LORE

lore, properly instruction, teaching, knowledge. the o. eng. _lar_, as the dutch _leer_ and ger. _lehre_, represents the old teutonic root, meaning to impart or receive knowledge, seen in "to learn," "learning." in the _gentleman's magazine_ for june 1830 it was suggested that "lore" should be used as a termination instead of the greek derivative -_ology_ in the names of the various sciences. this was never done, but the word, both as termination and alone, is frequently applied to the many traditional beliefs, stories, &c., connected with the body of knowledge concerning some special subject; e.g. legendary lore, bird-lore, &c. the most familiar use is in "folk-lore" (q.v.). lorelei (from old high ger. _lur_, connected with modern ger. _lauern_, "to lurk," "be on the watch for," and equivalent to elf, and _lai_, "a rock"). the lorelei is a rock in the rhine near st goar, which gives a remarkable echo, which may partly account for the legend. the tale appears in many forms, but is best known through heinrich heine's poem, beginning _ich weiss nicht was soll es bedeuten_. in the commonest form of the story the lorelei is a maiden who threw herself into the rhine in despair over a faithless lover, and became a siren whose voice lured fishermen to destruction. the 13th-century minnesinger, known as der marner, says that the nibelungen treasure was hidden beneath the rock. the tale is obviously closely connected with the myth of holda, queen of the elves. on the main she sits combing her locks on the hullenstein, and the man who sees her loses sight or reason, while he who listens is condemned to wander with her for ever. the legend, which clemens brentano claimed as his own invention when he wrote his poem "zu bacharach am rheine" in his novel of _godwi_ (1802), bears all the marks of popular mythology. in the 19th century it formed material for a great number of songs, dramatic sketches, operas and even tragedies, which are enumerated by dr hermann seeliger in his _loreleysage in dichtung und musik_ (leipzig-reudnitz, 1898). the favourite poem with composers was heine's, set to music by some twenty-five musicians, the settings by friedrich silcher (from an old folk-song) and by liszt being the most famous.