as having for their motive power and raison d'être the tendency toward socio-political reform, in contradistinction to the art and literature of Western culture, whose motives and aims are primarily of an æsthetic nature and seek in art the reconciliation of the dualism between spirit and matter.
Dostoievsky, whom Merejkovsky describes somewhere as the man with the never-young face, the face "with its shadows of suffering and its wrinkles of sunken-in cheeks . . . but that which gives to this face its most tortured expression is its seeming immobility, the suddenly interrupted impulse, the life hardened into a stone:" this Dostoievsky and particularly his Rodion Raskolnikov cycle became a profound artistic experience to Rilke. The poor, the outcasts, the homeless ones received for him a new significance, the significance of the isolated figure placed in the mighty everchanging current of a life in which this figure stands strong and solitary. In the poem entitled Pont Du Carrousel, written in Paris a few years later, Rilke has visioned the blind beggar aloof amid the fluctuating crowds of the metropolis.
Of Russia and its influence upon him, Rilke writes: "Russia became for me the reality and the deep daily
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