A collection of poetry, based on the Book of Hours–psalms and prayers for various times throughout the day–used by monks, offers prayers and songs that address such concerns as spirituality in the modern age and the sufferings of war, poverty, and disease. Reprint.
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These ten letters, written by one of the greatest poets of the twentieth century, offer deep and sincere advice to the young poet. They touch on all aspects of life and are valuable to anyone wishing to be a poet and to those who are not. Written with power, style, and conviction these letters will guide and inspire anyone who reads them. Wilder Publications is a green publisher. All of our books are printed to order. This reduces waste and helps us keep prices low while greatly reducing our impact on the environment.
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2011 Reprint of 1945 London Edition.Full facsimile of the original edition, not reproduced with Optical Recognition Software.Letters to a Young Poet is a compilation of letters by Rainer Maria Rilke. It consists of ten letters written to a young man considering entering the German military. The letters were originally written to Franz Kappus, a 19-year-old student at the Military Academy of Vienna, of which Rilke was an alumnus. Discouraged by the prospect of military life, Kappus began to send his poetry to the 27-year-old Rilke, seeking both literary criticism and career advice. Their correspondence lasted from 1902 to 1908. In 1929, three years after Rilke’s death, Kappus assembled and published the ten letters. The majority of the letters address personal issues that Kappus revealed to Rilke; their span is tremendous, ranging from atheism, loneliness, sexuality, and career choices.
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Although Rainer Maria Rilke and his work have been much studied and written about over the past century — as befits the perhaps most important German-language poet of modern times — certain aspects of his early life and career have been neglected or are in need of a fresh look. Accordingly, this book investigates Rilke’s life and career from adolescence until the verge of thirty. Here the reader finds the hysterical, harried tutee clinging to Valerie von Rhonfeld; the clever, supercilious, and anxious stroller through Prague of Larenopfer; the narcissistic diarist preening for Lou Andreas-Salomé in Italy and elsewhere; the priggishly high-minded but lethal reviewer of German-language literature; the devoted but delusional presenter of Nordic letters. A final section focuses on thirteen poems or poem clusters composed between 1892 and 1900 and mostly left untouched by Rilke scholarship. While depending heavily on the evidence of the texts themselves, the present author allows himself to conjecture about, for instance, the traces left by the boy’s hasty training in Latin; his knowledge — or ignorance — of Czech national opera and popular literature; the genesis of some willfully “decadent” poems; his odd literary likes and dislikes; and so on. From this “Wirrnis” (confusion, muddle; one of his favorite words), the young Rilke emerges as a dogged self-educator, and, for all his laments and insecurities and languorous poses, a figure of distinction, gifted with an almost preternatural verbal inventiveness and recondite energy.
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One of the literary masterpieces of the century, this translation is now presented with facing-page German.
To Rilke himself the Sonnets to Orpheus were “perhaps the most mysteriousâ¦in the way they came up and entrusted themselves to me, the most enigmatic dictation I have ever held through and achieved; the whole first part was written down in a single breathless act of obedience, between the 2nd and 5th of February, without one word being doubtful or having to be changed.” With facing-page German.
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One of the literary masterpieces of the century, this translation is now presented with facing-page German.
We have a marvelous, almost legendary, image of the circumstances in which the composition of this great poem began. Rilke was staying at a castle (Duino) on the sea near Trieste. One morning he walked out on the battlements and climbed down to where the rocks dropped sharply to the sea. From out of the wind, which was blowing with great force, Rilke seemed to hear a voice: Wer, wenn ich schriee, hörte mich denn aus der Engel Ordnungen? (If I cried out, who would hear me up there, among the angelic orders?). He wrote these words, the opening of the first Duino Elegy, in his notebook, then went inside to continue what was to be his major work and one of the literary masterpieces of the century.
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An anthology of Rilke’s strongest poetry and prose for both aficionados and new readers.
Here is a mini-anthology of poetry and prose for both aficionados and those readers discovering Rainer Maria Rilke for the first time. John J. L. Mood has assembled a collection of Rilke’s strongest work, presenting commentary along with the selections. Mood links into an essay passages from letters that show Rilke’s profound understanding of men and women and his ardent spirituality, rooted in the senses.
Combining passion and sensitivity, the poems on love presented here are often not only sensual but sexual as well. Others pursue perennial themes in his workâdeath and life, growth and transformation. The book concludes with Rilke’s reflections on wisdom and openness to experience, on grasping what is most difficult and turning what is most alien into that which we can most trust.
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Las Cartas a un joven poeta comprenden un tramo cronologico fundamental en la evolucion intelectual de Rainer Maria Rilke (1875-1926). Convertidas desde su primera edicion en un clasico para todos aquellos que aman la escritura, y en particular la poesia, estas diez cartas tienen el gran valor de una reflexion acerca de los estados de animo, la soledad, el acto de la creacion y, sobre todo, la literatura en toda su dimension. Una seleccion de los volumenes liricos de Rilke Libro de las horas, Nuevos poemas, Elegias de Duino y Sonetos a Orfeo completa esta edicion.
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