[80] Mrs. Caroline M. Sawyer wrote a poem entitled “The Lady of
    Lorlei.  A Legend of the Rhine.”  It is published in The female
    Poets of America, by Rufus Wilmot Griswold, New York, 1873,
    p. 221.  This is not the first edition of this work, nor is it the
    original edition of Mrs. Sawyer’s ballad.  It is an excellent
    poem.  Fr. Hoebel set it to music, and Adolf Strodtmann translated
    it into German, because of its excellence, and included it in his
    Amerikanische Anthologie.  It was impossible to determine
    just when Mrs. Sawyer wrote her poem.  The writer is deeply
    indebted to Professor W. B. Cairns, of the department of English
    in the University of Wisconsin, who located the poem for him.

[81] Cf. Otto Ludwigs gesammelte Schriften, edited by Adolf
    Stern, Leipzig, 1801, I. 69, 107, 114.

[82] It has been impossible to determine just when Sucher (1789-1860)
    set Heine’s ballad to music, but since he was professor of music
    at the University of TUebingen from 1817 on, and since he became
    interested in music while quite young, it is safe to assume that
    he wrote his music for “Die Lorelei” soon after its
    publication.  The question is of some importance by way of finding
    out just when the ballad began to be popular.  Strangely enough,
    there is nothing on Silcher in Hobert Eitner’s compendious
    Quellen-Lexicon der Musiker und Musikgelehrten der christlichen
    Zeitrechnung, Leipzig, 1900-1904.  Heine’s ballad is included
    in the Allgemeines deutsches Commersbuch unter musikalischer
    Redaktion von Fr. Silcher und Fr. Erck, Strassburg, 1858 (17th
    ed.), but the date of composition is not given.

[83] In Pauls Grundriss der germanischen Philologie, I, 1039,
    Mogk says:  “Die Weiblichen Nixen bezaubern durch ihren Gesang, die
    Loreley und Aehnliche Sagen mOegen hierin ihre Wurzel haben.”  The
    only trouble is, no one has thus far unearthed this saga.

[84] Wilhelm Hertz gives (pp.229-30) instances of this so that
    uncertainty as to its accuracy is removed.  The passages are
    striking in that they concern the “Lorberg” and the “Lorleberg.”

[85] In chap, XV Eichendorff introduces the ballad as follows: 
    “Leontin, der wenig darauf achtgab, begann folgendes Lied Ueber ein
    am Rheine bekanntes MAerchen.”  The reference can be only to
    Brentano, despite the fact that the first two lines are so
    strongly reminiscent of Goethe’s “Erlkonig.”  Eichendorff and
    Brentano became acquainted in Heidelberg and then in Berlin they
    were intimate.  There is every reason to believe that Eichendorff
    knew Bretano’s “RheinmAerchen” in manuscript form.  For the relation
    of the two, see the Kosch edition of Eichendorff’s
    works. Briefe and TagebUecher, Vols.  XI-XIII.