By Rainer Maria Rilke, M. D. Herter Norton

Rainer's recognized letters, within the relatively literal (and commonly sturdy) translation by way of ms. herter norton. enjoy!!

from publisher:
Rilke's undying letters approximately poetry, delicate commentary, and the advanced workings of the human middle.

Born in 1875, the good German lyric poet Rainer Maria Rilke released his first choice of poems in 1898 and went directly to turn into well known for his tender depiction of the workings of the human center. Drawn via a few sympathetic be aware in his poems, teenagers usually wrote to Rilke with their difficulties and hopes. From 1903 to 1908 Rilke wrote a sequence of exceptional responses to a tender, would-be poet on poetry and on surviving as a delicate observer in a harsh global. these letters, nonetheless a clean resource of thought and perception, are followed right here by means of a chronicle of Rilke's existence that indicates what he used to be experiencing in his personal courting to lifestyles and paintings whilst he wrote them.

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Example text

And in fact artistic experience lies so incredibly close to that of sex, to its pain and its ecstasy, that the two manifesta­ tions are indeed but different forms of one and the same yearning and delight And if instead of heat R ic h a r d D e h m 30 el: one might say—sex, sex in the great, broad, clean sense, free of any insinuation of ecclesiastical error, then his art would be very grand and infinitely im­ portant. His poetic power is great, strong as a primitive instinct; it has its own unyielding rhythms in itself and breaks out of him as out of mountains.

Waters unend­ ingly full of life move along the old aqueducts into the great city and dance in the many squares over white stone basins and spread out in wide spacious pools and murmur by day and lift up their mur­ muring to the night that is large and starry here and soft with winds. And gardens are here, un­ forgettable avenues and flights of stairs, stairs de­ vised by Michelangelo, stairs that are built after the pattern of downward-gliding waters—broadly 42 bringing forth step out of step in their descent like wave out of wave.

That work of such incomparable deli­ cacy and form) you are of course quite, quite imassailably right as against the writer of the introduction. And let me here promptly make a request: read as little as possible of aesthetic criticism—such things are either partisan views, petrified and grown senseless in their lifeless in­ duration, or they are clever quibblings in which today one view wins and tomorrow the opposite. Works of art are of an infinite loneliness and with nothing so little to be reached as with criticism.

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