Again and Again by Rainer Maria Rilke: Analyze and Explain the Metaphor in This Poem

Austrian poet and writer

Rainer Maria Rilke
Rilke in 1900
Born	René Karl Wilhelm Johann Josef Maria Rilke (1875-12-04)four December 1875 Prague, Bohemia, Austria-Hungary
Died	29 December 1926(1926-12-29) (aged 51) Montreux, Vaud, Switzerland
Occupation	Poet, novelist
Language	German, French
Nationality	Austrian
Menstruation	1894–1925
Literary movement	Modernism
Spouse	Clara Westhoff (m. 1901)
Children	ane
Signature

René Karl Wilhelm Johann Josef Maria Rilke (4 December 1875 – 29 Dec 1926), better known as Rainer Maria Rilke (German language: [ˈʁaɪnɐ maˈʁiːa ˈʁɪlkə]), was an Austrian poet and novelist. He is "widely recognized as ane of the about lyrically intense German-linguistic communication poets".^[i] He wrote both poesy and highly lyrical prose.^[1] Several critics have described Rilke's work as "mystical".^[ii] ^[3] His writings include one novel, several collections of poesy and several volumes of correspondence in which he invokes images that focus on the difficulty of communion with the ineffable in an historic period of disbelief, solitude and anxiety. These themes position him as a transitional figure between traditional and modernist writers.

Rilke travelled extensively throughout Europe (including Russia, Espana, Frg, France and Italian republic) and, in his later years, settled in Switzerland – settings that were fundamental to the genesis and inspiration for many of his poems. While Rilke is most known for his contributions to High german literature, over 400 poems were originally written in French and dedicated to the canton of Valais in Switzerland. Among English language-language readers, his best-known works include the poetry collections Duino Elegies ( Duineser Elegien ) and Sonnets to Orpheus ( Die Sonette an Orpheus ), the semi-autobiographical novel The Notebooks of Malte Laurids Brigge ( Die Aufzeichnungen des Malte Laurids Brigge ), and a drove of 10 letters that was published after his death under the title Messages to a Young Poet ( Briefe an einen jungen Dichter ). In the later 20th century, his piece of work found new audiences through employ by New Historic period theologians and cocky-aid authors^[four] ^[5] ^{[half dozen]} and frequent quotations by television programs, books and motion pictures.^[7] In the United States, Rilke remains amidst the more pop, best-selling poets.^[8]

Biography [edit]

Early on life (1875–1896) [edit]

He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, capital of Bohemia (then part of Austro-hungarian empire, now part of Czech republic). His childhood and youth in Prague were not peculiarly happy. His male parent, Josef Rilke (1838–1906), became a railway official afterward an unsuccessful military career. His mother, Sophie ("Phia") Entz (1851–1931), came from a well-to-do Prague family, the Entz-Kinzelbergers, who lived in a house on the Herrengasse (Panská) 8, where René also spent many of his early years. The relationship between Phia and her only son was coloured by her mourning for an before kid, a daughter who had died only one week former. During Rilke's early years, Phia acted every bit if she sought to recover the lost girl through the male child by treating him as if he were a girl. According to Rilke, he had to habiliment "fine clothes" and "was a plaything [for his female parent], like a big doll".^[9] ^[10] ^[11] ^[a] His parents' spousal relationship failed in 1884. His parents pressured the poetically and artistically talented youth into inbound a military academy in Sankt Pölten, Lower Austria, which he attended from 1886 until 1891, when he left owing to illness. He moved to Linz, where he attended merchandise schoolhouse. Expelled from school in May 1892, the 16-year-one-time prematurely returned to Prague. From 1892 to 1895, he was tutored for the university entrance examination, which he passed in 1895. Until 1896, he studied literature, art history, and philosophy in Prague^[13] and Munich.^[fourteen]

Munich and Leningrad [edit]

Rilke met and fell in honey with the widely travelled and intellectual woman of messages Lou Andreas-Salomé in 1897 in Munich. He changed his first proper noun from "René" to "Rainer" at Salomé'southward urging considering she thought that proper name to be more than masculine, forceful and Germanic.^[15] His relationship with this wife, with whom he undertook two extensive trips to Russia, lasted until 1900. Even after their separation, Salomé connected to be Rilke'south most important confidante until the end of his life. Having trained from 1912 to 1913 equally a psychoanalyst with Sigmund Freud, she shared her knowledge of psychoanalysis with Rilke.

In 1898 Rilke undertook a journey lasting several weeks to Italian republic. The following year he travelled with Lou and her husband, Friedrich Carl Andreas, to Moscow where he met the novelist Leo Tolstoy. Between May and August 1900, a second journeying to Russia, accompanied simply by Lou, once again took him to Moscow and Saint Petersburg, where he met the family of Boris Pasternak and Spiridon Drozhzhin, a peasant poet. Author Anna A. Tavis cites the cultures of Bohemia and Russia as the cardinal influences on Rilke's poetry and consciousness.^[16]

In 1900, Rilke stayed at the artists' colony at Worpswede. (Subsequently, his portrait would be painted past the proto-expressionist Paula Modersohn-Becker, whom he got to know at Worpswede.) It was here that he got to know the sculptor Clara Westhoff, whom he married the following year. Their daughter Ruth (1901–1972) was born in December 1901.

Paris (1902–1910) [edit]

Paula Modersohn-Becker (1876–1907), an early expressionist painter, became acquainted with Rilke in Worpswede and Paris, and painted his portrait in 1906.

In the summer of 1902, Rilke left abode and travelled to Paris to write a monograph on the sculptor Auguste Rodin. Earlier long his wife left their girl with her parents and joined Rilke there. The human relationship between Rilke and Clara Westhoff continued for the rest of his life; a mutually-agreed-upon effort towards a divorce was bureaucratically hindered by the fact that Rilke was a Catholic, albeit a non-practising ane.

At offset, Rilke had a difficult time in Paris, an experience that he called upon in the first office of his merely novel, The Notebooks of Malte Laurids Brigge. At the same fourth dimension his encounter with modernism was very stimulating: Rilke became deeply involved with the sculpture of Rodin and so the work of Paul Cézanne. For a time, he acted as Rodin'south secretary, also lecturing and writing a long essay on Rodin and his work. Rodin taught him the value of objective observation and, under this influence, Rilke dramatically transformed his poetic style from the subjective and sometimes incantatory linguistic communication of his earlier piece of work into something quite new in European literature. The result was the New Poems, famous for the "thing-poems" expressing Rilke's rejuvenated artistic vision. During these years, Paris increasingly became the writer's main residence.

The virtually of import works of the Paris period were Neue Gedichte (New Poems) (1907), Der Neuen Gedichte Anderer Teil (Another Office of the New Poems) (1908), the two "Requiem" poems (1909), and the novel The Notebooks of Malte Laurids Brigge, started in 1904 and completed in January 1910.^[17]

During the subsequently part of this decade, Rilke spent extended periods in Ronda, the famous bullfighting centre in southern Spain, where he kept a permanent room at the Hotel Reina Victoria from December 1912 to February 1913.^[18] ^[19]

Duino and the Start World War (1911–1919) [edit]

Duino Castle virtually Trieste, Italia, was where Rilke began writing the Duino Elegies in 1912, recounting that he heard the famous first line as a vocalisation in the wind while walking along the cliffs and that he wrote it quickly in his notebook.

Between October 1911 and May 1912, Rilke stayed at the Castle Duino, near Trieste, home of Princess Marie of Thurn und Taxis. There, in 1912, he began the verse form wheel chosen the Duino Elegies, which would remain unfinished for a decade because of a long-lasting creativity crunch. Rilke had developed an admiration for El Greco as early as 1908, so he visited Toledo during the winter of 1912/xiii to see Greco's paintings. Information technology has been suggested that Greco's manner of depicting angels influenced the conception of the angel in the Duino Elegies.^[20] The outbreak of World War I surprised Rilke during a stay in Frg. He was unable to return to Paris, where his property was confiscated and auctioned. He spent the greater part of the state of war in Munich. From 1914 to 1916 he had a turbulent affair with the painter Lou Albert-Lasard. Rilke was called up at the beginning of 1916 and had to undertake basic training in Vienna. Influential friends interceded on his behalf – he was transferred to the War Records Part and discharged from the military on 9 June 1916. He returned to Munich, interrupted by a stay at Hertha Koenig's [de] manor Gut Bockel [de] in Westphalia. The traumatic experience of military service, a reminder of the horrors of the military machine university, near completely silenced him as a poet.^[21]

Switzerland and Muzot (1919–1926) [edit]

Château de Muzot in Veyras, Switzerland, was where Rilke completed writing the Duino Elegies in "a savage creative storm" in February 1922.

On 11 June 1919, Rilke travelled from Munich to Switzerland. He met Smooth-German painter Baladine Klossowska, with whom he was in relationship to his death in 1926. The outward motive was an invitation to lecture in Zurich, but the existent reason was the wish to escape the post-war anarchy and take up his work on the Duino Elegies once again. The search for a suitable and affordable identify to live proved to be very hard. Among other places, Rilke lived in Soglio, Locarno and Berg am Irchel. It was simply in mid-1921 that was he able to find a permanent residence in the Château de Muzot in the commune of Veyras, close to Sierre in Valais. In an intense creative period, Rilke completed the Duino Elegies in several weeks in February 1922. Earlier and later this period, Rilke apace wrote both parts of the verse form wheel Sonnets to Orpheus containing 55 entire sonnets. Together, these two have often been taken as constituting the loftier points of Rilke's work. In May 1922, Rilke's patron Werner Reinhart bought and renovated Muzot and then that Rilke could alive there rent-free.^[22]

During this time, Reinhart introduced Rilke to his protégée, the Australian violinist Alma Moodie.^[23] Rilke was so impressed with her playing that he wrote in a alphabetic character: "What a sound, what richness, what determination. That and the Sonnets to Orpheus, those were two strings of the aforementioned voice. And she plays mostly Bach! Muzot has received its musical christening ..."^[23] ^[24] ^[25]

From 1923 on, Rilke increasingly struggled with health problems that necessitated many long stays at a sanatorium in Territet near Montreux on Lake Geneva. His long stay in Paris between Jan and August 1925 was an try to escape his illness through a change in location and living weather condition. Despite this, numerous important individual poems appeared in the years 1923–1926 (including Gong and Mausoleum), besides as his abundant lyrical work in French. His book of French poems Vergers was published in 1926.

In 1924 Erika Mitterer [de] began writing poems to Rilke, who wrote back with approximately 50 poems of his own and called her verse a Herzlandschaft (landscape of the heart).^[26] This was the only time Rilke had a productive poetic collaboration throughout all his work.^[27] Mitterer too visited Rilke.^[28] In 1950 her Correspondence in Verse with Rilke was published and received much praise.^[29]

Rilke supported the Russian Revolution in 1917 besides as the Bavarian Soviet Republic in 1919.^[xxx] He became friends with Ernst Toller and mourned the deaths of Rosa Luxemburg, Kurt Eisner, and Karl Liebknecht.^[31] He confided that of the five or six newspapers he read daily, those on the far left came closest to his ain opinions.^[32] He adult a reputation for supporting left-wing causes and thus, out of fear for his ain condom, became more reticent about politics after the Bavarian Republic was crushed by the correct-wing Freikorps.^[32] In January and February 1926, Rilke wrote three letters to the Mussolini-adversary Aurelia Gallarati Scotti [it] in which he praised Benito Mussolini and described fascism as a healing agent.^[33] ^[34] ^[35]

Death and burial [edit]

Rilke's grave in Raron, Switzerland

Shortly before his death, Rilke's illness was diagnosed as leukemia. He suffered ulcerous sores in his mouth, pain troubled his stomach and intestines, and he struggled with increasingly low spirits.^[36] Open up-eyed, he died in the artillery of his physician on December 29, 1926, in the Valmont Sanatorium in Switzerland. He was buried on January 2, 1927, in the Raron cemetery to the due west of Visp.^[36]

Rilke had chosen as his own epitaph this poem:

Rose, oh reiner Widerspruch, Animalism,
Niemandes Schlaf zu sein unter soviel
Lidern.

Rose, o pure contradiction, desire
to be no ane's sleep beneath so many
lids.

A myth adult surrounding his death and roses. It was said: "To honour a visitor, the Egyptian dazzler Nimet Eloui Bey, Rilke gathered some roses from his garden. While doing then, he pricked his hand on a thorn. This modest wound failed to heal, grew rapidly worse, soon his entire arm was bloated, and his other arm became afflicted equally well", and and so he died.^[36]

Writings [edit]

The Volume of Hours [edit]

Rilke's 3 consummate cycles of poems that constitute The Book of Hours ( Das Stunden-Buch ) were published by Insel Verlag in Apr 1905. These poems explore the Christian search for God and the nature of Prayer, using symbolism from Saint Francis and Rilke'due south observation of Orthodox Christianity during his travels in Russia in the early years of the twentieth century.

The Notebooks of Malte Laurids Brigge [edit]

Rilke wrote his merely novel, Die Aufzeichnungen des Malte Laurids Brigge (translated as The Notebooks of Malte Laurids Brigge), while living in Paris, completing the piece of work in 1910. This semi-autobiographical novel adopts the mode and technique that became associated with Expressionism which entered European fiction and art in the early 20th century. He was inspired by Sigbjørn Obstfelder'southward work A Priest's Diary and Jens Peter Jacobsen'due south novel Niels Lyhne (1880) which traces the fate of an atheist in a merciless world. Rilke addresses existential themes, profoundly probing the quest for individuality and the significance of death and reflecting on the experience of time as death approaches. He draws considerably on the writings of Nietzsche, whose piece of work he came to know through Lou Andreas-Salomé. His work also incorporates impressionistic techniques that were influenced by Cézanne and Rodin (to whom Rilke was secretarial assistant in 1905–1906). He combines these techniques and motifs to conjure images of mankind's anxiety and alienation in the face up of an increasingly scientific, industrial and reified world.

Duino Elegies [edit]

Rilke began writing the elegies in 1912 while a invitee of Princess Marie von Thurn und Taxis (1855–1934) at Duino Castle, most Trieste on the Adriatic Sea. During this ten-year period, the elegies languished incomplete for long stretches of fourth dimension equally Rilke suffered frequently from severe depression, some of which was caused by the events of World War I and his conscripted military machine service. Aside from brief episodes of writing in 1913 and 1915, Rilke did not render to the work until a few years after the war ended. With a sudden, renewed inspiration – writing in a frantic pace he described equally "a barbarous creative tempest" – he completed the collection in February 1922 while staying at Château de Muzot in Veyras, in Switzerland's Rhône Valley. Later their publication and his decease soon thereafter, the Duino Elegies were quickly recognized past critics and scholars equally Rilke's about important work.^[37] ^[38]

The Duino Elegies are intensely religious, mystical poems that weigh dazzler and existential suffering.^[39] The poems apply a rich symbolism of angels and salvation but not in keeping with typical Christian interpretations. Rilke begins the start elegy in an invocation of philosophical despair, asking: "Who, if I cried out, would hear me among the hierarchies of angels?" (Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen?)^[forty] and subsequently declares that "every angel is terrifying" (Jeder Engel ist schrecklich).^[41] While labelling of these poems as "elegies" would typically imply melancholy and lamentation, many passages are marked by their positive energy and "unrestrained enthusiasm".^[37] Together, the Duino Elegies are described as a metamorphosis of Rilke's "ontological 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'due south loneliness, the perfection of the angels, life and death, beloved and lovers, and the task of the poet".^[42]

Sonnets to Orpheus [edit]

With news of the death of Wera Knoop (1900–1919), his girl's friend, Rilke was inspired to create and fix to work on Sonnets to Orpheus.^[43] In 1922, betwixt February two and 5, he completed the start section of 26 sonnets. For the next few days he focused on the Duino Elegies, completing them on the evening of February 11. Immediately thereafter, he returned to work on the Sonnets and completed the post-obit department of 29 sonnets in less than 2 weeks. Throughout the Sonnets, Wera is often referenced, both directly by name and indirectly in allusions to a "dancer" and the mythical Eurydice.^[44] Although Rilke claimed that the unabridged cycle was inspired by Wera, she appears as a character in just one of the poems. He insisted, however, that "Wera'south own effigy ... still governs and moves the course of the whole."^[45]

The sonnets' contents are, as is typical of Rilke, highly metaphorical. The character of Orpheus (whom Rilke refers to equally the "god with the lyre"^[46]) appears several times in the cycle, as do other mythical characters such every bit Daphne. There are also biblical allusions, including a reference to Esau. Other themes involve animals, peoples of different cultures, and time and decease.

Messages to a Young Poet [edit]

Messages to a Young Poet, cover of the 1934 edition

In 1929 a pocket-size writer, Franz Xaver Kappus (1883–1966), published a drove of ten letters that Rilke had written to him when Kappus was a 19-year-old officer cadet studying at the Theresian Military Academy in Wiener Neustadt. The immature Kappus wrote to Rilke, who had also attended the academy, between 1902 and 1908 when he was uncertain nearly his future career as a military machine officer or as a poet. Initially he sought Rilke's advice as to the quality of his poetry and whether he ought to pursue writing as a career. While he declined to comment on Kappus's writings, Rilke advised Kappus on how a poet should feel, love and seek truth in trying to understand and experience the world around him and engage the world of art. These letters offer insight into the ideas and themes that appear in Rilke's poetry and his working process and were written during a key menstruation of Rilke's early creative development afterward his reputation every bit a poet began to be established with the publication of parts of Das Stunden-Buch (The Book of Hours) and Das Buch der Bilder (The Volume of Images).^[47]

Literary style [edit]

Figures from Greek mythology (such as Apollo, Hermes and Orpheus) recur as motifs in his poems and are depicted in original interpretations (eastward.g. in the poem Orpheus. Eurydice. Hermes, Rilke'southward Eurydice, numbed and mazed by death, does not recognize her lover Orpheus, who descended to hell to recover her). Other recurring figures in Rilke'due south poems are angels, roses, a poet'due south character and his creative work.

Rilke oftentimes worked with metaphors, metonymy and contradictions. For instance, in his epitaph, the rose is a symbol of slumber (rose petals are reminiscent of closed eyelids).

Rilke's little-known 1898 poem "Visions of Christ" depicted Mary Magdalene as the female parent of Jesus' child.^[48] ^[49] Quoting Susan Haskins: "But it was his [Rilke's] explicit conventionalities that Christ was not divine, was entirely human, and deified only on Calvary, expressed in an unpublished poem of 1893, and referred to in other poems of the same menses, which allowed him to portray Christ's dear for Mary Magdalen, though remarkable, equally entirely homo."^[49]

Legacy [edit]

Rilke is i of the more than popular, best-selling poets in the United States.^[8] In pop culture, Rilke is frequently quoted or referenced in goggle box programs, motion pictures, music and other works when these works talk over the discipline of love or angels.^[l] His work is often described equally "mystical" and has been seized by the New Age community and self-assist books.^[4] Rilke has been reinterpreted "as a master who tin can pb us to a more than fulfilled and less broken-hearted life".^[v] ^[51]

Rilke's work (specifically the Duino Elegies) has deeply influenced several poets and writers, including William H. Gass,^[52] Galway Kinnell,^[53] Sidney Keyes,^[54] ^[55] Stephen Spender,^[38] Robert Bly,^[38] ^[56] W. Southward. Merwin,^[57] John Ashbery,^[58] novelist Thomas Pynchon^[59] and philosophers Ludwig Wittgenstein^[60] and Hans-Georg Gadamer.^[61] ^[62] British poet W. H. Auden (1907–1973) has been described every bit "Rilke's most influential English language disciple" and he frequently "paid homage to him" or used the imagery of angels in his work.^[63]

Works [edit]

Complete works [edit]

Rainer Maria Rilke, Sämtliche Werke in 12 Bänden (Complete Works in 12 Volumes), published past Rilke Archive in association with Ruth Sieber-Rilke, edited past Ernst Zinn. Frankfurt am Principal (1976)
Rainer Maria Rilke, Werke (Works). Annotated edition in four volumes with supplementary fifth volume, published past Manfred Engel, Ulrich Fülleborn, Dorothea Lauterbach, Horst Nalewski and August Stahl. Frankfurt am Primary and Leipzig (1996 and 2003)

Volumes of poetry [edit]

Leben und Lieder (Life and Songs) (1894)
Larenopfer (Offerings to the Lares) (1895)
Traumgekrönt (Dream-Crowned) (1897)
Appearance (Advent) (1898)
Das Stunden-Buch (The Volume of Hours)
- Das Buch vom mönchischen Leben (The Book of Monastic Life) (1899)
- Das Buch von der Pilgerschaft (The Book of Pilgrimage) (1901)
- Geldbaum (1901)
- Das Buch von der Armut und vom Tode (The Book of Poverty and Decease) (1903)
Das Buch der Bilder (The Book of Images) (iv parts, 1902–1906)
Neue Gedichte (New Poems) (1907)
Duineser Elegien (Duino Elegies) (1922)
Sonette an Orpheus (Sonnets to Orpheus) (1922)

Prose collections [edit]

Geschichten vom Lieben Gott (Stories of God) (Collection of tales, 1900)
Auguste Rodin (1903)
Dice Weise von Liebe und Tod des Cornets Christoph Rilke (The Lay of the Love and Decease of Cornet Christoph Rilke) (Lyric story, 1906)
Die Aufzeichnungen des Malte Laurids Brigge (The Notebooks of Malte Laurids Brigge) (Novel, 1910)

Letters [edit]

Collected messages

Gesammelte Briefe in sechs Bänden (Collected Letters in Six Volumes), published by Ruth Sieber-Rilke and Carl Sieber. Leipzig (1936–1939)
Briefe (Letters), published by the Rilke Annal in Weimar. Two volumes, Wiesbaden (1950, reprinted 1987 in single book).
Briefe in Zwei Bänden (Messages in Ii Volumes) (Horst Nalewski, Frankfurt and Leipzig, 1991)

Other volumes of messages

Briefe an Auguste Rodin (Insel Verlag, 1928)
Briefwechsel mit Marie von Thurn und Taxis, two volumes, edited past Ernst Zinn with a foreword by Rudolf Kassner (Editions Max Niehans, 1954)
Briefwechsel mit Thankmar von Münchhausen 1913 bis 1925 (Suhrkamp Insel Verlag, 2004)
Briefwechsel mit Rolf von Ungern-Sternberg und weitere Dokumente zur Übertragung der Stances von Jean Moréas (Suhrkamp Insel Verlag, 2002)
The Dark Interval – Letters for the Grieving Centre, edited and translated past Ulrich C. Baer [de] (New York: Random House, 2018).

Notes [edit]

^ From the mid-16th century until the early 20th century, young boys in the Western world were unbreeched and wore gowns or dresses until an age that varied between two and eight.^[12]

References [edit]

^ ^a ^b Biography: Rainer Maria Rilke 1875–1926, Verse Foundation website. Retrieved ii February 2013.
^ See Müller, Hans Rudolf. Rainer Maria Rilke als Mystiker: Bekenntnis und Lebensdeutung in Rilkes Dichtungen (Berlin: Furche 1935). Encounter also Stanley, Patricia H. "Rilke'due south Duino Elegies: An Culling Approach to the Study of Mysticism" in Heep, Hartmut (editor). Unreading Rilke: Unorthodox Approaches to a Cultural Myth (New York: Peter Lang 2000).
^ Freedman 1998, p. 515.
^ ^a ^b Komar, Kathleen 50. "Rilke: Metaphysics in a New Historic period" in Bauschinger, Sigrid and Cocalis, Susan. Rilke-Rezeptionen: Rilke Reconsidered (Tübingen/Basel: Franke, 1995), pp. 155–169. Rilke reinterpreted "every bit a main who tin can lead usa to a more than fulfilled and less broken-hearted life".
^ ^a ^b Komar, Kathleen Fifty. "Rethinking Rilke's Duisiner Elegien at the Terminate of the Millennium" in Metzger, Erika A. A Companion to the Works of Rainer Maria Rilke (Rochester, New York: Camden House, 2004), pp. 188–189.
^ See also: Mood, John. Rilke on Beloved and Other Difficulties (New York: W. Westward. Norton & Visitor, 1975); and a book released by Rilke's ain publisher Insel Verlag, Hauschild, Vera (ed.), Rilke für Gestreßte (Frankfurt am Principal: Insel-Verlag, 1998).
^ Komar, Kathleen Fifty. "Rethinking Rilke'southward Duisiner Elegien at the Cease of the Millennium" in Metzger, Erika A., A Companion to the Works of Rainer Maria Rilke (Rochester, New York: Camden Firm, 2004), 189.
^ ^a ^b Komar, Kathleen L. "Rilke in America: A Poet Re-Created" in Heep, Hartmut (editor). Unreading Rilke: Unorthodox Approaches to a Cultural Myth (New York: Peter Lang, 2000), pp. 155–178.
^ Prater 1986, p. 5.
^ Freedman 1998, p. nine.
^ "Life of a Poet: Rainer Maria Rilke" at world wide web.washingtonpost.com
^ ""Boy'southward Apparel", Five&A Museum of childhood, accessed June 27, 2019".
^ Freedman 1998, p. 36.
^ "Rainer Maria Rilke | Austrian-German poet". Encyclopedia Britannica . Retrieved 2017-07-17 .
^ Arana, R. Victoria (2008). The Facts on File Companion to World Poesy: 1900 to the Present. Infobase. p. 377. ISBN978-0-8160-6457-1.
^ Anna A. Tavis. Rilke's Russian federation: A Cultural See. Northwestern Academy Press, 1997. ISBN 0-8101-1466-6. p. 1.
^ Rilke, Rainer Maria (2000-07-12). "Rainer Maria Rilke". Rainer Maria Rilke . Retrieved 2017-07-17 .
^ "Mit Rilke in Ronda" by Volker Mauersberger [de], Die Zeit, eleven February 1983 (in German)
^ "Hotel Catalonia Reina Victoria", andalucia.com
^ Fatima Naqvi-Peters. A Turning Point in Rilke's Evolution: The Experience of El Greco. The Germanic Review: Literature, Civilization, Theory, Vol. 72, Is. 4, pp. 344-362, 1997.
^ "An Kurt Wolf, 28. März 1917." S. Stefan Schank: Rainer Maria Rilke. pp. 119–121.
^ Freedman 1998, p. 505.
^ ^a ^b "R. M. Rilke: Music as Metaphor".
^ "Photo and description". Picture-poems.com. Retrieved 2012-06-07 .
^ "Rainer Maria Rilke: a brief biographical overview". Picture-poems.com. Retrieved 2012-06-07 .
^ Katrin Maria Kohl; Ritchie Robertson (2006). A History of Austrian Literature 1918-2000. Camden House. pp. 130ff. ISBN978-1-57113-276-5.
^ Karen Leeder; Robert Vilain (21 January 2010). The Cambridge Companion to Rilke. Cambridge University Press. pp. 24ff. ISBN978-0-521-87943-9.
^ Rainer Maria Rilke; Robert Vilain; Susan Ranson (14 Apr 2011). Selected Poems: With Parallel German Text. OUP Oxford. pp. 343ff. ISBN978-0-19-956941-0.
^ Erika Mitterer (2004). The prince of darkness. Ariadne Printing. p. 663. ISBN978-1-57241-134-0.
^ Freedman 1998, pp. 419–420.
^ Freedman 1998, pp. 421–422.
^ ^a ^b Freedman 1998, p. 422
^ "Rilke-Briefe: Nirgends ein Führer" (in German), Der Spiegel (21/1957). 22 May 1957. Retrieved 28 Jan 2014.
^ "Elegien gegen die Angstträume des Alltags" past Hellmuth Karasek (in High german). Der Spiegel (47/1981). xi November 1981; Karasek calls Rilke a friend of the Fascists.
^ Rainer Maria Rilke, Lettres Milanaises 1921–1926. Edited past Renée Lang. Paris: Librairie Plon, 1956^{[ page needed ]}
^ ^a ^b ^c Excerpt from "Reading Rilke – Reflections on the Problems of Translation" by William H. Gass (1999) ISBN 0-375-40312-4; featured in The New York Times 2000. Accessed xviii Baronial 2010 (subscription required)
^ ^a ^b Hoeniger, F. David. "Symbolism and Blueprint in Rilke'southward Duino Elegies" in German Life and Letters, Volume 3, Effect four (July 1950), pp. 271–283.
^ ^a ^b ^c Perloff, Marjorie, "Reading Gass Reading Rilke" in Parnassus: Poetry in Review, Volume 25, Number 1/two (2001).
^ Gass, William H. Reading Rilke: Reflections on the Problems of Translation (New York: Alfred A. Knopf, 1999).
^ Rilke, Rainer Maria. "Start Elegy" from Duino Elegies, line 1.
^ Rilke, Rainer Maria. "First Elegy" from Duino Elegies, line 6; "Second Elegy", line 1.
^ Nuance, Bibhudutt. "In the Matrix of the Divine: Approaches to Godhead in Rilke's Duino Elegies and Tennyson'south In Memoriam" in Language in India Volume 11 (11 November 2011), pp. 355–371.
^ Freedman 1998, p. 481.
^ Sword, Helen. Engendering Inspiration: Visionary Strategies in Rilke, Lawrence, and H.D. (Ann Arbor, Michigan: University of Michigan Press, 1995), pp. 68–70.
^ Letter of the alphabet to Gertrud Ouckama Knoop, dated xx April 1923; quoted in Snow, Edward, trans. and ed., Sonnets to Orpheus by Rainer Maria Rilke, bilingual edition, New York: North Betoken Press, 2004.
^ Sonette an Orpheus , Erste Teil, XIX, v. 8: "Gott mit der Leier"
^ Freedman, Ralph. "Das Stunden-Buch and Das Buch der Bilder: Harbingers of Rilke's Maturity" in Metzger, Erika A. and Metzger, Michael M. (editors). A Companion to the Works of Rainer Maria Rilke. (Rochester, New York: Camden Business firm Publishing, 2001), ninety–92.
^ Knapp, Liza (Winter 1999). "Tsvetaeva's Marine Mary Magdalene". Slavic and East European Journal. 43 (4).
^ ^a ^b Haskins, Susan (1993). Mary Magdalen: Myth and Metaphor. Harcourt. p. 361. ISBN9780151577651.
^ Komar, Kathleen L. "Rethinking Rilke's Duisiner Elegien at the End of the Millennium" in Metzger, Erika A. A Companion to the Works of Rainer Maria Rilke (Rochester, New York: Camden House, 2004), p. 189.
^ Encounter also: Mood, John. Rilke on Love and Other Difficulties (New York: West. W. Norton, 1975); and a book released past Rilke's own publisher Insel Verlag, Hauschild, Vera (editor). Rilke für Gestreßte (Frankfurt am Main: Insel-Verlag, 1998).
^ Leclair, Thomas (Summertime 1977). "William Gass: The Art of Fiction No. 65". The Paris Review. No. 70.
^ Malecka, Katarzyna. Death in the Works of Galway Kinnell (Amherst, New York: Cambria Printing, 2008), passim.
^ Guenther, John. Sidney Keyes: A Biographical Research (London: London Magazine Editions, 1967), p. 153.
^ "Self-Elegy: Keith Douglas and Sidney Keyes" (Affiliate 9) in Kendall, Tim. Modern English State of war Poetry (Oxford: Oxford University Press, 2006).
^ Metzger, Erika A. and Metzger, Michael M. "Introduction" in A Companion to the Works of Rainer Maria Rilke (Rochester, New York: Camden House, 2004), p. viii.
^ Perloff, Marjorie. "Apocalypse So: Merwin and the Sorrows of Literary History" in Nelson, Cary and Folsom, Ed (eds). W. S. Merwin: Essays on the Poetry (University of Illinois, 1987), p. 144.
^ Perloff, Marjorie. "Transparent Selves': The Poesy of John Ashbery and Frank O'Hara," in Yearbook of English language Studies: American Literature Special Number 8 (1978):171–196, at p. 175.
^ Robey, Christopher J. The Rainbow Bridge: On Pynchon'due south Utilise of Wittgenstein and Rilke (Olean, New York: St. Bonaventure University, 1982).
^ Perloff, Marjorie. Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary (Chicago: University of Chicago Press, 1996), passim. which points towards Wittgenstein'southward generous financial gifts to Rilke amidst several Austrian artists, although he prefer Rilke's earlier works and was distressed by his post-war writings.
^ Gadamer analyzed many of Rilke's themes and symbols. See: Gadamer, Hans-Georg. "Mythopoietische Umkehrung im Rilke's Duisener Elegien" in Gesammelten Werke, Ring 9: Ästhetik und Poetik Ii Hermenutik im Vollzug (Tübingen: J. C. B. Mohr, 1993), pp. 289–305.
^ Dworick, Stephanie. In the Visitor of Rilke: Why a 20th-Century Visionary Poet Speaks So Eloquently to 21st-Century Readers (New York: Penguin, 2011).
^ Cohn, Stephen (translator). "Introduction" in Rilke, Rainer Maria. Duino Elegies: A Bilingual Edition (Evanston, Illinois: Northwestern University Printing, 1989), pp. 17–18. Quote: "Auden, Rilke's most influential English disciple, frequently paid homage to him, every bit in these lines which tell of the Elegies and of their hard and hazardous genesis..."

Sources

Freedman, Ralph (1998). Life of a Poet: Rainer Maria Rilke. New York: Northwestern University Press. ISBN978-0-810-11543-9.
Prater, Donald A. (1986). A Ringing Glass: The Life of Rainer Maria Rilke. Oxford: Clarendon Press.

External links [edit]

Rainer Maria Rilke: Letters to a Young Poet, The first letter (in English, French, Italian, German, Spanish, and Chamorro)
Rainer Rilke and his Poem Black True cat
Works past Rainer Maria Rilke at Projection Gutenberg
Works by or almost Rainer Maria Rilke at Internet Archive
Works by Rainer Maria Rilke at LibriVox (public domain audiobooks)
Publications past and most Rainer Maria Rilke in the catalogue Helveticat of the Swiss National Library
"Literary estate of Rainer Maria Rilke". HelveticArchives. Swiss National Library.
Rainer Maria Rilke, Profile at Poets.org
International Rilke Social club (in German language)
Rilke, Rainer Maria (1920). Erste Gedichte. Leipzig: Insel.
Translator of Rilke into English, interview with Joanna Macy (2010 original, 2019 updated: transcript and sound) for OnBeing.org
Poems past Rainer Maria Rilke: a new translation A new translation past Timothy Watson published on February 28, 2018

mcenteegerentow1942.blogspot.com

Source: https://en.wikipedia.org/wiki/Rainer_Maria_Rilke