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Brentano's discovery of the Rhine as an object of poetry and veneration is completely summarized in Radlauf, where the Rhine lyrics are often of wonderful beauty and definiteness and the river becomes a benevolent deus ex machina, who significantly in dreams, guides and aids the simple, honest miller in his search for a bride.
Brentano's prose tales vary in quality from the over-allegorized latter part of The Fairy Tale of the Rhine and the Miller Radlauf to the simple and homely Kasper and Annie , with its elemental clash of soldiers and citizens. Through many of the tales there runs a note of satire and of symbolism, but the fancy is exuberant and the interest well maintained.
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.
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. Just as Frau Lureley closes the first Märchen, so does she begin the second: "Von dem Hause Staarenberg und den Ahnen des Müllers Radlauf." Here she creates, or motivates, the other characters.
In "Das Märchen von dem Rhein und dem Müller Radlauf," 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.
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