LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-GHAMPAICN Coll. G-Ut its Q.834Rif5 AK559 KARE BOOK ROOM RAINER MARIA RILKE, A. Denis Krause. Used with permission of Lucy Arrabe. The Catalog of The Gerhard Mayer Collection of Rainer Maria Rilke at the University of Illinois Library at Urbana-Champaign Compiled by Thomas D. Kilton Sara de Mundo Lo G. K. Hall & Co. 70 Lincoln Street, Boston, Massachusetts UlUC -. \ / This publication is printed on permanent/durable acid-free paper. Copyright 1988 by Thomas D. Kilton and Sara de Mundo Lo. ISBN 0-8161-0468-9 To the memory of Doctor Marian Harman, Classicist, Professor of Library Administration, Head of the Catalog Department and Rare Book Room, University of Illinois Library uruc Table of Contents PREFACE ix THE AUTHORS xiv ACKNOWLEDGMENTS xv ALPHABETICAL LISTING OF PROVENANCE NAMES xvii DETAILED TABLE OF CONTENTS xix THE GERHARD MAYER COLLECTION OF RAINER MARIA RILKE AT THE UNIVERSITY OF ILLINOIS LIBRARY AT URBANA -CHAMPAIGN PART I : ORIGINAL WORKS 1 PART II: CRITICISM AND INTERPRETATION 170 INDEX 449 Preface The Gerhard Mayer Collection of works by and about Rainer Maria Rilke was acquired by the University of Illinois Library in 1984, in part as a purchase and in part as a gift, from Mrs. Ruth Mayer, widow of the late Dr. Gerhard Mayer of Champaign, Illinois. Dr. Mayer, an avid bibliophile and member of the Caxton Club, began building the collection in the early 1960s. Constantly in pursuit of val- uable primary source materials as well as criticism relating to Rilke, he travelled extensively throughout North America, South America, and Europe to visit bookstores and to bid at book auctions. And, like Richard von Mises and Henry Sagan who built up the great Rilkeiana collections now at Harvard University and the University of Kansas respectively, Ger- hard Mayer was not a scholar of literature by profession. The University of Illinois Library at Urbana-Champaign has a long tradition in collecting Rilke. Even before the purchase of the Mayer Col- lection, the Library's holdings in Rilkeiana were strong, with a notable asset being 109 original holograph letters from Rilke to his benefactors Karl and Elizabeth von der Heydt, a collection acquired in 1950. Among other prominent Rilke collections world-wide are: the Rilke Archiv of the Schweizerische Landesbibliothek (Bern, Switzerland), the Rilke collections at the Schiller Nazionalmuseum (Marbach, West Germany), the Richard von Mises Collection at the Houghton Library (Harvard Univer- sity), the Edgar S. Oppenheimer Collection at the Sterling Library (Yale University), the Henry Sagan Collection at the University of Kansas Libra- ry, and the collection of Rilkeiana at the Bibliographical Center of Ger- man Literature (University of Pittsburgh). There are, of course, other important collections of published materials as well as unpublished manu- scripts and correspondence exchanged between Rilke and his friends and colleagues. And there are also the many collections in the hands of pri- vate collectors. Perhaps the single best overview of Rilke repositories is the 1971 article by Klaus W. Jonas "Rainer Maria Rilkes Handschrif ten."! Owing to its size and comprehensiveness, the Mayer Collection ranks among the most prestigious world-wide. It comprises around 2800 items which range from the earliest publications of Rilke 's works up to the late 1970s. An abundance of handsome editions of primary works, many from private presses, is one of the outstanding hallmarks of the collection. Many are beautifully illustrated and contain original lithographs, wood- cuts, copper-plate engravings, or pen-and-ink drawings. Others feature attractive bindings, paper, and printing. The Mayer Collection is also distinguished by a wealth of secondary criticism which includes monographs and journal articles from practically all over the world. A total of twenty-six languages, including several nonroman languages, are represented in the collection. ix Preface Arrangement and Stylistics of the Catalog The Catalog is divided into two main sections: primary sources and criticism. The primary sources are divided into large groupings, such as complete works, selected works, correspondence, and individual works which are arranged alphabetically by title within each grouping. Works of criticism appear under headings for the titles of the primary works which they treat respectively, the headings being arranged alpha- betically, and the works of criticism being arranged alphabetically by author. Monographs and journal articles on a given work or subject are listed separately. Secondary sources composing special categories, such as catalogs, eulogies, and parodies have been grouped together to facilitate use of the catalog. Each bibliographic citation is preceded by an item number. These numbers, which run consecutively, are the key to locating references in the index. Choices of access points and headings are based primari- ly on AACR2 ^, while the bibliographic descriptions of the pieces are ^ based on the University of Chicago Manual of Style . Certain devia- tions from the prescribed standards in these sources were occasionally taken in composing the citations, especially with regard to spelling, punctuation, and capitalization, since entries were transcribed direct- ly from the pieces without altering illogical spelling, punctuation, capitalization, or other stylistic quirks which certain pieces exhibited. Brackets have been used for two purposes: to enclose sjrmbols for citation elements not ascertainable (e.g. [s.l.] when the place of publication is not known) ; and to enclose data derived from sources other than the pieces being described (e.g. a publication date). Brief annotations have been supplied by the compilers for a few of the primary sources and for most of the secondary sources. These anno- tations are not intended to provide thorough interpretations or digests of the contents of the works, but rather to capsulize very briefly their contents as a guide to researchers. In describing the various editions and printings of certain works, standard bibliographic terms were used. One text is said to be a differ- ent edition from another text of the same work if its contents differ in any way and/or if it has been produced from a different setting of type. Texts constitute different impressions of the same edition if they have been produced from the same setting of type but have been printed at sig- nificantly different times. They are said to be variant issues of a work if they constitute the same edition and impression but contain different elements of imprint, such as differing cities of publication or different issuing bodies. And texts constitute variant states of a work if their only differences involve minor typographical alterations, such as mis- spelling corrections. Physical descriptions of original hardcopy editions of publications have been supplied. Such descriptions include illustrations, handwritten dedications, provenance notes, outstanding typefaces, binding, and other miscellaneous physical features. Colophons are quoted verbatim in full Preface or in part for special private press or deluxe editions, works of limited press runs, or works notable for other miscellaneous reasons. In the case of softbound pieces the term "wrappers" designates lightweight, unillus- trated paper case-bound around the gatherings of a book. "Paperbound" refers to more substantial paper bindings which are frequently illustrated, while the term "paperback" denotes the typically inexpensive mass-produced editions of the common "pocket-edition" variety. VHiere citations to variant editions of a work appear, content notes for the earliest editions have been supplied if appropriate. However, entries for subsequent editions of the same work do not repeat the content notes if no major changes have occurred from edition to edition. In cases where a "contents identical to" note has been used for subsequent editions of a work, the reader may infer that only very minor, if any, additions, changes, or deletions exist between the editions described. A number of See and See also references have been pro- vided in order to bring together related works for full coverage. Those volumes in the collection which the compilers of the catalog considered to exhibit special aesthetic attractiveness or other biblio- graphic merit have been designated as deluxe editions by the symbol (D) appearing to the right of their citations. Provenance names have been listed separately following this preface. Titles recorded in the 1951 Rilke bibliography by Walter Ritzer^ or in the 1966 catalog of the Richard von Mises collection at Harvard^ are desig- nated by the inclusion of their "Ritzer" or "Von Mises" catalog item num- bers following the body of each entry. An extensive detailed index of authors, illustrators, translators, etc. provides easy access to their representation in the Catalog . The references in the index are made to item numbers, not to page numbers. Special Features of the Mayer Collection The Mayer Collection is outstanding in its abundance of deluxe editions of primary works. Especially noteworthy are the many illustrated editions of Die Weise von Liebe und Tod des Cornets Christoph Rilke , which include etchings, lithographs, and watercolors. In terms of handsome typography and binding, the various editions of Rilke 's works translated into French by Maurice Betz and issued by Editions Emilie-Paul-Freres during the ear- ly 1940s in occupied Paris are worthy of mention.