Romano Guardini read Rilke's Duino Elegies as a compelling eschatological vision for the modern world, but one that must be rejected. I argue that in Rilke's writing, Guardini detected the secular analogue to the substantial image at the end of the Christian eschatological imagination—that is, the communion of saints. Rilke's vision is coherent in that the end he perceives follows from the beginning he assumes; therefore, understanding Rilke's end requires his commentator to see all that precedes that end, beginning with Rilke's own beginning. In a time of increasing loneliness, Guardini's response to Rilke rings with renewed contemporary relevance to guard against the ultimate erasure of the human person.

罗马诺·瓜尔迪尼 (Romano Guardini) 将里尔克 (Rilke) 的《杜伊诺挽歌》( Duino Elegies ) 解读为现代世界令人信服的末世论景象，但必须予以拒绝。我认为，在里尔克的作品中，瓜尔迪尼发现了基督教末世论想象结束时实体形象的世俗类比——即圣徒相通。里尔克的视野是连贯的，因为他所感知的结局是从他假设的开始而来的；因此，要理解里尔克的结局，他的评论员就需要从里尔克自己的开端开始，看看结局之前的一切。在一个越来越孤独的时代，瓜尔迪尼对里尔克的回应具有新的当代意义，以防止人类最终被抹杀。