PGJL1022
PGJL1022
PGJL1022
Language: English
Modern Philology
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:
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.
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.
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.
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
Zu Bacharach am Rheine
Wohnt eine Zauberin.
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]
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.
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 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:
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 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.
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.
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."
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.
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.
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.
COLUMBIA UNIVERSITY
[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."
[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._
[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.
[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,"
[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.
[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.
[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.
[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:
[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.
See Elster edition, II, 421. The lines were written in 1843.
[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).
[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.
[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.
[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.
[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.
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.
[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.
[89] There are about two thousand words in Schreiber's saga, and about
five thousand in Loeben's.
[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.
[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.
[96] P. 224.
[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.)
[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.