In my first encounter with
Rilke's sonnet, I actually did very little--and yet from Gadamer's point of view, this may be the first "necessary condition" of true interaction with a poem.
Rilke was the next man booked on the hour for a foul on Stilian Petrov as O'Neill glared anxiously from the technical area.
With mum and dad both busy with numerous chores and Finn off to a birthday party, it was up to me to take
Rilke, aged four, to his first football practice.
Paris proved to be complicated for
Rilke. Over the next two decades, he would flee the city in distress only to return as if he were powerless to stay away.
Corbett presents readers with a comprehensive examination of the friendship between poet Rainer Maria
Rilke and sculptor August Rodin in turn of the twentieth century Paris.
The thing is, in the intervening years, I had made all the mistakes
Rilke ardently warns the young poet against: endlessly seeking external advice, abandoning ship when something got really difficult, losing faith.
In 2015 researchers and readers of
Rilke are celebrating his 140 anniversary.
In the following I examine the way two exemplary modernist works pose the question of living ethically in a world where the human body is displaced, "entstellt," disfigured, and partially obscured, in need of the observer/participant's reconstruction: first Rainer Maria
Rilke's broken torso of a classical Apollo, then Virginia Woolf's broken portrait of a statuesque young man, after the original is lost in the Great War.
In a 1903 letter, German language poet Rainer Maria
Rilke advised a young poet to "Live the questions now.