title":{"rendered":"Rilke\u2019s Razor"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1495\" title=\"Rilke's Razor box\" src=\"http:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/rilkes-razor-box.jpg\" alt=\"\" width=\"750\" height=\"544\" srcset=\"https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/rilkes-razor-box.jpg 750w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/rilkes-razor-box-590x428.jpg 590w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/rilkes-razor-box-700x508.jpg 700w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/rilkes-razor-box-150x109.jpg 150w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1494\" title=\"Rilke's Razor\" src=\"http:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/razor.jpg\" alt=\"\" width=\"750\" height=\"743\" srcset=\"https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/razor.jpg 750w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/razor-590x584.jpg 590w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/razor-700x693.jpg 700w, https:\/\/melchin.org\/oeuvre\/wp-content\/uploads\/2012\/01\/razor-150x150.jpg 150w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p>Rilke\u2019s Razor, Jung\u2019s version<br \/>\n1990<br \/>\nrazor, velvet, wood, brass, mirror<br \/>\n10 x 13 x 2 inches<\/p>\n<p>Rilke&#8217;s Razor was directly inspired by two passages from the Duino Elegies and by Archaic Torso of Apollo. The Archaic Torso poem brings into association Rilke&#8217;s love of classical Greek sculpture. The famous last line &#8220;you must change your life,&#8221; gives some credibility to the power of art.<\/p>\n<p>from the First Elegy translated by David Young:<br \/>\nBeauty is only<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; the first touch of terror<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; we can still bear<br \/>\nand it awes us so much<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; because it so coolly<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; disdains to destroy us.<\/p>\n<p>from the Second Elegy:<\/p>\n<p>Creation&#8217;s spoiled darlings<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; among the first to be perfect<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; a chain of mountains<br \/>\npeaks and ridges<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; red in the morning light<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; of all creation<br \/>\nthe blossoming doghead&#8217;s pollen<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; joints of pure light<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; corridors<br \/>\nstaircases<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; thrones<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; pockets of essence<br \/>\necstasy shields<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; tumultuous storms<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; of delightful feelings<br \/>\nthen suddenly<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; separate<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; mirrors<br \/>\ngathering the beauty<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; that streamed away from them<br \/>\n&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; back to their own faces again.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rilke\u2019s Razor, Jung\u2019s version 1990 razor, velvet, wood, brass, mirror 10 x 13 x 2 inches Rilke&#8217;s Razor was directly inspired by two passages from the Duino Elegies and by Archaic Torso of Apollo. The Archaic Torso poem brings into association Rilke&#8217;s love of classical Greek sculpture. The famous last line &#8220;you must change your [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":1494,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37,40,41,26,10],"tags":[],"class_list":["post-1493","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-3d","category-multiples","category-sculpture","category-themes","category-work"],"_links":{"self":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/posts\/1493","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/comments?post=1493"}],"version-history":[{"count":31,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/posts\/1493\/revisions"}],"predecessor-version":[{"id":2432,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/posts\/1493\/revisions\/2432"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/media\/1494"}],"wp:attachment":[{"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/media?parent=1493"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/categories?post=1493"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/melchin.org\/oeuvre\/wp-json\/wp\/v2\/tags?post=1493"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}