And Guido GOerres, to whom Brentano willed them, and who first
published them, tells us how Brentano carried them around with him in
his satchel and changed them and polished them as opportunity was
offered and inspiration came. It is therefore reasonable to believe
that Heine helped Brentano to metamorphose his Lorelei of the ballad,
where she is wholly human, into the superhuman Lorelei of the
_RheinmAerchen_ where she does, as a matter of fact, comb her hair with
a golden comb.[43]
And now as to Loeben: Did Heine know and borrow from his ballad? Aside
from the few who do not commit themselves, and those who trace Heine's
poem direct to Brentano, and Oscar F. Walzel to be referred to later,
all commentators, so far as I have looked into the matter, say that he
did. Adolf Strodtmann said[44] it first (1868), in the following
words: "Es leidet wohl keinen Zweifel, dass Heine dies Loeben'sche
Ballade gekannt und bei Abfassung seiner Lorelei-Ballade benutzt hat."
But he produces no proof except similarity of form and content. Of the
others who have followed his lead, ten, for particular reasons, should
be authorities: Franz Muncker,[45] Karl Hessel,[46] Karl Goedeke,[47]
Wilhelm Scherer,[48] Georg MUecke,[49] Wilhelm Hertz,[50] Ernst
Elster,[51] Georg Brandes,[52] Heinrich Spiess,[53] and Herrn.
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