680:("The Acrobats", also known as "The Family of Saltimbanques"), in which Picasso depicts six figures pictured "in the middle of a desert landscape and it is impossible to say whether they are arriving or departing, beginning or ending their performance". Rilke depicted the six artists about to begin their performance, and that they were used as a symbol of "human activity ... always travelling and with no fixed abode, they are even a shade more fleeting than the rest of us, whose fleetingness was lamented". Further, Rilke in the poem described these figures as standing on a "threadbare carpet" to suggest "the ultimate loneliness and isolation of Man in this incomprehensible world, practicing their profession from childhood to death as playthings of an unknown will ... before their 'pure too-little' had passed into 'empty too-much
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possibly non-existent, "where memory and patterns of intuition raise the sensitive consciousness to a realization of solitude". Rilke depicted the alternative, a spiritually fulfilling possibility beyond human limitations, in the form of angels. Beginning with the first line of the collection, Rilke's despairing speaker calls upon the angels to notice human suffering and to intervene. There is a deeply felt despair and unresolvable tension in that no matter man's striving, the limitation of human and earthly existence renders humanity unable to reach out to the angels. The narrative voice Rilke employed in the
827:—understanding how an observer (i.e. reader, listener, or viewer) interprets cultural artifacts (i.e. works of literature, music, or art) as a series of distinct encounters. Gadamer saw Rilke as a philosophical poet whose work reveals the limits of human comprehension. He argues that the alienation of the contemporary world stands as an obstacle to making sense of such encounters. According to Gadamer, Rilke's point toward how to approach those limits, by making these part of ourselves interpretation and reinterpretation can we address the existential problems of humanity's significance and impermanence.
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whether he could really respond to such companionship if it were offered to him ..." He noticed a "decline in the lives of lovers ... when they began to receive, they also began to lose the power of giving". Later, during World War I, he would lament that "the world has fallen into the hands of men". In the face of death, life and love are not cheap and meaningless, and Rilke asserted that great lovers are able to recognize all three (life, love, and death) as part of a unity.
603:. For Rilke, the symbol of the angel represents a perfection that is "beyond human contradictions and limitations" in a "higher level of reality in the invisible". Where there is incongruity that adds to mankind's despair and anxiety is due to human nature keeping us clinging to the visible and the familiar. As mankind encounters the invisible and unknown higher levels represented by these angels, the experience of the invisible will be "terrifying" (in German,
543:, that "at each stage now and again the miracle occurs, his delicate, hesitant, anxiety-prone person withdraws, and through him resounds the music of the universe; like the basin of a fountain he becomes at once instrument and ear". In 1935, critic Hans-Rudolf Müller argued that Rilke could be seen as a mystic and the poems could be treated as mystical literature, whereas more recent critics believe the poems should be seen as a study of mysticism itself.
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prose.... The evil, in the neoromantic lyric, consists in the fitting out of the words with a theological overtone, which is belied by the condition of the lonely and secular subject who is speaking there: religion as ornament." Adorno further believed the poems reinforced the German value of commitment that supported a cultural attraction towards the principles of Nazism.
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356:" ("Who, if I cried out, would hear me among the hierarchies of angels?") He quickly wrote them in his notebook and completed the draft of the '"First Elegy" that night. Within days, he drafted the "Second Elegy" and composed passages and fragments that would later be incorporated into later elegies—including the opening passage of the "Tenth Elegy".
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Rilke explores the nature of mankind's contact with beauty, and its transience, noting that humanity is forever only getting a brief, momentary glimpse of an inconceivable beauty and that it is terrifying. At the onset of the First Elegy, Rilke describes this frightened experience, defining beauty as
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remarked that "the long way leading to the poetry is itself one that inquires poetically", and that Rilke "comes to realize the destitution of the time more clearly. The time remains destitute not only because God is dead, but because mortals are hardly aware and capable even of their own mortality."
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The elegies vary in length. In the Rilke's original German text the First Elegy is 95 lines; Second Elegy, 79 lines; Third Elegy, 85 lines; Fourth Elegy, 85 lines; Fifth Elegy, 108 lines; Sixth Elegy, 45 lines; Seventh Elegy, 93 lines; Eighth Elegy, 75 lines; Ninth Elegy, 80 lines; Tenth Elegy, 114
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He depicted "the inadequacy of ordinary lovers", and contrasted a feminine form of "sublime love" and a masculine "blind animal passion". At the time the first elegies were written, Rilke often "expressed a longing for human companionship and affection, and then, often immediately afterwards, asking
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wrote "But the fact that the neoromantic lyric sometimes behaves like the jargon, or at least timidly readies the way for it, should not lead us to look for the evil of the poetry simply in its form. It is not simply grounded, as a much too innocent view might maintain, in the mixture of poetry and
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torment" and an "impassioned monologue about coming to terms with human existence", discussing themes of "the limitations and insufficiency of the human condition and fractured human consciousness ... man's loneliness, the perfection of the angels, life and death, love and lovers, and the task
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Two inmost experiences were decisive for their production: The resolve that grew up more and more in my spirit to hold life open toward death, and on the other side, the spiritual need to situate the transformation of love in this wider whole differently than was possible in the narrower orbit of
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as a twin birth. In the midst of his writing, Rilke wrote
Klossowska: "That which weighed upon and tortured me is accomplished ... but never within my heart and mind have I borne such a hurricane. I am still trembling from it ... And I went out to caress this old Muzot, just now, in the
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As mankind came in contact with the terrifying beauty represented by these angels, Rilke was concerned with the experience of existential angst in trying to come to terms with the coexistence of the spiritual and earthly. He portrayed human beings as alone in a universe where God is abstract and
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into military service. Aside from brief periods of writing in 1913 and 1915, he did not return to the work until a few years after the war ended. With a sudden, renewed burst of frantic writing which he described as a "boundless storm, a hurricane of the spirit"—he completed the collection in
363:, Spain in 1913, he wrote part of what would become the "Sixth Elegy". He moved to Paris later that year where he continued work on the "Sixth Elegy" and completed the "Third Elegy". During World War I, Rilke wrote the "Fourth Elegy", completing it the day before he was
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Because of the profound impact that the war had on him, Rilke expressed hope that the task of the intellectual in a post-war world would be to render the world right, preparing people for those gentle transformations that lead to a more serene future. He envisioned the
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in particular, influenced many of the poets and writers of the twentieth century. In popular culture, his work is frequently quoted on the subject of love or of angels and referenced in television programs, motion pictures, music and other artistic works, in
570:, Rilke explored themes of "the limitations and insufficiency of the human condition and fractured human consciousness ... mankind's loneliness, the perfection of the angels, life and death, love and lovers, and the task of the poet". Philosopher
751:(1883–1931). In popular culture, Rilke is frequently quoted or referenced in television programs, motion pictures, music and other works when these works discuss the subject of love or angels. Rilke's works have also been appropriated for use by the
426:, a Swiss merchant who used his wealth to support composers and writers, leased the property on their behalf. In July 1921, Rilke and Klossowska had moved in. Later, Reinhart bought the property and turned it over to Rilke for life.
595:. He sought to utilize a symbol of the angel that was secular, divorced from religious doctrine and embodied a tremendous transcendental beauty. In this, however, Rilke commented that he was greatly influenced by the
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Rilke used the images of love and of lovers as a way of showing mankind's potential and humanity's failures in achieving the transcendent understanding embodied by the angels. In the Second Elegy, Rilke wrote:
173:. The poems were dedicated to the Princess upon their publication in 1923. During this ten-year period, the elegies languished incomplete for long stretches of time as Rilke had frequent bouts with severe
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and mother of the dancer Wera
Ouckama Knoop, who was once a friend of Ruth's, announcing the engagement. In turn, Gertrud sent an account of Wera's death at age 19 that moved Rilke to compose the
346:) in January 1912, Rilke claimed that he heard a voice calling in the roar of the wind while walking along the cliffs near the castle, speaking the words that would become the first lines of the
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into the Austro-Hungarian army in
November 1915. After Rilke was discharged in 1916, he returned to Munich for the duration of the war, but wrote very little poetry during that time.
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Rilke is often seen as a spiritual guide in popular culture. In the United States, his poetry has been read as wisdom literature, and has been compared to the thirteenth-century
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support each other reciprocally, and I see it as an endless blessing that I, with the same breath, was able to fill both sails: the small, rust-colored sail of the
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interpretations. Rilke begins the first elegy in an invocation of philosophical despair, asking: "Who, if I cried out, would hear me among the angelic orders?" (
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Rilke and
Baladine Klossowska at the Château de Muzot (circa 1922). The two pursued an intense but episodic romance from 1919 until Rilke's death in 1926.
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shows echoes of Rilke; its first lines mirror the first lines of the first elegy, with a "sound is scream of a V-2 rocket hitting London in 1944"; and
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Rilke began writing the first and second elegies at Duino Castle, near
Trieste, Italy, after hearing a voice in the wind while walking along the cliffs.
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During the summer of 1921, Rilke's daughter Ruth became engaged. In
December, he sent a letter to Gertrud Ouckama Knoop, widow of his deceased friend
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that he had finished "all in a few days; it was a hurricane, as at Duino that time: all that was fiber, fabric in me, framework, cracked and bent."
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161:. He was then "widely recognized as one of the most lyrically intense German-language poets", and began the elegies in 1912 while a guest of
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Rilke employs the rich symbolism of angels influenced by their depiction in Islam to represent the embodiment of transcendental beauty.
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Jamme, Christoph (2010). ""Being Able to Love and Having to Die": Gadamer and Rilke". In Malpas, Jeff; Zabala, Santiago (eds.).
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strives "to achieve in human consciousness the angel's presumed plenitude of being" (i.e. being, or existence, in German:
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Rilke depicted this infinite, transcendental beauty with the symbol of angels. However, he did not use the traditional
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Ryan, Judith (2004). "Modernism and
Mourning". In Wellbery, David E.; Ryan, Judith; Gubrecht, Hans Ulrich (eds.).
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535:, dismissed the poems as "mystical blather" and described their "secular theology" as "impotent gossip". Novelist
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books, and he has been reinterpreted "as a master who can lead us to a more fulfilled and less anxious life".
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In the Matrix of the Divine: Approaches to
Godhead in Rilke's Duino Elegies and Tennyson's In Memoriam
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Perloff, Marjorie G. (1978). "'Transparent Selves': The Poetry of John
Ashbery and Frank O'Hara".
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at Château de Muzot in Veyras, Switzerland, in a "boundless storm" of creativity in
February 1922.
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410:, where he could immerse himself in French culture. Rilke and Klossowska wanted to move into the
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Thomas Pynchon's Gravity's Rainbow: A Study of its Conceptual Structure and of Rilke's Influence
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2587:. By Rilke, Rainer Maria. Translated by Leishman, James Blair; Spender, Stephen. W. W. Norton.
2556:. By Rilke, Rainer Maria. Translated by Leishman, James Blair; Spender, Stephen. W. W. Norton.
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Rilke on love and other difficulties. Translations and considerations of Rainer Maria Rilke
2525:. By Rilke, Rainer Maria. Translated by Flemming, Albert Ernest. Methuan. pp. 13–35.
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458:. Rilke composed in a rush of inspiration: writing nearly all the poems of Part I of the
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Gosetti-Ferencei, Jennifer Anna (2010). "Immanent Transcendence in Rilke and Stevens".
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in 1923. Prominent critics praised the work and compared its merits to the works of
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In the following years, Rilke worked sporadically on the elegies. While staying at
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2299:. Translated by N. Walker; R. Bernasconi. Cambridge: Cambridge University Press.
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estate, Rilke spent the next few weeks alone to focus on his work. While writing
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Rilke wrote his Fifth Elegy inspired by his memory of seeing Picasso's painting
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3367:. Translated by Sackville-West, Vita; Sackville-West, Edward. London: Hogarth.
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Engendering inspiration : visionary strategies in Rilke, Lawrence, and H.D
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3346:. Translated by Greene, Jane Bannard; Herter Norton, Mary Dows. W. W. Norton.
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2807:: An alternative approach to the study of Mysticism". In Heep, Hartmut (ed.).
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Download of a recitation by Irene Laett: Begin of the First Elegie in German
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Consequences of Hermeneutics: Fifty Years After Gadamer's Truth and Method
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wrote that, "the book could be read as a serio-comic variation on Rilke's
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As of 2014, at least 24 English-language translations had been published.
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Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy
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334:) while at Duino. After the Princess left to join her husband at their
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2326:. Translated by Hofstadter, Albert. Harper & Row. pp. 87–140.
233:). While labelling of these poems as "elegies" would typically imply
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422:, but they had trouble negotiating the lease. At Rilke's suggestion,
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3220:"One of the Longest, Most Difficult, Most Ambitious Novels in Years"
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2292:"The Relevance of the Beautiful: Art as Play, Symbol, and Festival"
414:, a 13th-century manor house that lacked gas and electricity, near
241:, many passages are marked by their positive energy. Together, the
2454:"Rethinking Rilke's Duiniser Elegien at the End of the Millennium"
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2208:. Vol. 11. Northwestern University Press. pp. 355–371.
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It wasn't until 1920 that Rilke began to focus on completing the
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406:, journeyed to Switzerland looking to find a place to live near
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Leishman, James Blair; Spender, Stephen (1963b). "Commentary".
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Leishman, James Blair; Spender, Stephen (1963a). Introduction.
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because of the poems' obscure symbols and philosophy. The poet
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Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen?
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Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen?
916:; and a book released by Rilke’s own publisher Insel Verlag,
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lines. The several English translations differ in line count.
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between 7–15 February, and completing the remaining poems of
227:) and later declares that "each single angel is terrifying" (
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McClatchy, J. D. (2004). "Antagonisms: Rainer Maria Rilke".
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In 1910 Rilke completed the loosely autobiographical novel,
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describes Rilke as evolving into his best poetry with the
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Unreading Rilke: Unorthodox Approaches to a Cultural Myth
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Unreading Rilke: unorthodox approaches to a cultural myth
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Rilke and Marie collaborated on a translation of Dante's
450:. Rilke wrote that Wera's image dominates and moves the
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Waidson, H. M. (1975). "Auden and German Literature".
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In a 1923 letter to Nanny von Escher, Rilke confided:
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but beginning of Terror we're still just able to bear,
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between 16–22 February. Rilke saw the creation of the
1936:
1934:
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Stanley, Patricia; Flaum, Jonathan (2001). "Rilke's
2457:. In Metzger, Erika A.; Metzger, Michael M. (eds.).
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Lovers, if Angels could understand them, might utter
194:, Switzerland. After their publication in 1923, the
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2610:Louth, Charlie (24 June 2020). "Duineser Elegien".
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922:(in German). Frankfurt am Main: Insel Taschenbuch.
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Duineser Elegien: Elegies from the Castle of Duino.
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2355:The Sacred Threshold: A Life of Rainer Maria Rilke
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1412:: Letter to Gertrud Ouckama Knoop, 7 February 1922
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3363:Duineser Elegien:Elegies from the castle of Duino
3288:. Translated by Tarnowski, Knut; Will, Frederic.
3075:"Sidney Keyes: The war poet who groped for death"
2461:. Rochester, NY: Camden House. pp. 188–208.
1652:: Letter to Witold von Hulewicz, 13 November 1925
1448:: Letter to Witold von Hulewicz, 13 November 1925
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662:life (which simply shut out death as the other).
402:Rilke, who had become romantically involved with
198:were soon recognized as his most important work.
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1464:: Letter to Baladine Klossowska, 9 February 1922
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981:: Letter to Lou Andreas-Salomé, 11 February 1922
531:, who is associated with the literary circle of
2741:A Ringing Glass: The Life of Rainer Maria Rilke
2720:In the Image of Orpheus - Rilke: A Soul History
2297:The Relevance of the Beautiful and Other Essays
3516:The Love and Death of Cornet Christopher Rilke
2907:"Rilke's Duino angels and the angels of Islam"
2459:A Companion to the Works of Rainer Maria Rilke
2392:. Farrar, Straus and Giroux. pp. 337–342.
1848:: Letter to Nanny von Escher, 22 December 1923
892:Rilke, Rainer Maria; Mood, John J. L. (1975).
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2876:Berryman, Johns (1947). "Young Poet's Dead:
2614:. Oxford University Press. pp. 357–454.
918:Rilke, Rainer Maria; Hauschild, Vera (1998).
584:and why we adore it so is because it serenely
498:, which are 859 lines long, was published by
479:moonlight." Immediately after completing the
371:Château de Muzot and the creative "hurricane"
245:are described as a metamorphosis of Rilke's "
177:—some of which were related to the events of
8:
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297:) in which a young poet is terrified by the
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32:
3154:Wood, Michael (2014). "Translating Rilke".
2842:. Ann Arbor: University of Michigan Press.
290:Die Aufzeichnungen des Malte Laurids Brigge
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3192:Revista Alicantina de Estudios Ingleses 13
2645:. Translated by Stockman, Russell. Fromm.
712:The earliest published translation of the
462:between 2–5 February 1922, completing the
40:
31:
3388:. Translated by Browner, Jesse. Paragon.
2174:Musical Ekphrasis in Rilke's Marien-Leben
1956:
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3342:Letters of Rainer Maria Rilke, 1910-1926
2004:
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3062:Miriam College Faculty Research Journal
2494:. New York: P. Lang. pp. 149–170.
2385:"Rainer Maria Rilke (1928, 1927, 1933)"
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666:The Fifth Elegy is largely inspired by
321:, whom he had met a few years earlier.
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766:have influenced many poets, including
653:(1905) in Paris several years earlier.
3594:The Notebooks of Malte Laurids Brigge
3092:"Interpreting Pain: Gadamer on Rilke"
2487:"Rilke in America: A Poet Re-Created"
2176:. Amsterdam: Rodopi. pp. 27―28.
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295:The Notebooks of Malte Laurids Brigge
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2911:Alif: Journal of Comparative Poetics
2672:Death in the Works of Galway Kinnell
2517:Lange, Victor (1986). Introduction.
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762:Rilke's work, and specifically, the
636:strange things in the midnight air.
313:. Rilke was invited in late 1911 to
2882:The Collected Poems of Sidney Keyes
2012:
209:poems that employ the symbolism of
2776:A New History of German Literature
2620:10.1093/oso/9780198813231.003.0009
2262:Life of a Poet: Rainer Maria Rilke
854:and the great white canvas of the
593:Christian interpretation of angels
319:Princess Marie von Thurn und Taxis
283:Duino Castle and the first elegies
163:Princess Marie von Thurn und Taxis
25:
3057:"Adorno's Jargon of Authenticity"
2521:Rainer Maria Rilke Selected Poems
2390:My Belief: Essays on Life and Art
2388:. In Ziolkowski, Theodore (ed.).
2266:. Northwestern University Press.
3218:Locke, Richard (11 March 1973).
3176:10.7588/worllitetoda.88.3-4.0046
3168:10.7588/worllitetoda.88.3-4.0046
2952:10.1111/j.1756-1183.2010.00084.x
2718:Polikoff, Daniel Joseph (2011).
262:philosophy and theology, and in
2998:The Yearbook of English Studies
270:Writing and publication history
186:February 1922 while staying at
46:Title page of the first edition
3252:"Rainer Maria Rilke 1875–1926"
3183:York, Richard Anthony (2000).
3079:War, Literature & the Arts
2676:. Amherst, NY: Cambria Press.
879:Sackville & Sackville 1931
743:(1207–1273), and 20th century
724:. It was published in 1931 by
217:, but in a manner atypical of
1:
3629:Rainer Maria Rilke Foundation
3586:Notes on the Melody of Things
3384:Letters to Merline, 1919-1922
3307:Rilke, Rainer Maria (1963) .
3290:Northwestern University Press
3033:Perloff, Marjorie G. (2001).
2289:Gadamer, Hans-Georg (1986) .
696:as part of his contribution.
3660:Poetry by Rainer Maria Rilke
3380:Rilke, Rainer Maria (1989).
3359:Rilke, Rainer Maria (1931).
3338:Rilke, Rainer Maria (1948).
3282:Adorno, Theodor W. (1973) .
3035:"Reading Gass Reading Rilke"
2637:Leppmann, Wolfgang (1984) .
2484:Komar, Kathleen L. (2001b).
2451:Komar, Kathleen L. (2001a).
1890:Leishman & Spender 1963a
1874:Leishman & Spender 1963b
1858:Leishman & Spender 1963b
1826:Leishman & Spender 1963b
1810:Leishman & Spender 1963b
1794:Leishman & Spender 1963b
1778:Leishman & Spender 1963b
1762:Leishman & Spender 1963b
1150:Leishman & Spender 1963a
3655:Austrian poetry collections
3039:Parnassus: Poetry in Review
2668:Małecka, Katarzyna (2008).
1750:"Second Elegy", lines 37–38
230:Jeder Engel ist schrecklich
3676:
3285:The Jargon of Authenticity
3127:The Modern Language Review
2737:Prater, Donald A. (1986).
2490:. In Heep, Hartmut (ed.).
145:) are a collection of ten
27:Book by Rainer Maria Rilke
2397:Hohmann, Charles (1986).
491:Publication and reception
305:. After he experienced a
205:are intensely religious,
39:
3200:10.14198/raei.2000.13.15
3090:Venezia, Simona (2019).
3054:Reyes, Mira Tan (2008).
2905:Campbell, Karen (2003).
2401:. New York: Peter Lang.
2382:Hesse, Hermann (1978) .
2258:Freedman, Ralph (1998).
2199:Dash, Bibhudutt (2011).
1598:"First Elegy", lines 3-6
1530:Stanley & Flaum 2001
586:disdains to destroy us.
253:Rilke's poetry, and the
3602:Letters to a Young Poet
3509:Archaic Torso of Apollo
2747:Oxford University Press
2699:Mason, Eudo C. (1963).
2172:Bruhn, Siglind (2000).
842:Rilke stated that "The
728:in England, and titled
3156:World Literature Today
2351:Hendry, J. F. (1985).
960:Poetry Foundation 2022
709:
664:
654:
639:
619:
605:
589:
563:
395:
384:
352:
309:accompanied by severe
279:
229:
223:
140:
109:
66:
3049:on 23 September 2020.
3045:(1/2). Archived from
2838:Sword, Helen (1995).
1726:Gosetti-Ferencei 2010
1011:"First Elegy", line 6
995:"First Elegy", line 1
707:
659:
648:
631:
577:
561:
431:Gerhard Ouckama Knoop
391:Rilke in a sketch by
390:
378:
277:
3073:Roy, Pinaki (2014).
2940:The German Quarterly
2428:. pp. 177–189.
920:Rilke für Gestresste
896:. New York: Norton.
554:Symbolism and themes
379:Rilke completed the
307:psychological crisis
2705:. Oliver and Boyd.
2320:What Are Poets For?
722:Vita Sackville-West
597:depiction of angels
404:Baladine Klossowska
62:Original title
36:
3567:Sonnets to Orpheus
3535:The Book of Images
3527:Poetry collections
3487:Rainer Maria Rilke
3292:. pp. 84–85.
3225:The New York Times
2886:The Sewanee Review
2884:by Sidney Keyes".
890:Examples include:
821:Hans-Georg Gadamer
794:The New York Times
710:
694:Sonnets to Orpheus
655:
564:
522:Albrecht Schaeffer
485:Lou Andreas-Salomé
443:Sonnets to Orpheus
396:
385:
280:
159:Rainer Maria Rilke
56:Rainer Maria Rilke
3650:1923 poetry books
3637:
3636:
3543:The Book of Hours
3322:978-0-393-00155-6
3299:978-0-81-010657-4
3256:Poetry Foundation
3185:"Auden and Rilke"
2822:978-0-8204-4068-2
2787:978-0-67-401503-6
2756:978-0-19-815891-2
2729:978-1-62-151999-7
2722:. Lantern Books.
2683:978-1-62-499158-5
2629:978-0-19-881323-1
2594:978-0-393-00155-6
2563:978-0-393-00155-6
2468:978-1-57-113302-1
2435:978-0-8101-2686-2
2408:978-0-82-040439-4
2315:Heidegger, Martin
2306:978-0-521-33953-7
2215:978-0-8101-1543-9
2183:978-9-04-200800-7
798:Gravity's Rainbow
789:Gravity's Rainbow
755:community and in
745:Lebanese-American
677:Les Saltimbanques
651:Les Saltimbanques
547:Theodor W. Adorno
446:and complete the
303:modern urban life
122:
121:
16:(Redirected from
3667:
3480:
3473:
3466:
3457:
3407:
3387:
3376:
3366:
3355:
3345:
3334:
3314:
3303:
3267:
3265:
3263:
3236:
3234:
3232:
3203:
3189:
3179:
3150:
3121:
3120:on 20 July 2020.
3119:
3113:. Archived from
3096:
3086:
3069:
3059:
3050:
3029:
2992:
2971:
2934:
2901:
2861:
2834:
2814:
2799:
2779:
2768:
2744:
2733:
2714:
2695:
2675:
2664:
2644:
2633:
2606:
2586:
2575:
2555:
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2489:
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2456:
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2393:
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2337:
2335:
2327:
2325:
2310:
2294:
2285:
2265:
2254:
2248:
2244:
2242:
2234:
2233:on 21 July 2014.
2232:
2226:. Archived from
2207:
2195:
2152:
2138:
2132:
2114:
2108:
2098:
2092:
2086:
2080:
2066:
2060:
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1986:
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998:
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982:
972:
963:
957:
942:
941:
915:
888:
882:
875:
869:
865:
859:
840:
739:(Muslim) mystic
683:
624:
608:
580:... nothing
572:Martin Heidegger
530:
439:
412:Château de Muzot
393:Leonid Pasternak
355:
344:The Life of Mary
340:Das Marien-Leben
232:
226:
188:Château de Muzot
142:Duineser Elegien
135:
114:
111:Duineser Elegien
69:
67:Duineser Elegien
44:
37:
33:Duineser Elegien
21:
18:Duineser Elegien
3675:
3674:
3670:
3669:
3668:
3666:
3665:
3664:
3640:
3639:
3638:
3633:
3608:
3573:
3522:
3489:
3484:
3429:
3415:
3410:
3396:
3379:
3358:
3337:
3323:
3306:
3300:
3281:
3274:Primary Sources
3270:
3261:
3259:
3250:
3239:
3230:
3228:
3217:
3206:
3194:(13): 205–219.
3187:
3182:
3153:
3139:10.2307/3724286
3124:
3117:
3105:(11): 725–745.
3094:
3089:
3072:
3053:
3032:
3010:10.2307/3506772
2995:
2974:
2937:
2923:10.2307/1350080
2904:
2875:
2864:
2850:
2837:
2823:
2802:
2788:
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2757:
2736:
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2698:
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2667:
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2099:
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2067:
2063:
2043:
2039:
2023:
2019:
2003:
1999:
1987:
1983:
1971:
1967:
1955:
1951:
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1932:
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945:
930:
917:
904:
891:
889:
885:
876:
872:
866:
862:
841:
837:
833:
823:'s theories of
806:German Romantic
782:. The novelist
702:
681:
638:
635:
588:
585:
583:
581:
566:Throughout the
556:
524:
493:
433:
424:Werner Reinhart
373:
285:
272:
149:written by the
131:
105:
47:
34:
28:
23:
22:
15:
12:
11:
5:
3673:
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3663:
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3468:
3460:
3454:
3453:
3448:
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3428:
3427:External links
3425:
3414:
3411:
3409:
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3394:
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3321:
3304:
3298:
3278:
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3245:
3243:Online sources
3238:
3237:
3214:
3213:
3212:
3205:
3204:
3180:
3162:(3–4): 46–51.
3151:
3133:(2): 347–365.
3122:
3087:
3070:
3051:
3030:
2993:
2972:
2946:(3): 275–296.
2935:
2902:
2892:(3): 504–514.
2872:
2871:
2870:
2863:
2862:
2848:
2835:
2821:
2815:. Peter Lang.
2800:
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1957:McClatchy 2004
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1586:
1578:Heidegger 1971
1570:
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1466:
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1434:
1414:
1390:
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829:
784:Thomas Pynchon
768:Galway Kinnell
701:
698:
632:
578:
555:
552:
492:
489:
400:Duino Elegies.
372:
369:
284:
281:
271:
268:
250:of the poet".
120:
119:
106:
103:
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93:
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35:Duino Elegies
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10:
9:
6:
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3:
2:
3672:
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3658:
3656:
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3647:
3645:
3630:
3627:
3625:
3623:
3622:Duino Elegies
3618:
3617:
3615:
3613:Miscellaneous
3611:
3604:
3603:
3599:
3596:
3595:
3591:
3588:
3587:
3583:
3582:
3580:
3576:
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3561:
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3559:Duino Elegies
3556:
3553:
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3540:
3537:
3536:
3532:
3531:
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3525:
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3499:
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3481:
3476:
3474:
3469:
3467:
3462:
3461:
3458:
3452:
3449:
3447:
3445:
3444:Duino Elegies
3440:
3438:
3436:
3435:Duino Elegies
3431:
3430:
3426:
3424:
3423:
3421:
3420:Duino Elegies
3412:
3405:
3401:
3397:
3395:1-55778-115-X
3391:
3386:
3385:
3378:
3374:
3370:
3365:
3364:
3357:
3353:
3349:
3344:
3343:
3336:
3332:
3328:
3324:
3318:
3313:
3312:
3311:Duino Elegies
3305:
3301:
3295:
3291:
3287:
3286:
3280:
3279:
3275:
3272:
3271:
3257:
3253:
3249:
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3244:
3241:
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3208:
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2865:
2859:
2855:
2851:
2849:0-472-10594-9
2845:
2841:
2836:
2832:
2828:
2824:
2818:
2813:
2812:
2806:
2805:Diuno Elegies
2801:
2797:
2793:
2789:
2783:
2778:
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2770:
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2679:
2674:
2673:
2666:
2662:
2658:
2654:
2652:0-88064-014-6
2648:
2643:
2642:
2641:Rilke: A Life
2635:
2631:
2625:
2621:
2617:
2613:
2608:
2604:
2600:
2596:
2590:
2585:
2584:
2583:Duino Elegies
2577:
2573:
2569:
2565:
2559:
2554:
2553:
2552:Duino Elegies
2546:
2542:
2538:
2534:
2532:0-416-01211-6
2528:
2523:
2522:
2515:
2511:
2507:
2503:
2501:0-8204-4068-X
2497:
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2366:0-85635-601-8
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2201:
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2125:Venezia 2019
2117:Gadamer 1977
2112:
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29:
3578:Other books
3554:(1907–1908)
3502:The Panther
2917:: 191–211.
2780:. Belknap.
2340:|work=
2247:|work=
2103:, pp.
2071:, pp.
2027:, pp.
1973:Komar 2001b
1941:Komar 2001a
1728:, pp.
1546:Adorno 1964
1424:, pp.
1336:, pp.
1270:Hendry 1985
1208:, pp.
1206:Prater 1986
1184:, pp.
1182:Prater 1986
1174:Hendry 1985
1158:Prater 1986
1134:Prater 1986
1112:, pp.
1078:Prater 1986
1060:, pp.
819:influenced
780:W. H. Auden
672:Rose Period
606:schrecklich
525: [
483:, he wrote
434: [
365:conscripted
247:ontological
239:lamentation
183:conscripted
179:World War I
3644:Categories
3446:on Poemist
3404:1035925321
3373:1042987052
3352:1035907642
3331:1033597291
3210:Newspapers
3111:1151178869
2831:1151682058
2796:1150815354
2765:1151178869
2711:1151156844
2661:1151150151
2603:1033597291
2572:1033597291
2541:1311047944
2510:1151682058
2375:1036858288
2282:1256512919
2224:1256512919
2143:, p.
2141:Jamme 2010
2127:, p.
2119:, p.
2089:Locke 1973
2055:, p.
2047:, p.
2007:, p.
1991:, p.
1975:, p.
1959:, p.
1943:, p.
1924:, p.
1908:, p.
1906:Louth 2020
1892:, p.
1876:, p.
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1842:Rilke 1948
1828:, p.
1812:, p.
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1746:Rilke 1923
1712:, p.
1696:, p.
1694:Bruhn 2000
1680:, p.
1678:Lange 1986
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1648:, p.
1646:Rilke 1948
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1620:, p.
1594:Rilke 1923
1580:, p.
1562:Reyes 2008
1548:, p.
1532:, p.
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1514:Hesse 1928
1500:, p.
1484:, p.
1476:, p.
1460:, p.
1458:Rilke 1989
1444:, p.
1442:Rilke 1948
1408:, p.
1406:Rilke 1948
1400:, p.
1398:Sword 1995
1384:, p.
1382:Mason 1963
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1352:, p.
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1302:Mason 1963
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1096:, p.
1080:, p.
1044:, p.
1028:, p.
1007:Rilke 1923
991:Rilke 1923
977:, p.
975:Rilke 1948
948:References
808:echoes in
804:and their
311:depression
235:melancholy
181:and being
175:depression
117:Wikisource
115:at German
3551:New Poems
3437:in German
3018:0306-2473
2960:0016-8831
2692:819323290
2444:934076640
2342:ignored (
2332:cite book
2249:ignored (
2239:cite book
2053:York 2000
1922:Wood 2014
1710:Dash 2011
1662:Dash 2011
1634:Dash 2011
1042:Ryan 2004
1026:Dash 2011
757:self-help
700:Influence
674:painting
599:found in
510:Hölderlin
336:Lautschin
264:self-help
219:Christian
215:salvation
133:‹See Tfd›
92:Published
3620:List of
3511:" (1908)
3504:" (1902)
3418:List of
3413:See also
3231:13 April
2989:20606751
2968:29534074
2898:27537763
2868:Journals
2858:33131763
2477:45505922
2417:14127822
2317:(1971).
2192:45109205
2013:Roy 2014
1614:abstract
1566:abstract
938:41986277
846:and the
815:Rilke's
692:and the
670:'s 1905
456:Eurydice
207:mystical
155:Austrian
151:Bohemian
74:Language
3147:3724286
3026:3506772
3004:: 175.
2931:1350080
2158:Sources
2105:725–727
1977:158–159
1945:188–189
1878:102–103
1650:375–376
1338:473–476
1210:236–238
1186:219–220
856:Elegies
852:Sonnets
848:Sonnets
844:Elegies
753:New Age
716:was by
506:Leipzig
481:Elegies
476:Elegies
472:Sonnets
468:Sonnets
460:Sonnets
452:Sonnets
418:in the
266:books.
260:New Age
169:on the
147:elegies
3605:(1929)
3597:(1910)
3589:(1898)
3570:(1923)
3562:(1923)
3546:(1905)
3538:(1902)
3519:(1912)
3402:
3392:
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3329:
3319:
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3262:6 July
3258:. 2022
3174:
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3024:
3016:
2987:
2977:Poetry
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786:novel
778:, and
718:Edward
621:Dasein
514:Goethe
416:Veyras
408:Geneva
211:angels
192:Veyras
137:German
77:German
52:Author
3494:Poems
3188:(PDF)
3172:JSTOR
3143:JSTOR
3118:(PDF)
3095:(PDF)
3022:JSTOR
2985:JSTOR
2964:JSTOR
2927:JSTOR
2894:JSTOR
2878:Poems
2702:Rilke
2612:Rilke
2324:(PDF)
2231:(PDF)
2206:(PDF)
2164:Books
1993:63–64
1682:20–21
1550:84–85
1178:90–91
1114:76–77
831:Notes
747:poet
601:Islam
529:]
438:]
361:Ronda
157:poet
95:1923
86:Elegy
82:Genre
3442:The
3433:The
3400:OCLC
3390:ISBN
3369:OCLC
3348:OCLC
3327:OCLC
3317:ISBN
3294:ISBN
3264:2022
3233:2013
3107:OCLC
3085:(1).
3068:(1).
3014:ISSN
2956:ISSN
2854:OCLC
2844:ISBN
2827:OCLC
2817:ISBN
2792:OCLC
2782:ISBN
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2751:ISBN
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2707:OCLC
2688:OCLC
2678:ISBN
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2647:ISBN
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2589:ISBN
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2558:ISBN
2537:OCLC
2527:ISBN
2506:OCLC
2496:ISBN
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2463:ISBN
2440:OCLC
2430:ISBN
2413:OCLC
2403:ISBN
2371:OCLC
2361:ISBN
2344:help
2301:ISBN
2278:OCLC
2268:ISBN
2251:help
2220:OCLC
2210:ISBN
2188:OCLC
2178:ISBN
934:OCLC
924:ISBN
908:OCLC
898:ISBN
877:See
741:Rumi
737:Sufi
720:and
512:and
474:and
237:and
213:and
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