tures and images that rise before our eyes in clear colourful contours. Whether the poet conjures from the depths of myth The Kings in Legends, or whether we read from The Chronicle of a Monk the awe-inspiring description of The Last Judgment Day, or whether in Paris on a Palm Sunday we see The Maidens at Confirmation, the pictures presented stand out with the clearness and finality of the typical.
It is a significant fact that Rilke dedicated this book to Gerhart Hauptmann, "in love and gratitude for his Michael Kramer." Hauptmann, like Rilke in these poems, has placed before us great epic figures and his art is so concentrated that often the simple expression of the thought of one of his characters produces a shudder in the listener or reader because in this thought there vibrates the suffering of an entire social class and in it resounds the sorrow of many generations.
In The Book of Pictures, Rilke's art reaches its culmination on what might be termed its monumental side. The visualization is elevated to the impersonal objective level which gives to the rhythm of these poems an imperturbable calm, to the figures presented a monumental erectness. The Men of the House of
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