¹²³ Rilke's letters reveal his fear that Ellen Key might give false impressions for lack of understanding. In Briefe iii, 284 ff., he finally voices his protest.

¹²⁴ In her essay Ein Gottsucher (1904). Ellen Key knew nothing about the existence of the Stunden-Buch at that time.

¹²⁵ Insel-Bücherei 406, 33 ff.; Mövius, op. cit., pp. 99 ff.

¹²⁶ NL, op. cit, p. 278.

¹²⁷ Introduction to Briefe von J. P. Jacobsen (Berlin, 1919), i, 81.

¹²⁸ Diederichs, i, 286 f.

¹²⁹ NL, op. cit., 181.

¹³⁰ Ibid.

¹³¹ Ibid., p. 182.

¹³² Marie Grubbe, op. cit., 330.

¹³³ Cf. Briefe vi, 98 ff., 110 f., 113, for a series of letters with regard to Jacobsen in 1916.

¹³⁴ Marie Grubbe, op. cit., 261.

¹³⁵ Ibid., 331.

¹³⁶ Briefe vi, 111.

¹³⁷ NL, op. cit., 182.

¹³⁸ Ibid., 180.

¹³⁹ Ibid., 277 f.

¹⁴⁰ BJD, 17, 18.

¹⁴¹ Twelfth Night, ii. Sc. 3.

¹⁴² Werke, ii, 273.

¹⁴³ Sechs Novellen, op. cit., pp. 126 f.

¹⁴⁴ Briefe vi, 110, and previous to that Briefe vi, 99: “eine der unvergeβlichsten Erzählungen der Welt.”

¹⁴⁵ Marie Grubbe, op. cit., 196.

¹⁴⁶ Diederichs, i, 199 f.

¹⁴⁷ Mövius, op. cit., 20 ff.

¹⁴⁸ From an unpublished letter to Clara Rilke, in the R.-A.

¹⁴⁹ MS No. 136 in the R.-A.

¹⁵⁰ Werke, ii, 273, 274, 275.

¹⁵¹ I reconstructed them, with the aid of the rhymes, which are fairly clear, and by consulting the Weimar text printed in Ruth Mövius' book. There are two variations in my reading. The Weimar text, in the third line, reads “hart” instead of “streng.” The sixth line reads: “Er dauerte in täglichem Verzichte.”

¹⁵² Mövius, op. cit., p. 243.

¹⁵³ See Carl Sieber's introduction to: Ueber Gott —Zwei Briefe—(Leipzig, 1933).

¹⁵⁴ For special treatment of the “Todesproblem in Rilke's poetry see Pongs, op. cit.

Jürgen Petersen, Das Todesproblem bei Rainer Maria Rilke (Würzburg, 1935).

Fritz Nolte, Der Todesbegriff bei Rainer Maria Rilke, Hugo von Hofmannsthal und Thomas Mann (Heidelberg, 1934).

Fritz Dehn, Rainer Maria Rilke und sein Werk (Leipzig, 1934).

¹⁵⁵ Briefe ii, 69.

¹⁵⁶ Diederichs, i, 194 f.

¹⁵⁷ Ibid., 251.

¹⁵⁸ Ibid., 273, 275.

¹⁵⁹ From a manuscript letter to Clara Rilke June 1, 1902, in R.-A.

¹⁶⁰ From copy of a letter to Arthur Holitscher, dated Villa Strohl-Fern, March 16, 1904, in the R.-A. The volume in Die Dichtung was written by Hans Bethge. It is No. xxix (Berlin and Leipzig, 1905).

¹⁶¹ Briefe ii, 150.

¹⁶² Betz, French edition, op. cit., 120.

¹⁶³ Cf. his poem entitled “Intérieur,” which has already been mentioned.

¹⁶⁴ From copy of a letter in the R.-A.

¹⁶⁵ Numbered in the R.-A. 540 to 549 inclusive.

¹⁶⁶ This had first been translated, in part, by Stefan George. See Note 7.

¹⁶⁷ MS 550 is the notebook containing Rilke's translation of the Kierkegaard letters.

¹⁶⁸ From a manuscript letter to Clara Rilke dated October 21, 1904, in the R.-A.

¹⁶⁹ Worpswede, p. 46. The same thought comes to him before Van Gogh's pictures in 1907: Blühende Bäume, wie nur Jacobsen sie gemacht hat“ (Briefe iii, p. 344).

¹⁷⁰ Briefe ii, 307.

¹⁷¹ Briefe iii, 31.

¹⁷² From an unpublished letter, manuscript in R.-A., dated February 26, 1910.

¹⁷³ Briefe v, 93.

¹⁷⁴ Ibid., 161.

¹⁷⁵ The Insel Verlag did not reprint this scientific part in the later editions.

¹⁷⁶ From copy of a letter in the R.-A. “D.S.” stands for “Dottor Serafico,” the Princess' name for Rilke, who, after July 21, 1911, always used this signature in letters to her. Joh. Jörgensen, Geschichte der dänischen Literatur (Kempten und München, 1908), p. 137, calls Jacobsen the “Seraph des dänischen Realismus.”

¹⁷⁷ Betz, German translation, op. cit., p. 189.

¹⁷⁸ Ibid.

¹⁷⁹ (Kj⊘benhavn, 1886), 201 pp. 2. Opl. (Kj⊘benhavn, 1900), 213 pp. Rilke used the latter edition; see Briefe v, 93.

¹⁸⁰ Probably the same edition which Arnold had used with a later date, perhaps 1902, 4. Udg. It was the only one then existing: Samlede Skrifter af J. P. Jacobsen, 2 Bde.

¹⁸¹ Cf. Werke, iv, 161, the laurel as “Todespflanze.”

¹⁸² Anna Linck, op. cit., p. 74.

¹⁸³ Lou Andreas-Salomé, op. cit., p. 80; J. R. von Salis, op. cit., p. 100.

¹⁸⁴ Cf. René Rapin, “Rilke, Jacobsen et Rodin,” Bibliothèque Universelle et Revue de Genève, ii (1925), pp. 1734–43.

¹⁸⁵ Briefe ii, 15: “und Rodin lebt noch.”

¹⁸⁶ Briefe ii, 15 and 156; in the letters to Ellen Key and to Kappus; and others; in 1925 to Maurice Betz.

¹⁸⁷ From a letter to Ellen Key; copy in the R.-A., dated April 2, 1904.

¹⁸⁸ Werke, iv, 387.

¹⁸⁹ Briefe ii, 156.

¹⁹⁰ Ibid., 33.

¹⁹¹ Sechs Novellen, op. cit., p. 46.

¹⁹² Ibid., 47.

¹⁹³ To Hugo Heller in 1908. Cf. his use of “Bereitschaft” and MS 545.

¹⁹⁴ Werke, iv, 388.

¹⁹⁵ Auguste Rodin, “Die Kunst,” Gespräche (Paul Gsell) (1913), p. 34.

¹⁹⁶ Ibid., p. 35.

¹⁹⁷ Ibid., p. 135.

¹⁹⁸ Ibid., pp. 134 f.

¹⁹⁹ Sechs Novellen, op. cit., in the Novelle “Zwei Welten,” p. 81.

²⁰⁰ J. P. Jacobsen, Samlede Vœrker (Kj⊘benhavn, 1924–29), i, 319.

²⁰¹ Werke, iv, 345.

²⁰² The Prœsls Dagebog had a marked influence on Malle. See Betz, French edition, op. cit., p. 118. See also Les Cahiers du Mois, 23/24, March-April, 1926, 83 f., in which Christian Rimestad disparages Jacobsen's influence on Rilke but stresses that of Obstfelder.

²⁰³ Ges. Werke, iii, 250.

²⁰⁴ Diederichs, i, 245.

²⁰⁵ Werke, iii, 150, 151, 153.

²⁰⁶ In the ninth chapter.

²⁰⁷ Marie Grubbe, op. cit., p. 19.

²⁰⁸ Maurice Betz, French edition, op. cit., p. 119.

²⁰⁹ See Note 17.

²¹⁰ Malte remarks that no one could ever forget Ulrik Christian. The two deathbed scenes, the Chamberlain's in Malte and Ulrik Christian's in Marie Grubbe, are very similar.

²¹¹ Werke, iii, 67.

²¹² Werke, v, 19.

²¹³ For example Briefe ii, 234.

²¹⁴ A reference to Werke, v, 277.

²¹⁵ Maurice Betz, German version, op. cit., p. 111.

²¹⁶ See Note 202. However, Emil Gasser, op. cit., has made a number of analogies between Jacobsen's style and Rilke's in Malle, such as the repetition of verb, noun, adjective, and pronoun. Paula Huber, in her typewritten dissertation, reviews them, adds others, and then concludes that they are all not very important.

²¹⁷ Diederichs, i, 245. The reference is to “La Légende de Saint Julien l'Hospitalier” from Trois Contes (Paris, 1928), pp. 76 ff. This is Vol. xix of Œuvres Complètes.

²¹⁸ Werke, v, p. 90, and the corresponding passage in Briefe iii, 393 f.

²¹⁹ NL, op. cit., 77 f.

²²⁰ Werke, v, 23.

²²¹ Ibid., 78 ff.

²²² Ibid., 190.

²²³ NL, op. cit., p. 172.

²²⁴ Werke, v, 248.

²²⁵ Sechs Novellen, op. cit., p. 84.

²²⁶ See Worpswede, the letters, and Note 169.

²²⁷ Cf. Gertrud Scheibel, Rilke und die bildende Kunst, Gieβen, 1933.

²²⁸ Two by Cézanne: Entführung; Versuchung; two by Manet: Der Balkon, der Leser. Hans-Wilhelm Hagen, Rilkes Umarbeitungen, Leipzig, 1931.

²²⁹ MS 547.

²³⁰ The peculiar form “Zwei Welt” which took Rilke's fancy was due to Marie Herzf eld's misunderstanding. The title To Verdener was dear to Jacobsen's heart. He chose it for a Novelle—actually he calls it a “Skizze,” it is so short—which was published in 1879. Edvard Brandes (whose letter we do not have) had evidently questioned the title as misleading, saying that it suggested the “Revue des deux Mondes.” From Jacobsen's letters, we gather that when Jacobsen clung tenaciously to his “To Verdener,” Edvard Brandes had written him a second time, fearing that the author might become offended at this interference with his privileges. Thereupon Jacobsen replied: “Det vilde ganske vist ikke ligne mig synderligt at blive ‘fornærmet’ paa de To Verdners Vegne. Tror du ikke ogsaa, at Titien mindete mig om Revuen? Jeg havde neer af Kaadhed kaldt det hele: To Verd., Roman af J.P.J.” (Breve fra J. P. Jacobsen, Kj⊘benhavn, 1899, p. 92). It must be remarked that Jacobsen, who was severely criticized for his formlessness, carefully avoided calling either Marie Grubbe or Niels Lyhne by the conventional designation “Roman.”

Marie Herzfeld translated the Danish passage incorrectly, with a footnote that is sheer nonsense: “Es würde ganz gewiβ mir nicht sonderlich ähnlich sehen, wegen ‘Zwei Welten’ beleidigt zu sein. Glaubst Du, daβ der Titel nicht auch mich an Revuen erinnere! Ich hätte aus Uebermut das Ganze fast: ‘Zwei Welt,‘ Roman von J.P.J. genannt.” Footnote: “Gemeint sind die in Dänemark sehr beliebten singspielartigen Stücke, die in parodistischer Weise die Ereignisse des Jahres Revue passieren lassen.” (From the first edition.) An abbreviation was translated literally, the spacing of “Roman” ignored, and the whole point of the original lost. The Danish reviews poked fun at this German translation for this and other inaccuracies. Subsequent Diederichs editions then corrected the “Zwei Welt” to read: “Zwei Wit.” but the footnote has gone unchanged through the editions.

Rilke fastened upon this mistranslation which he found in the first edition, and in time he construed it in accordance with his own method of interpretation. The tenacity with which Jacobsen insisted on his “Two Worlds” title was perhaps not unconnected with the “Zweiseelenmensch” that he was.

²³¹ Briefe iii, 349.

²³² Cf. Note 100 and Werke, ii, 341: “O alter Fluch der Dichter,” in which Jacobsen's “eigner Tod” and Rodin's objectivity are both represented.

²³³ Briefe iii, 377.

²³⁴ Diederichs, i, xxxvii.

²³⁵ Niels Lyhne, pp. 40 f.

²³⁶ Ibid., 47 f.

²³⁷ Ibid., 112.

²³⁸ Werke, iv, 285.

²³⁹ J. R. von Salis, op. cit., pp. 139 and 219 f. The letter was written to Frau Nanny Wunderly-Volkart, it is undated and was received in February, 1920.

²⁴⁰ Diederichs, i, 254.

²⁴¹ See Jacobsen's letters of November 29, 1877, and February 12, 1878 (Diederichs, i, 241 f., 248 f.).

²⁴² Ibid., 295.

²⁴³ Ibid., 313.

²⁴⁴ Ibid., 311.

²⁴⁵ Briefe iv, 147.

²⁴⁶ Maurice Betz, German version, op. cit., p. 187.

²⁴⁷ Werke, ii, 119 ff.

²⁴⁸ Betz, op. cit., p. 188.

²⁴⁹ Idem. The poem Diederichs, i, 418.