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Updated: June 29, 2025
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."
Herder was moved to tears 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 the pastoral poems in Arkadien "Schafpoesie."
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 the name Loreley does occur 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.
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, 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.
Even if Heine had known it he could have borrowed nothing from it except the name of his heroine. 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 at Heidelberg during the winter of 1807-8. This, of course, is not to say that Heine borrowed from Loeben.
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.
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