"The poet is no longer camped alone, facing the rest of reality, it is neither more nor less than another, embedded in the same boat and for a single trip. This proximity especially highlighted its uniqueness that its activity is almost non-existent when the rowers who tug on the oars are end of the race and getting ready, they are stretched back to tilt forward hastily, raising the oars in the water, they create this movement even a sort of stop in the movement of the boat which corresponds to a moment of inertia. It is precisely here that which identifies the poet Rilke intervenes: his singing fills this inertia, and, more importantly, converts, turning the resistance of the boat into a song that metamorphosis, along with the song that allows those who row to find the pace and direction of their action. Moreover, the source of the song is not the paucity of reality, but additional to which it is necessary to first give a shape. The song that rises so does not necessarily feel immediatly noticeable, but it maintains a link between the strange and unusual immediacy of concrete resistance but dominated, subverted, and aspirations more distant, yet inevitably blurred, which ert, probably remain unexpressed in the absence of receiving this momentum, somehow emerged from the future. Therefore, the place of the poet is, before any place one would deny, concede or offer, the site in time. "
Marc B. de Launay
Introduction Letters to a Young Poet by Rainer Maria Rilke
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