Summary of Stanza 1 of the poem Archaic Torso of Apollo. Line-by-line analysis. This week’s poem is a new English translation of Rainer Maria Rilke’s sonnet ” Archäischer Torso Apollos”. “Apollo’s Archaic Torso” is by a. Archaic Torso of ApolloRAINER MARIA RILKE Source for information on Archaic Torso of Apollo: Poetry for Students dictionary.
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His broad range and multiple personalities absolutely require multiple translators.
Mark, can you just say a word about the poem as a sonnet? The sculptor Rilke most admired was Auguste Rodinfor whom Rilke worked as secretary from until The effect of this kind of repetition is to endow the poem with the feeling that it is a logical argument, that it is a kind of discourse with premises and a conclusion that follows from those premises.
Uccello and the torso must be there for Calvino togso Rilke to turn their backs on and dream. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared.
It is safe to assume that [Antiquity] saw people as later painters have seen landscape. Retrieved December 13, from Encyclopedia.
It should be credited here. This work of art, an ancient representation of the trunk of a god, confined in a museum, has in it the same element of vital energy that radiates from a living wild animal because of the artist’s skill.
Academy of American Poets Educator Newsletter. But the profound sense of culmination would be missing. And yet the sum of that experience is something larger than any of those details would in themselves seem to justify.
Poem of the week: Apollo’s Archaic Torso translated by Sarah Stutt
Philosophers of ethics have noted “the importance of our capacity to have second-order desires—desires to have certain desires” Williams But it’s the work, the mystery of the metaphor, and the process of examination that leads to the final culmination.
Imagine if this poem arcjaic to us without its final sentence.
The French sculptor, Auguste Rodin, changed the course of sculptural representation, presenting the art of sculpture at a level of heightened realism that had previously been lacking. But his torso still stares like a chandelier turned low, dimmed to illuminate just its own steady flame. I teach this poem with Bishop ‘s, “The Fish,” and I always think of the two as cousins because there’s that same vivid attention to the thing, which all of a sudden blossoms into this bigger sensation.
In Rilke’s poem, all the identities or functions of the god coalesce. Similarly, “angle” is a good addition, a word whose visual-art associations place it in the context of the torso.
A work of art, rather than being an object, is an encounter that produces a revelation. It is now a decapitated ruin. This blurring of boundaries provides an indication of Rilke’s belief in the unity of perception that exists despite the formal separations art makes i.
He pauses in the middle of thoughts to create new lines, and creates cliff hangers from one stanza to the next.
The Archaic Torso of Apollo by Rainer Maria Rilke
The remaining torso more than makes up for what the sculpture is lacking. We seem to meet a younger Apollo in this version, a decisive, sexy god whose “lion’s mane” reminds us he appollo a god of the sun. For one, the theme of facing existential issues without being able to access the traditional comforts which lie in ruins.
This realization is brought about by viewing art, and by creating art, Rilke attempts to represent this. Phenomenology is a philosophical system developed by Edmund Husserl over the same period of time. These currents give matter its vitality. And suppose one of them did swoop me to heart: But Rilke’s command may mean even “want to make yourself open to having other wants that you may not specify.
Jacket 36 – Late – Art Beck: And Yet Another Archaic Torso — Why?
This god is broken, this god’s head isn’t there. Heims asserts that this belief is not only defined in “Archaic Torso of Apollo,” but that the poem apoplo is an invitation to the reader to experience tkrso reciprocity.
We will never know his magnificent head, the ebb and flow of his youth – an orchard of ripening fruit, yet his fire has not diminished. Rilke translated by Wordsworth. Neither the literal “eye-apples” nor the generic “fruit” that other translators have used is so immediate. Courtney Druz 29 March at Joseph nevertheless supported Rilke as a young man.
In her essay, “Modern Fiction,” the English novelist, Virginia Woolf,succinctly set forth the aim of Modernism. Does it refer to the poet or to the reader, and who is speaking, the poet or the statue? When his schooling began he was sent to a military boarding academy but discharged, after transferring to second school, for health reasons. The stone is inhabited, alive with meaning and almost every one of the lines could be applied to the way a believer might view a figure of the crucified Christ.
The object defines the observer. In the Bishop poem, she proceeds like a kind of perceptual scientist—this is what the fish’s eyes look like, the scales, the hooks in its jaw. Reflections on the Problems of TranslationAlfred A. If there is a theme pervading the Sonnets to Orpheus as a whole, it is that of transformation.
I think both Mitchell and Willis Barnstone in a fairly newly published translation seem to do as well anyone in making sense of it:. That the sculpture is able to observe him and judge him for the life that he has been leading. Both writers have deleted their visual objects so as to clear imaginative space for themselves, as Harold Bloom would put it. Back to the Future? Robert Bly was also publishing his highly personalized Rilke versions and though some of these have been since maligned, many have an energy and stand on their own as poems in English.