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+*** START OF THE PROJECT GUTENBERG EBOOK 11066 ***
+
+The images were generously made available by the Bibliothèque
+nationale de France (BnF/Gallica)
+at http://gallica.bnf.fr/scripts/ConsultationTout.exe?O=N061319
+
+
+
+
+
+Modern Philology
+
+VOLUME XIII     October 1915     NUMBER 6     (pp. 65-92)
+
+
+
+ALLEN WILSON PORTERFIELD
+
+GRAF VON LOEBEN AND THE LEGEND OF LORELEI
+
+
+
+
+I
+
+
+The devotees of Apollo have to give a good account of themselves in
+Olympia before, they can become _persona grata_ on Olympus. They spend
+their lives, more or less, at the various games of poetry. Some, like
+Goethe, win in the majority of trials, and then we study all of their
+records regardless of their individual excellence. Some like Immermann
+in _Oberhof_, win only once, but this is sufficient to insure
+immortality. Some play and joust, run and wrestle with constancy and
+grace; their records, just after starting and just before finishing,
+are interesting, but in the end they are always defeated. And when
+this is the case, posterity, lay and initiated, forgets their names
+and concerns itself in no wise with their records, unless it be for
+statistical purposes. It is to the latter class that Graf von
+Loeben[1] belongs. For twenty-five years he was a perpetual,
+loyal, chivalric contestant in the Olympic vale of poetry. His running
+was interesting, but he never won; he never wrote a single thing that
+everybody still reads for its own sake.
+
+Aside from his connection with the Lorelei-matter, Graf von Loeben is,
+therefore, at present, a wholly obscure, indeed unknown, Poet. The
+large _Konversations-Lexikons_[2] of Meyer and Brockhaus say nothing
+about him, unless it be in the discussion of some other poet with whom
+he associated. Of the twenty best-known histories of German
+literature, some of which treat nothing but the nineteenth century,
+only six contain his name, and these simply mention him either as a
+member of the Dresden group of pseudo-romanticists, or as one of those
+_Afterromantiker_ who did yeoman service by way of bringing real
+romanticism into disrepute through their unsubstantial, imitative, and
+formless works. And this is true despite the fact that Loeben was an
+exceedingly prolific writer and a very popular and influential man in.
+his day. Concerning his personality, Muncker says: "Die Tiefe und
+Wärme seines leicht erregbaren Gemüthes, seine Herzensreinheit, seine
+schwärmerische Hingabe an alles Schöne und Edle sowie sein zartes
+Tactgefühl erwarben ihm bei Freunden und Bekannten das Lob einer
+schönen Seele in des Wortes schönster Bedeutung."[3]
+
+As to his poetic ability from the point of view of quantity, one can
+only marvel at the amount he produced in the time at his disposal; his
+creative works cover all types and sorts of literature.[4] He is best
+known for his numerous poems and his _magnus opus_, _Guido_, a novel
+of 360 pages, written under the pen-name of "Isidorus Orientalis," and
+intended as a continuation of Novalis' _Ofterdingen_; he used Tieck's
+notes for this purpose. He wrote also a great number of letters,
+between 60 and 70 elaborate reviews, and some critical essays, the
+best of which seems to be his commentary to Madame de Staël's _De
+l'Allemagne_, while he translated from Anacreon, Dante, Guarini,
+Horace, Ovid, Petrarch, Vergil, and others, and left a number of
+fragments including the outline of a pretentious novel of which
+Heinrich von Veldeke, whom he looked upon as "der Heilige des
+Enthusiasmus," was to be the hero. And he was, incidentally, an
+omnivorous reader, for, as he naïvely said:
+
+    Viele Bücher muss ich kennen,
+    Denn die Menschen kenn' ich gern.[5]
+
+As to his originality, another confession is significant:
+
+    Ja, es gibt nur wenig Leute,
+    Deren Schüler ich nicht bin.[6]
+
+No attempt, however, has as yet been made at even an eclectic edition
+of his numerous finished works, a few of which are still unpublished,
+many of which are now rare.[7]
+
+As to his standing with his literary contemporaries, Eichendorff
+admitted[8] that Loeben influenced him as a man and as a poet; it was
+he who induced Eichendorff to write some of his earlier works under
+the pen-name of "Florens." And Eichendorff in turn credited Goethe
+with the remark[9] that "Loeben war der vorzüglichste Dichter jener
+Zeit." His influence on Platen[10] is not quite so certain; Loeben was
+Platen's senior by ten years, and they resembled each other in their
+ability to employ difficult verse and strophe forms, and Platen read
+Loeben in 1824. Kleist interested himself in Loeben sufficiently to
+publish one of his short stories in his _Abendblätter_, but only after
+he had so thoroughly revised it that Reinhold Steig says: "Ich würde
+als Herausgeber die Erzählung sogar unter Kleists _Parerga_
+aufnehmen."[11] His connection with, and influence upon, the Dresden
+group of romanticists, including Tieck, is a matter of record,[12] and
+Fouqué looked upon him as a poet of uncommon ability.[13]
+
+But let no one on this account believe that Loeben was a great poet
+and that the silence concerning him is therefore grimly unjust.
+Goethe, whether he made the foregoing remark or not, at least
+received[14] Loeben kindly; but he received others in the same way who
+were not poets at all. Eichendorff said: "Loeben. Wunderbar poetische
+Natur in stiller Verklärung."[15] But Eichendorff was then only
+nineteen years old, and he later took this back. Herder was moved to
+tears[16] on reading Loeben's _Maria_, but Herder was easily moved,
+and he died soon after; he would in all probability have changed his
+mind too. Friedrich Schlegel, on the other hand, was not justified in
+calling[17] the pastoral poems in _Arkadien_ "Schafpoesie." Uhland
+praised[18] these same poems; but he reminded Loeben in no uncertain
+terms, that the chief characteristic of southern poetry was
+"Phantasie," while that of the northern poets was "Gemüth," and that
+the attempt to revive the spirit of Guarini, Cervantes, and their kind
+was not well taken.
+
+That Loeben has been so totally neglected by historians and
+encyclopedists is simply a case of that disproportion that so
+frequently characterizes general treatises. Loeben is entitled to some
+space in large works on German literature; but he was, like many
+another who has been given space, a weak poet. And the sort of
+weakness, with which he was endowed can be brought out by a discussion
+of two of his novelettes, _Das weisse Ross,_[19] and _Leda,_ neither
+of which is by any means his best work, and neither of which seems to
+be his worst. But, to judge from what has been said of his prose works
+in general, both are quite typical.
+
+The plot so far as the action[20] is concerned is as follows: Otto
+owes the victory he won at a tournament in Nürnberg largely to the
+beauty and agility of his great white horse Bellerophon. Siegenot von
+der Aue had seen him and his horse perform and determined to obtain
+Bellerophon, if possible, for, owing to a curse pronounced on his
+family by a remote ancestor, Siegenot must either win at the next
+tournament or become a monk, which he does not wish to do. Both he and
+Otto love Felicitas, the niece of Graf Berthald. Siegenot secures
+Bellerophon, is victorious at the tournament, though seriously
+wounded, and is nursed back to health by Otto and Felicitas. It is
+Otto, however, who wins Felicitas through his chivalric treatment of
+his rival. The two are married, while Siegenot rides away on the great
+white horse Bellerophon.
+
+It is such creations that make us turn away from Loeben. Alas for
+German romanticism if this story were wholly typical of it! It
+contains the traditional conceits of the orthodox romanticists, but
+applied in such a sweet, lovely, pretty fashion! One woman is placed
+between two men, for in that way Loeben could best bring out his
+philosophy of friendship. The only change, it seems, that he ever made
+in this arrangement was to place one man between two women. The
+sick-bed is poetized as the cradle of knowledge, for in it, or on it,
+we become introspective and learn life. Old chronicles, tournaments,
+jewelry, precious stones, Maryism, nature from every conceivable point
+of view, dreams and premonitions, visions and hallucinations, religion
+of the renunciatory type, the pain that clarifies, the friendship that
+weeps, Catholic painting and lute music, and love--human and
+divine--these are the main themes in this tale. Lyrics and episodic
+stories are interpolated, obsolete words and stylistic archaisms
+occur. In short, the novelette reads like an amalgamation of Novalis
+without his philosophy, Waekenroder without his suggestiveness, and
+Tieck without his constructive ability.
+
+The story[21] entitled Leda is again typical of Loeben. Briefly
+stated, the plot is as follows: Leda, the daughter of a Roman duke,
+loves Cephalo, who is a gentleman but not a nobleman, and is loved by
+him. Her father, however, has forced her to become engaged to Alberto,
+a man of high degree, whom she does not love. The wedding is imminent,
+and Leda is sorely perplexed. Her father does not know why she is so
+indifferent to the approaching event and accordingly sends her to a
+distant and lonely castle in the hope that she may become interested,
+at least, in her own nuptials. While there she drowns herself in the
+swan lake. Alberto drops out of the story, and Cephalo becomes the
+intimate friend of the duke. Previous to this Alberto had ordered a
+certain painter to paint a picture of "Leda and the Swan." Danae, the
+daughter of an old, unscrupulous antiquarian, was seen by Cephalo
+while posing as a model for Leda. Enraged at this, she tells her
+father that she will not be appeased until married to Cephalo. But she
+loses her life through the falling of an old, dilapidated castle
+wherein she has been keeping an unconventional tryst, and Cephalo
+becomes the intimate friend of the painter.
+
+Loeben's ideas and technique stand out in every line of this story.
+One woman is placed between two men, unexpected friendships are
+developed, the lute and the zither are played in the moonlight, love
+and longing abound, nature is made a confidant, _der Zaubern der
+Kunst_ is overdone, familiar stories--Leda and the Swan, Actaeon and
+Danae--are interwoven, there are manifest reminiscences of _Emilia
+Galotti_ and _Ofterdingen_, and the prose is uncommonly fluent. The
+only character in the entire narrative who has any virility is the
+antiquarian, and he is one of the meanest Loeben ever drew. Alberto
+has no will at all, Leda not much, Cephalo less than Leda, and Danae
+is without character. In short, the only valuable, part of the story
+lies in its approach to a development of the psychology of love in
+art. But it is only an approach; and it does not make one feel
+inclined to read a vast deal more of the prose works of Graf von
+Loeben.
+
+As to Loeben's lyrics,[22] they are irregular, inconsistent, and odd
+as to orthography,[23] melodious and flowing in form, poor in ideas,
+rich in feeling that frequently sounds forced, representative of
+nearly all the important Germanic, Romance, and Oriental verse and
+strophe forms, reminiscent of his reading[24] in many instances, and
+romantic as a whole, especially in their constant portrayal of
+longing. Loeben was the poet of _Sehnsucht_. He tried always _das Nahe
+zu entfernen und das Ferne sich nahe zu bringen_. With a few
+conspicuous exceptions, his lyrics resemble those of Geibel somewhat
+in form and treatment. Poetry and individual poets receive grateful
+consideration, the seasons are overworked, love rarely fails and
+nature never, wine and the Rhine are not forgotten, and the South is
+poetized as the land of undying inspiration. Of their kind, and in
+their way, Loeben's poems are nearly perfect.[25] There are no
+expressions that repel, no verses that jar, no poems that wholly lack
+fancy, and there are occasional evidences of the inspiration that
+rebounds. It would be presumptuous to ask for a more amiable poem than
+"Frühlingstrost" (46), or for a neater one than "Der Nichterhörte"
+(121), or for a more gently roguish one than the triolett[26] entitled
+"Frage" (55).
+
+But be his poems never so good, there is no reason why Loeben should
+be revived for the general reader. His prose works lack artistic
+measure and objective plausibility; his lyrics lack clarity and
+virility; his creations in general lack the story-telling property
+that holds attention and the human-interest touches that move the
+soul. His thirty-nine years were too empty of real experience;[27] his
+works are not filled with the matter that endures. And it is for this
+reason that they ceased to live after their author had died. His
+connection with this earth was always just at the snapping-point. His
+works constitute, in many instances, a poetic rearrangement of what he
+had just latterly read. And when he is original he is vacuous. To
+emphasize his works for their own sake would consequently be to set up
+false values. Loeben can be studied with profit only by those people
+who believe that great poets can be better understood and appreciated
+by a study of the literary than by a study of the economic background.
+To know Loeben[28] throws light on some of his much greater
+contemporaries--Goethe, Eichendorff, Kleist, Novalis, Arnim, Brentano,
+Uhland, Görres, Tieck, and possibly Heine.
+
+
+
+
+II
+
+
+But it is not so much the purpose of this paper to evaluate Loeben's
+creations as to locate him in the development of the Lorelei-legend,
+and to prove, or disprove, Heine's indebtedness to him in the case of
+his own poem of like name. The facts are these:
+
+In 1801 Clemens Brentano published at Bremen the first volume of his
+__Godwi_ and in 1802 the second volume at the same place.[29] He had
+finished the novel early in 1799--he was then twenty-one years old.
+Wieland was instrumental in securing a publisher.[30] Near the close
+of the second volume, Violette sings the song beginning:
+
+    Zu Bacharach am Rheine
+    Wohnt eine Zauberin.
+
+That this now well-known ballad of the Lorelei was invented by
+Brentano is proved, not so much by his own statement to that effect as
+by the fact that the erudite and diligent Grimm brothers, the friends
+of Brentano, did not include the Lorelei-legend in their collection of
+_579 Deutsche Sagen_, 1816. The name of his heroine Brentano took from
+the famous echo-rock near St. Goar, with which locality he became
+thoroughly familiar during the years 1780-89. No romanticist knew the
+Rhine better or loved it more than Brentano. "Lore" means[31] a small,
+squinting elf; and is connected with the verb "lauern." The oldest
+form of the word is found in the _Codex Annales Fuldenses_, which goes
+back to the year 858, and was first applied to the region around the
+modern Kempten near Bingen. "Lei" means a rock; "Loreley" means then
+"Elbfels." And what Brentano and his followers have done is to apply
+the name of a place to a person.
+
+In _Urania: Taschenbuch auf das Jahr 1821_, Graf von Loebcn published
+his "Loreley: Eine Sage vom Rhein." The following ballad introduces
+the saga in prose. Heine's ballad is set opposite for the sake of
+comparison.[32]
+
+  Da wo der Mondschein blitzet         Ich weiss nicht, was soll es bedeuten
+  Um's höchste Felsgestein,            Dass ich so traurig bin;
+  Das Zauberfräulein sitzet            Ein Märchen aus alten Zeiten,
+  Und schauet auf den Rhein.           Das kommt mir nicht aus dem Sinn.
+
+  Es schauet herüber, hinüber,         Die Luft ist kühl und es dunkelt,
+  Es schauet hinab, hinauf,            Und ruhig fliesst der Rhein;
+  Die Schifflein ziehn vorüber,        Der Gipfel des Berges funkelt
+  Lieb' Knabe, sieh nicht auf!         Im Abendsonnenschein.
+
+  Sie singt dir hold zum Ohre,         Die schönste Jungfrau sitzet
+  Sie blickt dich thöricht an,         Dort oben wunderbar,
+  Sie ist die schöne Lore,             Ihr goldenes Geschmeide blitzet,
+  Sie hat dir's angethan.              Sie kämmt ihr goldenes Haar.
+
+  Sie schaut wohl nach dem Rheine,     Sie kämmt es mit goldenem Kamme,
+  Als schaute sie nach dir,            Und singt ein Lied dabei;
+  Glaub's nicht, dass sie dich meine,  Das hat eine wundersame
+  Sich nicht, horch nicht nach ihr!    Gewaltige Melodei.
+
+  So blickt sie wohl nach allen        Den Schiffer im kleinen Schiffe
+  Mit ihrer Augen Glanz,               Ergreift es mit wildem Weh;
+  Lässt her die Locken wallen          Er schaut nicht die Felsenriffe,
+  Im wilden goldnen Tanz.              Er schaut nur hinauf in die Höh'.
+
+  Doch wogt in ihrem Blicke            Ich glaube, die Wellen verschlingen
+  Nur blauer Wellen Spiel,             Am Ende Schiffer und Kahn;
+  Drum scheu die Wassertücke,          Und das hat mit ihrem Singen
+  Denn Flut bleibt falsch und kühl!    Die Lorelei gethan.
+
+The following saga then relates how an old hunter sings this song to a
+young man in a boat on the Rhine, warning him against the allurements
+of the Lorelei on the rock above. The hunter's good intentions are
+fruitless, the young man is drowned.
+
+In the autumn of 1823, Heine wrote, while at Luneburg, his "Die
+Lorelei." It was first published[33] in the _Gesellschafter,_ March
+26, 1824. Commentators refer to the verse, "Ein Märchen aus alten
+Zeiten," as a bit of fiction, adding that it is not a title of olden
+times, but one invented by Brentano about 1800. The statement is true
+but misleading, for we naturally infer that Heine derived his initial
+inspiration from Brentano's ballad. Concerning this matter there are
+three points of view: Some editors and historians point out Brentano's
+priority and list his successors without committing[34] themselves as
+to intervening influence. This has only bibliographical value and for
+our purpose may be omitted. Some trace Heine's ballad direct to
+Brentano, some direct to Loeben. Which of these two points of view has
+the more argument in its favor and can there be still a third?
+
+In the first place, Heine never knew Brentano personally, and never
+mentions him in his letters previous to 1824, nor in his letters[35]
+that have thus far been published after 1824. _Godwi_ was repudiated
+soon after its publicatipn by Brentano himself, who said[36] there was
+only one good thing about it, the title, for, after people had said
+"Godwi," they could just keep on talking and say, "Godwi, dumm." On
+its account, Caroline called him Demens Brentano, while Dorothea
+dubbed him "Angebrenntano." The novel became a rare and unread book
+until Anselm Ruest brought out a new edition[37] with a critical and
+appreciative introduction in 1906. Diel and Kreiten say "es ging fast
+spurlos vorüber." It was not included in his _Gesammelte Schriften_
+(1852-55), though the ballad[38] was. Heine does not mention it in his
+_Romantische Schule_, which was, however, written ten years after he
+had finished his "Die Lorelei." And as to the contents of Brentano's
+ballad, there is precious little in it that resembles Heine's ballad,
+aside from the name of the heroine, and even here the similarity is
+far from striking.
+
+And yet, despite all this, commentators continue to say that Heine
+drew the initial inspiration for his "Lorelei" from Brentano. They may
+be right, but no one of them has thus far produced any tenable
+argument, to say nothing of positive proof. The most recent supporter
+of Brentano's claim is Eduard Thorn[39] (1913), who reasons as
+follows:
+
+Heine knew Brentano's works in 1824, for in that year he borrowed
+_Wunderhorn_ and _Trösteinsamkeit_ from the library at Göttingen.
+These have, however, nothing to do with Brentano's ballad, and it is
+one year too late for Heine's ballad. All of Thorn's references to
+Heine's _Romantische Schule_, wherein _Godwi_, incidentally, is not
+mentioned, though other works are, collapse, for this was written ten
+years too late. And then, to quote Thorn: "Loeben's Gedicht lieferte
+das direkte Vorbild für Heine." He offers no proof except the
+statements of Strodtmann, Hessel, and Elster to this effect.
+
+And again: "Der Name Lorelay findet sich bei Loeben nicht als
+Eigenname, wenn er auch das Gedicht, 'Der Lurleifels' überschreibt."
+But the name Loreley does occur[40] twice on the same page on which
+the last strophe of the ballad is published in _Urania_, and here the
+ballad is not entitled "Der Lurleifels," but simply "Loreley." Now,
+even granting that Loeben entitled his ballad one way in the MS and
+Brockhaus published it in another way in _Urania_, it is wholly
+improbable that Heine saw Loeben's MS previous to 1823.
+
+And then, after contending that Brentano's _Rheinmärchen_,[41] which,
+though written before 1823, were not published until 1846, must have
+given Heine the hair-combing motif, Thorn says: "Also kann nur
+Brentano das Vorbild geliefert haben." This cannot be correct. What
+is, on the contrary, at least possible is that Heine influenced
+Brentano.[42] The _Rheinmärchen_ were finished, in first form, in
+1816. And Guido Görres, to whom Brentano willed them, and who first
+published them, tells us how Brentano carried them around with him in
+his satchel and changed them and polished them as opportunity was
+offered and inspiration came. It is therefore reasonable to believe
+that Heine helped Brentano to metamorphose his Lorelei of the ballad,
+where she is wholly human, into the superhuman Lorelei of the
+_Rheinmärchen_ where she does, as a matter of fact, comb her hair with
+a golden comb.[43]
+
+And now as to Loeben: Did Heine know and borrow from his ballad? Aside
+from the few who do not commit themselves, and those who trace Heine's
+poem direct to Brentano, and Oscar F. Walzel to be referred to later,
+all commentators, so far as I have looked into the matter, say that he
+did. Adolf Strodtmann said[44] it first (1868), in the following
+words: "Es leidet wohl keinen Zweifel, dass Heine dies Loeben'sche
+Ballade gekannt und bei Abfassung seiner Lorelei-Ballade benutzt hat."
+But he produces no proof except similarity of form and content. Of the
+others who have followed his lead, ten, for particular reasons, should
+be authorities: Franz Muncker,[45] Karl Hessel,[46] Karl Goedeke,[47]
+Wilhelm Scherer,[48] Georg Mücke,[49] Wilhelm Hertz,[50] Ernst
+Elster,[51] Georg Brandes,[52] Heinrich Spiess,[53] and Herrn. Anders
+Krüger.[54] But no one of them offers any proof except Strodtmann's
+statement to this effect.
+
+Now their contention may be substantially correct; but their method of
+contending is scientifically wrong. To accept, where verification is
+necessary, the unverified statement of any man is wrong. And, that is
+the case here. Elster's note is of peculiar interest. He says: "Heine
+schloss sich am nächsten an die Bearbeitung eines Stoffs an, die ein
+Graf Löben 1821 veröffentlichte." The expression "ein Graf Löben" is
+grammatical evidence, though not proof, of one of two things: that
+Loeben was to Elster himself in 1890 a mere name, or that Elster knew
+Loeben would be this to the readers of his edition of Heine's works.
+Brandes says: "Die Nachahmung ist unzweifelhaft."[55] His proof is
+Strodtmann's statement, and similarity of content and form, with
+special reference to the two rhymes "sitzet-blitzet" that occur in
+both. But this was a very common rhyme with both Heine and Loeben in
+other poems. How much importance can be attached then to similarity of
+content and form?
+
+The verse and strophe form, the rhyme scheme, the accent, the melody,
+except for Heine's superiority, are the same in both. As to length,
+the two poems are exactly equal, each containing, by an unimportant
+but interesting coincidence, precisely 117 words.[56] But the contents
+of the two poems are not nearly so similar as they apparently seemed,
+at first blush, to Adolf Strodtmann. The melodious singing, the golden
+hair and the golden comb and the use that is made of both, the
+irresistibly sweet sadness, the time, "Aus alten Zeiten," and the
+subjectivity--Heine himself recites his poem--these indispensable
+essentials in Heine's poem are not in Loeben's. Indeed as to content
+and of course as to merit, the two poems are far removed from each
+other.
+
+And, moreover, literary parallels are the ancestors of that undocile
+child, Conjecture. We must remember that sirenic and echo poetry are
+almost as old as the tide of the sea, certainly as old as the hills,
+while as to the general situation, there is a passage in Milton's
+_Comus_ (ll. 880-84) analogous to Heine's ballad, as follows:
+
+    And fair Ligea's golden comb,
+    Wherewith she sits on diamond rocks,
+    Sleeking her soft alluring locks,
+    By all the nymphs that nightly dance
+    Upon thy streams with wily glance,
+
+and so on. And as to the pronounced similarity of form, we must
+remember that Heine was here employing his favorite measure, while
+Loeben was almost the equal of Ruckert in regard to the number of
+verse and strophe forms he effectively and easily controlled. In
+short, striking similarity in content is lacking, and as to the same
+sort of similarity in form to this but little if any significance can
+be attached.
+
+And if the internal evidence is thin, the external is invisible,
+except for the fact that Loeben's ballad was published by Brockhaus,
+whom Heine knew by correspondence. But between the years 1818 and
+1847, Heine never published anything in _Urania_,[57] which was used
+by so many of his contemporaries. Heine and Loeben never knew each
+other personally, and between the years 1821 and 1823 they were never
+regionally close together.[58] Heine never mentions Loeben in his
+letters; nor does he refer to him in his creative works, despite the
+fact that he had a habit of alluding to his brothers in Apollo, even
+in his poems.[59]
+
+And therefore, though it is fashionable to say that Heine knew
+Loeben's ballad in 1823, and though the contention is plausible, it is
+impossible to prove it. Impossible also for this reason: Karl Simrock,
+Heine's intimate friend, included in his _Rheinsagen_ (1836, 1837,
+1841)[60] the ballads on the Lorelei by Brentano, Eichendorff, Heine,
+and himself. Why did he exclude the one by Loeben? He made an ardent
+appeal in his preface to his colleagues to inform him of any other
+ballads that had been written on these themes. The question must be
+referred to those who like to skate on flabby ice in things literary.
+
+The most plausible theory in regard to the source of Heine's ballad is
+the one proposed by Oscar F. Walzel, who says: "Heine hat den Stoff
+wahrscheinlich aus dem ihm wohlbekannten _Handbuch für Reisende am
+Rhein_ von Aloys Schreiber übernommen."[61] The only proof that Walzel
+gives that Heine knew Schreiber's manual is a reference[62] to it in
+_Lutetia_. But this was written in 1843, and proves nothing as to
+1823. His contention, however, that Heine borrowed from Schreiber[63]
+has everything in its favor, from the point of view of both external
+and internal evidence and deserves, therefore, detailed elaboration.
+
+As to internal evidence, there is only one slight difference between
+Heine's ballad and Schreiber's saga: where Heine's Lorelei combs her
+hair with a golden comb and has golden jewelry, Schreiber's "bindet
+einen Kranz für ihre goldenen Locken" and "hat eine Schnur von
+Bernstein in der Hand." Even here the color scheme is the same;
+otherwise there is no difference: time, place, and events are
+precisely the same in both. The mood and style are especially similar.
+The only words in Heine not found in Schreiber are "Kamm" and
+"bedeuten." Schreiber goes, to be sure, farther than does Heine: he
+continues the story after the death of the hero.[64] This, however, is
+of no significance, for Heine was simply interested in his favorite
+theme of unrequited or hindered love.
+
+Now Heine must have derived his plot from somewhere, else this would
+be an uncanny case of coincidence. And the two expressions, "Aus alten
+Zeiten," and "Mit ihrem Singen," the latter of which is so important,
+Heine could have derived only from Schreiber. Heine was not jesting
+when he said it was a fairy tale from the days of old; he was
+following, it seems, Schreiber's saga, the first sentence of which
+reads as follows: "In alten Zeiten liess sich manchmal auf dem Lureloy
+um die Abenddämmerung und beym Mondschein eine Jungfrau sehen, die mit
+so anmuthiger Stimme sang, dass alle, die es hörten, davon bezaubert
+wurden." But Brentano's Lorelei does not sing at all, and Loeben's
+just a little, "Sie singt dir hold zum Ohre," while Heine, like
+Schreiber, puts his heroine in the prima donna class, and has her work
+her charms through her singing. And it seems that Heine was following
+Schreiber when the latter wrote as follows: "Viele, die
+vorüberschifften, gingen am Felsenriff oder im Strudel zu Grunde, weil
+sie nicht mehr auf den Lauf des Fahrzeugs achteten, sondern von den
+himmlischen Tönen der wunderbaren Jungfrau gleichsam vom Leben
+abgelöst wurden, wie das zarte Leben der Blume sich im süssen Duft
+verhaucht."
+
+And as to her personal appearance, Brentano and Loeben simply tell us
+that she was beautiful, Brentano employing the Homeric method of
+proving her beauty by its effects. Heine and Schreiber not only
+comment upon her physical beauty, they also tell us how she enhanced
+her natural charms by zealously attending to her hair and her jewelry
+and religiously guarding the color scheme in so doing. In brief, the
+similarity is so striking that, if we can prove that Heine knew
+Schreiber in 1823, we can definitely assert that Schreiber[65] was his
+main, if not his unique, source.
+
+Let us take up the various arguments in favor of the contention that
+Heine knew Schreiber's Handbuch in 1823, beginning with the least
+convincing. If Heine read Loeben's ballad and saga in "_Urania_ für
+1821," he could thereby have learned also of Schreiber's _Rheinsagen_,
+for, by a peculiar coincidence for our purpose, Brockhaus
+discusses[66] these in the introduction in connection with a tragedy
+by W. Usener, entitled Die Brüder, and based upon one of Schreiber's
+_Sagen_. Proof, then, that Heine knew Loeben in 1823 is almost proof
+that he also knew Schreiber.
+
+But there is better proof than this. In Elementargeister[67], we find
+this sentence: "Ganz genau habe ich die Geschichte nicht im Kopfe;
+wenn ich nicht irre, wird sie in Schreibers _Rheinischen Sagen_ aufs
+umständlichste erzählt. Es ist die Sage vom Wisperthal, welches unweit
+Lorch am Rheine gelegen ist." And then Heine tells the same story that
+is told by Schreiber. It is the eighth of the seventeen _Sagen_ in
+question. This, then, is proof that Heine knew Schreiber so long
+before 1835 that he was no longer sure he could depend upon his
+memory. But it is impossible to say whether Heine's memory was good
+for twelve years, or more, or less.
+
+But there is better evidence than this. Heine's _Der Rabbi von
+Bacharach_ reaches far back into his life. That he intended to write
+this sort of work before 1823 has been proved;[68] just when he
+actually began to write this particular work is not so clear, but we
+know that he did much preliminary reading by way of preparing himself
+for its composition. And the region around and above and below
+Bacharach comes in for detailed discussion and elaborate description
+in Schreiber's _Rheinsagen_. The crusades, the _Sankt-Wernerskirchen_,
+Lorch, the _Fischfang_, Hatto's _Mäuseturm_, the maelstrom at Bingen,
+the _Kedrich_, the story of the _Kecker Reuter_ who liberated the maid
+that had been abducted by dwarfs, and again, and this is irrefutable,
+the story "von dem wunderlicheft Wisperthale drüben, wo die Vögel ganz
+vernünftig sprechen," all of these and others play a large role in
+Schreiber's sagas and in Heine's _Rabbi_. No one can read Schreiber's
+_Handbuch_ and Heine's _Rabbi_ without being convinced that the former
+stood sponsor for the latter.
+
+And lastly, Heine wrote before 1821 his poem entitled "Die zwei
+Brüder."[69] It is the tenth of the seventeen _Volkssagen_ by
+Schreiber, the same theme as the one treated by W. Usener already
+referrred to. It is an old story,[70] and Heine could have derived his
+material from a number of places, but not from Grimm's _Deutsche_
+_Sagen_, indeed from no place so convenient as Schreiber. Heine knew
+Schreiber's _Handbuch_[71] in 1823.
+
+The situation, then, is as follows: Heine had to have a source or
+sources, There are three candidates for Heine honors; Brentano,
+Loeben, Schreiber. Brentano has a number of supporters, though the
+evidence, external and internal, is wholly lacking. It would seem that
+lack of attention to chronology has misled investigators. Brentano's
+ballad can now be read in many places, but between about 1815 and 1823
+it was safely concealed in the pages of an unread and unknown novel.
+Loeben[72] has many supporters, though the external evidence, except
+for the fact that Heine corresponded with Brockhaus, is wholly
+lacking, and the internal weakens on careful study. It would seem that
+the striking similarity in form has misled investigators. Schreiber
+has only one supporter, despite the fact that the evidence, external
+and internal, is as strong as it can be without Heine's ever having
+made some such remark as the following: "Yes, in 1823 I knew _only_
+Schreiber's saga and borrowed from it." But Heine never made any such
+statement. It would seem that the strong assertions of so many
+investigators in favor of Brentano and Loeben have made careful study
+of the matter appear not worth while; the problem was apparently
+solved. And since Heine never committed himself in this connection,
+the matter will, in all probability, remain forever conjectural. This
+much, however, is irrefutable: even if Heine knew in 1823 the five
+_Loreleidichtungen_, that had then been written, those by Brentano,
+Niklas Vogt, Eichendorff, Schreiber, and Loeben, and if he borrowed
+what he needed from all of them, he borrowed more from Schreiber[73]
+than from the other four combined.[74]
+
+
+
+
+III
+
+
+Whore Brentano sowed, many have reaped. Since the publication of his
+_Godwi_, about sixty-five _Loreleidichtungen_[75] have been written in
+German, the most important being those by Brentano (1810-16), Niklas
+Vogt[76] (1811), Eichendorff (_ca._ 1812), Loeben (1821), Heine
+(1823), Simrock (1837, 1840), Otto Ludwig (1838), Geibel (1834, 1846),
+W. Müller von Königswinter (1851), Carmen Sylva, (_ca._ 1885), A.
+L'Arronge (1886), Julius Wolff (1886), and Otto Roquette (1889). In
+addition[77] to these, the story has been retold[78] many times, with
+slight alterations of the "original" versions, by compilers of
+chrestomathies, and parodies have been written on it. There is hardly
+a conceivable interpretation that has not been placed upon the
+legend.[79] The Lorelei has been made by some the evil spirit that
+entices men into hazardous games of chance, by others, she is the
+lofty incarnation of a desire to live and be blessed with the love
+that knows no turning away. The story has also wandered to Italy,
+France, England, Scotland, Scandinavia, and the United States,[80] and
+the heroine has proved a grateful theme for painters and sculptors. Of
+the epic works, that by Julius Wolff is of interest because of the
+popularity it has enjoyed. First published in 1886, it had reached the
+forty-sixth thousand in 1898. Of the dramas that by L'Arronge should
+be valuable, but it has apparently never been published; nor has Otto
+Ludwig's operatic fragment,[81] unless recently. Aside from Geibel,
+Otto Roquette is the most interesting librettist. Of the forty-odd
+(there were forty-two in 1898) composers of Heine's ballad, the
+greatest are Schumann, Raff, and Liszt, and in this case Friedrich
+Sucher,[82] who married the ballad to its now undivorceable melody.
+
+Though Brentano created[83] the story of his ballad, he located it in
+a region rich in legendary material, and it was the echo-motif of
+which he made especial use, and traces of this can be found in German
+literature as early as the thirteenth century.[84] The first real poet
+to borrow from Brentano was Eichendorff,[85] in whose _Ahnung und
+Gegenwart_ we have the poem since published separately under the title
+of "Waldgespräch," and familiar to many through Schumann's
+composition.[86] That Eichendorff's Lorelei operates the forest is
+only to be expected of the author of so many _Waldlieder_. Even if
+Heine had known it he could have borrowed nothing from it except the
+name of his heroine.[87]
+
+As to Loeben's saga, there can be but little doubt that he derived his
+initial inspiration from Schreiber, with whom he became intimately
+acquainted[88] at Heidelberg during the winter of 1807-8. This, of
+course, is not to say that Heine borrowed from Loeben. Indeed, one of
+the strongest proofs that Heine borrowed from Schreiber rather than
+from Loeben is the clarity and brevity, ease and poetry of Schreiber's
+saga as over against the obscurity and diffuseness, clumsiness and
+woodenness of Loeben's saga,[89] the plot of which, so far as the
+action is concerned, is as follows: Hugbert von Stahleck, the son of
+the Palsgrave, falls in love with the Lorelei and rows out in the
+night to her seat by the Rhine. In landing, he falls into the stream,
+the Lorelei dives after him and brings him to the surface. The old
+Palsgrave has, in the meanwhile, sent a knight and two servants to
+capture the Lorelei. They climb the lofty rock and hang a stone around
+the enchantress' neck, when she voluntarily leaps from the cliff into
+the Rhine below and is drowned.
+
+The one episode in Loeben not found in any of Schreiber's _Rheinsagen_
+is the story of the castaway ring miraculously restored from the
+stomach of the fish. This Loeben could have taken from "Magelone" by
+Tieck, or "Polykrates" by Schiller, both of whom he revered as men and
+with whose works he was thoroughly familiar. But there is nothing in
+Loeben that Heine could not have derived in more inspiring form from
+Schreiber; and Schreiber contains essentials not in Loeben at all.
+Indeed, a general study of Schreiber's manuals leads one to believe
+that the influence of them, as a whole, on Heine would be a most
+grateful theme: there is not one Germanic legend referred to in Heine
+that is not contained in Schreiber. And as a prose writer, Heine's
+fame rests largely on his travel pictures.[90]
+
+The points of similarity between Loeben's ballad and saga and the
+ballads and Märchen of Brentano, all of which Loeben knew in 1821, are
+wholly negligible. It remains,[91] therefore, simply to point out some
+of the peculiarities of Brentano's "Loreley" as protrayed in the
+_Rheinmärchen_--peculiarities that are interesting in themselves and
+that may have played a part in the development of the legend since
+1846.
+
+In "Das Märchen von dem Rhein und dem Müller Radlauf,"[92] Loreley is
+portrayed in a sevenfold capacity, as it were: seven archways lead to
+seven doors that open onto seven stairways that lead to a large hall
+in which Frau Lureley sits on a sevenfold throne with seven crowns
+upon her head and her seven daughters around her. This makes
+interesting reading for children, but Brentano did not lose sight of
+adults, including those who like to speculate as to the origin of the
+legend. He says: "Sie [Lorelei] ist eine Tochter der Phantasie,
+welches eine berühmte Eigenschaft ist, die bei Erschaffung der Welt
+mitarbeitete und das Allerbeste dabei that; als sie unter der Arbeit
+ein schönes Lied sang, hörte sie es immer wiederholen und fand endlich
+den Wiederhall, einen schönen Jüngling in einem Felsen sitzen, mit dem
+sie sich verheiratete und mit ihm die Frau Lureley erzeugte; sie
+hatten auch noch viele andere Kinder, zum Beispiel: die Echo, den
+Akkord, den Reim, deren Nachkommen sich noch auf der Welt
+herumtreiben."
+
+Just as Frau Lureley closes the first _Märchen_, so does she begin the
+second: "Von dem Hause Staarenberg und den Ahnen des Müllers
+Radlauf."[93] Here she creates, or motivates, the other characters.
+Her seven daughters appear with her, as follows: Herzeleid,
+Liebesleid, Liebeseid, Liebesneid, Liebesfreud, Reu und Leid, and
+Mildigkeit. She reappears then with her seven daughters at the close
+of the _Märchen_, and each sings a beautiful song, while Frau Lureley,
+the mother of Radlauf, proves to be a most beneficent creature.
+Imaginative as Brentano was, he rarely rose to such heights as in this
+and the next, "Märchen vom Murmelthier,"[94] in which Frau Lureley
+continues her great work of love and kindness. She rights all wrongs,
+rewards the just, corrects the unjust, and leads a most remarkable
+life whether among the poor on land or in her element in the water.
+All of which is poles removed from Loeben's saga, though he knew these
+_Märchen_,[95] for they were written when Brentano was his intimate
+friend.
+
+As to the importance of Loeben's saga, Wilhelm Hertz says: "Fast alle
+jüngeren Dichter knüpfen an seinen Erfindungen an, so besonders die
+zahlreichen musikdramatischen Bearbeitungen."[96] It is extremely
+doubtful that this statement is correct. It is plain that many of the
+lyric writers leaned on Schreiber, and the librettists could have done
+the same; or they could have derived their initial suggestion in more
+attractive form than that offered by Loeben. It seems, however, that
+Geibel[97] knew Loeben's saga. Though his individual poems on the
+Lorelei betray the influence of Heine, and though his drama resembles
+Brentano's ballad in mood and in unimportant details, it contains the
+same proper names of persons and places that are found in Loeben. And
+what is more significant, it contains two important events that are
+not found in any of the other versions of the saga: the scene with the
+wine-growers and the story of the castaway ring. The latter is an old
+theme, but that they both occur in Loeben and in Geibel would argue
+that the latter took them from the former. It is largely a question as
+to whether a poet like Geibel has to have a source for everything that
+is not absolutely abstract. The entire matter is complicated.[98] The
+paths of the Lorelei have crossed each other many times since Brentano
+started her on her wanderings. To draw up a map of her complete
+course, showing just who influenced whom, would be a task more
+difficult than grateful.[99]
+
+As to Brentano's original ballad,[100] try as we may to depreciate the
+value of his creation by tracing it back to echo-poetry and by
+coupling it with older legends, such as that of Frau Holla, we are
+forced to give him credit for having not simply revived but for having
+created a legend that is beautiful in itself and that has found a host
+of imitators, direct and indirect, the world over, including one of
+the world's greatest lyric writers. This then is just one of the many
+things that the German romanticists started; it is just one of their
+many contributions to the literature that lasts. And for the
+perpetuation of this one, students of German literature have, it
+seems, given the obscure Graf von Loeben entirely too much credit. But
+who will give the oft-scolded Clemens Brentano too little credit? Only
+those who dislike romanticism on general principles and who will not
+be convinced that the romanticists could be original.[101]
+
+
+                               ALLEN WILSON PORTERFIELD
+
+COLUMBIA UNIVERSITY
+
+NEW YORK CITY
+
+
+
+
+FOOTNOTES:
+
+
+[1] Ferdinand August Otto Heinrich Graf von Loeben, the scion of an
+    old, aristocratic, Protestant family, was born at Dresden, August
+    18, 1786. He received his first instruction from private
+    tutors. For three years from 1804 on, he unsuccessfully, because
+    unwillingly, studied law at the University of Wittenberg. In 1807
+    he entered, to his profound delight, the University of Heidelberg,
+    where, in association with Arnim, Brentano, and Görres, he
+    satisfied his longing for literature and art. Beginning with 1808
+    he lived alternately at Wien, Dresden, and Berlin and with Fouqué
+    at Nennhausen.  He took an active part in the campaign of 1813-14,
+    marched to Paris, and returned after his company had been
+    disbanded, to Dresden, where, in 1817, he married Johanna Victoria
+    Gottliebe _geb._ von Bressler and established there his
+    permanent abode. In 1822 he suffered a stroke of apoplexy from
+    which he never recovered: even the magnetic treatment given him by
+    Justinus Kerner proved of no avail. He died at Dresden, April 3,
+    1825. See _Allgemeine deutsche Biographie_, XIX, 40-45. The
+    article is by Professor Muncker. Wilhelm Müller also wrote an
+    article full of lavish praise of Loeben in _Neuer Nekrolog der
+    Deutschen_, III, Jahrg. 1824, Ilmenau, 1827.
+
+[2] Meyer (6th ed.) does not mention Loeben even in the articles on
+    Fouqué and Malsburg, two of Loeben's best friends; Brockhaus
+    (Jubilee ed.) mentions him as one of Eichendorff's friends in the
+    article on Eichendorff, but neither has an independent note on
+    Loeben. Nor is he mentioned in such compendious works on the
+    nineteenth century as those by Gottschall, R.M. Meyer
+    (_Grundriss_ and _Geschichte_), and Fr. Kummer. Biese
+    says (_Deutsche Literaturgeschichte_, II. 436) of him: "Auch
+    ein so ausgesprochenes Talent, wie es Graf von Loeben war, entging
+    nicht der Gefahr, die Romantik in ihre Karikatur zu verzerren."
+
+[3] Cf. _Allgemeine deutsche Biographie_, XIX, 42.
+
+[4] Partial lists of his works are given in: Goedeke,
+    _Grundriss_, VI, 108-10 (2nd ed.): _Allgemeine deutsche
+    Biographie_, XIX. 40-45; the sole monograph on Loeben by
+    Raimund Pissin. _Otto Heinrich Graf von Loeben, sein Leben und
+    seine Werke_, Berlin, 1905, 326 pages.  By piecing these lists
+    together--for they vary--it seems that Loeben wrote, aside from
+    the works mentioned above, the following: 1 conventional drama, 1
+    musical-romantic drama, 2 narrative poems, one of which is on
+    Ferdusi, 3 collections of poems, between 30 and 40 novelettes,
+    fairy tales and so on. and_ "einige tausend" aphorisms and
+    detached thoughts. It is in Pissin's monograph that Loeben's
+    position in the Heidelberg circle of 1807-8 is worked out. as
+    follows: Loeben and Eichendorff constituted one branch, Arnim and
+    Brentano the other, Görres stood loosely between the two, and the
+    others sided now with one group, now with the other.
+
+[5] The verses are from _Geständnisse_, No. 125 in Pissin's
+   collection of Loeben's poems.
+
+[6] _Geständnisse_. No. 125.
+
+[7] Aside from the reviews, letters, and individual poems reprinted
+    here and there, the following works were accessible to the writer:
+    (1) _Das weisse Ross, eine altdeutsche Familienchronik; (2) Die
+    Sonnenkinder, eine Erzählung; (3) Die Perle und die Maiblume, eine
+    Novelle; (4) Cephalus und Procris, ein Drama; (5) Ferdusi; (6)
+    Persiens Ritter, eine Erzählung; (7) Die Zaubernächte am Bosporus,
+    ein romantisches Gedicht; (8) Prinz Floridio, ein Märchen; (9)
+    Leda; eine Erzählung; (10) Weinmärchen; (11) Gesänge._
+
+[8] Eichendorff's relation to Loeben can be studied in the edition of
+    Eichendorff's works by Wilhelm Kusch, Regensburg. Vols. III,
+    X-XIII have already appeared.  For a poetization of Loeben, see
+    _Ahnung und Gegenwart_, chap. xii, pp. 144 ff. For a
+    historical account of Loeben, see _Erlebtes_, chap. x,
+    pp. 425 ff. It is here that Eichendorff makes Goethe praise Loeben
+    in the foregoing fashion.
+
+[9] There is no positive evidence that Goethe made any such remark. In
+    his _Gespräche_ (Biedermann. V, 270; VI, 198-99) there are
+    two references to Loeben by Goethe; they are favorable but
+    noncommittal as to his poetic ability.
+
+[10] Cf. _Die Tagebücher des Gräfen von Platen_, Stuttgart, 1900.
+    Under date of August 14, 1824, Platen wrote: "Es enthält viele
+    gute Bemerkungen, wiewohl diese Art Prosa nicht nach meinem Sinne
+    ist." The reference is to Loeben's commentary to Madame de Staëls
+    _De l'Allemayne._
+
+[11] Cf. _Heinrick von Kleists Berliner Kämpfe_, Berlin, 1901, pp.
+    490-96. The story in question is "Die furchtbare Einladung."
+
+[12] Cf. _Herm. Anders Krüger, _Pseudoromantik. Friedrich Kind und der
+    Dresdener Liederkreis._ Leipzig. 1904. pp. 144-48. Krüger also
+    discusses Loeben in his _Der junge Eichendorff._ Leipzig. 1904.
+    pp. 88 and 128.
+
+[13] Cf. Fouqué, Apel. Miltitz. _Beiträge zur Geschichte der deutschen
+    Romantik_, Leipzig,1908. In a letter to his brother. Fouqué wrote
+    (January 6, 1813): "Ein Dichter, meine ich, ist er allerdings, ein
+    von Gott dazu bestimmter." Fouqué, however, realized Loeben's many
+    weaknesses as a poet, though at Loeben's death he wrote a poem on
+    him praising him as the master of verse technique.
+
+[14] Cf. Kosch's edition of Eichendorff. XIII. 65. Loeben says: "In
+    Weimar war ich im vorigen Winter bei Goethe; er war mir
+    freundlich." The "previous winter" was 1813.
+
+[15] Cf. Kosch's edition, XI, 220. The remark was made in 1807.
+
+[16] Cf. Pissin. p. 25. The incident occurred in 1803 and Herder died
+    in 1804.
+
+[17] Cf. Kosch's edition, XI, 308. Lochen himself utterly condemned
+    this work later. See Pissin, pp. 238-39, 267-08. Pissin gives the
+    number of verse and strophe forms on p. 266.
+
+[18] Cf. Pissin, p. 267. Uhland made the remark in 1812--his own most
+    fruitful year as a poet.
+
+[19] The story was published in 1817. The full title is _Das weisse
+    Ross, eine altdeutsche Familienchronik in sechs und dreissig
+    Bildern._ It is 160 pages long.
+
+[20] An idea as to the lack of action in this story can be derived
+    from the following statement by Otto (pp. 127-28), the brave hero:
+    "Was man Schicksale zu nennen pflegt, habe ich wenige gehabt, aber
+    erfahren habe ich dennoch viel und mehr als mancher durch seine
+    glänzenden Schicksale erfahren mag: nämlich die Führungen der
+    ewigen Liebe habe ich erfahren, die keinen verlässt. und alles
+    herrlich hinausfuhrt." And then Siegenot, the other hero, says
+    that this is very true--whereupon they embrace each other.
+
+[21] The story was first published In Urania: Taschenbuch für Damen
+    auf das Jahr 1818. pp. 305-37.
+
+[22] Aside from the poems in Pissin's collection in the _D.L.D. des
+    18. u. 19. Jahr._, Ignaz Hub's _Deutschlands Balladen- und
+    Romanzen-Dichter_, Karlsruhe, 1845, contains: (1) "Romanze von der
+    weissen Rose," (2) "Der Tanz mit dem Tode," (3) "Der Bergknapp,"
+    (4) "Das Schwanenlied." "Loreley" is also reprinted here, with
+    modifications for the worse. "Schau', Schiffer, schau' nicht
+    hinauf," is certainly not an improvement on Loeben's "Lieb Knabe,
+    sieh' nicht hinauf,"
+
+[23] The following are common forms: "Nez," "zwey," "versteken,"
+    "Sfären," "Saffo," "Stralenboten," "Abendrothen." "Uebermuth,"
+    and so on, though the regular forms, except in the case of
+    "Saffo," also occur.
+
+[24] "Der Abend" reminds one strongly of Hölderlin's "Die Nacht,"
+    while "Tag und Nacht" goes back undoubtedly to Novalis' "Hymnen an
+    die Nacht," W. Schlegels sonnet on the sonnet stood sponsor for
+    "Das Sonett," and Goethe and Tieck also reoccur in changed
+    dress. The poems on Correggio (73), Ruisdael (75), Goethe (137),
+    Tieck (138-39), and Novalis (141) sound especially like
+    W. Schlegel's poems on other poets and artists.
+
+[25] In his _Geschichte des Sonettes in der deutschen
+    Dichtung_.'Leipzig, 1884. Heinrich Weltl (pp. 210-17) criticizes
+    Loeben's sonnets most severely from the point of view of content;
+    and as to their form he says: "Blos die Form, oder gar die blosse
+    Form der Form ist beachtenswert." This is unquestionably a case of
+    warping the truth in order to bring in a sort of pun.
+
+[26]  The triolett is worth quoting as a type of Loeben's prettiness:
+
+	  Galt es mir, das süsse Blicken
+	  Aus dem hellen Augenpaar?
+	  Unter'm Netz vom goldnen Haar
+	  Galt es mir das süsse Blicken?
+	  Einem sprach es von Gefahr,
+	  Einen wollt' es licht umstricken;
+	  Galt es mir, das süsso Blicken
+	  Aus dem hellen Augenpaar.
+
+[27] An idea as to Loeben's temperament can he derived from the
+    following passage in a letter to Tieck: "Gott sei mit Ihnen und
+    die heilige Muse! Oft drängt es mich, niederzuknien im Schein, den
+    Albrecht Dürers und Novalis Glorie wirft, im alten frommen
+    Dom. dann denk' ich Ihrer und ich lieg' an Ihrer Seele. Ich fühle
+    Sie in mir, wie man eine Gottheit fühlt in geweihter
+    Stunde. 'Liebe denkt in sel'gen Tönen, denn Gedanken stehn zu
+    fern." The quotation should read "süssen" instead of "sel'gen."
+    See _Briefe an Tierk._ edited by Holtei, II, 266.
+
+[28] As a corrective to the monographs of Pissin on Loeben and
+    H. A. Krüger on Eichendorff.  one should read Wilhelm Kosch's
+    article in _Euphorion_ (1907, pp. 310-20). Kosch.  contends
+    that Pissin and Krüger have vastly overestimated Loeben's
+    influence on Eichendorff, and that Loeben in general was "eine
+    bedeutungslose Tageserscheinung."
+
+[29] The complete title is _Godwi, oder das steinerne Bild der
+    Mutter. Ein verwilderter Roman von Maria_. The very rare first
+    edition of this novel, in two volumes, is in the Columbia
+    Library. Friedrich Wilmans was the publisher.
+
+[30] Cf. Alfred Kerr, _Godwi. Ein Kapitel deutscher
+    Romantik_. Berlin, 1898, p. 2.
+
+[31] Cf. Wilhelm Hertz, "Über den Namen Lorelei," _Sitzungsberichte
+    der k.b. Akademie der Wissenschaften zu München_, Jahrgang
+    1886, pp. 217-51. For the etymologist, this is an invaluable
+    study.
+
+[32] The superficial similarity of those two poems can easily be
+    exaggerated. The rhyme "sitzet-blitzet" is perfectly natural: the
+    Lorelei had to be portrayed as "sitzen"; what is then easier than
+    "blitzen"? In "Ritter Peter von Stauffenberg und die Meerfeye"
+    (Des Knaben Wunderhorn, ed. of Eduard Grisebach, p. 277) we have
+    this couplet:
+
+	Er sieht ein schönes Weib da sitzen.
+	Von Gold und Silber herrlich blitzen.
+
+    For more detailed illustrations, see below.
+
+[33] It is worth while to note the actual date of Heine's composition
+    of his ballad, since so eminent an authority as Wilhelm Scherer
+    (_Ges. d. deut. Lit._, 8th ed., p. 662) says that Heine wrote the
+    poem in 1824. And Eduard Thorn (_Heinrich Heines Beziehungen zu
+    Clemens Brentano_, p. 90.) says that he published it in 1826.
+    This is incorrect, as is also Thorn's statement, p. 88, that
+    Brentano wrote his ballad in 1802. For the correct date of Heine's
+    ballad, see _Sämtliche Werke_, Hamburg, 1865, XV, 200.]
+
+[34] An instance of this is seen in _Selections from Heine's
+    Poems_, edited by H.S. White, D.C. Heath & Co., Boston, 1900,
+    p. 182. Professor White does, to be sure, refer to Strodtmann for
+    the details; but Strodtmann does not prove anything. And in
+    _Heines Werke in fünfzehn Teilen_, edited by Hermann
+    Friedeman, Helene Herrmann. Erwin Kaliseher. Raimund Pissin, and
+    Veit Valentin, we have the comment by Helene Herrmann, who follows
+    Pissin: "Die Loreleysage, erfunden von Clemens Brentano; vielfach
+    von Romantikern gestaltet. Zwischen Brentanos Romanze und Heines
+    Situationsbild steht die Behandlung durch den Grafen Loeben, einen
+    unbedeutenden romantischen Dichter."
+
+[35] The best finished collection of Heine's letters is the one by
+    Hans Daffis, Berlin, 1907, 2 vols. This collection will, however,
+    soon be superseded by _Heinrich Heines Briefwechsel_, edited
+    by Friedrich Hirth, München and Berlin, 1914. The first volume
+    covers Heine's life up to 1831. In neither of these collections is
+    either Brentano or Loeben mentioned. There are 643 pages in
+    Hirth's first volume.
+
+[36] For a discussion of _Godwi_, see _Clemens Brentano: Ein
+    Lebensbild_, by Johannes Baptista Diel and Wilhelm Kreiten,
+    Freiburg i.B., 1877, two volumes in one, pp. 104-25.  As to the
+    obscurity of Brentano's work, one sentence (p. 116) is
+    significant: "_Godwi_ spukt heutzutage nur mehr in den Köpfen
+    der liberalen Literaturgeschichtsschreiber, denen er einen
+    willkommenen Vorwand an die Hand gibt, mit einigen stereotyp
+    abgeschriebenen Phrasen den Stab über den phantastischen,
+    verschwommenen, unsittlichen u.s.w., u.s.w. Dichter zu brechen."
+
+[37] _Clemens Brentano: Godwi oder das steinerne Bild der
+    Mutter. Ein verwilderter.  Roman_. Herausgegeben und
+    eingeleitet von Dr. Anselm Ruest, Berlin, 1906. Ruest edited the
+    work because he thought it was worth reviving. In this edition,
+    the ballad is on pages 507-10. Bartels (Handbuch, 2d ed., p. 400)
+    lists a reprint in 1905, E.A.  Regener, Berlin.
+
+[38] II, 391-93.
+
+[39] For the various references, see Thorn's _Heinrich Heines
+    Beziehungen zu Clemens Brentano_. pp. 88-90. His study is
+    especially unsatisfactory in view of the fact that he says (p. 88)
+    in this connection: "Wirklich Neues zu bringen ist uns nicht
+    vergönnt, denn selbstverständlich haben die Forscher dieses
+    dankbare und interessante Objekt schon in der eingehendsten Weise
+    untersucht." And Thorn's attempt to show that Heine knew
+    _Godwi_ early in life by pointing out similarities between
+    poems in it and poems by Heine is about as untenable as argument
+    could be, in view of the great number of poets who may have
+    influenced Heine in these instances; Thorn himself lists (p. 63)
+    Bürger, Fouqué, Arnim, E.T.A. Hoffmann.
+
+[40] In Pissin's collection of Loeben's poems (_D.L.D_., No. 135)
+    we have a peculiar note.  After the ballad (_Anmerk._,
+    p. 161), which Pissin entitles "Der Lurleifels," we read:
+    "N.d. Hs." This would argue that Loeben did so entitle his ballad
+    and that Pissin had access to the original MS. But then Pissin
+    says: "Auch, die gleichnamige Novelle einleitend, in der
+    _Urania_ auf 1821." But in _Urania_ the novelette is
+    entitled "Eine Sage vom Rhein." and the ballad is entitled
+    "Loreley." Bet him who can unravel this!
+
+[41] For the entire story of the composition and publication of the
+    _Rheinmärchen_, see _Die Märchen von Clemens Brentano_,
+    edited by Guido Görres. 2 vols. in 1, Stuttgart, 1879 (2d ed.)
+    This edition contains the preface to the original edition of 1840,
+    pp. i-1.
+
+[42] Thorn, who drew on M.R. Hewelcke's _Die Loreleisage_,
+    Paderborn, 1908, makes (p. 90) this suggestion. It is impossible
+    for the writer to see how Thorn can be so positive in regard to
+    Brentano's influence on Heine. And one's faith is shaken by this
+    sentence on the same page: "Brentano veröffentlichte sein
+    _Radlauf-Märchen_ erst 1827, Heine 'Die Lorelei' schon 1826."
+    Both of these dates are incorrect. Guido Görres, who must be
+    considered a final authority on this matter, says that, though
+    Brentano tried to publish his _Märchen_ as early as 1816,
+    none of them were published until 1846, except extracts from "Das
+    Myrtenfräulein," and a version of "Gockel," neither of which bears
+    directly on the Lorelei-matter.
+
+[43] Of Görres' second edition, I, 250: "Nachdem Murmelthier herzlich
+    für diese Geschenke gedankt hatte, sagte Frau Else: 'Nun, mein
+    Kind! kämme mir und Frau Lurley die Haare, wir wollen die deinigen
+    dann auch kämmen'--dann gab sie ihr einen goldnen Kamm, und
+    Murmelthier kämmte Beiden die Haare und flocht sie so schön, dass
+    die Wasserfrauen sehr zufrieden mit ihr waren."
+
+[44] In _H. Heines Leben und Werke_. Hamburg, 1884 (3d ed.),
+    Bd. I. p. 363. In the notes, Strodtmann reprints Loeben's ballad,
+    pp. 696-97. His statement is especially unsatisfactory in view of
+    the fact that he refers to the "fast gleicher Inhalt," though the
+    essentials of Heine's ballad are not in Loeben's, and to
+    "einegewisse Ähnlichkeit in Form," though the similarity in form
+    is most pronounced.
+
+[45] In _Allgemeine deut. Biog_., XIX. 44. It is interesting to
+    see how Professor Muncker lays stress on this matter by placing in
+    parentheses the statement: "Einige Züge der letzten Geschichte
+    ["Sage vom Rhein"] regten Heine zu seinem bekannten Liede an."
+
+[46] In _Dichtungen von Heinrich Heine, ausgewählt und
+    erläutert_, Bonn, 1887, p. 326.  Hessel's Statement is
+    peculiarly unsatisfactory, since he says (p. 309) that he is going
+    to the sources of Heine's poems, and then, after reprinting
+    Loeben's ballad, he says: "Dieses Lied war Heines nächstes
+    Vorbild. Ausführlicheres bei Strodtmann, Bd. I, S. 362."  And this
+    edition has been well received.
+
+[47] In _Grundriss, VI, 110. Again we read in parentheses: "Aus
+    diesem Liede und dem Eingänge der Erzählung schöpfte H. Heine sein
+    Lied von der Loreley."
+
+[48] In _Ges. d. deut. Lit_., p. 662 (8th ed.).
+
+[49] In _Heinrich Heines Beziehungen zum deutschen Mittelalter_,
+    Berlin, 1908, pp., 94-95.  Mücke is the most cautious of the ten
+    authorities above listed; and he anticipated Walzel in his
+    reference to Schreiber's _Handbuch_.
+
+[50] In _Ueber den Namen Lorelei, p. 224. Hertz is about as cautious
+    as Strodtmann; "Es ist kaum zu bezweifeln dass," etc.
+
+[51] In _Sämtliche Werke_, I, 491.
+
+[52] In _Hauptströmungen_. VI, 178. Brandes says: "Der Gegenstand
+    ist der gleiche, das Versmass ist dasselbe, ja die Reimen sind an
+    einzelnen Stellen die gleichen: blitzetsitzet; statt 'an-gethan'
+    steht da nur 'Kahn-gethan.'"
+
+[53] In _Der deutschen Romantiker_, Leipzig, 1903, p. 235.
+
+[54] In _Deutsches Literatur-Lexikon_, München, 1914, p. 271. It
+    is significant that Krüger makes this statement, for the subtitle
+    of his book Is "Biographisches und bibliographisches Handbuch mit
+    Motivübersichten und Quellennachweisen." And it is, on the whole,
+    an extremely useful book.
+
+[55] It is impossible to see how Brandes can lay great stress on the
+    fact that this rhyme occurs in both poems. The following rhymes
+    are found on the following pages of the Elster edition, Vol. I, of
+    Heine's works: "Spitze-Blitze" (36), "sitzen-nützen" (116),
+    "Witzen-nützen" (124), "sitzen-blitzen" (216),
+    "erhitzet-bespitzet" (242), "Blitz-Sitz" (257), "blitzt-gestützt"
+    (276), "blitze-besitze" (319), "blitzet-gespitzet" (464).  And in
+    Loeben's poems the rhyme is equally common. The first strophe of
+    his _Ferdusi_ runs as follows:
+
+	Hell erglänzt an Persiens Throne
+	Wo der grosse Mahmud sitzt;
+	Welch Juwel ist's, das die Krone
+	So vor allen schön umblitzt.
+
+    And in Schreiber's saga we have in juxtaposition, the
+    words. "Blitze" and "Spitze."  The rhyme "Sitze-Blitze" occurs in
+    Immanuel's "Lorelei," quoted by Seeliger, p. 31.
+
+[56] There are, to be sure, only 114 words in Loeben's ballad if we
+    count "um's," "dir's," and "glaub's" as three words and not six.
+
+[57] These numbers are in the Columbia Library.
+
+[58] During these years Heine's letters are dated from Göttingen,
+    Berlin, Gnesen, Berlin, Münster, Berlin, Lüneburg, Hamtburg,
+    Ritzenbüttel, and Lüneburg. During these same years Loeben was in
+    Dresden and he was ill.
+
+[59] We need only to mention such a strophe as the following from
+    _Atta Troll_:
+
+	Klang das nicht wie Jugendträume.
+	Die ich träumte mit Chamisso
+	Und Brentano und Fouqué
+	In den blauen Mondscheinnächten?
+
+    See Elster edition, II, 421. The lines were written in 1843.
+
+[60] The first edition of Karl Simrock's _Rheinsagen_ came out in
+    1836. This was not accessible. The edition of 1837, "zweite,
+    vermehrte Auflage," contains 168 poems, 572 pages; this contains
+    Simrock's "Ballade von der Lorelei." The edition of 1841 also
+    contains Simrock's "Der Teufel und die Lorelei." The book contains
+    455 pages, 218 poems. The sixth edition (1809) contains 231 poems.
+    In all editions the poems are arranged in geographical order from
+    Südersee to Graubünden. Alexander Kaufmann's _Quellenangaben und
+    Bemerkungen zu Kart Simrocks Rheinsagen_ throws no new light on
+    the Lorelei-legend.
+
+[61] Cf. _Heinrich Heines sämtliche Werke_, edited by Walzel,
+    Fränkel, Krähe, Leitzmann, and Peterson. Leipzig. 1911, II,
+    408. So far as I have looked into the matter, Walzel stands alone
+    in this belief, though Mücke, as has been pointed out above,
+    anticipated him in the statement that Heine drew on Schreiber in
+    this case. But Mücke thinks that Heine also knew Loeben.
+
+[62] The reference in question reads as follows: "Ich will kein Wort
+    verlieren über den Wert dieses unverdaulichen Machwerkes [_Les
+    Burgraves_], das mit allen möglichen Prätensionen auftritt,
+    namentlich mit historischen, obgleich alles Wissen Victor Hugos
+    über Zeit und Ort, wo sein Stück spielt, lediglich aus der
+    französischen Uebersetzung von Schreibers _Handbuch für
+    Rheinreisende_ geschöpft, ist." This was written March 20, 1843
+    (see Elster edition, VI. 344).
+
+[63] Aloys Wilhelm Schreiber (1763-1840) was a teacher in the Lyceum
+    at Baden-Baden (1800-1802), professor of aesthetics at Heidelberg
+    (1802-13) where he was intimate with the Voss family,
+    historiographer at Karlsruhe (1813-26), and in 1826 he retired and
+    became a most prolific writer. He interested himself in guidebooks
+    for travelers. His manuals contain maps, distances, expense
+    accounts, historical sketches, in short, about what the modern
+    _Baedeker_ contains with fewer statistics and more popular
+    description.  His books appeared in German, French, and
+    English. In 1812 he published his _Handbuch für Reisende am
+    Rhein von Schaffhausen bis Holland_, to give only a small part
+    of the wordy title, and in 1818 he brought out a second, enlarged
+    edition of the same work with an appendix containing 17
+    _Volkssagen aus den Gegenden am Rhein und am Taunus_, the
+    sixteenth of which is entitled "Die Jungfrau auf dem Lurley." His
+    books were exceedingly popular in their day and are still
+    obtainable. Of the one here in question, Von Weech
+    (_Allgem. deut. Biog._, XXXII, 471) says: "Sein _Handbuch
+    für Reisende am Rhein_, dessen Anhang eine wertvolle Sammlung
+    rheinischer Volkssagen enthält, war lange der beliebteste Führer
+    auf Rheinreisen." There are 7 volumes of his manuals in the New
+    York Public Library, and one, _Traditions populaires du
+    Rhin,_ Heidelberg, 1830 (2d ed.), is in the Columbia
+    Library. It contains 144 legends and beautiful engravings. (The
+    writer has just [October 15, 1915] secured the four Volumes of
+    Schreiber's _Rheinische Geschichten und Sagen_. The fourth
+    volume, published in 1830. is now a very rare book.)
+
+[64] The remainder of Schreiher's plot is as follows: The news of the
+    infatuated hero's death so grieved the old Count that ho
+    determined to have the Lorelei captured, dead or alive. One of his
+    captains, aided by a number of brave followers, set out on the
+    hazardous expedition. First, they surround the rock on which the
+    Lorelei sits, and. then three of the most courageous ascend to her
+    seat and determine to kill her, so that the danger of her
+    repealing her former deed maybe forever averted. But when they
+    reach her and she hoars what they intend to do, she simply smiles
+    and invokes the aid of her Father, who immediately sends two white
+    horses--two white waves--up the Rhine, and. after leaping down to
+    the Rhine, she is safely carried away by these. She was never
+    again seen, but her voice was frequently heard as she mocked, in
+    echo, the songs of the sailors on her paternal stream.
+
+[65] It is not simply in the appendix of Schreiber's _Handbuch_
+    that he discusses the legend of Lorelei, but also in the
+    scientific part of it. Concerning the Lorelei rock he says
+    (pp. 174-75): "Ein wunderbarer Fels schiebt sich jetzt dem
+    Schiffer gleichsam in seine Bahn--es ist der Lurley (von Lure,
+    Lauter, und Ley, Schiefer) aus welchem ein Echo den Zuruf der
+    Vorbeifahrendem fünfzehnmal wiederholt. Diesen Schieferfels
+    bewohnte in grauen Zeiten eine Undine, welche die Schiffenden
+    durch ihr Zurufen ins Verderben lockte."
+
+[66] Brockhaus says (p. xxiv): "Die einfache Sage von den beiden
+    feindlichen Brüdern am Rhein, van denen die Trümmer ihrer Bürgen
+    selbst noch _Die Brüder_ heissen ist in A. Schreiber's
+    Auswahl von Sagen jener Gegenden zu lesen." Usener's tragedy is
+    published In full in this number of _Urania_, pp. 383-442.
+
+[67] Cf. Elster edition, IV, 406-9. The circumstantial way in which
+    Heine retells this story is almost sufficient to lead one to
+    believe that he had Schreiber at hand when he wrote this part of
+    Elementargeister; but he says that he did not.
+
+[68] Discussion as to the first conception of Heine's _Rabbi_ are
+    found in: _Heinrich Heines Fragment_; _Der Rabbi von Bacharach_,
+    by Lion Feuchtwanger, München, 1907; _Heinrich Heine und Der Rabbi
+    von Bacharach_, by Gustav Karpeles, Wien, 1895.
+
+[69] The poem is one of the _Junge Leiden_, published in 1821, Elster
+    (I, 490) says: "Eine bekannte Sage, mit einzelnen vielfach
+    wiederkehrenden uralten Zügen, dargestellt In Simrocks
+    _Rheinsagen_." Simrock had, of course, done nothing on the
+    _Rheinsagen_ in 1821, being then only nineteen years old and an
+    inconspicuous student at Bonn. Walzel says (I. 449.): "Mit einem
+    andern Ausgang ist die Sage in dem von Heine vielbenutzten
+    _Handbuch für Reisende am Rhein_ von Aloys Schreiber (Heidelberg,
+    1816) überliefert."  The edition of this work in the New York
+    Public Library has no printed date, but 1818 is written in. Walzel
+    may be correct. The outcome of Heine's poem is, after all, not so
+    different: In Schreiber, both brothers relinquish their clalms to
+    the girl and remain unmarried; in Heine the one kills the other
+    and in this way neither wins the girl.
+
+[70] It is the same story as the one told by Bulwer-Lytton in his
+    _Pilgrims of the Rhine_.  chap. xxiv.
+
+[71] All through the body of Schreiber's _Handbuch_, there are
+    references to the places and legends mentioned in Heine's
+    _Rabbi_. On Bacharach there is the following: "Der Reisende,
+    wenn er auch nur eine Stunde in Bacharach verweilt, unterlasse
+    nicht, die Ruinen von Staleck zu besteigen, wo eine der schönsten
+    Rheinlandschaften sich von seinen Blicken aufrollt. Die Burg von
+    sehr beträchtlichem Umfang scheint, auf den Trümmern eines
+    Römerkastells erbaut. Die, welche die Entstehung derselben den
+    Hunnen zuschreiben, well sie in Urkunden den Namen Stalekum hat,
+    sind in einem Irrtum befangen, denn Stalekum oder Stalek heisst
+    eben so viel als Stalbühl, oder ein Ort, wo ein Gericht gehegt
+    wurde. Pfalzgraf Hermann von Staleck, starb im 12ten Jahrhundert;
+    er war der letzte seines Stammes, und von ihm kam die Burg, als
+    Kölnisches Lehen, an Konrad Von Staufen."
+
+[72] To come back to Heine and Loeben, Herm. Anders Krüger says (p.,
+    147) in his _Pseudoromantik:_ "Heinrich Heine, der überhaupt
+    Loeben studiert zu haben scheint," etc. He offers no proof. If one
+    wished to make out a case for Loeben, it could bo done with his
+    narrative poem "Ferdusi" (1817) and Heine's "Der Dichter Ferdusi."
+    Both tell about the same story; but each tells a story that was
+    familiar in romantic circles.
+
+[73] In reply to a letter addressed to Professor Elster on October 4,
+    1914, the writer received the following most kind reply on
+    November 23: "Die Frage, die Sie an mich richten ist leicht
+    beantwortet: Heine hat Loeben in seinen Schriften nicht erwähnt,
+    aber das besagt nicht viel; er hat manchen benutzt, den er nicht
+    nennt. Und es kann _gar keinem Zweifel unterliegen_, dass
+    Loeben für die Lorelei Heines _unmittelbares_ Vorbild ist;
+    darauf habe ich öfter hingewiesen, aber wohl auch andere. Das
+    Taschenbuch _Urania_ für das Jahr 1821, wo Loebens Gedicht
+    u. Novelle zuerst erschienen, ist unserem Dichter zweifellos zu
+    Gesicht gekommen." No one can view Professor Elster in any other
+    light than as an eminent authority on Heine, but his certainty
+    here must be accepted with reserve, and his "wohl auch andere" is,
+    in view of the fact that, he was by no means the first, and
+    certainly not the last, to make this assertion, a trifle
+    disconcerting.
+
+[74] The ultimate determining of sources is an ungrateful theme. Some
+    excellent suggestions on this subject are offered by Hans Rohl in
+    his _Die ältere Romantik und die Kunst des jungen Goethe_,
+    Berlin, 1909, pp. 70-72. This work was written under the general
+    leadership of Professor Elster. The disciple would, in this case,
+    hardly agree with the master. Pissin likewise speaks wisely in
+    discussing the influence of Novalis on Loeben in his monograph on
+    the latter, pp. 97-98. and 129-30. And Heine himself (Elster
+    edition, V. 294) says in regard to the question whether Hegel did
+    borrow so much from Schelling: "Nichts ist lächerlicher als das
+    reklamierte Eigentumsrecht an Ideen."  He then shows how the ideas
+    were not original with Schelling either; he had them from
+    Spinoza. And it is just so here. Brentano started the legend;
+    Heine goes back to him indirectly. Eichenidorff and Vogt directly;
+    Schreiber borrowed from Vogt, Loeben from Schreiber, and Heine
+    from Schreiber--and thereafter it would be impossible to say who
+    borrowed from whom.
+
+[75] The majority of the _Loreleidichtungen_ can be found in:
+    _Opern-Handbuch_, by Hugo Riemann, Leipzig, 1886: _Zur
+    Geschichte der Märchenoper_, by Leopold Schmidt, Halle, 1895;
+    _Die Loreleysage in Dichtung und Musik_, by Hermann Seeliger,
+    Leipzig, 1898.  Seeliger took the majority of his titles from
+    _Nassau in seinen Sagen, Geschichten und Liedern_, by
+    Henniger, Wiesbaden, 1845. At least he says so, but one is
+    inclined to doubt the statement, for "die meisten Balladen" have
+    been written since 1845. Seeliger's book is on the whole
+    unsatisfactory. He has, for example, Schreiber improving on, and
+    remodeling Loeben's saga; but Schreiber was twenty-three years
+    older than Loeben, and wrote his saga at least three years before
+    Loeben wrote his.
+
+[76] In F. Gräter's _Idunna und Hermode, eine Alterthumszeitung_,
+    Breslau, 1812, pp.  191-92, Gräter gives under the heading, "Die
+    Bildergallerie des Rheins." thirty well-known German sagas. The
+    twenty-seventh is "Der Lureley: Ein Gegenstück zu der Fabel von
+    der Echo." It is the version of Vogt.
+
+[77] Aside from the above, some of the less important authors of
+    lyrics, ballads, dramas, novels, etc., on the Lorelei-theme are:
+    J. Bartholdi, H. Bender, H. Berg, J. P. Berger, A. H. Bernard,
+    G. Conrad, C. Doll, L. Elchrodt, O. Fiebach, Fr. Förster,
+    W. Fournier, G. Freudenberg, W. Freudenberg, W. Genth, K. Geib,
+    H. Grieben, H. Grüneberg, G.  Gurski, Henriette Heinze-Berg,
+    A. Henniger, H. Hersch, Mary Koch, Wilhelmine Lorenz, I. Mappes,
+    W. Molitor, Fr. Mücke, O. W. Notzsch, Luise Otto, E. Rüffer, Max
+    Schaffroth, Luise Frelin von Sell, E. A. W. Siboni, H. Steinheuer,
+    Adelheid von Stolterfoth, A.  Storm, W. von Waldbrühl, L. Werft,
+    and others even more obscure than these.
+
+[78] In Menco Stern's _Geschichten vom Rhein_, the story is told
+    so as to connect the legend of the Lorelei with the treasures of
+    the _Nibelungenlied_. In this way we have gold in the
+    mountain, wine around it, a beautiful woman on it--what more could
+    mortal wish? Sympathy! And this the Lorelei gives him in the
+    echo. In reply to an inquiry, Mr. Stern very kindly wrote as
+    follows: "The facts given in my _Geschichten vom Rhein_ are
+    all well known to German students; and especially those mentioned
+    in my chapter 'Lorelay' can bo verified in the book: _Der
+    Rhein_ von Philipp F. W. Oertel (W. O. v.  Horn) who was, I
+    think, the greatest authority on the subject of the Rhine." Oertel
+    is not an authority. In Eduard-Prokosch's _German for
+    Beginners_, the version of Schreiber was used, as is evident
+    from the lines spoken by the Lorelei to her Father:
+
+	Vater, Vater, geschwind, geschwind.
+	Die weissen Rosse schick' deinem Kind,
+	Es will reiten auf Wogen und Wind.
+
+    These verses are worked into a large number of the ballads, and
+    since they are Schreiber's own material, his saga must have had
+    great general influence.
+
+[79] There would be no point in listing all of the books on the
+    legends of the Rhine that treat the story of the Lorelei. Three,
+    however, are important, since it is interesting to see how their
+    compilers were not satisfied with one version of the story, but
+    included, as becomes evident on reading them, the versions of
+    Brentano, Schreiber, Loeben, and Heine: _Der Rhein: Geschichten
+    und Sagen_, by W. O. von Horn, Stuttgart, 1866, pp.  207-11;
+    _Legends of the Rhine_, by H. A. Guerber, New York, 1907, pp:
+    199-206; _Eine Sammlung von Rhein-Sagen_, by A. Hermann
+    Bernard, Wiesbaden, no year, pp. 225-37.
+
+[80] Mrs. Caroline M. Sawyer wrote a poem entitled "The Lady of
+    Lorlei. A Legend of the Rhine." It is published in _The female
+    Poets of America_, by Rufus Wilmot Griswold, New York, 1873,
+    p. 221. This is not the first edition of this work, nor is it the
+    original edition of Mrs. Sawyer's ballad. It is an excellent
+    poem. Fr. Hoebel set it to music, and Adolf Strodtmann translated
+    it into German, because of its excellence, and included it in his
+    _Amerikanische Anthologie_. It was impossible to determine
+    just when Mrs. Sawyer wrote her poem. The writer is deeply
+    indebted to Professor W. B. Cairns, of the department of English
+    in the University of Wisconsin, who located the poem for him.
+
+[81] Cf. _Otto Ludwigs gesammelte Schriften_, edited by Adolf
+    Stern, Leipzig, 1801, I.  69, 107, 114.
+
+[82] It has been impossible to determine just when Sucher (1789-1860)
+    set Heine's ballad to music, but since he was professor of music
+    at the University of Tübingen from 1817 on, and since he became
+    interested in music while quite young, it is safe to assume that
+    he wrote his music for "Die Lorelei" soon after its
+    publication. The question is of some importance by way of finding
+    out just when the ballad began to be popular.  Strangely enough,
+    there is nothing on Silcher in Hobert Eitner's compendious
+    _Quellen-Lexicon der Musiker und Musikgelehrten der christlichen
+    Zeitrechnung_, Leipzig, 1900-1904.  Heine's ballad is included
+    in the _Allgemeines deutsches Commersbuch unter musikalischer
+    Redaktion von Fr. Silcher und Fr. Erck_, Strassburg, 1858 (17th
+    ed.), but the date of composition is not given.
+
+[83] In _Pauls Grundriss der germanischen Philologie_, I, 1039,
+    Mogk says: "Die Weiblichen Nixen bezaubern durch ihren Gesang, die
+    Loreley und ähnliche Sagen mögen hierin ihre Wurzel haben." The
+    only trouble is, no one has thus far unearthed this saga.
+
+[84] Wilhelm Hertz gives (pp.229-30) instances of this so that
+    uncertainty as to its accuracy is removed. The passages are
+    striking in that they concern the "Lorberg" and the "Lorleberg."
+
+[85] In chap, XV Eichendorff introduces the ballad as follows:
+    "Leontin, der wenig darauf achtgab, begann folgendes Lied über ein
+    am Rheine bekanntes Märchen." The reference can be only to
+    Brentano, despite the fact that the first two lines are so
+    strongly reminiscent of Goethe's "Erlkonig." Eichendorff and
+    Brentano became acquainted in Heidelberg and then in Berlin they
+    were intimate. There is every reason to believe that Eichendorff
+    knew Bretano's "Rheinmärchen" in manuscript form. For the relation
+    of the two, see the Kosch edition of Eichendorff's
+    works. _Briefe_ and _Tagebücher,_ Vols. XI-XIII.
+
+[86] Niklas Vogt included, to be sure, in his _Jugendphantasien üher
+    die Sagen des Rheins_ (_ca._ 1811) an amplified
+    recapitulation in prose of Brentano's ballad. Schreiber knew this
+    work, for in his _Handbuch_ there is a bibliography of no
+    fewer than ten pages of "Schriften, welche auf die Rheingegend
+    Bezug haben." So far as one can determine such a matter from mere
+    titles, the only one of these that could have helped him in the
+    composition of his Lorelei-saga is: _Rheinische Geschichten und
+    Sagen_, von Niklas Vogt.  Frankfurt am Main, 1817, 6 Bände.
+
+[87] Eduard Thorn says (p. 89): "Man darf annehmen, dass Heine die
+    Ballade Brentano's kennen gelernt hat, dass er aus ihr den Namen
+    entlehnte, wobei ihm Eichendorff die Fassung 'Lorelei' lieferte,
+    und das ihm erst Loebens Auffassung der Sage zur Gestaltung
+    verhelfen hat." It sounds like a case of _ceterum censeo_,
+    but Thorn's argument as to Brentano and Heine is so thin that this
+    statement too can be looked upon only as a weakly supported
+    hypothesis.
+
+[88] Cf. Raimund Pissin's monograph, pp. 73-74.
+
+[89] There are about two thousand words in Schreiber's saga, and about
+    five thousand in Loeben's.
+
+[90] It must be remembered that Schreiber's manuals are written in an
+    attractive style: his purpose was not simply to instruct, but to
+    entertain. And it was not simply the legends of the Rhine and its
+    tributaries, but those of the whole of Western Germany that he
+    wrote up with this end in view.
+
+[91] Some minor details that Loeben, or Heine, had he known the
+    _Märchen_ in 1823, could have used are pointed out in Wilhelm
+    Hertz's article, pp. 220-21.
+
+[92] Cf. Görres' edition, pp. 94-108.
+
+[93] Cf. _ibid_., pp. 128-40, and 228-44. It is in this
+    _Märchen_ (p. 231) that Herzeleid sings Goethe's "Wer nie
+    sein Brod in Thränon asz."
+
+[94] Cf. Görres' edition, pp. 247-57. There are a number of details in
+    this _Märchen_ that remind strongly of Fouqué's _Undine_,
+    which Brentano knew.
+
+[95] In his _Die Märchen Clemens Brentanos_, Köln, 1895,
+    H. Cardauns gives an admirable study of Brentano's _Märchen_,
+    covering the entire ground concerning the question whether
+    Brentano's ballad was original and pointing out the sources and
+    the value of his, _Rheinmärchen_. Cardauns comes to the only
+    conclusion that can be reached: Brentano located his ballad in a
+    region replete with legends, but there is no positive evidence
+    that he did not wholly invent his own ballad. The story that
+    Hermann Bender tells about having found an old MS dating back to
+    the year 1650 and containing the essentials of Brentano's ballad
+    collapses, for this MS cannot be produced, not even by Bender who
+    claims to have found it. See Cardauns, pp. 60-67. Reinhold Steig
+    reviewed Cardauns' book in _Euphorion_ (1896, pp. 791-99)
+    without taking in the question as to the originality of Brentano's
+    ballad.
+
+[96] P. 224.
+
+[97] In Geibel's _Gesammelte Werke_, VI. 106-74, Geibel wrote the
+    libretto for Felix Mendelssohn in 1846. Mendelssohn died before
+    finishing it; Max Bruch completed the opera independently in
+    1863. It has also been set to music by two obscure composers. Karl
+    Goedeke gives a very unsatisfactory discussion of the matter in
+    _Emanuel Geibel_, Stuttgart, 1860. pp. 307 ff.
+
+
+[98] Hermann Seeliger says (p. 73): "Zu den Bearbeitungen, die sich an
+    die Ballade von Brentano anlehnen, gehören die Dichtungen von
+    Geibel, Mohr, Roquette, Hillemacher, Fiebach und Sommer." Seeliger
+    wrote his study for musicians, and his statement may be correct.
+
+[99] Aside from the treatises on the Lorelei already mentioned, there
+    are the following: _Zu Heines Balladen und Romanzen_, by
+    Oskar Netoliczka, Kronstadt, 1891; this study does not treat the
+    Lorelei; _Die Lurleisage_, by F. Rehorn, Frankfurt am Main,
+    1891; _Sagen und Geschichten des Rheinlandes_, by Karl Geib,
+    Mannheim, 1836; the work is naturally long since superseded;
+    _Kölnische Zeitung_ of July 12, 1867, by H. Grieben;
+    _Kölnische Zeitung_ of 1855, by H. Düntzer; _H. Heine, ein
+    Vortrag_, by H. Sintenis, pp.  21-26; _Die Lorelei: Die
+    Loreleidichtungen mit besonderer Rücksicht auf die Ballade von
+    Heinr. Heine_, by C. L. Leimbach, Wolfenbüttel, 1879. The last
+    six of these works were not accessible, but, since they are quoted
+    by the accessible studies, it seems that they offer nothing
+    new. (The writer has since secured Leimbach's treatise of 50 small
+    pages. It offers nothing new.)
+
+[100] Adolf Seybert in his _Die Loreleisage_, Wiesbaden, 1863 and
+    1872 (Programm), contends that Frau Holla and the Lorelei are
+    related. Fritz Strich in his _Die Mythologie in der deutschen
+    Literatur von Klopstock bis Wagner_, Halle, 1910, says
+    (pp. 307-9) that Brentano's ballad is "eine mythologische
+    Erfindung Brentanos, zu der ihn der echoreiche Felsen dieses
+    Namens bei Bacharach anregte." He also says: "Ob nicht Heines Lied
+    auf Brentanos Phantasie zurückgewirkt haben mag?" The reference is
+    to Brentano's _Märchen_. Strich's book contains a detailed
+    account of the use of mythology in Heine, Loeben, and Brentano.
+
+[101] Hermann Seeliger says (p. 8): "Ich meine, die ganze romantische
+    Schule hätte ohne den Stoff vom Volke zu bekommen, ein Gedicht von
+    solcher Schönheit wie das von Brentano weder gemacht noch machen
+    können." Vis-à-vis such a statement, sociability ceases.
+
+*** END OF THE PROJECT GUTENBERG EBOOK 11066 ***