In "Das Märchen von dem Rhein und dem Müller 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. This makes interesting reading for children, but Brentano did not lose sight of adults, including those who like to speculate as to the origin of the legend. He says: "Sie [Lorelei] ist eine Tochter der Phantasie, welches eine berühmte Eigenschaft ist, die bei Erschaffung der Welt mitarbeitete und das Allerbeste dabei that; als sie unter der Arbeit ein schönes Lied sang, hörte sie es immer wiederholen und fand endlich den Wiederhall, einen schönen Jüngling in einem Felsen sitzen, mit dem sie sich verheiratete und mit ihm die Frau Lureley erzeugte; sie hatten auch noch viele andere Kinder, zum Beispiel: die Echo, den Akkord, den Reim, deren Nachkommen sich noch auf der Welt herumtreiben." Just as Frau Lureley closes the first _Märchen_, so does she begin the second: "Von dem Hause Staarenberg und den Ahnen des Müllers Radlauf."[93] Here she creates, or motivates, the other characters. Her seven daughters appear with her, as follows: Herzeleid, Liebesleid, Liebeseid, Liebesneid, Liebesfreud, Reu und Leid, and Mildigkeit. She reappears then with her seven daughters at the close of the _Märchen_, and each sings a beautiful song, while Frau Lureley, the mother of Radlauf, proves to be a most beneficent creature. Imaginative as Brentano was, he rarely rose to such heights as in this and the next, "Märchen vom Murmelthier,"[94] in which Frau Lureley continues her great work of love and kindness. She rights all wrongs, rewards the just, corrects the unjust, and leads a most remarkable life whether among the poor on land or in her element in the water. All of which is poles removed from Loeben's saga, though he knew these _Märchen_,[95] for they were written when Brentano was his intimate friend.