In 1902, a 19-year-old aspiring poet named Franz Kappus sent a letter and some of his work to the hugely influential Bohemian-Austrian poet, Rainer Maria Rilke, and politely asked for some feedback. Some months later, the following invaluable response reached Kappus, and it didn't end there — over the course of the next 5 years, Rilke continued to write to him with advice.
In 1929, three years after his idol's death, Franz Kappus published Rilke's ten letters in a book.
(Source: Letters to a Young Poet; Image: Rainer Maria Rilke, via The BBC.)
February 17th, 1903
Your letter only reached me a few days ago. I want to thank you for its great and kind confidence. I can hardly do more. I cannot go into the nature of your verses; for all critical intention is too far from me. With nothing can one approach a work of art so little as with critical words: they always come down to more or less happy misunderstandings. Things are not all so comprehensible and expressible as one would mostly have us believe; most events are inexpressible, taking place in a realm which no word has ever entered, and more inexpressible than all else are works of art, myterious existences, the life of which, while ours passes away, endures.
After these prefatory remarks, let me only tell you further that your verses have no individual style, although they do show quiet and hidden beginnings of something personal. I feel this most clearly in the last peom, "My Soul." There something of your own wants to come through to word and melody. And in the lovely peom "To Leopardi" there does perhaps grow up a sort of kinship with that great solitary man. Nevertheless the poems are not yet anything on their own account, nothing independent, even the last and the one to Leopardi. Your kind letter, which accompanied them, does not fail to make clear to me various shortcomings which I felt in reading yur verses without however being able to specifically name them.
You ask whether your verses are good. You ask me. You have asked others before. You send them to magazines. You compare them with other poems, and you are disturbed when certain editors reject your efforts. Now (since you have allowed me to advise you ) I beg you to give up all that. You are looking outward, and that above all you should not do now. Nobody can counsel and help you, nobody. Search for the reason that bids you write; find out whether it is spreading out its roots in the deepest places of your heart, acknowledge to yourself whether you would have to die if it were denied you to write. This above all—ask yourself in the stillest hour of your night: must I write? Delve into yourself for a deep answer. And if this should be affirmative, if you may meet this earnest question with a strong and simple, "I must," then build your life according to this necessity; your life even into its most indifferent and slightest hour must be a sign of this urge and a testimony to it. Then draw near to Nature. Then try, like some first human being, to say what you see and experience and love and lose. Do not write love-poems; avoid at first those forms that are too facile or commonplace: they are the most difficult, for it takes a great, fully matured power to give something of your own where good and even excellent traditions come to mind in quantity. Therefore save yourself from these general themes and seek those which your own everyday life offers you; describe your sorrows and desires, passing thoughts and the belief in some sort of beauty—describe all these with loving, quiet, humble sincerity, and use, to express yourself, the things in your environment, the images from your dreams, and the objects of your memory. If your daily life seems poor, do not blame it; blame yourself, tell yourself that you are not poet enough to call forth its riches; for to the creator there is no poverty and no poor indifferent place. And if you were in some prison the walls of which let none of the sounds of the world come to your senses—would you not then still have your childhood, that precious, kingly possesion, that treasure-house of memories? Turn your attention thither. Try to raise the submerged sensations of that ample past; your personality will grow more firm, your solitude will widen and will become a dusky dwelling past which the noise of others goes by far away.—And if out of this turning inward, out of this absorption into your own world, verses come, then it will not occur to you to ask anyone whether they are good verses. Nor will you try to interest magazines in your poems: for you will see in them your fond natural possession, a fragment and a voice of your life. A work of art is good if it has sprung from necessity. In this nature of its origin lies the judgement of it: there is no other. Therefore, my dear sir, I know no advice for you save this: to go into yourself and test the deeps in which your life takes rise; at its source you will find the answer to the question whether you must create. Accept it, just as it sounds, without inquiring into it. Perhaps it will turn out that you are called to be an artist. Then take that destiny upon yourself and bear it, its burden and its greatness, without ever asking what recompense might from outside. For the creator must be a world for himself and find everything in himself and in Nature to whom he has attached himself.
But perhaps after this descent into yourself and into your inner solitude you will have to give up becoming a poet; (it is enough, as I said, to feel that one could live without writing: then one must not attempt it at all.) But even then this inward searching which I ask of you will not have been in vain. Your life will in any case find its own way thence, and that they may be good, rich and wide I wish you more than I can say.
What more shall I say to you? Everything seems to me to have its just emphasis; and after all I do only want to advise you to keep growing quietly and seriously throughout your whole development; you cannot disturb it more rudely than by looking outward and expecting from the outside replies to questions that only your inmost feeling in your most hushed hour can perhaps answer.
It was a pleasure to me to find in your letter the name of Professor Horacek; I keep for that lovable and learned man a great veneration and a gratitiude that endures through the years. Will you, please, tell him how I feel; it is very good of him still to think of me, and I know how to appreciate it.
The verses which you kindly entrusted to me I am returning at the same time. And I thank you once more for your great and sincere confidence, of which I have tried, through this honest answer given to the best of my knowledge, to make myself a little worthier than, as a stranger, I really am.
Yours faithfully and with all sympathy:
Rainer Maria Rilke