In a letter to Gudrun Baroness of Uexkull (to whom the 1906 ver- sion of Cornet is dedicated) Rilke uses the appropriate metaphorical language in order to allude to the indebtedness of his Cornet to this notion of Jugendstil aesthetics: So unvollkommen und ungeschickt das kleine Kranzchen dieses Gedichtes auch gebunden ist, so ist mir doch, als ob ich dark zum ersten Mal die Bliiten zusam- mengestellt hatte, deren gluckliche Ver- einigung in einem StrauR oder Kranz aller dieser Bindekunst aul3erste Aufgabe darstellt: das wilde Jelinge rjelieber des Liebesstrauches und die stllen, eigen- tiirnlich schauenden Sterne, mit denen der Baum des Todes bliiht."'. 'Thus Paul de Man's general insight also applies to R. M. Rilke: "There always is a strange fascination about the bad verse that great poets write in their youth. Hence the task of interpreting the Elegies necessarily involves us in another task which cannot be dismissed lightly—that of defining our attitude to their content. Like Cornet, the letter to the mother is written in an intriguing form between prose and poetry, possessing in nuce the stylistic features intrinsic to the book. "Klein war . The image of the circle stands for the moment of full con- centration, for the state of self-collection the young Cornet could achieve after having "gathered" himself, pulled himself out of the various modes of dispersion; "sammeln" was the directive in the poem quoted above, and it recurs programmatically in Cornet when the soldiers ask Christoph Rilke to act (65). Thus, the act of writing, retrospec- tively stylized to the outcome of the furor poeticus, is just as much a parable of the youth- ful movement as Christoph's career itself. It is a work which conveys some idea at least of the complexity, and also the constant vulnerability of Rilke’s inner life. The young Cornet Christoph Rilke is a por- trait of an artist. R. M. Rilkes literarischer Jugendstil," Rilke heute. Self-Centeredness Isn't Narcissism's Central Problem. Reiten, reiten, reiten, durch den Tag, durch die Nacht, durch den Tag. „Einmal, am Morgen, ist ein Reiter da, und dann ein zweiter, vier, zehn. In a letter to Andre Gide, Rilke specified this movement by calling it "rhythm," a term that encompasses more than only the musical or phonetic qualities of the work. And we can probably say with some confidence that no one today reading a poem naturally and spontaneously would assess its merit according to its aesthetic value alone or by its dependence on sources. The notion of "youth" certainly points to the context of Jugendstil in which Cornet is located. RAINER MARIA RILKE In Translations by M. D. H erter N orton Letters to a Young Poet Sonnets to Orpheus Wartime Letters of Rainer Maria Ril\e Translations from the Poetry of Rainer Maria Rilf^e The Lay of //.. Love and Death of Cornet Christopher Rilfye The Notebooks of Malte Laurids Brigge Stories of God Read in the context of the "Florence diary," this poetological consideration becomes tangible as part of an aesthetic theory: Wirklich: die Stimmung, die ein Bild oder ein Gedicht hervorruft, gleicht in so vie- lem Sinn einem Lied. The piece itself is a super- ficial one, precisely in the sense that works of Jugendstil ought to be, since they are con- cerned with an emphasis on decoratively ori- ented modes of composition. Kurt Bartsch, et al. Their vision is like that of a dream in revealing hidden associations which we cannot see, perhaps because we do not want to see them, when we are awake. In einer Nacht, einer Herbstnacht vor fiinfundzwanzig Jahren, hingeschrieben, stellt diese Arbeit nicht vie1 mehr vor als eine Improvi- sation-; sie bestunde schlecht vor mei- nem heutigen Urteil.'. In view of the far-reaching claims which the poet makes for his work we are not merely justified—we are obliged to examine how far they can be substantiated. We do not need to read his Notebook of Malte Laurids Brigge as autobiography. (emphasis added). The Elegies thus differ in their profundity, and certainly in their content, from other poems which are more commonly inspired by personal or historical experiences.  See Selected Letters of Rainer Maria Rilke, 1902–1926, p. 323ff. At its end the circle reappears as a climax and as fulfillment. Others, like the opening twelve lines of the final Elegy, remained fragmentary. Letter to Alois Schreier (18 September 1924). . He also wrote The Tale of the Love and Death of Cornet Christopher Rilke , which became a great popular success. mir ist, als genugten sie, mein Inneres mit einem lauteren gleichmuthigen Glanz zu erfiillen, sie sind so recht Lampen in ihrn, ruhige Lam- pen. His eyes emit their own light rath- er than depending on the light of the world. At the end of Die Weise von Liebe und Tod Rilke presents the reader with the image of an extraordinary individual who, in the prime of his youth, partakes in the festival of life by creating it in his inner self. Therefore, Rilke can call his seductive piece a "Weise," a lay, in analogy to musical pieces. Wir trinken uns leer, wir geben uns hin, wir breiten uns aus- bis einmal unsere Ge- sten in winkenden Wipfeln sind und unser Lacheln in den Kidern aufersteht, die darunter spielen . It reflects hopes and fears, experiences of Good and Evil, and inner searchings which are very much with us today. . . The Lay of the Love and Death of Cornet Christopher Rilke. He is calm and self-cen- tered, thus displaying the qualities of the "con- centrated" artist. The relativistic spirit of our age is not very tolerant of this approach to poetry. They pass infinitely far beyond me.”, He thus claimed more for his poems than the beauty or profundity of great literature. In his "Florence diary" he fervently fosters the idea of artistic self-sufficiency and autonomy. As a book on the glamour and misery of soldiery, Cornet was either loved or ridiculed by its readers. / Seine Nahe erbaute er, 1 und dann warf er sich in eine Ferne.") In a letter to Marie von Thurn und Taxis, Rilke communicates such an experi- ence: Ich las eine Hymne eines poeta ignoto . Moderatoren: Thilo, stilz. Most of Rilke’s German public continued to read chiefly the Lay of Cornet Christoph Rilke, the Book of Hours, or the Life of the Virgin Mary. Zu Leide? Laut und langsam setzt er seine Worte. After Neue Gedighte (1907-08, New Poems) he wrote a notebook named Die Aufzechnungen des Malte Laurdis Brigge (1910), his most important prose work. Sie entstand unter dem Titel Der Cornet nach Angaben des Autors innerhalb einer Nacht im Jahr 1899 in der „Villa Waldfrieden“ in Berlin-Schmargendorf. Rilke manipulates his readership by intro- ducing at the very beginning of the text an audience that can neglect the semantic dimen- sion because it is enchanted by the emotive and phonic power of the words. Langsam, fast nachdenklich, schaut er um sich. Rilke’s work is highly relevant to modern Man. This is after all the established procedure in philosophical, if not in literary, criticism. It is essentially an activity that forms and determines its own course and structure during the process of its reali- zation: ". Included among his intellectual disciples are Josef Pieper, Luigi Giussani, and Joseph Ratzinger (later Pope Benedict XVI). Sogar das Spucken hort auf. . And yet, the presence of the ring structure is not confined to this neo-romantic idea, ac- cording to which one's course of life describes a circle. We might ask what relation Rilke’s message has to man’s quest for salvation, what new prospects it opens up to humanity, or how this message stands in relation to human experience as a whole, particularly in Western Europe, and so forth. Other than with the two symphonies developing from the piano sonatas Nos. For a man who had felt himself divided to his very depths by the dreadful pressure of those years into a Then and a Now which was perishing and irreconcilable with the past—for such a man to experience the grace of perceiving how, in the secret depths beneath this open rupture, the continuity of his work and his mind had been restored . „Einmal, am Morgen, ist ein Reiter da, und dann ein zweiter, vier, zehn. Fremde Hütten hocken durstig an versumpften Brunnen. Ich weilJ, der Weg ist noch lang; aber in meinen besten Traumen sehe ich den Tag, da ich mich empfangen werde." It is necessary to remind ourselves of the fundamental fact that the language of man is a vehicle not merely of subjective expression, but also, and primarily, of objective truth.  Further fragments followed during mike’s travels to Toledo, Ronda and Paris, but then his muse fell silent. . This is the typical picture of truly youthful creation, in which inspiration and enthusiasm guide the pen of a writer unconcerned with history, documents, and the very craft of form- ing verses. Die Weise von Liebe und Tod des Cornets Christoph Rilke ist der Titel einer kurzen Erzählung von Rainer Maria Rilke (1875–1926). His life was full of undercurrents, inner tensions and hidden depths. Its meaning is not confined to the age of the hero Chri- stoph Rilke; it encompasses the process of writing the prose-poem itself, which Rilke paraphrased in the same letter in a poem dedi- cated to Schreier's daughter Eva: The healing process was so gentle and smooth that a few weeks of devotion were sufficient for the whole cycle of the Elegies to take shape, as if it had never really been broken off, or had simply been benumbed in its separate fragments. The texts quoted by Poulet seem rather randomly chosen, and there are no references to Cornet or to other pertinent works. This new esteem for Rilke not only grew in proportions. Aside from its occurrence as the pro- jected result of the bound flowers, it reap- pears at all important moments of the text. 1 (Zurich: Niehans, 1955) 452-53. Since no truly different text satisfying the norms of his new view on art could be extrapolated from the Jugendstil of Cornet, the versions of 1904 and 1906 only undertook to master this form and its rules, taming extravagances and smoothing major stylistic flaws. Da haben wir die Liebe, gleich daneben den beunruhigenden Tod. In this moment, which the young Cornet mas- ters artistically, the artist is all by himself, neither shielded by his martial tunic nor by the amicable gift of his friend. Lindsay Waters (Minneapolis: Uof Minnesota P, 1989) 12. "' Then there was another change of mood. Jahrhunderts, ed. However, so far one has learned little about the process that transformed the Cornet from being one young man among many to an artis- tic individual who characteristically is "ganz allein" (68) in the moment of creation-he has separated and detached himself from the others. . Es gibt keine Berge mehr, kaum einen Baum. '"n a poem with the programmatic title "Kindheit" (from Buch der Bilder) Rdke again combines the notions of playful concentration, park, and ring-shaped artifacts: "Um so zu spielen: Ball und Ring und Reifen / in einem Garten, welcher sanft verblaljt. In the first version Rilke has "Yatagans" fighting- thus emphasizing the youth even of Christoph Rilke's an- tagonists (Simon 21). " With the term "Roseninnres" Rilke will eventually designate a spatially characterized mode of concentration and contemplation originating with the relocation of things, of matter, to an empty space of solitude and happiness. Rilke then decided to lead a strictly solitary life which was made possible by the tenure, and later the purchase, of the little castle of Muzot near Sierre on the Rhone. This thesis requires further elabora- tion: Da war nicht Krieg gemeint, da ich dies schrieb in einer Nacht. Feli Wittmer, "Ries 'Cornet,'" PMLA 44 (1929): 911-, ' The fist approach is represented best in Feh Witt- mer's essay; the second in Josef Mayerhofer's "Motiv- geschichtliche Untersuchungen zu R. M. Rilkes 'Cor- net,'" Blatter der Rilke-Gesellschaft 2 (1973): 59-75; and in Wolfgang Paul's investigation, "R. M. Rilkes 'Die Weise von Liebe und Tod des Cornets Christoph Rilke' und die Schlacht von Mogersdorf," Neue Deutsche Hefte 102 (1964): 84-95. . But Rilke’s “Letter to a Young Girl” and his comm… James Rolleston dis- cusses the second version of Rilke's poetological poem "Rodin," which is another good example for the domi- nant role of the circle-center structure in Rilke's aes- thetics ("Einsam steht der Gestalter 1 unter Gestalte- ten; 1 in seinen entfalteten Handen / liegen die Lander. They were like the disciples of one master showing their hostility to another. It may be added that critics of his poetry were never lacking. cornet rilke rainer maria rilke weihnachtsgedichte ... kindheit rainer maria rilke interpretation weihnachtsgedichte von rainer maria rilke weisheiten rainer maria rilke rilke prag The Panther (subtitled: In Jardin des Plantes, Paris) is a poem by Rainer Maria Rilke written on 6 November 1902. Thus far the most important ring-shaped images-the garland of flowers and the crown -existed only in the mode of anticipation. Wie ein Morgen kommt jede Klarheit hinter jeder Nacht.". We must also bear in mind the fact that his picture of life was colored, to a far greater extent than is at first apparent, by his interest in the occult. Wie ein hladchen, das Blumen bindet, nachdenklich Blume um Blume probt und noch nicht weil3, was aus dem Ganzen wird- :so fiigt er seine Worte. Similarly, Cornet incorporates the essence of its own aesthetics. Jemand erzahlt von seiner Mutter. The Cornet moves into the center of the circle, the ultimate metaphor of creative productiv- ity; he enters a mode of existence that the artist shares with the product of his work. After Neue Gedighte (1907-08, New Poems) he wrote a notebook named Die Aufzechnungen des Malte Laurdis Brigge (1910), his most important prose work. '"eopold von Andrian's Der Garten der Erkenntnis. Er ist weit, und aller Reife Raum ist in ihm. Allegedly neither tradition and ex- perience nor industrious experimentation is at work. Thus, both versions of Cornet remained "Jugendarbeit," which explains why they could never really satisfy Rilke, whose ongoing interest in the piece can only be ex- plained by acknowledging that it documented a kind of poetological confession of his youth.". Precisely those qualities are at play when it comes to characterizing the Cornet's writing: Meine gute Mutter, "seid stolz: Ich trage die Fahne, "seid ohne Sorge: Ich trage die Fahne, "habt mich lieb: Ich trage die Fahne- ", The nature of the script is solemn, and the writing is carried out very slowly, entirely in accordance with the art of the storyteller of the third segment. . Whereas after the Second World War Rilke’s poetry was extolled with almost partisan extravagance, attention was now also directed to the negative features of his work and personality. This relation- ship to flowers singles him out: "Er hat eine kleine Rose gekufit, und nun darf sie weiter welken an seiner Brust" (48). Man sitzt rundumher und wartet" (48). For there can be no doubt that a poet’s work expresses much more than subjective experience, unless of course he is by nature incapable of progressing beyond his subjectivity. It involves first and foremost the assertion that “this is so,” and only secondarily the expression “I feel it to be so.” This holds good wherever human language is uttered—and particularly where it assumes the power and fervor of poetry. 'Letter dated 25 May 1906, quoted from Simon 84. der gluht und sich verneint." Und bin sogar noch Kind. And it has remained his most successful piece to this day. But he continued to feel frustrated by the first promise of inspiration which had not been fulfilled. 5 and 7, Ullmann apparently thought of an orchestral melodrama first, it was only later that the note "for recitant and orchestra or piano" was added. Quoted from Rainer Maria Rilke, Die Weise von Liebe und Tod, des Cornets Christoph Rilke. Now, at the closure of the nar- rative movement, the protagonist himself be- comes enclosed in it: Der von Langenau ist tief im Feind, aber ganz allein. ''Rainer Maria Rilke and Marie von Thurn und Taxis, Briefwechsel, vol. It is especially clear from the deliberate contrast which he drew between the message of the Elegies and Christianity. ." .'. "'~ In his poem for Eva Schreier, Rilke can still refer back to this attempt to "collect," to "gather," that is, to shape material by employing devices such as "GulJform," "Becher," or "Schale." Many poems from the collection Les Roses convey this "artistic" image of the rose; the fifteenth poem, for example, hints precisely at the "spa- tial'' potency of the artist and the work of art: Seule, 6 abondante fleur, tu crees ton propre espace: tu te mires dans une glace d'odeur. Evidence that the Duino Elegies are poems of the kind described above is given in the memoirs of the Princess of Thurn and Taxis and also in the letters which Rilke wrote from Muzot. But Rilke’s “Letter to a Young Girl” and his comments to his French translator show clearly the importance of the Notebook for a proper understanding of his personality. As a sign of his friendship and as a sym- bol of his artistic influence on his German friend, the marquis presents Christoph Rilke with a petal of his rose and accompanies this gift with words that again allude to the figure of the circle: "Das wird Euch beschirmen." Dann tausend dahinter: Das Heer.“ (S. 16) Rilkes neue Kompagnie liegt in der Nähe des Flusses Raab. Alle lauschen. According to the passage quoted, a text is successful if it allows for a kind of perception that is not concerned with the meaning of the work but is led by its overwhelming formal quality. Rilke's interpretation of his Cornet as a "parable of a youthful movement," as quoted above, is a crucial hint to follow. We do not need to read his Notebook of Malte Laurids Brigge as autobiography. But the status of those elements has to be reassessed: they must be regarded as devices employed by the author to illustrate Jugendstil aesthetics as he saw it. Like the author of Cornet, the anonymous narrator in the text also tells of a mother-a theme introduced as early as the second passage of Cornet. In all three versions the Cornet himself now embodies the focal point of the round space, which in turn is his own creation. Since Rilke considers youth the prime age of creation in general-in the poem addressed to Eva Schreier, Rilke still calls hlrnself a "childn-one is asked to consider the story of Christoph Rilke itself a parable of precisely this movement of youth, which for Rilke is essentially identical with the "movement," the essence of art. To enter the decisive stage of his artistic pursuits, the young artist had to leave behmd his own beginnings (the letter to his mother) together with the symbol of his mentor's and precursor's tradition (the rose petal, which was meant to "initialize" and to guide the young artist Christoph), and ultimately he has to do without both of them. La mort est ainsi des le commencement en rapport avec le mouvement si difficile a eclaircir de I'experience artistique.". Widely recognized as one of the most lyrically intense German-language poets, Rainer Maria Rilke was unique in his efforts to expand the realm of poetry through new uses of syntax and imagery and in an aesthetic philosophy that rejected Christian precepts and strove to reconcile beauty and suffering, life and death. Mit Cornet ist übrigens nicht das tütenförmige Gebäck mit Eis gemeint, sondern es stellt einen militärischen Titel dar und ist nichts anderes als Suche Interpretation. University of Notre Dame, McGrath Institute for Church Life Soviel ich weiß, war der Cornet Rilke später peinlich, was wiederum für Rilke spricht. This is the overture to Christoph's apotheosis as an artist as well as the joyful approval of the accomplishment of his death. The inspiration came to him in a strange fashion while he was living in the castle of Duino on the Adriatic in 1912. As is shown by the letters which he wrote soon after their completion he saw himself in the position of a seer or prophet. . From the very center of the events, he produces his own world-a lonely act of spatial and tem- poral distancing from the external world as well as one of beautification of reality. Rainer Maria Rilkes Blaue Hortensie. The work Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Lay of the Love and Death of Cornet Christopher Rilke) to a text by Rainer Maria Rilke was written for baritone, mixed choir and orchestra. He is "widely recognized as one of the most lyrically intense German-language poets". But each work completes and throws light on the other so that together they form a larger whole. Whether garland or bow, the tertium cornparationis is the form of a closed, completed entity, a model for aesthetic unity as well as wholeness, for which Rilke certainly cannot claim originality.
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