One of these poems notes that "the free creature / has its progress always behind it, / and God before it," and concludes by observing that "We arrange it. It collapses. / We arrange it again, and collapse ourselves." In another, constellations like "the Rider, the Staff, and... Fruit-Garland" are enumerated by a personified Lament, and that one ends by supposing "if the endless dead woke a symbol in us." One of these invokes the lover Gaspara Stampa, and a better-known example invokes the "days of Tobias" and declares in its first line that "Every Angel is terror." Beginning by invoking "if I cried out, who would hea
One of these poems notes that "the free creature / has its progress always behind it, / and God before it," and concludes by observing that "We arrange it. It collapses. / We arrange it again, and collapse ourselves." In another, constellations like "the Rider, the Staff, and... Fruit-Garland" are enumerated by a personified Lament, and that one ends by supposing "if the endless dead woke a symbol in us." One of these invokes the lover Gaspara Stampa, and a better-known example invokes the "days of Tobias" and declares in its first line that "Every Angel is terror." Beginning by invoking "if I cried out, who would hear me, among the angelic orders," for 10 points, identify this series of ten poems named for a castle by Rainer Maria Rilke.
One of these poems notes that "the free creature / has its progress always behind it, / and God before it," and concludes by observing that "We arrange it.
Duino Elegies [or Duineser Elegien]