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Updated: June 20, 2025
His running was interesting, but he never won; he never wrote a single thing that everybody still reads for its own sake. Aside from his connection with the Lorelei-matter, Graf von Loeben is, therefore, at present, a wholly obscure, indeed unknown, Poet.
His proof is Strodtmann's statement, and similarity of content and form, with special reference to the two rhymes "sitzet-blitzet" that occur in both. But this was a very common rhyme with both Heine and Loeben in other poems. How much importance can be attached then to similarity of content and form?
And Eichendorff in turn credited Goethe with the remark that "Loeben war der vorzüglichste Dichter jener Zeit." His influence on Platen is not quite so certain; Loeben was Platen's senior by ten years, and they resembled each other in their ability to employ difficult verse and strophe forms, and Platen read Loeben in 1824.
Some trace Heine's ballad direct to Brentano, some direct to Loeben. Which of these two points of view has the more argument in its favor and can there be still a third? In the first place, Heine never knew Brentano personally, and never mentions him in his letters previous to 1824, nor in his letters that have thus far been published after 1824.
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.
Siegenot secures Bellerophon, is victorious at the tournament, though seriously wounded, and is nursed back to health by Otto and Felicitas. It is Otto, however, who wins Felicitas through his chivalric treatment of his rival. The two are married, while Siegenot rides away on the great white horse Bellerophon. It is such creations that make us turn away from Loeben.
Mantua had just capitulated; British efforts to secure an honorable peace had failed; consols were at 51, and specie payments stopped by the Bank of England; Austria was on the verge of separate negotiations, the preliminaries of which were signed at Loeben on April 18; France, in the words of Bonaparte, could now "turn all her forces against England and oblige her to a prompt peace."
To protect himself against a flank attack, the Emperor, who already had Marshal Augereau's corps in the region of Bregenz, sent Maeshal Ney to attack Innsbruk and the Tyrol, and moved Marmont's corps to Loeben, in order to block Prince Charles' route from Italy.
Kleist interested himself in Loeben sufficiently to publish one of his short stories in his Abendblätter, but only after he had so thoroughly revised it that Reinhold Steig says: "Ich würde als Herausgeber die Erzählung sogar unter Kleists Parerga aufnehmen."
Heine never mentions Loeben in his letters; nor does he refer to him in his creative works, despite the fact that he had a habit of alluding to his brothers in Apollo, even in his poems. And therefore, though it is fashionable to say that Heine knew Loeben's ballad in 1823, and though the contention is plausible, it is impossible to prove it. Why did he exclude the one by Loeben?
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