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Updated: June 28, 2025
Goethe, who turned his life-experiences into poetry, has told us something of one such house not far from Coblenz, in the village of Ehrenbreitstein, beneath the fortress, and which in familiar Coblenz parlance goes by the name of "The Valley" the house of Sophie de Laroche. The village is also Clement Brentano's birthplace.
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.
You may notice that we are quite up on the history of Anne of Brittany, as we came across a charming biography of her at Brentano's in Paris, A Twice Crowned Queen, by the Countess de la Warr, in addition to which we have been looking over an old copy of Brantôme that we found at a book store here.
The cut was not deep, and he thought he would not put anything on it. After a while he locked up the office and started out, he hardly knew where. But he walked on, in the direction he had taken, till he found himself in Union Square, on the pavement in front of Brentano's. It seemed to him that he heard some one calling gently to him, "Mr. Dryfoos!"
"I have never received even a verbal reply to the note which I requested your husband to place in Miss Brentano's hands." "Probably you never will. She took cold by being dragged back and forth to court during that freezing weather, and two days after her conviction she was taken ill with pneumonia. First one lung, then the other, and the case took a typhoid form.
We can stop at Brentano's for our tickets as we pass through Union Square." "I am not going to the theatre, Basil. I am going home to Boston to-night. You can stay and find a flat."
If Brentano's Rosary cycle is somewhat unpleasantly superhuman, and if, at times, he mixes sex and religion like a mystic of the Middle Ages or a Spaniard of the Counter Reformation, he rises to wonderful lyric heights when he touches his own experiences, or when he expresses the note of the people.
He had little of Brentano's lyric gift; indeed, his poems, where not wooden, are often merely reminiscent. They show, too, in an unusual degree, the ability to adapt himself to another's mood and assimilate it that which the Germans call "Nachempfinden," a quality which stood him in excellent stead in his work on The Boy's Magic Horn.
So I called up Brentano's to see if I could pick one up, and they told me they had just sold the only copy they had. Somebody must have been boosting Thomas! Maybe he's quoted in Tarzan, or somebody has bought up the film rights." Mifflin came in, looking rather annoyed. "Here's an odd thing," he said. "I know damn well that copy of Cromwell was on the shelf because I saw it there last night.
It remains, 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.
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