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A Study Guide for Rainer Maria Rilke's "Archaic Torso of Apollo"
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A Study Guide for Rainer Maria Rilke's "Archaic Torso of Apollo," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.
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Reviews for A Study Guide for Rainer Maria Rilke's "Archaic Torso of Apollo"
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A Study Guide for Rainer Maria Rilke's "Archaic Torso of Apollo" - Gale
1
Archaic Torso of Apollo
Rainer Maria Rilke
1908
Introduction
Rainer Maria Rilke's Archaic Torso of Apollo
was published, in German, in 1908, in a volume of his poems called New Poems. Not only are these new poems in the sense of being (at the time) poems recently written, but they are poems in which Rilke intended to bring something new to poetry, to in fact make a new kind of poem.
Rilke attempted in New Poems to write poems about objects, like statues or animals, which stood before the reader like concrete things in their own right, realities that were independent of the observer. Archaic Torso of Apollo,
a poem written about an encounter with a sculpture, ought to exist itself for its reader like a piece of sculpture or a painting. Both the sculpture and the poem serve as models for the reader, defining how the reader might be or, in fact, ought to be. That is the creative agenda behind the poem Archaic Torso of Apollo.
The observer does not define the object. The object defines the observer.
It is clear from works like Archaic Torso of Apollo
that some of the strongest influences on Rilke came from other arts, particularly sculpture and painting. The sculptor Rilke most admired was Auguste Rodin, for whom Rilke worked as secretary from 1905 until 1906. From Rodin, Rilke learned the importance of things, that inert matter transformed by art can become spiritually alive. The painter Rilke most admired was Paul Cézanne. Following Cézanne's influence, the art Rilke favored tended to present objects to the beholder in such a way that the beholder experiences the object (a poem, a sculpture, a painting) anew, as if it had never been seen or understood
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