The poems tend to be stylistically descriptive at the starting point, but the boundary between observer and object soon dissolves via observation and elicits new connections. With this thing-mysticism Rilke did not however want ecstasy to overcome the clarity of consciousness, especially since he frequently made use of the sonnet form, whose caesuras are, however, glossed over by the musical language. In contrast to Eduard Mörike and Conrad Ferdinand Meyer - whose Roman fountain is paradigmatic - Rilke wanted objects to not merely describe or objectify moods; the thing should rather be charged, as it were, with a special meaning and thus be released from conventional references to space and time. This is confirmed by the lines of the unrhymed poem The Rose Bowl, which completes the first part: "And the movement in the roses, see: / gestures from such small vibrations, / that they would remain invisible, if their / Rays did not diverge into the universe."