Aside from Geibel,
Otto Roquette is the most interesting librettist. Of the forty-odd
(there were forty-two in 1898) composers of Heine's ballad, the
greatest are Schumann, Raff, and Liszt, and in this case Friedrich
Sucher,[82] who married the ballad to its now undivorceable melody.
Though Brentano created[83] the story of his ballad, he located it in
a region rich in legendary material, and it was the echo-motif of
which he made especial use, and traces of this can be found in German
literature as early as the thirteenth century.[84] The first real poet
to borrow from Brentano was Eichendorff,[85] in whose _Ahnung und
Gegenwart_ we have the poem since published separately under the title
of "WaldgesprAech," and familiar to many through Schumann's
composition.[86] That Eichendorff's Lorelei operates the forest is
only to be expected of the author of so many _Waldlieder_. Even if
Heine had known it he could have borrowed nothing from it except the
name of his heroine.[87]
As to Loeben's saga, there can be but little doubt that he derived his
initial inspiration from Schreiber, with whom he became intimately
acquainted[88] at Heidelberg during the winter of 1807-8.
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