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Baudelaire's poem “The Swan,” has inaugurated a new topos in European poetry: the modern city as a necropolis. Expressly moving away from Verhaeren's celebration of industrial landscapes, Rilke adopts this topos in his Tenth “Duino Elegy”, just as Apollinaire and T.S Eliot rely on Baudelaire when writing their poems on the modern city. In Baudelaire's, as well as in Apollinaire's and T.S. Eliot's own particular visions, the city occasions an endless walk towards death, even towards emptiness. Rilke creates from this topos an imaginary space. The long walk of his poetic figure through repulsive spaces here below and radiant spaces in the beyond always retains a teleology. In the final constellation, the elements, with their earthly and celestial orientations, link in an absolute harmony. Rilke's transformation of the topos shows the singularity of his work, his unique trust in the creative power of language.

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Ein Ausblick auf die historische Stellung von Rilkes  Zehnter Elegie  im Vergleich mit Baudelaires  Le Cygne , Apollinaires  Le musicien de Saint Méry  und T.S. Eliots  The Waste Land