How To Pronounce Rainer Maria Rilke

Austrian poet and writer (1875–1926)

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	High german, French
Nationality	Austrian
Period	1894–1925
Literary movement	Modernism
Spouse	Clara Westhoff ​ (m. 1901)​
Children	i
Signature

René Karl Wilhelm Johann Josef Maria Rilke (four December 1875 – 29 December 1926), shortened to Rainer Maria Rilke (German: [ˈʁaɪnɐ maˈʁiːa ˈʁɪlkə]), was an Austrian poet and novelist. He has been acclaimed as an idiosyncratic and expressive poet, and is widely recognized as a meaning author in the German language.^[1] His piece of work has been seen by critics and scholars as having undertones of mysticism, exploring themes of subjective experience and disbelief.^{[ii] [3] [4]} His writings include one novel, several collections of poetry and several volumes of correspondence.

Rilke travelled extensively throughout Europe, and in his afterward years settled in Switzerland, becoming primal to the genesis and inspiration for many of his poems. While Rilke is virtually known for his contributions to German literature, he additionally wrote in French. Among English language-linguistic communication readers, his all-time-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 collection of 10 messages that was published after his expiry nether the title Letters to a Young Poet ( Briefe an einen jungen Dichter ). In the later 20th century, his work found new audiences through use past self-help authors^{[v] [6] [vii]} and frequent quotations in television set shows, books and movement pictures.^[eight]

Biography [edit]

Early life (1875–1896) [edit]

He was born René Karl Wilhelm Johann Josef Maria Rilke in Prague, majuscule of Bohemia (and so office of Austria-Republic of hungary, at present role of Czechia). His childhood and youth in Prague were not especially happy. His father, 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 business firm on the Herrengasse (Panská) 8, where René too spent many of his early on years. The relationship between Phia and her only son was coloured by her mourning for an earlier child, a daughter who had died simply ane week erstwhile. During Rilke's early years, Phia acted every bit if she sought to recover the lost girl through the male child by treating him equally if he were a girl. According to Rilke, he had to wear "fine dress" and "was a plaything [for his mother], like a large doll".^{[9] [10] [11] [a]} His parents' spousal relationship failed in 1884. His parents pressured the poetically and artistically talented youth into entering 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 trade school. Expelled from school in May 1892, the xvi-yr-onetime prematurely returned to Prague. From 1892 to 1895, he was tutored for the academy archway exam, which he passed in 1895. Until 1896, he studied literature, art history, and philosophy in Prague^[13] and Munich.^[14]

Munich and Saint Petersburg [edit]

Rilke met and roughshod in love with the widely travelled and intellectual woman of messages Lou Andreas-Salomé in 1897 in Munich. He changed his showtime proper noun from "René" to "Rainer" at Salomé'due south urging considering she thought that name to exist more than masculine, forceful and Germanic.^[15] His human 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'due south most of import confidante until the end of his life. Having trained from 1912 to 1913 every bit a psychoanalyst with Sigmund Freud, she shared her knowledge of psychoanalysis with Rilke.

In 1898 Rilke undertook a journey lasting several weeks to Italy. The following year he travelled with Lou and her hubby, Friedrich Carl Andreas, to Moscow where he met the novelist Leo Tolstoy. Between May and August 1900, a second journey to Russia, accompanied simply by Lou, over again took him to Moscow and St. 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 key influences on Rilke'southward poetry and consciousness.^[16]

In 1900, Rilke stayed at the artists' colony at Worpswede. (Later, his portrait would be painted by 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 girl Ruth (1901–1972) was built-in 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 summertime of 1902, Rilke left home and travelled to Paris to write a monograph on the sculptor Auguste Rodin. Presently his married woman left their daughter with her parents and joined Rilke there. The relationship between Rilke and Clara Westhoff continued for the rest of his life; a mutually-agreed-upon attempt towards a divorce was bureaucratically hindered by the fact that Rilke was a Catholic, albeit a non-practising one.

At first, Rilke had a difficult fourth dimension in Paris, an experience that he chosen upon in the kickoff part of his only novel, The Notebooks of Malte Laurids Brigge. At the same fourth dimension his run across with modernism was very stimulating: Rilke became deeply involved with the sculpture of Rodin so the work of Paul Cézanne. For a fourth dimension, he acted equally Rodin's 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 language of his earlier piece of work into something quite new in European literature. The consequence was the New Poems, famous for the "matter-poems" expressing Rilke's rejuvenated creative vision. During these years, Paris increasingly became the writer's chief residence.

The most important works of the Paris menstruum were Neue Gedichte (New Poems) (1907), Der Neuen Gedichte Anderer Teil (Another Part 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 later on 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 Feb 1913.^{[18] [19]}

Duino and the Beginning World State of war (1911–1919) [edit]

Duino Castle near Trieste, Italy, was where Rilke began writing the Duino Elegies in 1912, recounting that he heard the famous kickoff line as a voice in the current of air while walking along the cliffs and that he wrote information technology rapidly in his notebook.

Betwixt October 1911 and May 1912, Rilke stayed at the Castle Duino, almost Trieste, home of Princess Marie of Thurn und Taxis. There, in 1912, he began the poem cycle called the Duino Elegies, which would remain unfinished for a decade considering of a long-lasting creativity crisis. Rilke had developed an admiration for El Greco every bit early on as 1908, so he visited Toledo during the winter of 1912/13 to encounter Greco's paintings. It has been suggested that Greco's manner of depicting angels influenced the formulation of the angel in the Duino Elegies.^[twenty] The outbreak of World State of war I surprised Rilke during a stay in Germany. He was unable to return to Paris, where his property was confiscated and auctioned. He spent the greater part of the war in Munich. From 1914 to 1916 he had a turbulent affair with the painter Lou Albert-Lasard. Rilke was called up at the commencement of 1916 and had to undertake basic training in Vienna. Influential friends interceded on his behalf – he was transferred to the State of war Records Office and discharged from the military on 9 June 1916. He returned to Munich, interrupted by a stay at Hertha Koenig'due south [de] estate Gut Bockel [de] in Westphalia. The traumatic experience of military service, a reminder of the horrors of the military machine academy, well-nigh 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 vicious artistic storm" in Feb 1922.

On xi June 1919, Rilke travelled from Munich to Switzerland. He met Polish-German painter Baladine Klossowska, with whom he was in relationship to his decease in 1926. The outward motive was an invitation to lecture in Zurich, but the real reason was the wish to escape the post-war chaos and accept up his piece of work on the Duino Elegies once again. The search for a suitable and affordable place to live proved to exist very difficult. Among other places, Rilke lived in Soglio, Locarno and Berg am Irchel. It was only in mid-1921 that was he able to find a permanent residence in the Château de Muzot in the commune of Veyras, shut to Sierre in Valais. In an intense creative flow, Rilke completed the Duino Elegies in several weeks in February 1922. Earlier and after this period, Rilke rapidly wrote both parts of the poem bike Sonnets to Orpheus containing 55 entire sonnets. Together, these two have often been taken every bit constituting the high points of Rilke'southward piece of work. In May 1922, Rilke's patron Werner Reinhart bought and renovated Muzot 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 then impressed with her playing that he wrote in a letter of the alphabet: "What a sound, what richness, what determination. That and the Sonnets to Orpheus, those were ii strings of the same 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 January and August 1925 was an endeavor to escape his illness through a alter in location and living weather. Despite this, numerous of import individual poems appeared in the years 1923–1926 (including Gong and Mausoleum), as well as his abundant lyrical piece of 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 dorsum with approximately 50 poems of his own and chosen her poesy a Herzlandschaft (landscape of the heart).^[26] This was the just time Rilke had a productive poetic collaboration throughout all his work.^[27] Mitterer also 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 too as the Bavarian Soviet Republic in 1919.^[30] He became friends with Ernst Toller and mourned the deaths of Rosa Luxemburg, Kurt Eisner, and Karl Liebknecht.^[31] He confided that of the v or half-dozen newspapers he read daily, those on the far left came closest to his ain opinions.^[32] He developed a reputation for supporting left-wing causes and thus, out of fearfulness for his own condom, became more than reticent about politics after the Bavarian Republic was crushed by the correct-fly Freikorps.^[32] In January and February 1926, Rilke wrote three letters to the Mussolini-antagonist Aurelia Gallarati Scotti in which he praised Benito Mussolini and described fascism as a healing agent.^{[33] [34] [35]}

Death and burying [edit]

Rilke'due south grave in Raron, Switzerland

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

Rilke had chosen as his ain epitaph this verse form:

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

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

A myth developed surrounding his decease and roses. It was said: "To honour a visitor, the Egyptian dazzler Nimet Eloui Bey, Rilke gathered some roses from his garden. While doing and then, he pricked his hand on a thorn. This small wound failed to heal, grew apace worse, presently his entire arm was bloated, and his other arm became affected as well", and then he died.^[36]

Writings [edit]

The Volume of Hours [edit]

Rilke's three complete cycles of poems that constitute The Book of Hours ( Das Stunden-Buch ) were published by Insel Verlag in April 1905. These poems explore the Christian search for God and the nature of Prayer, using symbolism from Saint Francis and Rilke'southward observation of Orthodox Christianity during his travels in Russian federation in the early on years of the twentieth century.

The Notebooks of Malte Laurids Brigge [edit]

Rilke wrote his only 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. The narrative takes the class of a rambling novelette filled with poetic language and contains, amongst other things, a retelling of the prodigal son tale, a striking description of death by illness, an ode to the joys of roaming free during childhood, a spooky description of how people vesture imitation faces with others, and a snarky comment almost the weirdness of neighbors.

This semi-autobiographical novel adopts the style and technique that became associated with Expressionism which entered European fiction and art in the early on 20th century. He was inspired by Sigbjørn Obstfelder's work A Priest'southward Diary and Jens Peter Jacobsen's 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 decease and reflecting on the experience of time every bit decease approaches. He draws considerably on the writings of Nietzsche, whose work he came to know through Lou Andreas-Salomé. His work too incorporates impressionistic techniques that were influenced past Cézanne and Rodin (to whom Rilke was secretary in 1905–1906). He combines these techniques and motifs to conjure images of mankind'southward anxiety and alienation in the face of an increasingly scientific, industrial and reified world.

Duino Elegies [edit]

Rilke began writing the elegies in 1912 while a guest of Princess Marie von Thurn und Taxis (1855–1934) at Duino Castle, near Trieste on the Adriatic Sea. During this ten-year catamenia, the elegies languished incomplete for long stretches of time as Rilke suffered frequently from severe depression, some of which was acquired by the events of World War I and his conscripted military service. Aside from brief episodes of writing in 1913 and 1915, Rilke did not return to the work until a few years afterwards the state of war ended. With a sudden, renewed inspiration – writing in a frantic pace he described as "a savage creative storm" – he completed the drove in February 1922 while staying at Château de Muzot in Veyras, in Switzerland's Rhône Valley. Afterward their publication and his death shortly thereafter, the Duino Elegies were apace recognized past critics and scholars as Rilke's about important work.^{[37] [38]}

The Duino Elegies are intensely religious, mystical poems that weigh beauty and existential suffering.^[39] The poems employ 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 later on declares that "every angel is terrifying" (Jeder Engel ist schrecklich).^[41] While labelling of these poems equally "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 equally a metamorphosis of Rilke'south "ontological torment" and an "impassioned monologue well-nigh coming to terms with man existence" discussing themes of "the limitations and insufficiency of the human condition and fractured human consciousness ... human's loneliness, the perfection of the angels, life and expiry, love and lovers, and the task of the poet".^[42]

Sonnets to Orpheus [edit]

With news of the death of Wera Knoop (1900–1919), his daughter's friend, Rilke was inspired to create and ready to work on Sonnets to Orpheus.^[43] In 1922, between Feb 2 and 5, he completed the first section of 26 sonnets. For the adjacent few days he focused on the Duino Elegies, completing them on the evening of February xi. Immediately thereafter, he returned to work on the Sonnets and completed the following section of 29 sonnets in less than two weeks. Throughout the Sonnets, Wera is frequently referenced, both directly by name and indirectly in allusions to a "dancer" and the mythical Eurydice.^[44] Although Rilke claimed that the entire cycle was inspired by Wera, she appears as a character in only one of the poems. He insisted, however, that "Wera's own figure ... however 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 as the "god with the lyre"^[46]) appears several times in the cycle, every bit do other mythical characters such as Daphne. In that location are as well biblical allusions, including a reference to Esau. Other themes involve animals, peoples of different cultures, and time and expiry.

Letters to a Young Poet [edit]

Letters to a Young Poet, comprehend of the 1934 edition

In 1929 a minor writer, Franz Xaver Kappus (1883–1966), published a collection of x letters that Rilke had written to him when Kappus was a 19-year-former officer cadet studying at the Theresian Armed forces University in Wiener Neustadt. Rilke had also attended this academy. Between 1902 and 1908 the young Kappus had written Rilke when he was uncertain about his future every bit a military officeholder or equally a poet. Initially he sought Rilke'due south communication as to the quality of his poetry and whether he ought to pursue writing equally a career. While he declined to comment on Kappus's writings, Rilke advised Kappus on how a poet should feel, dear and seek truth in trying to sympathise and feel the world around him and appoint the earth of fine 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 period of Rilke'southward early artistic development afterwards his reputation as 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 Book of Images).^[47]

Style and themes [edit]

Rilke extensively engaged with metaphors, metonymy and contradictions in his verse and prose to convey disbelief and a crisis of religion. Figures from Greek mythology, such as Apollo, Hermes and Orpheus, recur as motifs in his poems and are depicted in original interpretations that often double every bit analogies for his experiences. Rilke's poems also characteristic figures of angels, famously described in the Duino Elegies as "terrifying" ( schrecklich ); he as well occasionally explored the crisis of his Catholic religion, including in his niggling-known 1898 poem "Visions of Christ", where he depicted Mary Magdalene as the female parent of Jesus' kid.^{[48] [49]}

Legacy [edit]

Rilke is 1 of the best-selling poets in the United States.^[50] In pop civilization, Rilke is frequently quoted or referenced in television shows, motility pictures, music and other works when these works hash out the bailiwick of dear or angels.^[51] His work is ofttimes described every bit "mystical" and has been quoted and referenced by cocky-assist authors.^[5] Rilke has been reinterpreted "equally a main who can lead us to a more fulfilled and less broken-hearted life".^{[6] [52]}

Rilke'south work has influenced several poets and writers, including William H. Gass,^[53] Galway Kinnell,^[54] Sidney Keyes,^{[55] [56]} Stephen Spender,^[38] Robert Bly,^{[38] [57]} W. S. Merwin,^[58] John Ashbery,^[59] novelist Thomas Pynchon^[60] and the philosopher Hans-Georg Gadamer.^{[61] [62]} British poet Due west. H. Auden (1907–1973) has been described equally "Rilke's almost influential English 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 by Rilke Archive in clan with Ruth Sieber-Rilke, edited by Ernst Zinn. Frankfurt am Main (1976)
• Rainer Maria Rilke, Werke (Works). Annotated edition in 4 volumes with supplementary 5th volume, published by Manfred Engel, Ulrich Fülleborn, Dorothea Lauterbach, Horst Nalewski and August Stahl. Frankfurt am Main and Leipzig (1996 and 2003)

Volumes of poesy [edit]

• Leben und Lieder (Life and Songs) (1894)
• Larenopfer (Offerings to the Lares) (1895)
• Traumgekrönt (Dream-Crowned) (1897)
• Appearance (Appearance) (1898)
• Das Stunden-Buch (The Book 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 Volume of Poverty and Decease) (1903)
• Das Buch der Bilder (The Book of Images) (4 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)
• Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Lay of the Love and Expiry of Cornet Christoph Rilke) (Lyric story, 1906)
• Die Aufzeichnungen des Malte Laurids Brigge (The Notebooks of Malte Laurids Brigge) (Novel, 1910)

Letters [edit]

Collected letters

• Gesammelte Briefe in sechs Bänden (Collected Letters in Six Volumes), published by Ruth Sieber-Rilke and Carl Sieber. Leipzig (1936–1939)
• Briefe (Messages), published past the Rilke Archive in Weimar. 2 volumes, Wiesbaden (1950, reprinted 1987 in single book).
• Briefe in Zwei Bänden (Letters in 2 Volumes) (Horst Nalewski, Frankfurt and Leipzig, 1991)

Other volumes of letters

• Briefe an Auguste Rodin (Insel Verlag, 1928)
• Briefwechsel mit Marie von Thurn und Taxis, two volumes, edited by 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 Nighttime Interval – Letters for the Grieving Heart, edited and translated past Ulrich C. Baer [de] (New York: Random Firm, 2018).

• Noi siamo le api dell'invisibile, Milano, De Piante Editore, 2022, ISBN 979-12-803-6219-3

Run across also [edit]

• Baladine Klossowska
• Rainer Maria Rilke Foundation in Sierre, Switzerland

Notes [edit]

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

References [edit]

1. ^ Biography: Rainer Maria Rilke 1875–1926, Verse Foundation website. Retrieved 2 February 2013.
2. ^ Müller, Hans Rudolf. Rainer Maria Rilke als Mystiker: Bekenntnis und Lebensdeutung in Rilkes Dichtungen (Berlin: Furche 1935)
3. ^ Stanley, Patricia H. "Rilke's Duino Elegies: An Culling Arroyo to the Study of Mysticism" in Heep, Hartmut (editor). Unreading Rilke: Unorthodox Approaches to a Cultural Myth (New York: Peter Lang 2000).
4. ^ Freedman 1998, p. 515.
5. ^ ^{a b} Komar, Kathleen L. "Rilke: Metaphysics in a New Age" in Bauschinger, Sigrid and Cocalis, Susan. Rilke-Rezeptionen: Rilke Reconsidered (Tübingen/Basel: Franke, 1995), pp. 155–169. Rilke reinterpreted "equally a master who can lead us to a more fulfilled and less broken-hearted life".
6. ^ ^{a b} Komar, Kathleen Fifty. "Rethinking Rilke's Duisiner Elegien at the Stop 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.
7. ^ See likewise: Mood, John. Rilke on Love and Other Difficulties (New York: Westward. Due west. Norton & Company, 1975); and a volume released by Rilke'due south own publisher Insel Verlag, Hauschild, Vera (ed.), Rilke für Gestreßte (Frankfurt am Main: Insel-Verlag, 1998).
8. ^ Komar, Kathleen 50. "Rethinking Rilke'due south 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), 189.
9. ^ Prater 1986, p. 5.
10. ^ Freedman 1998, p. 9.
11. ^ "Life of a Poet: Rainer Maria Rilke" at world wide web.washingtonpost.com
12. ^ ""Boy's Dress", V&A Museum of childhood, accessed June 27, 2019".
13. ^ Freedman 1998, p. 36.
14. ^ "Rainer Maria Rilke | Austrian-German language poet". Encyclopedia Britannica . Retrieved 17 July 2017.
15. ^ Arana, R. Victoria (2008). The Facts on File Companion to World Poetry: 1900 to the Nowadays. Infobase. p. 377. ISBN978-0-8160-6457-1.
16. ^ Anna A. Tavis. Rilke'due south Russian federation: A Cultural Encounter. Northwestern University Press, 1997. ISBN 0-8101-1466-6. p. 1.
17. ^ Rilke, Rainer Maria (12 July 2000). "Rainer Maria Rilke". Rainer Maria Rilke . Retrieved 17 July 2017.
18. ^ "Mit Rilke in Ronda" by Volker Mauersberger [de], Dice Zeit, 11 February 1983 (in German)
19. ^ "Hotel Catalonia Reina Victoria", andalucia.com
20. ^ Fatima Naqvi-Peters. A Turning Point in Rilke's Evolution: The Experience of El Greco. The Germanic Review: Literature, Culture, Theory, Vol. 72, Is. 4, pp. 344-362, 1997.
21. ^ "An Kurt Wolf, 28. März 1917." S. Stefan Schank: Rainer Maria Rilke. pp. 119–121.
22. ^ Freedman 1998, p. 505.
23. ^ ^{a b} "R. M. Rilke: Music equally Metaphor".
24. ^ "Photo and description". Picture-poems.com. Retrieved 7 June 2012.
25. ^ "Rainer Maria Rilke: a cursory biographical overview". Picture-poems.com. Retrieved seven June 2012.
26. ^ Katrin Maria Kohl; Ritchie Robertson (2006). A History of Austrian Literature 1918-2000. Camden Firm. pp. 130ff. ISBN978-i-57113-276-5.
27. ^ Karen Leeder; Robert Vilain (21 January 2010). The Cambridge Companion to Rilke. Cambridge University Press. pp. 24ff. ISBN978-0-521-87943-9.
28. ^ Rainer Maria Rilke; Robert Vilain; Susan Ranson (14 April 2011). Selected Poems: With Parallel German Text. OUP Oxford. pp. 343ff. ISBN978-0-19-956941-0.
29. ^ Erika Mitterer (2004). The prince of darkness. Ariadne Press. p. 663. ISBN978-1-57241-134-0.
30. ^ Freedman 1998, pp. 419–420.
31. ^ Freedman 1998, pp. 421–422.
32. ^ ^{a b} Freedman 1998, p. 422
33. ^ "Rilke-Briefe: Nirgends ein Führer" (in German), Der Spiegel (21/1957). 22 May 1957. Retrieved 28 Jan 2014.
34. ^ "Elegien gegen die Angstträume des Alltags" by Hellmuth Karasek (in High german). Der Spiegel (47/1981). 11 Nov 1981; Karasek calls Rilke a friend of the Fascists.
35. ^ Rainer Maria Rilke, Lettres Milanaises 1921–1926. Edited by Renée Lang. Paris: Librairie Plon, 1956^{[ page needed ]}
36. ^ ^{a b c} Excerpt from "Reading Rilke – Reflections on the Problems of Translation" by William H. Gass (1999) ISBN 0-375-40312-iv; featured in The New York Times 2000. Accessed 18 August 2010 (subscription required)
37. ^ ^{a b} Hoeniger, F. David. "Symbolism and Pattern in Rilke's Duino Elegies" in German Life and Letters, Volume 3, Outcome four (July 1950), pp. 271–283.
38. ^ ^{a b c} Perloff, Marjorie, "Reading Gass Reading Rilke" in Parnassus: Poetry in Review, Volume 25, Number 1/ii (2001).
39. ^ Gass, William H. Reading Rilke: Reflections on the Problems of Translation (New York: Alfred A. Knopf, 1999).
40. ^ Rilke, Rainer Maria. "First Elegy" from Duino Elegies, line 1.
41. ^ Rilke, Rainer Maria. "Starting time Elegy" from Duino Elegies, line 6; "2nd Elegy", line 1.
42. ^ Nuance, Bibhudutt. "In the Matrix of the Divine: Approaches to Godhead in Rilke'south Duino Elegies and Tennyson's In Memoriam" in Linguistic communication in India Volume 11 (11 November 2011), pp. 355–371.
43. ^ Freedman 1998, p. 481.
44. ^ Sword, Helen. Engendering Inspiration: Visionary Strategies in Rilke, Lawrence, and H.D. (Ann Arbor, Michigan: Academy of Michigan Press, 1995), pp. 68–seventy.
45. ^ Letter 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 Point Printing, 2004.
46. ^ Sonette an Orpheus , Erste Teil, Nineteen, v. viii: "Gott mit der Leier"
47. ^ Freedman, Ralph. "Das Stunden-Buch and Das Buch der Bilder: Harbingers of Rilke'southward Maturity" in Metzger, Erika A. and Metzger, Michael Thousand. (editors). A Companion to the Works of Rainer Maria Rilke. (Rochester, New York: Camden Business firm Publishing, 2001), 90–92.
48. ^ Knapp, Liza (Wintertime 1999). "Tsvetaeva'southward Marine Mary Magdalene". Slavic and East European Periodical. 43 (4): 597–620. doi:ten.2307/309415. JSTOR 309415.
49. ^ Haskins, Susan (1993). Mary Magdalen: Myth and Metaphor. Harcourt. p. 361. ISBN9780151577651.
50. ^ 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.
51. ^ 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.
52. ^ See also: Mood, John. Rilke on Beloved and Other Difficulties (New York: W. W. Norton, 1975); and a book released past Rilke'south own publisher Insel Verlag, Hauschild, Vera (editor). Rilke für Gestreßte (Frankfurt am Principal: Insel-Verlag, 1998).
53. ^ Leclair, Thomas (Summer 1977). "William Gass: The Art of Fiction No. 65". The Paris Review. No. seventy.
54. ^ Malecka, Katarzyna. Death in the Works of Galway Kinnell (Amherst, New York: Cambria Press, 2008), passim.
55. ^ Guenther, John. Sidney Keyes: A Biographical Enquiry (London: London Magazine Editions, 1967), p. 153.
56. ^ "Self-Elegy: Keith Douglas and Sidney Keyes" (Chapter 9) in Kendall, Tim. Modern English War Poesy (Oxford: Oxford Academy Press, 2006).
57. ^ Metzger, Erika A. and Metzger, Michael M. "Introduction" in A Companion to the Works of Rainer Maria Rilke (Rochester, New York: Camden Business firm, 2004), p. eight.
58. ^ 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 (Academy of Illinois, 1987), p. 144.
59. ^ Perloff, Marjorie. "Transparent Selves': The Poetry of John Ashbery and Frank O'Hara," in Yearbook of English language Studies: American Literature Special Number 8 (1978):171–196, at p. 175.
60. ^ Robey, Christopher J. The Rainbow Span: On Pynchon'south Use of Wittgenstein and Rilke (Olean, New York: St. Bonaventure University, 1982).
61. ^ Gadamer analyzed many of Rilke'due south themes and symbols. See: Gadamer, Hans-Georg. "Mythopoietische Umkehrung im Rilke's Duisener Elegien" in Gesammelten Werke, Band ix: Ästhetik und Poetik 2 Hermenutik im Vollzug (Tübingen: J. C. B. Mohr, 1993), pp. 289–305.
62. ^ Dworick, Stephanie. In the Company of Rilke: Why a 20th-Century Visionary Poet Speaks And then Eloquently to 21st-Century Readers (New York: Penguin, 2011).
63. ^ 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'southward most influential English disciple, oftentimes paid homage to him, as in these lines which tell of the Elegies and of their difficult and chancy genesis..."

Sources

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

Further reading [edit]

Biographies [edit]

• Corbett, Rachel, You Must Modify Your Life: the Story of Rainer Maria Rilke and Auguste Rodin, New York: Due west. W. Norton and Visitor, 2016.
• Tapper, Mirjam, Resa med Rilke, Mita bokförlag.
• Torgersen, Eric, Dear Friend: Rainer Maria Rilke and Paula Modersohn-Becker, Northwestern University Press, 1998.
• Von Thurn und Taxis, Princess Marie, The Poet and The Princess: Memories of Rainer Maria Rilke, Amun Press, 2017

Disquisitional studies [edit]

• Chamberlain, Lesley, Rilke the last Inward Man, London: Pushkin Printing 2022.
• Engel, Manfred and Lauterbach, Dorothea (ed.), Rilke Handbuch: Leben – Werk – Wirkung, Stuttgart: Metzler, 2004.
• Erika, A and Metzger, Michael, A Companion to the Works of Rainer Maria Rilke, Rochester, 2001.
• Gass, William H. Reading Rilke: Reflections on the Bug of Translation, Alfred A. Knopf, 2000.
• Goldsmith, Ulrich, ed., Rainer Maria Rilke, a verse cyclopedia to his complete lyrical poetry. Leeds: West. Southward. Maney, 1980.
• Hutchinson, Ben. Rilke's Poetics of Condign, Oxford: Legenda, 2006.
• Leeder, Karen, and Robert Vilain (eds), The Cambridge Companion to Rilke. Cambridge: Cambridge Academy Press, 2010. ISBN 978-0-521-70508-0
• Mood, John, A New Reading of Rilke'southward 'Elegies': Affirming the Unity of 'life-and-death Lewiston, New York: Edwin Mellen Printing, 2009. ISBN 978-0-7734-3864-4.
• Numerous contributors, A Afterthought of Rainer Maria Rilke, Agenda poesy magazine, vol. 42 nos. iii–iv, 2007. ISBN 978-0-902400-83-2.
• Pechota Vuilleumier, Cornelia, Heim und Unheimlichkeit bei Rainer Maria Rilke und Lou Andreas-Salomé. Literarische Wechselwirkungen. Olms, Hildesheim, 2010. ISBN 978-iii-487-14252-4
• Ryan, Judith. Rilke, Modernism, and Poetic Tradition. Cambridge: Cambridge University Press, 1999.
• Schwarz, Egon, Poetry and Politics in the Works of Rainer Maria Rilke. Frederick Ungar, 1981. ISBN 978-0-8044-2811-viii.
• Neuman, Claude, The Sonnets to Orpheus and Selected Poems, English language and French rhymed and metered translations, trilingual German-English-French editions, Editions www.ressouvenances.fr, 2017, 2018

External links [edit]

German Wikisource has original text related to this article:

• Rainer Maria Rilke: Letters to a Young Poet, The first letter (in English language, French, Italian, German, Spanish, and Chamorro)
• Rainer Rilke and his Poem Black True cat
• Works by Rainer Maria Rilke at Project Gutenberg
• Works by or about Rainer Maria Rilke at Net Archive
• Works by Rainer Maria Rilke at LibriVox (public domain audiobooks)
• Publications by and well-nigh 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)
• Rilke, Rainer Maria (1920). Erste Gedichte. Leipzig: Insel.
• Translator of Rilke into English language, interview with Joanna Macy (2010 original, 2019 updated: transcript and audio) for OnBeing.org
• Poems by Rainer Maria Rilke: a new translation A new translation by Timothy Watson published on February 28, 2018

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

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