This paper explores the theme of "poverty writing" in the works of the Austrian poet Rilke and its three major themes in Rilke studies. First, it analyzes the mystical tendencies in Rilke's works, revealing the complex relationship between the artist-saint and the reception of inspiration in a state of poverty. Second, it discusses the criticism by left-wing writers and Marxist scholars of Rilke's "aestheticization of poverty," viewing him as a social Darwinist and right-wing conservative thinker. Third, it examines Rilke's connection to the "poverty-stricken era," with Heidegger regarding him as the representative poet of this era, and scholars exploring the experience of poverty in his poetry from existentialist and phenomenological perspectives. Rilke's depiction and glorification of poverty were key factors in his early success, as he sought to become a folk artist and draw support from the people. However, this also provoked dissatisfaction among left-wing writers and critics, who questioned the value of his work. Heidegger's essay "What Are Poets For?" elevated Rilke studies to new heights, cementing his status as the "poet of the poverty-stricken era." In the first half of the 20th century, poverty became a touchstone for poetic creation, with the labor capacity and revolutionary potential of the poor making them a focal point of modernist aesthetics. Only by elevating the discussion to the level of the era and philosophy can the significance of Rilke's "poverty writing" be reassessed.

The Virtue of the Poor and the Saintly Artist

This section explores the meanings and evolution of the term "poverty" across languages and cultures, from the Greek goddess of poverty, Penia, to the German word Armut, associated with need, destitution, and misfortune. It analyzes the intensification of poverty amid 20th-century capitalism and urbanization, as well as societal critiques of its roots and reflections on its religious foundations. Hauptmann and Maeterlinck depicted poverty from social and aesthetic perspectives, respectively, while Rilke, influenced by Maeterlinck, began to uncover its positive significance. Works such as "The Poor Child" and "The Painter" reflect Rilke's sympathy and aesthetic appreciation for the poor. In "The Book of Hours," particularly the "Book of Poverty and Death," he further explores the lives of the poor, portraying poverty as a virtue and a prerequisite for encountering the divine. Rilke viewed the poverty of the poor as an inner radiance, a source of tranquility for artists before creation. He linked poverty to the ascetic lives of saints and artists, a perspective shaped by his travels in Russia and Paris, where he observed impoverished people and struggling artists. Ultimately, Rilke saw poverty as having positive value, providing the conditions for artists to create great works.

Criticism from Left-Wing Writers and Marxists

This section discusses the criticism of Rilke by left-wing writers and Marxists in the 1920s. They attacked his early line, "Poverty is a great radiance from within," as dismissive and mocking of working-class suffering. After the Dresden massacre, Kokoschka called for the protection of cultural values, while Heartfield and Grosz published "The Art Scab," satirizing bourgeois artists for ignoring workers' plight. Rilke was portrayed as a representative of the "weak" and "perfumed idlers," with his ideas deemed corrupting to the working class. Cultural theorists of the German Communist Party also participated in this debate about art, the proletariat, and the bourgeoisie. Grosz's cartoon "Poverty is a Great Radiance from Within" starkly contrasted the misery of the poor with Rilke's poetic line. After Rilke's death, debates over his poetry continued among left-wing writers and others. Figures like Brecht, Abusch, Dahlem, and Weinert held negative views, accusing Rilke of misunderstanding true poverty. As late as 1950, Fadeyev in Pravda labeled Rilke an extreme mystic and reactionary poet. German youth influenced by Marxism preferred Benn and Trakl, and Rilke's poetry studies declined for over two decades after 1945.

A Spiritual Specimen: The Poet of the Poverty-Stricken Era

This section examines Rilke's image as the "poet of the poverty-stricken era," emphasizing philosopher Heidegger's interpretation of his works. Heidegger compared Rilke to Hölderlin, seeing both as poets of an era marked by the absence of God and the retreat of the divine—a time of nihilism, relativism, technological domination, and the erosion of human faith and existential grounding. While Rilke and Hölderlin were acutely aware of the poet's mission in such an era, Heidegger argued that Rilke failed to offer a viable path to redemption. Heidegger's analysis of "The Notebooks of Malte Laurids Brigge" and "Duino Elegies" concluded that Rilke, though breaking metaphysical constraints, did not herald a new beginning. His interpretation spurred interdisciplinary studies of poetics and phenomenology, inspiring later explorations of themes like "language and being" and "poetic truth" in Rilke's works. The section also discusses the early 20th-century focus on poverty in literature, philosophy, and economics, as well as Rilke's thematic and artistic innovations. His "poverty writing" transcends material lack to address human existence, reflecting the struggles and spiritual transcendence of modern individuals. While controversial among left-wing writers, who saw him as betraying the poor, Rilke's work embodies a prophetic insight into modernity's crises. His value was reassessed with the rise of existentialist and phenomenological thought.