As to his standing with his literary contemporaries, Eichendorff admitted that Loeben influenced him as a man and as a poet; it was he who induced Eichendorff to write some of his earlier works under the pen-name of "Florens."

As to his standing with his literary contemporaries, Eichendorff admitted that Loeben influenced him as a man and as a poet; it was he who induced Eichendorff to write some of his earlier works under the pen-name of "Florens."

But Eichendorff was then only nineteen years old, and he later took this back.

To know Loeben throws light on some of his much greater contemporariesGoethe, Eichendorff, Kleist, Novalis, Arnim, Brentano, Uhland, Görres, Tieck, and possibly Heine.

Impossible also for this reason: Karl Simrock, Heine's intimate friend, included in his Rheinsagen (1836, 1837, 1841)[60] the ballads on the Lorelei by Brentano, Eichendorff, Heine, and himself.

This much, however, is irrefutable: even if Heine knew in 1823 the five Loreleidichtungen, that had then been written, those by Brentano, Niklas Vogt, Eichendorff, Schreiber, and Loeben, and if he borrowed what he needed from all of them, he borrowed more from Schreiber than from the other four combined.

Since the publication of his Godwi, about sixty-five Loreleidichtungen have been written in German, the most important being those by Brentano (1810-16), Niklas Vogt (1811), Eichendorff (ca. 1812), Loeben (1821), Heine (1823), Simrock (1837, 1840), Otto Ludwig (1838), Geibel (1834, 1846), W. Müller von Königswinter (1851), Carmen Sylva, (ca. 1885), A. L'Arronge (1886), Julius Wolff (1886), and Otto Roquette (1889).

The first real poet to borrow from Brentano was Eichendorff, in whose Ahnung und Gegenwart we have the poem since published separately under the title of "Waldgespräch," and familiar to many through Schumann's composition.

That Eichendorff's Lorelei operates the forest is only to be expected of the author of so many Waldlieder.

Meyer (6th ed.) does not mention Loeben even in the articles on Fouqué and Malsburg, two of Loeben's best friends; Brockhaus (Jubilee ed.) mentions him as one of Eichendorff's friends in the article on Eichendorff, but neither has an independent note on Loeben.

Meyer (6th ed.) does not mention Loeben even in the articles on Fouqué and Malsburg, two of Loeben's best friends; Brockhaus (Jubilee ed.) mentions him as one of Eichendorff's friends in the article on Eichendorff, but neither has an independent note on Loeben.

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.

Eichendorff's relation to Loeben can be studied in the edition of Eichendorff's works by Wilhelm Kusch, Regensburg.

Eichendorff's relation to Loeben can be studied in the edition of Eichendorff's works by Wilhelm Kusch, Regensburg.

It is here that Eichendorff makes Goethe praise Loeben in the foregoing fashion.

Krüger also discusses Loeben in his Der junge Eichendorff.

Kosch's edition of Eichendorff.

As a corrective to the monographs of Pissin on Loeben and H. A. Krüger on Eichendorff.

Kosch. contends that Pissin and Krüger have vastly overestimated Loeben's influence on Eichendorff, and that Loeben in general was "eine bedeutungslose Tageserscheinung.

" In chap, XV Eichendorff introduces the ballad as follows:

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 "Rheinmärchen" in manuscript form.

For the relation of the two, see the Kosch edition of Eichendorff's works.

Eduard Thorn says (p. 89): "Man darf annehmen, dass Heine die Ballade Brentano's kennen gelernt hat, dass er aus ihr den Namen entlehnte, wobei ihm Eichendorff die Fassung 'Lorelei' lieferte, und das ihm erst Loebens Auffassung der Sage zur Gestaltung verhelfen hat."

On this account our best writers of "Novellen" have also been, almost without exception, eminent lyric poets; such were Goethe, Tieck, Eichendorff, Mörike, Keller, Heyse, Theodor Storm and C.F. Meyer; whereas, in the case of Marie von Ebner-Eschenbach, who otherwise would form an exception, even what appears to be a "Novelle" is in reality a "small novel.