The Dancer

In April 1882, the two friends, philosopher Paul Rée and the renowned German philosopher Friedrich Nietzsche, found themselves in the vibrant city of Rome, a place steeped in history and culture. During this visit, they encountered the intriguing figure of Lou Andreas-Salomé, a young Russian-born intellectual and writer making waves in the philosophical circles of Europe. Salomé was known for her sharp intellect, independent spirit, and unconventional views on love and relationships, which captivated many of her contemporaries.

As the trio spent time together, it is believed that Nietzsche, who had previously been somewhat reserved in matters of the heart, quickly developed deep feelings for Salomé. This emotional shift mirrored the earlier affections Rée had harboured for her, creating a complex dynamic among the three. Nietzsche, known for his intense and passionate nature, found himself drawn to Salomé’s brilliance and charisma, and it is thought that he saw in her a kindred spirit who could understand and appreciate his philosophical ideas.

In a moment of vulnerability and hope, Nietzsche confided in Rée, requesting that he propose to Salomé on his behalf. This request highlighted not only Nietzsche’s admiration for Salomé but also his struggle with expressing his feelings directly. Rée, who had once been enamoured with Salomé himself, found himself in a delicate position, caught between his friendship with Nietzsche and his own past affections.

However, when Rée approached Salomé with Nietzsche’s proposal, she responded with a firm yet gentle refusal. Salomé expressed her appreciation for Nietzsche’s friendship and intellect but made it clear that she was not interested in pursuing a romantic relationship with him. Her rejection was rooted in her belief in the importance of intellectual companionship over romantic entanglements, as well as her desire for personal freedom and autonomy.

This moment marked a significant turning point in the relationships among the three individuals. While Nietzsche’s feelings for Salomé remained unrequited, the experience deepened the philosophical discussions and emotional complexities that characterized their interactions. Salomé’s decision not only affected Nietzsche and Rée but also shaped her own path as a thinker and writer, as she continued to navigate the intricacies of love, friendship, and intellectual collaboration in a society that often sought to confine women to traditional roles. The encounter in Rome thus became a pivotal chapter in the lives of these three influential figures, intertwining their fates in ways that would resonate throughout their subsequent works and relationships.

Penari

untuk Luíza Gustavovna Salomé

Pria itu beteriak kepada matahari

“kehidupan adalah perselisihan rasa dan rasa”

sembari tersenyum, melirik pujaan hati

mata Venus yang memesona dan membutakan

kekuatan hidup yang memabukkan

ia terus mencari, sesosok Tuhan yang menari

di Turin ia meloncat-loncat girang, menari tanpa pakaian

mengunjungi lorong-lorong rahasia, lantai dansa

ia menjadi seperti angin, bergegas keluar dari gua-gua

menuju pipa-pipa, laut gementar di bawah langkahnya

siapa gerangan membunuh singa-singa betina?

roh-roh baik dan sulit diatur datang seperti badai, terpujilah

mereka:

mereka yang terlahir tak serta merta dapat terbang

Lou, kini pria itu tumbang di jalanan,

memeluk tubuh kegilaan

ia menangis dengan lengan meronta,

menepis bayang di leher, punggung, dan dada

kuda tua yang kelelahan

melindunginya dari cambukan.

070518-kdp

tari (tari) : [nari]: narya, manari; [panari]: panaryya. Sumber: Bausastra: Jarwa Kawi, Padmasusastra, 1903, #11.

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