Duino Elegies and Sonnets to Orpheus of Rainer Maria Rilke

Rilke spent the next seven years in Switzerland, the last of his series of elective homes. He once more came into full command of his creative gifts. In the summer of 1921 he took up residence at the Château de Muzot, a castle in the Rhône Valley, as the guest of a Swiss patron. In February 1922, within the space of a few days of obsessive productivity, he completed the Duino cycle that he had begun years earlier and, unexpectedly and almost effortlessly, another superb cycle of 55 poems, in mood and theme closely related to the Duino cycle—his Sonette an Orpheus (Sonnets to Orpheus).

The Duineser Elegien (Duino Elegies) are the culmination of the development of Rilke’s poetry. Whereas Das Stunden-Buch had begun as a naively uncertain celebration of “life,” as a devotional exercise of mystical worship of God, and Malte led him to assert that “this life suspended over an abyss is in fact impossible,” the elegies sound an affirmative note, in panegyric justification of life as an entity: “The affirmation of life and death prove to be identical in the Elegies,” wrote Rilke in 1925.

Who, if I cried out, would hear me among the Angels’
Orders? and even if one of them pressed me
suddenly to his heart: I’d be consumed
in his more potent being. For beauty is nothing
but the beginning of terror, which we can still barely endure,
and while we stand in wonder it coolly disdains
to destroy us.

These poems can be seen as a new myth that reflects the condition of “modern” humanity, the condition of an emancipated, “disinherited” consciousness maintaining itself as a counterpart to the traditional cosmic image of Christianity. Like Nietzsche, Rilke opposes the Christian dualism of immanence and transcendence. Instead, he speaks out for an emphatic monism of the “cosmic inner space,” gathering life and death, earth and space, and all dimensions of time into one all-encompassing unity. This Rilkean myth is articulated in an image-laden cosmology that, analogous to medieval models, sees all of reality—from animal to “angel”—as a hierarchical order. This cosmology in turn results in a systematic, consistent doctrine of life and being in which humans are assigned the task of transforming everything that is visible into the invisible through the power of their sensory perceptions: “We are the bees of the invisible.”

This ultimate fate of humans is concretized in the activity that alternately is called “saying,” “singing,” “extolling,” or “praising.” Thus the poet is turned into the protagonist of humanity, its representative “before the Angel” (the pseudonym of God), as in the “Ninth Elegy” and, even more strikingly, in the sonnets. This message of the late Rilke has been celebrated by some as a new religion of “life” and rejected by others as the expression of an unbridled aestheticism and an attempt on the part of the poet at “self-redemption” by virtue of his personal gift.

Final years and death

The triumphant breakthrough of February 1922 was Rilke’s last major contribution, yet both thematically and stylistically some of his late poems go beyond even the elegies and the sonnets in their experimentation with forms that no longer seem at all related to the nature of the poetic language of the 1920s. In addition to these late works he also wrote a number of simple, almost songlike poems, some short cycles, and four collections in French, in which he pays homage to the landscape of Valais.

Muzot remained his home, but he continued his travels, mostly within Switzerland, devoting himself to his friends and his vast, superbly articulate correspondence. Early in 1925 he again went to Paris, with whose literary life he had remained in close touch. He was royally received by such old friends as André Gide and Paul Valéry as well as by new admirers; for the first and only time in his life he was at the center of a literary season in a European metropolis. But the strain of this visit proved too much for his frail health. On August 18, unannounced, he slipped out of Paris. He had been ill since 1923, but the cause of his debility, a rare form of incurable leukemia, was not diagnosed until a few weeks before his death in 1926. He died at a sanatorium above Territet, on Lake Geneva.

Posthumous publications

The three years after Rilke’s death saw the publication of a series of letters that he had written between 1903 and 1908 to Franz Xaver Kappus, a young military cadet and aspiring poet. Briefe an einen jungen Dichter (Letters to a Young Poet) arguably became Rilke’s most widely read work, admired by many readers for the advice that Rilke offers to Kappus on the topics of writing, creativity, sadness, love, sex, solitude, and spiritual belief. Critics have also regarded the letters as offering valuable insight into Rilke’s mindset during one of the more fertile periods of his career (the 10 letters were written during his years in Paris). However, Kappus’s letters to Rilke were not included in any edition of Letters to a Young Poet until 2019, when they were first published in German. (The first English translation of Rilke’s letters to Kappus appeared in 1934, and Kappus’s letters were translated into English in 2020.)

Among his other posthumously published works is the poem-cycle Christus-Visionen (Visions of Christ). Written between 1896 and 1898, the cycle is often analyzed alongside The Life of the Virgin Mary, although its poems are less reverential, meditating on Jesus as a human instead of as the incarnation of God. While writing the poems in Visions of Christ, Rilke came across an essay published in 1896 by Lou Andreas-Salomé that expressed similar views of Jesus, and it was thus that she first impressed him. Rilke’s work was published in German in 1959, with an English translation appearing in 1967.