[1] Warum, wenn es angeht: The "es" is the only subject of this first section of Elegie 9, the rest of the section detailing what the "matter of concern" is. Not until the 11th verse does the pronoun "uns" clarify that the understood subject is "wir," and only in verse 14 is "wir" actually used. Only in verse 18 at the beginning of the second section is "wir" used in a complete sentence. The "warum" is the first of two, posing a question which is then answered with two "nicht" clauses, stating what the answer is not. Only in verse 11 with "Aber weil" is the reason given also with "weil" repeated twice.

[2] als Lorbeer: Most commentators associate "Lorbeer" with the Daphne legend where she changed into a laurel tree to escape Apollo's advances.

[3] eines Windes Lächeln: "das Lächeln eines Windes."

[4] Menschliches müssen -- und, Schicksal vermeidend, sich sehnen nach Schicksal?: Two infinitives, "müssen" and "sehnen," used without a subject surrounding a participial phrase continuing the non-specific tone of the beginning statement. Note the alliteration of "menschliches müssen" and "sich sehnen." Also the Epanalepsis with "Schicksal." Daphne had to give up being human to avoid her fate, yet while existing as a laurel tree still longed for a human fate. 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. Epanalepsis A repetition of a word or phrase with intervening words setting off the repetition, sometimes occuring with a phrase used both at the beginning and end of a sentence.

[5] i s t: First example of Sperrdruck in this Elegie which has the most of any of the Elegien--16 times. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[6] dieser voreilige Vorteil eines nahen Verlusts: In Apposition to "Glück." Apposition is 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.

[7] w ä r e: Second example of Sperrdruck. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[8] das Hiesige: Nominalisierung. Noun formed from "hiesig" which means "of this place, local." Nominalisierung: The creation of an abstract noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender.

[9] dieses Schwindende: Nominalisierung using present participle of "schwinden." Also in Apposition to "das Hiesige." Nominalisierung: The creation of an abstract noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender. Apposition is 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.

[10] die Schwindendsten: Apposition to "uns" meaning "the most transitory." Also an epanorthosis. Apposition is 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. Epanorthosis: the rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.

[11] E i n mal jedes, nur e i n mal. E i n mal und nicht mehr: At first a Diacope and then an Anadiploses with the italicized words. Also a Scesis onamaton. The "jenes" appears to be used to mean "each." First of six repetitions of "e i n mal." The problem arising from the Sperrdruck is that this is actually one word "einmal," an adverb, and the Sperrdruck is only emphasizing the "e i n" making it look like two words, which is impossible, since "Mal" would have to be capitalized. One can interpret every occurance as adverbial, so "einmal" is appropriate. The confusing factor is that in the "Thurn und Taxis Handschrift," edited by Ernst Zinn, all instances are indeed written as "e i n Mal." Professor Zinn also edited the "Sämtliche Werke" and apparantly followed the example of the "Thurn und Taxis Handschrift" and not that of the "Handschrift" used to typset the two versions of the first edition, the "Vorzugsausgabe" and the "Buchausgabe." Diacope: Repetition with only a word or two between. Anadiploses: Rhetorical repetition at the beginning of a phrase of the word or words with which the previous phrase ended. Scesis onamaton: Omission of the only verb of a sentence. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[12] Und wir auch e i n mal: Sperrdruck Fourth repetition of "e i n mal." Note that from the first "e i n mal there has not been a verb, so another Scesis onamaton. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics. Scesis onamaton: Omission of the only verb of a sentence.

[13] Aber dieses e i n mal gewesen zu sein: Fifth repetition of "e i n mal." Finally used with a verb in an infinitive phrase, but not yet with the verb of the sentence. The "dieses" cannot be a modifier, since "e i n mal" is not a noun; therefore, it must refer to our being alive, or as Rilke says "irdisch." There seems to be a comma missing, but the Sperrdruck serves the same function, lengthening the "e i n" and forcing a pause.Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[14] Wenn auch nur e i n mal: irdish gewesen zu sein: Epanorthosis. Actually a rephrasing of "e i n mal gewesen zu sein." Another infinitive phrase along with the sixth and last repetition of "e i n mal" in Sperrdruck. Also an Epanalepsis with the repetition of "gewesen zu sein." Epanorthosis: the rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Epanalepsis A repetition of a word or phrase with intervening words setting off the repetition. Note the colon before the final summing up of the subject "irdish gewesen zu sein." Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[15] scheint nicht widerrufbar: After 8 phrases we finally have the verb of the sentence "scheint."

[16] es: At the beginning of the second long section of this Elegie, we have an "es" as direct object of the first clause and the main item of consideration of the next section. The most logical distant antecedent is "das Hiesige," however, the most recent possible antecedent is the concept of "irdisch gewesen zu sein." Given the subject matter the latter seems more probable.

[17] wollens enthalten: Hyperbaton. Normal word order would be "wollens in unsern einfachen Händen, im überfüllteren Blick und im sprachlosen Herzen enthalten." Synaloepha of "wollen es." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect. Synaloepha: Omission of a vowel to contract two words into one such as "don't," "it's."

[18] überfüllteren: Note the comparative form.

[19] Wollen es werden. Wem es geben? Am liebsten alles behalten für immer. . .: Three sentences with the elleptical subject "wir." Ellipsis: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[20] in den andern Bezug: Hyperbaton. Normal word order would be, Was nimmt man hinüber in den andern Bezug? Note the accusative after "in" meaning "into." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[21] das hier langsam erlernte: Anastrophe An extended modifier coming after noun modified. Normal word order would be "das hier langsam erlernte Anschauen." Note the elliptical subject and verb " man nimmt" which continues for several sentences. Anastrophe: Inversion of the normal syntactic order of words. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[22] kein hier Ereignetes: Nominalisierung. Noun formed from past participle of "ereignen" with strong adjective ending. The "hier" gives the meaning of "Nothing which has occurred here." Also used with elliptical "man nimmt." Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding. Nominalisierung: The creation of a noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender.

[23] keins: A near Diacope for emphasis with the "kein" of the preceding phrase. Diacope: Repetition with only a word or two between.

[24] Also die Schmerzen: The use of "also" to begin this and the next three phrases is an Anaphora.. Note that "also" is a false cognate and means "thus" or "thusly" in English. Continuation of the Ellipsis with the omission of "man nimmt." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[25] Also vor allem das Schwersein: Continuation of the anaphora with second repetition of "also" and of the ellipsis. Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs; for example. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[26] Also der Liebe lange Erfahrung: Continuation of the anaphora with third repetition of "also" and of the ellipsis. Reverse genetive for "die lange Erfahrung der Liebe." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs; for example. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[27] also lauter Unsägliches: Coming after a comma and a dash, the fourth and last use of "also" finishes the anaphora with a summation using a negative noun "Unsägliches." after the word "lauter" which is an uninflected modifier in German which connotates an absolute. Also the conclusion of the ellipsis. Negatives in regard to speaking, seeing and hearing form sort of a Leitmotif in this Elegie. Besides "lauter Unsägliches" we find "unsäglich," "die allen unsägliche," "nicht die unsägliche." One problem of translation is that "ineffable" lacks the concrete quality of the German word, "unsayable" is not strong enough, "inexpressible" has too many syllables and is rather neutral, "unutterable" is too trivial and "unspeakable" has the unfortunate secondary meaning of being really awful. (Oscar Wilde's definition of a fox hunt as "the pursuit of the uneatable by the unspeakable.") Another negative in connection with one of the senses "unsichtbar" is repeated three times. One also finds "sprachlos" in "im sprachlosen Herzen." Anaphora: The deliberate repetition of a word or phrase at the beginning of several successive verses, clauses, or paragraphs; for example. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[28] aber später, unter den Sternen: Meaning among the stars which is the next stage after entering "in den andern Bezug."

[29] was solls: Synaloepha for "was soll es" which according to Brockhaus means "welchen Zweck, welchen Sinn hat es?" Basically meaning "What's the purpose or sense of it?" Synaloepha: Omission of a vowel to contract two words into one such as "don't," "it's."

[30] d i e sind b e s s e r unsäglich: Refers back to "das Anschaun," the "hier Ereignetes," "die Schmerzen," "das Schwersein" and "der Liebe lange Erfahrung" which are summarized as "lauter Unsägliches." Why it is better that these remain "unsäglich" is the main message of Elegie 9. Also the ninth and tenth examples of Sperrdruck in this Elegie. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[31] voll: Apocope for "eine Hand voller Erde." Apocope: The loss of one or more sounds from the end of a word.

[32] die allen unsägliche" Epanorthosis. The last feminine word is "Erde," to which this phrase refers. Could be read as "die allen unsägliche Erde." We know it has to modify "Erde;" otherwise, it would be capitalized as was "lauter Unsägliches." Could also be read as an elliptical relative clause, since the verb "ist" has been omitted. The "e" on "unsägliche" would then be pleonastic to avoid having two accented syllables together. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Pleonastic: A superfluous word, phrase or letter.

[33] reines: Another Epanorthosis, this time consisting of only one word, but a significant one signifying purity. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.

[34] den gelben und blaun Enzien: Syncope for "blauen." In apposition to "ein erworbenes Wort." The most difficult aspect of this statement is that the wanderer is not bringing a concrete object such as the soil in which the flower grows, since that would have no meaning to anybody. He also does not, however, bring the flower itself, but instead a "reines erworbenes Wort." He thereby brings a description of the thing which has been acquired through the act of climbing and which by implication is something "säglich." The Kommentierte Ausgabe refers to this reasoning as "poeto-logisch." In the following section Rilke explains how this "saying" is a heightening of the existence of the object itself, which retroactively explains why the wanderer did not bring the flower itself. Apposition is 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. Syncope: The shortening of a word by omission of a sound, letter, or syllable from the middle of the word.

[35] h i e r: Eleventh example of Sperrdruck putting main emphasis on "das Hiersein." Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[36] um zu sagen: Haus, Brücke, Brunnen, Tor, Krug, Obstbaum, Fenster: A list of everyday objects [Dinge] with poetic and romantic associations in German literature and in Rilke's poems. With "Neue Gedichte" Rilke became a "Dingdichter," celebrating the thingness of things.

[37] höchstens: Säule, Turm: The last two items in the list are prefaced with "höchstens" which indicates they are among the greatest of our creations and the highest to which our praise may aspire.

[38] aber zu s a g e n: Twelfth example of Sperrdruck, in this Elegie placing the emphasis on "the sayable," rather than trying to express the inexpressible. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[39] o zu sagen s o: Both a diacope with the repetition of "zu sagen" and an Epanorthosis. Also with "s o" the thirteenth Sperrdruck. Diacope: Repetition with only a word or two between. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien.

[40] jedes und jedes: Since the last neuter noun was "das Ding" in its plural form, the meaning of this phrase seems to be "each and every thing." The lovers being enraptured by "each and every thing" experience the same enhanced nature of things as the poet brings forth through his saying of them .

[41] Schwelle: Stating the noun followed with a colon to emphasize its importance. "Threshold" is an example of one of those things which enraptures lovers even though the wearing down of a threshold seems to be a trivial daily act, especially since they are but one of many who have already and will in the future further erode it.

[42] auch sie: A sort of Epanorthosis, since the subject "sie" through the "auch" becomes one of many. Also an ellipsis, since the whole sentence would be " daß auch sie die eigne ältere Schwelle der Tür ein wenig verbrauchen." Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding.

[43] nach den vielen vorher und vor den künftigen..., leicht: An ellipsis which transports the action to the past and the future. "nach den vielen vorher sie verbraucht haben und vor den künftigen, die sie verbrauchen werden." It could also be seen as an Epanorthosis, since "ein wenig" has been supplemented by an emphatic "leicht" coming after an ellipsis and a comma. Ellipsis,: The omission of a word or phrase necessary for a complete syntactical construction but not necessary for understanding. Epanorthosis: 1. The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification. 2.A mark or series of marks: ( . . . ) for example, used in writing or printing to indicate an omission, especially of letters or words.

[44] H i e r ist des S ä g l i c h e n Zeit, h i e r seine Heimat: Reverse genetive "die Zeit des des S ä g l i c h e n." A complementary statement to that in Elegie 7 that "Hiersein ist herrlich." In this Elegie Rilke states what to do with this "Herrlichkeit." Diacope with the repetition of "h i e r." Fourteenth to sixteenth example of Sperrdruck setting the record for the Elegien. Diacope: Repetition with only a word or two between. Sperrdruck: Spaced type formerly used for Italics and found in the Elegien. In modern editions replaced with italics.

[45] die erlebbaren: Anastrophe for "die erlebbaren Dinge." Anastrophe: Inversion of the normal syntactic order of words.

[46] Tun ohne Bild: An action without an image, i.e. without an inner figurative meaning which has been given to it through generations of intense experience. In German the word "bildlich" is used to mean "figurative," while, interestingly enough, "literal" is represented by "wörtlich."

[47] entwächst: Second usage of this verb in the Elegies. In the First Elegy it was used in the phrase "wie man den Brüsten milde der Mutter entwächst." Here it is used without an object to mean "to outgrow inwardly." An element of hope is interjected into this negative assessment when the scorned "Tun" breaks through the willing crusts and circumscribes itself differently.

[48] Hämmern: The "hammers" of the "beating" heart.

[49] die preisende: "die preisende Zunge."

[50] die Welt, nicht die unsägliche: Short for "nicht die unsägliche Welt." Epanorthosis, since "die Welt" is rephrased. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.

[51] ihm: Refers back to "dem Engel."

[52] großtun: Hyperbaton. Normal word order would be "Ihm kannst du nicht mit herrlich Erfühltem großtun." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[53] Erfühltem: Nominalisierung. Noun created from past participle of "erfüllen" and used in the dative as the object of "mit" thereby necessitating the strong "em" ending. Nominalisierung: The creation of an abstract noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender.

[54] fühlender fühlt: Polyptoton, since two different grammatical forms of "fühlen" are used. Polyptoton: The repetition of the same word or root in different grammatical functions or forms.

[55] von Geschlecht zu Geschlechtern gestaltet: Past participial phrase. Note the plural form Geschlechtern. "formed from generation to generations."

[56] ein Unsriges: The unpreceded form of "das Unsrige."

[57] lebt: Hyperbaton. Normal word order would be "als ein Unsriges neben der Hand und im Blick lebt." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[58] staunender stehn: Comparative form which refers forward to to the two situations after the semicolon: "wie du standest bei dem Seiler in Rom, oder beim Töpfer am Nil." Also alliteration with "staunender stehn" and then "standest." 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.

[59] schuldlos und unser: Zeugma since the elliptical verb "sein" is used in two different meanings. One usage with "schuldlos" conveys a characteristic, while the usage with "unser" conveys possession. Also an Epanorthosis, since it further defines "glücklich." Zeugma: A construction in which a word is used to modify or govern two or more words, often so that its use is grammatically or logically correct with only one. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.

[60] rein zur Gestalt sich entschließt: Hyperbaton. Normal word order would be "wie selbst das klagende Leid sich rein zur Gestalt entschließt." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[61] selig: Hyperbaton. Normal word order would be "und jenseits der Geige selig entgeht." Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[62] diese, von Hingang lebenden Dinge: Extended adjectivial clause for "diese Dinge, die von Hingang leben."

[63] vergänglich: The semicolon preceding this word means that it refers to the clause following it with the meaning that "transitory, they entrust their salvation to us."

[64] Rettendes: Nominalisierung. The present participle of the verb "retten" capitalized and used as a unpreceded noun taking the strong ending "es." Difficult to translate with a participle in English. Perhaps "rescuing action" comes closest or more idiomatically "salvation." Nominalisierung: The creation of an abstract noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender.

[65] den Vergänglichsten: Nominalisierung. Superlative form of "vergänglich" with the weak "en" ending, because "zutrauen" takes the dative. Coming as an appositive after "uns," it is clear that it is dative plural. Nomanilisierung: The creation of a noun from any part of speech. In German, all that is needed is to capitalize the word, be it verb, adverb, pronoun, past or present participle or conjunjction, and add the requisite case endings, if any. All such constructions are in the neuter gender.

[66] Wollen, wir sollen sie ganz im unsichtbarn Herzen verwandeln in -- o unendlich -- in uns!: Hyperbaton. Normal word order would be "Wollen, wir sollen sie ganz im unsichtbarn Herzen in -- o unendlich -- in uns verwandeln!" The "Wollen" refers back to the "sie" as the elliptical subject. Notice the use of "in" taking two cases; first the dative "im unsichtbarn Herzen" and second the accusative "in uns."

[67] seien: Konjunktiv I of "sein." Translate as "Whoever we on earth might be." In Duden this is explained: "Auch im Finalsatz tritt gelegentlich der 1. Konjunktiv als Ausdruck einer Absicht, eines Begehrens auf: 'Was immer du seist, ich glaube, wir werden heut nicht spielen (Schnitzler).'" Following this example, the "wer wir am Ende auch seien" can be seen as beginning the sentence. One problem is that the "wer" at the beginning of this sentence is not capitalized, although it comes after a exclamation point. In the "Thurn und Taxis Handschrift" it is definitely capitalized and also in the "Sämtliche Werde" edited by Ernst Zinn. Probably a typesetting mistake gone unnoticed.

[68] Erde! Unsichtbar!: A scesis onamaton giving the subject and an adjective, each followed with an exclamation point to sum up in an emotional manner the content of the preceding sentence. Scesis onamaton: Omission of the only verb of a sentence.

[69] nicht: Hyperbaton. Normal word order would be "Was, wenn nicht Verwandlung, ist dein drängender Auftrag?" Hyperbaton: A figure of speech, such as anastrophe or hysteron proteron, using deviation from normal or logical word order to produce an effect.

[70] Erde, du liebe: An Apostrophe, since Rilke is addressing the earth directly and affectionately. Apostrophe: The direct address of an absent or imaginary person or of a personified abstraction.

[71] es bedürfte: The verb bedürfen takes the genitive similar to English There would be no need of your Springtimes." The form "bedürfte" is Konjunktiv II, since the Imperfekt "bedurfte" has been umlauted along with the ending "e."

[72] nicht deiner Frühlinge: The verb "bedurfen" taking the genetive, the ending "er" on "deiner" is the genitive plural strong ending. The "nicht" coming before the object of the verb normally requires a "sondern" clause or an alternative. See footnote 74.

[73] mich dir zu gewinnen With "dir" continuing the apostrophe to "Erde." The two objects mean "to win me to you." or "to win me over to you." in more idiomatic English. Apostrophe: The direct address of an absent or imaginary person or of a personified abstraction,

[74] einer: The alternative to "Springtimes" is one "Springtime."

[75] ach, ein einziger: in apposition to "einer" and also an Epanorthosis, since it further precises "one" to "a single one," a minimizing, for effect. Apposition is 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. Epanorthosis: The rephrasing of an immediately preceding word or statement for the purpose of intensification, emphasis, or justification.

[76] dem Blute" "dem Blut." The pleonastic "e" used to be added in the Dative singular and still occurs in poetic German. Pleonastic: A superfluous word, phrase or letter.

[77] Namenlos: The verb of the sentence "sich entschließen" implies a strong personal choice. The fact that the person making this choice is willing to be nameless emphasises the selflessness of the commitment being made.

[78] von weit her: The previous sentence emphasized the strength of the commitment. This phrase emphasizes that it was made from a far distance.

[79] du: Still referring to "Erde."

[80] der vertrauliche Tod: Death seen as something intimate from a positive perspective is a characteristic of Rilke's "Weltanschauung." In the second part of the "Sonette an Orpheus" poem XI, Rilke writes "Töten ist eine Gestalt unsers wandernden Trauerns . . ." "Killing is a form of our wandering lamentation." Therefore not only death, but also killing is an essential aspect of our being.

[81] Woraus: Scesis onamaton. "From what [do I live]?" Scesis onamaton, Scesis onamaton: Omission of the only verb of a sentence.

[82] weder Kindheit noch Zukunft werden weniger Alliteration with "werden weniger," plus the "Weder" at beginning of the sentence. 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.

[83] Überzähliges Dasein: A very difficult to translate [and understand] phrase. The exact translation is "supernumerary being." The problem with "supernumerary" is its rare usage and its Latin origin plus the secondary meaning of an "non-speaking extra" in a movie. The word "uncountable" is flat and lacks the idea of going beyond numbers which is in "Überzählig" and in "supernumerary." The second difficulty is that "Dasein" is a singular noun [literally "being there"] and does not have a plural exactly as the word "being" in English. Rilke seems to be paradoxically claiming to be able to live in innumerable realms of existence at the same time or that "Dasein" [or "being"] exists for him in the plural. Mentioned is the world of the child and the world of the future. A translation which hopefully encompasses all of these aspects is "being beyond number."

[84] entspringt mir im Herzen: The "mir" is a dative of reference which is usally translated with the possessive "my" in English.