KAI O BAΣIΛEYΣ ΔABIΔ ΠPEΣBYTEPOΣ ΠPOBEBHKΩΣ HMEPAIΣ, KAI ΠEPIEBAΛΛON AYTON IMATIOIΣ, KAI OYK EΘEPMAINETO KAI EIΠON OI ΠAIΔEΣ AYTOY ZHTHΣATΩΣAN TΩ KYPIΩ HMΩN TΩ BAΣIΛEI ΠAPΘENON NEANIΔA, KAI ΠAPAΣTHΣETAI TΩ BAΣIΛEI KAI EΣTAI AYTON ΘAΛΠOYΣA KAI KOIMHΘHΣETAI MET' AYTOY, KAI ΘEPMANΘHΣETAI O KYPIOΣ HMΩN O BAΣIΛEYΣ, KAI EZHTHΣAN NEANIΔA KAΛHN EK ΠANTOΣ OPIOY IΣPAHΛ KAI EYPON THN ABIΣAK THN ΣΩMANITIN KAI HNEΓKAN AYTHN ΠPOΣ TON BAΣIΛEA, KAI H NEANIΣ KAΛH EΩΣ ΣΦOΔPA? KAI HN ΘAΛΠOYΣA TON BAΣIΛEA KAI EΛEITOYPΓEI AYTΩ, KAI O BAΣIΛEYΣ OYK EΓNΩ AYTHN.
A mystic lyricism and precise imagery often marked verse of German poet Rainer Maria Rilke, whose collections profoundly influenced 20th-century German literature and include The Book of Hours (1905) and The Duino Elegies (1923).
People consider him of the greatest 20th century users of the language.
His haunting images tend to focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety — themes that tend to position him as a transitional figure between the traditional and the modernist poets.