Die Weise von Liebe und Tod des Cornets Christoph Rilke ist der Titel einer kurzen Erzählung von Rainer Maria Rilke (18751926). Denn es sind lauter Herren, die wissen, was sich gehort. Jemand erzahlt von seiner Mutter. Rilke's interpretation of his Cornet as a "parable of a youthful movement," as quoted above, is a crucial hint to follow. At its end the circle reappears as a climax and as fulfillment. Plus encore que les pas, la respiration est un des motifs du mouvement, les plus élémentaires et essentiels à la vie. In the process of rewriting it (motivated also by his developing skepticism with regard to his "Jugendarbeit" and the incorporated poetic program), Rilke became fully aware of the fact that any attempt to alter or rework it would have to take into account its indebted- ness to an aesthetics that he had already begun to leave behind. Its meaning is not confined to the age of the hero Chri- stoph Rilke; it encompasses the process of writing the prose-poem itself, which Rilke paraphrased in the same letter in a poem dedi- cated to Schreier's daughter Eva: Ich bin es noch. Par un soir d’automne 1899, Rainer Maria Rilke, écrit ce Chant de l’amour et de la mort du cornette Christoph Rilke.Ce texte bref se lit comme un rêve sensuel. / Seine Nahe erbaute er, 1 und dann warf er sich in eine Ferne.") They often seem more receptive than any to the man- nerisms and cliches of their age, particularly to those that their later work will reject most forcefully. Haïti, les nouveaux outsiders. "Oft habe ich so grolje Sehnsucht nach mir. Mit Dokumenten und reitgenossischen Texten, ed. Gide, après tout, l'avait présenté à l'élite litté­ The portrayal of the knight in the poem "Der Ritter" (from Das Buch der Bilder) shows that for the young Rilke the development of the artist embraces moments of violent acts, which the metaphoric field of war is able to express: Wann wird die Klinge springen uber die Eisenhecke, die fremde befreiende Klinge, die mich aus meinem Verstecke holt, drin ich so viele gebuckte Tage verbringe, -da13 ich mich endlich strecke und spiele und singe.'". He moves into a created space of imagination, transforming the colors of the battle into those of a garden. 2: 580. Therefore, Rilke can call his seductive piece a "Weise," a lay, in analogy to musical pieces. The young Cornet Christoph Rilke is a por- trait of an artist. Ce texte bref, qui sera minutieusement repris et corrigé au fil des ans, se lit comme un rêve sensuel : le jeune Christoph Rilke, lointain ancêtre du poète, porte-drapeau ou « cornet », se rend en 1664 avec une petite compagnie de soldats au château fort d’un comte autrichien ; après une nuit d’amour avec la comtesse, il court au-devant d’une mort héroïque lors d’une bataille contre l’armée turque. A préfacé et commenté en 2016 la correspondance complète des Lettres à une amie vénitienne (éd. Es kann sein" (43). Rilke pointed out that aesthetically his Cornet consists primarily of the representa- tion of movement -precisely on the phenom- enon Jugendstil derived from its appreciation of the "line" and its dynamic organization as ornament. But the status of those elements has to be reassessed: they must be regarded as devices employed by the author to illustrate Jugendstil aesthetics as he saw it. At the end of Die Weise von Liebe und Tod Rilke presents the reader with the image of an extraordinary individual who, in the prime of his youth, partakes in the festival of life by creating it in his inner self. Tagebucher (1973) 34-35. In all three versions he enters the final battle without his tunic: "Der Waffenrock ist im Schlosse ver- brannt, der Brief und das Rosenblatt einer fremden Frau-" (69). La mort est ainsi des le commencement en rapport avec le mouvement si difficile a eclaircir de I'experience artistique.". . For Rilke this death in the middle, in the core of the pro- tagonist's existence, is the prime example of a "real" death, since it is pertinent to the very life and work of the young artist. The formal organiza- tion ("movement," "rhythm) of the depiction prevails over its material character. Und viele flirnmernde Fontanen rings in den Garten" (21).a. "'~Blanchot writes: Dans cet effroi pour la mort en serie, il y a la tristesse de l'artiste qui honore les choses bien faites, qui veut faire cette oeuvre et faire de la mort son oeuvre. Precisely this effect is the impres- sion so often experienced and admired by readers of the Cornet and alluded to by Rilke himself when he speaks of the "rhythm," the "movement," or the "surface" of this work. Eine überarbeitete Version schenkte er 1904 Stefan Zweig; auf ihr basierte die (wenig erfolgreiche) erste Buchveröffentlichung von 1906 beim Verlag Axe… Rainer Maria Rilke's relationship to Die Weise von Liebe und Tod des Cornets Chri- stoph Rilke remained, as is well known, a very problematic one. The per- sonal death opens up "l'espace interieur" as "l'espace du poeme," where the external world is translated, "la ou il n'y a plus rien de pre~ent. 42 and 44. . / Seine Dinge kreisen um ihn wie Sterne, / und stehn wie Sternbilder um ihn her. Read in the context of the "Florence diary," this poetological consideration becomes tangible as part of an aesthetic theory: Wirklich: die Stimmung, die ein Bild oder ein Gedicht hervorruft, gleicht in so vie- lem Sinn einem Lied. Martin: Die Weise von Liebe und Tod des Cornets Christoph Rilke (The Love and Death of Cornet Christopher Rilke) | Frank Martin by ORF Radio Symphonieorchester Wien – … (emphasis added). A 9 ans, René Rilke commence à écrire et découvre sa vocation d’écrivain. Man sitzt rundumher und wartet" (48). Noté /5: Achetez Rilkes Cornet: Dechiffrierung einer geheimen Urkunde (Livre en allemand) de Christ, Walter: ISBN: 9783930321292 sur amazon.fr, des millions de livres livrés chez vous en 1 jour Du 25 au 29 novembre 2015 '"n 1906 Rilke ceased to work on it; the same year marks a new phase in his literary career, characterized also by a reluctance to indulge in his previous sentimental tone. 'Letter dated 25 May 1906, quoted from Simon 84. They are doubtless the attributes of the Cornet's behavior in the climactic twenty- sixth segment: "Langsam, fast nachdenklich, schaut er um sich" (68). Kurt Bartsch, et al. En 1899, aussi, Rilke écrit la Légende d'amour et de mort du cornette Christophe Rilke (Die Weise von Liebe und Tod des Cornets Christoph Rilke), œuvre mineure, mais d'une grande finesse de touche et qui connut une extraordinaire popularité. '"eopold von Andrian's Der Garten der Erkenntnis. "Klein war . und noch nicht weil3, was aus dem Ganzen wird- : so fiigt er seine Worte" (26). Ein Deutscher offenbar. In the fist version it is even more evident that this fountain-like scenario appears to be a circle as well: "Und wieder ein Strahl und wieder einer. In this respect he writes in a tradition that, according to the French critic Georges Poulet, conceived of the circle as one of the most eminent symbols of human creativity.I4 A poem from Buch vom Monchischen Leben, which appeared in the same year as Cornet, programmatically reveals its importance: Ich wanderte in vielem Winde; da triebst du tausendmal darin. Les meilleures offres pour Rilke, Rainer Maria: la manière d'amour et mort du cornets CHRISTOPH RILKE. The notion of "youth" certainly points to the context of Jugendstil in which Cornet is located. Enracinées dans l’histoire, elles célèbrent le passé mais témoignent en même temps d’une volonté de progrès. Cet enfant, que sa mère surprotégea, deviendra plus tard un grand séducteur, un homme entouré de femmes qui le guidèrent et l’inspirèrent. Rilke achieves the transformation of his protagonist by continuously ascribing at- tributes to him that had been reserved for the work of art itself earlier in the text. Découvrez Frank Martin: Die Weise von Liebe und Tod des Cornets Christoph Rilke de Philharmonia Zürich, Fabio Luisi & Okka von der Damerau sur Amazon Music. Beziehungen und Wirkungen, ed. And yet he fails to assess the character of the work in its entirety, for the text's indebtedness to Jugendstil is not confined to some of its formal fea- ture~.~. Die Weise von Liebe und Tod des Cornets Christoph Rilke But above all, he is intimately associated with the realm of flowers: "Er wird langsam welk in seinem samtenen Sattel . ter on Rilke does not encompass the full range of Rilke's usage of the circle as an image or metaphor. The comparison between the art of storytelling and the girl's weaving of flowers into a garland in the text exactly resembles the imagery Rilke used in his letter to Gudrun Baroness of Uexkiill. Il ne s’agit pas pour elle d’élaborer à partir de Rilke une pantomime actuelle, encore moins d’illustrer le texte ou de le traduire scéniquement mais de trouver des chemins de traverse. George Poulet quotes this passage in German, putting it typographi- cally in the form of a poem-a sign of Rilke's triumphal success in France as a lyric poet. Langsam, fast nachdenklich, schaut er um sich. Gesammelte Briefe in sechs Bänden (Collected Letters in Six Volumes), published by Ruth Sieber-Rilke and Carl Sieber. voir les 5 interprétations de "Die weise von liebe und tod des cornets christoph rilke : 1. reiten..." par 5 artistes par 5 artistes Tous les titres de Frank Martin oboe (+ c.a.) J’en ressors plus riche, d’avantage consciente de la touche personnelle de chaque traducteur, et de la diversité des angles d’approches d’un texte et de ses interprétations possibles. Rather than a story, Rilke suggests, the text presents nothing but an onslaught, a surge and crush- in other words, nothing but pure movement whose end appears to be an end in itself, since it turns out to be self-consuming: ". visitcostadelsol.com Dans ses … As a sign of his friendship and as a sym- bol of his artistic influence on his German friend, the marquis presents Christoph Rilke with a petal of his rose and accompanies this gift with words that again allude to the figure of the circle: "Das wird Euch beschirmen." Unless otherwise noted, page numbers in text refer to Simon's Die Weise von Liebe und Tod des Cornets Chktoph Rilke in the third version (1906); here 45. " '"n a poem with the programmatic title "Kindheit" (from Buch der Bilder) Rdke again combines the notions of playful concentration, park, and ring-shaped artifacts: "Um so zu spielen: Ball und Ring und Reifen / in einem Garten, welcher sanft verblaljt. Karl E. Webb rightly notes that cer- tain stylistic moments of the work correlate to aesthetic concepts of Jugendstil, such as timelessness and the impression of seemingly inactive syntactical subjects. In all three versions the Cornet himself now embodies the focal point of the round space, which in turn is his own creation. When a poet of the stature of Rainer Maria Rilke, with such a precise command of words, defined Ronda as the "dreamed-of city", he had his reasons. Sogar das Spucken hort auf. Thus far the most important ring-shaped images-the garland of flowers and the crown -existed only in the mode of anticipation. 1 (Zurich: Niehans, 1955) 452-53. This passage supports the argument that Cornet is to be read as a book on art itself; the text comments on itself, as is hinted by this passage, which is conspicuously placed in the opening section of the work. . Now, at the closure of the nar- rative movement, the protagonist himself be- comes enclosed in it: Der von Langenau ist tief im Feind, aber ganz allein. Many poems from the collection Les Roses convey this "artistic" image of the rose; the fifteenth poem, for example, hints precisely at the "spa- tial'' potency of the artist and the work of art: Seule, 6 abondante fleur, tu crees ton propre espace: tu te mires dans une glace d'odeur. The image of the circle stands for the moment of full con- centration, for the state of self-collection the young Cornet could achieve after having "gathered" himself, pulled himself out of the various modes of dispersion; "sammeln" was the directive in the poem quoted above, and it recurs programmatically in Cornet when the soldiers ask Christoph Rilke to act (65). Sie entstand unter dem Titel Der Cornet nach Angaben des Autors innerhalb einer Nacht im Jahr 1899 in der Villa Waldfrieden in Berlin-Schmargendorf. Zu Leide? Une voix ne peut mentir: elle dévoile l’intimité d’un individu (…) A ce Cornet de Rilke, je veux donner souffle et voix, en abordant le texte comme une partition. Und der Mut ist so müde geworden und die Sehnsucht so groß. In the twelfth segment Christoph Rilke puts the letter to his mother "in the most hidden place" beneath his tunic, next to the rose petal, the symbol of his friend's art and nature (in the original the petal is called a "Blatt," thus expanding the semantic field of writing). After Neue Gedighte (1907-08, New Poems) he wrote a notebook named Die Aufzechnungen des Malte Laurdis Brigge (1910), his most important prose work. .Iq. Precisely those qualities are at play when it comes to characterizing the Cornet's writing: Meine gute Mutter, "seid stolz: Ich trage die Fahne, "seid ohne Sorge: Ich trage die Fahne, "habt mich lieb: Ich trage die Fahne- ", The nature of the script is solemn, and the writing is carried out very slowly, entirely in accordance with the art of the storyteller of the third segment. . As at the end of Cornet, this vision of the knight's death pictures the climactic moment of aesthetic self-assertion as the liberating outcome of a process of violence. . English paraphrases of Rilke's Cornet are based on the translation by M. D. Herter Norton, The Tale of the Love and Death of Cornet ChristopherRilke (New York: Norton, 1932). " 'Thus Paul de Man's general insight also applies to R. M. Rilke: "There always is a strange fascination about the bad verse that great poets write in their youth. Ballade. The Love and Death of Cornet Christopher Rilke is a prose poem written by Rainer Maria Rilke in 1899, revised in 1906, and published in 1912. Wie ein Morgen kommt jede Klarheit hinter jeder Nacht.". L’œuvre de Rilke présente une succession de figures, du Cornette Rilke à l’Orphée des Sonnets, en passant par le Poète (Malte), le Fils (perdu), l’Ange et Narcisse. . Rainer Maria Rike, Tagebucher aus der FrChzeit (Frankfurt a.M.: Insel, 1973) 49. '' Lindsay Waters (Minneapolis: Uof Minnesota P, 1989) 12. "' One must not miss the intriguing two-step quality of this creative process: marked by the "dam," Rilke differentiates a second phase following the initial act of exter- nalization and annihilation. In addition, the ring form is capable of demon- strating the self-satiated nature of the poetic enterprise which, according to the young Rilke (who had come to leave the social pro- gram of his Wegwartenbehind), is an endeavor that contains its means within itself. Later, in the sixteenth passage-the scenery has long since shifted from the sol- diers' camp to the festive atmosphere of the castle -the protagonist dreams of a crown consisting of the flowers picked by the women: "Und da traumst du: Geschmiickt sein mit ihnen und anders begliickt sein und dir eine Krone verdienen fir deine Stirne, die leer ist" (58).The fact that this vision remains unspecified is fully in accordance with the highly allusive nature of the text; it can signify erotic fulfillment or martial triumph, or it can be the crown of the poeta laureatus- the for- mulation "be elsewise blest" might suggest a realm beyond the immediate erotic sphere within which the image occurs.