How should we be able to forget those ancient myths that are at the beginning of all peoples, the myths about dragons that at the last moment turn into princesses; perhaps all the dragons of our lives are princesses who are only waiting to see us once beautiful and brave. Perhaps everything terrible is in its deepest being something helpless that wants help from us. So you must not be frightened if a sadness rises up before you larger than any you have ever seen; if a restiveness, like light and cloudshadows, passes over your hands and over all you do. You must think that something is happening with you, that life has not forgotten you, that it holds you in its hand; it will not let you fall. Why do you want to shut out of your life any uneasiness, any miseries, or any depressions? For after all, you do not know what work these conditions are doing inside you.

During the later part of this decade Rilke spent extended periods in Ronda the famous bull-fighting center in southern Spain. During this time Reinhart introduced Rilke to his protégée the Australian violinist Alma Moodie. While doing so he pricked his hand on a thorn.

His writings include one novel several collections of poetry and several volumes of correspondence in which he invokes haunting images that focus on the difficulty of communion with the ineffable in an age of disbelief solitude and profound anxiety. These deeply existential themes tend to position him as a transitional figure between the traditional and the modernist writers. While born in the Austro-Hungarian Empire Rilke travelled extensively throughout Europe and North Africa including Russia Spain Germany France Italy and in his later years settled in Switzerland—settings that were key to the genesis and inspiration for many of his poems.