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The Duinedi Elegies German: Duineser Elegien are a collection of ten elegies written by the Bohemian – Austrian poet Rainer Maria Rilke — Rilke, who is “widely recognized as one of the most lyrically intense German-language poets,” [1] began writing the elegies in while a guest of Princess Marie von Thurn und Taxis — at Elehie Castlenear Trieste on the Adriatic Sea.

The poems, lines long in total, [2] were dedicated to the Princess upon their publication in During this ten-year period, the elegies languished incomplete for long stretches of time as Rilke suffered frequently from severe depression —some of which was caused by the events of World War I and being conscripted into military service. Aside from brief episodes of writing in andRilke did not return to the work until a few years after the war ended.

After their publication in and Rilke’s death inthe Duino Elegies were quickly recognized by slegie and scholars as his most important work. The Duino Elegies are intensely religious, mystical poems that weigh beauty and existential suffering. Rilke begins the first elegy in an invocation of philosophical despair, asking: Rilke’s poetry, and the Duino Elegies 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 New Age philosophy and theology, and in self-help books. InRilke had completed writing the loosely autobiographical novel, Die Aufzeichnungen des Malte Laurids Brigge The Notebooks of Malte Laurids Brigge in which a young poet is terrified by eleie fragmentation and chaos of modern urban life.

After completing the work, Rilke experienced a severe psychological crisis that lasted for two years. The princess who was twenty years older than Rilke and her husband Prince Alexander — enthusiastically supported artists and writers. Within days, he produced drafts of the first two elegies in dlegie series and drafted passages and fragments that would later be incorporated into later elegies—including the opening passage of the tenth elegy.

Rilke would only finish the third and fourth elegies before the onset of World War I. The third was finished in in Paristhe fourth in early in Munich. Because of his depression, Rilke was unable to return to writing for several years, [1] and only in was he motivated to focus towards completing his work on the Duino Elegies. However, for the next two years, his mode of life was unstable and did not permit him the time or mental state he needed for his writing.

InRilke journeyed to Switzerland, hoping to immerse himself in French culture near Geneva and to find a place to live permanently. He bought Muzot to allow Rilke to live there rent-free and focus on his work.


Duineser Elegien / Elegie Duinesi / Duino Elegies by Katja Cruz on Spotify

With news of the death of his daughter’s friend, Wera Knoop epegieRilke set to work on Sonnets to Orpheus. Rilke wrote to the young girl’s mother stating that Wera’s ghost was “commanding and impelling” him to write. In one week, Rilke completed the unfinished elegies, and dkinesi 2 February to 23 February he completed all the 55 sonnets of the two parts of Sonnets to Orpheus. I am still trembling from it. And I went out to caress old Muzot, just now, in the moonlight. No thought of food.

Essays on Life and ArtGerman novelist Hermann Hesse — describes Rilke as evolving within the eletie of exploring his existential problems, 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.

However, during the s, many of the younger generation of German-language poets and writers did not like Duino Elegies because of the poems’ obscure symbols and philosophy.

The German poet Albrecht Schaeffer who is associated with duindsi literary circle of German lyric poet Stefan George dismissed the poems as “mystical blather” and described their “secular theology” as “impotent eleggie. Adorno ‘s Jargon of Authenticity suggested that the poems are essentially evil: It is not simply grounded, as a much too innocent view might maintain, in the mixture of poetry and prose.

The evil, in the neoromantic lyric, consists in the fitting out of the words with a theological overtone, which is belied by duiinesi condition of the lonely and secular subject who is speaking there: Throughout the Duino ElegiesRilke explores themes of “the limitations and insufficiency of the human condition and fractured human consciousness The time remains destitute not only because God is dead, but because mortals are hardly aware and capable even of their own mortality.

At the onset of the First Elegy, Rilke describes this frightened experience, defining beauty as. Rilke depicted elebie infinite, transcendental beauty with the symbol of angels. However, he did not use the traditional Christian interpretation of angels.

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 depiction of angels found in Islam. As mankind encounters the invisible and unknown higher levels represented eoegie these angels, the experience of the invisible will be “terrifying” in German, schrecklich.

As mankind comes in contact with this terrifying beauty represented by these angels, Rilke duihesi concerned with the experience of existential angst in trying to come to terms with the coexistence of the spiritual and earthly.

He portrays human beings as alone in a universe where God is abstract and possibly non-existent, “where memory and patterns of intuition raise the sensitive consciousness to a realization of solitude. Rilke uses the images of love and of lovers as a way of showing mankind’s potential and humanity’s elrgie in achieving the transcendent understanding embodied by the angels.

One elegis the increasingly conscious decision to hold life open to death. The other is the spiritual imperative to present, elwgie this wider context, the transformations of love that are not possible in a narrower circle where Death is simply excluded as The Other. The Fifth Elegy is largely inspired by Pablo Picasso ‘s Rose Period painting, Les Saltimbanques “The Acrobats”, also known as “The Family of Saltimbanques” in which Diunesi 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.


Because of the profound impact that the war had on him, Rilke expressed a hope in a letter that the task of the intellectual in a post-war world would be to render the world right. It would be “to prepare in men’s hearts the way for those gentle, mysterious, trembling transformations from which alone the understandings and harmonies of a serener future will proceed.

Rilke’s reputation in the English-speaking world rests largely on the popularity of Duino Elegies. It was first translated for the American market in in a translation by J. In the United States, Rilke is one of the more popular, best-selling poets—along with thirteenth-century Sufi mystic Rumi —and 20th century Lebanese-American poet Kahlil Gibran — Rilke’s work, and specifically, the Duino Elegies have been claimed as a deep influence by several poets and writers, including Galway Kinnell, [46] Sidney Keyes[47] [48] Stephen Spender, [5] Robert Bly[5] [49] W.

Auden — has been described as “Rilke’s most influential English disciple” and he frequently “paid homage to him” or used the imagery of angels in his work.

Tonight in China let me think of one Who through ten years of silence worked and waited, Until in Muzot all his powers spoke, And everything was given once for all. And with the gratitude of the Completed He went out in the winter night to stroke That little tower like a great old animal [59]. From Wikipedia, the free encyclopedia. Rainer Maria Rilke — on the Poetry Foundation website.

Retrieved 2 February The several English translations differ in line count. Briefwechsel Insel,duiinesi Reflections on the Problems of Translation. A New History of German Literature.

Harvard University Press, Life of a Poet: Northwestern University Press, Visionary Strategies in Rilke, Lawrence, and H. University of Michigan Press, In the Image of Orpheus Rilke: Chiron Publications, Inser-Verlag, Paragon House, Rainer Maria Rilke als Mystiker: Bekenntnis und Lebensdeutung in Rilkes Dichtungen.

See also Stanley, Patricia H. Unorthodox Approaches to a Cultural Myth. Essays on Life and Art New York: Farrar, Straus and Giroux, HarperCollins, Insel-Verlag, Journal of Comparative Poetics January Routledge, English translation by Leishman, J. Hogarth Press, Briefe aus den Jahren — Leipzig: Peter Lang, Norton, New York, Houghton Mifflin Company, Boston, Camden House, Rilke on Love and Other Difficulties.

Death in the Works of Galway Kinnell.

Elegie duinesi. Testo tedesco a fronte

Cambria Press,passim. London Magazine Editions, Modern English War Poetry Oxford: Oxford University Press, Camden House,8. Essays on the Poetry University of Illinois, American Literature Special Number 8 Poetic Language and the Strangeness of the Ordinary.