Loeben wrote, aside from the works mentioned above, the following: 1 conventional drama, 1 musical-romantic drama, 2 narrative poems, one of which is on Ferdusi, 3 collections of poems, between 30 and 40 novelettes, fairy tales and so on. and_ "einige tausend" aphorisms and detached thoughts. It is in Pissin's monograph that Loeben's position in the Heidelberg circle of 1807-8 is worked out. as follows: Loeben and Eichendorff constituted one branch, Arnim and Brentano the other, Görres stood loosely between the two, and the others sided now with one group, now with the other.

[5] The verses are from Geständnisse, No. 125 in Pissin's collection of Loeben's poems.

[6] Geständnisse. No. 125.

[7] Aside from the reviews, letters, and individual poems reprinted here and there, the following works were accessible to the writer: (1) Das weisse Ross, eine altdeutsche Familienchronik; (2) Die Sonnenkinder, eine Erzählung; (3) Die Perle und die Maiblume, eine Novelle; (4) Cephalus und Procris, ein Drama; (5) Ferdusi; (6) Persiens Ritter, eine Erzählung; (7) Die Zaubernächte am Bosporus, ein romantisches Gedicht; (8) Prinz Floridio, ein Märchen; (9) Leda; eine Erzählung; (10) Weinmärchen; (11) Gesänge.

[8] Eichendorff's relation to Loeben can be studied in the edition of Eichendorff's works by Wilhelm Kusch, Regensburg. Vols. III, X-XIII have already appeared. For a poetization of Loeben, see Ahnung und Gegenwart, chap. xii, pp. 144 ff. For a historical account of Loeben, see Erlebtes, chap. x, pp. 425 ff. It is here that Eichendorff makes Goethe praise Loeben in the foregoing fashion.

[9] There is no positive evidence that Goethe made any such remark. In his Gespräche (Biedermann. V, 270; VI, 198-99) there are two references to Loeben by Goethe; they are favorable but noncommittal as to his poetic ability.

[10] Cf. Die Tagebücher des Gräfen von Platen, Stuttgart, 1900. Under date of August 14, 1824, Platen wrote: "Es enthält viele gute Bemerkungen, wiewohl diese Art Prosa nicht nach meinem Sinne ist." The reference is to Loeben's commentary to Madame de Staëls De l'Allemayne.

[11] Cf. Heinrick von Kleists Berliner Kämpfe, Berlin, 1901, pp. 490-96. The story in question is "Die furchtbare Einladung."

[12] Cf. _Herm. Anders Krüger, Pseudoromantik. Friedrich Kind und der Dresdener Liederkreis. Leipzig. 1904. pp. 144-48. Krüger also discusses Loeben in his Der junge Eichendorff. Leipzig. 1904. pp. 88 and 128.

[13] Cf. Fouqué, Apel. Miltitz. Beiträge zur Geschichte der deutschen Romantik, Leipzig,1908. In a letter to his brother. Fouqué wrote (January 6, 1813): "Ein Dichter, meine ich, ist er allerdings, ein von Gott dazu bestimmter." Fouqué, however, realized Loeben's many weaknesses as a poet, though at Loeben's death he wrote a poem on him praising him as the master of verse technique.

[14] Cf. Kosch's edition of Eichendorff. XIII. 65. Loeben says: "In Weimar war ich im vorigen Winter bei Goethe; er war mir freundlich." The "previous winter" was 1813.

[15] Cf. Kosch's edition, XI, 220. The remark was made in 1807.

[16] Cf. Pissin. p. 25. The incident occurred in 1803 and Herder died in 1804.

[17] Cf. Kosch's edition, XI, 308. Lochen himself utterly condemned this work later. See Pissin, pp. 238-39, 267-08. Pissin gives the number of verse and strophe forms on p. 266.

[18] Cf. Pissin, p. 267. Uhland made the remark in 1812—his own most fruitful year as a poet.

[19] The story was published in 1817. The full title is Das weisse Ross, eine altdeutsche Familienchronik in sechs und dreissig Bildern. It is 160 pages long.

[20] An idea as to the lack of action in this story can be derived from the following statement by Otto (pp. 127-28), the brave hero: "Was man Schicksale zu nennen pflegt, habe ich wenige gehabt, aber erfahren habe ich dennoch viel und mehr als mancher durch seine glänzenden Schicksale erfahren mag: nämlich die Führungen der ewigen Liebe habe ich erfahren, die keinen verlässt. und alles herrlich hinausfuhrt." And then Siegenot, the other hero, says that this is very true—whereupon they embrace each other.

[21] The story was first published In Urania: Taschenbuch für Damen auf das Jahr 1818. pp. 305-37.

[22] Aside from the poems in Pissin's collection in the D.L.D. des 18. u. 19. Jahr., Ignaz Hub's Deutschlands Balladen- und Romanzen-Dichter, Karlsruhe, 1845, contains: (1) "Romanze von der weissen Rose," (2) "Der Tanz mit dem Tode," (3) "Der Bergknapp," (4) "Das Schwanenlied." "Loreley" is also reprinted here, with modifications for the worse. "Schau', Schiffer, schau' nicht hinauf," is certainly not an improvement on Loeben's "Lieb Knabe, sieh' nicht hinauf,"

[23] The following are common forms: "Nez," "zwey," "versteken," "Sfären," "Saffo," "Stralenboten," "Abendrothen." "Uebermuth," and so on, though the regular forms, except in the case of "Saffo," also occur.

[24] "Der Abend" reminds one strongly of Hölderlin's "Die Nacht," while "Tag und Nacht" goes back undoubtedly to Novalis' "Hymnen an die Nacht," W. Schlegels sonnet on the sonnet stood sponsor for "Das Sonett," and Goethe and Tieck also reoccur in changed dress. The poems on Correggio (73), Ruisdael (75), Goethe (137), Tieck (138-39), and Novalis (141) sound especially like W. Schlegel's poems on other poets and artists.

[25] In his Geschichte des Sonettes in der deutschen Dichtung.'Leipzig, 1884. Heinrich Weltl (pp. 210-17) criticizes Loeben's sonnets most severely from the point of view of content; and as to their form he says: "Blos die Form, oder gar die blosse Form der Form ist beachtenswert." This is unquestionably a case of warping the truth in order to bring in a sort of pun.

[26] The triolett is worth quoting as a type of Loeben's prettiness:

   Galt es mir, das süsse Blicken
   Aus dem hellen Augenpaar?
   Unter'm Netz vom goldnen Haar
   Galt es mir das süsse Blicken?
   Einem sprach es von Gefahr,
   Einen wollt' es licht umstricken;
   Galt es mir, das süsso Blicken
   Aus dem hellen Augenpaar.

[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 drängt es mich, niederzuknien im Schein, den Albrecht Dürers und Novalis Glorie wirft, im alten frommen Dom. dann denk' ich Ihrer und ich lieg' an Ihrer Seele. Ich fühle Sie