Of the twenty best-known histories of German
literature, some of which treat nothing but the nineteenth century,
only six contain his name, and these simply mention him either as a
member of the Dresden group of pseudo-romanticists, or as one of those
_Afterromantiker_ who did yeoman service by way of bringing real
romanticism into disrepute through their unsubstantial, imitative, and
formless works. And this is true despite the fact that Loeben was an
exceedingly prolific writer and a very popular and influential man in.
his day. Concerning his personality, Muncker says: "Die Tiefe und
WAerme seines leicht erregbaren GemUethes, seine Herzensreinheit, seine
schwAermerische Hingabe an alles SchOene und Edle sowie sein zartes
TactgefUehl erwarben ihm bei Freunden und Bekannten das Lob einer
schOenen Seele in des Wortes schOenster Bedeutung."[3]
As to his poetic ability from the point of view of quantity, one can
only marvel at the amount he produced in the time at his disposal; his
creative works cover all types and sorts of literature.[4] He is best
known for his numerous poems and his _magnus opus_, _Guido_, a novel
of 360 pages, written under the pen-name of "Isidorus Orientalis," and
intended as a continuation of Novalis' _Ofterdingen_; he used Tieck's
notes for this purpose.
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