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Full text of "ModernGermanLiterature18801950"

RILKE                                            165

The architectural mood is of course German rather than Czech;
and only a few scraps of Czech indicate Rilke's nodding acquaint-
ance with the language of the Czech poets whom he was at this
time meeting in the literary cafes of the city; but his sensitiveness
to the melodies of Czech folksongs comes out in Volksweise:

Mich ruhrt so sehr
bohmischm Volkes Weise,
schleicht sie ins Her^ sich leise^
macht sie es schmr.

Wenn ein Kind sacht
singt beim Kartoffeljaten^
klmgt dir sein L,ied im spdten
Traum nocb der

Magst du auch sein
weit fiber I^and gefahren,
fallt es dir doch nach Jahren
stets n'ieder ein.

In Traumgekront the Heine-esque note continues, but there is an
inner radiance (as well as the crystal coruscation of Christmas
cards) in such a poem as :

Es gibt so wundenveisse

drin alle Dinge Silber sind.

Da schimmert mancher Stern so lind,

als ob er fromme Hirten brdchte

%u einem neuen Jesus kind,

Weit me mit dichtem Demantstaube
bestreut^ erscbeinen Flur und Flut,
und in die Her^en, traumgefflut,
sfeigt ein kapellenloser Glaube,
der leise seine Wunder tut.

Here the ecstatic rise of the rhythm In the antepenultimate line
and the folding appeasement of the last are typically Rilkean. In
other poems there is a gliding softness and rhythmical regularity
(admirably fitted to the mood) which we do not find in Rilke's
mature verse: