of Hours, can we deduce so accurate a conception of Rilke's philosophy of Life and Art as we can draw from his comparatively short monograph on Auguste Rodin.
Rilke sees in Rodin the dominant personification in our age of the "power of servitude in all nature." For this reason the book on Rodin is far more than a purely æsthetic valuation of the sculptor's work; Rilke traces throughout the book the strongly ethical principle which works itself out in every creative act in the realm of art. This grasp of the deeper significance of all art gives to the book on Rodin its well-nigh religious aspect of thought and its hymnlike rhythm of expression. He begins: "Rodin was solitary before fame came to him, and afterward he became perhaps still more solitary. For fame is ultimately but the summary of all misunderstandings that crystallize about a new name." And he sums up this one man's greatness: "Sometime it will be realized what has made this great artist so supreme. He was a worker whose only desire was to penetrate with all his forces into the humble and the difficult significance of his tool. Therein lay a certain renunciation of life but in just this renunciation lay his triumph—for Life entered into his work."
