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PARALLELS BETWEEN RAINER MARIA RILKE’S GEOGRAPHY OF SOLITUDE AND ANCIENT INDIAN TEXTS
Kamlesh Tripathi
There are thematic parallels between Austrian poet Rainer Maria Rilke and ancient Indian philosophical texts, especially the Upanishads, Bhagavad Gita, Vedas, and some later spiritual traditions. However, it is better to call them resonances rather than direct influence.
Rilke repeatedly encourages the individual to turn inward rather than seek answers entirely in the external world. In his book Letters to a Young Poet, he advises the young military officer Kappus to “go into yourself” to examine the questions in your life. This strongly resonates with the Upanishadic movement from the outer world to the inner Self. The Chandogya Upanishad declares: “Tat tvam asi” — “That thou art.” The basic spiritual movement is similar: what we are seeking outside may ultimately have to be discovered within. Let’s not forget Rumi’s quote here ‘What you seek is seeking you” Reciprocal attraction.
For Rilke, solitude is not simply loneliness. It is a necessary condition for becoming oneself. The Katha Upanishad describes the wise person as one who turns inward and discovers the Self rather than remaining absorbed in external objects. Rilke calls it solitude; the Indian sage calls it inwardness.
Rilke’s central concern is discovering one’s authentic inner being. He asks the individual not to live according to society’s expectations but to discover what is genuinely alive within. The Upanishadic tradition goes further: the deepest Self (Atman) is not merely one’s personality, ego or psychological identity. It is connected with ultimate reality, Brahman. Thus there is an important distinction: Rilke’s inward journey is psychological, artistic and spiritual; the Upanishadic journey ultimately becomes metaphysical.
One of the most appropriate similarities is Rilke’s attitude toward uncertainty. Rather than demanding immediate answers, he encourages Kappus to “live the questions.” A question needs to mature before its answer becomes possible, akin to the Shakespearean phrase ‘the why and the wherefore,’ used in The Comedy of Errors. This has an Indian parallel in the Upanishadic method of inquiry. The seeker repeatedly asks: Who am I? What is reality? What is the Self? What happens after death? (as Nachiketa asked). The Kena Upanishad, for example, investigates the mysterious power behind the mind, speech, sight and hearing. In both traditions, wonder precedes wisdom.
Rilke’s spirituality is deeply connected with silence. When external noise disappears, the individual can hear something deeper. The Indian spiritual tradition places enormous importance on mauna—silence—and meditation. The famous Upanishadic formulation is particularly striking: “Yato vāco nivartante aprāpya manasā saha” —“From where words return, together with the mind, not having reached it.” The idea is that ultimate reality cannot simply be captured by ordinary language. That is very close to Rilke’s poetic intuition: some truths must be experienced rather than explained.
Rilke does not advise us simply to escape suffering. He asks us to allow suffering to transform us. The Bhagavad Gita does not promise Arjun a life free of pain, conflict or uncertainty. Instead, it teaches him how to act without being psychologically destroyed by the results of action. Rilke’s idea could therefore be expressed as: Do not merely endure suffering; allow it to deepen you.
Rilke warns against being controlled by external pressures and encourages an inwardly grounded life. The Bhagavad Gita repeatedly emphasises mastery and steadiness of mind. Rilke does not advocate simply abandoning the world. He wants the individual to experience life deeply while maintaining an inner independence. This resembles the Gita’s concept of detached action—nishkama karma. One participates fully in life without becoming completely enslaved to its rewards and disappointments.
Rilke’s conception of love is unusually modern. He believes two people should preserve their individuality. Love should allow each person to grow rather than become an attempt to possess another. This can be compared with the broader Indian distinction between love (prema) and attachment (moha). The Gita particularly warns against attachment because attachment can generate desire, frustration and confusion.
Rilke was not a conventional religious thinker. He travelled a lot. His spirituality was personal, mystical and sometimes deliberately uncertain. He was fascinated by God, angels, death, beauty and transcendence, but did not always approach them through orthodox religious doctrine. Death is not merely an interruption in Rilke’s thought. It is intimately connected with existence. This also resonates strongly with Indian scriptures. The Bhagavad Gita presents death as part of the transformation of embodied existence: “Jātasya hi dhruvo mṛtyur”
“For one who is born, death is certain.”
Written and posted by Kamlesh Tripathi
Author, Poet, & Columnist
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https://kamleshsujata.wordpress.com
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