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Slowly, the MYTH OF RODIN faded in the eyes of the young poet. It appeared like Rodin was no floating cosmic flâneur but merely a great craftsman. While it was agreed that Rilke would work for Rodin two hours a day, this allotted time was far from enough for the overburdened poet, who’s French was not good enough to quickly deal with correspondence. After a row about a simple misunderstanding, Rodin harshly fired Rilke with immediate effects. Because he disagreed, Rilke at first kept up giving talks about Rodin. Many other things separated the two greats: While Rodin was bound to his beloved Paris, Rilke was a free spirit; never in one place for too long. He stayed with friends and in luxury hotels as he made his SISTER-MAG.COM

RO DIN , 1 9 0 4 way through Europe and its contemplative and exquisite towns and wandering became the core of his art. He spent the last five years of his life in an isolated stone tower in the Swiss canton of WALLIS , where he died from leukaemia in 1926 . The

relationship between RODIN and RILKE is a prime example for the temporary collaboration between two artists: an intense balance of closeness and distance, of gleaming admiration and bitter disappointment and the shaping of all of these things into incomparable art – in this case, the grandest poems of

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