But there is nothing in
Loeben that Heine could not have derived in more inspiring form from
Schreiber; and Schreiber contains essentials not in Loeben at all.
Indeed, a general study of Schreiber's manuals leads one to believe
that the influence of them, as a whole, on Heine would be a most
grateful theme: there is not one Germanic legend referred to in Heine
that is not contained in Schreiber. And as a prose writer, Heine's
fame rests largely on his travel pictures.[90]
The points of similarity between Loeben's ballad and saga and the
ballads and MAerchen of Brentano, all of which Loeben knew in 1821, are
wholly negligible. It remains,[91] therefore, simply to point out some
of the peculiarities of Brentano's "Loreley" as protrayed in the
_RheinmAerchen_--peculiarities that are interesting in themselves and
that may have played a part in the development of the legend since
1846.
In "Das MAerchen von dem Rhein und dem MUeller Radlauf,"[92] Loreley is
portrayed in a sevenfold capacity, as it were: seven archways lead to
seven doors that open onto seven stairways that lead to a large hall
in which Frau Lureley sits on a sevenfold throne with seven crowns
upon her head and her seven daughters around her.
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