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Written when the poet was himself still a young man, with most of his greatest work before him, they were addressed to a student who had sent Rilke some of his own writing, asking for advice on becoming a writer. The two never met, but over a period of several years Rilke wrote him these ten letters, cherished by readers for what translator Mitchell calls in his Foreword the &quot;vibrant and deeply felt experience of life&quot; that informs them. 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World-space in pure continuous interchange with my own being. Equipose in which I rhythmically transpire. Written only four years before Rilke's death, this sequence of sonnets, varied in form yet consistently structured, stands as the poet's final masterwork. In these meditations on the constant flux of our world and the ephemerality of experience, Rilke envisions death not only as one among many of life's transformations but also as an ideally receptive state of being. Because Orpheus has visited the realm of death and returned to the living, his lyre, a unifying presence in these poems, is an emblem of fluidity and musical transcendence. And Eurydice, condemned to Hades as a result of Orpheus's backward glance, becomes in Rilke's universe a mythical figure of consolation and hope. Edward Snow, in his translations of New Poems, The Book of Images, Uncollected Poems, and Duino Elegies, has emerged as Rilke's most able English-language interpreter. 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