Book: Graf von Loeben and the Legend of Lorelei
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Allen Wilson Porterfield >> Graf von Loeben and the Legend of Lorelei
[24] "Der Abend" reminds one strongly of HOelderlin'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 sUesse Blicken
Aus dem hellen Augenpaar?
Unter'm Netz vom goldnen Haar
Galt es mir das sUesse Blicken?
Einem sprach es von Gefahr,
Einen wollt' es licht umstricken;
Galt es mir, das sUesso 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 drAengt es mich, niederzuknien im Schein, den
Albrecht DUerers und Novalis Glorie wirft, im alten frommen
Dom. dann denk' ich Ihrer und ich lieg' an Ihrer Seele. Ich fUehle
Sie in mir, wie man eine Gottheit fUehlt in geweihter
Stunde. 'Liebe denkt in sel'gen TOenen, denn Gedanken stehn zu
fern." The quotation should read "sUessen" 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. KrUeger on Eichendorff. one should read Wilhelm Kosch's
article in _Euphorion_ (1907, pp. 310-20). Kosch. contends
that Pissin and KrUeger 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, "UEber den Namen Lorelei," _Sitzungsberichte
der k.b. Akademie der Wissenschaften zu MUenchen_, 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 schOenes 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 _SAemtliche 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 fUenfzehn 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, MUenchen 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 KOepfen
der liberalen Literaturgeschichtsschreiber, denen er einen
willkommenen Vorwand an die Hand gibt, mit einigen stereotyp
abgeschriebenen Phrasen den Stab Ueber 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
vergOennt, denn selbstverstAendlich 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)
BUerger, Fouque, 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
_RheinmAerchen_, see _Die MAerchen von Clemens Brentano_,
edited by Guido GOerres. 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 verOeffentlichte sein
_Radlauf-MAerchen_ erst 1827, Heine 'Die Lorelei' schon 1826."
Both of these dates are incorrect. Guido GOerres, who must be
considered a final authority on this matter, says that, though
Brentano tried to publish his _MAerchen_ as early as 1816,
none of them were published until 1846, except extracts from "Das
MyrtenfrAeulein," and a version of "Gockel," neither of which bears
directly on the Lorelei-matter.
[43] Of GOerres' second edition, I, 250: "Nachdem Murmelthier herzlich
fUer diese Geschenke gedankt hatte, sagte Frau Else: 'Nun, mein
Kind! kAemme mir und Frau Lurley die Haare, wir wollen die deinigen
dann auch kAemmen'--dann gab sie ihr einen goldnen Kamm, und
Murmelthier kAemmte Beiden die Haare und flocht sie so schOen, 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 AEhnlichkeit 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 ZUege der letzten Geschichte
["Sage vom Rhein"] regten Heine zu seinem bekannten Liede an."
[46] In _Dichtungen von Heinrich Heine, ausgewAehlt und
erlAeutert_, 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 nAechstes
Vorbild. AusfUehrlicheres 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 EingAenge der ErzAehlung schOepfte 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. MUecke 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 _SAemtliche Werke_, I, 491.
[52] In _HauptstrOemungen_. 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_, MUenchen, 1914, p. 271. It
is significant that KrUeger makes this statement, for the subtitle
of his book Is "Biographisches und bibliographisches Handbuch mit
MotivUebersichten 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-nUetzen" (116),
"Witzen-nUetzen" (124), "sitzen-blitzen" (216),
"erhitzet-bespitzet" (242), "Blitz-Sitz" (257), "blitzt-gestUetzt"
(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 erglAenzt an Persiens Throne
Wo der grosse Mahmud sitzt;
Welch Juwel ist's, das die Krone
So vor allen schOen 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 GOettingen,
Berlin, Gnesen, Berlin, MUenster, Berlin, LUeneburg, Hamtburg,
RitzenbUettel, and LUeneburg. 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 JugendtrAeume.
Die ich trAeumte mit Chamisso
Und Brentano und Fouque
In den blauen MondscheinnAechten?
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
SUedersee to GraubUenden. Alexander Kaufmann's _Quellenangaben und
Bemerkungen zu Kart Simrocks Rheinsagen_ throws no new light on
the Lorelei-legend.
[61] Cf. _Heinrich Heines sAemtliche Werke_, edited by Walzel,
FrAenkel, KrAehe, Leitzmann, and Peterson. Leipzig. 1911, II,
408. So far as I have looked into the matter, Walzel stands alone
in this belief, though MUecke, as has been pointed out above,
anticipated him in the statement that Heine drew on Schreiber in
this case. But MUecke thinks that Heine also knew Loeben.
[62] The reference in question reads as follows: "Ich will kein Wort
verlieren Ueber den Wert dieses unverdaulichen Machwerkes [_Les
Burgraves_], das mit allen mOeglichen PrAetensionen auftritt,
namentlich mit historischen, obgleich alles Wissen Victor Hugos
Ueber Zeit und Ort, wo sein StUeck spielt, lediglich aus der
franzOesischen Uebersetzung von Schreibers _Handbuch fUer
Rheinreisende_ geschOepft, 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 fUer 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
fUer Reisende am Rhein_, dessen Anhang eine wertvolle Sammlung
rheinischer Volkssagen enthAelt, war lange der beliebteste FUehrer
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 fUenfzehnmal 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 BrUedern am Rhein, van denen die TrUemmer ihrer BUergen
selbst noch _Die BrUeder_ 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, MUenchen, 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 ZUegen, 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 fUer Reisende am Rhein_ von Aloys Schreiber (Heidelberg,
1816) Ueberliefert." 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 schOensten
Rheinlandschaften sich von seinen Blicken aufrollt. Die Burg von
sehr betrAechtlichem Umfang scheint, auf den TrUemmern eines
ROemerkastells 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 StalbUehl, 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
KOelnisches Lehen, an Konrad Von Staufen."
[72] To come back to Heine and Loeben, Herm. Anders KrUeger says (p.,
147) in his _Pseudoromantik:_ "Heinrich Heine, der Ueberhaupt
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 erwAehnt,
aber das besagt nicht viel; er hat manchen benutzt, den er nicht
nennt. Und es kann _gar keinem Zweifel unterliegen_, dass
Loeben fUer die Lorelei Heines _unmittelbares_ Vorbild ist;
darauf habe ich Oefter hingewiesen, aber wohl auch andere. Das
Taschenbuch _Urania_ fUer 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 Aeltere 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 lAecherlicher 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 MAerchenoper_, 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. GrAeter's _Idunna und Hermode, eine Alterthumszeitung_,
Breslau, 1812, pp. 191-92, GrAeter gives under the heading, "Die
Bildergallerie des Rheins." thirty well-known German sagas. The
twenty-seventh is "Der Lureley: Ein GegenstUeck 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. FOerster,
W. Fournier, G. Freudenberg, W. Freudenberg, W. Genth, K. Geib,
H. Grieben, H. GrUeneberg, G. Gurski, Henriette Heinze-Berg,
A. Henniger, H. Hersch, Mary Koch, Wilhelmine Lorenz, I. Mappes,
W. Molitor, Fr. MUecke, O. W. Notzsch, Luise Otto, E. RUeffer, Max
Schaffroth, Luise Frelin von Sell, E. A. W. Siboni, H. Steinheuer,
Adelheid von Stolterfoth, A. Storm, W. von WaldbrUehl, 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: