[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 Tübingen 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 ähnliche Sagen mögen 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 über ein am Rheine bekanntes Märchen." 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 "Rheinmärchen" in manuscript form. For the relation of the two, see the Kosch edition of Eichendorff's works. _Briefe_ and _Tagebücher,_ Vols. XI-XIII.