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?