Remarks: there are inevitably mistakes in private recording.

The poet's understanding of the limitations of language leads him to constantly raise self-doubts about language.

In a letter to a Polish translator, Rilke explained that the angel in the elegy is such a creature-"In this creature, the transformation we are completing from tangible things to intangible things has emerged in its completion ... This existence guarantees the understanding of the higher reality that exists in the intangible". Angels constitute a higher order of existence, and human ability is evaluated and judged against the background of angels.

The difficulty of speaking to angels is the difficulty of speaking first, especially poetic? The difficulty of pronunciation).

Catherine is in a coma (Catherine? Komar): The relationship between man and angel in Rilke's poems can be seen from Heinrich Kleist (Heinrich? Feng? Kleist) from the perspective of consciousness evolution theory. The evolution of consciousness is "firmly established in the Christian tradition", which is based on the biblical myth that "man is alienated by self-consciousness, from pure unity before birth to complete unity after death".

Heinrich Kleist (Heinrich? Feng? Kleist's essay "On Puppet Theatre" (über? Darth? Marionette heater): A dancer explains the theory of elegant movements-a self-conscious person can never reach the highest level of elegance from the moment he loses his innocence after eating the forbidden fruit; This highest level of elegance can only be achieved through unconscious or super-conscious methods; Elegance is most purely reflected in the form of such a person, which has either no consciousness or infinite consciousness, that is, it is either expressed in puppets or in gods.

Ursula Franklin (Ursula? Franklin): Rilke's angel is not a transcendental image regarded as a religious mystery, but "a symbolic carrier, which, after secular transformation, conveys the essence of thought and art".

Literary hermeneutics: the theme drives the transformation of Duinno's Elegy. Understanding is first and foremost a question of language and communication. It is in the connection with it that human shortcomings can be exposed to angels.

Richard Jayne (Richard? Jayne): Turn the phenomenal world into the poet's inner subjective imagination (Hegel's Aufhebung)-As long as the spirit transcends its realization in perceptual manifestation and goes to the heart beyond materiality, the alienation between the poet and the angel is inevitable.

Zhang Longxi: the above religious and philosophical explanations ignore the importance of things and cannot explain the "visual inversion" (the? Cross feeling? Inversion) subverts the visualization of tangible and intangible, internal and external, subject and object.

In the second elegy, Rilke expounds two reasons for lamentation: one is that human life is fleeting, and the other is that "external symbols that can effectively reproduce the inner actions of the mind are so lacking".

The lack of symbolic equivalents and the poet's inability to express his internal actions with external symbols are not only the theme of the second elegy, but also the theme of the whole group of poems.

In this elegy, Rilke lamented his inner confusion, impetuousness and vacillation. At the same time, he also explored the inner meaning of mental confusion in a metaphysical way according to the model of Kleist's On Puppet Theatre.

Unlike lifeless puppets, we are no longer integrated with the world. Therefore, people are not as good as puppets in the end: puppets lack self-awareness to make them closer to angels, and poets feel that they need to overcome self-awareness and life itself to complete the task of transformation (for the task of transformation, see the Seventh Lament).

Rilke was inspired by Picasso's painting The Merchant (Les? Saltimbanques). He tried to reproduce the scene in the painting with words, but he was always troubled by the limitations of poetic language. Moreover, compared with the artist's mechanical smile and the cold expression of onlookers, the little boy's innocent smile is extremely pure. So the poet turned to the almighty angel for strength-please grab the smile on the little boy's face; Please let that fleeting smile stay in the ancient urn forever.

In this lamentation, the recurring "Uns? Gliche-"unspeakable" is particularly important. It clearly defined the difficulties experienced by Rilke as the loss of symbolic power of language. In Rilke's view, the crisis of language ultimately comes from the opposition and dichotomy between tangible and intangible, subject and object. This kind of opposition is inevitable. As the root of the limitation of human nature, it appears repeatedly in Rilke's poems.

The task of transformation: to transform the visible into the invisible, that is, to translate the visible into a transparent internal language.

The difficulty of transformation: the problem of language-say what you can't say. Due to the inevitable limitations of human beings, that is, we "still cling to tangible things"; Our language still relies on matter as the ultimate source of symbolic and referential power. In the first lamentation, Rilke laments that our voices can no longer be heard by angels, because we are so dependent on that suspicious and ambiguous language.

The lack of language undoubtedly constitutes a part of human limitations. The split between the spiritual world and the phenomenal world is always related to our inability to grasp and express our inner fantasies. In Rilke's mythology, only superman such as angel can survive in the silent grasp of the immanence without media, while human beings are not only deprived of angelic eternity because of their short life, but also deprived of the ability to convey their inner experience in a completely effective way.

Rilke believes that due to the intervention and intervention of consciousness, we are no longer integrated with the world-opposition and division not only separate people from the world, but also split the mind, which has become our destiny. This doomed division is manifested in the alienation between man and angel on the macro level and in the internalization of mind on the micro level; The opposition between these two levels, as the crisis of poetic expression and the unspeakable secret, has attracted special attention. As far as this kind of opposition is manifested as a metaphysical hierarchical form (inner illusion and its external manifestation of always being powerless), the poet has no hope of successfully solving the task of transformation.

Finally, Rilke found a special way of poetry to solve the problem of transformation-poetry as a tribute.

This part will be arranged in subsequent records.

Others:

Rilke's Elegy of Douineau (Douineau? A comparison between Elegy and Eliot s four quartets;

Stephen Spender (Stephen? Spender): They all tend to go beyond words and symbols and point to a certain goal instead of simply showing rhetorical skills; This situation has reached the point that "poetry itself, people can say, is not the only goal of poetry". Or, people should say that besides pure poetry, there is another goal-religious illusion. That is, "the symbol itself is no longer an end, and poetry is no longer self-sufficient; "This is the starting point for expressing supernatural values."

Zhang Longxi: I can't describe spender's view on the essence of the poet's illusion, but one thing is certain-the poet's desire to give himself an illusion in an appropriate poetic form has been frustrated, because the language for them to drive away is not enough to carry out this mission.

Extension:

Eliot's Quartet-Poetry is not important.

Richard Jayne Rilke? And then what? That? Question? Yes? Poetic Intrinsic —— "The latent consciousness of unreliability in the combination of internal and external reality of poetry."

Shelley's To the Lark-We look back and yearn for one thing or another. Our sweetest songs are songs that tell the saddest thoughts.

Reading materials:

Selected Poems of Cang Di and Rilke? Make up. China Literature Publishing House. 1996.

Tao and logos-hermeneutics of eastern and western literature Zhang Longxi? Write it. ? Feng Chuan? Translation. Jiangsu Education Press. 2006.