jC)2 MODERN GERMAN LITERATURE its 'most pregnant moment', that is, at the moment when all the meaning of the action has most significance for the purpose of art. If, therefore, Rilke was right in thinking that Rodin manages to suggest progression in his fixed pregnant moment, then Rodin's sculpture gives the lie to Lessing's sharp division between plastic art and poetry, and Rilke continued the disproval by looking at the object of his poern with a sculptor's eye and suggesting pro- gression to and from the pregnant moment or crisis, or fixed object in space into which he reads the stirrings of a soul, by projecting such a moment into a magic light. But he does more than that: to the magic light in which he bathes the picture he adds the suggestiveness of his subtle music. Theoretically then - and Rilke was no doubt aware of the possibilities of his melange des genres - the poems he aims at creating are, literally, a synthesis of philosophy, plastic art, music, and poetry. Whether the inten- tion is or is not realized is another matter - if not, then Lessing's relentless mathematical reasoning still holds; but certainly the fascination of Rilke in his maturity does lie in a glimpsing, how- ever baffling, of manifold meaning. These poems of Rilke in which he applies his new aesthetics are today classed as 'Dinggedichte\ The term was coined by Hermann Pongs in Eupborion> Vol. 32, 1931; he says: 'Sern eigentumliches, plastischesFormidealdrangtdahm, "Dinge^umachen", "Wirklicbkeiten, die aus dem Handwerk bervorgeben" (Briefe III, 119)... Kem Sichwerfen in die Icbgefuble mehr me in der Fruhlyrik, vielmehr ein Abseben vom Ich, das sich steigert bis ^um Abseben vom M.enscblicben uberhaupfy um die Atmospbdre der Dinge gan^ ecbt %u geben, ""Dinggedichte" so^usagen. Nicbt am mcbselnden lELindruck baftet er me der Impressionist\ er sucbt das Wesen wit alien Seinsbe^iigen, die jedes Ding erst %um Phdnomen erbeben* Pongs with his 'Absehen vom IcW refers to another salient feature of Aw Poems. Rilke has here completed his progression from per- sonal lyricism to the depersonalized realization of things. (Oskar Walzel1 sees in what he calls 'Entichmg der LyriM a characteristic of recent lyric verse, e.g. in that of Daubler, Werfel, and Trakl.) The elimination of personal feeling had of course been one of the imperative demands of the French Parnassians; but one has only to compare New Gedichie with Richard von Schaukal's more or less Parnassian poems to realize that Rilke's depersonalized reality 1 Deufsehe Uteratttr ssit Goetbes Tode.