DASS [1] ich dereinst, [2] an dem Ausgang der grimmigen Einsicht, [3]
That I may someday, at the conclusion of that grim insight,
Jubel und Ruhm aufsinge [4] zustimmenden Engeln. [5]
sing jubilation and praise to affirming angels.
Daß [6] von den klargeschlagenen Hämmern des Herzens [7]
That from the clearly struck hammers of the heart
keiner [8] versage [9] an weichen, [10] zweifelnden [11] oder
not one fail on weak, doubting or
reißenden Saiten. [12] Daß [13] mich mein strömendes Antlitz
ripping strings. That my streaming visage
glänzender mache: [14] daß [15] das unscheinbare Weinen
make me more radiant: that my unpretentious crying
blühe. [16] O wie werdet ihr [17] dann, Nächte, mir lieb sein,
blossom forth. Oh how will you then, you nights, be dear to me,
gehärmte. [18] Daß ich euch knieender nicht, untröstliche Schwestern,
aggrieved ones. That I, kneeling even more, did not take you to me, inconsolable sisters,
hinnahm, [19] nicht in euer gelöstes
did not surrender myself to your freed
Haar mich gelöster [20] ergab. [21] Wir, Vergeuder der Schmerzen. [22]
hair even more freely. We, squanders of sorrows.
Wie wir sie absehn [23] voraus, [24] in die traurige Dauer, [25]
How we at first avert our eyes from their mournful duration, to see
ob sie nicht enden vielleicht. [26] Sie aber sind ja
whether they will not perhaps end. They are, however,
unser winterwähriges Laub, unser dunkeles [27] Sinngrün, [28]
our leaf enduring throughout winter, our dark ever-sensing green,
e i n e der Zeiten des heimlichen Jahres [29] --, nicht nur
o n e of the times of the familiar year--, not only
Zeit --, sind Stelle, Siedelung, Lager, Boden, Wohnort. [30]
time--, but place, settlement, storehouse, soil, residence.
Freilich, wehe, wie fremd sind die Gassen der Leid-Stadt,
To be sure, alas, how strange are the alleys of the City of Woe,
wo in der falschen, aus Übertönung gemachten
where in the false stillness, made of overdeafening sounds,
Stille, [31] stark, aus der Gußform des Leeren der Ausguß [32]
the casting from the mold of emptiness heralds itself:
prahlt: der vergoldete Lärm, das platzende Denkmal.
the gilded uproar, the bombastic monument.
O, wie spurlos zerträte [33] ein Engel ihnen [34] den Trostmarkt, [35]
Oh, how without a trace an angel would trample their market of consolation,
den die Kirche begrenzt, ihre fertig gekaufte: [36]
which borders on the church, bought ready for use:
reinlich und zu und enttäuscht [37] wie ein Postamt am Sonntag.
pristine and closed and disappointed like a post office on Sunday.
Draußen aber kräuseln sich immer die Ränder von Jahrmarkt.
Outside, however, the edges of the carnival curl constantly.
Schaukeln der Freiheit! [38] Taucher und Gaukler des Eifers!
Swings of freedom! Divers and jugglers of avidity!
Und des behübschten Glücks figürliche Schießstatt, [39]
And the figurative shooting range of luck made gaudy,
wo es zappelt von Ziel und sich blechern benimmt, [40]
where the goal gyrates and tinkles tinnily,
wenn ein Geschickterer [41]trifft. Von Beifall zu Zufall [42]
when a more skilled one hits it. From jubilation to tribulation
taumelt er weiter; denn Buden jeglicher Neugier
he tumbles onward; for booths of every curiosity
werben, trommeln und plärrn. Für Erwachsene aber
woo, drum and babble. For adults, however,
ist noch besonders zu sehn, wie das Geld sich vermehrt, anatomisch, [43]
is especially to be seen, how money multiplies itself, anatomically,
nicht zur Belustigung nur: der Geschlechtsteil des Gelds,
not only for merry-making: the sex organ of money,
alles, das Ganze, der Vorgang --, [44] das unterrichtet und macht
everything, the whole thing, the process--, that teaches and makes
fruchtbar . . . . . . . . . .
fruitful. . . . . . . . . .
. . . O aber gleich darüber hinaus,
. . . Oh but just a little beyond that,
hinter der letzten Planke, beklebt [45] mit Plakaten des "Todlos", [46]
behind the last plank, pasted with placards of "Deathless,"
jenes bitteren Biers, [47] das den Trinkenden süß scheint,
that bitter beer, which appears sweet to the drinkers,
wenn sie immer dazu frische Zerstreuungen kaun . . . , [48]
as long as they constantly chew on fresh diversions along with it. . . ,
Gleich im Rücken der Planke, gleich dahinter, ists wirklich.
Just in back of the planks, right behind them, reality sets in.
Kinder spielen, und Liebende halten einander abseits,
Children play, and lovers hold each other aside,
ernst [49], im ärmlichen Gras, [50] und Hunde haben Natur.
serious, in the sparce grass, and dogs have nature.
Weiter noch zieht es den Jüngling; vielleicht, daß er eine junge
Farther along the youth is drawn; perhaps that he loves a
Klage [51] liebt . . . Hinter ihr her kommt er in Wiesen. Sie sagt:
young Lament . . . Following behind her he comes to meadows. She says,
Weit. Wir wohnen dort draußen . . . . .
Far. We live out there . . . .
Wo? Und der Jüngling
Where? And the youth
folgt. Ihn rührt ihre Haltung. Die Schulter, der Hals --, [52] vielleicht
follows. Her bearing touches him. The shoulders, the neck--, perhaps
ist sie von herrlicher Herkunft. Aber er läßt sie, kehrt um,
she is of splendid ancestry. But he leaves her, goes back,
wendet sich, winkt . . . [53] Was solls? Sie ist eine Klage.
turns, waves. . . What good is it? She is a Lament.
Nur die jungen Toten, [54] im ersten Zustand
Only the young dead, in the first stage
zeitlosen Gleichmuts, [55] dem der Entwöhnung, [56]
of timeless serenity, that of the weaning period,
folgen ihr liebend. Mädchen
follow her lovingly. Girls
wartet sie ab und befreundet sie. Zeigt ihnen leise, [57]
she awaits patiently and befriends. Shows them softly,
was sie an sich hat. Perlen des Leids und die feinen
what she has on. Pearls of suffering and the fine
Schleier der Duldung.-- [58] Mit Jünglingen geht sie
veil of sufferance. --With youths she goes
schweigend.
in silence.
Aber dort, wo sie wohnen, im Tal, der älteren eine der Klagen [59]
But there, where they live, in the valley, one of the older of the Laments
nimmt sich [60] des Jünglinges [61] an, wenn er fragt: -- Wir waren,
takes custody of the youth, and when he questions her: --We were,
sagt sie, ein großes Geschlecht, einmal, wir Klagen. [62] Die Väter
she says, a mighty race, once, we Laments. The fathers
trieben den Bergbau dort in dem großen Gebirg; bei Menschen
carried out mining there in the high mountains; among humans
findest du manchmal ein Stück geschliffenes Urleid [63]
you often find a piece of polished primal suffering,
oder, aus altem Vulkan, schlackig versteinerten Zorn. [64]
or, from an old volcano, slaggy, petrified rage.
Ja, das stammte von dort. Einst waren wir reich. --
Yes, that came from there. Once we were rich.--
Und sie leitet ihn leicht durch die weite Landschaft der Klagen, [65]
And she leads him gently through the vast landscape of the Laments,
zeigt ihm die Säulen der Tempel oder die Trümmer
shows him the columns of the temples or the ruins
jener Burgen, von wo Klage-Fürsten das Land
of those castles, from which the Lament-Lords once wisely
einstens weise beherrscht. Zeigt ihm die hohen
ruled the land. Shows him the tall
Tränenbäume und Felder blühender Wehmut, [66]
trees of tears and the fields of blossoming melancholy,
(Lebendige kennen sie nur als sanftes Blattwerk); [67]
(Living persons know them only as delicate foliage);
zeigt ihm die Tiere der Trauer, [68] weidend, -- [69] und manchmal
shows him the animals of mourning, grazing, -- and sporadically
schreckt ein Vogel und zieht, flach ihnen fliegend [70] durchs Aufschaun,
a bird is startled and draws, flying flatly through their gaze,
weithin das schriftliche Bild seines vereinsamten Schreis.-- [71]
faroff the written image of its forlorn scream,--
Abends führt sie ihn hin zu den Gräbern der Alten
Evenings she leads him forth to the graves of the elders
aus dem Klage-Geschlecht, den Sibyllen und Warn-Herrn. [72]
from the Lament-race, the Sibyls and the Warn-Lords.
Naht aber Nacht, so wandeln sie leiser, und bald
When night nears, they then wander more quietly, and soon
mondets empor, [73] das über alles
like a moon it rises, the gravestone watching
wachende Grab-Mal. [74] Brüderlich jenem am Nil, [75]
over everything. Brother to the one on the Nile,
der erhabene Sphinx--:[76] der verschwiegenen Kammer
the exalted Sphinx--: the concealed chamber's
Antlitz. [77]
countenance.
Und sie staunen dem krönlichen Haupt, [78] das für immer,
And they view astonished the crowned head, that for ever
schweigend, [79] der Menschen Gesicht [80]
remaining silent, laid the face of mankind
auf die Wage der Sterne gelegt. [81]
upon the scale of the stars.
Nicht erfaßt es sein Blick, [82] im Frühtod
His sight, reeling from the state of early death,
schwindelnd. [83] Aber ihr Schaun, [84]
does not grasp it. But her gazing,
hinter dem Pschent-Rand hervor, [85] scheucht es [86] die Eule. Und sie, [87]
from behind the Pschent rim outward, scares the owl. And
streifend [88] im langsamen Abstrich die Wange entlang,
brushing with slow strokes along the cheek,
jene [89] der reifsten Rundung,
that of the ripest rounding,
zeichnet weich in das neue
it draws faintly into the new
Totengehör, [90] über ein doppelt
hearing of the dead, over a doubly
aufgeschlagenes Blatt, [91] den unbeschreiblichen Umriß. [92]
opened page, its indescribable outline.
Und höher, die Sterne, Neue. [93] Die Sterne des Leidlands. [94]
And higher, the stars, new ones. The stars of the Land of Suffering.
Langsam nennt sie die Klage: "Hier,
Slowly the Lament names them: "Here
siehe: den 'Reiter', den 'Stab', und das vollere Sternbild
look; the 'Rider,' the 'Staff,' and the fuller constellation
nennen sie: 'Fruchtkranz,' Dann weiter, dem Pol zu:
they call 'Fruitgarland.' Then, further on, toward the pole:
'Wiege', 'Weg', 'das brennende Buch', 'Puppe', 'Fenster'.
'Cradle,' 'Way,' 'The Burning Book,' 'Doll,' 'Window.'
Aber im südlichen Himmel, rein wie im Innern
But in the southerly heavens, pure as in the palm
einer gesegneten Hand, das klar erglänzende 'M', [95]
of a sanctified hand, the clearly resplendent 'M,'
das die Mütter bedeutet. . . . ."
which signifies the Mothers. . . . ."
Doch der Tote muß fort, und schweigend bringt ihn die ältere
Yet the dead youth must go, and silently the older Lament
Klage bis an die Talschlucht,
brings him as far as the ravine,
wo es schimmert [96] im Mondschein:
where it shimmers in moonshine:
die Quelle der Freude. [97] In Ehrfurcht
the fount of joy. In reverence
nennt sie sie, [98] sagt: "Bei den Menschen
she names it, says: "Among humans
ist sie ein tragender Strom." [99]
it is a carrying stream.
Stehn [100] am Fuß des Gebirgs.
Stand at the foot of the mountain.
Und da umarmt sie ihn, weinend.
And there she embraces him, weeping.
Einsam steigt er dahin, in die Berge des Urleids. [101]
Solitary, he climbs thither, into the mountains of primal suffering.
Und nicht einmal sein Schritt klingt aus dem tonlosen Los. [102]
And not even his stride resounds from his [A] soundless destiny.
Aber erweckten [103] sie [104] uns, die unendlichen Toten, [105] ein Gleichnis, [106]
But would not they, the unending dead, awaken in us a likeness,
siehe, sie zeigten [107] vielleicht auf die Kätzchen der leeren
Look, they would perhaps point to the catkins of the empty
Hasel, [108] die hängenden, [109] oder
hazel, the hanging ones, or
meinten [110] den Regen, der fällt [111] auf dunkles Erdreich im Frühjahr.-- [112]. --
would mean the rain, which falls upon dark earthly realms in the early year.--
Und wir, die an s t e i g e n d e s [113] Glück
And we, who think of an ascending happiness,
denken, empfänden [114] die Rührung,
would be moved by an emotion
die uns beinah bestürzt, [115]
which almost staggers us,
wenn ein Glückliches [116] f ä l l t. [117]
when something fortuitus f a l l s.
[1] daß: The word "daß used at the beginning of four consecutive sentences (subordinate clauses in this case) is an Anaphora. The use of four subordinate clauses with no main clause signifies a series of Wunsch und Begehrungssätze with the elliptical main clause being "Ich wünsche, . . ." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[2] dereinst Sprach-Brockhaus: "in ferner Zukunft."
[3] an dem Ausgang der grimmigen Einsicht: "Ausgang" has several relevant meanings: "exit, result, conclusion, termination, issue, leaving the house (Sprach-Brockhaus: Der erste Ausgang des Genesenden.), ending," etc. Einsicht means "vision" or its exact translation "insight." The word "grimming" has the meaning of "grim" with as anspect of being "wildly enraged." Sprach-Brockhaus: "wild empört." This corresponds to Webster's fourth definition of "grim" as "fierce, savage, or cruel: War is a grim business." The essential paradox of the Elegien is encapuslated in this, the beginning of the last Elegy, i.e. that after having attained a visonary insight into the grim aspect of life--death, one can at its conclusion passionately sing life-affirmirmingly to the angels. It should be noted that the first 12 lines of this Elegie were written in 1912 along with the first two Elegien, the rest being written between 1914 and 1922. From the beginning, these first 12 lines were conceived as beginning the last of the Elegien.
[4] aufsinge: Hyperbaton. Normal word order would be "Daß ich dereinst, an dem Ausgang der grimmigen Einsicht, Jubel und Ruhm zustimmenden Engeln aufsinge, . . . ." Although the form "aufsinge" could also be in the normal indicative, the Wunsch und Begehrungssatz form is indicated by the following three "daß" clauses which use "versage," "mache" and "blühe" in the third person singular, which are all Konjunktiv I forms. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[5] zustimmenden Engeln: Dative plural signified by the "n" on "Engeln."
[6] Daß: Second example of the Anaphora and the second Wunsch und Begehrungssatz. Note the switch from "ich" (which added an element of grammatical ambiguity) to a third person subject "keiner" which removes any doubt that this be a third person command. Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[7] von den klargeschlagenen Hämmern des Herzens: In Elegie 9 Rilke used a comparable Simile: "zwischen den Hämmern besteht/unser Herz, wie die Zunge/zwischen den Zähnen. . ." Here without the "wie" it is used as a metaphor indicating a percussion instrument such as a piano, for which the older German word is "Hammerklavier" to differentiate it from a Harpsichord which plucks the strings or from a organ where air through organ pipes is used. Of significance is that the "instrument" is human. Simile: A figure of speech in which two essentially unlike things are compared, often in a phrase introduced by like or as. Metaphor: A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison.
[8] keiner: "keiner von den klargeschlagenen Hämmern des Herzens. . ." Epanorthosis since the "Hämmer des Herzens" are further limited. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification,
[9] versage: First of the totally unambiguous uses of Konjunktiv I as a third person imperative in a Wunsch und Begehrungssatz. Also a Hyperbaton. Normal word order would be "Daß von den klargeschlagenen Hämmern des Herzens keiner an weichen, zweifelnden oder reißenden Saiten versage." Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[10] weichen: "The first of three adjectives modifying the "Saiten" of the heart. Corresponds to the English words "weak" or "soft" which can apply both to objects and persons. Brockhaus: "formbar, nachgebend: Gegensatz: hart." Can also mean "slack" and "faint-hearted."
[11] zweifelnden: The one of the three adjectives whose meaning of "doubting" can only apply to the "heart" and cannot be an attribute of the "strings," but only of the "heart strings."
[12] reißenden Saiten: The third and last of the adjectives modifying "Saiten" which can apply mainly to objects, since it basically means "ripping" or "tearing." Brockhaus: "ziehe gewaltsam; zerreiße entzwei." In the first version of this section written in 1912, Rilke used the word "jähzornigen" which would apply mainly to humans. The word "Saiten" for its first meaning is "strings" in the musical sense: Brockhaus: "feine, feste Schnur aus Darm oder Metall, gespannter und schwingender Tonerzeuger bei vielen Instrumenten." The second meaning is "bildlich: Gefühl: verwandte Saiten erklingen in zwei Seelen, seeliche Verwandschaft läßt den anderen mitfühlen."
[13] Daß: Third example of the Anaphora and a Wunsch und Begehrungssatz beginning with "daß." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[14] mache: Second of the totally unambiguous uses of Konjunktiv I as a third person imperative in a Wunsch und Begehrungssatz. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[15] daß: Fourth example of the Amphora and a Wunsch und Begehrungssatz beginning with "daß." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[16] blühe: Third of the totally unambiguous uses of Konjunktiv I as a third person imperative in a Wunsch und Begehrungssatz. Wunsch und Begehrungssatz: A use of Konjunktiv I to express a wish or desire, normally in the third person as commands.
[17] ihr: Anticipitory pronoun for the subject "Nächte" which is an Apostrophe, since Rilke is adressing "nights" directly. Apostrophe: The direct address of an absent or imaginary person or of a personified abstraction.
[18] gehärmte: "gehärmte Nächte." An Anastrophe, since the adjective comes one phrase after its noun. Anastrophe: Inversion of the normal syntactic order of words.
[19] Daß ich euch knieender nicht, untröstliche Schwestern, hinnahm: Fifth use of "Daß to begin a sentence, but in this case used in the Imperfekt to indicate an action that was not carried out. The verb "hinnahm" allows no ambiguity, since Konjunkitiv I would be "hinnehme" and Konjunktiv II "hinnähme." The "euch" is an anticipatory direct object for "untröstliche Schwestern." The use of "knieender" is comparing the act of kneeling to an ideal expression of humility.
[20] euer gelöstes Haar mich gelöster: Polyptoton. Past participle of "lösen" used first as an adjective and then in the same phrase adverbially in the comparative "gelöster." Polyptoton: The repetition of the same word or root in different grammatical functions or forms.
[21] ergab: Second verb used with "Daß" which is clearly in the Imperfekt.
[22] Wir, Vergeuder der Schmerzen: Scesis Onamaton. "Vergeuder der Schmerzen" is in Appositiion to "Wir." scesis onamaton: Omission of the only verb of a sentence. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[23] absehn: An unusual use of this verb in its literal meaning "to see away from" or in English "to avert ones eyes from." Also a hyperbaton. Normal word order would be "Wie wir sie voraus absehn. Also note the syncope on "absehn." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect. Syncope: The shortening of a word by omission of a sound, letter, or syllable from the middle of the word.
[24] voraus: Can be used with or without "im" as in "im voraus." However, its first meaning according to Brockhaus is "voran, die Folgenden zurücklassend," allowing the translation "at first."
[25] in die traurige Dauer: Since the accusative is used, this prepositional phrase cannot be a statement of place but rather must be an elliptical phrase using the verb stem "sehen" as in "in die traurige Dauer sehend." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[26] ob sie nicht enden vielleicht: Stretching the boundries of elliptical usage, the verb "sehen" must again be hypothesized as an infinitive to complete this phrase: "zu sehen, ob sie nicht enden vielleicht." The whole hyperelliptical and clumsy sentence would read: Wie wir die absehn voraus, in die traurige Dauer sehend, zu sehen, ob sie nicht enden vielleicht." Also ahyperbaton. Normal word order would be "ob sie vielleicht nicht enden." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[27] dunkeles: Epenthesis. The normal form would be "dunkles." Epenthesis: The insertion of a sound in the middle of a word.
[28] Sinngrün: The "Kommentierte Ausgabe" states "Neben der metaphorischen Bedeutung auch Synonym für Immergrün (Vinca) ein Pflanze, die (als Schmuck für Gräber und Särge) mit Tod konnotiert ist; zum Motiv des winterwährigen Laubes." Metaphor: A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison.
[29] e i n e der Zeiten des heimlichen Jahres: The first of only three examples of Sperrdruck in this Elegie. The word "heimlich" according to Brockhaus normally means: "versteckt, verborgen," but Rilke apparently is using the second meaning which is "heimelig," from the same stem "Heim" as "heimlich." Literally it means "homely" or "simple and unpretentious." As proof, in one of Rilke's last poems, written in August of 1926, He uses "Heimlichkeit" to mean that the dove has returned to the dovecoat. "Taube, die draußen blieb, außer dem Taubenschlag,/wieder in Kreis und Haus, einig der Nacht, dem Tag,/weiß sie die Heimlichkeit, wenn sich der Einbezug / fremdester Schrecken schmiegt in den gefühlten Flug." Of the translations I consulted, only the most recent by James D. Reid found, I believe, the right word. The word "familiar" contains the concept of "family" and comes closest to "homely," which, unfortunately has a somewhat negative connotation. "Eine der Zeiten" is also the antecedent for the following Epanorthosis. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.
[30] nicht nur Zeit --, sind Stelle, Siedelung, Lager, Boden, Wohnort: After "nicht nur Zeit," Rilke gives a further rephrasing and expansion which is an Epanorthosis. Also the list of elements has no "und" before the last word which is a asyndeton. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Asyndeton: The omission of conjunctions from constructions in which they would normally be used.
[31] in der falschen, aus Übertönung gemachten Stille: Oxymoron. The silence is created by sounds deafening each other. Extended adjectivial construction: "in der falschen Stille, die aus Übertönung gemacht wird." Oxymoron: A rhetorical figure in which incongruous or contradictory terms are combined, as in a deafening silence or a mournful optimist.
[32] aus der Gußform des Leeren der Ausguß: "der Ausguß aus der Gußform des Leeren." The subject of the subordinate clause is "der Ausguß" which is then followed by the verb "prahlt" with a colon indicating that the next two phrases refer to "der Ausguß" indicating that the "casting" from this "mould of emptiness" becomes "the gold-plated uproar" and the "bombastic monument.", both of which logically continue the image.
[33] zerträte: Konjunktiv II of "zertreten" (Imperfekt "zertrat" with umlaut and subjunctive ending "e").
[34] ihnen: Dative of reference indicating possession.
[35] Trostmarkt: Refers to "Jahrmarkt," but a carnival directed toward consolation or solace with the entertainment diverting attention from the grim realities of life.
[36] ihre fertig gekaufte: Refers back to "Kirche" indicating that the church has been "bought already formed" and has needed no individual input or comittment of the visitors except perhaps contributing to the collection plate.
[37] enttäuscht Enallage. The "Kommentierte Ausgabe" glosses this usage as follows: "Rhetorische Figur der Enallage, d. i. 'falsche' Zuordnung eines Adjektivs, das hier eigentlich den Besuchern von 'Postamt' bzw. Kirche' zugehört. . ." In reality the visitors to the closed post office are "disappointed," not the church. In English Enallage refers mainly to verbal tense and mood misuses such as "We was robbed!" In German it can be used for any sort of "interchange," which is the meaning of the Greek word. In the "Kommentierte Ausgabe" it is defined as "falsche Zuordnung eines Adjectivs." In Chamber's Twentieth Century Dictionary it is broadly defined as "the exchange of one case, mood, or tense for another." Another possible rhetorical application is personification, placing human characteristics upon the church. Enallage: The use of one grammatical form in place of another. Personification: As a manner of speech endowing nonhuman objects, abstractions, or creatures with life and human characteristics.
[38] Schaukeln der Freiheit!: This and the following two descriptions "Taucher und Gaukler des Eifers!" "Und des behübschten Glücks figürliche Schießstatt" are all three in apposition to "die Ränder von Jahrmarkt," not withstanding the punctuation. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[39] des behübschten Glücks figürliche Schießstatt: "die figürliche Schießstatt des behübschten Glücks."
[40] es zappelt von Ziel und sich blechern benimmt: Note the use of alliteration with "zappelt von Ziel" and "blechern benimmt." My translation attempts to illustrate this technique, while somewhat sticking to the meaning. Of course, "sich benehmen" means to "behave oneself" in some manner. Note the use of the impersonal "es" as subject to emphasize the impersonal nature of the shooting gallery.
[41] Geschickterer: The comparative is used to point out the competetive aspect of this gallery where skill is all important.
[42] Beifall zu Zufall: Polyptoton, since the same root "Fall" is used in both words. The normal translation seems to be "cheers to chance," replacing the polyptoton with alliteration. My attempt "from jubilation to tribulation" uses a Binnenreim. Polyptoton: The repetition of the same word or root in different grammatical functions or forms. Binnenreim: Reim innerhalb der Verszeile.
[43] anatomisch: Hyperbaton. Here an adverb is placed after the verb it modifies. Being set off with commas emphasizes its meaning. The normal word order would be "wie das Geld sich anatomisch vermehrt . . ." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[44] alles, das Ganze, der Vorgang: Epanorthosis, since "das Geschlechtsteil des Gelds" is further precised. Also an asyndeton. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Asyndeton: The omission of conjunctions from constructions in which they would normally be used.
[45] beklebt: Hyperbaton. Normal word order would be "mit Plakaten des "Todlos" beklebt." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[46] des "Todlos": One of the rare instances of a quote. "Subriso Saltat" in Elegie 5 is the only other one before Elegie 10. Here it is to emphasize the commercialized persiflage of the beer named "deathless."
[47] jenes bitteren Biers: In apposition to "des 'Todlos'" which is in the genitive and therefore must also be in the genitive. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[48] frische Zerstreuungen kaun: A facetious metaphor treating the distractions of one's life as if they were fresh potato chips to be eaten with beer. Note the syncope "kaun" for "kauen." Metaphor: A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison. Syncope: The shortening of a word by omission of a sound, letter, or syllable from the middle of the word.
[49] ernst: Hyperbaton. The adverb "ernst" is set off by commas for emphasis. It would normally come before "abseits" without commas. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[50] im ärmlichen Gras: Hyperbaton. Here a prepositional phrase is set off by commas for emphasis. Normal word order would be would be "Kinder spielen, und Liebende im ärmlichen Gras halten einander ernst abseits." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[51] eine junge Klage: An example of an allegory, since the abstract concept of "lamentation" has taken on a concrete human form, a "lament." Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms.
[52] Die Schulter, der Hals: Elliptical sentence using the verb and direct object of the preceding sentence. "Ihn rühren die Schulter, der Hals." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[53] Aber er läßt sie, kehrt um, wendet sich, winkt: Asyndeton. Normal would be "Aber er läßt sie, kehrt um, wendet sich und winkt." Asyndeton: The omission of conjunctions from constructions in which they would normally be used.
[54] die jungen Toten: Allegorical representation of "the young dead." Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms.
[55] im ersten Zustand zeitlosen Gleichmuts: Elliptical relative clause, which would normally read "der im ersten Zustand zeitlosen Gleichmuts. . ." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[56] dem der Entwöhnung: In Apposition to "im ersten Zustand . . ." thus the dative form. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[57] Zeigt ihnen leise: Elliptical subject referring to "die Klage." "Die Klage zeigt ihnen leise. . ." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[58] Perlen des Leids und die feinen Schleier der Duldung: Two further allegories used eliptically for what she is wearing. In this case the pearls represent "suffering" and the veil "suffrance." Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[59] der älteren eine der Klagen: "eine der älteren der Klagen."
[60] nimmt sich: Hyperbaton. Normal word order would be "Aber dort im Tal, wo sie wohnen, nimmt sich eine der älteren der Klagen des Jünglinges an." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[61] des Jünglinges: Sprach-Brockhaus: "ich nehme mich seiner an, kümmere mich, sorge dafür." The verb "sich nehmen" takes the genitive.
[62] ein großes Geschlecht, einmal, wir Klagen: From this point on Elegie 10 becomes an Allegory in the broader sense, "a symbolic narrative," whereby not only do the characters and objects take on a constructed symbolic meaning, but also the narrative itself parallels to a greater or lesser degree a philosophical, political, religious or geographical depiction, such as a biblical progression towards faith, Plato's view of reality, or, in this case, Rilke's depiction of a somber landscape which parallels ancient Egypt, along with a series of new heavenly constellations; all of which represent allegorically the passage of the dead from life to the other realm of existence. It could be seen as a parallel to the progress of the dead in Greek mythology crossing the river Styx. It is noteworthy that the collection Neue Gedichte, published in 1907, contains a poem entitled "Orpheus. Eurydike. Hermes," which prefigures in minute detail the allegorical section of Elegie 10: "Die So-geliebte, daß aus einer Leier / mehr Klage kam als je aus Klagefrauen; / daß eine Welt aus Klage ward, in der / alles noch einmal da war: Wald und Tal / und Weg und Ortschaft, Feld und Fluß und Tier; / und daß um diese Klage-Welt, ganz so / wie um die andre Erde, eine Sonne / und ein gestirnter stiller Himmel ging, ein Klage-Himmel mit entstellten Sternen --: / Diese So-Geliebte." The German "Wikipedia" makes a distinction between a "symbol" and an "allegory." The "allegory" is a constructed relationship and therefore somewhat arbitrary, whereas a "symbol" has evolved as part of a religion, a philosophy, or some other branch of knowledge and is more constrained. Allegory: A symbolical narrative: the allegory of "Piers Plowman" or "The Pilgrim's Progress."
[63] ein Stück geschliffenes Urleid: In German the genitive is not used after quantities: Duden states: "Im heutigen Sprachgebrauch wird das Gemessene oder Gezahlte, das früher im Genitiv stand, als Apposition neben die Mengen-- oder Maßangabe gestellt: ein Stück Kuchen (nicht: Kuchens)." Another example of an objectified allegory "polished primal suffering." Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas. Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms.
[64] aus altem Vulkan, schlackig versteinerten Zorn: Ellipsis for "aus altem Vulkan [findest du] schlackig versteinerten Zorn." A further Allegory in its narrower sense. Allegory: A representation of an abstract or spiritual meaning through concrete or material forms.
[65] Und sie leitet ihn leicht durch die weite Landschaft der Klagen: The introduction to the narrative allegorical section of Elegie 10. In this first use of the verb "zeigt," it is used with the subject "sie" referring to the "Klage." The next two uses of "zeigt" are without a subject. Duden states that this often occurs in conversational speech: "In der Umgangssprache spart man 'ich' gern ein: 'Weiß schon Beschied. Habe bereits schon gehört.'" Allegory: A symbolical narrative: the allegory of "Piers Plowman" or "The Pilgrim's Progress."
[66] Tränenbäume und Felder blühender Wehmut: Further allegorical objects in the narrower sense. Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms.
[67] (Lebendige kennen sie nur als sanftes Blattwerk): This parenthetical explanation clarifies the existence of this parallel allegorical landscape to the reader. Allegory: 1. a representation of an abstract or spiritual meaning through concrete or material forms.
[68] Tier der Trauer With this allegorical designation, Rilke has now included "die Klagen," "Leid," "Duldung," "Urleid," "Zorn," "Wehmut" and "Trauer" along with "Trümmer der Tempel und Bürgen" and "Klage-Fürsten" in "die weite Landschaft der Klagen." Also note the alliteration. Allegory: 1. A representation of an abstract or spiritual meaning through concrete or material forms; figurative treatment of one subject under the guise of another. 2. A symbolical narrative: the allegory of "Piers Plowman" or "The Pilgrim's Progress." Alliteration: The repetition of the sound of an initial consonant or consonant cluster in stressed syllables close enough to each other for the ear to be affected.
[69] weidend: Anastrophe. Normal word order would be "zeigt ihm die weidenden Tiere der Trauer." Anastrophe: Inversion of the normal syntactic order of words.
[70] fliegend: Hyperbaton. Normal word order would be "flach ihnen durchs Aufschaun fliegend." The "ihnen" is a dative of reference and indicates possession. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[71] das schriftliche Bild seines vereinsamten Schreis: A synaesthetic metaphor since a scream is being visually perceived. Metaphor: A figure of speech in which a word or phrase that ordinarily designates one thing is used to designate another, thus making an implicit comparison. Synaesthesia: A sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain sound induces the visualization of a certain color.
[72] den Sibyllen und Warn-Herrn: In Apposition to "dem Klage-Geschlecht" and thus in the dative. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[73] mondets empor: Verb possibly created by Rilke meaning that the "moon is rising" analogous to "es regnet" or "es schneit." The difference is that the "es" is not used impersonally, but is an anticipatory pronoun subject for "das über alles wachende Grab-Mal." (In English we use "moon" verbally as "to moon somebody" with a somewhat different connotation then here.) Synaloepha of "mondet es." Synaloepha: Omission of a vowel to contract two words into one such as "don't," "it's.
[74] das über alles wachende Grab-Mal: Subject of sentence referring back to the "s" of "mondets."
[75] jenem am Nil: Anticipatory for the "der erhabene Sphinx."
[76] der erhabene Sphinx: In Apposition for "das über alles wachende Grab-Mal." Clarification that the allegorical landscape relates to ancient Egypt which Rilke himself had visited and had had similar synaesthetic experiences as in this Elegie. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas. Synaesthesia: A sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain sound induces the visualization of a certain color.
[77] der verschwiegenen Kammer Antlitz "der Antlitz der verschwiegenen Kammer." After the colon no longer an appositive, but rather a summation of the essence of the Sphinx. According to Pliny the elder (AD23-AD79) the Egyptian people at that time believed there to be a secret chamber in the sphinx, in which King Harmaïs was buried.
[78] dem krönlichen Haupt: Unusual use of "staunen" with the dative; normally used with "über" plus accusative.
[79] schweigend: Hyperbaton. By placing it after the expression of time (which is also not in its normal place) and surrounding it with commas, it is doubly emphasized. Normal word order would be "das schweigend der Menschen Gesicht für immer auf die Wage der Sterne gelegt." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[80] der Menschen Gesicht: "das Gesicht der Menschen."
[81] gelegt: Ellipsis since the auxiliary verb has been left off. According to Duden: "Ellipse (Auslassung) des Hilfsverbs: In gehobener Sprache wird -- hauptsächlich um des Wohlklangs willens -- das Hilfsverb gelegentlich ausgelassen: Als das Schild seine Wirkung getan [hatte] und niemand ihn mehr beschäftigte, hatte er es wieder entfernt (Th. Mann, Buddenbrooks 351). The whole non-elliptical sentence in would then be "Und sie staunen dem krönlichen Haupt, das schweigend das Gesicht der Menschen für immer auf die Wage der Sterne gelegt hat. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[82] Nicht erfaßt es sein Blick: "Sein Blick erfaßt es nicht." The es refers back to "das Haupt" of the Sphinx.
[83] im Frühtod schwindelnd: The verb "schwindeln" after its first meaning of "to swindel" also means secondly "alles dreht sich um mich"--Brockhaus.
[84] ihr Schaun : Subject of sentence which being interrupted by an elliptical participial clause "hinter dem Pschent-Rand hervor" is then referenced by the "es" in the last phrase "scheucht es die Eule." First of two synaesthetic images, since her gaze alone frightens the owl away. Only one of the many translators translates this "ihr" with "they," which I believe to be incorrect, since Rilke expressly states that the "early dead youth" does not view (and bring about) the owl's flight, but does synaesthetically perceive the flight through his ears. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding. Synaesthesia: A sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain sound induces the visualization of a certain color.
[85] hinter dem Pschent-Rand hervor: Elliptical participial phrase to avoid repeating the verb "schauen" as in "hinter dem Pschent-Rand hervorschauend." The Kommentierte Ausgabe defines "Pschent" as ". . . gemeint ist die Doppelkrone Ober- und Unterägyptens, hier die früher übliche Bezeichnung für das Königskopftuch, das der Sphinx trägt." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.
[86] es: Refers back to "ihr Schauen." Interposed to continue the prevalent dactylic meter. Without it the meter would be trochaic. Dactyl: A metrical foot consisting of one long syllable followed by two short ones. Trochee: A metrical foot consisting of one stressed syllable followed by one short or unstressed syllable.
[87] sie: refers to "die Eule."
[88] streifend: Hyperbaton. Normal word order would be "im langsamen Abstrich die Wange entlangstreifend." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[89] jene: Refers back to "Wange" meaning "the one with the ripest contours."
[90] zeichnet weich in das neue Totengeör: Since the sound of the owl brushing against the contours of the Sphinx's face causes its image to be perceived by the ears of the recently dead youth, a synaethetic transference has taken place, in that a sound has created an image. In the earlier synaesthetic event, a flying bird's motion drew a written image of its isolated scream. Here an aural perception is represented visually--the picture of a scream. Also note the accusative after "in" indicating that the picture is being drawn "into" the "Togengehör." Synaesthesia: A sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain sound induces the visualization of a certain color.
[91] über ein doppelt aufgeschlagenes Blatt: In apposition to "in das neue Totengehör." The synesthetic image presented is quite complicated. One interpretation would be that of a stereoscope with its two images ("ein doppelt aufgeschlagenes Blatt") creating the illusion of depth analagous to the two ears of the dead youth perceiving the sound of the owl brushing against the cheek of the Sphinx as a three-dimensional image of its outline--a stereo image. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas. Synaesthesia: A sensation produced in one modality when a stimulus is applied to another modality, as when the hearing of a certain sound induces the visualization of a certain color.
[92] den unbeschreiblichen Umriß: In this case the "indescribable outline" can be created visually through hearing, but not verbally.
[93] Neue: Anastrophe: Normal word order would be "die neuen Sterne." Anastrophe: Inversion of the normal syntactic order of words.
[94] Die Sterne des Leidlands: This and the preceding phrase are both scesis onamatons without verbs. Continuance of the allegorie, but now the landscape along with the allegorized figures therein has stars and constellations. Scesis onamaton: Omission of the only verb of a sentence. Allegory: 1. representation of an abstract or spiritual meaning through concrete or material forms; figurative treatment of one subject under the guise of another. 2. a symbolical narrative.
[95] wie im Innern einer gesegneten Hand, das klar erglänzende 'M': Scesis onamaton: Similar to the first phrases of this description "Und höher, die Sterne, Neue. Die Sterne des Leidlands" there is no verb. Non-elliptically stated, the sentence would be "Aber im südlichen Himmel, rein wie im Innern einer gesegneten Hand, steht das klar erglänzende 'M', das die Mütter bedeutet." The accepted interpretation is that in the palm of your hand, you will actually find an "M." Scesis onamaton: Omission of the only verb of a sentence.
[96] schimmert: Hyperbaton. Normal word order would be "wo es im Mondschein schimmert."
[97] die Quelle der Freude: Coming after a colon, this must be a summing up of the essence of the "Mondschein."
[98] sie: The "Mondschein" which is "die Quelle der Freude," hence the feminine singular.
[99] "Bei den Menschen ist sie ein tragender Strom.": Another example of the rare use of quotes in the Elegien. This is a direct reference back to Elegie I where Rilke states: Die ewige Strömung reißt durch beide Bereiche alle Alter immer mit sich und übertönt sie in beiden." Here, near the end of Elegie 10, the tone has softened. Instead of being "ripped" (reißen) one is "carried" (tragen).
[100] Stehn: Duden concerning the infinitive form: "Er ist reiner Ausdruck des Verbalbegriffs." Rilke is emphasizing the pure condition of "standing" by using the infinitive alone. Note the syncope on Stehn. Syncope: The shortening of a word by omission of a sound, letter, or syllable from the middle of the word.
[101] in die Berge des Urleids: In Apposition to "dahin." Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[102] tonlosen Los: The "drowning out" [übertönung] of Elegie I has become "soundless" [tonlosen]. This last Elegie is the "consoling" part of the Elegien.
[103] erweckten, zeigten, meinten, empfänden: Since the three verbs in this section "erwecken," "zeigen" and "meinen" are all weak verbs, they could be either in the Imperfekt or in Konjunktiv II. It is not until the verb "empfinden" in the last section used in its Subjunctive II form "empfänden" (Imperfekt "empfand" with umlaut plus "en") that the Konjunktiv II context is clarified for the first three verbs.
[104] sie: Pronoun subject to which "die unendlichen Toten" is in apposition. Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[105] die unendlichen Toten: In Appositive to "sie," since it in the nominative. Even though it comes after "uns" it cannot refer to "us" as being the "unending dead," since "uns" is used as an indirect object indicating those who benefit by the awakening of the "Gleichnis." Apposition An explanatory noun or phrase normally placed after the noun explicated. In German it must be in the same case and set off with commas.
[106] Gleichnis: Sprach-Brockhaus: "Beispiel, Erzählung, die einen Gedanken bildhaft darstellt." There is no English literary genre which fits this definition. For my purposes, the best solution is to use the almost exact translation of the word "Gleichnis," which is "likeness." This allows the two examples to stand by themselves and not be strait-jacketed into conformance with an incongruous definition.
[107] zeigten: Second weak verb in the Imperfekt which still could be in the indicative.
[108] die Kätzchen der leeren Hasel: The first problem with this "Gleichnis" is that most people are not versed in botany, especially in that of the hazelnut trees. I found a concise explanation on the English Woodland Trust Webpage: "Flowers: hazel is monoecious, meaning that both male and female flowers are found on the same tree, although hazel flowers must be pollinated by pollen from other hazel trees. The yellow male catkins appear before the leaves and hang in clusters, from mid-February. Female flowers are tiny and bud-like with red styles. Fruits: once polinated by wind, the female flowers develop into oval fruits, which hang in groups of one to four. They mature into a nut with a woody shell surrounded by a cup of leafy bracts (modified leaves)." At first Rilke used the willow tree, but was corrected and changed it to a hazel tree. Therefore the statement in Rilke's letter of 1922 that " Die Gedichtstelle, die ich auf die sachliche Richtigkeit hin kontrollieren wollte, steht und fällt damit, daß der Leser mit dem ersten Gefühl, gerade dieses Fallende der Kätzchen ergreife and auffasse, sonst verliert das dort gebrauchte Bild allen Sinn. . ." As I shall explain, the "Fallende" is not difficult to grasp, but the whole "Gleichnis" far from easy. The first thing that strikes my non-botanical mind is that the "catkins" are obvious "Freudian Symbols." The male genitals are only fruitful when erect and while "hanging" are impotent. A common somewhat juvenile imprecation in German is "Schlappschwanz" which means "limp penis." I would venture to guess, especially after the "Freudian" Elegie 3 and the fact that Rilke met Freud through his mentor and lover Lou Andreas Solome, the first female Psychotherapist, that he was well acquainted with Freudian symbology. He obviously put more emphasis on the "falling" aspect, but then needed a further justification for the "Gleichnis" that the "hanging catkin" exist before they flower, are impregnated and produce hazel nuts. The catkins significantly emit pollen while they are hanging limp. There is a section in "Women in Love" by D.H. Lawrence, written in 1920, where a highly suggestive dialogue ensues after a class on "catkins.""Do you know the little red ovary flowers, that produce the nuts? Have you ever noticed them?" he asked her, and he came close and pointed them out to her, on the sprig she held. "No," she replied. "What are they?" "These are the little seed-producing flowers, and the long catkins, they only produce pollen, to fertilise them." "Do they, do they!" repeated Hermione, looking closely. "From those little red bits, the nuts come; if they receive pollen from the long danglers." To complete the analogy, the flowers are not self-pollinating, but must receive their pollen from other hazel trees.
[109] die hängenden: Anastrophe. Normal would be "die hängenden Kätzchen der leeren Hasel." Anastrophe: Inversion of the normal syntactic order of words.
[110] meinten: Third successive weak verb in the Imperfekt which still could be in the indicative.
[111] fällt:Hyperbaton. Normal word order would be "der auf dunkles Erdreich im Frühjahr fällt." This "Gleichnis," contrary to the previous one, is relatively simple. The rain falls but the plants rise. Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.
[112] auf dunkles Erdreich im Frühjahr: The dark "u" in "dunkles" and the three long vowel and dipthong sounds poetically sum up the depth of the image while slowing the progression of the Elegie down to highlight the concluding section.
[113] s t e i g e n d e s: Second example of Sperrdruck in this Elegie. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.
[114] empfänden: After three ambiguous usages of the Imperfekt, this use of Konjunktiv II is clear. (Imperfekt of "empfinden" which is "empfand" plus umlaut and "en" ending).
[115] beinah bestürzt: Semi-apocope. Since the verb form "empfänden" is in the Konjunktiv II form, it would logically follow that the "if-clause" and any further consequences should also be in Konjunktiv II. Rilke, as in other similar situations, employs an enallage of mood, here unambigously using the present tense in "fällt" and using "bestürzt" in an intermediary position which could be viewed as an apocope for "bestürzte" or as the simple present tense form. Grammatically Rilke is dissolving the border between the unreal and the real in the same way that he has attempted in the Elegies to undifferentiate between life and death. Also note the alliteration of "beihah bestürzt." Apocope: The loss of one or more sounds from the end of a word. Enallage: The use of one grammatical form in place of another, as the plural for the singular in the editorial use of "we." The basic meaning is an exchange.Alliteration: The repetition of the sound of an initial consonant or consonant cluster in stressed syllables close enough to each other for the ear to be affected.
[116] ein Glückliches Note the impersonal use of the neuter gender to indicate anything (or anybody) which (who) is happy or lucky.
[117] f ä l l t: last example of Sperrdruck in the Elegien. Also an obvious parallel to the "Regen, der fällt auf dunkles Erdreich im Frühjahr." Could be seen as a reference to the end of Elegie I, where the death of "Linus, ein beinah göttlicher Jüngling" led to the birth of music. The last Elegie concludes thereby with a further exegesis of the end of the first. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.
[A] his: Most translators translate the dative definite article "dem" as "the" or "that." Since the word "Los," which means "destiny" applies to the youth, the use of the possessive "his" seems appropriate. Hat Rilke used "seinem" instead of "dem," the prevailing dactylic meter would have been interrupted. Also in German the article is often used instead of the possessive to refer to a part of ones being. Dactyl: A metrical foot consisting of one long syllable followed by two short ones.