Showing posts with label 수피즘. Show all posts
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2022/05/25

Mysticism and the spiritual | Britannica

mysticism - Mysticism and the spiritual | Britannica



Mysticism and the spiritual

Extrasensory experience

Mystics believe that their experiences disclose the existence of an extrasensory dimension of reality: phenomena whose existence cannot be detected through sense perception become apparent during mystical experience. Mystics differ radically, however, in their claims about extrasensory realities. 
Ancient and Hellenistic philosophers offered three examples of the reality of the extrasensory:
  1.  the numbers and mathematical formulas of Pythagoras
  2. the forms (or “ideas”) of Plato and the universals (substantial and accidental forms) of Aristotle; and 
  3. the Stoic concept of the lekton, or “saying.” 

Thus, a number or a mathematical formula exists or is true objectively, whether or not it is known by any person. It is an intelligible or thinkable reality, though not a sensible or perceptible one. The Aristotelian concept of universals similarly builds from sensory evidence of things to concepts about those things to the concept of conceptual things. Red, yellow, and blue things can be seen through the operation of the senses; the ideas of red, yellow, and blue can be conceptualized through abstraction. The further abstraction—the concept of colour—no longer pertains to anything sensory but concerns an extrasensory phenomenon, colour in general, or colour in the abstract. The signification or meaning of a vocal sound (a word or a sentence) is similarly extrasensory but again entirely real.


All laws of nature describe interactions or relationships among perceptible things. The relationships are intelligible or thinkable; they are not themselves sensible or perceptible. When, for example, Newton’s third law of motion (that interacting bodies apply forces to one another that are equal in magnitude and opposite in direction) is illustrated through the collision of two moving objects, sense perception witnesses the objects approaching, making contact, and moving apart.

 It is the mind or intellect that conceptualizes the processes of action and reaction, equality and opposition, and perhaps attraction and repulsion. 
Equally extrasensory are the realities operative in emotional relationships.

 Psychological phenomena such as honour and revenge are perceived by the mind, rather than the senses, through abstraction from highly complex and potentially variable physical interactions. When mystics make claims about extrasensory dimensions of reality, they are making the same type of claim as do physical scientists when they cite the laws of physics or psychologists when they posit emotional complexes that govern healthy and morbid responses to events. They are not speaking of the magical, mythological, or otherworldly; they are attempting to speak, however well or inaccurately, of aspects of the world of sense perception that are not perceptible to the senses.

During mystical experiences, extrasensory phenomena are said to be directly perceived, whether by the soul, the mind, the imagination, or some other faculty.

The phenomena that mystics encounter may be impersonal—e.g., a unifying principle, structure, process, law, or force—or personal—e.g., ghosts, spirits, angels, demons, or gods or revelations derived from such personal beings. 

The inclusion of both impersonal and personal phenomena within the extrasensory is reflected in the medieval description of the extrasensory as “spiritual,” a usage that is reflected in the meaning of the German word Geist (“intellect” or “spirit”).

Understanding the spiritual

For mystics the spiritual is not something merely to think about but also something to be encountered. Spiritual phenomena may be said to be experienced when they are thought about in such a way that a depth of feeling becomes attached to them. When experience of the spiritual is heartfelt, the spiritual is found to be mysterious, awesome, urgent, and fascinating—what the German theologian and historian of religion Rudolf Otto called numinous.”


Rudolf Otto, 1925.Foto-Jannasch, Marburg/Art Resource, New York


The relation between the spiritual and the numinous is comparable to the relation between a beautiful object and an aesthetic experience of the object by someone. 

A work of art may in some moments be experienced as beautiful and in other moments be experienced as boring or even ugly. 

Its beauty—that is, its potential to be experienced as beautiful—exists whether or not the work of art is momentarily being appreciated as beautiful. Similarly, the physical circumstances that are used to define the physical laws of motion exist whether or not any objects happen to instantiate them at a particular time. Analogously, the spiritual exists, and can even be known to be spiritual, whether or not it is momentarily being appreciated as numinous.

Discerning what is truly spiritual from what is falsely or only apparently spiritual is a task that mystics everywhere address, though they differ in their approaches to the problem. Shamans and other mystics embrace pantheons that define the scope of the spiritual, partly by deduction from the perceptible world and partly through mythology. 

Ancient thinkers in the Platonic tradition subjected the spiritual to philosophical investigation. While validating the contemplation of intelligibles (extrasensory objects or phenomena), they divided visions into metaphorical expressions of intelligibles on the one hand and unreliable fantasies on the other. In both cases, visions were regarded as imaginative combinations of memories of sense perceptions

In the subsequent Aristotelian tradition of rational mysticism, the spiritual was discovered through meditation on nature. Following the 4th-century theologians Evagrius Ponticus and John Cassian, Christian mystics permitted themselves only a much reduced program. They contemplated both God’s intelligible power in the world and God himself, but they avoided visions on the grounds that reliable visions were too easy for demons to counterfeit successfully. 

Visions were rehabilitated in Islam as early as the 10th century and in Christianity and Judaism in the 12th century. In all cases the contemplation of intelligibles was considered more reliable, and more desirable, than the experience of visions.

The problem of discerning the truly spiritual has also been addressed in Asian religions. 

In Daoism, visions are favoured because the human microcosm contains the same constituent components as does the cosmos, and the contemplation of the cosmos has reliable implications concerning the Dao as a whole. 

Hinduism and Buddhism instead share an arch skepticism that dismisses both materiality and almost all spirituality as maya (“illusion”). For Hindus, the solitary exception to maya is spirit at its most abstract. As noted above, Hindu mystics locate the truth beyond illusion either dualistically, in pure purusha (“spirit”) —as opposed to the illusion of prakriti (“matter”)—or nondualistically, as the monistic substance sat-cit-ananda (“being-consciousness-bliss”). 

Buddhist mystics reject even these affirmations. Their meditations classically address a series of eight jhanas (Pali: “meditations”). The first four have forms that can be imagined or envisioned, and the last four are formless and culminate in “neither perception nor nonperception.” 

Thus, from a comparative perspective, it may be concluded that, because the mystics of the world make contradictory claims regarding the spiritual, a component of fantasy presumably complicates the perception of the extrasensory.

Transcending the spiritual

The aspiration of Buddhist meditation to transcend the whole of the spiritual represents an option that many mystical schools have taken. 

Western mysticism’s perception of God as utterly transcending both material and spiritual creation has led to descriptions of him as the Ineffable, the Infinite, the God beyond being, the God beyond being and nonbeing, and the God whose essence can never be known. Mystics of these traditions claim that their experiences are limited to the spiritual; it is these experiences, however, that convince them that the spiritual was created and transcended by God.

Other mystical traditions consider similar ideas, only to dissent from them. The Daodejing, the great work of Chinese philosophy composed about 300 BCE, begins with the assertion that the Dao that cannot be named is equivalent to the Dao that can be. The unnameable, ineffable Father is utterly transcendent, and the nameable Mother is manifest everywhere. Although Father and Mother are radically opposite, both are one. 

Christian mystics generally extend the doctrine of the Incarnation of God in the man Jesus to express a more general concern with the omnipresence of the Word in the whole of creation. The transcendent Father can be known only through the Son (the omnipresent Word); yet, together with the Holy Spirit, they form a single Godhead that is immanent everywhere.

An equivalent paradox is embraced by Mahayana Buddhists, who speak of phenomenal reality as shunyata (Sanskrit: “void” or “empty”). In their view the immanent is empty because it also transcends itself.

Whether the mystic views radical transcendence impersonally or as an attribute of God, mystical experiences themselves are always limited to the spiritual and do not include contact with the transcendent. During mystical experiences, spiritual phenomena may appear to be ultimate, self-existing, and divine or may be experienced as contingent

Spiritual phenomena are not then considered to be self-existing but instead attest to a superordinate role by a creator who transcends them. A distinction is then made between the spiritual and the divine, and mystics content themselves with inferring the divine from experiences of the spiritual.



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Mysticism and secrecy

Experiencing the hidden

Because mystics experience spiritual phenomena that are hidden from the senses, the physical world disclosed by sense perception does not exhaust reality as mystics understand it. Some mystics find the spiritual to be immanent within the world of ordinary sense perception, but others discount the perceptible world as illusion and attribute reality to the spiritual alone. Whatever the precise detail of the relation of the extrasensory to the perceptible, the hiddenness of the spiritual is an important characteristic of mysticism.


Many mystics claim that their experiences are indescribable in human language. Language can refer to experiences, as a kind of notational shorthand that enables other people who have had similar experiences to understand approximately what is meant, but it can never convey the whole content of an experience.

Not only do mystics feel that they have experienced a hidden dimension of reality, they generally seek to conform with it. For Confucians, conformance with the Dao traditionally consisted of implementing it in the administration of government. For Western rational mystics, conformance with nous took the form of pursuing philosophical knowledge and, in some cases, its technological implementation, as in medicine or alchemy. For most of the world’s mystics, however, conformance with reality’s hidden dimension is achieved through its imitation. Many Hindu Yogis, Buddhist meditators, and Christian mystics have attempted, so far as possible, to be exclusively spiritual, abstaining from material possessions and the satisfaction of bodily needs and withdrawing from human society and the entire world of physical existence. Other approaches, however, are less extreme.

Claims of indescribability differ from claims of inexplicable paradox. Unitive experiences frequently inspire mystics to assert a paradox, such as the claim that all is one, that being is nothingness, or that masculinity and femininity are the same thing. The analytic psychologist Carl Jung suggested the term mysterium coniunctionis (Latin: “mystery of the conjunction”) as a designation for mystical paradoxes. Mystics who conceptualize a mysterium coniunctionis—and not all do so—find it difficult to express the paradox in words, both in their own thoughts and in interpersonal communications. Words permit one to arrive at the paradox. For example, the statement “A and B are one” uses the nonparadoxical concepts “A,” “B,” and “one.” Each of the nonparadoxical concepts can be explained separately. However, the concepts are juxtaposed in such a way that the sentence as a whole arrives at a concept of “one” that is not its customary meaning, and it can be extremely difficult to find words that express the paradox at greater length by articulating nuances, implications, corollaries, and so forth.

The practice of secrecy


Because mystics experience spiritual phenomena that are hidden from the senses, they often conform with the secrecy of the spiritual by being secretive themselves. Some mystics retreat into silence. Some preserve secrecy about their ecstatic experiences but speak openly about their mystical ideas and beliefs. Others are still less secretive, withholding, for example, only a certain technique by which alternate states of consciousness are attained, such as a doctrine, a chant, or a spiritual name. In many Native American cultures, people were expected to seek visions in order to encounter a guardian spirit who would bestow a song or name by which a lesser spirit could be acquired as a helper. The song or name was kept secret, so that no one else would have access to the power it conferred, and in most cases the contents of the vision were reported only to the person who taught the visionary. In this manner the hiddenness of the spiritual was imitated by the visionaries and their communities. In several traditional African cultures, boys approaching puberty were taken from their villages into the forest, where they lived in a boys’ village for as long as two or three years. During this period, they were taught secret lore and underwent the ritual induction of a mystical experience through the administration of a psychoactive drug. Following initiation, the youths returned to the communal villages and outwardly carried on as though no secrets existed.

In many other cultures, people undergo initiation into secret societies through mystical practice. In other cases, initiation into a mystical practice defines a social class. For example, a successful vision quest was a condition of male eligibility to join a hunting party in many Native American cultures. Elsewhere, initiations were key to participation in warriors’ groups and militias and in occasional trades, such as iron smithing. In Classical Greece and the Hellenistic world, rites of initiation were undergone for the sake of having mystical experiences and gaining knowledge of the mysteries. Secret societies, often with political agendas, have been a major feature of Daoism for nearly 2,000 years and have been characteristic of Western esotericism since the Renaissance.

Mystics in many cultural traditions maintain secrets by speaking and writing in coded languages that are not understood by the laity of the tradition. Shamans convey secret meanings to each other by using vocabularies that consist of archaic words and metaphors. Daoism similarly utilizes coded language, a fact that makes extensive parts of Daoist texts incomprehensible to noninitiates. The “intentional languages” of Hindu and Buddhist Tantric texts include vocabularies in the names of commonplace items that are intentionally used in secret ways to speak about visionary and mystical experiences. In his Seventh Letter, Plato asserted that his writings contain hints at secret teachings; and the Babylonian Talmud, a compilation of Jewish teachings and commentaries, instructs that Jewish mysticism is to be taught by means of “chapter headings” alone. The symbolae (“symbols”) of the Pythagoreans, the ciphers of Western alchemists, the taʾwil (allegorical interpretations) of Sufi mystics, and the Kabbalists’ exegetical technique of sod (“secret”) are further developments of the practice of coded languages among Western mystics.

Secrecy may also have ethical consequences. In Hinduism, Buddhism, and the early-Christian gnostic movement, mystical secrecy includes the devaluing of phenomenological reality as “unreal.” The divine is seen as a keeper of secrets, who deceives and makes sport of humanity, condemning it to suffering through ignorance. In other mystical systems, perceptible reality is regarded not as a deception but as a code that a mystic may learn. Syrian Christian mysticism regards physical phenomena as symbols of higher spiritual realities. The Neoplatonic tradition, which undergirds Sufism, the Kabbala, and Western esotericism, regards physical phenomena as lower manifestations of realities that are spiritual at higher levels of being. In the 16th century the Dutch mystic Jakob Böhme wrote of “the signature of all things.” The correspondence of the cosmos with the human body in both Daoism and Tantric mysticism permits both orders of reality to be coded in terms of the gods, the landscape, the elements, various mineral and vegetable substances, and so forth.



Mystical states

Trance

Mystical experiences can be categorized not only according to their contents but also according to the alternate states of consciousness during which they occur. For example, St. Teresa of Ávila distinguished four stages of mystical prayer. In “the prayer of simplicity,” a prayer that is roughly one sentence in length is repeated continuously until other thoughts cease to follow in an orderly succession. As thought is gradually halted, the prayer reaches a point termed the “ligature” or “suspension,” when external reality is significantly less distracting. The second stage of prayer, “the prayer of the quiet,” begins at the onset of the ligature. During this stage, repetitive prayer continues to require conscious effort, but it gradually ceases to be a voluntary meditation and instead becomes an involuntary passively experienced object of contemplation. When the increasing oblivion to external reality and the preoccupation with contemplation reach such an extent that distractions entirely cease to intrude on consciousness, the prayer of quiet has ended and “the prayer of the full mystical union” is said to have commenced. Efforts to avoid distraction and maintain contemplation are now all but unnecessary. Sense perception is half-suspended; the sense of hearing is the last of the senses to be inhibited. The simultaneous increase of the ligature and contemplation is again progressive, arriving by increments at the final stage of Roman Catholic mystical experience, which St. Teresa described in terms of three categories. “Ecstasy” appears gradually or quietly. “Rapture” is an experience of the same content when its onset is violent and sudden. Lastly, the “flight of the soul” is a rapture with the specific content of an out-of-body experience.

The four stages of mystical prayer may be described psychologically as four gradually deeper stages of trance, a psychic state in which thinking about something accomplishes what an effort of will is ordinarily necessary to effect. As trance deepens, the ordinary functions of consciousness are lost one by one, with gradually increasing intensity or extent. Because the functions of ordinary consciousness are inhibited, the contents of trance experiences are received without conflict, regardless of whether they would be disturbing during normal waking sobriety. Similarly, it is no more possible during trance than during the dreams of natural sleep to recognize fantasies as fantasies. Whatever their contents, mystical trances may be experienced as real and true. Ideas become delusions; daydreams become hallucinations. Trances consequently promote forms of religiosity that are at least partly inconsistent with a scientific understanding of the perceptible world.

Reverie


Not all mysticism has its basis in trance states, however. Rudolf Otto noted this fact when he proposed a dualistic classification of numinous experiences. In the mysterium tremendum (“awe inspiring mystery”), the numinous is experienced as mysterious, awesome, and urgent. Otto identified the other class of experiences, in which the numinous is fascinans (“fascinating”), with the “Dionysian element,” as defined by the German philosopher Friedrich Nietzsche. This allusion to the chaotic, creative, spontaneous, and irrepressible element of the unconscious implied that the mysterium tremendum was the Apollonian element—orderly, controlling, rationalistic, and conscious.

In reverie states, numinous experiences occur without the inhibition of consciousness, and visions are experienced as revelations rather than as perceptions of externally existing realities. The contents of the visions are often symbolic or allegorical and require proper interpretation in order to be understood. Unitive experiences too are thought to be metaphors and not literal truths.

Many contents of mystical experience may occur in both trances and reveries and may differ in little more than the reification and preternaturalism that trance contributes. The experience that all is one, for example, may lead in trance to a denial of the reality of physical plurality, while in reverie it may lead to wonderment at something like the periodic table of atomic elements, which attests to a unity that underlies physical reality. In trance, the all-in-one is reified, so that plurality cannot be real; in reverie, the all-in-one is self-evidently a metaphor and speaks to an extrasensory dimension of the physical. The idea of dying may be manifested during a reverie as an experience of “mystical death,” a rare instance when reverie has the quality of a mysterium tremendum. Vivid hallucinatory fantasies of being about to die, in the process of dying, or having died can cause extreme panic, which ends with the realization that life continues. During a trance, the idea of dying may take visionary form as an out-of-body experience in which the visionary survives the body by leaving it. Reverie and trance accommodate other disturbing materials in similar ways, with disturbance being experienced in reverie and inhibited or wished away in trance. Mystics can interpret reverie states as though they were trance states, resulting in an attitude toward visions that the French historian of religions Henry Corbin termed “imaginal.” Mystics can also interpret trance states as though they were reveries.








2022/05/22

Duino Elegies - Wikipedia

Duino Elegies - Wikipedia

Duino Elegies

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Duino Elegies
Pasternak-rilke.jpeg
Author Rainer Maria Rilke in a sketch by Leonid Pasternak
AuthorRainer Maria Rilke
Original titleDuineser Elegien
LanguageGerman
GenreElegy
Published1923 Insel-Verlag
Original text
Duineser Elegien at German Wikisource

The Duino Elegies (GermanDuineser Elegien) are a collection of ten elegies written by the Bohemian-Austrian poet Rainer Maria Rilke (1875–1926). Rilke, who is "widely recognized as one of the most lyrically intense German-language poets",[1] 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. The poems, 859 lines long in total,[2] 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 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 1913 and 1915, Rilke did not return to the work until a few years after the war ended. With a sudden, renewed inspiration—writing in a frantic pace he described as a "boundless storm, a hurricane of the spirit"[3]—he completed the collection in February 1922 while staying at Château de Muzot in Veyras, in Switzerland's Rhone Valley. After their publication in 1923 and Rilke's death in 1926, the Duino Elegies were quickly recognized by critics and scholars as his most important work.[4][5]

The Duino Elegies are intensely religious, mystical poems that weigh beauty and existential suffering.[6] The poems employ a rich symbolism of angels and salvation but not in keeping with typical Christian interpretations. Rilke begins the first 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?)[7] and later declares that "every angel is terrifying" (Jeder Engel ist schrecklich).[8] While labelling of these poems as "elegies" would typically imply melancholy and lamentation, many passages are marked by their positive energy and "unrestrained enthusiasm".[4] 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's loneliness, the perfection of the angels, life and death, love and lovers, and the task of the poet".[9]

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.

Writing and publication history[edit]

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.

Duino Castle and the first elegies[edit]

In 1910, Rilke 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 the fragmentation and chaos of modern urban life. After completing the work, Rilke experienced a severe psychological crisis that lasted for two years.[10] In 1912, still facing this severe depression and despair, Rilke was invited to Duino Castle by Princess Marie von Thurn und Taxis (1855–1934) (born Princess Marie zu Hohenlohe-Waldenburg-Schillingsfürst) whom he had met a few years before. The princess (who was twenty years older than Rilke) and her husband Prince Alexander (1851–1939) enthusiastically supported artists and writers.[11]: pp.317–320 

While at Duino, Rilke and Princess Marie discussed the possibility of collaborating on a translation of Dante Alighieri's La Vita Nuova (1295).[11]: p.320  After the Princess left to join her husband at their Lautschin estate, Rilke spent the next few weeks at the castle preparing to focus on work. During these weeks, he was writing Marien-Leben (The Life of Mary).[6]: p.103  While walking along the cliffs overlooking the Adriatic Sea near the castle, Rilke claimed to hear a voice calling to him speaking the words of the first line, Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? ("Who, if I cried out, would hear me among the hierarchies of angels?") which he quickly wrote in his notebook. Within days, he produced drafts of the first two elegies in the series and drafted passages and fragments that would later be incorporated into later elegies—including the opening passage of the tenth elegy.[6]: p.225 [12]: p.10 

Rilke would only finish the third and fourth elegies before the onset of World War I. The third was finished in 1913 in Paris, the fourth in early 1915 in Munich.[11]: p.340  The effects of the war—particularly his traumatic experiences being conscripted into the Austro-Hungarian army—triggered a severe renewal of his depression that rendered him unable to write for several years.[11]: pp.379–432 

Château de Muzot and the creative hurricane[edit]

Rilke completed the Duino Elegies at Château de Muzot in Veyras, Switzerland, in a "boundless storm" of creativity in February 1922.

Because of his depression, Rilke was unable to return to writing for several years,[1] and only in 1920 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.[11]: pp.433–445 

In 1921, Rilke journeyed to Switzerland, hoping to immerse himself in French culture near Geneva and to find a place to live permanently.[11]: p.471  At the time, he was romantically involved with Baladine Klossowska (1886–1969). At the invitation of Werner Reinhart (1884–1951), Rilke moved into the Château de Muzot, a thirteenth-century manor house that lacked gas and electricity, near VeyrasRhone Valley, Switzerland.[11]: p.474  Reinhart, a Swiss merchant and amateur clarinetist, used his wealth to be a patron to many twentieth-century writers and composers. He bought Muzot to allow Rilke to live there rent-free and focus on his work.[11]: p.474  Rilke and Klossowska moved there in July 1921 and later in the year Rilke translated writings by Paul Valéry and Michelangelo into German.[11]: p.478 

Affected by the news of the death of his daughter's friend, the dancer Wera Ouckama Knoop (1900–1919), Rilke set to work on Sonnets to Orpheus.[11]: p.481  The Sonnets frequently refer to Wera, both directly where he addresses her by name and indirectly in allusions to a "dancer" or the mythical Eurydice. Rilke wrote to the young girl's mother stating that Wera's ghost was "commanding and impelling" him to write.[13][14] In a rush of inspiration, Rilke worked on the Sonnets and renewed his focus towards completing the remainder of Duino Elegies. In one week, Rilke completed the unfinished elegies, and from 2 to 23 February 1922 he completed all the 55 sonnets of the two parts of Sonnets to Orpheus.[15] Rilke considered both collections to be "of the same birth".[15][16] In a letter to Klossowska on 9 February 1922, Rilke wrote: "what weighed me down and caused my anguish most is done ... I am still trembling from it. ... And I went out to caress old Muzot, just now, in the moonlight."[11]: p.492 [17] Two days later, completing the last of his work on the Elegies in the evening, he wrote to Lou Andreas-Salomé that he had finished "everything in a few days; it was a boundless storm, a hurricane of the spirit, and whatever inside me is like thread and webbing, framework, it all cracked and bent. No thought of food."[3][11]: p.492 

Publication and reception[edit]

Duino Elegies was published by Insel-Verlag in Leipzig, Germany in 1923. Prominent critics praised the work and compared its merits to the works of Hölderlin and Goethe.[11]: p.515 [18] In 1935, critic Hans-Rudolf Müller was the first to describe the collection as inherently "mystical" and promote Rilke as a "mystic" spiritual guide.[19]

In My Belief: Essays on Life and Art, German novelist Hermann Hesse (1877–1962) describes Rilke as evolving within the confines 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".[1][20]

However, during the 1920s, 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 the literary circle of German lyric poet Stefan George) dismissed the poems as "mystical blather" and described their "secular theology" as "impotent gossip".[11]: p.515 

Theodor W. Adorno's Jargon of Authenticity (1964) suggested that the poems are essentially evil: "The fact that the neoromantic lyric sometimes behaves like the jargon [of authenticity], 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 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."[21] Adorno further believed the poems reinforced the German value of commitment that supported a cultural attraction towards the principles of Nazism.[22]

Symbolism and themes[edit]

Rilke employs the rich symbolism of angels influenced by their depiction in Islam to represent the embodiment of transcendental beauty.

Throughout the Duino Elegies, Rilke explores 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".[9] Philosopher Martin Heidegger 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."[23] 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

... nothing but the beginning of terror which we are barely able to endure
and we are so awed because it serenely disdains to annihilate us.[24]

Rilke depicted this 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.[11]: p.327 [25][26] 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, schrecklich).[5][9][25]

As mankind comes in contact with this terrifying beauty represented by these angels, Rilke is 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".[9] Rilke depicts the alternative, a spiritually fulfilling possibility beyond human limitations in the form of angels.[27] Beginning with the first line of the collection, Rilke's despairing speaker calls upon the angels to notice human suffering and to intervene.[28] 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.[9] The narrative voice Rilke employs in the Duino Elegies strives "to achieve in human consciousness the angel's presumed plenitude of being" (i.e. being, or existence, in German: Dasein).[29]

Rilke uses 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 writes, "Lovers, if they knew how, might utter / wondrous things in the midnight air." (Liebende könnten, verstünden sie's, in der Nachtluft / wunderlich reden.)[30] He depicts "the inadequacy of ordinary lovers" and contrasts a feminine form of "sublime love" and a masculine "blind animal passion".[31]: p.96  At the time the first elegies were written, Rilke often "expressed a longing for human companionship and affection, and then, often immediately afterwards, asking whether he could really respond to such companionship if it were offered to him ..."[31]: p.91  He notices a "decline in the lives of lovers ... when they began to receive, they also began to lose the power of giving".[31]: p.103  Later, during World War I, he would lament that "the world has fallen into the hands of men".[31]: p.97 [32] In the face of death, life and love is 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.[31]: p.105  Rilke asserted that the true meaning of love could be understood through death providing love a meaning in this unity—that "the nature of every ultimate love ... is only able to reach the loved one in the infinite".[31]: pp.103, 122 [33]: p.125 

Rilke wrote his Fifth Elegy inspired by his memory of seeing Picasso's painting Les Saltimbanques (1905) in Paris several years earlier.

In a 1923 letter to Nanny von Escher, Rilke confided:

Two inner experiences were necessary for the creation of these books (The Sonnets to Orpheus and The Duino Elegies). One is the increasingly conscious decision to hold life open to death. The other is the spiritual imperative to present, in this wider context, the transformations of love that are not possible in a narrower circle where Death is simply excluded as The Other.[34]

The Fifth Elegy is largely inspired by Pablo Picasso's 1905 Rose Period painting Les Saltimbanques ("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".[31]: p.102  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'".[31]: pp.102–103 

Because of the profound impact that the war had on him, Rilke expressed a hope in a 1919 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".[33]: p.165  Rilke envisioned his Duino Elegies and the Sonnets to Orpheus as part of his contribution.[12]: p.14 

Influence[edit]

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.

Rilke's reputation in the English-speaking world rests largely on the popularity of Duino Elegies.[35] The collection has been translated into English over twenty times[5] since it was first published in 1931 by London's Hogarth Press in England as Duineser Elegien: Elegies from the Castle of Duino in a translation by Edward and Vita Sackville-West. It was first translated for the American market in 1939 in a translation by J. B. Leishman and Stephen Spender published by New York's W. W. Norton & Company. Other translations have included those by poet David Young (1978),[36] Grateful Dead lyricist Robert Hunter (1989),[37] poet Galway Kinnell with Hannah Liebmann (1999),[38] Stephen Cohn (1989),[39] poet Alfred Poulin (1975),[40] and poet Gary Miranda (1981).[41]

In the United States, Rilke is one of the more popular, best-selling poets—along with thirteenth-century Sufi (Muslim) mystic Rumi (1207–1273), and 20th century Lebanese-American poet Kahlil Gibran (1883–1931).[35] 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.[42] Because of his work being described as "mystical", Rilke's works have also been appropriated for use by the New Age community and in self-help books.[43] Rilke has been reinterpreted "as a master who can lead us to a more fulfilled and less anxious life".[attribution needed][44][45]

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. S. Merwin,[50] John Ashbery,[51] novelist Thomas Pynchon[52] and philosophers Ludwig Wittgenstein[53] and Hans-Georg Gadamer.[54][55] Critics and scholars have discussed Pynchon's use of Rilke's lyricism and concepts of transformation in his novel Gravity's Rainbow.[56] The first lines of Gravity's Rainbow mirror the first lines of first elegy, portraying the screaming descent of a V-2 rocket in 1944 London, and the novel has been described as a "serio-comic variation on Rilke's Duino Elegies and their German Romantic echoes in Nazi culture".[57] The British poet W. H. Auden (1907–1973) 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. In the 1936 poem cycle Sonnets from China, Auden directly alluded to Rilke's writing of the Duino Elegies.[58]

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]

The reference here to stroking "that little tower" is derived from a series of letters written while Rilke was completing the Elegies including a letter he wrote to Klossowska,[17] and one to his former lover, Lou Andreas-Salomé.[60] In the letter to Andreas-Salomé, he writes "I went out and stroked the little Muzot, which protected it and me and finally granted it, like a large old animal."[3]

In later years, Rilke's Duino Elegies and the Sonnets to Orpheus influenced Hans-Georg Gadamer's theories of hermeneutics—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, using examples of Rilke's poetry in his writings, interprets these works as an experience of a divine "totality" that we must approach with a childlike innocence and ignorance—that only through interpreting and reinterpreting can we cope with or solve the existential problems of humanity's significance and impermanence.[61] Gadamer points out that man is in a condition influenced by an anonymous, alienated, and mechanical world that has evolved to stand as an obstacle to his ability to make sense of such experiences.[62]

References[edit]

Notes[edit]

  1. Jump up to:a b c Biography: Rainer Maria Rilke 1875–1926 on the Poetry Foundation website. Retrieved 2 February 2013.
  2. ^ 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 lines. The several English translations differ in line count.
  3. Jump up to:a b c Rilke to Lou Andreas-Salomé (11 February 1922) in Rilke, Rainer Maria and Andreas-Salomé, Lou. Briefwechsel (Insel, 1952), 464.
  4. Jump up to:a b Hoeniger, F. David. "Symbolism and Pattern in Rilke's Duino Elegies" in German Life and Letters Volume 3, Issue 4, (July 1950), pages 271–283.
  5. Jump up to:a b c d e Perloff, Marjorie. "Reading Gass Reading Rilke" in Parnassus: Poetry in Review. Volume 25, Number 1/2 (2001).
  6. Jump up to:a b c Gass, William H. Reading Rilke: Reflections on the Problems of Translation. (New York: Alfred A. Knopf, 1999).
  7. ^ Rilke, Rainer Maria. "First Elegy" from Duino Elegies, line 1.
  8. ^ Rilke, Rainer Maria. "First Elegy" from Duino Elegies, line 6; "Second Elegy", line 1.
  9. Jump up to:a b c d e Dash, Bibhudutt. "In the Matrix of the Divine: Approaches to Godhead in Rilke's Duino Elegies and Tennyson's In Memoriam" in Language in India Volume 11 (11 November 2011), 355–371.
  10. ^ Wellbery, David E.; Ryan, Judith; and Gumbrecht, Hans Ulrich. A New History of German Literature. (Cambridge, Massachusetts: Harvard University Press, 2004), 723.
  11. Jump up to:a b c d e f g h i j k l m n o Freedman, Ralph. Life of a Poet: Rainer Maria Rilke. (Evanston, Illinois: Northwestern University Press, 1998).
  12. Jump up to:a b Leishman, J. B. and Spender, Stephen (translators). "Introduction" in Rainer Maria Rilke: Duino Elegies. (New York: W. W. Norton & Company, 1939).
  13. ^ Sword, Helen. Engendering Inspiration: Visionary Strategies in Rilke, Lawrence, and H.D. (Ann Arbor, Michigan: University of Michigan Press, 1995), 68–70.
  14. ^ Rilke to Gertrud Ouckama Knoop (20 April 1923) in Rilke, Rainer Maria. Briefe aus Muzot: 1921 bis 1926 (Leipzig: Inser-Verlag, 1937).
  15. Jump up to:a b Polikoff, Daniel Joseph. In the Image of Orpheus Rilke: a Soul History. (Wilmette, Illinois: Chiron Publications, 2011), 585–588.
  16. ^ Rilke to Witold Hulewicz (13 November 1925) in Rilke, Rainer Maria. Briefe aus Muzot: 1921 bis 1926 (Leipzig: Inser-Verlag, 1937), 335–338. "The Elegies and The Sonnets 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 sonnets and the great white canvas of the Elegies."
  17. Jump up to:a b Rilke to Baladine Klossowska (9 February 1922) in Rainer Maria Rilke, Letters to Merline 1919–1922 (St. Paul, Minnesota: Paragon House, 1989), 393.
  18. ^ Koch, Manfred. "Rilke und Hölderlin – Hermeneutik des Leids" in Blätter der Rilke-Gesellschaft 22. (Stuttgart: Thorbecke 1999) 91–102.
  19. ^ See Müller, Hans Rudolf. Rainer Maria Rilke als Mystiker: Bekenntnis und Lebensdeutung in Rilkes Dichtungen. (Berlin: Furche 1935). See also Stanley, Patricia H. "Rilke's Duino Elegies: An Alternative Approach to the Study of Mysticism" in Heep, Hartmut (editor). Unreading Rilke: Unorthodox Approaches to a Cultural Myth. (New York: Peter Lang 2000).
  20. ^ Hesse, Hermann, in the essay "Rainer Maria Rilke" (1928, 1927, 1933) in Part II of Hesse; Ziolkowski, Theodore (editor). My Belief: Essays on Life and Art (New York : Farrar, Straus and Giroux, 1974), 337–342.
  21. ^ Adorno, The Jargon of Authenticity (translated by Tarnowksi & Will, pp. 68–69)
  22. ^ "Adorno's Jargon of Authenticity Reyes", Mira T., Miriam College Faculty Research Journal, Vol. 29, No. 1 (2008)
  23. ^ Heidegger, Martin. "What Are Poets For?" (essay) in Hofstadter, Albert (translator) in Poetry, Language, Thought (New York: HarperCollins, 1971), 96.
  24. ^ Rilke, Rainer Maria. "First Elegy" from Duino Elegies (1923), lines 4–5, translated by Mitchell, Stephen (Boston: Shambhala Publications, Inc., 1992).
  25. Jump up to:a b Rilke to Witold Hulewicz (13 November 1925) in Rilke, Briefe aus Muzot: 1921 bis 1926 (Leipzig: Insel-Verlag, 1937), 337.
  26. ^ Campbell, Karen J. "Rilke's Duino angels and the angels of Islam" in Alif: Journal of Comparative Poetics (January 2003).
  27. ^ Flemming, Albert Ernest (translator). Rainer Maria Rilke: Selected Poems. (New York:Routledge, 1990), 20–21.
  28. ^ Bruhn, Siglind. Musical Ekphrasis in Rilke's Marien-Leben (Rodopi, 2000), 28.
  29. ^ Gosetti-Ferencei, Jennifer Anna. "Immanent Transcendence in Rilke and Stevens" in The German Quarterly Volume 83, Issue 3 (Summer, 2010), 275–296.
  30. ^ Rilke, Rainer Maria. "Second Elegy" in Duino Elegies, lines 37–38. English translation by Leishman, J. B. and Spender, Stephen. Rainer Maria Rilke: Duino Elegies. (New York: W. W. Norton & Company, 1939).
  31. Jump up to:a b c d e f g h Leishman, J. B. and Spender, Stephen (translators). "Commentary" in Rainer Maria Rilke: Duino Elegies. (New York: W. W. Norton & Company, 1939).
  32. ^ Rilke, Rainer Maria. "Introduction" and "Commentary" in Later Poems. (London: Hogarth Press, 1939), 230–231.
  33. Jump up to:a b Rilke, Rainer Maria. Briefe aus den Jahren 1914–1921 (Leipzig: Insel-Verlag, 1937).
  34. ^ Rilke to Nanny von Escher (22 December 1923) in Rilke, Rainer Maria. Briefe aus Muzot: 1921 bis 1926. (Leipzig: Inser-Verlag, 1937).
  35. Jump up to: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), 155–178.
  36. ^ Rilke, Rainer Maria. Duino Elegies. translated by David Young (W. W. Norton, New York, 1978). ISBN 0-393-30931-2
  37. ^ Rilke, Rainer Maria. Duino Elegies. translated by Robert Hunter with block prints by Mareen Hunter (Hulogosi Press, 1989).
  38. ^ Rilke, Rainer Maria. The Essential Rilke. edited and translated by Galway Kinnell and Hannah Liebmann (Hopewell, NJ, 1999).
  39. ^ Rilke, Rainer Maria. Duino Elegies: A Bilinguial Edition translated by Stephen Cohn (Evanston, Illinois: Northwestern University Press, 1989). ISBN 978-0-85635-837-1
  40. ^ Rilke, Rainer Maria. Duino Elegies and The Sonnets To Orpheus translated by Alfred Poulin Jr. (Houghton Mifflin Company, Boston, 1975). ISBN 0-395-25058-7
  41. ^ Rilke, Rainer Maria. Duino Elegies translated by Gary Miranda (Portland, Oregon: Breitenbush Books, 1981). ISBN 0932576087
  42. ^ 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), 189.
  43. ^ Komar, Kathleen L. "Rilke: Metaphysics in a New Age" in Bauschinger, Sigrid and Cocalis, Susan. Rilke-Rezeptionen: Rilke Reconsidered. (Tübingen/Basel: Franke, 1995) 155–169.
  44. ^ 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), 188–189.
  45. ^ See also: Mood, John. Rilke on Love and Other Difficulties. (New York: W. W. Norton & Company, 1975); and a book released by Rilke’s own publisher Insel Verlag, Hauschild, Vera (editor). Rilke für Gestreßte. (Frankfurt am Main: Insel-Verlag, 1998).
  46. ^ Malecka, Katarzyna. Death in the Works of Galway Kinnell. (Amherst, New York: Cambria Press, 2008), passim.
  47. ^ Guenther, John. Sidney Keyes: A Biographical Enquiry. (London: London Magazine Editions, 1967), 153.
  48. ^ "Self-Elegy: Keith Douglas and Sidney Keyes" (Chapter 9) in Kendall, Tim. Modern English War Poetry (Oxford: Oxford University Press, 2006).
  49. ^ Metzger, Erika A. and Metzger, Michael M. "Introduction" in A Companion to the Works of Rainer Maria Rilke. (Rochester, New York: Camden House, 2004), 8.
  50. ^ Perloff, Marjorie. "Apocalypse Then: Merwin and the Sorrows of Literary History" in Nelson, Cary and Folsom, Ed (editors). W. S. Merwin: Essays on the Poetry (University of Illinois, 1987), 144.
  51. ^ Perloff, Marjorie. "'Transparent Selves': The Poetry of John Ashbery and Frank O'Hara", in Yearbook of English Studies: American Literature Special Number 8(1978):171–196, at 175.
  52. ^ Robey, Christopher J. The Rainbow Bridge: On Pynchon's Use of Wittgenstein and Rilke (Olean, New York: St. Bonaventure University, 1982).
  53. ^ Perloff, Marjorie. Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary. (Chicago: University of Chicago Press, 1996), passim, which points towards Wittgenstein's generous financial gifts to Rilke among several Austrian artists, although he preferred Rilke's earlier works and was distressed by his post-war writings.
  54. ^ Gadamer analyzed many of Rilke's themes and symbols. See: Gadamer, Hans-Georg. "Mythopoietische Umkehrung im Rilke's Duisener Elegien" in Gesammelten Werke, Band 9: Ästhetik und Poetik II Hermenutik im Vollzug. (Tübingen: J. C. B. Mohr, 1993), 289–305.
  55. ^ Dworick, Stephanie. In the Company of Rilke: Why a 20th-Century Visionary Poet Speaks So Eloquently to 21st-Century Readers. (New York: Penguin, 2011).
  56. ^ Hohmann, Charles. Thomas Pynchon's Gravity's Rainbow: A Study of its Conceptual Structure and of Rilke's Influence. (New York: Peter Lang, 1986).
  57. ^ Locke, Richard. "One of the Longest, Most Difficult, Most Ambitious Novels in Years" (book review of Gravity's Rainbow by Thomas Pynchon) in The New York Times (11 March 1973). Retrieved 13 April 2013.
  58. ^ Cohn, Stephen (translator). "Introduction" in Rilke, Rainer Maria. Duino Elegies: A Bilingual Edition. (Evanston, Illinois: Northwestern University Press, 1989), 17–18. Quote: "Auden, Rilke's most influential English disciple, frequently paid homage to him, as in these lines which tell of the Elegies and of their difficult and chancy genesis ..."
  59. ^ Auden, W(ystan). H(ugh). "Sonnets from China", XIX, lines 8–14 (1936); first published under the title "In Time of War" in Journey to a War (1939) and later retitled "Sonnets from China".
  60. ^ York, Richard Anthony. "Auden and Rilke" in Revista Alicantina de Estudios Ingleses 13 (2000): 205–219, at 211.
  61. ^ Hamner, Everett. "Gadamer as Literary Critic: 'Authentic Interpretation' of a Rilke Sonnet", in Renascence, Essays on Values in Literature 56:4, 256 ff.
  62. ^ Gadamer, Hans-Georg. "The Relevance of the Beautiful: Art as play, Symbol, and festival", in The Relevance of the Beautiful and Other Essays (translated by N. Walker and R. Bernasconi). (Cambridge: Cambridge University Press, 1986), 36. Published in Gadamer's "Collected Works" in the original German as Die Aktualität des Schönen. Kunst als Spiel, Symbol und Fest" in Gesammellte Werke: Band 8: Ästhetik und Poetik I. (Stuttgart: UTB, 1999) 8:123.

Further reading[edit]

  • Baron, Frank; Dick, Ernst S.; and Maurer, Warren R. (editors). Rainer Maria Rilke: The Alchemy of Alienation. (Regents Press of Kansas, 1980).
  • Graff, W. L. Rainer Maria Rilke: Creative Anguish of a Modern Poet. (Princeton: Princeton University Press, 1956).
  • Guardini, Romano; (trans. by Knight, K. G.). Rilke's "Duino Elegies": An Interpretation (Henry Regnery, 1961).
  • Kleinbard, D. The Beginning of Terror: A Psychological Study of R. M. Rilke's Life and Work (1993).
  • Komar, Kathleen L. Transcending Angels: Rainer Maria Rilke's "Duino Elegies". (Lincoln, Nebraska: University of Nebraska Press, 1987).
  • Reid, James D. Being Here Is Glorious: On Rilke, Poetry, and Philosophy. (Evanston: Northwestern University Press, 2015).

External links[edit]