Poet of the Month: Rainer Maria Rilke.
During the period 1902-1910, is when Rilke had a transformation, when he started to become deeply involved in the sculpture of Rodin. Rodin taught him the value of objective observation and from this Rilke developed a change in his poetic style from the subjective and broken language into something new to the European style.
Rilke’s description of Rodin and his daughter, her wish to “insinuate” her gift into her father’s hand, is telling in that Rilke himself was in the position of the daughter. Having come to Paris ostensibly to write a book about Rodin commissioned by a publisher, Rilke was also in search of what, exactly, greatness and strength would mean in an artist, one who was indisputably so, as.
All that Rilke learned from Rodin he expressed to the world in two significant pieces which make up the bulk of this book: an essay written at the very start of his personal association with the elder artist in 1903; and a public lecture written at the end of their relationship in 1907. Daniel Slager provides fine new translations from the German of both of these texts. Also found tucked.
Rainer Maria Rilke was born on December 4, 1875 in Prague, which is now the capital of Czechoslovakia. He was the only child of a very unhappy marriage, which eventually ended in a divorce. When his parent's separated he was torn between them. His mother dressed him as a girl and his dad sent him to military academies. His savior would turn out to be his uncle who realized he was extremely.
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About Rilke in Paris. Rainer Maria Rilke offers a compelling portrait of Parisian life, art, and culture at the beginning of the 20th century. In 1902, the young German writer Rainer Maria Rilke traveled to Paris to write a monograph on the sculptor Auguste Rodin. He returned many times over the course of his life, by turns inspired and appalled by the city’s high culture and low society.
Rilke served as the artist’s secretary for more than half a year, a period that saw the future poet go from being a sponge soaking up everything that the sculptor could teach about the creative spirit—most especially Rodin’s directive to never wait for inspiration, but to make the creation of inspiration part of the process of creating art—to viewing himself as a metaphorical prisoner.