[27] An idea as to Loeben’s temperament can he derived from the
    following passage in a letter to Tieck:  “Gott sei mit Ihnen und
    die heilige Muse!  Oft drAengt es mich, niederzuknien im Schein, den
    Albrecht DUerers und Novalis Glorie wirft, im alten frommen
    Dom. dann denk’ ich Ihrer und ich lieg’ an Ihrer Seele.  Ich fUehle
    Sie in mir, wie man eine Gottheit fUehlt in geweihter
    Stunde.  ’Liebe denkt in sel’gen TOenen, denn Gedanken stehn zu
    fern.”  The quotation should read “sUessen” instead of “sel’gen.” 
    See Briefe an Tierk. edited by Holtei, II, 266.

[28] As a corrective to the monographs of Pissin on Loeben and
    H. A. KrUeger on Eichendorff. one should read Wilhelm Kosch’s
    article in Euphorion (1907, pp. 310-20).  Kosch. contends
    that Pissin and KrUeger have vastly overestimated Loeben’s
    influence on Eichendorff, and that Loeben in general was “eine
    bedeutungslose Tageserscheinung.”

[29] The complete title is Godwi, oder das steinerne Bild der
    Mutter.  Ein verwilderter Roman von Maria.  The very rare first
    edition of this novel, in two volumes, is in the Columbia
    Library.  Friedrich Wilmans was the publisher.

[30] Cf.  Alfred Kerr, Godwi.  Ein Kapitel deutscher
    Romantik.  Berlin, 1898, p. 2.

[31] Cf.  Wilhelm Hertz, “UEber den Namen Lorelei,” Sitzungsberichte
    der k.b.  Akademie der Wissenschaften zu MUenchen, Jahrgang
    1886, pp. 217-51.  For the etymologist, this is an invaluable
    study.

[32] The superficial similarity of those two poems can easily be
    exaggerated.  The rhyme “sitzet-blitzet” is perfectly natural:  the
    Lorelei had to be portrayed as “sitzen”; what is then easier than
    “blitzen”?  In “Ritter Peter von Stauffenberg und die Meerfeye”
    (Des Knaben Wunderhorn, ed. of Eduard Grisebach, p. 277) we have
    this couplet: 

        Er sieht ein schOenes Weib da sitzen. 
        Von Gold und Silber herrlich blitzen.

    For more detailed illustrations, see below.

[33] It is worth while to note the actual date of Heine’s composition
    of his ballad, since so eminent an authority as Wilhelm Scherer
    (Ges. d. deut.  Lit., 8th ed., p. 662) says that Heine wrote the
    poem in 1824.  And Eduard Thorn (Heinrich Heines Beziehungen zu
    Clemens Brentano, p. 90.) says that he published it in 1826. 
    This is incorrect, as is also Thorn’s statement, p. 88, that
    Brentano wrote his ballad in 1802.  For the correct date of Heine’s
    ballad, see SAemtliche Werke, Hamburg, 1865, XV, 200.]