The topic that never runs out

Author: (Austrian) Rainer Maria Rilke, translated by Shi Xingguo
Publisher:
Publishing Date: 2002-02-01
Features: In the starry sky of Western modern literature, the name of Rainer Maria Rilke shines as a dazzling new star. Although he is not found on the long list of Nobel laureates, his brilliance outshines at least half of them. Not only is he an outstanding figure among poets, but he also holds an indispensable place among the founders who shaped the basic landscape of 20th-century literature. Most of these figures were born in the last three decades of the 19th century, and by the first three decades of the 20th century, they were at the peak of their strength, coinciding with turbulent times, fluctuating literary trends, and revolutionary changes in humanistic and aesthetic concepts. These trendsetters became direct participants in this transformation. It is understandable that their works, born from a sense of foresight, were not immediately understood or recognized by their contemporaries. But history has acknowledged them and preserved their legacy, and over time, their works have become frequently "clicked" by readers. A prominent feature of Western literature in the 20th century is the powerful influence of philosophy on literature, leading to significant changes in both humanistic and aesthetic concepts, with the latter closely tied to the former. Among the Western modern philosophical currents that entered literature, existentialism may be the most deeply penetrating philosophy. The giants of this movement, from the founder Kierkegaard to Nietzsche to Heidegger to Sartre, often treated literature as a mere appendage to philosophy, using it as a tool to explain their philosophical views, particularly Sartre. Existentialism focuses on studying human modes of existence and the conditions of life. Therefore, literature in this context takes on more "anthropological" characteristics. A clear distinction between existentialist writers and other writers of the past or of different kinds is that they no longer view creation as a mere utilitarian pursuit or an aesthetic game, but as a way of life or a process of expending life energy. These writers have a profound understanding of life existence. Their works, especially the representative masterpieces, are cries, groans, songs, and confessions born from the depths of their souls; whether expressing pain, joy, fury, or lyricism, Rilke belongs to this category. He shared the same homeland with Franz Kafka, the pioneer of Western modernist fiction, both born in Prague, but unlike Kafka, who never left Prague for his entire life, Rilke did not remain tied to his hometown. This railway worker's son, eight years older than Kafka (1775), was first forced to study military science for many years and commerce for a short time, but later actively pursued philosophy, art, and literature for several years. At the age of 20, he permanently left the home that never warmed him and the beautiful city, never to return. He traveled, reflected, and wrote; he went to Germany, Russia, Southern Europe, and Northern Europe; he wrote poetry, prose, criticism, and also fiction—and oh, the numerous beautiful and moving letters he wrote. His collected works continued to appear one after another: Life and Poetry (1894), The Book of Hymns (1896), The Book of Dreams (1897), The Coming of Christ (1898), The Book of Images (1902), The Book of Prayers (1905). He loved art and women, but among the many women he met, he only married the sculptor Clara Westhoff (1901, unfortunately, very briefly). Out of admiration for great artists, he befriended the Impressionist sculptor Rodin and once served as his secretary. His early poetic style was influenced by Symbolism and Neoromanticism, emphasizing subjective lyricism, and later, after being immersed in Impressionism, his style underwent a clear transformation, shifting toward "observation" of concrete things and endowing the intuitive impressions thus gained with symbolic meaning, which he called "objective poems." He published New Poems (1907) and Further New Poems (1908). Compared to his earlier works, his poetic style seemed to shift from fluid to solid, from musical to sculptural. Among them, the most famous is The Panther, which powerfully depicts the helplessness of the earth's most fierce wild life, trapped in a cage, leading to a "great will" becoming dizzy. With a composed tone, it shockingly portrays the situation and state of a great soul once deprived of freedom, imbued with existentialist philosophy. Yet his thinking did not "solidify," and his search had far from ended. He continued to travel, exploring the truth of life and the mysteries of the universe, until he reached the pyramids of Africa. During this time, he wrote The Notebooks of Malte Laurids Brigge, a diary-style novel with existentialist philosophical interpretations, reflecting his personal experiences and perceptions of life. Later, supported by a countess, he moved to a castle on the Adriatic coast in Duino and began to and write his masterpiece, The Duino Elegies. This extraordinary work progressed slowly and was interrupted by war. Finally, in 1921, he settled in a quiet medieval castle in the southern part of Switzerland and devoted himself to writing this work. At this point, the long-frozen poetic inspiration in him seemed to suddenly melt, pouring out with great force, and he finally completed it in 1922. At the time, he celebrated his great achievement with thunderous acclaim, showing the work's immense significance in his eyes. These ten "elegies" almost encompass the most arduous inner quest of his life. It was a secret dialogue between humanity and the universe. The author attempted to comprehensively contemplate the essence of human existence, its relationship with the universe, and the mysteries of the universe itself, offering his own answers. Especially regarding the questions of life and death, he had unique insights. The following year, in 1923, he successfully completed another major work from his later years, The Sonnets to Orpheus (consisting of 53 sonnets). Orpheus is the singer in Greek mythology who desperately sought his wife in the underworld but ultimately failed, metaphorically representing the author's lifelong futile quest. This work can be considered his magnum opus. The obscure existentialist philosophy combined with Symbolist expression made these two poems so profound and enigmatic that they often intimidated readers. After this, the life of the solitary poet was nearing its end, though death was already approaching. Yet, driven by perseverance, he traveled to Paris in 1925 to discuss and exchange ideas with the French Symbolist poets he respected. The following year, at the end of the year, he passed away in Switzerland. This poet, to metaphysical pursuits, exhausted his entire life energy in just 51 years! Yet, his life energy did not dissipate with the demise of his physical body. Instead, it condensed into a vast soul contained within the vast pages of his 12-volume complete works. In addition to poetry, the author was also skilled in prose and criticism. He discussed literature and art, often offering unique insights. It was with this "clustered" artistic prowess that he conquered the international poetic and literary stages of the 20th century and secured an important place in the history of modern world literature. Naturally, he has also won the affection of Chinese readers, as much of his work remains accessible. As early as the 1930s, the young and outstanding lyrical poet Feng Zhi began translating Rilke's works, and Letters to a Young Poet had a significant impact in China at the time. Later, the translation was interrupted due to war and other well-known reasons. In the past two decades, the source of inspiration from half a century ago has been restored! Multiple translations of Rilke's works have now appeared in bookstores. However, when combined (excluding duplicates), they still account for less than a quarter of Rilke's entire body of work. Shi Xingguo's translation is tailored to meet this demand, focusing on selections where the author discusses art to avoid repetition with other translations. It is well known that Rilke was not only a highly accomplished poet but also a perceptive art critic. He pulled us out of traditional conventions and introduced us to modern contexts. The selections in this translation are quite apt, making it a widely read "Record of Artistic Discourses." It contains many of Rilke's important views and insights, which are exactly what Chinese readers are eager to learn. Moreover, this is a great writer discussing theory, appreciation, and the joys and sorrows of art—all tied to his own creative practice and experiences. His reflections are vivid, unique, and his poetic prose is highly aesthetic, making it a delightful read. Therefore, it not only awakens our modern aesthetic consciousness but also helps us better understand and appreciate his works.