Original Folklore and The Creation of The Modern Myth
The rock and the murmur it creates have inspired various tales. An old legend envisioned dwarves living in caves in the rock.
In 1801 German author Clemens Brentano composed his ballad Zu Bacharach am Rheine as part of a fragmentary continuation of his novel Godwi oder Das steinerne Bild der Mutter. It first told the story of an enchanting female associated with the rock. In the poem, the beautiful Lore Lay, betrayed by her sweetheart, is accused of bewitching men and causing their death. Rather than sentence her to death, the bishop consigns her to a nunnery. On the way thereto, accompanied by three knights, she comes to the Lorelei rock. She asks permission to climb it and view the Rhine once again. She does so and falls to her death; the rock still retained an echo of her name afterwards. Brentano had taken inspiration from Ovid and the Echo myth.
In 1824 Heinrich Heine seized on and adapted Brentano's theme in one of his most famous poems, Die Lorelei. It describes the eponymous female as a sort of siren who, sitting on the cliff above the Rhine and combing her golden hair, unwittingly distracted shipmen with her beauty and song, causing them to crash on the rocks. In 1837 Heine's lyrics were set to music by Friedrich Silcher in the art song Lorelei that became well known in German-speaking lands. A setting by Franz Liszt was also favored and over a score of other musicians have set the poem to music.
The Lorelei character, although originally imagined by Brentano, passed into German popular culture in the form described in the Heine-Silcher song and is commonly but mistakenly believed to have originated in an old folk tale. The French writer Guillaume Apollinaire took up the theme again in his poem "La Loreley", from the collection Alcools.
Read more about this topic: Lorelei
Famous quotes containing the words original, folklore, creation, modern and/or myth:
“In the Original Unity of the First Thing lies the Secondary Cause of All Things, with the Germ of their Inevitable Annihilation.”
—Edgar Allan Poe (1809–1849)
“So, too, if, to our surprise, we should meet one of these morons whose remarks are so conspicuous a part of the folklore of the world of the radio—remarks made without using either the tongue or the brain, spouted much like the spoutings of small whales—we should recognize him as below the level of nature but not as below the level of the imagination.”
—Wallace Stevens (1879–1955)
“One of the necessary qualifications of an efficient business man in these days of industrial literature seems to be the ability to write, in clear and idiomatic English, a 1,000-word story on how efficient he is and how he got that way.... It seems that the entire business world were devoting its working hours to the creation of a school of introspective literature.”
—Robert Benchley (1889–1945)
“In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.”
—Susan Sontag (b. 1933)
“Myth is the hidden part of every story, the buried part, the region that is still unexplored because there are as yet no words to enable us to get there.... Myth is nourished by silence as well as by words.”
—Italo Calvino (1923–1985)