Advent, the experience of the atmosphere becomes an experience in his innermost soul and, therefore, all things become of value to him only in so far as they partake of the atmosphere, as they are seen in a peculiar air and distance. This first phase in Rilke's work may be defined as the phase of reposeful nature.
To this sphere of relaxation and restfulness in which the objects are static and are changed only as the surrounding atmosphere affects them, the second phase in the poet's development adds another element, which later was to grow into dimensions so powerful, so violently breaking beyond the limitations of simple expression in words that it could only find its satisfaction in a dithyrambic hymn to the work of the great plastic artist of our time, to the creations of Auguste Rodin. This second element is that which the French sculptor in a different medium has carried to perfection. It is the element of gesture, of dramatic movement.
This might seem the appropriate place in which to speak of Rilke's monograph on the art of Rodin. To do so would, however, be an undue anticipation, for it will be necessary to trace Rilke's development through several transitions before the value of his contact with the work of Rodin can be fully measured.
