" But Brentano's Lorelei does not sing at all, and Loeben's
just a little, "Sie singt dir hold zum Ohre," while Heine, like
Schreiber, puts his heroine in the prima donna class, and has her work
her charms through her singing. And it seems that Heine was following
Schreiber when the latter wrote as follows: "Viele, die
vorUeberschifften, gingen am Felsenriff oder im Strudel zu Grunde, weil
sie nicht mehr auf den Lauf des Fahrzeugs achteten, sondern von den
himmlischen TOenen der wunderbaren Jungfrau gleichsam vom Leben
abgelOest wurden, wie das zarte Leben der Blume sich im sUessen Duft
verhaucht."
And as to her personal appearance, Brentano and Loeben simply tell us
that she was beautiful, Brentano employing the Homeric method of
proving her beauty by its effects. Heine and Schreiber not only
comment upon her physical beauty, they also tell us how she enhanced
her natural charms by zealously attending to her hair and her jewelry
and religiously guarding the color scheme in so doing. In brief, the
similarity is so striking that, if we can prove that Heine knew
Schreiber in 1823, we can definitely assert that Schreiber[65] was his
main, if not his unique, source.
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