“and the skulls of the drowned men that grin from among its rolled round pebbles”
(MS VIII; Works [1903])—This lurid detail was omitted from the fair copy in
MS IX (printed in a note in
Ruskin, Works, 2:360 n. 2).
While referring to the deep sea, the drowned men may distantly allude to the legend of the
Lorelei siren,
which is noticeably absent from
Ruskinʼs poem about
St. Goar.
Ruskin avoids even naming the
Lorelei hill,
referring in the poem only to the weatherbeaten “rock” around which the river bends. It is possible that the Ruskins were unacquainted with the legend:
although traceable to the fifteenth century, the story of the siren had been brought to life comparatively recently, in the first three decades of the nineteenth century,
in poetry by
Clemens Brentano (
1778–1842),
Joseph von Eichendorff (
1788–1857), and
Heinrich Heine (
1797–1856); and the popularization of
Heineʼs poem in art song,
particularly the settings by
Friedrich Silcher (
1789–1860) and by
Franz Liszt (
1811–86), lay in the later
1830s and
1840s
(
Taylor, Castles of the Rhine, 58–59).
Nonetheless, it seems surprising that the Ruskins could have escaped notice of what
Frances Trollope,
traveling the
Rhine in the same year, described as “the celebrated
Lurleyberg, amidst whose inaccessible caverns dwells, as the neighbouring peasantry believe to this day,
one of that pretty amphibious class of spirits which is called
Undine. Below this rock is the well–known whirlpool, called the Gewirr;
and nothing but the most resolute determination not to listen to her sweet beguiling voice can save the navigators who pass it from being engulphed”
(
Trollope, Belgium and Western Germany in 1833, 148).