CORNELL 
 
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DATE DUE 
 
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Cornell University Library 
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 Minnesinger of Germany 
 
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Cornell University 
 Library 
 
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THE 
 
 MINNESINGER OF GERMANY 
 
THE 
 
 MINNESINGER OF GERMANY 
 
 A. E. KROEGER 
 
 NEW YORK 
 
 PUBLISHED BY HURD AND HOUGHTON 
 
 (EamSrOlfle: ^e aaOiErittfe J^xtiS 
 
 LONDON: 
 
 TRUBNER & CO., 8 & 60, PATERNOSTER ROW 
 
 1873 
 
 Kr 
 
^95 y^^^- X 
 
 ' /'CORNELL^ 
 
 iUNIVERSriYI 
 VvAJBRARY 
 
 Entered according to act of Congress, in the year 1872, by 
 
 A. IE. Kroeger, 
 in the Office of the Librarian of Congress, at Washington. 
 
 RIVERSIDE, CAMBRIDGE : 
 PRINTED BV H. O. HOUGHTON AND COMPANY. 
 
To 
 
 MY .DEAR FRIEND 
 
 WILLIAM R. WALKER, 
 IS DEDICATED. 
 
CONTENTS. 
 
 CHAP. PAGE 
 
 I. The Minnesinger and the Minnesong . . i 
 
 II. The Minnelay 57 
 
 III. The Divine Minnesong 75 
 
 IV. Walther von der Vogelweide . . . .127 
 V. Ulrich von Lichtenstein .... 163 
 
 VI. The Metrical Romances of the Minnesinger 
 AND Gottfried von Strassburg's "Tristan 
 AND Isolde" .189 
 
THE 
 
 MINNESINGER OF GERMANY. 
 
 CHAPTER I. 
 
 THE MINNESINGER AND THE MINNESONG. 
 
 ONG before Chaucer had fathered English 
 poetry, and Spain and Italy had developed 
 their languages to that purity which alone 
 makes possible great achievements in the literary 
 arts, Germany had passed through a period of splen- 
 dor in the art of poetry, which even the period of the 
 last century has not surpassed, and in some respects 
 scarcely equaled. (It was in the twelfth and thir- 
 teenth centuries, under the glorious reign of the Ho- 
 henstauffens, amidst the turmoil of the Crusades, andi 
 whilst the sublime conceptions of the cathedrals of, 
 Strassburg and Cologne were being wrought out, thati 
 there sprang up in Germany, as if by magic, that won- 
 derful craft of Minnesinger, which lasted throughout 
 a century and then gradually expired j the grace and 
 beauty of their singing appearing no more in German 
 literature until Goethe struck anew the old tone, and 
 thus heralded the dawn tJf the second brilliant period 
 of German poetry. Perhaps it was the fact that the 
 1 
 
2 The Minnesinger of Germany. 
 
 German language is an original tongue, and hence 
 needed not to wait, like the English, Spanish, Italian, 
 and French, for a thorough amalgamation, which 
 made possible this earlier development of literature. 
 
 Of these poetical achievements of Germany in the 
 miscalled Dark Ages, only the epic poetry is repre- 
 sented in English literature. The two great national 
 German epics — the Nkbelu ngen and the Kudrun — 
 are perhaps as familiar as foreign poetry of any kind 
 can ever hope to become to a public so clannish in 
 its literary pursuits, as that which speaks the English 
 language. But of the German lyrical poetry of those 
 ages, and their narrative epics, little or nothing is 
 known outside of Germany, and even there these 
 most wonderful productions of German genius are by 
 no means so widely known as they deserve to be. 
 For that which is surprising in these works, and must 
 make them of perennial value, is their perfection of 
 form, not only in regard to the development of the 
 subject, but also in regard to metre, rhythm, and 
 rhyme. Not Goethe and Schiller, not even Riickert 
 and Platen-Hallermiinde have attained that utmost 
 perfection Qf_rhyme which characterizes Gottfried 
 von Strassburg, Walther von der Vogelweide, Johann 
 Hadloub, and a hundred other poets of those "dark 
 ages ; " and their invention of metres and their ear 
 for the flow of rhythm finds a parallel only in Ger- 
 man musicians. 
 
 Tennyson and Swinburne of all modern poets — 
 Shelley, too, in some of his lyrics — come nearest to 
 the Minnesinger in melodious sound of words, artful 
 construction of rhythm, and arrangement of stanzas ; 
 
The Minnesinger and the Minnesong. 3 
 
 but they lack the fresh, youthful, inexpressibly sweet 
 and graceful — because natural — flow of form, and 
 the still more charming naive subjects of the Minne- 
 lied. Jacob Grimm calls the Minnelieder a womanly 
 poetry, and justly enough ; though in the works of 
 Walther von der Vogelweide, the greatest of the 
 Minngsinger, there are poems of the manliest charac- 
 ter. /But, on the whole, these Minnelieder breathe in- j 
 deed-nothing but love and sweetness ; love and sweet- | 
 ness of the woods, meadows, flowers, grass, rivers, 
 and birds ; love and sweetness of woman ; and love ! 
 and sweetness of Mary, the Mother of God. '• 
 
 It was the German poet Bodmer who first, in 1 748, 
 discovered and made known again the immense wealth 
 of this early German literature, which for some cen- 
 turies had been lost and swamped in the prosaic 
 poetry of the Meistersinger and their successors ; and 
 it is chiefly through the untiring exertions of Fried- 
 rich Heinrich von der Hagen, in the commencement 
 of this century, that most of its treasures have been 
 brought to light and made accessible. The generous 
 support extended to him by King Frederic William 
 III. of Prussia, enabled him in 1838 to publish that 
 collection in five volumes, which is one of the finest 
 examples of German literary workmanship, 
 (in the middle of the twelfth century, — or about 
 1 150, — this first period of German literature may be 
 said to have begun. Under the HohenstaufFen dy- ^ 
 nasty the Swabian form of the German language had 
 become the language of all cultured men, and by its 
 mellow sound was indeed peculiarly adapted to the 
 requirements of poetry. The opening of the Orient, 
 
4 The Minnesinger of Germany. 
 
 through the Crusaders on the one hand, and the 
 spreading of the tales of King Arthur's Round Table, 
 intermingled with those of Charlemagne, on the other, 
 had roused over all Germany a spirit of poetry, to 
 1 which the language was now fully adapted to give 
 ( expression. Knights, princes, and kings — the most 
 I exposed to this spirit of romance — were seized with 
 I it, and studied the intricacies of rhythm or rhyme 
 j with the , same energy they devoted to their pursuits 
 ' of war. jDuke Leopold of Austria, Landgrave Herr- 
 mann of Thiiringen, Margrave Henry of Meissen, 
 Duke Henry of Breslau, Duke John of Brabant, King 
 Wenzel of Bohemia, King Conrad, and the Emperor 
 Henry, are among those, some of whose poems have 
 been preserved. Even the great Frederic Barbarossa 
 (Red-beard) — whom tradition reports still sleeping in 
 the Kyffhauser cave, his head on his hand, and his 
 beard grown all round the table of stone, where he 
 awaits the coming of the new glory of United Germany, 
 — even he, and his perhaps still greater successor, 
 Frederic II., often, after the day of battle or hunting, 
 struck the lyre in ' their tents or castles, and poured 
 forth those sweet songs of love, that made soldiers, 
 i servants, and knights gather to listen. ^When it is 
 considered that these Minnesinger, these warblers of 
 I love, were for the greater part unable to read or 
 ; write, -i— even Wolfram von Eschenbach could not 
 I read or write, and Ulrich von Lichtenstein had to 
 carry a letter from his sweetheart for weeks in his 
 pocket, before he found some one to read it for him ; 
 fthat we, therefore, owe almost all our knowledge 
 |of their songs to tradition, and that, nevertheless, 
 
The Minnesinger and the Minnesong. 5 
 
 songs from over one hundred and sixty Minnesinger 
 within that one century have been preserved to us, 
 the extraordinary development of poetical art in that 
 century may be imagined. j( Most of these Minne-i 
 singer were knights, and called Sirs ; some of them, \ 
 however, citizens, whose distinctive appellation was j 
 Master. It is Sir (Herr) Walther von der Vogel- I 
 weide ; and Master (Meister) Gottfried von Strass- \ 
 burg. These singers led a life most strange and 
 romantic. At a time when cities had as yet barely 
 come into existence in Germany, and the castles of the 
 lords were the chief gathering-places of the vast float- 
 ing population of the crusading times, these Minne- 
 singer, with little or nothing besides their sword, 
 fiddle, or harp, and some bit of love-ribbon or the 
 like from their sweetheart, wandered from village to 
 village and castle to castle, everywhere welcomed with 
 gladness, and receiving their expected remuneration 
 with the proud unconcern of strolling vagabonds. 
 Throngs gathered to hear their songs, retained them 
 in memory, and transmitted them to the succeeding 
 generation. (One of the chief resorts of the Minne- \ 
 singer was tlie castle of Landgrave Herrmann of i 
 Thitringen, ')who was to that century what the Duke 
 of Weimar was to the age of Goethe and Schiller, and 
 whose Castle Wartburg was thus the home of song 
 and literary development long before it became fa- 
 mous as the place where Luther translated the Bible, 
 and by doing so gave rise to a new German language, 
 more vigorous and extensive than that of the Minne- 
 singer, but less fragrant with sensuous beauty and 
 grace. Worthily, therefore, is Landgrave Herrmann | 
 
6 The Minnesinger of Germany. 
 
 \ celebrated in the poetry of his numerous guests, as 
 ; above all hosts the most hospitable and generous. 
 For these singing knights felt no more delicacy in 
 \ chronicling the good things they received from their 
 ! patrons than in immortalizing the meanness of those 
 \ who let them depart without gifts of clothing, food, 
 ! and money. Yet their lady-loves' names they never 
 i mentioned ; the tender delicacy observed by Don 
 Quixote, the last of the famous race, was the rule that 
 governed all. Like him, most of them had their 
 Sancho Panza in the shape of a youth to whom 
 alone they intrusted their secret. The chief occupa- 
 tion of those sweet youths was to commit to memory 
 the verses which their masters composed for their 
 mistresses, and, if unable to write, kept repeating to 
 their Singerlein till he had every word and tone of it 
 in mind. For he must learn not only the song itself, 
 but also the melody of it. Then this living letter 
 would be dispatched to the beauteous Dulcinea, who 
 would listen attentively with due German sentimen- 
 tality, and having had it sung to her until she could 
 again repeat it perhaps to others, would give the 
 young starved Singerlein a glass of wine and piece of 
 bread, and mayhap other luxuries for himself and his 
 master. It is thus chiefly through oral tradition that 
 'there has been preserved to us the immense labors of 
 ia century which the noble Swiss knight, Riidiger of 
 Manesse, and his son, first undertook to collect and 
 fix into manuscript ; thus, under the editorship of 
 Johann Hadloub, one of the last of the Minnesinger, 
 arranging that famous Manessian collection which 
 now forms one of the treasures of the Parisian library. 
 
The Minnesinger and the Minnesong. 7 
 
 and which, through Bodmer, first became known again 
 to German literature. \ The life of Walther von der 
 Vogelweide, as sketched in another chapter, will rep- 
 resent in some measure the average life of the no- 
 bler knight-minstrel in the earlier part of the Minne- 
 song period ; whilst the life of Ulrich von Lichtenstein, 
 also sketched herein, will illustrate the more extrava- 
 gant form of knight-minstrelsy, and show how little 
 Cervantes had need to exaggerate in his immortal 
 Don Quixote. 
 
 Such a knight began his career after his seventh 
 year, when he entered the service of some knight or 
 prince as a page, learning all the accomplishments of 
 a true knight and gentleman, and particularly devo- 
 tion to the ladies and the holy cause of religion. At 
 the age of fourteen he assumed a sort of independent 
 existence at his lord's castle, but it was not until he 
 reached his twenty-first year that he was solemnly 
 installed into the order of knights. This ceremony 
 being concluded, the young knight was by custom 
 compelled to saunter forth into the world, and gen- 
 erally by poverty to keep on sauntering in this fashion 
 all his life-time. Then he perfected himself in the art 
 of composing songs and playing some stringed instru- 
 ment, which became both a source of infinite enjoy- 
 ment, and an unfailing source of revenue if the knight 
 was poor. With his art he paid his boarding-bills ; 
 his art furnished him with clothes, horses, and equip- 
 ments. More than all, his art won him the love of 
 his lady. 
 
 How this art became cultivated amongst these un- 
 lettered knights to a degree — far higher than ever 
 
8 The Minnesinger of Germany. 
 
 attained by the Provencal poets — that they could 
 dash off impromptu songs, not only of the most intri- 
 cate rhythmical and metrical construction, which, to 
 be sure, Greek poets also may have done, but also of 
 an equally intricate construction of rhyme, which the 
 Greek poets made no use of, — such a song, for in- 
 stance, as Ulrich von Lichtenstein's " To the Be- 
 loved," — and generally accompanied with an original 
 musical air, which must also have been artistically 
 wrought, or it could not be retained in memory to fit 
 every strophe of the poem, seems a marvel. Nor are 
 their narrative poems less wondrous in general unity 
 of plan, elaborately worked out under-plots, beauty of 
 diction, and a most peculiar charm of rhythmical con- 
 struction. 
 
 This thorough comprehension and mastery of all 
 the resources of rhyme and rhythm, which the Minne- 
 singer acquired and which characterizes them, must 
 appear even in the translated specimens here given, 
 all of which have been translated so as to retain all 
 the peculiarities of the rhythm, metre, and rhyme of 
 the originals. The rare gift and thorough knowledge 
 of their art, which these men had, must appear to us 
 almost miraculous ; particularly when the spontaneity 
 is considered with which their poems with musical 
 accompaniment were created, and at the same time 
 the strictness of their art-forms is kept in view.(. For 
 every Minnesong — and this is its distinctive feature in 
 form — has a triplicity of strophe-form j each strophe 
 being divided into three parts, the first two correspond- 
 ing perfectly with each other in the slightest matter 
 of rhythm and rhyme, and the third forming a rhyth- 
 
The Minnesinger and the Minnesong. 9 
 
 mically and metrically connected, but otherwise inde- 
 pendent part. In other words, each stanza has its 
 strophe, anti-strophe, and epode ; and this triplicity 
 was, in the mature times of Minnepoetry, never de- 
 parted from. In this triplicity of form the German 
 Minnelied has its originality \ for the looser construc- 
 tion of the Minne-Say and me form of the metrical 
 romances, the Provengal poets have in common with 
 the Minnesinger. Now it is not an easy matter to 
 improvise even a loosely-versed poem ; how much 
 more difficult, then, to improvise poems such as are 
 here given! ( To this must be added, that every new 
 poem required a new strophe-form ; indeed, to use 
 the same kind of verse for two different poems, was 
 considered very inartistic, and no poet was allowed 
 to use the strophe-form of another. ; 
 
 (The first Minnelieder seem to have been all songs 
 of only one strophe •) Veldeke was probably the first 
 to connect several strophes into one general song. 
 ^Still the song had in the earlier days of the Minne- 
 singer only a very limited number of strophes, rarely 
 more than five, most frequently two or three..) It was 
 only as the later poets, Nithart, Frauenlob, etc., arose, 
 that this distinctive trait of the Minnelied vanished 
 with all its other sweet features. VJThe fact that origi- 
 nally every strophe was a poem by itself, must be 
 remembered very often to explain a disconnectedness 
 in the various strophes of a song, and serves also to 
 point out the relation as well as the distinction be- 
 tween the form of the Minnelied and the Spruch. ) 
 
 "To sing and to say:" this expression occurs in 
 most varied forms throughout the songs of the Minne- 
 
10 The Minnesinger of Germany. 
 
 lieder, and signifies the two modes in which the 
 Minnesinger gave utterance to their poetic produc- 
 V tions. \li such a production was a real Minnelied, 
 a song of love, the seasons, or feelings, it was inva- 
 riably composed with its melody and sung; but if it 
 was a didactic poem it was simply spoken, and hence 
 called Spruch, Saying.}i^ In so far, therefore, both 
 class of poems were distinguished simply by their 
 contents. But they had also important distinctions 
 of form. Firstly, the Spruch retained the form of one 
 strophe for each poem, which the Minnelied, as we 
 have seen, discarded; secondly, the various Spriiche 
 or Sayings of one poet, could be composed by him in 
 one common tone or strophe-form ; whereas each new 
 Minnelied required, as before said, a new tone and 
 melody — at least this rule was so rarely violated, that 
 some twelve hundred different strophe-forms have come 
 down to us from the poets of those days ; and 
 thirdly, within the strophe-form the Saying, by reason 
 of being spoken, was allowed liberties of rhythmical 
 changes which to the sung Lied were strictly prohib- 
 ited. Nor did the Saying strictly observe the tri- 
 plicity of the strophe-form, but often built up its 
 strophe in a very irregular fashion.J 
 
 Amongst the finest Sayings, those of Walther von 
 der Vogelweide justly claim supremacy, and the fol- 
 lowing examples will sufficiently illustrate the noble 
 use he made of this form of poetry, as well as the 
 metrical skill he lavished upon its external beautify- 
 ing:— 
 
The Minnesinger and the Minnesong. ii 
 
 EQUALITY BEFORE GOD. 
 
 Who without fear, O God, our Lord, 
 
 Thy ten commandments speaks by word 
 And breaketh them : his is not true love, surely. 
 
 Thee many a one doth Father name. 
 
 But who me not their brother claim : 
 They speak strong words with sickly mind and poorly. 
 
 We have from equal things arisen ; 
 
 Food feedeth us, and must us pleasen 
 When through the mouth its way is laid. 
 Who could the master from the servant summon, 
 
 If he their naked bones saw merely. 
 
 Though he in life had known them nearly. 
 
 Now that the worms their flesh had preyed ? 
 Jews, Christians, pagans, worship Him in common, 
 
 Who all the living things has made. 
 
 MORNING PRAYER. 
 
 With thy grace let me rise to-day, 
 
 Lord God, in thy protection stay 
 Wherever o'er the land I ride or wander 1 
 
 Christ, upon me be pleased t'incline 
 
 The great power of that goodness thine, 
 And keep me well for thy dear mother yonder ! 
 
 As when the angel kept from danger 
 
 Thee, when lying in the manger 
 Young as man and old as God, 
 Before the ass and ox, by humblest hedges ; 
 
 And as good Joseph then attended, 
 
 And upon thee and her there spended 
 
12 The Minnesinger of Germany. 
 
 Rare love and fidelity : 
 Thus do attend Thou me, Lord, that thy pledges 
 May also be approved in me. 
 
 THE LAST JUDGMENT. 
 
 I hear that all the wise men say 
 There 's close at hand a judgment-day. 
 Than which was ne'er one known of equal rigor. 
 There shall the Judge ofF-hand declare : 
 " No pawn or trust is taken here ! " 
 Ah ! many a heart will then with fear beat quicker. 
 This, lady, aid me here to settle. 
 Since none trust there, e'er so little. 
 Through that sainted joy of thine, 
 Which to thine ear the holy angel brought thee, 
 With blessed word, to thee revealer 
 That thou shouldst bear the sick world's healer. 
 To whom our soul all hopes does join. 
 Who, from the first, to that joy linked in thought 
 thee, 
 When my end comes, be comfort mine ! 
 
 GOD'S INSCRUTABILITY. 
 
 Almighty God, Thou art so long, Thou art so broad ! 
 Kept we this but in mind always, our labor's load 
 Would be much lightened j for thy power and endless 
 
 glory, God, 
 No thought can scan. I know't by me ; and though 
 
 men still keep trying : 
 
The Minnesinger and the Minnesong. 13 
 
 Thus is it, and thus was it ; and to no mind e'er is 
 showed. 
 
 Thou art too great, Thou art too small for thought's 
 vain spying ; 
 
 And fool is he, who days and nights wastes in a pry- 
 ing 
 
 Into what never yet was preached, or dogma made 
 applying. 
 
 SELF-CONTROL. 
 
 Who slays the lion ? who slays the giant ? 
 Who masters them all, however defiant ? 
 He does it, who himself controlleth ; 
 And every nerve of his body enrolleth, 
 
 Freed from passion, under strict subjection. 
 Mere borrowed manner and shame for a stranger 
 May glitter awhile ; but here 's the danger : 
 
 The glitter soon expires ; then there 's no action. 
 
 VIn their songs the Minnesinger employed three 
 kinds of rhyme : (i) the masculine ; (2) the feminine j 
 and (3) the rhyme of such duosyllabic endings as are 
 not in pronunciation given the full value of two sylla- 
 bles. J For instance, Sagen, pronounced as Sag'n; 
 or in English, Saying, Heaven, etc. ; words that give 
 not to the last syllable the full time value of one. As 
 a rule this last class of rhymes were counted equal to 
 monosyllabic rhymes, but by no means invariably. 
 In my translations I have allowed myself the same 
 freedom, choosing for them, as often as possible, 
 English equivalents, or else treating them as mascu- 
 
14 The Minnesinger of Germany. 
 
 line or feminine rhymes at pleasure. /It may be 
 mentioned, that in the first days of Min'hepoetry, in 
 the earlier part of the twelfth century, only masculine 
 rhymes were made use of; but the genius of the lan- 
 guage soon led to rhymes of two and even three syl- 
 lables ; jrhymes that thus interest, not merely from 
 an accidental sameness of sound in the often merely 
 inflected final syllable of a word, but that seem to be 
 produced by a relation in the words themselves, in 
 their very roots. 
 
 The ability with which the Minnesinger utilized all 
 possibilities of rhyme is perfectly amazing. Limited 
 to rhymes of complete purity to such an extent that 
 in all of Vogelweide's poems, for instance, only two 
 slight impurities occur, they enlisted the vast resources 
 of their beautiful and flexible language to the utmost 
 extent. We have Minnesongs wherein every word of 
 every line rhymes with the other, while the lines again 
 rhyme in the usual way amongst themselves ; poems 
 wherein the last word of the line is rhymed by the 
 first of the next line ; poems wherein the last word 
 of the strophe rhymes with its first word ; poems 
 built in strophes of twenty and more rhymes ; poems 
 of grammatical rhymes, in the most various possibil- 
 ities ; poems of word-playing rhymes, etc. ; and in 
 most cases the fundamental rhythmical beauty reigns 
 supreme and makes the ornamentation seem natural 
 outgrowth. Frauenlob has achieved real wonders 
 in this way. 
 
 Of these grammatical rhymes, some are employed 
 so as to bring together into one strophe all the flec- 
 tions, moods, tenses, etc., of a word, its various phases 
 
The Minnesinger and the Minnesong. 15 
 
 as a noun, verb, adjective, etc., collecting, indeed, 
 with all the liberty the genius of the language would 
 permit, its many and different significances by means 
 of rhyme and alliteration. Dr. Wallace's well-known 
 poem, " When a twister a twisting will twist him a 
 twist," exhibits somewhat the manner in which this 
 was done. But quite as often the grammatical lines 
 are simply ingenuous play, as in the following very 
 neat one, also by Walther, where each strophe has as 
 its rhyme end one of the vowels, the five following 
 each other in regular succession. In the trans lation 
 of such a poem much allowance is, of course, ex- 
 pected ; particularly as in the vowels i and u the 
 English language has really nothing to offer. The 
 Toberlu in the last strophe was a famous cloister of 
 that lime. 
 
 It will be noticed that this Minnesong has not a, 
 triplicity of strophe-form. This fact stamps it as one 
 of the poet's earliest productions. 
 
 DREARINESS OF WINTER. 
 
 Gay looked the field's regalia. 
 Green bloomed oak and acacia, 
 Birds warbled their sweet opera. 
 But now the crows cry their ka, ka ! 
 Gone 's the world's ambrosia. 
 It seems a pale, gray nebula ; 
 Men frown at these phenomena. 
 
 I sat on a hill beneath a tree. 
 
 Where flowers and clover, tall and wee, 
 
1 6 The Minnesinger of Germany. 
 
 Grew up 'tween a sea and me. 
 That fair scene now no more I see, 
 Where we then plucked flowers in glee, 
 Now snow and sleet reach to the knee ; 
 Sweet bird, this hurts both me and thee. 
 
 The fools shout loud : " Snow, snow, hi, hi ! " 
 
 The poor mumble : " Ah mi ! Ah mi ! " 
 
 Me it seems like alkali. 
 
 'Gainst winter three great griefs raise I, 
 
 Soon I'd crush these tyranni, 
 
 As did the earth fair Pompeii, 
 
 If Summer would but come — ah mi ! 
 
 Rather than lead this life I'll go 
 And eat raw crabs fore'er. Heigho ! 
 Summer, come and quench my woe ! 
 Ay, clothe thy fields, that to and fro 
 I with flowers may play as tho' 
 What time my heart leapt sunhigh. Lo, 
 Now winter 's come ; it leaps no mo'. 
 
 I look so Esau-like, perdu. 
 
 My hair hangs rough and unkempt. Hu ! 
 
 Gentle Summer, where are you ? 
 
 Ah, were the world no more so dhu ! 
 
 Rather than in this purlieu 
 
 Longer to stay I'll say, adieu ! 
 
 And go as monk to Toberlu. 
 
 A pretty instance of rhyming the end word of each 
 strophe with its first word is given in the following 
 little poem, which also has a refrain, slightly chang- 
 
The Mimtesinger and the Minnesong. 17 
 
 ing in the last line of each strophe, and which is 
 ascribed to Lady Winsbecke. Whether there ever 
 was such a poetess amongst the Minnesinger is quite 
 doubtful ; her naming has occurred in this fashion : 
 Amongst the Minnelieder there are two quite long 
 poems, the one containing the instructions of a fa- 
 ther to his son, and the other those of a mother to 
 her daughter, named respectively " Der Winsbecke " 
 and " Die Winsbecken," and ascribed to a knight and 
 lady in the portraits that accompany the Manessian 
 collection of Minnelieder. These poems were very 
 popular, and justly so at the time they were written, 
 somewhere in the first part of the thirteenth century, 
 and have been much admired since ; but the author 
 or authors have never been definitely ascertained. 
 In all probability they were written by one poet ; the 
 strophe-form of both being the same, and language 
 and rhyme altogether similar. 
 
 Of course it is barely possible to give by translation 
 a notion of the musical sound of the original in the 
 case of such a simple lyric ; let the reader fancy it as 
 in the best vein of Tennyson. 
 
 — Rosy-colored meadows 
 
 To shadows — we see vanish everywhere. 
 
 — Wood-birds' warbling dieth. 
 
 Sore trieth — them the snow of wintry year. 
 — Woe, woe ! — what red mouth's glow 
 
 Hovers — now o'er the valley ? 
 Ah, ah ! — the hours of woe ! 
 
 Lovers it doth rally 
 No more ; — yet its caress seems cozy. 
 2 
 
1 8 The Minnesinger of Germany. 
 
 — Ever — her sweet greeting 
 
 When meeting — my dear love, stirs wondrous joy. 
 
 — As she walks so airy, 
 
 The fairy ! — look, my heart leaps wondrous high ! 
 Woe, woe ! — what red mouth's glow 
 
 Hovers now o'er the valley? 
 Ah, ah ! — the hours of woe ! 
 
 Lovers it doth rally 
 No more ; — yet I shall leave it never. 
 
 — Pleasure — sweet and steady 
 
 My lady — scatters with her red mouth's smile, 
 
 And her eyes' sweet beaming 
 My dreaming — venturous thoughts with bliss beguile. 
 — Woe, woe ! — what red mouth's glow 
 
 Hovers now o'er the valley ? 
 Ah, ah ! — the hours of woe 1 
 
 Lovers it doth rally 
 No more ; — and I regrets must treasure. 
 
 In the following poem by Walther von der Vogel- 
 weide, and written in the later period of his life, a pe- 
 culiar rhythmical novelty is introduced ; and at the 
 same time a novelty in the construction of the strophe- 
 form, the usually third part of the strophe being in 
 this instance placed between the usually first and 
 second parts. In another poem Walther makes this 
 third part the first, thus reversing the whole ordinary 
 order of the strophe. The rhythmical novelty con- 
 sists in this, that in this usually third part, the epode 
 of the strophe and antistrophe of the whole verse, the 
 first word is to be read and sung with a pause before 
 
The Minnesinger and the Minnesong. ig 
 
 and after it, so as to make it an isolated line as it 
 were, and the last word of the third part or epode 
 must rhyme with it. /These rhythmical constructions 
 were called /««««•, and were frequently made use of 
 by the later Meisterssenger.j Now the treatment of 
 pauses, or csesuras, as Poe calls them, by readers or 
 reciters of poetry, requires, in all cases, great delicacy 
 of ear for rhythm. De Quincey somewhere makes 
 allusion to the peculiar effect of certain Greek iambic 
 lines at their close, and very justly ascribes this effect 
 to a peculiar rendering of the pause. But the pause 
 does not occur only at the end of a line in skillfully 
 written poetry, nor, indeed, always at the end of a 
 line, and what in music the composer indicates com- 
 pletely by signs for pauses, the reader of a poem 
 must often substitute for himself by his own hearing. 
 Shakespeare uses them with most admirable accuracy 
 of hearing. As an example, take the measured 
 stateliness, slow and equal, of rhythm in the Ghost's 
 address to Hamlet, closing : — 
 
 " If thou didst ever thy dear father love," 
 and Hamlet's heart-breaking outburst, than which 
 nothing could be more exquisitely in place, — 
 
 " O God ! " 
 followed by the same regular, slow iambics of the 
 Ghost, and then again broken by an ejaculation. 
 
 Here Hamlet's " God ! " is rhythmically and 
 metrically a complete blank verse line, and requires 
 the full time of one, the pause either to fall in it 
 entirely after the "O God!" or partly before and 
 partly after it, as the actor's ear may guide his judg- 
 ment. 
 
20 The Minnesinger of Germany. 
 
 The musical effect of the pauses in these poems 
 appears fully only with the return of the regular metre 
 in the third part of the strophe. The image referred 
 to in the second strophe of this beautiful poem is 
 evidently the poet's body. 
 
 THE WORLD'S REWARD. 
 
 — May God's grace on my soul alight ! 
 In this world many a life I've made — 
 Both man's and woman's — truly glad ; 
 
 Ah, had I but myself put right ! 
 
 — Cherish — I the body's love, it always grieves my 
 
 soul. 
 It is a lie, she says, I nourish. 
 "True — love," she adds, "has different mood and 
 stays faithful through all. 
 Love is both good and true to you." 
 
 — Man, leave the love that leaveth thee. 
 And to the faithful love thee turn. 
 That love for which thy heart does burn 
 Is nought but foolish vanity. 
 
 — A fairsome image was my choice j 
 Woe me, I e'er on it did look. 
 
 Or so much as I did to't spoke : . 
 It has lost beauty both and voice, 
 
 — One — wondrous thing did dwell in't ; that has 
 
 flown away. 
 Since then the image dumb has grown. 
 Lo ! — its rose-lily color turned so dungeon-gray. 
 It lost its perfume and its glow. 
 
The Minnesinger and the Minnesong. 21 
 
 — O image, if imprisoned me 
 Thou boldest, pray my chains unbind ! 
 That we each happier may find ; 
 
 For I must back return to thee. 
 
 — World, thy reward I well have seen, 
 What thou me giv'st, thou tak'st from me. 
 We all have turned our back on thee : 
 Shame on thee, treating me so mean ! 
 — I — ventured life and soul, 'twas far too much ! 
 and fame 
 Full thousand times in thy employ. 
 Now — am I old, and thou doth hold me as thy game ; 
 And if I rage then laughest thou. 
 
 — Aye, laugh thou still a little spell ; 
 Thy day of sorrow soon will near, 
 And take from thee what thou took'st here. 
 And burn thee in the fires of hell. 
 
 It is rather singular, scarcely to be accounted for 
 by the character of the language of the Minnesinger- 
 period, as some have attempted to show, that by far 
 the vast majority of the Minnelieder are composed 
 in the fundamental rhythm of one to three waltz time, 
 that is to say, in iambics and trochaics ; dactyls and 
 anapaests — the fundamental rhythm of one to two, 
 galop-time — being of comparatively rare occurrence. 
 Very few poems, indeed, are composed throughout in 
 dactyls, though these few include some of the finest, 
 as, for instance, Ulrich von Lichtenstein's " To the 
 Beloved," and as a rule, they are introduced only in 
 the body of iambic or trochaic poems, where peculiar 
 effects are sought to be introduced. 
 
22 The Minnesinger of Germany. 
 
 But it is chiefly the rhythmical construction of the 
 Minnelieder metres, that is, of the lines of the 
 strophes, which is worthy of study ; and unless the 
 peculiarity of these constructions is rigidly adhered 
 to in translation, the melodic effect of the Minnelied 
 is altogether lost. Most of the previous translations 
 of Minnelieder have proved failures on this account. 
 A line of six feet from one of the Minnelieder is no 
 more like a line of the same number of feet from 
 Tom Moore, for instance, than a fugue by Bach is 
 like one by some modern Italian. The chief distinc- 
 tion is that, unless particularly so indicated by a 
 caesura with generally an assonance or rhyme, it is 
 not divided into two parts of three feet each, and 
 that it thus has the real effect of a six feet iambic line ; 
 whereas few modern poems venture to produce the 
 full length, but split it up into shorter metres, thereby 
 depriving themselves utterly of its rhythmic effects. 
 The student of the Minne-poetry is at first quite 
 astonished by the length of lines in the Minnelieder, 
 as well as by the relation of their respective propor- 
 tions to each other ; lines of six, seven, eight, and 
 nine feet are of quite common occurrence, and in the 
 opposite direction the shortness of lines is equally 
 astonishing, though, of course, the shortness produces 
 no such difficulty in the reading as the long lines 
 often do to the unpracticed eye and ear. At the close 
 of a strophe, for instance, it is not uncommon to have 
 a line of from ten to fifteen feet. These have, of 
 course, to be cut up into parts, and usually the 
 csesuras are indicated ; but quite often, too, a con- 
 tinued long and uninterrupted sweep of the rhythm 
 is needed to produce the proper effect. Musicians 
 
The Minnesinger and the Minnesong. 23 
 
 can easily guess how this was readily accomplished 
 by the strain of the melody. The following little 
 Watch-song may serve as a specimen. It is by Winli, 
 one of the sweetest of the Minnesinger, of whose 
 life, however, nothing is known. 
 
 — Alas, the woe that smart'st, love ! 
 
 Now it is day, and thou from me depart'st, love ; 
 A loving woman leav'st thou here. 
 
 — Ah, well with pity may thy face be tendered ; 
 No woman her white arms ever surrendered 
 
 To body of a man more dear. 
 
 — How shall this end ? alack a day. 
 
 Thy manhood and thy courtesy, dear love. 
 Have under helm and under shield conquered my 
 heart with sword and eke with spear, love, 
 With hero's hand in bright array. 
 
 These Watch-songs, or Day-songs, as they were 
 called, are attempted by almost every one of the 
 Minnesinger ; each one trying to give new form and 
 coloring to the same old Romeo and Juliet theme. 
 The following, by Wolfram von Eschenbach, is one of 
 the best of the kind, and serves to illustrate the art- 
 power of a poet who could neither read nor write : — 
 
 — The morning's glance by watcher's song waked, 
 
 spied 
 A lady as she hidden 
 In her dear friend's arms lay cozily. 
 
 — Thereof high joys within her bosom died ; 
 
 Her clear eyes unbidden 
 
24 The Minnesinger of Germany. 
 
 Tears 'gan wet ; she said : " Woe day, ah me ! 
 
 — Wild and tame things thee hold dear 
 
 And gladly welcome ; ' I alone not ; woe, what shall 
 
 I do? 
 Now no longer more may stay with me my true. 
 Best friend; thy light drives him from here." 
 
 — The day with power now through the windows 
 
 broke ; 
 Much counseled they together ; 
 Unavailing ; then great woe broke in on them. 
 
 — The loving friend her friend close to her took ; 
 
 Her eyes besprinkled either 
 Pale-grown cheek ; her mouth spoke thus her flame : 
 
 — " Twain our hearts, our body one. 
 
 All undivided ; and our troths do never go apart. 
 O, great love has so o'errun my loving heart, 
 With thee near me, and I with thee ! " 
 
 — Sadly the man took farewell from his bliss : 
 
 Their parting love yet moulded 
 As't came nearer with the day's bright gleams. 
 
 — Ah, weeping eyes make sweeter mouth's sweet kiss ! 
 
 In last embrace they folded 
 Their mouths, their breasts, their arms, and their 
 white limbs. 
 Dared a painter sketch the scene 
 As they together lay so sweetly, he would enough 
 
 achieve. 
 Their common love thus cheated still all grief: 
 Their love no hate came e'er between. 
 
 One of the most beautiful and characteristic of 
 
The Minnesinger and the Minnesong. 25 
 
 " Watch-songs " is this one by the Margrave von Ho- 
 henburg. It has, moreover, an unusual rhythmical and 
 metrical peculiarity, in the interpolated and repeated 
 warning of the Watchman : " Wake him, Lady ! " and 
 the Lady's response : " Sleep, dear fellow ! " 
 
 — I watch to guard a brave knight's life, 
 And, beauteous dame, thy name from strife : 
 
 Wake him, Lady ! 
 
 — God grant, that things chance him so trim. 
 That he wake up, and none but him ! 
 
 Wake him. Lady ! 
 
 — No longer wait, 
 The time is late ; 
 
 Nor do I pray alone for his dear sake : 
 
 Wouldst thou him keep. 
 
 Wake him from sleep ! 
 Sleeps he too long the fault is thine, alack ! 
 
 Wake him. Lady ! 
 
 — " Accursed be thy hateful voice. 
 Watchman, and thy loud sounding noise ! 
 
 Sleep, dear fellow ! 
 —Thy watching was all good enough ; 
 Thy waking 'tis, that hurts my love : 
 
 Sleep, dear fellow ! 
 
 — Watchman, I e'er 
 Gave thee good cheer, 
 
 Cheer that my own heart but too rarely gets. 
 
 Thou dost repay 
 
 By calling day 
 And banishing sweet joy from my heart's gates: 
 
 Sleep, dear fellow ! " 
 
26 The Minnesinger of Germany. 
 
 — Thy anger shall me not dismay, 
 The knight must here no longer stay ; 
 Wake him, Lady ! 
 
 — He came to thee, trusting thy faith ; 
 For honor's sake guard thou his path : 
 
 Wake him. Lady ! 
 
 — O, Lady dear, 
 
 Should he lose here 
 His life, then we are also lost with him. 
 
 I sing, I say, 
 
 Now dawns the day. 
 Wake him, for now my horn must break his dream ; 
 
 Wake him. Lady ! 
 
 But it is not alone in the skill wherewith rhyme and 
 the mechanism of rhythm and metres are handled, 
 that the Minnesinger unfold wonderful perception 
 of beauty ; the pictures, scenes, thoughts, and de- 
 scriptions of their poems arouse constantly admi- 
 ration and delight. Could anything be more sweet 
 and graceful than the following scene! The poem 
 is by Johann Hadloub, already mentioned as the 
 Minnesinger who, under the patronage and direction 
 of the knights of Manesse, collected all the Minne- 
 songs that could be procured at his time. 
 
 — Ah ! I saw her sweetly pet a little child, 
 
 And love beguiled 
 Straightway my heart. 
 
 — She embraced it in her arms right close, and then 
 
 In me, poor man. 
 Great grame did start. 
 
The Minnesinger and the Minnesong. 2^ 
 
 — She held up its face with her hands fair and white, 
 Yea, and pressed it to her mouth and to her cheek ; 
 
 And kissed it she 
 With sheer delight. 
 
 — It did straightway as I also should have done : 
 
 The little one 
 Embraced her too. 
 
 — It did e'en as if t knew all its happiness ; 
 
 Its joy no less 
 Seemed full and true. 
 
 — Could I then behold it without envy, pray .' 
 Ah, thought I, were I but now that child so free, 
 
 And that she me 
 
 Thus played love's play ! 
 
 — Then I watched until the child had left her clasp, 
 
 And with fond grasp 
 Drew it to me. 
 —It had seemed so sweet as she had held the dear : 
 My heart did stir 
 Most blissfully, 
 
 — I embraced it closer e'en than she'd held it. 
 Kissed the- sweet, sweet place, where her sweet kiss 
 
 still sat ; 
 Ah me, how that 
 Made my heart beat! 
 
 And here is also a lovely one by Christian von 
 Hamle : — 
 
28 The Minnesinger of Germany. 
 
 THE MEADOW. 
 
 I wish the flow'ry meadow could but utter 
 
 Like yon parrot in the glass, 
 And tell me how it felt and 'gan to flutter 
 
 When to-day my love did pass, 
 
 And plucked flowers, a glorious mass. 
 From its field, whilst onward airily flitting 
 
 Her sweet feet trod its grass. 
 
 Sir Meadow, since you felt such wondrous pleasure 
 
 Where that time my lady went, 
 With her white hands gath'ring your flow'ry treasure. 
 
 And gathering, lowly o'er them bent, 
 
 O, Sir Meadow, do consent — 
 And let me now place my feet where, quitting, 
 
 My love left the grass down-bent. 
 
 Sir Meadow, if you but at our next meeting 
 
 Persuade her to relieve my woe, 
 Her naked feet you often shall feel beating 
 
 Your fields, for there I'll ask her go ; 
 
 Then you'll ne'er be hurt by snow ; - 
 And if she send me a kindly greeting, 
 
 Green like your clover my heart will grow ! 
 
 Of the following Minnesong by Jacob von Warte, 
 a knight of an old noble house. Van der Hagen says : 
 " I still hear in my old age, arising from it the same 
 sound of the old Minnesong, which it awoke in me 
 when I first read it in early youth ; it is of uncom- 
 mon loveliness and sweetness.'' 
 
The Minnesinger and the Minnesong. 29 
 
 — You shall hear songs sweetly pealing 
 Everywhere from yonder dale. 
 
 — Tuneful songs the spring air filling, 
 Over all the nightingale 
 
 — Look upon the lawn's broad play 
 And upon the glowing heather, 
 How her dress she wraps together, 
 
 Gayly robed to greet young May. 
 
 — Many a kind of flowers peep 
 Laughing from the dew of meadows 
 
 — Towards the sunshine's glory's sweep ; 
 O, sweet May-time knows no shadows ! 
 
 — But this me no hope conveys. 
 
 Since I'm sick with heart-grief's fever : 
 She, whom I'd be with forever 
 Still withholds from me her grace. 
 
 — O beloved, noble lady, 
 
 Loose me from my yearning dread ! 
 
 — Stay my guardian, kind and ready, 
 Lest my joys droop sick and dead. 
 
 — Needful help I ask of thee. 
 If my heart thou lettest go, 
 Nothing more can calm my woe : 
 
 Sweet, O keep thy grace with me. 
 
 — Power on many a one descendeth, 
 Thus we hear the wise men saying, 
 
 — Yet with mercy's balm not blendeth ; 
 Thus my lady keeps betraying : 
 
 — For me with such power she 's chained. 
 Without mercy, the beloved ! 
 
30 The Minnesinger of Germany. 
 
 That my heart-grief unremoved 
 Must stay with me to the end. 
 
 — Love, thou must be ours in common, 
 
 Or of joy my soul stays dead. 
 Grant that she me sweetly summon 
 
 By her mouth so sweet and red. 
 — Since thy power me so does stir, 
 
 And thou govern'st all my soul, love, 
 
 As thou choosest — e'en so full, love, 
 Let thy power grow over her ! 
 
 A number of felicitous uses of rhymes and rhythm 
 — the first two parts of each strophe, for instance, be- 
 ing connected by a rhyme of the last word of the first 
 part with the first of the second — occur in this charm- 
 ing poem by Gottfried von Nifen, one of the most 
 gracious and lively of the knightly minstrels. He 
 seems to have been desperately enamored of a 
 "red mouth," which also occurs in this as it does in- 
 deed in most of his poems. He was celebrated and 
 liked at court j of his circumstances we know nothing. 
 
 — Hark ! I hear the birdlets singing, 
 
 Music through woods sweetly ringing; 
 Clinging — you see flowers loom through the grass. 
 
 Trace — of early summer-pleasure 
 
 Shows the heather in full measure : 
 Treasure — of rare flowers and roses red. 
 
 May brings many a blossom glad. 
 
 Had I but my lady's favor. 
 
 Look, with joy I'd glow forever. 
 
The Minnesinger and the Minnesong. 31 
 
 Ne'er more sad, 
 Of many a sorrow free. 
 
 — If the blessbd one would grant me 
 Her love, bliss would soon enchant me. 
 
 Haunt me — ne'er should any sorrow move. 
 
 — For all solace is but sickly, 
 She alone can heal me quickly: 
 
 Mickly — blessfed woman, comfort now ! 
 -i Love, help thou, for time does call. 
 All — my hopes cling to her dearly: 
 She can punish me severely. 
 Why and how 
 Pray, does she hurt me so ? 
 
 — O, that her red mouth were willing. 
 With sweet kiss release revealing. 
 
 Healing — my love's wound with its sweet balm ! 
 
 — Calm — joy, bliss, and honor steady 
 On my heart would settle ready : 
 
 Lady — blessed woman, comfort now ! 
 Woe that sweet red mouth of thine ! 
 Pine — it made me when its sweetness 
 Smiled on me first charmbd witness ! 
 These griefs, trow! 
 Will soon make me look gray. 
 
 — Sweetest love, thou work'st great wonder : 
 Love, from thee I cannot sunder, 
 
 Under — thy rule must I henceforth be. 
 Thee — the sparkling eyes did beckon 
 Of a woman and have taken. 
 
32 The Minnesinger of Germany. 
 
 Shaken — straight into my heart and flown. 
 
 — Sweetheart, now be kind and good ! 
 Would — I ever joy draw near me, 
 You must drive from me — O, hear me, 
 
 Blessfed one ! 
 Love's grief — then joy'll be mine. 
 
 — Faith, it fitteth not the maiden. 
 That she keeps me sorrow laden. 
 
 Gladden — should she me with ecstasy, 
 
 She — meekly loving on me smiling, 
 
 All my dreamy grief beguiling, 
 Toiling — can cure me with love alway. 
 
 — Woe, that sweet red mouth of thine ! 
 Pine — my proud mood with love-passion. 
 Red mouth, made thy sweet expression. 
 
 Now quick ! say ! 
 For thou my prayer now know'st. 
 
 The following is by Duering, a very sweet and 
 melodious singer : — 
 
 LOVE-SONG. 
 
 — Alas ! time still does pass from us ! 
 
 The amorous 
 Songs of the birds have vanished. 
 The cold and frost make all things dead. 
 
 Whither has fled 
 The bloom of flowers and roses red ? 
 — Where are the dewy meadows and the tree-top's 
 shady towers ? 
 Alas! the frost has all destroyed. 
 
The Minnesinger and the Minnesong. 33 
 
 There is a void 
 Of many joys, that erst were ours. 
 
 — But me hurts neither frost nor snow, 
 
 For well I know 
 A laughing mouth — ah me, so sweet ! 
 
 — It opens like a new-blown rose, 
 
 And redder glows 
 Than any rose the sun doth greet. 
 —It is my loved lady's; and could I forget her^ pray? 
 She bringeth happiness most rare ; 
 
 Her body fair 
 Is my perennial Easter-day. 
 
 — Who'er saw such a maid afore ? 
 
 To the sea-shore 
 You'll find none like her, none so fair. 
 
 — 'Tis she for whom my heart doth pant. 
 
 Could she relent 
 And love me, ah, how rich I were ! 
 — Her gladsome eyes would brighten my life with 
 love's own glare ; 
 For her great beauty so beguiles : 
 
 On whom she smiles 
 Forever is relieved of care. 
 
 Nor do the Minnesinger fear weightier themes. 
 Even so cheerful a poet as Gottfried von Strassburg, 
 the greatest of that whole age, sings in solemn, ad- 
 monishing tones, as' witness the following of the only 
 four of his Minnesongs that have been left to us : — 
 3 
 
34 The Minnesinger of Germany. 
 
 ADVICE TO A CHILD. 
 
 — Child, if fortune happen to avoid thee, 
 
 And God give thee poverty — of body and of riches, 
 
 — Thou must learn in patience to abide thee. 
 And must not nurse grief thereat — in thought or in 
 
 thy speeches. 
 
 — Thou should'st thank the Lord for it — with heart 
 
 and soul forever ; 
 And to drive it from thy mind endeavor ; 
 Look, then t'will be told of thee in heaven to thy 
 
 favor. 
 
 — Child, this poverty, know, dearest fellow 
 
 Bear it with a willing mind — believe me, 'tis the better 
 
 — And your soul in hell's pool shall not wallow. 
 Body and soul can both be thus — be ridden from 
 
 sin's fetter. 
 
 — Poverty against God's wrath — the highest savior 
 
 proveth. 
 Between God and us such love it moveth 
 As no angel e'en can move : — this thee to think be- 
 
 hooveth. 
 
 — Child, this poverty by Him was courted 
 
 Who was highest, yea and first — and shall be without 
 ending ; 
 
 — Poverty at his birth-place consorted, 
 
 Where his sweet maid-mother lay — him into life's 
 grief sending. 
 
 — Poverty his night and day; — in poverty life leav- 
 
 ing; 
 
The Minnesinger and the Minnesong. 35 
 
 And in poverty our grace achieving : 
 
 Poverty be too thy choice from hell thy soul retrieving. 
 
 — Child, let no man e'er on this deceive thee : 
 Unless thou hast poverty — through God in thy heart 
 
 nursed, 
 
 — From the path to hell nought can relieve thee, 
 Where thou'lt suffer without end — the torments of 
 
 th' accursed. 
 
 — God his mother would not e'en — give two king- 
 
 doms of heaven. 
 Harshest poverty her here was given, 
 Whom in worth her equal was — no man or angel 
 
 even. 
 
 — Child, God with his own mouth thus has spoken : 
 That the heavenly kingdom, none — but the willing 
 
 poor inherit. 
 
 — Cherish in thy heart this as a token, 
 
 — And let not the lust for wealth — succeed e'er to 
 
 enter it. 
 — Wealth is of unmeasured harm — unto the soul's 
 
 salvation. 
 For it leads to sin through sore temptation : 
 0, from it thy mind turn quick — thou'lt gain the 
 
 heavenly station. 
 
 — Dearest child, I now will tell thee fully 
 Wherefore wealth brings so much harm — when ' tis 
 
 not used in measure : 
 
 — It makes men court seldom God, the Holy, 
 
 It has many and many a soul — turned from his 
 grace's treasure. 
 
36 The Minnesinger of Germany. 
 
 — It gives birth to vain conceit — and to God's will 
 
 forgetting. 
 It craves women, wine, and sweetened eating ; 
 Whereof many a one thou seest — hell's downward 
 
 pathway beating. 
 
 — Child, now I will tell thee more, declaring 
 Wherefore wealth brings so much harm — to God, 
 
 and works man's damage. 
 
 — It makes many a fool so overbearing 
 
 That his puffed-up heart no more — to any one shows 
 homage. 
 
 — Moreover, 'tis of such a kind — that he, to whom't 
 
 grows dearer, 
 Straightway spurns humility, sweet cheerer. 
 And thereby from God estranged — to hell draws 
 
 steadily nearer. 
 
 — Child, now I to thee'll unfold, moreover, 
 Wherefore wealth brings so much — harm to things 
 
 divine, and grievance. 
 
 — It can with great grame the soul's life cover, 
 
 It can bring thee sore distress — from which there's 
 no retrievance. 
 
 — It from out thy heart God's love — and its sweet- 
 
 ness expelleth. 
 " Where thy hoard is, there thy heart eke dwelleth ! " 
 God himself said ; and this word — to thee 'tis that 
 
 He't telleth. 
 
 — Child, now I will prove to thee still clearer, 
 Wherefore wealth brings so much harm — to th' 
 
 angel's host in heaven. 
 
The Minnesinger and the Minnesong. 37 
 
 — Look, it maketh many an old man serer, 
 
 That in good works he doth grow — quite dumb and 
 foolish even. 
 
 — Then his lustful heart the love — of wealth so 
 
 tightly clenches : 
 God from out his very heart he wrenches, 
 God, who saved him on the cross — with his heart's 
 
 blood rare trenches. 
 
 — Child, if thee the people scorn and slander, 
 That thou hast not mickle wealth — do not become 
 defected ; 
 
 — God will pour on thee his love, so tender, 
 
 In that hour when the mere rich — shall be by Him 
 rejected. 
 
 — Choose thou either here thy weal — and there woe 
 
 without ending. 
 Or choose here thy woe, and courage lending 
 There thy everlasting weal — where sorrow has no 
 
 standing. 
 
 — Child, God surely nought so dearly rateth 
 
 As He doth humility — in men and like in women. 
 
 — On the other hand He nought so hateth 
 
 As conceit and pride, for they — are doomed t'obey 
 hell's summon. 
 
 — Now these find'st thou nowhere more — than midst 
 
 those that are wealthy. 
 Who may follow them or bold or stealthy. 
 Night or day ; but for thy soul, — dear child, they are 
 
 not healthy. 
 
38 The Minnesinger of Germany. 
 
 — Child, to five things bear thou love the dearest, 
 If thy poverty thou want'st — God ever to reward 
 
 thee. 
 
 — Purity keep unto thee the nearest, 
 
 Chastity put in thy heart ; with — Mildness thy soul 
 
 guard thee. 
 — Night and day Humility — keep into thy mind 
 
 sowing. 
 Towards man and woman Patience showing : 
 Look, thus shalt thou never more — be with the 
 
 damned found going. 
 
 — When the wealthy do at last draw nigher 
 
 To old age, that they no more — their pride display 
 can stately, 
 
 — They the flames of pride in youth fan higher. 
 And teach them t'indulge conceit — whereat God 
 
 sorrows greatly. 
 Thus their pride they nourish, till — to death at last 
 
 they passing 
 Try t'accept for what there 's no redressing : 
 God us all through his Son's death — send us grace 
 
 and blessing ! 
 
 In this, again, enthusiastic Mulnhusen chants the 
 wondrous beauty of — 
 
 MY LADY. 
 
 — She has a body fair as light. 
 
 She has crisp hair, yellow and curled. 
 
 — She has a^ throat as snow so white ; 
 No finer woman holds this world. 
 
The Minnesinger and the Minnesong. 39 
 
 — I'd rather be with her than be even with God in 
 paradise : 
 Lord, in her love make thou me wise ! 
 
 — The sun did ne'er so bright appear, 
 But my love still more beauty brought. 
 
 — Her eyes stand open, bright, and clear ; 
 God making her, forgot e'en nought. 
 
 — I would not take the crown of Rome, were't offered 
 for her body me j 
 She pleases me so mightily. 
 
 The next one, by Ulrich von Wintersteten, a noble 
 knight, has a peculiarity which deserves attention, in 
 that the refrain is not a part of the strophe itself, but 
 is hung on as an appendix to the three parts of each 
 stanza. 
 
 WHERE THY HEART IS, THERE IS EKE THY 
 HOARD. 
 
 — Summer its great glory watches, 
 
 For this is its time ! 
 
 — Let the poet look, he catches 
 
 All there is sublime 
 
 — In the forest and the grass-decked lea. 
 
 The fair vestures 
 Of the pastures 
 He may see ; 
 And how flowers with green fields agree. 
 It is an old, old spoken word : 
 Where thy heart is, there is eke thy hoard. 
 
 — I at last have now discovered 
 
 A most glorious hoard. 
 
40 The Minnesinger of Germany. 
 
 — There my soul has e'er since hovered 
 
 Without further word, 
 
 — By that hoard, from which but pain has grown. 
 
 For the pure one 
 So demure, on 
 Me looks down ! 
 Yet she is my heart's love, she alone. 
 It is an old, old spoken word : 
 Where thy heart is, there is eke thy hoard. 
 
 — My hoard must be virtues hoarding, 
 
 And a highflown mood. 
 
 — For the hoard that I am guarding 
 
 Is a woman good. 
 
 — In her thorough goodness so like gold : 
 
 Her behavior 
 Hath a flavor 
 As if old, 
 For her virtues shine most manifold. 
 It is an old, old spoken word : 
 Where thy heart is, there is eke thy hoard. 
 
 — Many a one, his hoard concealing. 
 
 From it joy receives. 
 
 — But mine stirs but angry feeling 
 
 And mere scoldings gives. 
 
 — Thus my dearest hoard to me doth show 
 
 Useless every way. 
 But Love's gay 
 Cupido 
 Hit my heart, so it stays full of woe. 
 It is an old, old spoken word : 
 Where thy heart is, there is eke thy hoard. 
 
The Minnesinger and the Minnesong. 41 
 
 — Love, ah, 'tis the strongest craving 
 
 Of all earthly things, 
 
 — On the earth there is no saving 
 
 From the wounds love brings. 
 — Wisdom, hoard, they both bow down to thee, 
 Now bliss ; sorrow 
 When to-morrow 
 Yearning 's free : 
 0, force thou. Love, my hoard, e'en as thou hast 
 forced me. 
 It is an old, old spoken word: 
 Where thy heart is^^ there is eke thy hoard. 
 
 (The bloom of the Minnesong passed away grad- 
 ually in the latter half of the thirteenth century, when 
 its freshness arid life of rhythmical form and compact 
 completeness of stanza gave way to the pure mech- 
 anism of construction which a new school of singers 
 brought into play. The knights forsook the art and 
 left it Jotlifi.x;jtizgns^japon whom the,£as5iQa of poet- 
 izing now seemed to have seized. But the citizen did 
 his work citizeH-ltfce,-and not-iu. the. enthusiastic way 
 of the knight. The Minne-poem became more and 
 more didactic, theologi& and pa!iJic«i£us«oient ; more 
 and moreforced in forrri^|The strophes began to as- 
 sume extraorHmai^length,' so that the ear could no 
 longer gather the musical relation of its various parts ; 
 the lines, also, either inordinately drawn out or unmu- 
 sically short; the rhythm stiff and unwieldy. The 
 poems evinced lack of clearness and precision ; un- 
 wieldiness of speech ; search after quaint, new similes 
 drawn from unknown fables, doctrines, historical 
 
42 The Minnesinger of Germany. 
 
 data, etc. ; mystery bordering on downright nonsense; 
 assumption of profound thoughtfulness to hide empti- 
 ness ;)in short, all the symptoms which characterize 
 the inodern Browning-school, and which characterize, 
 indeed, every school of merely artificial art. 
 
 Of course the change was gradual ; and partly also 
 
 probably influenced by so many of the Minnesinger 
 
 leaving the freer life of Southern Germany for that of 
 
 the northern parts, as far up, indeed, as Denmark) 
 
 where in King Eric VI. they found a patron devoted 
 
 nd liberal, like their own Herrmann of Thiiringen. 
 
 •vX the didactic element prevailed in those northern 
 
 j parts, where a whole host of Minnesinger now be- 
 
 i gan to spring up and put Puritanism and political 
 
 1 party spirit into the lovely form of the Minnesong 
 
 \ and Lay. ) Hermann Damen, Meisner, Sonnenburg, 
 
 and Rumdand are amongst the most noted of these. 
 
 Wizlav IV., Prince of Riigen, and the last of known 
 
 princely singers, also belonged to this northern tribe, 
 
 and sang of theology, though, it must be admitted, 
 
 as a true prince, likewise of love. 
 
 Above these tower Conrad von Wurzburg, who 
 lived toward the last years of the thirteenth century, 
 and is to be ranked amongst the very foremost of 
 Minnesinger, wonderfully pure and sweet in his 
 rhymes, graceful in rhythm, happy and easy in the 
 subjects of his poems, and besides the author of many 
 short narrative poems as well as of a magnificent 
 song to the Virgin entitled " The Golden Smithy " ; 
 and Regenbogen, who left his profession of a smith 
 from an irresistible attraction to forge poetry, and 
 succeeded in no way badly. 
 
The Minnesinger and the Minnesong. 43 
 
 But chief of all of this later school ranks Regen- 
 bogen's rival, Heinrich von Meissen, better known by 
 the name Frauenlob, an appellation given him be- 
 cause in a prolonged controversy with Regenbogen he 
 maintained the supremacy of the word " Frau," Lady, 
 over that of f Weib," Woman. It had become quite 
 customary fo?- the new citizen poets to assume such 
 nicknames, and many of them are known to us only 
 by them. In this poetical contest of Frauenlob's, 
 almost all the poets of that time took part. Walther 
 von der Vogelweide gave his vote thus : — 
 
 WOMAN AND LADY. 
 
 — " Woma n " must ever be a woman's highest name, 
 And honors more than " Lady," if I know right. 
 
 — Now if there 's one who holds her womanhood in 
 
 shame, 
 Let her attend these verses and choose now right. 
 — 'Mongst the ladies some are bad, 
 'Mongst the women such are rare ; 
 Woman's name and love have had 
 Pleasant sound, faith everywhere. 
 And whate'er may ladies mar : 
 AJHhejromen^ladies are. 
 Doubtful praise man scorneth, 
 As oft that of " a Lady " ; but " Woman " is a praise 
 that all adorneth. 
 
 But Frauenlob deserves his high rank among the 
 poets of this later school of Minnesinger chiefly by 
 the marvelous ease and power with which he controls 
 
44 The Minnesinger of Germany. 
 
 all the artifices of his craft, under which his fellow- 
 poets so often succumb into laborsome prose. He 
 is the very Swinburne of his age : serene ruler of all 
 the tricks of rhythm, rhyme, and alliteration. Take 
 the following lines from his magnificent Minne-Lay 
 as a proof: — 
 
 " Wer kan — werden man 
 Vueren up der eren plan 
 Mit gewelvet pfellel varwes mundes kusses Helen ? " 
 
 As illustrations of the manner in which this later 
 school did their work, we give a poem on the Trinity 
 by Meisner, and a stanza from each of the three 
 famous poems written by Frauenlob, Regenbogen, 
 and Marner in their "Song Tone." Concerning 
 these Song Tones, it will be necessary to state that 
 when the still later school of Meistersaenger came 
 into existence, after the total expiration of the Min- 
 nesinger-period, and after the knightly life of chivalry 
 had been supplanted by the burgher life of citizen- 
 hood, it made no attempts even to rival either the 
 inventive skill of the first Minnesinger, or the me- 
 chanical art construction of the later ones. I They 
 contented themselves with imitation ; and as the 
 mechanical poetry tickled their admiration more, on 
 the whole, and was ih truth the only one possible to 
 imitate, the school of the Meistersaenger fell upon 
 the inherited schemes of metres and stanzas of the 
 later Minnesinger, and upon the basis of these, con- 
 structed their own unfathomably tedious poems. 
 These schemes or tones received each a peculiar 
 name. Thus there were long tones, new tones, golden 
 tones, over-golden tones, etc. To construct readily 
 
The Minnesinger and the Minnesong. 45 
 
 a poem on such a given scheme certainly required 
 great skill, practice, and knowledge of language ; but 
 with these accomplishments any one could also make 
 a poem, whether he possessed other poetical gifts or 
 not. /The Meistersaenger, having formed a guild of 
 poets, mto which no one could be admitted till after 
 severe examination into his mastery over various 
 tones, etc., they chose from out of all inherited tones 
 four, which were then called the crowned tones, and 
 every candidate for admission had to compose a poem 
 in the metre and music of these four tones before he 
 was crowned as master poet. The four crowned 
 tones thus selected were the long tones of Marner, 
 Regenbogen, Frauenlob, and Miigglin. '; Miigglin, as 
 not belonging to this period, we leave out ; of Frau- 
 enlob and Regenbogen we have already spoken; 
 Marner was one of the most learned poets of his 
 time, and also became one of the most popular, on 
 account of a very long theological poem written in 
 the same celebrated long tone. 
 
 THE TRINITY. 
 
 — I marvel how above me the clouds fly night and 
 
 day; 
 I marvel where the night stays during day, and where 
 the day goeth at night 
 Whose light to-day us shone. 
 
 — I marvel at the many marvels of God's display ; 
 I marvel how the sun takes from the moon whenever 
 
 morning breaks her light ; 
 And how three Gods are one. 
 
46 The Minnesinger of Germany. 
 
 — Without beginning, without end, one God; 
 The one I triple, people, and make my abode ; 
 The Trinity thus tripled in three names holdeth 
 sway; 
 The three, one God within one Godhead, Holy Ghost, 
 God Father, Jesus, stay; 
 Almighty God for aye ! 
 
 II. 
 
 — Above all wonders of the world remark a mickle 
 wonder ; 
 How soul and flesh one body are. 
 And how the soul 's a spirit, and how it lives forever. 
 — And how God's word is man and Christ, Christ 
 God's child here and yonder ; 
 God's three names, too, do thou declare; 
 Father, Son, and Holy Ghost ; three names that none 
 can sever. 
 — See how God one in one doth flow, 
 And cunningly doth render 
 The one in two ; say yea, not no, 
 If thou wouldst life engender ; 
 Part one in three, three in one show, 
 Tripled and joined if thou thee wouldst unto Christ 
 surrender. 
 
 STANZA IN REGENBOGEN'S SONG FROM HIS 
 HYMN TO THE VIRGIN. 
 
 — How spake Isaiah in the dearth ? 
 " Ye heavens, bend down to earth, and clouds pour 
 forth your waters ! 
 
The Minnesinger and the Minnesong. 47 
 
 Earth, ope thou thy wounds most wide, 
 And bring to us a God with power of saving ! " 
 
 — Maria, Virgin, thou'rt the earth : 
 Thou'rt blessed, O wife and mother 'bove all earth's 
 blessed daughters. 
 
 God's Son oped thy heart, sweet bride ; 
 Then came the dew the prophet erst was craving ; 
 
 — And likewise in her breast the sword, 
 When from the Holy Spirit she received 
 
 The heavenly, the quickening word. 
 And the new wondrous mystery perceived. 
 
 Maria ! Thou the earth, I wot, 
 
 Art of Isaiah's word : 
 Thou bringest us the true Christ Jesus, Lord. 
 
 Ye dews and ye sweet rains from heaven, 
 And clouds, bore then the Holy Spirit down, 
 By the blest word to Gabriel given. 
 
 Who then from heaven brought down her crown. 
 0, blessed dew of earth and heaven forever blooms 
 what you to bloom restored. 
 
 O Jew, damnation is thy lot 
 That thy belief with ours does not accord. 
 
 STANZA IN FRAUENLOB'S LONG TONE FROM 
 HIS HYMN TO THE VIRGIN. 
 
 — Maria, God's own Mother, Daughter, Bride most 
 sweet. 
 
 Let me repeat 
 To thee the angel's greeting, 
 When thou God cam'st meeting. 
 
48 The Minnesinger of Germany. 
 
 Then taking Him into thy life ; also thy repeating : 
 "I am the handmaid of the Lord; his will be done 
 unto me.'' 
 
 — O Lady, let me linger on the grace so rare, 
 When thou didst bare 
 To Simeon's sword thy tender 
 Breast in the temple's splendor. 
 Let me recall his sufferings too, the life He did 
 
 surrender, 
 Mother, before thy very eyes, thy lifeless heart ; ah, 
 woe me ! 
 
 — Life hallowed in all thoughts of mine. 
 Let me recall the grace divine 
 Of that Child thine ; 
 Thy joy benign, 
 When his ascension saw thine eyen ; 
 And God the same did thee assign ; 
 Thou, source of all man's blessedness, O, from all 
 sin renew me ! 
 
 STANZA IN MARNER'S LONG TONE FROM 
 HIS HYMN TO THE VIRGIN. 
 
 Maria, blooming almond-tree. 
 
 The heavenly manna's shrine. 
 From sin's grim death-frost set us free, 
 For thou art helper all divine : 
 Thou the royal glorious throne of the wise king Solo- 
 mon. 
 
The Minnesinger and the Minnesong. 49 
 
 Thou Judith, who mad'st valiantly 
 
 The prize of victory thine ; 
 Thou Esther, queen by king's decree. 
 Who, when in need thy people pine, 
 Dar'st interpose thy pleading tone, and front the 
 death-doom for thine own. 
 
 Thou, pure Jael, now hast slain Sisera, haughty king ; 
 Thou art she who from the serpent took his venomed 
 sting : 
 Thou glorious pilot-star ! 
 Thou art the wise wife Abigail ; and sinners thee ap- 
 proach from far. 
 Thou wert beloved by David, king, who slew proud 
 Goliath, 
 
 (Craftily, in faith !) 
 And cleft his head in wrath, 
 Whence wisdom smoothed e'er his path. 
 O Mother, pure and chaste, sweet Maid, turn from us 
 
 sin's hateful breath, 
 So that we gladly thee may worship, and thy great 
 honor ever own ! 
 
 While the Minnesong thus on the one hand was 
 frozen into pure mechanical versifying, it on the other 
 hand and from another school received, if possible, a 
 still greater injury by being dragged down into the 
 region of vulgarity and obscenity. Nithart, though 
 certainly one of the most gifted of the Minnesinger, 
 was the chief leader in this downward movement, and 
 the vast number of his songs transmitted to us to 
 substantiate, as it were, his popularity, turn chiefly 
 4 
 
50 The Minnesinger of Germany. 
 
 upon vulgar descriptions of village brawls, and am- 
 orous dialogues. His great genius and illimitable 
 command over language appear chiefly in his Lays. 
 He was indeed the knight-minstrel turned into the 
 minstrel-vagabond and tavern-house loafer. Songs 
 that would characterize his peculiar genre, it would 
 be almost impossible to give. The following two 
 show him in his better mood : — 
 
 FAREWELL TO THE WORLD. 
 
 — All that in the Summer full of glory was, 
 
 Now begins to sorrow at the Winter's long and heavy 
 time. 
 
 And the birdlets' warblings now have vanished every- 
 where. 
 
 — Altogether perished are the flowers and grass, 
 And behold how cold and grim snow-coverings o'er 
 
 the forests climb; 
 Whilst the meadow and the heath are stretched out 
 waste and bare. 
 
 — Hence I raise this lamentation : 
 
 I no more enjoy me. 
 And I fear this tribulation 
 Never will pass by me. 
 
 — Perhaps you may wonder what my plaint can 
 
 be. 
 
 Which I in repentant spirit did unto my friends dis- 
 close. 
 
 I will tell you, and you shall acknowledge't must be 
 truth ; 
 
The Minnesinger and the Minnesong. 51 
 
 — Alas, never is a man of sins here free, 
 
 And, moreo'er, the longer't stays the worse in Chris- 
 tendom it grows. 
 
 This reflection darks my days and kills off all 
 my youth. 
 
 — Shall I then to joys resign me 
 My heart does not cherish? 
 
 And not rather round Him twine me 
 Who'll not let me perish? 
 
 — If I, sinner, try to bathe me in repentance. 
 Then my lady asks me quick to sing a song unto 
 
 her child ; 
 Do I then try to withdraw me from her urging e'er, 
 
 — She does threaten me to cut off my acquaintance. 
 Her immodesty has thus fore'er my thoughts from 
 
 her beguiled \ 
 I am in that mood wherein my soul from sin I'd clear, 
 
 — Which I from God have led astray 
 By my voluptuous measures ; 
 
 God's angel must guide me the way 
 To heaven's soothing treasures. 
 
 — Woman without honor, what wouldst have o'f me ? 
 Thousand young ones ready are hereafter to stand in 
 
 my place ; 
 I'm resolved to serve a Lord, who me for Him has 
 won. 
 
 — From this time I will no more your singer be. 
 Woe me that I ever did myself unto your court 
 
 abase ? 
 This my soul's salvation has for a long time undone. 
 
52 The Minnesinger of Germany. 
 
 — That I did not fly from you 
 Makes my sorrow greater, 
 And to God my soul withdrew, 
 Whose reward is better. 
 
 — My lady, she is older than a thousand years, 
 And still is stupider than is a little ungrown seven- 
 years child. 
 
 So weak-minded unto me was ne'er a woman 
 known, — 
 
 — She has ever led me stray ; and I have fears 
 She hopes still I may by her again be captured and 
 
 beguiled, — 
 For this to a messenger, sent by me, she did own. 
 
 — She made offer openly 
 Of heir great affection. 
 
 But I replied : Away with thee ! 
 And prompt me no defection. 
 
 — Now since the wise are always God's own chil- 
 ' dren named, 
 Could I be wise I also should be one of his own chil- 
 dren's choir ; 
 But their abode, alas ! too far removed is from me, 
 
 — For all the fools by love of world are ever 
 
 claimed. 
 O Lord of heav'n ! guide thou me, and my soul with 
 
 Thy great love inspire ! 
 Strength above all the Christians I, God, hope to gain 
 
 from Thee. 
 
 — Thus I my soul's salvation may, 
 O Lord, from Thee recover ! 
 
The Minnesinger and the Minnesong. 53 
 
 And evermore in thy sweet way 
 Remain thy pray'rful lover. 
 
 SPRING-SONG. 
 
 — The wood that looked so grisly 
 
 — With snow and ice lifelessly, 
 
 — Is now with glorious colors blest. 
 
 O, children, haste 
 T'enjoy its treat. 
 And where gay flowers grow swing your feet. 
 
 — On many a green branch swinging, 
 
 — Little birdlets singing 
 
 — Warble sweet notes in the air. 
 
 Flowers fair 
 There I found 
 Green spread the meadow all around. 
 
 — I am a friend of Maytime, 
 
 — 'Twas then I saw in daytime 
 
 My love dance in the linden's shade ; 
 
 The leaves all play'd 
 
 To turn away 
 From her the heat of the sunny day. 
 
 A Dance-song by Tanhuser must conclude this 
 selection of Minnesongs ; it illustrates moreover the 
 Nithart style of Minnelied, just alluded to. Whether 
 this knight-poet Tanhuser is the prototype of the 
 legendary Tannhauser of the Venus-mountain, is un- 
 certain ; though his poems are vividly amorous enough 
 
54 The Minnesinger of Germany. 
 
 to justify the suspicion. Most of those poems are 
 in the form of lays. Tanhuser was a much admired 
 poet of his time, and this Dance-song of his is cer- 
 tainly an admirable production, calling up the scenes 
 of the village dance with dramatic truthfulness. 
 
 DANCE-SONG. 
 
 — In Christmas times so cheery 
 
 We should remove all thoughts that make us dreary. 
 
 Too long we've lived in dolor ; 
 Now follow me, for I your hearts will cheer ye. 
 
 — I'll sing for you some dances. 
 
 Look ! on your flower-crowned fair one cast your 
 glances, 
 Her cheeks of rosy color — 
 Ah, how your hearts would laugh if they were near ye ! 
 
 — Whensoe'er the fairest 
 
 Bends forward, rapture thrills me, O the rarest ! 
 
 And her bosom's sinking 
 Keepeth my mind on love forever thinking. 
 
 — She is so sweet, so pretty, 
 I'll sing her praise in my readiest ditty : 
 
 Her hands so shapely standing. 
 Her fingers as queen's tapering so slowly, — 
 
 — Thus is she formed and shapen. 
 Moreo'er so well timed all her speeches happen. 
 
 Without false praises spending, 
 I well may say she looks an empress wholly ; 
 
 — Aye, I do pledge my favor 
 With all of you, that in this land I never 
 
The Minnesinger and the Minnesong. 55 
 
 Beheld so fair a creature : 
 Perfect in form and pure in every feature. 
 
 — Aye, dance away and clatter, 
 So you no dust upon my fair one scatter. 
 
 I Look not at her often, 
 Tor if you do I fear you'll lose your senses. I 
 
 — Her laugh so beguiling — 
 
 Ah, thousand hearts must break when she is smiling. 
 
 Her moist glances soften. 
 And in my heart awaken love's sweet trances. 
 
 — Stand back, ye boys and lasses ! 
 Make for the fairest room whene'er she passes. 
 
 This is but your duty : 
 I hold no other land holds such a beauty. 
 
 — Ah, laugh now at my folly : 
 
 I tremble when her toes peep out so jolly. 
 
 They are so shapely standing ! 
 Ah comely form and dear belovbd sweetheart ! 
 
 — Dance, my love ! ye follow ! 
 
 ne'er were feet so rounded, small and hollow. 
 
 If thee please not their ending 
 Know thou, my friend, that thou no judge of feet art. 
 
 — White are her legs and curved ; 
 
 Her curled hair's waves have made me all unnerved ; 
 
 Her shape perfectly moulded ! 
 All women ought to be in her is well unfolded. 
 
 — Thou dearly loved, good creature. 
 Move here, stand there, perfect in ev'ry feature ! 
 
56 The Minnesinger of Germany. 
 
 No beauty like't in story : 
 Thy mouth so red, thy ey^ so sweetl^^calling, 
 
 — Thy cheeks, that glow so rosy ! 
 White thy throat, its necklace there so cozy, 
 
 Thou dear summer glory ! 
 Thy hair as full as I could wish it falling. 
 
 — Thy breasts, so sweetly heaving, — 
 Dance, love, O, dance, love sweet past all believing ! 
 
 ]^t_thy gentle glances 
 Linger on me, sweet love, and stir my senses ! 
 
CHAPTER II. 
 
 THE -MINNELAY. 
 
 HE Minnelay is distinguished from the Min- 
 nesong in this, that it lacks the triplicity of 
 the strophe-form and the sameness of the 
 strophes. \ Hence the strophe itself in its own con- 
 struction is completely independent, and each strophe 
 of a Lay is again also completely independent in regard 
 to the others. At least, so far as known, there was no 
 regular law on this matter. '■( From the descriptions 
 given by Lichtenstein and Gottfried von Strassburg, 
 as well as from the form of the Lay itself, it would ap- 
 pear as if its singing had usually required a quicker 
 time movement and more violent modulations and mu- 
 sical transitions from low to high notes than the com- 
 mon song£ At any rate, being invariably rendered with 
 the accompaniment of some stringed instrument, the 
 music was a necessary element for the perception of 
 its full rhythmical beauty. ) Not f. very large number 
 of Lays have been preserved. (Most of these have 
 for their subject the general one of all Minne-poetry : 
 love, the seasons, and the state of society. ) Several 
 Lays of Tanhuser also bring in matters of geograph- 
 ical and historical lore in an odd, comical way, whilst 
 Nithart shows his power over language, wherein he 
 is excelled only by the great German humorist of 
 
58 The Minnesinger of Germany. 
 
 the sixteenth century, Johann Fischart, nowhere so 
 astonishingly and with such felicitous effect as in his 
 Lays. In a number of the Lays the last line recounts 
 the breaking of the fiddle-bow or strings, whereby both 
 the singing of the Lay and the dance, which it gener- 
 ally excited, were put to an end. Ulrich von Lich- 
 tenstein has some excellent Lays, but we here give 
 two by the good knight Ulrich von Wintersteten, who 
 seems to have had a preference for this form of Min- 
 ne-poetry. Of the poet's life little or nothing is known 
 except that he lived about in the very bloom of Min- 
 ne-poetry, under the Emperor Frederick II. Both of 
 these Lays seem to be somewhat connected ; and an 
 exact metrical correspondence appears also between 
 the several strophes ; for instance, between strophes 
 I, 2, 3, 4, and strophes 9, 10, 11, 12; also between 
 the sth and 6th, the 7th and the 8th, and the 13th 
 and 14th in the first Lay. In the second Lay the 1st 
 and 2d, and the 3d and 4th, and the 5th and 6th 
 strophes have identical rhythmical arrangements. 
 
 A LAY. 
 I. 
 
 Ah, love, mark how thy glances 
 
 Awake 
 
 And shake 
 
 My senses 
 
 With sweet love trances ; 
 
 And yet how full joy still mischances. 
 
The Minnelay. 59 
 
 2. 
 
 Fool I, I borrow 
 
 Sorrow 
 
 Forever ; 
 
 Sever 
 
 From me all gladness and pleasure, 
 
 Love, keep sending, 
 
 Kindly lending. 
 
 Befriending 
 
 Help to my heart without measure. 
 
 3- 
 
 If with the dear, I — believe me ! — 
 
 Could dally 
 
 And rally 
 
 From grief me : 
 
 Sorrow would have to leave me 
 
 And joy come at once and reprieve me. 
 
 4- 
 Since I 'gan singing 
 Unclinging 
 Seems weariness. 
 Yet dreariness 
 Follows me every hour. 
 Love, do thou smiling. 
 Grim grame beguiling, 
 Joy on me shower. 
 
 5- 
 How shall I joy now recover ? 
 In me 
 
6o The Minnesinger of Germany. 
 
 Through thee 
 
 It finds no clover. 
 
 Thou must unbind, love, thy lover, 
 
 Thou must, or make gladness come over. 
 
 6. 
 Give me but once, sweet savior, 
 One sigh ! 
 Since I 
 
 Of thy behavior 
 
 Sing songs of the rarest blown flavor. 
 Ease heart grief by granting sweet favor ! 
 
 7- 
 A pretty 
 Ditty 
 
 Gladly I'll wake, love ! 
 Take, love, 
 My song, thou so lovely and witty. 
 
 8. 
 
 Ease me, 
 
 Release me. 
 
 Quick from my fetters. 
 
 Begetters 
 
 Of grief, that yet never gave peace me ! 
 
 9- 
 Sweet one, let me not languish ! 
 Quiet 
 The riot 
 
 Of my great anguish ! 
 Let love me not vanquish ! 
 Protect me, O love, from that anguish ! 
 
The Minnelay. 6i 
 
 lO. 
 
 ) Shall me thy sweetness turn sour ? 
 My mood 
 Doth brood 
 
 On love's wondrous power, — 
 I tremble and cower 
 With fear, love, my heart may devour. \ 
 
 Ah, how scatter, 
 
 Shatter 
 
 Sorrow ? 
 
 Borrow, 
 
 Sweet love, relief for ray sadness. 
 
 Thy looks, lady. 
 
 Thrills my steady 
 
 Heart too ready : 
 
 For never arouse they fond gladness. 
 
 12. 
 
 Alas and woe me J 
 
 For unto me 
 
 Cometh grief now. 
 
 Relief now 
 
 Can come but from love's addresses. 
 
 Lady, weep thou ; 
 
 For me keep thou, 
 
 Heap thou 
 
 On me thy caresses ! 
 
 13- 
 \ Dear lovfed one. 
 Pure, sweet one, meet me ! 
 
62 The Minnesinger of Germany. 
 
 Blessed, my own, 
 
 By thy great goodness, greet me ! 
 
 14. 
 
 Yea, I am dead 
 
 If love doth not come to me ; 
 
 It were too bad, 
 
 If love should thus undo me. 
 
 ANOTHER LAY. 
 
 Look me dearest, 
 
 Nearest ! 
 
 Fearest 
 
 Man's scoff thou ? 
 
 Rose of the valley, 
 
 Dally 1 
 
 Rally 
 
 And laugh thou ! 
 
 Let all heart-aching, 
 Soul-breaking, 
 Forsaking 
 Soon leave me ! 
 Let me succeed, love ! 
 Speed, love! 
 Take heed, love, 
 To grieve me. 
 
The Minnelay. 63 
 
 3- 
 Blessedness thy red mouth showers ; 
 Could I kiss it thousand hours, 
 Ah me ! 
 
 Gone were all my yearning grame ; 
 Now all dead of joy I am ; 
 Ah me! 
 
 4- 
 Rich of virtue, sweet and best, 
 Let me see, thou pity hast 
 On me. 
 
 I should ever grameless stay 
 If one look on me would stray 
 From thee ! 
 
 S- 
 Lady, now to me do so 
 That great joy on me may flow, 
 Thou virtue's choicest flower ! 
 If thou wilt, fore'er must go 
 From my heart all grame and woe, 
 And bliss must on me shower. 
 
 6. 
 
 Ah, sweetest love, come loving be. 
 
 To love resign thee lovingly, 
 
 That I no more be worried. 
 
 And sigh no more for thy sweet sake, 
 
 My yearning heart, else love, wilt break, 
 
 And in its grief be buried. 
 
 But it was not alone on the field of the general 
 Minnesong-subjects that the Lay unfolded its infinite 
 
64 The Minnesinger of Germany. 
 
 capacity of form to best advantage. Even as in mod- 
 ern music the regular symphony form is generally 
 abandoned for that of the " symphonic poem," and 
 as in modern poetry the regular strophe-form of song 
 has been generally abandoned for the irregular j take, 
 for instance, Poe's " Bells," or Tennyson's " Lotus- 
 eaters '' as examples of such irregular songs or lays — 
 on account of its greater capacity in some instances 
 *to open up wondrous rhythmical beauties, and partly 
 also, it must be confessed, because it is more^ easy 
 to compose and write beautifully in an irregular than 
 in a regular form, — so the Minne-poets soon trans- 
 ferred the Lay to other regions. As a legitimate 
 subject of the general Minnesong, it had celebrated 
 from the first the glory of the Virgin, and one of the 
 very best of all Lays is the following one by Walther 
 von der Vogelweide, which has this theme : — 
 
 LAY TO THE VIRGIN. 
 
 God, Thy Threehood, which yonder 
 Thou from the first didst ponder. 
 We here confess a wonder : 
 Tripling't in Thy dread presence : 
 The Threehood is one essence. 
 
 One God, mighty Creator ! 
 Thy power its self-begetter. 
 Can grow nor less nor greater. 
 O, send thy Word's sweet fetter ! 
 Us led astray that hater — 
 By sin's alluring kisses, — 
 The prince of hell's abysses. 
 
The Minnelay. 65 
 
 — His guile and our weak flesh, ah we ! 
 Have sore estranged us, Lord, from Thee, 
 And since these two powers are so bold. 
 Whilst Thou both in Thy strength dost hold, 
 O Lord, for Thy own glory's sake. 
 Help us their fearful chains to break. 
 Yea, let thy blessbd strength secure 
 And fill us with such power t' endure. 
 
 As must increase Thy praises 
 And spread Thy glory's phases : 
 This him vexation raises, 
 Who taught us sin's disgraces, 
 
 And who t'unchasteness us has fettered. 
 
 His strength will by Thy strength be shattered, 
 
 Thereof Thy praises shall wide be scattered, 
 
 And that pure maid's, untouched by hatred, 
 
 Who down on us salvation flattered 
 
 By her sweet son, and grace us gathered. 
 
 Behold, O maid and mother, — how Christendom lies 
 
 wan ! 
 Thou blooming rod of Aaron — uprising morning 
 
 dawn ! 
 Ezekiel's gate that never — was opened, as 'tis said, 
 Through which the King of Glory, — came in and 
 
 out, sweet maid ! 
 E'en as the sunshine passes — through the unstained 
 
 glass. 
 Thus birth did give to Christ the pure — who maid 
 
 and mother was. 
 5 
 
66 The Minnesinger of Germany. 
 
 A bush fire caught — yet never aught — of it the 
 
 living flame there ate, 
 All fresh and green — remained its sheen — 
 
 unscorched it passed its fiery fate, 
 Such the thronely — Maid, the only — maid who 
 
 in a virgin state 
 
 — Was e'er maid mother of a child 
 Without being by man defiled ; 
 And 'gainst all human wit and word 
 The true Christ Lord 
 
 Bore, who from sin has won us. 
 — Hail us that she birth given hath 
 Him, who our death hath slain to death, 
 Who with his blood did make the bath. 
 That cleansed the wrath 
 
 Eve's guilt had put upon us. 
 
 For the throne of — Solomon, thou, — Lady, art a tem- 
 ple 
 rare, and thou the fit commander ! 
 Balm-tree blowing — pearl ,rare glowing — o'er all 
 maidens art thou, maid, a maid of queenly splen- 
 dor! 
 God's nurse cheery] — thy womb, Mary, — a palace was, 
 that held inclosed the lamb so pure and tender ! 
 
 — The lamb doth hold 
 Each of his fold 
 Alike true gold. 
 They him behold 
 And turn whene'er he turneth. 
 
The Minnelay. 67 
 
 — This lamb Christ is, 
 True God, O bliss ! 
 And ne'er remiss 
 To make thee his ; 
 He thy least move discerneth. 
 
 O pray to Him, that He, true friend, 
 Whate'er our need requires may send. 
 And comfort from above us lend : 
 His praise the brighter burneth. 
 
 — Thou maid of passing pleasure 1 
 Thou'rt like in every measure. 
 
 To Gideon's fleece — rare treasures ! 
 Which God with his sweet dew of heaven bespeckled 
 
 — A word, o'er all words ventured, 
 The gates of thy ears entered. 
 Whose sweetness since has centered, 
 
 And in and through thee. Queen of Heaven, has 
 trickled. 
 
 — That which has from the word upgrown. 
 Now free from childish ways is shown : 
 It grew from words and became a man. 
 Now mark and all the wonders scan : 
 A God, who'd always been God, grew 
 To be a man and man's ways show ! 
 
 — All wonders, that he ever had 
 Achieved, by this he outwondrM, 
 This same great wonder-doer's home 
 Was but a modest maiden's womb. 
 Full forty weeks, no more nor less. 
 Without the least sin or distress. 
 
68 The Minnesinger of Germany. 
 
 — Now pray we to the mother 
 
 And to the mother's bairn, 
 One pure, and good the other. 
 
 Harm from our souls to turn. 
 — For without them none ever 
 
 May here or there be cured. 
 Who doubts their passing favor 
 
 Is foolishly assured. 
 
 How can that man be savfed there, 
 Who, of his evil deeds aware, 
 Does not rouse heart's-repentance rare, 
 Since God forgiveness granteth ne'er 
 
 But unto those who at all hours 
 Deep in their hearts arouse remorse, 
 'Tis well known to us all : no force 
 Cured ever soul from the dread sores 
 The sword of sin left in their cores. 
 Unless repentance ope'd their pores. 
 
 But rare is our repenting : 
 O God, keep Thou us haunting 
 With thy love-fire enchanting ! 
 Thy Spirit, grace us granting. 
 
 Can hardest hearts make tender 
 And give a new life's splendor : 
 All should to it surrender. 
 
 Where He remorse doth moving know, 
 There He remorse doth cause to grow : 
 
The Minnelay. 69 
 
 The wildest heart He so hath tamed, 
 That of all sin it grew ashamed. 
 
 — Now send us, Father, Thou and Son — that same 
 
 spirit unto us ! 
 With its sweet dew it shall refresh — and our parched 
 hearts o'er flow us, 
 
 — Alas ! unchristian things have filled — all Chris- 
 
 tendom o'er full : 
 Where Christendom lies sickly thus — it grieveth 
 ev'ry soul. 
 
 It thirsteth for the — doctrine's love, the — words that 
 
 used to come from Rome. 
 If Rome kept pouring — it, aye, and storing — as for- 
 merly 
 
 soon cure would come. 
 
 — All the grief it ever bore. 
 Came from Simony's dread sore ; 
 Now of friends it is so poor. 
 
 It dare no more 
 Prefer complaint or grumble. 
 
 — Christendom and Christenhood, 
 He, who fitted both so good. 
 Equally long, equally broad. 
 
 Both love and load. 
 Willed also we should humble 
 
 — In Christ as Christians live in union. 
 And since He built up this communion. 
 We should not now it sever. 
 
70 The Minnesinger of Germany. 
 
 — The Christian, who speaks Christenhood 
 With words, but not in works of good, 
 
 Stays half a heathen ever. 
 
 — We words and works equally need ; 
 One is without the other dead ; 
 
 God, steer us to both's favor ! 
 
 — And lend us aid ! 
 For Thou hast laid 
 What Thy hand made. 
 To man's mind kindly patent. 
 
 — Now soften. Lady, us this scorn. 
 Mother of mercy, chosen born, 
 Thou stingless rose without a thorn. 
 
 Thou sunlight never latent ! 
 
 Thy praises raise the angel's choir. 
 Yet raised they ne'er so high its spire. 
 But its completion may reach higher, 
 
 However much was sung 
 By voices and by tongue 
 All orders of things among 
 On earth e'en as in heaven. 
 This we remind thee even. 
 
 And for our sins do pray to thee. 
 That thou would'st hear us graciously, 
 And ring thy pray'r, heav'n-filling, 
 To Mercy's fountain pealing, 
 Sweet hope in us revealing 
 Our sins may yet be healing. 
 
The Minnelay. 71 
 
 Wherewith we grievously are laden. 
 Help us to wash these off, sweet maiden, 
 
 With earnest, true repentance — for they oppress us 
 
 sore, 
 And without God and without thee — they'll leave 
 
 us never more. 
 
 But the fullest force of the Lay-form is illustrated 
 by Frauenlob in his version of Solomon's Song, a ver- 
 sion that was universally celebrated at his time and 
 has since again become an object of earnest admira- 
 tion to the present German generation. Its argument 
 is, in brief, this : — 
 
 Taking the maiden of Solomon's Song in her ac- 
 cepted theological significance as the bride, daughter, 
 and mother of the triune God, this wondrously musi- 
 cal lay gathers images of nature, fable, history, and 
 mythology to celebrate her glory. From strophes of 
 the simplest construction it rises, gradually increas- 
 ing the volume of both lines and strophes, to strophes 
 of forty-six lines, interrupted only once by a strophe, 
 so musical, that even the eye can hear it : — 
 
 — Wie die doene 
 
 Schoene — loene 
 Schenken uz der armonien ; 
 Wie sich modeln dries drien ; 
 Wie die steige, velle schrien, 
 
 Mak man hoeren 
 
 In niun koeren: 
 D en schal nieman mak zerstoeren. 
 
72 The Minnesinger of Germany. 
 
 Da min vriedel der vil schoene schaffet unser beider 
 dink. 
 
 — Balde vroene, 
 Troene, — kroene 
 Mir ein kuessen, sun den gerten ; 
 Miner menschleit schiltgeverten, 
 Mit dam kuenge Jesse zerten ; 
 Snoze im troume 
 Nam er min goume ; 
 Under einem apfelboume 
 Wart erwecket ich so suezlich ; seht, daz tet der jun- 
 gelink. 
 
 Evovae ! 
 
 The musical charm of this magnificent poem is ex- 
 traordinary, and in allowing it to work its full sensu- 
 ous effect, one can imagine how this poet was able to 
 excite the admiration of his contemporaries to such a 
 degree, that at his death ladies carried his body to 
 the grave with great weeping and lamentations, and 
 upon his grave so great a quantity of wine was poured 
 that it ran all around the church. In the words of 
 Albert of Strassburg, the author of a Latin chronicle of 
 that time, — " Anno Domini MCCCXVII in virgilia 
 sancti Andreas, sepultus est Henricus dictus Frau- 
 enlob in Maguntia, in ambitu majoris Ecclesiffi, juxta 
 scalas honorifice valde : qui deportatis fuit a mulieribus 
 ab hospitio usque ad locum sepulturae et lamentiones 
 querelse maximse auditas fuerunt ab eis, propter 
 laudes infinitas, quas imposuit omni generi foemineo 
 in dictaminibus suis. Tanta etiam ibi copia fuit 
 vina fusa in sepulchrum suum, quod circumfluebat per 
 
The Minnelay. 73 
 
 totum ambitum ecclesisE cantica canticorum dictavit 
 Teutonic quae vulgaritur dicuntur, Unser Frauen 
 Lied, et multa alia bona." 
 
 The following few strophes from a Latin version of 
 this great Lay must conclude our illustrations of the 
 Lay-form, and may at the same time serve to show in 
 what manner some of the learned Minnesinger — for 
 the Latin is doubtless from Frauenlob himself — 
 know how to use the wonderful rhyme-capacities of 
 the Latin language. 
 
 FROM FRAUENLOB'S CANTICA CANTICORUM. 
 
 Ey, in superno trono 
 Heram vidi fregnantem, 
 Stupore cunctis tono 
 Aureolam gestantem. 
 Hyans ab onerari 
 Processit summa bona 
 Gimmas bis sex, ut fari, 
 Gestavit in corona. 
 
 Contra nature jura 
 
 Virgo pura 
 
 En, quem erat paritura, 
 
 Quern ymo que gestavit, 
 
 Prae se vidit sedere, 
 
 Lucere 
 
 In septem lucernis 
 
 Vidit tamen divisum 
 
 Hunc agni sub figura 
 
 Florigero Syon in monte. 
 
74 The Minnesinger of Germany. 
 
 Hilaria 
 
 Vinaria 
 
 In cellaria 
 
 Te rex regnum introduxit, 
 
 Illuxit. 
 
 Salutans 
 
 Te dulciter inebrians divino 
 
 Popino 
 
 Tuo vino 
 
 Magne dulcedinis, dulci lacte 
 
 Neminem 
 
 Refutans. 
 
 Quam diurnum solarium, 
 
 Virgo, tibi sacrarium ! 
 
 Tua forma formosa, 
 
 Plus tronis speciosa, 
 
 Quorum clangor est, _" corone rosa ! " ' 
 
 Feliciter, 
 
 Qui circiter 
 
 Dextram primis quiescit. 
 
 Pomulum, quod gestas, jam maturescit, 
 
 Decor florum ultrolibet ridescit, 
 
 Quorum ora perlavit ros 
 
 Ad loquendum sermones hos : 
 
 Super omnes hec virgo dilectat nos. 
 
CHAPTER III. 
 
 THE DIVINE MINNESONG. 
 
 (HE Minnesinger century witnessed probably 
 the intensest and sincerest devotion to the 
 worship of the Virgin Mary in the whole 
 history of the Catholic Church, a worship expressed 
 in the vast number of paintings and poems in her 
 glorification whereof we have record J That whole 
 period, indeed, was one of fervent relfgious feeling 
 stimulated by the Crusades, and naturally chose the 
 Virgin for the chief object of worship, as the whole 
 knightly spirit of that age was one of devotion to 
 woman./ The pure love — for Minne is pure love 
 — of woman has never, in the history of literature, 
 been so exclusively made the topic of poetry as it 
 was during that century of the Minnesinger; it is 
 the absorbing theme of the poets of that time, and 
 its highest expression was attained in those poems 
 that were addressed to the woman of all women, — 
 Mary, the mother of Jesus. \ 
 
 • Of the many Minnelieder addressed to the Virgin 
 we have preserved to us examples of both kinds, lays 
 and songs. Chief among them are the Lay by Wal- 
 ther von der Vogelweide, and the " Great Hymn " by 
 Gottfried von Strassburg. } 
 
 The latter is probably the finest of all the Minne- 
 lieder — worldly and sacred — of that period. Rank- 
 
76 The Minnesinger of Germany. 
 
 ing next to these two there is, however, another poem 
 to the Virgin, not to be classified strictly under the 
 general title of Minnelieder, but still the production 
 of a famous Minnesinger, and withal a poem of won- 
 drous beauty, which for two centuries kept its hold 
 upon the people, and which deserves mention here. 
 This is Conrad von Wurzburg's " Golden Smithy," a 
 poem written in the narrative metre. 
 
 In this " Golden Smithy " the poet represents himself 
 as a goldsmith, working all manner of precious stones 
 and gold into a glorious ornament for the Queen of 
 Heaven, by gathering into his poem all possible im- 
 ages and similes from the world of nature, from sacred 
 and profane history and fable, and from all the virtues 
 and graces of mankind. It is a poem of wonderful 
 splendor, and has a great smoothness of diction. " If," 
 says the poet in the opening of the poem, " in the 
 depth of the smithy of my heart I could melt a poem 
 out of gold, and could enamel the gold with the glow- 
 ing ruby of pure devotion, I would forge a transpa- 
 rent, shining, and sparkling praise of thy worth, thou 
 glorious empress of heaven. Yet, though my speech 
 should fly upward like a noble eagle, the wings of my 
 words could not carry me beyond thy praise. Mar- 
 ble and adamant shall be sooner penetrated by a 
 straw, and the diamond by molten lead, than I attain 
 the height of the praise that belongs to thee. Not 
 until all the stars have been counted, and the dust of 
 the sun and the sand of the sea and the leaves of the 
 trees, can thy praise be properly sung." 
 
 But even this poem is far surpassed in beauty every 
 way by the one generally known as Gottfried von 
 
The Divine Minnesong. yy 
 
 Strassburg's "Great Hymn." Indeed, Conrad him- 
 self modestly confesses this in his "Golden Smithy," 
 when he regrets that he does not " sit upon the green 
 clover bedewed with sweet speech, on which sat 
 worthily Gottfried von Strassburg, who, as a most 
 artistic smith, worked a golden poem, and praised 
 and glorified the Holy Virgin in much better strain." 
 
 There is, indeed, a wondrous beauty in this hymn 
 ascribed to Gottfried von Strassburg, a beauty much 
 akin to that of his own Strassburg Cathedral, which 
 was begun about the same time. 
 
 " It is," says Van der Hagen, " the very glorifica- 
 tion of love (Minne) and of Minnesong ; it is the heav- 
 enly bridal song, the mysterious Solomon's Song, 
 which mirrors its miraculous object in a stream of 
 deep and lovely images, linking them all together into 
 an imperishable wreath; yet even here in its pro- 
 fundity and significance of an artistic and numerously 
 rhymed construction, always clear as crystal, smooth, 
 and graceful." 
 
 The noteworthy part of this poem is the symmetry 
 of its construction in the general conception and idea 
 of the poem and the wonderfully artistic manner in 
 which that symmetry is also made manifest and 
 heightened by the sensuous elements of rhythm, 
 rhyme, word-sound, and that peculiar refrain, which 
 has elsewhere been spoken of as occurring in "Tristan 
 and Isolde," and the nature whereof is so weirdly or 
 sweetly effective in music when — not a whole musical 
 phrase is strictly repeated, which is simply the regular 
 refrain, but — a short passage reoccurs unexpectedly, 
 though with thorough musical logic, or in another 
 
78 The Minnesinger of Germany. 
 
 key, or so slightly varied as to recall the previous 
 phrase and yet seem not the same. 
 
 The hymn opens with the poet's exhortation to all 
 those who desire to listen to his song of God's great 
 love, to endeavor its attainment by unremitting exer- 
 tion, and to pray for him, the poet, who has so little 
 striven to gain it for himself. Then throwing his 
 plaint aside, the poet calls upon the heavens and 
 Christ to bend down and listen to his tuneful lays in 
 praise of Christ's sweet mother ; and now with increas- 
 ing fervor begins that wonderful praise — 
 "Thou bloom of rose, thou lily grace ! " 
 
 The tone is slightly lowered and calmed down as 
 the poet passes to recount the bliss and grace of her 
 worship, and rises again as he proceeds to call upon 
 all things in earth and heaven to praise her ; and 
 finally upon herself to rejoice in her passing glory. 
 The sound of the first chant of praise is once more 
 heard, — 
 
 " Thou of pure grace a clear, fair vase ! " 
 And the poet turns from her glorification of the 
 mother to that of her son. 
 
 The praise takes the same form of language, — 
 " Thou cool, thou cold, thou warmth, thou heat ! " 
 
 with occasional recurring of the same images, and 
 rises in power until it and the whole poem, indeed, as- 
 cending to the praise of God himself, swell into high- 
 est intensity, — 
 
 " God of thee speaking, God of thee saying ! " 
 
 The very words seem to shake with fervor of emotion, 
 and by repetition of utterance to sob out their inabil- 
 ity to utter his supreme love. 
 
The Divine Minnesong. 79 
 
 The gradual toning down of the poem from this 
 intensity is sensuously executed with marvelous skill. 
 At first one of the repetitions of the line, — 
 
 " God of thee speaking, God of thee saying," — 
 
 is left out in a stanza. In the next one another one 
 is left out, and the first one changed, moreover : — 
 
 " God of thee speaking repentance raises ; " — 
 the unusual feminine rhyme being yet, however, re- 
 tained. But in the next one the masculine rhyme 
 takes its place again, and in all the following stanzas 
 the rhythm retains its even flow. A few verses lead 
 to the notable close of the poem, which expires in a 
 long drawn sigh. 
 
 It is, of course, impossible to render in a transla- 
 tion all this sensuous beauty and art of rhythm, 
 rhyme, and word-sound. I can say only that I have 
 done my best. 
 
 There are several manuscripts existing of this poem, 
 but each one defective, though not materially so. 
 The whole of the poem has undoubtedly been pre- 
 served, with the exception of a very few small pas- 
 sages that I have ventured to fill up in the translation. 
 In arranging the order of the stanzas I have followed 
 Van der Hagen's suggestion, which indeed the poem 
 itself confirms as correct. 
 
 Who the real author of this wonderful hymn is, 
 has remained unknown. It was ascribed to Gottfried 
 von Strassburg, until in 1859 the late Ernest Pfeiffer 
 conclusively demonstrated it to be not Gottfried's 
 hymn to which Conrad von Wurzburg refers, but a 
 hymn from an unknown Minnesinger after the man- 
 
8o The Minnesinger of Germany. 
 
 ner of Gottfried's. Professor Bartsch, the learned ed- 
 itor of Brockhaus' edition of the Minnesinger, informs 
 me that since then it is considered a settled matter 
 that Gottfried was not the author of it. 
 
 HYMN TO THE VIRGIN. 
 
 — Ye who your life would glorify, 
 And float in bliss with God on high. 
 
 There to dwell nigh 
 His peace and love's salvation ; 
 
 — Who fain would learn how to enroll 
 All evil under your control, 
 
 And rid your soul 
 Of many a sore temptation : 
 — Give heed unto this song of love, 
 
 And follow its sweet story ; 
 Then will its passing sweetness prove 
 Unto your hearts a wingbd dove, 
 And upward move 
 Your souls to bliss and glory. 
 
 II. 
 
 — Ye who would hear what you have ne'er 
 Heard spoken, now incline your ear 
 
 And listen here 
 To what my tongue unfoldeth ; 
 
 — Yea, list to the sweet praise and worth 
 Of her who to God's child gave birth ; 
 
 Wherefore on earth 
 God as in heaven her holdeth. 
 
The Divine Minnesong. 8i 
 
 — E'en as the air when fresh bedewed 
 Bears fruitful growth, so to man 
 
 She bears an ever fruitful mood : 
 Never so chaste bloom of heart's blood, 
 So true and good, 
 Was born by mortal woman. 
 
 III. 
 
 — Who of God's love would hunter be ^ 
 Must have a hunter's heart, which he 
 
 Can fearlessly 
 On hunting-ground keep steady, 
 
 — He must have hero's strength and pace 
 If he pure love would win in race, 
 
 Must watch each phase 
 And be for battle ready. 
 
 — He must do both by night and day 
 To win this God's-love's favor ; 
 
 It goeth not sleeping on the way, 
 It must be forced where'er its stay, 
 Straight made the prey 
 Of pure and strong endeavor. 
 
 IV. 
 
 — Yea, God's love is of soaring mood 
 And yet most humble, true, and good ; 
 
 Who never would 
 By deeds gain its possession, 
 
 — To him it never will appear ; 
 Nor will he by its love, I fear. 
 
 Be wounded e'er. 
 Or feel its blessed passion. 
 6 
 
82 The Minnesinger of Germany. 
 
 — It is so blessed in its mood, 
 
 It fain would be revealing 
 In every heart the highest good, 
 And dearest bloom of heart's own blood : 
 Who in its flood 
 
 Bathes not, is void of feeling. 
 
 — Who to God's love are strangers, they 
 With seeing eyes see not the day ; 
 
 Of them we say 
 They're children of the earth still. 
 
 — But who God's love in truth possess 
 Are named God's children, and men bless 
 
 Their names always, 
 And worship their great worth still. 
 
 — Their fruitful fruit heaven's fruitful rain 
 And blessed dews doth capture. 
 
 God's blessings so on them doth gain 
 That always follow in his train : 
 They must attain 
 His glory's greatest rapture. 
 
 — He whom God's love could ne'er compel. 
 Never in rare delight could dwell ; 
 
 Good thought's strong spell 
 Ne'er broke for him life's prison. 
 
 — He whom God's love has never found 
 Is like a shadow on the ground, 
 
 And does confound 
 Life, wisdom, sense, and reason. 
 
The Divine Minnesong. 83 
 
 — He whom God's blessed love did raise 
 Soul, heart, and body never, 
 
 Of grace is but an empty vase ; 
 Sheer blind is his heart's mirror-glass ; 
 His body was 
 Dead and stays dead forever. 
 
 VII. 
 
 — Aye, that 'tis I who sing of love, 
 Whom yet so little it doth move. 
 
 Must surely prove 
 That I deserve men's pity ; 
 
 — Yea, had it ever tried my heart 
 
 As it those pure hearts tempts, that part 
 Ne'er from the start 
 And pathway to God's city, 
 
 — I loudly might the praise declare 
 Of that God's love enchanting ; 
 
 Now must I of my speech despair. 
 Since in my days its image fair 
 Rarely came where 
 My parchfed soul lay panting. 
 
 VIII. 
 
 — Could I be helped by passionate plaint 
 I should complain without restraint 
 
 That I ne'er went 
 To hunt love's sacred passion ; 
 
 — Wherewith I should have won that high 
 Sweet love, that nevermore can die ; 
 
 Me cheated the lie. 
 That cheateth all transgression. 
 
84 The Minnesinger of Germany. 
 
 — I dreamed and did not want to see, 
 
 For I am such a dreamer, 
 Who inward blind sees outwardly 
 As happens to all fools. Ah me. 
 Who never see 
 
 And whose joy is mere glimmer. 
 
 IX. 
 
 — O faithful God, commiserate 
 And pity my low-sunken state ; 
 
 Lo, for thy great 
 Sweet grace I ever languish, 
 
 — For, Lord, my sins more countless be 
 Than the waters in the Bodensea ; 
 
 This stirs in me 
 Repentance and great anguish,' 
 
 — For I have in my life's short day 
 For thy love made no proffer. 
 
 Ah well, I may confess and say 
 Towards thy love I was alway 
 A coward, aye 
 And justly now I suffer. 
 
 X. 
 
 — Wherever virtuous hearts yet blaze, 
 Who hear of these my plaintive lays : 
 
 O, may they raise 
 Their voice to God in heaven 
 
 — And to his mother, the divine. 
 That to this parched heart of mine 
 
 The living wine 
 Of true remorse be given. 
 
The Divine Minnesong. 85 
 
 — I ask this for the sainted blood 
 That He shed for each sinner ; 
 
 Thus may I of that love of God 
 Which stirs anew each heart's dried flood 
 In joyful mood, 
 Be yet successful winner. 
 
 XI. 
 
 — And now my plaint I'll throw aside, 
 Whilst praise on praise I build and wide 
 
 Expand the tide 
 Of love all pure and holy ; 
 
 — Of never-ending purity, 
 
 From sin and all those passions free, 
 That shamefully 
 Seek to possess us solely. 
 
 — Aye, let us silence sin and dare — 
 God's gracious love loud chanting, — 
 
 To rid us of its loathsome care, 
 And unto God upraise our prayer ; 
 His love so rare 
 Into our hearts transplanting. 
 
 XII. 
 
 — Ye fruitful heavens, from your ways 
 Bend down to hear the tuneful lays 
 
 I sing in praise 
 Of her, the sainted maiden, 
 
 — Who unto us herself has shown 
 Of modest life a crown and throne ; 
 
 Whose love has flown 
 O'er many a heart grief-laden. 
 
86 The Minnesinger of Germany. 
 
 — Thou, too, O Christ, thine ear incline, 
 To this my adoration. 
 In honor of that mother thine, 
 Who ever blessed must stay and shine : 
 For she 's the shrine 
 Of God's whole vast creation. 
 
 — Her praise will rise fruitful, I ween, 
 As leaves, grass, flowers, and clover seen 
 
 O'er meadow's green, 
 When fruitful rains them brighten. 
 
 — It must refresh our parched heart's gloom, 
 E'en as the dews of heaven perfume 
 
 Each fruitful bloom ; 
 It must our souls enlighten, 
 
 — E'en as lights up the morn with red 
 When the new sun has risen. 
 
 It must bear us the living bread. 
 That e'en gives life to souls all dead 
 With need and dread ; 
 And free us from sin's prison. 
 
 XIV. 
 
 — Cleanse us, thou clean and fruitful mood. 
 Of laughing roses the playful blood. 
 
 Thou climbing flood, 
 Thou flowing honey's flavor, 
 
 — Cleanse us that we thy praise may move, 
 And tie us with the ties of love. 
 
 That we above 
 May be looked on with favor. 
 
The Divine Minnesong. 87 
 
 — Pour out thy fruitfullest love — drink, 
 
 To quench our heart's wild fever ; 
 So that our souls may never sink, 
 And ever from life's sweetness shrink ; 
 O, make us think 
 Of true repentance ever. 
 
 XV. 
 
 — Light up our hearts, thou daylight calm. 
 In the fire of love the scent of balm, 
 
 Thou blooming palm. 
 That in our love's heat groweth. 
 
 — Delight us, thou delightful guest ; 
 Lay sin forever in us waste. 
 
 Each thought unchaste 
 Check, love, that in us floweth. 
 
 — That gracious blessing with us share 
 Which erst an angel brought thee. 
 
 With blessed speech as he drew near ; 
 That same sweet greeting bring us here 
 God's messenger 
 Bore with him as he sought thee. 
 
 XVI. 
 
 — Thou bloom of rose, thou lily grace. 
 Thou glorious Queen in that high place 
 
 Where ne'er the face 
 Of woman shone before thee ; 
 
 — Thou sweet heart's love 'gainst all distress, 
 Thou gladness in sore bitterness. 
 
 Thou, whom all bless. 
 Our souls for aye adore thee. 
 
88 The Minnesinger of Germany. 
 
 — Thy womb, the living God's recess, 
 Now blessbd is in storj', 
 
 E'en as the sunlight through the glass, 
 Better and sweeter and no less 
 With love did pass 
 Through thee the Christ of glory. 
 
 XVII. 
 
 — Thou rosy vale, thou violet plain, 
 Thou pleasure bearing heart's great gain, 
 
 Thou Hero-Queen, 
 Thou sweet God's joy to low man. 
 — Thou light-diffusing morning-red. 
 Thou steadfast friend in need and dread ; 
 The living bread 
 Thou bor'st, O queenly woman, 
 
 — That many a gloomy heart and cold 
 Lit up and set a-glowing 
 
 With sweetest love most manifold ; 
 Such wondrous strength is in its hold : 
 Its praise is told 
 The universe o'erflowing. 
 
 XVIII. 
 
 — Thou lovely, golden flower-glow. 
 Thou bloom'st on every maiden's brow ; 
 
 And glory's glow 
 E'en like a robe floats on thee. 
 
 — Thou art the blooming heaven-branch, 
 Which blooming blooms in many a grange. 
 
 Great care and strange 
 God lavished, Maid, upon thee. 
 
The Divine Minnesong. 89 
 
 — Hence highest praise to thee is brought, 
 And in thy glory chanted. 
 
 Of many hearts the gladsome thought 
 Rings many a song with sweetness fraught : 
 Thus hast thou caught 
 And thus thou hast them daunted. 
 
 XIX. 
 
 — Thou sheen of flowers through clover place, 
 Thou lignum aloe's blooming phase. 
 
 Thou sea of grace 
 Where man seeks blessed landing. 
 
 — Thou roof to rapture high and blest, 
 Through which no rain has ever passed, 
 
 Thou goodly rest, 
 Whose end is without ending. 
 — Thou to help-bearing strength a tower 
 
 Against all hostile evils. 
 Thou parriest many a stormy shower, 
 Which o'er us cast in darkest hour, 
 The hell worm's power 
 And other ruthless devils. 
 
 XX. 
 
 — Thou art a sun, a moon, a star ; 
 'Tis thou canst give all good and mar. 
 
 Yea, and debar 
 Our enemies' great cunning. 
 
 — That power God to thee hath given. 
 That living life, that light of heaven : 
 
 Hence see we even 
 Thy praise from all lips running. 
 
90 The Minnesinger of Germany. 
 
 — Thou'st won the purest, noblest fame 
 In all the earth's long story, 
 
 That e'er attached to worldly name ; 
 It floweth brightly without grame ; 
 All hearts the same 
 Adore its lasting glory. 
 
 XXI. 
 
 — Thou of all sweetness sweetest shine, 
 Thou sweeter than e'er earth grew wine, 
 
 The sweetness thine 
 Must bloom for me forever. 
 
 — Thou art the sweet love-drink of the skies 
 Whereof e'en God quaffed sweetest joys. 
 
 Yea, siren's voice 
 Such sweetness warbled never. 
 
 — Thou goest through ear, thou goest through eye, 
 Our heart and soul awaking. 
 
 There rousest thou transporting joy ; 
 All sadness leaves when thou art by. 
 Thou art the high 
 Reward of love unshaking. 
 
 XXII. 
 
 — O beauty o'er all beauty's birth ! 
 Never rare stone, or herb, or earth. 
 
 Or man bring forth 
 Such wondrous beauty, maiden ! 
 
 — So great thy beauty's lustrous light : 
 Upon our hearts it pours a bright 
 
 Stream of delight. 
 And radiance as of Aiden. 
 
The Divine Minnesong. 91 
 
 — It blooms in every place and phase 
 Still sweet and ever sweeter. 
 
 I scarce dare look upon thy face, 
 So wonderful its glorious grace ; 
 'Tis God's own face : 
 I greet Him when I greet her. 
 
 XXIII. 
 
 O o'er all virtues virtue fair ! 
 O endless youth in youth's spring-year ! 
 Well may youth bear 
 Thy praise and sing thy favor. 
 
 — The heavens and the heaven-begot, 
 All saints that near the great God float 
 
 Are blind, I wot. 
 In heart and true endeavor, 
 
 — If to that sweetest worthiness 
 They bring not homage lowly. 
 
 Which God unto thee given has 
 With many another gift and grace ; 
 Whence all men bless 
 Thee, maid, so pure and holy. 
 
 i — Thou gem, thou gold, thou diamond glow. 
 
 XXIV. 
 
 i. 
 
 Thou cream-white milk, red ivory, O ! 
 
 Thou honey-flow. 
 
 In heart and mouth dissolving ; 
 
 — Of fruitful virtue a noble grove. 
 
 The lovely bride of God above — 
 
 Thou sweet, sweet love, 
 
 Thou hour with bliss revolving. 
 
92 The Minnesinger of Germany. 
 
 Of chastity thou whitest snow, 
 
 A grape of chaste and sure love, 
 A clover-field of true love's glow, 
 Of grace a bottomless ocean's flow ; 
 Yea, more, I trow : 
 A turtle-dove of pure love. 
 
 XXV. 
 
 God thee hath clothed with raiments seven ; 
 On thy pure body drawn from heaven 
 Hath put them even 
 When thou wast first created. 
 The first one chastity is named. 
 The second is as virtue famed, 
 The third is claimed 
 As courtesy, well mated. 
 The fourth dress is humility. 
 
 The fifth is known as pity ; 
 The sixth one, faith, clings close to thee. 
 The seventh, noble modesty. 
 Leads gratefully 
 Thee in the path of duty. 
 
 XXVI. 
 
 — With fair chaste hands thou art arrayed, 
 Who wast not either wife or maid ; 
 
 Thus is it said 
 Of thee, O noble woman. 
 
 — Chaste was thy seeing, chaste thy sight, 
 Thy hearing chaste and all times right. 
 
 Thy speech flowed bright 
 And chaste as that of no man. 
 
The Divine Minnesong. 93 
 
 — Chaste was thy drink, chaste was thy food, 
 Chaste were thy sense and feeling. 
 
 Chaste was thy heart, chaste was thy mood. 
 Chaste every movement of thy blood, 
 Wherein the flood 
 Of God's love poured man-healing. 
 
 XXVII. 
 
 — Thou sun, thou moon, thou star so fair, 
 God took thee from his own side there 
 
 Here to prepare 
 The birth of Christ within thee. 
 
 — For that his lovfed child and thine. 
 Which is our life and life's sunshine. 
 
 Our bread and wine. 
 To stay chaste He did win thee ; 
 
 — So that sins' thorns could never touch 
 Thy fruitful virtue's branches. 
 
 His burning love for thee did vouch, 
 He kept thee from all sins that crouch : 
 A golden couch 
 Secured by his love's trenches. 
 
 XXVIII. 
 
 — Thou body pure of high degree. 
 Ne'er woman's form the earth did see 
 
 Fashioned 'like thee 
 So graceful sweet and tender. 
 
 — Maria, honor's fruitful tree. 
 Most holy templum domini, 
 
 That stands through thee 
 Firm and beyond surrender. 
 
94 The Minnesinger of Germany. 
 
 — Thou origin of all the sweet 
 Delights of earth and heaven, 
 
 The Godhead made thy heart its seat, 
 To all of us a benefit ; 
 
 Hence where we meet 
 Our thanks to thee are given. 
 
 XXIX. 
 
 / I speak of thee in my best strain : 
 No mother e'er such child may gain, 
 No child attain 
 So pure a mother ever. 
 He chose what his own nature was ; 
 His glorious Godhead chose as case 
 The purest vase 
 Of flesh and bone's endeavor, 
 That woman ever on her heart 
 
 'Tween earth and heaven did treasure. 
 In thee lay hidden every part 
 That ever did from virtue start ; 
 Of bliss thou art 
 An unexhausted measure. 
 
 XXX. 
 
 — Thou growing love for every woe, 
 Thou of God's grace the dearest flow, 
 
 Sure none may know, 
 But one, thy passing splendor ; 
 
 — And that of our dear Christ, thy son. 
 Who by his love our love has won. 
 
 Whom as God's own 
 All mankind homage render. 
 
The Divine Minnesong. 95 
 
 — Who woman's sweetness ne'er has known, 
 Who is orphan and widow ; 
 
 And though all countries He has won, 
 Yet so much grace on thee is thrown : 
 Thou art alone 
 A tower on danger's meadow. 
 
 XXXI. 
 
 — Thou art a light, an origin 
 Of life, change ne'er can enter in, 
 'Twast thou drov'st sin 
 From us and wicked terror. 
 
 — 'Twast thou who with thy warm sunshine 
 And with that fruitful light of thine. 
 
 Thou heavenly shrine, 
 Quick didst dispel all error. 
 
 — Thou open'dst us the door of grace, 
 That, alas! from beginning 
 
 Was closed on us, poor souls always ; 
 Thou hold'st us to find the right place : 
 Hence all our days 
 We raise thy praise prayer-bringing. 
 
 XXXII. 
 
 — To worship. Lady, thee, is bliss ; 
 And fruitful hours ne'er pass amiss 
 
 To heart that is 
 So sweet a guest's host-mansion. 
 
 — He who thee but invited hath 
 Into his heart's loved love with faith, 
 
 Must live and bathe 
 In endless bliss-expansion. 
 
96 The Minnesinger of Germany. 
 
 — To worship thee stirs up in man 
 A love now tame, now a passion. 
 
 To worship thee doth waken then 
 Love e'en in those love ne'er could gain : 
 Thus now amain 
 Shines forth thy love's concession. 
 
 XXXIII. 
 
 — To worship, Lady, thee, doth hate 
 'Gainst lazy hosts in us create 
 
 And makes us sate 
 With sin and every evil. 
 
 — To worship, Lady, thee, is bliss • 
 That ne'er is checked by wickedness, 
 
 Or sin's stol'n kiss, 
 Or cunning of the devil. 
 
 — To worship. Lady, thee, doth wake 
 The hardest soul from slumber. 
 
 To worship thee must surely shake 
 Or man's or woman's hearts and break 
 Them to forsake 
 The sins that them encumber. 
 
 xxxiv. 
 
 — To worship. Lady, thee, doth teach 
 
 Pray'r to drenched courage and numbed speech. 
 Yea, and fires each 
 Cold heart with heavenly rapture. 
 
 — To worship thee, O Lady, can 
 Teach many an erring sinful man 
 
 How from sin's ban 
 He still his soul may capture. 
 
The Divine Minnesong. 97 
 
 — To worship thee is e'en a branch 
 On which the soul's life bloometh. 
 
 To worship thee makes bold and stanch 
 The weakest soul on sin's hard bench ; 
 God it doth wrench 
 From hell and in heaven roometh. 
 
 XXXV. 
 
 — To worship, Lady, thee, so good. 
 Who does it truly, in his mood 
 
 God pours love's blood : 
 Thou art so pure and holy. 
 — Wha worships thee doth honor Him 
 And his great love's outpouring stream : 
 It is one scheme, 
 One love, one essence solely, 
 
 — One steady will and but one power, 
 One no, one yea, one summon. 
 
 No tempest can its bloom deflower. 
 Eternity doth o'er it tower ; 
 Hence praises shower 
 On thee, O sainted woman. 
 
 xxxvi. 
 
 — Then praise both men and women thy name, 
 And what of mother's womb e'er came, 
 
 Both wild and tame, 
 With warm heartfelt devotion. 
 
 Then praise thee now what living lives. 
 
 Whatever heaven's dew receives, 
 Runs, flows, or cleaves 
 Through forest or through ocean. 
 7 
 
98 The Minnesinger of Germany. 
 
 — Then praise thee now the fair star-shine, 
 The sun and the moon gold-glowing ; 
 
 Then praise thee the four elements thine ; 
 Yea, be thou blessed by me and mine. 
 Thou cheering wine. 
 Thou stream with grace o'erflowing. 
 
 XXXVII. 
 
 — Then praise thee God who created thee, 
 And who listens so lovingly 
 
 To all men's plea, 
 Their joy and eke their sadness ; 
 
 — Then praise thee loud the angels' choir, 
 All virgins of thy vast empire, 
 
 And higher and higher 
 The martyrs' passing gladness ; 
 — Then praise thee now thou God-love's stream, 
 
 God's heaven's glorious beauty, 
 And all the beings that supreme 
 Move there ; yea, e'en the cherubim 
 And seraphim : 
 Praise thee in blissful duty. 
 
 XXXVIII. 
 
 — Now praise thee, sweetest purity, 
 
 All that e'er death through God did see ; 
 
 To-day to thee 
 Be praise by all tongues chanted ; 
 
 — Now praise thee blooming roses aye 
 And modest maiden's chaste display ; 
 
 Thy praise to-day 
 O'er all the world be planted. 
 
The Divine Minnesong. 99 
 
 — Now honor thee, O blessed hoard, 
 Thee, joy-inspiring fountain, 
 
 Who here on earth live in the Lordj 
 To-day of thy sweet praise each word 
 Ring in accord 
 From every vale and mountain. 
 
 XXXIX. 
 
 — O mother pure, learn now how nigh 
 To God thy ever blessed boy 
 
 A throne on high 
 For thee did choose and borrow. ' 
 
 — Thou shalt in radiant pleasures flow. 
 Thou shalt to richest glory go. 
 
 There learn to know 
 A life that has no sorrow. 
 
 — That pure, chaste image of thy grace 
 Shall in the bloom of pleasure 
 
 Rejoice for aye in every place ; 
 The living sunshine did embrace 
 Thee, honor's vase. 
 His chosen greatest treasure. 
 
 XL. 
 
 — Rejoice, then, Lady of the skies ; 
 Rejoice, thou God-love's paradise ; 
 
 Rejoice, thou prize 
 Of sweetest roses growing. 
 
 — Rejoice, thou birth of sacred plan ; 
 Rejoice, that every race and clan. 
 
 Women and man 
 Pray to thy love o'erflowing. 
 
100 The Minnesinger of Germany. 
 
 — Rejoice that thou with God dost show 
 So many things in common : 
 
 His yea thy yea, his no thy no ; 
 Endless ye mingle in one flow ; 
 Small and great, lo ! 
 He shares with thee, sweet woman. 
 
 XLI. 
 
 — Rejoice now, Lady, that thou'rt known 
 As highest saints on heaven's throne ; 
 
 And that thou'st won 
 All the angels' sweetness for thee. 
 
 — Rejoice now, that in highest grade 
 Of heaven's joys thou'st been arrayed ; 
 
 Rejoice, O maid. 
 That all hearts now adore thee ; 
 
 — And that sweet thanks arise to thee 
 And all thoughts on thee centre. 
 
 Rejoice now thousand hours with me 
 That thou no more canst wounded be. 
 Or unhealthy 
 Earth's pains thy soul can enter. 
 
 XLII. 
 
 — Rejoice now, Lady, that God's suit 
 Chose thee, his anger to compute, 
 
 Through that sweet fruit, 
 Which thy womb bore unto man. 
 
 — Rejoice now, that that Christ of bliss, 
 Thy child, thy God, thy Father is. 
 
 And that thou'rt this 
 Bright mirror to all women. 
 
The Divine Minnesong. lOi 
 
 — Rejoice now that thy loving blood 
 From heavy sorrow's pressure 
 
 Has liberated many a mood ; 
 Drowning all grief with flowing flood : 
 Rejoice thou good 
 And blessedest eye-pleasure. 
 
 XLIII. 
 
 — Rejoice now that unmild regret 
 Has dampened ne'er that mildness yet, 
 
 That thou hast set 
 For the repentant ready. 
 
 — Thou to the naked clothes hast brought 
 And given them many a wholesome thought ; 
 
 'Tis writ, I wot : 
 Who follows thee, sweet Lady, 
 
 — To him shall not be help denied, 
 God's own assent full-given. 
 
 Hence rolls thy praise so far and wide 
 That no one can transcend its tide, 
 Or from it hide. 
 Whether on earth or heaven. 
 
 — Rejoice now. Lady, that thy sweet 
 Blessed body never gave retreat 
 
 To sin's swift feet 
 In heart or senses ever, 
 
 — Hence may'st thou well thy thanks upraise. 
 For it is worthy of all praise : 
 
 Yea, God's great grace 
 Was ever thy love's lever. 
 
I02 The Minnesinger of Germany. 
 
 — Into thy heart He poured his love,. 
 And into thy pure bosom, 
 
 Wherein no one can equal prove 
 To thee, but thy sweet son, whose love 
 Is one vast grove 
 Of honor-bearing blossom. 
 
 XLV. 
 
 — Rejoice now, thou sweet sugar-plant, 
 That God his angel Gabriel sent. 
 
 With high intent : 
 A chosen emissary, 
 
 — His greeting forth to thee to bear, 
 That rose so sweetly on thine ear : 
 
 As he drew near 
 His feet flew light and airy, 
 Thus thou God's greeting did'st receive ; 
 
 His art thou now, sweet maiden, 
 Thy womb shall now in bliss conceive, 
 Cast then away all thoughts that grieve ; 
 Thou shalt achieve 
 Freedom to the sin-laden. 
 
 XLVI. 
 
 — Rejoice now, sweet advice in need. 
 That of his living bliss the seed 
 
 God sowed indeed 
 Into thy heart's sweet furrow. 
 
 — Rejoice now, holy paradise, 
 
 That He, in turtle-dove's winged guise. 
 Thy friend and prize 
 Brought to us in our sorrow. 
 
The Divine Minnesong. 103 
 
 — Through that all saintly ear of thine 
 To under thy fair bosom. 
 
 Whereof thou blessed must stay and shine 
 The queen of all the hosts divine ; 
 The holy shrine 
 Of every pleasure's blossom. 
 
 XL VII. 
 
 — Rejoice now, that that heart of thine 
 The Holy Ghost's great love made pine 
 
 And haste to join, 
 Thy own sweet love caressing. 
 — Rejoice now, thou salvation's throne. 
 That thou gav'st birth to Him, who won 
 Our cause, thy son, 
 Our Saviour and our blessing. 
 
 — Rejoice now, thou sweet purity. 
 That thou so pure, amylfed, 
 
 Conceivd'st the Christ who made us free ; 
 Whence all men's tongues recount of thee 
 Praise passingly 
 That God so on thee smilbd. 
 
 XLVIII. 
 
 — Rejoice now, O thou sunshine mild, 
 That on thy blessed breasts there smiled 
 
 God's little child : 
 Its earthly destination. 
 
 — Rejoice that then drew near to thee 
 From foreign lands the wise kings three. 
 
 Noble and free. 
 To bring their adoration 
 
I04 The Minnesinger of Germany. 
 
 — To thee and to that blessed child, 
 With many a graceful ofF'ring. 
 
 Rejoice now, that the star beguiled 
 And to that place their pathway smiled. 
 Where with thy child 
 They worshipped thy sweet suif'ring. 
 
 XLIX. 
 
 — Rejoice now, thou pure mother's bairn. 
 That thou to heaven shalt discern 
 
 Jesus' return, 
 To whom thou birth hast given. 
 
 — Rejoice now, that his grace He poured 
 Often upon thee ere He soared. 
 
 And thee restored 
 To the sweet peace of heaven. 
 
 — Rejoice, that thou wert free the fate 
 To witness men prepared Him. 
 
 How full of love and without hate 
 He on the wind's light feathers sat, 
 Godlike in that, 
 When loud the crowd declared Him. 
 
 L. 
 
 — Rejoice now, fruitful life benign. 
 That thou art called to help assign 
 
 Judgment divine 
 To pitiful human sinners 
 
 — Upon that dreadful judgment day. 
 When God accusant shall display 
 
 To grim array 
 Of poor and rich demeanors 
 
The Divine Minnesong. 105 
 
 — His blessbd wounds, whose mouths still speak, 
 With fresh red blood, o'erflowing. 
 
 For He was wounded for our sake ; 
 This causes many a one to quake : 
 Alas, the weak, 
 Alas, the dole there growing. 
 
 LI. 
 
 — O Maria, purest worthiness. 
 What has been chanted in thy praise 
 
 Is sweet always 
 Beyond all other singing. 
 
 — Thou fill'st our body and soul with joy. 
 Thou lift'st up heart and senses high. 
 
 Now far, now nigh. 
 And ever pleasure bringing. 
 
 — Thou bloomest fair in flower-wise. 
 In heart and soul bright-shining. 
 
 Thou art so true a paradise. 
 Of rapture a rose that never dies, 
 Of bliss a prize. 
 Of grace a rod divining. 
 
 LII. 
 
 — Thou of pure grace a clear, fair vase ! 
 Of steady virtue an adamas, 
 
 A mirror glass 
 Of bliss to bliss surrendered. 
 
 — Thou fortune's and salvation's host, 
 Thou love-seed of the Holy Ghost ; 
 
 To all sin lost 
 Thy image was engendered. 
 
io6 The Minnesinger of Germany. 
 
 — On sacred place, where at God's call 
 God's Son sank down from heaven. 
 
 Like on the flowers sweet rain doth fall, 
 Such gentle sweetness He to all. 
 Whom reached his call, 
 Early and late hath given. 
 
 LIII. 
 
 — Now have I praised the mother Thine, 
 O sweet, fair Christ, that form divine 
 
 And honor's shrine 
 In which Thou wast created. 
 
 — And loud I'll now praise Thee, O Lord ; 
 Yea did I not 'twould check my word : 
 
 Thy praise has soared 
 And with all things been mated. 
 
 — Seven hours each day Thy praise shall now 
 By me in prayer be chanted. 
 
 This well belongs to Thee, I trow, 
 For Thou art every virtue's prow ; 
 From all grief Thou 
 To us relief hast granted. 
 
 — With Thy name now my praise accord, 
 For Thou alone didst make me, Lord ; 
 
 Thy praise has soared 
 And still soars up to heaven. 
 
 — Thus, Lord, I praise Thee, that Thou art 
 A true Lord and true Christ, whose heart 
 
 Contains no part 
 Of sin's polluting leaven. 
 
The Divine Minnesong. 107 
 
 — It is in all the virtues clear, 
 
 Transparent as pure crystal. 
 It changes not the breadth of a hair, 
 It is straightforward, true, and fair, 
 And debonnaire 
 
 As that of purest vestal. 
 
 — I praise Thee, Father, Christ, and Lord, 
 That e'en the sinner Thou hast heard : 
 
 His simple word 
 Of pledged repentance trusting. 
 
 — Hence be Thou praised, Lord, night and day, 
 By all the praise I sinner may 
 
 Raise in my lay, 
 Or tongue to speak be lusting. 
 
 — For Thou each human heart dost see, 
 Nothing to Thee is latent. 
 
 Thou kndwest the sea's depth's mystery. 
 Yea, all men's mouths may speak to Thee, 
 Is and shall be 
 Now and forever patent. 
 
 LVI. 
 
 — Thus praise I now, O Lord, Thy death, 
 Which in our dreadful agony hath 
 Brought helpful breath 
 To every wretched sinner; 
 
 — Redeeming us from shame and sin 
 And misery, that is their kin : 
 
 Thus hast Thou been 
 Ever our comfort-gleaner. 
 
io8 The Minnesinger of Germany. 
 
 — Hence what hath breath shall now unfurl 
 Thy glory, never-resting : 
 
 Woman and man, yea, boy and girl. 
 All that doth fly, flow, run, or whirl, 
 Crawl, glide, or curl, 
 As now so everlasting. 
 
 LVII. 
 
 — God, Thou the origin of all good. 
 Or deep or high, or long or broad ; 
 
 It knoweth the road, 
 Sweet thoughts into hearts bringing ; 
 
 — It floweth from the land of love ; 
 Hail Him, into whose heart it drove : 
 
 His heart 's a grove 
 Of laughing and sweet singing ; 
 
 — Whate'er the world to him may show 
 From woe turns into pleasure. 
 
 So sweetly maketh his heart glow, 
 Thy sweetness-bearing and gushing flow : 
 For to men, lo ! 
 Thy goodness has no measure. 
 
 LVIII. 
 
 — Thou art that gentle gentleness 
 Which every gentle heart doth bless ; 
 
 No heart's sadness 
 Found rapture yet more tender 
 — Than that most gentle sweetness thine ; 
 Its passing bliss for all that pine 
 Is a divine 
 True doctrine of vast splendor. 
 
The Divine Minnesong. 109 
 
 — Yet did that sweetness never flow, 
 But o'er pure hearts that flutter ; 
 
 Them stirs it to voluptuous glow 
 And draweth grace anew to grow ; 
 Its conquering flow 
 Stills all the sighs they utter. 
 
 LIX. 
 
 — Thou cool, thou cold, thou warmth, thou heat, 
 Thou rapture's circle's central seat, 
 
 Who does not meet 
 With Thee stays dead in sadness ; 
 
 — Each day to him appears a year, 
 Seldom his thoughts wear green bloom's gear ; 
 
 He doth appear 
 Forever without gladness. 
 
 — Thou art most truly our heart's shine. 
 Our sun wide joy-inspiring ; 
 
 A sweet heart's love for all that pine. 
 For all the sad a joyful shrine, 
 A spring divine 
 For the thirsty and desiring. 
 
 LX. 
 
 — Thou love and dear. Thou love and sweet! 
 Never a love such love may meet ; 
 
 Thy love men greet 
 As love that ever bloometh. 
 
 — Thou art beloved by maid and wife ; 
 Thee loveth every virtuous life ; 
 
 Thy love all strife 
 Within our heart o'ercometh. 
 
no The Minnesinger of Germany. 
 
 — Thou art beloved by earth and sea, 
 By fire, air, storm, and weather. 
 
 By heaven's appalling majesty, 
 And by the blushing flowers so wee : 
 Aye, love for Thee 
 Breathes the remotest ether. 
 
 LXI. 
 
 — Thou of so many pure hearts the hold. 
 So many a pure maid's sweetheart bold. 
 
 All Thee enfold 
 With love bright, pure, and yearning. 
 Thou art caressed by many a mood, 
 Caressed by many a heart's warm blood ; 
 Thou art so good, 
 So truthful and love-burning ; 
 — Caressed by all the stars that soar. 
 By sun and moon. Thou blessing ! 
 Caressed by all the elements four ; 
 O ne'er caressed so was afore. 
 Nor shall be more, 
 Sweetheart, by love's caressing. 
 
 LXII. 
 
 — Thou full moon. Thou full star so fair. 
 Thy light what heart an hour would spare. 
 
 That loves to wear 
 Thy virtue's fullest measure ? 
 
 — Sure love for Thee must ever grow, 
 For Thou canst wondrous bliss bestow ; 
 
 Thou star, whose glow 
 Both heart and senses treasure. 
 
The Divine Minnesong. iii 
 
 — Thou lightest up, that no sunshine 
 Nor star-shine can be brighter. 
 
 So mild, Lord, is Thy sweet love's wine, 
 Into whose hearts its glow doth shine, 
 His heart's whole shrine 
 With Thy love's joy grows lighter. 
 
 LXIII. 
 
 — Thou of so many a heart loveband. 
 Thou burning love o'er every land. 
 
 World without end 
 Was not made known love dearer. 
 
 — Thy love in living love doth grow ; 
 Happy who strives to get its glow : 
 
 His heart must flow 
 To its rare rapture nearer. 
 
 — Thou bloometh in the soul's pure mood 
 As in the sunlit pasture 
 
 A fruitful tree, graceful and good. 
 Whose flow'ry bloom laughs in the wood, 
 Where every bud 
 Opes to the dew its vesture. 
 
 LXIV. 
 
 — Deep is the wild sea's bottom's sweep. 
 But hundred thousand times more deep 
 
 Is the vast sweep 
 Of thy great pity ; growing 
 
 — It reaches from the stars' high throne 
 Unto the bottomless ocean's moan ; 
 
 A comb o'erflown 
 With the sweetest honey flowing. 
 
112 The Minnesinger of Germany. 
 
 — It floweth, flieth, and is blown 
 Through many a wild adventure. 
 
 Thou art a God e'en to the bone, 
 Thy sweetness never change has known ; 
 Of seeds alone 
 Thou art without a tainture. 
 
 LXV. 
 
 — Hence I, O sweetest God, praise Thee 
 For Thy commandments' purity. 
 
 That changelessly 
 Hold us to their attendance. 
 
 — Hence praise I Thee, that Thou art e'er 
 Where Thou art wanted, far or near. 
 
 And that Thou dear 
 Holdeth each heart's repentance. 
 
 — Hence praise I, sweet Lord Christ, that Thou 
 Ne'er from the poor did'st sever. 
 
 Thy sainted ear was e'er, I trow, 
 To their voice opened, and is now. 
 And shall be so, 
 World without end forever. 
 
 LXVI. 
 
 — Behold, O fruitful lovebloom, now 
 With virtue so imbued art Thou, 
 
 So good, I trow. 
 That what is due unto Thee 
 — No speech of man can ever scan : 
 Not angel there, nor on earth man 
 Or woman can 
 Chant fitly what I owe Thee. 
 
The Divine Minnesong. 113 
 
 — Yet is it meet to raise a lay 
 To Thy great love's endeavor ; 
 
 Which blooming casts an endless day 
 O'er all the world, and mankind ; aye, 
 A joyful play 
 To the good-hearted ever. 
 
 LXVII. 
 
 — Thou art that passing mercy, Lord, 
 Which high into the heavens has soared, 
 
 And has explored 
 Th' expanse of the wild ocean. 
 
 — Its deep abyss no bottom has, 
 
 Its length no man's mind can compass, 
 What hours, alas ! 
 It ponders o'er the notion. 
 
 — Its grace was never yet so small 
 As with the world to equal. 
 
 Its faithfulness no numbers call, 
 Its love fills mountains, vales, and all 
 The lands that fall 
 In undulating sequel. 
 
 LXVIII. 
 
 — Thou'rt called the living, saving grace ; 
 Through us Thou suffered'st death's embrace ; 
 
 Yet didst Thou face 
 Grim death with glad endeavor. 
 
 — Thou gladden'st us with Thy great dread, 
 To let us live Thou laid'st down dead ; 
 
 Such faith was paid 
 By no man to man ever. 
 
114 '^^^ Minnesinger of Germany. 
 
 — Since Adam from the earth was won, 
 
 And by Thy hand created, 
 Never such noble faith was known, 
 Nor ever will its like be known ; 
 Hence to Thy throne 
 Praises rise unabated. 
 
 — Yea, Thou art sung night, noon, and morn, 
 The Lamb that all our sin has borne, 
 
 Our misery worn, 
 And death for us has suffered. 
 
 — We were too dear to Thee, I ween. 
 Thy gold Thou put'st upon mere skin : 
 
 By all our kin 
 Be praise then to Thee offered ; 
 
 — Unto Thy love, so pure alway. 
 So sweet and so unchanging. 
 
 Hence must Thou ever blessfed stay. 
 Thou of pure hearts a sunlight-day, 
 Thou wine so gay. 
 Thou joy o'er all hearts ranging. 
 
 LXX. 
 
 — Yea, Thou art named the God of grace. 
 Without whose special power no phase 
 Of life in space 
 Had ever gained existence. 
 — ^What runneth, climbeth, sneaketh, or striveth. 
 What crawleth, twineth, flieth, or diveth. 
 Yea, all that thriveth 
 In earth and heaven's subsistence : 
 
The Divine Minnesong. 115 
 
 — Of all, the life to Thee is known, 
 Thou art their food and banner ; 
 
 The lives of all are held alone 
 By Thee, O Lord ! upon Thy throne ; 
 Thus is well known 
 Thy grace in every manner. 
 
 LXXI. 
 
 — Thou living light, Thou living aid, 
 Thou of all bliss the best man had : 
 
 Who could be glad 
 Between the earth and heaven, 
 
 — Were't not for Thy love-bearing mood, 
 That cheereth every pure heart's blood. 
 
 And a full flood 
 Of love to man has given ? 
 
 — Thou gladdenest every angel's mood 
 And every human being. 
 
 All that has flesh, or bone, or blood, 
 Is gladdened by Thy mercy's flood ; 
 Thou art so good. 
 Thou love, and so farseeing ! 
 
 LXXII. 
 
 — Thou at all times Thy arms didst hold 
 Open to draw us to Thy fold. 
 
 However cold 
 Thy love we had offended. 
 
 — And all times when we do appear 
 Ready sin's fetters to forswear. 
 
 Thou draweth near ; 
 And lo, our guilt is ended. 
 
Ii6 The Minnesinger of Germany. 
 
 — Thou art so good, so very good, 
 Nowhere such goodness gloweth ; 
 
 Thy goodness living wonders would 
 Perform : it stirs the deadened mood, 
 That fruitful blood 
 From its hearts' chambers floweth. 
 
 LXXIII. 
 
 — Thee loves each bearing love-bloom's cell, 
 Thee loves each sense and heart's wild swell, 
 
 Thee loves full well 
 Each tender feeling bosom. 
 
 — Thee loves the body, sense, and life, 
 The soul we see fight in't life's sti;ife, 
 
 For Thou art rife 
 With love's sweet-scented blossom. 
 
 — Those that love love Thou still art nigh. 
 Their love-hearts Thou dost capture ; 
 
 Thy love extends from low to high. 
 Thou keep'st those that love love in joy ; 
 However coy. 
 Thou fill'st their hearts with rapture. 
 
 — Thou art of love an origin, 
 
 But ne'er an end to love hast been ; 
 Thou art, I ween, 
 A chant that 's ever ringing. 
 
 — Men love Thee with a worthy joy ; 
 And wide and broad, and deep and high. 
 
 Without alloy 
 Floweth Thy love joy-bringing. 
 
The Divine Minnesong. wj 
 
 — Men love Thee, Lord, in wine and bread, 
 In gold and jewels precious. 
 
 Men love Thee in the scarlet-red, 
 Men love Thee unto death and dread ; 
 Wherever led, 
 Thou art so passing gracious. 
 
 LXXV. 
 
 — Thou art of burning love the glow. 
 Who loving poureth many a flow 
 
 Of sweetness, lo ! 
 O'er hearts that in love languish ; 
 And sweetenest both their mind and mood 
 E'en as the dew the flow'ry wood ; 
 Thy love-bloom's blood 
 Driveth away all anguish. 
 
 — Those hearts that Thy hand tries, O Lord, 
 Must like true guests Thee love all, 
 
 Who art of living love a hoard. 
 Both here and in the sky adored ; 
 Hence, Thy sweet word 
 Blooms gloriously above all. 
 
 — God, of Thee speaking ; God, of Thee saying. 
 Sweet love into our hearts keeps playing. 
 
 Whilst sore dismaying 
 The hating and the sinning. 
 
 — God, of Thee speaking ; God, of Thee saying. 
 Sweet beauty into our hearts keeps playing. 
 
 And teaches swaying 
 Thee with words sweet and winning. 
 
Ii8 The Minnesinger of Germany. 
 
 God, of Thee speaking ; God of Thee saying, 
 
 Maketh our hearts joy's palace ; 
 God, of Thee speaking ; God, of Thee saying. 
 The car of bliss moves on conveying 
 Our souls' soft praying, 
 
 To the realms of endless solace. 
 
 LXXVII. 
 
 God, of Thee speaking ; God, of Thee saying, 
 Freeth our hearts from thoughts sore-weighing. 
 Whilst into't playing 
 The Holy Spirit's beauty. 
 God, of Thee speaking ; God, of Thee saying, 
 Teaches the army of martyrs praying : 
 Thou with them staying, 
 Their tortures seem sweet duty. 
 God, of Thee speaking ; God, of Thee saying. 
 
 Is half the kingdom of heaven. 
 God, of Thee speaking ; God, of Thee saying. 
 The kingdom of heaven unfolds displaying. 
 Its splendors staying, 
 Untinged by earthly leaven. 
 
 LXXVIII. 
 
 God, of Thee speaking ; God, of Thee saying, 
 Teacheth the heart its passions flaying. 
 And stay waylaying 
 The ever-watchful devil. 
 God, of Thee speaking ; God, of Thee saying. 
 Much strength and comfort keeps displaying ; 
 And hearts thus staying. 
 Are saved from every evil. 
 
The Divine Minnesong. 119 
 
 God, of Thee speaking ; God, of Thee saying, 
 
 Is pleasure beyond all pleasure. 
 It moves our hearts, Thy grace surveying. 
 To keep with love Thy love repaying j 
 So sweetly swaying, 
 
 Reveal'st Thou Thy love's treasure. 
 
 ' LXXIX. 
 
 God, of Thee speaking repentance raises 
 When they, who chant Thy wondrous praises. 
 Use lying phrases : 
 So purely Thy word gloweth. 
 It suffers less a lying mood 
 Than suffers waves the ocean's flood ; 
 So pure and good 
 Its changeless current floweth. 
 God, of Thee speaking doth attest 
 Pure heart and chaste endeavor ; 
 It driveth the devil from our breast ; 
 O, well I know its soothing rest ; 
 It is the zest 
 Of Thy vast mercy's flavor. 
 
 LXXX. 
 
 — God, of Thee speaking brings grace aye. 
 And is the loveliest play to play, 
 
 Which well I may 
 Hold 'mongst all plays a treasure. 
 
 — Unto the body it giveth joy. 
 
 It doth the soul with great bliss cloy. 
 Yea, fill and buoy 
 Body and life with pleasure. 
 
120 The Minnesinger of Germany. 
 
 — Where'er are gathered two or three 
 In Thy sweet love together, 
 
 Thou, Lord, art with them, where they be. 
 With Thy sweet grace and majesty, 
 To keep them free 
 From the influence of the nether. 
 
 LXXXI. 
 
 — Thou art of all pure hearts the play. 
 Thou com'st to them, whenever they 
 
 Desire Thy stay : 
 Thou bring'st love to so many. 
 
 — We have Thee there, we have Thee here, 
 We have Thee far, we have Thee near : 
 
 A love more dear 
 And sweeter, O, than any. 
 
 — The very dearest love Thou art 
 On which eye e'er did centre. 
 
 Into the heart Thou fling'st Thy dart ; 
 There greetest Thou Thy chaste sweetheart : 
 On every mart 
 Hearts beckon Thee to enter. 
 
 LXXXII. 
 
 — Of noble man the virtuous mood 
 Loveth to be both chaste and good ; 
 
 And his heart's blood 
 To grow in purity loveth, 
 
 — Through Thee, through purest of heart's blood ; 
 Thou art so pure. Thou art so good, 
 
 Whom sin ne'er woo'd. 
 And falseness never moveth. 
 
The Divine Minnesong. 121 
 
 — With genuine purity conceived 
 Thee the amylfed maiden. 
 
 Such birth, O Lord, was ne'er achieved. 
 So pure a birth no man received 
 That on earth lived. 
 Nor any saint of Aiden. 
 
 LXXXIII. 
 
 — Ah flower-crownfed flower bush ! 
 Ah chaste heart untinged by a blush ! 
 
 Ah sweet bride's flush ! 
 Ah love with love o'ershowered ! 
 
 — Ah heartily beloved hearts blood ! 
 Ah goodness o'er all goodness good ! 
 
 Ah noble mood. 
 Inward and outward flowered ! 
 
 — Ah sweet view, ah sweet to look on ! 
 Ah sweet to think of Thee, love ! 
 
 Ah sweet to speak of Thee, sweet one ! 
 Ah sweet to gaze such love upon ! 
 Thy view alone 
 Drowneth all grief in me, love. 
 
 LXXXIV. 
 
 — Ah, of pure hearts Thou sweet ami ! 
 Ah, how high praise becometh Thee, 
 
 Seeing that we 
 Through virtue rise e'er near Thee ! 
 
 — Ah Emperor's child, ah kingly heir ! 
 Ah Eagle of all eagles rare ! 
 
 Thy tender care 
 Teaches us not to fear Thee. 
 
122 The Minnesinger of Germany. 
 
 — Keeping from grief all those who sought 
 Thy heart, with love abounding. 
 
 Ah, in the ear Thou sweet song brought ! 
 Ah, in the heart Thou gladsome thought ! 
 Ah silver-wrought 
 Sweet harp forever sounding ! 
 
 LXXXV. 
 
 — Ah child of God, ah sweet Christ Lord ! 
 Ah o'er the world Thy sovereign word ! , 
 
 Ah Thou who'st soared 
 A sun the morning meeting ! 
 
 — Ah sweetest life, ah sweetest time ! 
 Ah me, what happiness in each clime 
 
 Doth climb and chime 
 Around Thee with fond greeting ! 
 
 — Ah bonniest embrace and clasp ! 
 Ah full of friendly rapture ! 
 
 Ah ne'er did sweetness closer grasp 
 The heart of man into its clasp, 
 With eager gasp, 
 And made a bonnier capture ! 
 
 LXXXVI. 
 
 — Ah heart's sweetheart, ah full of grace ! 
 Ah dear and ever dearer face ! 
 
 Ah sorrowless ! 
 Ah medicine e'er aiding ! 
 — Ah heart's wild breaking, ah heart's great dread ! 
 Ah send us faith, till we are dead ! 
 Ah rose so red ! 
 Bright rose that knows no fading ! 
 
The Divine Minnesong. 123 
 
 — Ah youthfullest youth, ah youth-loving mood ! 
 Ah heart's-love so lightly soaring ! 
 
 Ah growthfullest virtue^ ah growth-loving good ! 
 Ah Thou the genuine vinegrape's blood ! 
 Ah honey flood 
 Through heart and senses pouring ! 
 
 LXXXVII. 
 
 — Ah growing love from day to day 
 Better and better, with ne'er a stay ! 
 
 Ah sweet, sweet lay. 
 Through ears to hearts resounding ! 
 — Ah to hearts longing Thou quiet nook ! 
 Ah roof for all, the world forsook ! 
 Ah tinkling brook 
 For hearts with thirst abounding ! 
 
 — Ah well-shaped mouth, ah comely face ! 
 Ah hawk-eye of pure splendor ! 
 
 Ah love our loving souls always ! 
 Thou woundest with Thy love's bright rays 
 Our very grace : 
 So sweet Thy love and tender ! 
 
 LXXXVIII. 
 
 — Ah lustrous star, ah burning moon ! 
 Ah shining sun of full-grown noon 
 
 Both late and soon ! 
 Ah blooming heath's rich treasure ! 
 
 — Ah eye's sweet fullness, ah heart's full food ! 
 Ah love, where love has never trod ! 
 
 Ah love of God ! 
 Ah glorious eye-pleasure ! 
 
124 "^^^ Minnesinger of Germany. 
 
 — Ah love Thou there, ah love Thou here! 
 Ah love in every manner ! 
 
 Ah love than which no love more dear 
 In heart of man its growth can rear ! 
 Heart of man ne'er 
 Had sweeter love-enchainer ! 
 
 LXXXIX. 
 
 — Ah well to-day and once more well ! 
 Grief never in Thy heart did dwell ; 
 
 Thou art a spell 
 E'er growing with rapture richer ! 
 
 — Ah sugar sweet, ah honey taste ! 
 Ah of all things most pure and chaste, 
 
 Ah good and blest ! 
 Ah of our race best teacher ! 
 Ah pure is he, ah pure is she. 
 
 Ah bliss will never sever 
 From those, sweet love-branch, that love Thee ! 
 Ah all that revel in Thy glee, 
 Ah, they are free 
 From the grasp of hell forever ! 
 
 xc. 
 
 — Ah glad to-day and once more glad ! 
 Ah heart by lasting rapture fed. 
 
 That never fled. 
 And stays with all in common ! 
 
 — Ah good to-day, and once more good 
 And ever good, so pure a mood 
 
 Holds Thy sweet blood 
 And body, born of woman. 
 
The Divine Minnesong. 125 
 
 — Ah sweet love-wonder without a sword, 
 Ah without fire a burning ! 
 
 Happy who courts wounds from Thee, lord 
 To him the choicest thou'lt accord, 
 That life doth hoard : 
 Or moveth human yearning. 
 
 xci. 
 
 — Ah Thou reward of all work done ! 
 In sorrow Thou joy-pregnant tone ! 
 Ah tree upgrown. 
 That with grace for all bloometh ! 
 
 — Ah teller of all labor's care. 
 
 That man through Thee bore anywhere ! 
 Ah mild and fair ! 
 Who all grief overcometh. 
 Ah wise man, that dost ne'er forget 
 
 Who honors to Thee render ! 
 Ah King, who always made it fate 
 That good grow good and bad raise hate ! 
 Ah mirror-plate 
 Of purest doctrine's splendor ! 
 
 xcii'. 
 
 Ah virtue pure, ah purest vase ! 
 Ah of chaste eyes Thou mirror-glass ! 
 Ah adamas 
 With fruitful virtues glowing ! 
 
 — Ah festive day to pleasure lent ! 
 Ah rapture without discontent ! 
 
 Ah sweet musk-scent ! 
 Ah flower gayly blowing 1 
 
126 The Minnesinger of Germany. 
 
 — Ah heavenly kingdom where Thou art, 
 On earth, in hell, or heaven ! 
 
 Ah cunning o'er all cunning's art ! 
 
 Ah Thou, that knoweth every part ! 
 Ah sweet Christ's heart ! 
 Ah sweetness without leaven ! 
 
 XCIII. 
 
 Ah virtue there, ah virtue here ! 
 Ah virtue on many a dark and drear 
 Path, far and near ! 
 Ah virtue e'er befriending ! 
 Ah Thou self-conscious purity ! 
 Ah goodness, those that cling to Thee 
 So many be 
 Their number has no ending. 
 Ah father, mother, thou, and son ! 
 
 Ah brother both and sister ! 
 Ah strong of faith as Jacob's son ! 
 Ah King of earth's and heaven's throne! 
 Ah Thou alone 
 Our friend to-day as yester ! 
 
CHAPTER IV. 
 
 WALTHER VON DER VOGELWEIDE. 
 
 ERY little is known positively of Walther's 
 life, birthplace, and circumstances. That he 
 was of noble birth appears conclusively from 
 the contemporary testimony of other poets. That he 
 was very poor, he himself repeatedly informs us ; and 
 even his name, " Bird's pasture," indicates the very lim- 
 ited extent of the landed estate that may or may not 
 have belonged to his family. But whether he was a na- 
 tive of the main-countries, or whether, as Franz Pfeiffer, 
 the late editor of a new edition of his poems, seems 
 to believe now, he was a Tyrolian, is still a matter of 
 doubt. Wherever his birthplace was, he must have left 
 home early, — about 1 190, — and being very poor, gone 
 to Austria for the purpose of cultivating himself in 
 the art of a Minnesinger. He was then about twenty 
 years of age, and probably enjoyed to the fullest ex- 
 tent the pleasures and delights of the always gay im- 
 perial city, where a period of peace and justice under 
 the rule of the Hohenstauffens had developed a gen- 
 eral prosperity, which that house and the closely re- 
 lated art-loving house of the Babenbergian Dukes 
 liberally turned to the cultivation and protection of 
 poetry, art, and science. Walther's songs of this time 
 fairly flow over with expressions of enjoyment, and are 
 
128 The Minnesinger of Germany. 
 
 easily recognized by the fresh grace of their musical 
 movement as well as by the cheeriness of their tone. 
 His teacher in the art of Minnesong-composition was 
 undoubtedly Reinmar the Old, one of the foremost of 
 Minnesinger. Under the tuition of this accomplished 
 master, Walther soon perfected himself in his art, and 
 became quite a favorite of the Babenbergian Duke 
 Frederic I., the patron of poets, and indeed all man- 
 ner of artists. Walther's external circumstances may 
 therefore be supposed to have been, for a while at 
 least, quite easy. A few of his Minnelieder, evidently 
 composed at that time, will show the skill he had at- 
 tained in his art, and the relish with which he enjoyed 
 life and youth. The one " Under the Linden," par- 
 ticularly, has been admired for its wondrous melody 
 in the original, and the grace of its naive simplicity. 
 
 THE DREAM OF LOVE. 
 
 — " Take, lady, take this wreath ! " 
 Thus I spoke unto a fair and comely maiden. 
 
 — " And on the dance thou'lt breathe 
 Beauty by the flowers wherewith thy hair is laden. 
 
 — Had I but jewels of rare splendor. 
 
 They should crown thee all, love ! 
 Trust my truthful soul, love j 
 Take the word that I thee tender. 
 
 — " Thou art so comely made, 
 
 O, it makes me glad to give my wreath to thee. 
 
 — 'Twas the best I had : 
 
 White and red flowers, I know where they found ma 
 be ; 
 
Walther von der Vogelweide. 129 
 
 — They stand in yonder outstretched meadow. 
 
 Where they're sweetly clinging, 
 And the birds are singing, 
 There we'll pluck them in the shadow." 
 
 — She took that which I had 
 Altogether like a child that feeleth shame. 
 
 — Her cheeks turned all o'er red, 
 
 As by the lily glows the rose upon her stem. 
 
 — Ashamed her bright eyes 'gan to flutter ; 
 
 Yet her head she bended, 
 Thus me thanks she spended ; 
 What I else got, ne'er I'll utter. 
 
 — I thought that all life's hours 
 Never had upon me flung such happiness. 
 
 — The flowers fell in showers 
 
 From the trees adown to us upon the grass. 
 
 — Look then in laughter I 'gan breaken, 
 
 Being so drowned in pleasure 
 With my dream's sweet treasure : 
 Then day broke and I must waken. 
 
 — This is the cause that I 
 
 All this summer, wheresoe'er I see a maid, 
 
 — Into her eyen must spy — 
 
 Perhaps it is she ; then were all my grief allayed. 
 
 — Who knows ? this dance now may enfold her. 
 
 Ladies, pity on it ! 
 Each lift up her bonnet ! 
 Ah, could I wreath-crowned behold her ! 
 9 
 
130 The Minnesinger of Germany. 
 
 UNDER THE LINDEN. 
 
 — Under the linden, 
 
 On the meadow, 
 Where our bed arranged was, 
 
 — There now you may find ee'n 
 
 In the shadow 
 Broken flowers and crushed grass. 
 
 — Near the woods, down in the vale, 
 
 Tandaradi ! 
 Sweetly sang the nightingale. 
 
 — I poor begrieved me 
 
 Came to the prairie : 
 Look, my lover'd gone before. 
 
 — There he received me — 
 
 Gracious Mary ! — 
 That now with bliss I'm brimming o'er, 
 
 — Kissed he me ? Ah, thousand hours ! 
 
 Tandaradi ! 
 See, my mouth, how red it flowers ! 
 
 — There 'gan he making, 
 
 O, so cheery ! 
 From flowers a bed-place rich outspread. 
 
 — At which outbreaking 
 
 In laughter merry 
 You'll find whoe'er the path does tread. 
 
 — By the roses he can see, 
 
 Tandaradi ! 
 Where my head lay cozily. 
 
Walther von der Vogelweide. 131 
 
 — How he caressed me — 
 Knew't one ever, 
 God defend ! ashamed I should be. 
 — Whereto he pressed me, 
 No, no, never 
 Shall any know't but him and me 
 And a birdlet in the tree ; 
 
 Tandaradi ! 
 Sure we can trust it, cannot we ? 
 
 ECSTASY OF LOVE. 
 
 — ^I am now so full of joy, "^ 
 That into any folly I might throw me ; 
 
 — For there 's a chance that I 
 
 Can win my lady signs of love to show me. 
 
 — Look ! thus rise my hopes and blow me 
 Far higher than the sunshine floats ; — be 
 
 gracious, maid, unto me ! 
 
 — Ne'er I on the fair one glanced 
 
 But with love's glow my eyes 'gan sparkle clearer. 
 
 — This always to me chanced :. 
 
 And e'en cold winter to my heart grew dearer. 
 
 — Others deemed't a churlish cheever, 
 What time to me it seemed as if May had 
 
 indeed drawn nearer. 
 
 — This most pleasant song I've sung 
 In honor of my lady, and unchary. 
 
 — She must thank me for't ere long. 
 Then for her sake will I be ever merry. 
 
132 The Minnesinger of Germany. 
 
 — 'Though she wound my heart unwary : \ 
 What of it ? whether'! hurteth me ? It may 
 do the contrary. 
 
 — No one may so far succeed, 
 To part me ever from the love JL bear her. "^ 
 
 — If I turned from her indeed, 
 
 Then where should I find maiden nobler, dearer, 
 
 — One more guileless, debonnairer ? 
 Than Helen or Diana she is better famed 
 
 and fairer. 
 
 WOMEN AND SPRING. 
 
 — When the flowers from out the grass 'gin spring- 
 
 ing. 
 As if towards the sparkling sunshine smiling 
 On a May-day in morn's early glow : 
 
 — And the birdlets in their best are singing, 
 With delight the flow'ry world beguiling : 
 
 O, what rapture can compare thereto ? 
 
 — It surely is quite half a heaven ! 
 
 If you ask what better could be given, 
 I'll tell you quickly what amain 
 My eye has gladdened and would gladen still could 
 I see it again. 
 
 — When a noble, pure, and lovely lady 
 Well arrayed, her hair all tied up brightly, 
 
 For pastime goes to some social place ; 
 
 — Courteous-mannered, with companions, ready. 
 To look back she turns at times, but slightly : 
 
Walther von der Vogelweide. 133 
 
 As the sun shines forth from star-set ways. 
 
 — Let May bring all its freshest glow us, 
 Where such pleasant wonder can it show us 
 As by her body there 's displayed ? 
 
 We all turn from the flowers to go and gaze upon 
 the noble maid. 
 
 — Well, then, if ye'd see the truth, I'll summon 
 At May's festival ye all to gather, 
 
 For he 's come with all his powers and art. 
 
 — Look on him and look on worthy women, 
 
 And then judge which outranks which, and whether 
 I have not made mine the better part. 
 
 — Ah me, were ordered I to choose then 
 Which for th' other one I'd rather loose, then ! 
 How quick should my decision prove ! 
 
 Sir May, I'd liken you to March, before I'd loose 
 my lady-love. 
 
 The following poems belong to a maturer period of 
 Walther's life, as will appear both by their form and 
 contents. They have been selected, not only with a 
 view to illustrate the chief of the Minnesinger himself, 
 but also as conveying in their different forms and 
 contents the best notion of the general range of Min- 
 nesong. In the second poem the last line has twelve 
 feet, divided into two parts of six each. In the third 
 poem the mentioning of the loved one's name as Hil- 
 degunde excites astonishment, as it was considered 
 utterly unknightly and unminstrel-like by both the 
 German and the Proven§al troubadour, ever to men- 
 tion the name of the loved lady. Walther himself in 
 other poems complains about the rabble who pester 
 
134 The Minnesinger of Germany. 
 
 him to tell his sweetheart's name. Mr. Pfeiffer's 
 suggestion, that the name of Hildegunde, occurring 
 in this poem, refers to the Hildegunde of the old 
 German legend "Walther and Hildegunde," and 
 was used by our Walther for the very purpose of 
 chastising the spiers after his lady-love's name, by 
 giving his lady the legendary representative name of 
 constant love, seems not so very farfetched. The 
 lengthening of the last strophe by a refrain, occurs 
 also in other Minnelieder. The cuckoo's cry, alluded 
 to in the second strophe, presages in superstitious 
 lore a year of starvation, if you hear it before having 
 broken fast in the morning ; but the meaning of the 
 ass's bray, heard under like circumstances, has not 
 been ascertained as yet. Undoubtedly it was quite 
 as serious and fearful a curse as the cuckoo's cry. 
 Concerning the poem to Steadiness, it may be of 
 interest to remark that this personifying of virtues 
 and vices was a peculiarity of the Minnesinger, and 
 was carried by them to an extreme length. 
 
 THE COQUETTE. 
 
 — Long in silence to remain I'd thought ; 
 Now must I sing, howe'er as erst. 
 
 — Hereunto good people me have brought. 
 Who well in all command me durst ; 
 
 — I must sing and I must say. 
 
 And what they like that I must do. — Well, then 
 my lament swell must they. 
 
 — Hear the wonder which to me did chance. 
 As my reward for all I've done. 
 
Walther von der Vogelweide. 135 
 
 — There 's a woman will not on me glance 
 For whom I that renown have won, 
 
 — Which so proudly moves her soul ! 
 
 Does she not know if I leave singing — that then 
 her praise 
 
 will vanish all ? 
 
 — God ! what curses down on her would rain, 
 If I should stop my singing now. 
 
 — All who praise her now, I know, would then 
 Abuse her without me ; for, trow, 
 
 — Thousand hearts did gladsome grow 
 
 When she was gracious; who will blame her — if I 
 from her 
 
 must part me so. 
 
 — When I yet believed that she was good, 
 Who then more kind to her than I ?. 
 
 ; — Now 'tis at an end ; let then her mood 
 Turn as it will, she may rely, 
 
 — If with love she makes me glad 
 
 Her life will by my life be honored — but kills she 
 me then is she dead. 
 
 — Must I in her service e'en grow old. 
 The while she surely grows not young, 
 
 — Lo, perhaps my hair so gray will mould. 
 She'll wish to choose the young among. 
 
 — S'help you God, young gentleman, 
 
 Revenge me and her withered skin — with fresh 
 grown twigs 
 teach manners then 1 
 
136 The Minnesinger of Germany. 
 
 LOVE IS TWO HEARTS' BLESSED RAPTURE 
 
 — What is love ? will some one tell me ? 
 If I know't a part I'd like to know it more. 
 
 — Now who knows it rightly, hail me 
 And expound me this: how makes love hearts so 
 SQie ? 
 
 — Love is Love, when she does well. 
 
 Does she woe, then is she not called rightly Love ; 
 nor — 
 do I know how then her name I ought to spell. 
 
 — If my guess does rightly capture 
 
 Love's true meaning, I would have you tell me : 
 Yea, 
 
 — Love is tsLQ hearts' blessed rapture 1 
 If t they equally divide, love theirs must be. 
 
 — But if they divide it not. 
 
 One heart ne'er alone can hold love's blessed rap- 
 ture — 
 Lady, O do thou help me to bear my lot ! 
 
 — Sweet, for me, if thou me eas'st not, 
 
 This load weighs too sore; wouldst help, help now 
 and right. 
 
 — Car'st thou, though, for me the least no.t. 
 Then speak out at last, and I give up the fight, 
 
 — And a free man stay always. 
 
 One thing though thou shouldst remember, that thee 
 rightly — no 
 one mickle better than myself can praise. 
 
Walther von der Vogelweide. 137 
 
 — Can my love pay sweet with sour ? 
 Thinketh she I'll give her love in change for wae? 
 
 — Shall I glorify her power, 
 
 That she turn it to make me seem e'en more low ? 
 
 — Then did I most badly spy ! 
 
 But what chatter I poor earless, eyeless wretch yet ? 
 — He 
 whom love has blinded has to see no eye. 
 
 HILDEGUNDE. 
 
 — Those who in the winter me my joy have taken, 
 Or women they or men they were, 
 
 — May this summer-time their pleasure them not 
 
 slacken, — 
 But why swear I not curses rare ? 
 
 — Too few I know, and not one fitter 
 
 Than the evil word : O damn them ! — no, no ! that 
 were all too bitter. 
 
 — Yet two very hearty curses know I sheer, 
 That curse e'en as my will is bent, 
 
 — May they ever hear the ass and cuckoo ere 
 
 Their morning's meal they come anent ! 
 Then, poor wretches, woe 's your ditty ! 
 Knew I that they would repent them — I'd, for God ! 
 on them take pity. 
 
 — One should patience to unpatience ever show, 
 This to the shameless bringeth shame ; 
 
 — Whom the wicked hate unjustly, they do so 
 By reason of his virtue's claim. 
 
138 The Minnesinger of Germany. 
 
 — If the loved one would but cheer me, 
 
 Who so well might cheer my sorrow, — little for 
 their hate I'd care me. 
 
 — I'll to all the world upon her body swear, 
 This oath let her well mark and ponder 1 
 
 — Hold I any one, woman or maid, more dear. 
 Then hell my soul may swallow yonder. 
 
 — Now, if kindness in her dwelleth, 
 She will trust this oath of mine — and 
 
 still the grief that my heart swelleth. 
 
 — Gentlemen and friends, now lend betimes your 
 
 aid ; 
 The end is nigh, for things stand so : 
 
 — If in this love battle I'm not victor made, 
 Joy ne'er again will in me glow. 
 
 — My heart, cleft by love asunder. 
 
 Must forever open stay, — unless her kisses do the 
 
 wonder ; 
 My heart, cleft by love asunder. 
 Must forever open stay, — unless love heals it o'er 
 
 and under; 
 My heart, cleft by love asunder. 
 Must forever open stay, — unless 'tis healt by 
 
 Hildegunde. 
 
Walther von der Vogelweide. 139 
 
 THE ENEMIES OF LOVE. 
 
 — Us all at present — the same grace stands much 
 
 in need : 
 That to genuine gladness we again should turn. 
 
 — A sight unpleasant — has laid all my gladness 
 
 dead : 
 That the young so grimly now joy seem to spurn. 
 
 — Their young life, what good is't them ? 
 True gladness they should with it gather. 
 Aye, would they but in gladness bathe e'er ! 
 
 Then, young men, you women's help might claim. 
 
 — Now am I brimming — glad and must with glad- 
 
 ness glow 
 Through the dear one, what meanwhile me may 
 betide. 
 
 — Here am I seeming — yet still with her my heart 
 
 does go, 
 So that often people me as senseless chide. 
 
 — Should they e'er together join : 
 
 My heart, my body, — with both's full forces : 
 Aye, soon would feel my new resources, 
 They that blocked my joys, those enemies mine ! 
 
 — These watchers prying — always us't enjoy pre- 
 
 vent : 
 For their watch has many worthy a love dismayed. 
 'T keeps sorely trying — me ; when her I come anent. 
 Then must I avoid her, the most blessed maid ! 
 
 — Still that time I trust to liven, 
 
 When she a tryst shall give, where neither 
 
140 The Minnesinger of Germany. 
 
 Shall feel the watch — O thus together, 
 Then would mickle love to me be given. 
 
 — Full many a one pryeth — of my love and who she 
 
 be, 
 Whom I serve and always have served hitherto. 
 
 — Now this annoyeth — me \ and so I answer: "Three 
 Do I serve, and for a fourth one hope I grow." 
 
 — Yet she only know'st, I ween, 
 Who heart from body me expelleth, 
 Who wounded well, and eke well healeth, 
 
 Whom o'er all I ought to serve : my Queen. 
 
 — O love, dear lady — go and seize her lovingly, 
 Who me has swayed and so completely holds in 
 
 sway ; 
 
 — Teach her how ready — love's sway may estab- 
 
 lished be, 
 Perhaps she loving love will also learn t'obey. 
 
 — Then she also will believe 
 
 With all my heart I love her truly. 
 O love confirm her this faithfully ; 
 And her service gladly I'll achieve. 
 
 STEADINESS. 
 
 — Mistress Steady 's my dismay ; 
 I know not if she brings praise. 
 But I know she works sore grief. 
 
 — Since love held me under sway 
 Bidding me go Steady's ways, 
 
 I did ne'er from grief retrieve. 
 
Walther von der Vogelweide. 141 
 
 - Let me go, my dearest Mistress Steady ! 
 For howe'er I press my lady 
 
 She 's steadier in refusing me ; 
 
 - My too great steadiness will prove my ruin — 
 
 unless love wounds her equally. 
 
 — Who would ever praise the man 
 Whom this steadiness brings joy, 
 If he Steady's paths pursues ? 
 
 — But, who ne'er did aught attain 
 From her, and yet stays her by : 
 Look, his steadiness pleases us. 
 
 -Thus have I, e'en, wooed this Mistress Steady, 
 And yet nothing happened ready. 
 This change thou, blessfed lady-love ! 
 
 - That I the butt of her, the false and faithless, — 
 
 of steadiness no more may prove. 
 
 — Had I not of joy my part 
 Built upon thee, dear heart's love, 
 Some way out oft could be shown. 
 
 — But since all my weal thou art. 
 And my joy and worth e'er throve 
 And still rests in thee alone : 
 
 - Should I now my heart tear from thee, dearest, 
 I'd but hurt myself the nearest. 
 
 This surely were not wisely done. 
 
 - Yet shouldst thou, blessfed woman, keep in mind 
 
 — how long I've grieved for thee alone. 
 
 — Lady, I know well thy mood ; 
 That thou steady lov'st to be 
 
142 The Minnesinger of Germany. 
 
 I've discovered long ago. 
 — For thee ever yet kept good 
 Woman's cunning's purity, 
 Which all women holdeth so. 
 
 — Thus thy bliss and honor do I cherish, 
 I've no other joy to nourish : 
 
 Now speak, is this reward enough ? 
 
 — Thou shouldst, O lady, let me that enjoy — which 
 
 I so long have longed for, love ! 
 
 But the death of the German Emperor Heiwy VI., 
 which occurred September 28, 1197, put a stop to 
 Walther's quiet and cheerful minstrel life, as it also 
 ended the previous peace and quiet of the whole Ger- 
 man country. Popd Innocent III. refused to rec- 
 ognize Henry's minor son, Frederic II., whom the 
 Germans had elected; and Philip of Swabia, the 
 child's uncle and a son of Barbarossa, and Qtto of 
 Bavaria, arose as rival candidates for the throne. 
 The whole empire fell a prey to confusion, war, and 
 party dispute ; and Walther, a thoughtful and deep- 
 feeling observer of affairs, took henceforth active 
 part in the politics of the day. His patron, Duke 
 Frederic, having also died, and Leopold, Frederic's 
 successor, having proved rather unfriendly to Wal- 
 ther, the poet, after having in vain tried to obtain 
 the patronage of the famous Landgrave of Thiiringen, 
 left Vienna for the court of Philip of Swabia, for 
 whom he had declared his preference at the outset in 
 the following Sayings or Spruche : — 
 
Walther von der Vogelweide. 143 
 
 — Upon a stone, moss-sheeted, 
 Cross-leggfed I was seated ; 
 
 My arms upon my knees did rest, 
 Whilst in my hands, as in a nest, 
 Both chin and cheeks lay nicely. 
 Then pondered I how wisely 
 We in this world might move and live. 
 Yet could my mind no counsel give 
 
 — How we three things might gather 
 And yet of them lose neither. 
 
 The two are honor and worldly good ; 
 
 Either the other doth preclude. 
 
 The third 's God's grace all-shielding. 
 
 Both others over-gilding. 
 
 These would I in my heart compel ! 
 
 But alas ! 'tis impossible, 
 
 — That worldly good and favor 
 With God's great grace should ever 
 Into the same one heart be taken. 
 Path and ways have them forsaken. 
 For untruth lies in waiting, 
 Force on the streets keeps prating. 
 And peace and right are deeply gored. 
 
 The three can have no safe protection till peace and 
 right are quite restored. 
 
 II. 
 
 — I heard a water skimming, 
 And saw the fishes swimming ; 
 
144 ^'^^^ Minnesinger of Germany. 
 
 I saw what in the world there was : 
 Fields and woods, leaves, reeds, and grass. 
 What crawleth and ascendeth, 
 And feet to th' earth downbendeth. 
 This saw I, and I tell you that 
 None of these all live without hate. 
 
 — The beasts, and e'en the crawling 
 Worms e'er are fighting and bawling. 
 Thus e'en the birds do. Still I see 
 That in one thing they do agree — 
 They'd hold themselves destroyed, 
 Lest they one court employbd. 
 
 Hence king and law they choose by a word, 
 And order servant man and lord. 
 
 — Ah woe thee, German nation ! 
 How great thy degradation ! 
 The very fly her king doth own ; 
 And lo ! thine honor goeth down ! 
 Repent thee, O repent thee ! 
 Thy selfish princes rent thee ! 
 Too many kings press thee, alack ! 
 
 O Philip, take the emperor's crown, and tell the 
 others to stand back ! 
 
 Walther seems to have had a sincere liking for 
 Philip, whose praise, indeed, is sounded by all his 
 contemporaries, and whose coronation at Mayence in 
 the fall of 1 198, Walther has celebrated in the fol- 
 lowing neat Saying : — 
 
 — The crown is older far than good King Philip is ; 
 There you all may see a wonder ; even this : — 
 
Waltker von der Wogelweide. 145 
 
 How could the smith have made it him so fitting ? 
 
 — His fine imperial head becometh it so well, 
 That no one now can break or separate the spell j 
 
 Neither detracts, but each gives th' other greeting. 
 
 — Aye, both each on each other glow. 
 
 The precious jewel on the young sweet man sits so, 
 That this eye-pleasure proudly greet our princes. 
 
 If one yet doubts who 's lord and king, 
 
 Let him behold the Orphan in the crown's gold ring ! 
 That precious stone our princes' choice evinces. 
 
 The Orphan was the name of the most precious 
 jewel in the German imperial crown, and was so 
 called from the fact of being unequaled in value and 
 size by any other precious stone. Otto, the rival of 
 Philip, and the favorite of the Eope, had been 
 crowned with false crown jewels on July the four- 
 teenth of the same year at Aachen ; but the fact that 
 Philip was crowned with the genuine jewels, secured 
 to him the sympathy of the majority of the German 
 princes, and explains the allusions in the above poem. 
 
 The two coronations gave rise to a civil war and 
 disturbances, that were fanned by all the power of 
 Rome. These occasioned the following Saying : — 
 
 III. 
 
 — My eyes saw men and women 
 Hold stealthy speech in common ; 
 Then did I hear and did I see 
 What all the world did secretly. 
 
 — At Rome I heard them lying. 
 Two kings to quarrel inspiring. 
 
 10 
 
146 The Mitmesinger of Germany. 
 
 Therefrom the worst war 'rose and raged, 
 That ever man at any time waged ; 
 — Dividing into factions 
 The priests' and the laymen's sections. 
 It was a dread above all dread ; 
 Both soul and body then lay dead. 
 The priests fought e'en like gay men, 
 But there were more of laymen. 
 Then laid they down their swords disgusted, 
 And 'gain used priestly arms, more trusted. 
 They banned e'en whom they wot to. 
 And not him whom they ought to. 
 Then felt God's dwellings their dread spell. 
 I heard from far' off in a cell 
 Great wailing my way straying : 
 A cloister-monk was praying ; 
 To God he uttered his soul's gloom : 
 "Alas, the Pope is far too young — O Lord, help 
 Thou Thy Christendom ! " 
 
 In the following years of political troubles Wal- 
 ther seems to have been untiringly active in the cause 
 which he conceived to be the right one. Nor were 
 his Sayings without influence, — an influence that 
 seems to have been extended from Vienna to Rome ; 
 for when Walther, in 1213, issued one of them against 
 the truncos which Pope Innocent had ordered to be 
 put up in all Catholic churches for contributions, os- 
 tensibly in support of the Crusades, we find it alluded 
 to by Thomasin of Zerclare, as a most grievous sin 
 against his holiness, and as a Saying which had 
 kept thousands from giving their contributions to the 
 
Walther von der Vogelweide. 147 
 
 holy cause. Walther of course had looked upon the 
 matter as merely a device to fill the Pope's own cof- 
 fers with foreign money. 
 
 When Philip, in 1204-5, overcame his rival Otto, 
 and was crowned again in Aachen, Walther's political 
 activity seems to have discontinued ; and neither 
 Philip's subsequent assassination, in 1208, nor Otto's 
 later unanimous accession to the imperial crown, in 
 1209, are alluded to by him. It was not till Otto, in 
 12^0, was excommunicated by the Pope, that Walther 
 again brought his poetical services into the political 
 field, taking strong side against papal interference 
 with German political affairs. Meantime we find him 
 roaming in true minstrel knight fashion over the 
 country : now with the Duke of Karnten, who has a 
 Saying or two thrown at his head for withholding a 
 promised suit of new clothes from Walther ; now with 
 Duke Leopold of Austria, brother of the poet's first 
 patron ; and now in the princely Abbey Tegernsee, 
 famed for its learning and hospitality, but dealing out 
 to Walther but a very cool reception, as the following 
 Saying testifies : — 
 
 — They told me much of Tegernsee : 
 How great its hospitality. 
 
 Then turned I more than one mile from the highway. 
 
 — Truly I am a curious man. 
 That I myself so little plan 
 
 And far too much let other people dictate my way, 
 — I'll scold them not j God bless and make us 
 better! 
 
148 The Minnesinger of Germany. 
 
 They gave me water. 
 Thus, foolish plotter, 
 I turned from the Monk's table simply wetter. 
 
 He also went again to the art-loving court of 
 Thiiringen, and this time met with better success 
 than at the first attempt. The mention of Walther's 
 name in the poem of the "Warthurg Mingtrel's 
 War," is undoubtedly owing to this stay at the 
 court, where the most famous of German poets had 
 congregated during the turmoil of the times. 
 
 In this manner, now roving from one court to 
 another, now in Vienna with the Emperor or Duke 
 Leopold, Walther passed two or three years, fighting 
 hard for the Emperor's cause, and in spite of repeated 
 insults and humiliations from the obstinate, change- 
 able Otto, remaining a faithful friend to the recog- 
 nized representative of the German nation ; inciting 
 him to virtuous actions and frankly censuring his 
 faults both in poems and in private converse. But 
 when Otto in the conflicts of his reign was finally 
 defeated altogether at Bouvines in July 1212, Wal- 
 ther, who had followed his flight to Cologne, and who 
 was one of the last friends to leave' him, turned also 
 \o the legitimate successor, Frederic 11., who intrusted 
 him with the education of his son, the subsequent 
 Emperor Henry VII., probably on recommendation 
 of the Archbishop of Cologne, who had learned to 
 recognize Walther's worth during his short stay there 
 with the hiding Emperor. Walther's little scholar 
 seems to have given him much trouble. He also has 
 a Saying thrown at his head for his stupidity, but 
 was likewise the occasion of the following : — 
 
Walther von der Vogelweide. 149 
 
 Children with rod ruling — 
 'Tis the worst of schooling. 
 Who is honor made to know 
 Him a word seems as a blow. 
 Him a word seems as a blow 
 Who is honor made to know. 
 'Tis the worst of schooling : 
 Children with rod ruling. 
 
 Guard your tongues 'gainst leaking ; 
 To you young I'm speaking ! 
 Put a bolt before the door, 
 Let no evil word get o'er ! 
 Let no evil word get o'er, 
 Put a bolt before the door ! 
 To you young I'm speaking. 
 Guard your tongues 'gainst leaking ! 
 
 Guard your eyes, moreover. 
 Free or under cover ! 
 On the good reflecting aye. 
 Turn their glance from evil's way. 
 Turn their glance from evil' s way 
 On the good reflecting aye. 
 Free or under cover. 
 Guard your eyes, moreover ! 
 
 Guard your ears securely, 
 They will fool you surely : 
 If you evil words let in 
 It dishonors all within. 
 It dishonors all within 
 If you evil words let in. 
 
150 The Minnesinger of Germany. 
 
 They will fool you surely : 
 Guard your ears securely. 
 
 Guard the three forever, 
 'Gainst too free behavior. 
 Tongue, eyes, ears, are all inclined 
 To badness, and to evil blind. 
 To badness, and to evil blind 
 Tongue, eyes, ears, are all inclined. 
 'Gainst too free behavior, 
 Guard the three forever ! 
 
 The felicitous form of this little poem, each strophe 
 being written so that it may be read from the first 
 line downwards or from the last line upwards, fit it 
 admirably to the mind of children ; and the instruc- 
 tions it conveys are certainly signs that the poet com- 
 prehended the position of an educator. 
 
 But Walther soon gave up the tutorship of the 
 young Crown Prince. He continued, however, to 
 stay at the court of the Emperor Fredejic II., an ad- 
 mired poet and. esteemed counselor. The Emperor, 
 a noble-minded man, received the censure of his 
 friend with the same graciousness as his praise, and 
 after a while gratified the highest wish of the poet 
 by conferring upon him the rental of some estate, a 
 small enough affair, probably not more than two 
 hundred dollars per annum, if so much, but sufficient 
 for the poet, who only wanted to be sure that the last 
 days of his life might be passed without actual suffer- 
 ihg for food and clothes. Walther also received pres- 
 ents from other courts to which he paid visits ; and 
 
Walther von der Vogelweide. 151 
 
 one of his verses commemorates the gift of a dia- 
 mond from a prince of Katzenellenbogen. 
 
 In the year 1228 Walther followed the Crusade of 
 his Emperor, and had his wish gratified to behold 
 the land where his Saviour had lived and suffered. 
 Either in his travels to or home from Palestine, he 
 made that visit to his native home, which is so 
 touchingly commemorated in his " Lament." 
 
 Nothing is known of his life since that return. 
 He died, probably, about 1230, in Wurzburg, near 
 which he had likely enough passed the last year or 
 years of his life, upon the estate conferred upon him 
 by the Emperor ; and the heart that in life " had 
 never enjoyed but a half day's uninterrupted joy," as 
 he confesses himself, found peace at last in death. 
 Of his relation to women we know nothing but what 
 can be gleaned from his poems. 
 
 The following poems are from his later age, as 
 their melancholy tone clearly enough expresses. The 
 first one about the " Lazy Angels " shows that even 
 at that time the notion that angels might be better 
 employed than in "loafing around the throne," — 
 namely, by aiding the Crusaders, — was not foreign 
 from men's minds. The last and most beautiful of all 
 Walther's poems fittingly closes the list. 
 
 THE LAZY ANGELS. 
 I. 
 
 He who beginning ne'er acquired 
 And who beginning first inspired, 
 Can will make end and also without-end. 
 Hence, as all this rests in his own hand. 
 
152 The Minnesinger of Germany. 
 
 Who deserves our praise with equal worth ? 
 He be the first one in my measures ; 
 His all other praise o'er treasures : 
 
 The praise is blessed He claims on earth. 
 
 Now praise we also the maiden dear, 
 To whom her son refuses ne'er. 
 She is his mother, who from hell us saved. 
 Comfort, by us o'er all comforts craved, 
 
 Is't to know her will in heaven is wooed. 
 Up, then, ye old and young, keep ringing 
 Loud her praise, her glory singing : 
 
 'Tis good to praise her, for she 's good. 
 
 Ye angels, too, my praise might cull 
 
 But that I am not a fool so dull. 
 
 Why wrought ye yet the heathens no distraction ? 
 
 Since then no one sees or hears your action. 
 
 Say, what have ye in the good cause done ? 
 Could I, like you, help God by willing, 
 Then indulged I no appealing ; 
 
 I'd leave you, gentlemen, alone. 
 
 Sir Michael, Sir Gabriel, 
 
 Sir Devil's enemy, Raphael, 
 
 Ye practice wisdom, strength, and medicine. 
 
 Three great choirs of angels too, I ween. 
 
Walther von der Vogelweide. 153 
 
 Have you ready to obey your word. 
 Would ye my praise ? Show sense, don't sneak back, 
 Help to find the heathen's weak back : 
 
 To praise ye liow would be absurd. 
 
 MY CRITICS. 
 
 — The bilious doubters say, that now all things lie 
 
 dead. 
 That no one any more is singing ; 
 
 — But sure they ought to take in mind the general 
 
 dread : 
 How all the world with strife is ringing ! 
 
 — Comes happy time you'll hear again us sing and 
 
 say. 
 
 To cause you wonder. 
 I heard a little bird say just in the same way, — 
 
 'Twas nestling yonder : 
 "I shall not sing till break of day." 
 
 — Bad men have to good women sore traduced my 
 
 song, 
 And said their name't had scandalous rendered ; 
 
 — Well, let them all combine, they'll hear of me ere 
 
 long J 
 A coward he, who skulks when slandered. 
 
 — Did ever one of German women sing more true ? 
 
 Sure, I did sever 
 The good ones from the bad; and this their hate 
 first drew. 
 
 Sang I their favor 
 In equal terms, how would that do ? 
 
154 l^he Minnesinger of Germany. 
 
 — Envy and hate ! for one thing I'm obliged to you 
 When you as messengers are entered, 
 
 — That you so dearly love the good men to pursue ; 
 Thus shame upon your master 's centered. 
 
 — You spies, since you no steadfast man could e'er 
 
 decoy, 
 
 — He'd curse you sooner, — 
 Return to your own house ; it cannot fail, your lie 
 
 Must bring dishonor 
 To lying mouth and cross-grained eye. 
 
 In the legendary lore of Walther's time the Devil 
 kept a tavern called World, the hostess of which was 
 most beautiful when beheld in front, but of hideous 
 aspect when seen from behind. In this poem Wal- 
 ther has a dialogue with the lady, a form of poetry 
 very frequent with the Minnesinger : — 
 
 GOOD-NIGHT TO MINE HOSTESS WORLD. 
 
 — Dear World, thou shouldst thy host let know 
 That I have paid him quite enough, 
 
 — My great debt now is settled, so 
 
 He from my bond should strike it off. 
 
 — Who owes him aught,' may well feel sorrow j 
 Rather than stay long in his debt, I would go to a 
 
 Jew and borrow. 
 He holds off silent till the day. 
 Then he straightway a pawn demands, if the poor 
 debtor cannot pay. 
 
 — " Walther, thou worriest without need, 
 I want thee to remain with me. 
 
Walther von der Vogelweide. 155 
 
 — Think, how I gave thee honor's meed, 
 How often thy will I humored thee. 
 
 What time thou did'st implore me rarely. 
 It gave me often great concern, that thou did'st this 
 so very sparely ; 
 Consider't well, thy life is pleasant. 
 If thou dost really quarrel with me, thou'lt ne'er be 
 happy as at present." 
 
 — Dear World, thy breast too long I've suckled, 
 I now will wean me, it is time ; 
 
 — Thy soft caresses tight me buckled, 
 Their pleasures with my heart did chime. 
 
 — Yea, when I looked in th' eye thee clearly. 
 Thy features beamed most gloriously; this must I 
 
 say: the truth 'tis merely. 
 Yet all too great was thy disgrace 
 When I at last thy back beheld ; now must I ever 
 hold thee base. 
 
 — " Since then I cannot turn thee back. 
 At least do one thing I request : 
 
 — On many a bright passed day thought take. 
 And do at times thy glances cast 
 
 — On me when time on you hangs heavy." 
 
 This would I do with greatest pleasure, but that I 
 
 fear a hidden levy 
 From thee, 'gainst which no guard could keep. 
 God give thee. Lady, a good-night ; I'll go meanwhile 
 
 to bed and sleep. 
 
 The following poem was probably written on Wal- 
 ther's travels in the Crusade of 1228. The last lines 
 
IS6 The Minnesinger of Germany. 
 
 evidently allude to some then pending negotiations for 
 a cessation of hostilities. The longing for the bound- 
 ing billows refers to the sea voyage, which would take 
 them to Palestine : — 
 
 CRUSADER'S HYMN. 
 
 — Sweet love of Holy Spirit, 
 Direct sick mind and steer it ! 
 God, who the first didst rear it, 
 
 Protect Thou Christendom ! 
 
 — Art lies of pleasure barren, 
 No rose blooms more in Sharon ; 
 Comfort of all th' ill-starren, 
 
 O, help dispel this gloom ! 
 
 — Keep, Saviour, from all ill us ! 
 We long for the bounding billows. 
 Thy Spirit's love must thrill us, 
 
 Repentant heart's true friend. 
 Thy blood for us thou'st given, 
 Unlocked the gates of heaven ; 
 Now strive we as we've striven 
 
 To gain the blessM land. 
 Our wealth and blood grows thinner : 
 God yet shall make us winner 
 'Gainst him, who many a sinner 
 
 Holds pawned in his hand. 
 
 — This short life speed of wind hath, 
 Death us still sinful findeth. 
 
 He who to God him bindeth. 
 May yet escape from hell. 
 
Walther von der Vogelweide. 157 
 
 — With grief rare grace was mated, 
 Christ's wounds heal unabated ; 
 His land must liberated 
 
 Be quickly without fail. 
 
 — O queen above all women ! 
 Show lasting help unto men ! 
 Thy child there got its summon 
 
 And human life did quaff. 
 
 — His spirit o'er us running, 
 Teach us the heathen's cunning ! 
 Unchristians ! see them shunning 
 
 With fear the judge's staff, 
 Which Jews too sorely flayeth ! 
 Loud cries each tribe and prayeth. 
 Glory the cross arrayeth : 
 
 O haste we to the grave ! 
 
 — We must lay off what 's earthy. 
 Would we his boon be worthy. 
 For us death bore as birth he ; 
 
 His comfort us is spared : 
 
 — His cross, blessed by each nation, 
 Has wrought mankind's salvation. 
 Who turns from doubt's mutation, 
 
 His soul with him has paired. 
 
 — Ah thoughtless body, treasured. 
 Thy years have all been measured. 
 Death took us, as we leisured. 
 
 Us sinners doomed and lost. 
 Now let us all quick hasten 
 Where we secure may fasten 
 The heavenly kingdom's crest on 
 
 Our zealous soul ; we must : 
 
IS8 The Minnesinger of Germany. 
 
 God with a hero's power 
 Will there his foes make cower. 
 Crowd then from field and tower 
 Knights of the Holy Ghost ! 
 
 — God, keep Thy help us sending ! 
 With Thy right hand aid-lending, 
 Protect us till the ending, 
 
 When't last our soul us leaves, 
 
 — From hell's fires flaming clamor, 
 Lest we fall 'neath the hammer ! 
 Too oft we've heard with tremor, 
 
 How pitiably it grieves 
 
 — The land so pure and holy 
 All helpless, and fearfully ! 
 Jerusalem, weep lowly, 
 
 That thou forgotten art ! 
 The heathen's boastful glory 
 Put thee in slav'ry hoary, 
 Christ, by Thy name's proud story. 
 
 In mercy take her part ! 
 And help those, sorely shaken. 
 Who treaties there would maken, 
 That we may not be taken 
 
 And conquered at the start ! 
 
Walther von der Vogelweide. 159 
 
 LAMENT. 
 
 — Ah me ! whither have vanished — all my years and 
 
 youth ? 
 Has life been then but dreamfed — or is't all a truth ? 
 And was that really somewhat — which I lived and 
 
 thought ? 
 Surely I must have slumbered — though I knew it not. 
 
 — Now I am awakened — yet is to me unknown 
 What once I knew as one hand — knoweth the other 
 
 one. 
 The country and the people — 'mongst whom my life 
 
 passed by 
 From childhood, are estranged — as if 'twere all a 
 
 lie. 
 — They who were once my playmates — weary've 
 
 grown and old, 
 The meadows have been broken — the woods cut 
 
 down and sold. 
 If yonder river flowed not — as it once did flow, 
 I do believe this weary — despair would lay me low. 
 Me greet with hesitation — many who knew me well. 
 This wretched world is everywhere — a most wretchbd 
 
 hell J 
 And then I think of many — days of light and joy. 
 That now e'en as a stroke on the sea — have gone 
 
 forever by, 
 
 Forever more ; ah me ! 
 
 — Ah me, how sad and careworn — young men now 
 
 appear ! 
 The men, who once would never — allow grief to draw 
 near. 
 
i6o The Minnesinger of Germany, 
 
 Do nothing now but weary. — Ah me, how can it be ? 
 Where in the world" I turn me — none seem glad to 
 me. 
 
 — Dancing, laughing, singing — grim care has driv'n 
 
 away. 
 
 No Christian man saw e'er — so miserable a day. 
 
 Behold how e'en our women — walk with strange 
 head gear ; 
 
 And how proud knights and nobles — clownish wrap- 
 pings wear, 
 
 — Letters disapproving — Rome has sent our way. 
 To mourn we have permission — no more to be gay. 
 It grieves me to my heart's core — we once did live 
 
 so grand ! 
 
 That now from joyous laughing — to weeping I must 
 bend. 
 
 The wild birds of the woods — grow sad at our com- 
 plaint : 
 
 What wonder is't that I — from sheer despair turn 
 faint ? 
 
 But what ? O wretched me ! — have I been led to 
 scoiF? 
 
 Who follows earthly happiness — from heaven's bliss 
 turneth off 
 
 For evermore ; ah me ! 
 
 — Ah me, how we are poisoned — with the sweetness 
 
 of the earth ! 
 I see the bitterest gall flow — from sweetest honey 
 
 forth. 
 The world is outward beautiful — white, green, and 
 
 red. 
 
Walt her von der Vogelweide. i6i 
 
 But inward, O, a sombre black, -^gloomy, dark, and 
 dead. 
 
 — Yet now to who have listened — a comfort I will 
 
 show: 
 Even a gentle penance — forgiveness shall bestow. 
 Remember this, O knightly lords, — 'tis yours to 
 
 hear th' appeal : 
 You bear the glittering helmets — and breastplates of 
 
 strong steel, 
 
 — Moreo'er the shields so steady — and consecrated 
 
 swords ! 
 
 God, were I worthy — to join the victor-lords ! 
 Then should I like the others — achieve a prize un- 
 told : 
 
 Not lands, as have been promised, — nor the noble's 
 
 gold. 
 But O, a wondrous crown — for evermore to wear. 
 Which e'en the poorest soldier — may win him with 
 
 his spear ; 
 Yea, if that welcome crusade — I might follow o'er 
 
 the sea, 
 
 1 evermore should sing : All 's well 1 — and nevermore : 
 
 Ah me! 
 
 Nevermore ah me ! 
 
 That Walther von der Vogelweide was held in the 
 highest esteem by the contemporary poets and writers 
 of that age we have manifold authority ; none weight- 
 ier and more beautiful than that of Gottfried von 
 Strassburg in that celebrated passage of " Tristan and 
 Isolde," where he singles out Walther as the leader of 
 all the Minnesinger-nightingales. But more lovely 
 
1 62 The Minnesinger of Germany. 
 
 even than as a poet and great artist does Walther ap- 
 pear as a man ; this even the few of his poems here 
 given, and the short sketch of his life, must make ap- 
 parent. He was evidently from early age an earnest 
 observer of human affairs in all its relations and 
 phases j a thoughtful student and teacher ; a sincere 
 worshipper of the divine ; an active member of the 
 state ; and in all things remarkably clear-sighted and 
 unprejudiced ; never a partisan so far as to stay blind 
 to the good side of what he opposed. If as a tutor 
 he had already abandoned the use of the rod, and 
 learned to denounce it as the worst kind of school- 
 ing ; as a politician he recognized whatever merits 
 the opposite party held, and denounced any injustice 
 and wrong made patent of his own j whilst in relig- 
 ion, opposition to the abuses of the Church was never 
 separated from devout faith and adoration ; a worship 
 so pure and clear-minded that it could even shake oif 
 with a smile the imagery of lazily floating angels of 
 paradise. Most deservedly have Walther's works 
 grown popular again in Germany as they once were ; 
 for although his comprehensive mind was little 
 tainted by the prejudices of nationality, he is, in his 
 thorough earnestness and rare purity of spirit, even 
 more truly a representative German than either 
 Goethe or Schiller. 
 
CHAPTER V. 
 
 ULRICH VON LICHTENSTEIN. 
 
 |HE exact year of Ulrich's birth is not 
 known; it was probably between 1200- 
 1205. At the precocious age of five years, 
 while his favorite amusement was galloping his 
 hobby-horse in the castle court-yard, Ulrich listened 
 eagerly to and treasured in his heart the sayings of 
 his fellow wooden-horsemen, perhaps a year or two 
 older than himself, to the effect that true honor and 
 happiness could be acquired only by faithfully serv- 
 ing a noble and lovely woman, and loving her as one's 
 own life. As the same sentiments were repeated to 
 him from all sides, by old and young, and enounced 
 not only in prose but still more impressively in Min- 
 nelieder, young Ulrich, at the age of twelve, thought 
 it high time to take the first step toward the realiza- 
 tion of this bliss. He chose for his lady-love a 
 princess of Meran, whose page he became. A mar- 
 vel of beauty and virtue, but rather too high of rank 
 for Ulrich's aspirations, this paragon of all earthly 
 women henceforth exercised a wondrous influence 
 upon his life. His youthful passion exhausted itself 
 in extravagant efforts to act and feel like a true 
 knightly lover. He tells with ecstasy how happy he 
 was when he saw her hand touch the flowers he had 
 
164 The Minnesinger of Germany. 
 
 gathered for her^ when his own had touched them be- 
 fore, or when he could carry away the water wherein 
 at dinner-time she had dipped her fair hands, to drink 
 it with passionate enjoyment in his private room. For 
 full five years he thus served her with all the zeal of 
 a boyish lover. At the end of that time he was 
 placed with the Margrave Henry of Austria, to learn 
 from that chivalrous gentleman all the accomplish- 
 ments of a true knight — fighting, riding, composing 
 sweet poems, singing, and serving the ladies. He 
 passed his apprenticeship and was admitted into 
 knighthood at the festival wherewith Leopold of Aus- 
 tria celebrated the wedding of his daughter Agnes 
 with a Duke of Saxony in 1223. At this occasion 
 were assembled some five thousand knights, and the 
 utmost profusion of enjoyable things attended the 
 festivities. Ulrich here saw his lady-love again, but, 
 for fear of observers, spoke not a word to her. Se- 
 cretly he vowed, however, that henceforth all his 
 knighthood should be devoted to her ; in obedience 
 to which resolution he sallied forth, after the festivals 
 were ended, to roam over the country at large, and 
 fought victoriously at some twelve tourneys, for which 
 ■good luck he of course offered up silent thanks to 
 the lady of his heart. 
 
 During the winter, however, when the tourneys 
 had stopped and Ulrich had nothing to do byt re- 
 flect, he thought it very hard that he should thus pas- 
 sionately worship a lady and she remain ignorant of 
 his adoration. In visiting a neighboring castle he 
 found in a niece of his a proper mediator between 
 himself and his lady-love, the noble princess. So he 
 
Ulrich von Lichtenstein. 165 
 
 sang a song in the lady's honor, which the niece un- 
 dertook to communicate, and promised at the same 
 time to sound the lady's heart as to its entertaining 
 any passion for. Ulrich. In the happiest state of 
 mind Ulrich left his niece, and went in quest of ad- 
 ventures and other ladies for five weeks ; when re- 
 turning, he learned the disagreeable news that the 
 princess had found his song very neatly composed 
 but his love altogether too high-flown j and had sug- 
 gested that even if she could forget her rank, the ug- 
 liness of his lips must estrange all women from him. 
 It seems that Ulrich had a sort of double under- 
 lip. No sooner had the knight heard this feature 
 of his countenance condemned by his lady-love, than 
 in spite of the entreaties of his niece to leave his 
 mouth as God had made it, he bestrode his horse, 
 and set out for Gratz to a surgeon, whom he re- 
 quested to cut the third lip off. The surgeon advised 
 him to defer the operation till next spring. Ulrich 
 therefore passed the winter again in riding around 
 visiting the ladies. In the spring he met a servant 
 of his lady-love, whom he took along with him to the 
 surgeon that he might witness the operation on his 
 lip performed. Ulrich submitted to it with great 
 courage, lay on a sick-bed for some six weeks before 
 he was completely cured again, and sent word to his 
 lady that he would gladly cut off his hand also if she 
 should wish it. This she did not see fit to require ; 
 and the account she had heard of his great courage 
 in undergoing the painful operation, no less than a 
 new song he had composed for her during his long 
 illness, softened her heart so far that she consented 
 
1 66 The Minnesinger of Germany. 
 
 to see him, the pretext being that she would like to 
 see how he looked now. So the love-sick knight, to 
 whom all the troubles of life appeared as nought so 
 long as life held out the hope that he might some 
 time attain the possession of his loved one, hurried 
 to the meeting, which occurred at a riding-party of 
 noble knights and ladies. Here the princess gave 
 Ulrich fair opportunity to speak to her, but in a co- 
 quettish sort of a way, which stopped his mouth, so 
 that however much his heart said, " Now speak, now 
 speak, now speak ! " his lips remained closed j for 
 which instance of stupidity in not understanding fem- 
 inine ways the princess pulled out a lock of the poor 
 knight's hair as he helped her to descend from the 
 saddle, whispering that he evidently lacked that bold- 
 ness for which he had been unjustly celebrated. Ul- 
 rich was in despair, and wanted to die ; .but next day 
 chancing to meet his fair one again, summoned up 
 courage, and begged her to receive his love, and ac- 
 cept him as her knight until death. She maintained 
 her coquettish way of keeping the knight fast in her 
 bonds, so as to have all the glory of his service and 
 yet never allowing him any favor ; and he was quite 
 content to wait so long as he could sing songs to her 
 and overthrow other knights in her cause. Hence he 
 roamed all over the country, breaking lances with 
 everybody, and composing wonderful songs and lays 
 to his mistress. To one of these songs he received 
 a reply in a few lines, which, as he could not read 
 and his secretary was not with him, he was obliged 
 to keep unread for ten days till the arrival of that 
 important functionary, who read him eight lines of 
 
Ulrich von Lichtenstein. 167 
 
 rhymes wherein the princess simply remarked, that 
 " it is foolish to wish for what you must not have," 
 and that " many a one speaks what his heart has no 
 knowledge of." This was but cold comfort to Ul- 
 rich. 
 
 At the great festival which Leopold of Austria 
 gave in 1225 to celebrate the reconciliation between 
 two of his princes, Ulrich surpassed himself, and 
 sent a messenger with a new song to his lady to tell 
 of his mighty deeds. She had heard already of his 
 achievements and admired the song, but suggested 
 that his glory had been altogether overrated. Poor 
 Ulrich became terribly downcast, sang a song of 
 dreary winter, and when the next summer came went 
 again in quest of tourneys, breaking innumerable 
 lances in honor of his lady-love ; on one of which 
 occasions one of his fingers was nearly cut off. His 
 messenger having been sent to the princess with a 
 new song, brought back as her first expression of 
 sympathy her regret that he had suffered a wound in 
 her service, and at the same time a song written in a 
 metre then unknown in Germany (an Italian song), 
 which the princess requested Ulrich to translate into 
 German. This he did at once, and dispatched his 
 production back, receiving by the returning messen- 
 ger a little dog as a token of her appreciation — such 
 a dog as Tristan received from Isolde. Ulrich had 
 never seen so beautiful a dog. With his wounded 
 finger he returned to his mistress's country, and find- 
 ing a faithful servant on the way, dispatched him 
 with a new song to the princess, and instructed him 
 to intercede with her that she might grant him the 
 
1 68 The Minnesinger of Germany. 
 
 meed of love after so many years of faithful service. 
 The lady listened approvingly to the song, but as for 
 love would not hear of it. Even a king might not 
 aspire to her favor. 
 
 Then Ulrich resolved to meet her resistance by in- 
 cessant endeavor. He went to Rome, stayed there 
 two months, and then returning, sent his mistress two 
 new songs, at the receipt of which she upbraided the 
 messenger for his boldness in pestering her still with 
 his master's love when she wanted none of it, partic- 
 ularly as she had recently heard that Ulrich had by 
 no means lost a finger in her service, as the messen- 
 ger had reported to her. The messenger explained 
 that the finger had been healed, though so as to be 
 almost useless now. " I don't grudge him his finger," 
 was the reply ; " but I won't believe his messenger 
 any more since he has told me a li6." When Ulrich 
 heard this reproof he at once resolved to remove the 
 bone, or rather the finger of contention ; and one of 
 his friends, by his orders, struck it off at a blow with 
 a sharp knife. He then composed a most artistic 
 poem, and had a green-velvet case made with two 
 golden covers, and clasps in the shape of two small 
 hands, and in it he deposited the poem and the fin- 
 ger. Ulrich felt as glad as a school-boy who has suc- 
 ceeded in some ingenious trick that he had by this 
 stratagem forced his lady to think of him again ; and 
 sure enough she received the poem and finger with 
 expressions of sympathy mingled with feminine joy 
 at such devotion, concluding her remarks with the 
 sage observation that she had never believed a sensi- 
 ble man would do such a thing. She intended, she 
 
Ulrich von Lichtenstein. 169 
 
 sent him word, to keep the finger and look at it every 
 day. This, however, she added, would not help the 
 cause of his love. 
 
 Ulrich was so delighted with this message — which, 
 like all messages from his lady-love, he received 
 kneeling — that he resolved to undertake, in the serv- 
 ice of his mistress, one of the maddest adventures 
 ever conceived. He asked her permission, which 
 was granted, and then at once made his preparations. 
 Giving out that he was going on a pilgrimage to 
 ■Rome, he arrayed himself in the garb of a pilgrim, 
 left his castle Lichtenstein, and wandered on foot out 
 of the country. When he came to Venice he stopped 
 at a small tavern, and ordered to be secretly prepared 
 for him twelve wh\teladiesi«dresses, thirty fine chem- 
 ise-sleeves, three white velvet cloaks, and two ladies' 
 head-dresses adorned with pearls. He then engaged 
 twelve foreign servants who did not know his name, 
 dressed them all in white clothes, bought white helms, 
 shields, and a hundred white spears for himself and 
 his followers, and white saddles, bridles, and dress- 
 ings for his horses ; and thus prepared, sent thirty 
 days before his own departure a messenger with an 
 open letter to all the knights of Lombardy, Austria, 
 Bohemia, etc., telling them that on the 24th of April 
 the Goddess of Love, Venus, would arise from the 
 Venetian sea and travel northward to Bohemia ; that 
 every knight who met her and broke a lance with her 
 should receive from her a golden ring having the 
 power to beautify his lady-love and keep her true to 
 him ; that every knight who might be dismounted by 
 the lance of Venus must engage himself to bow to 
 
I/O The Minnesinger of Germany. 
 
 all the four quarters of the world in honor of a lady, 
 but that the knight who succeeded in dismounting 
 her should receive all her horses. Furthermore, he 
 said that her face and her hands would be covered on 
 the way, and that she would speak with no one ; that 
 on the eighth day after the end of her travels she 
 would open a tournament at Neuburg ; and that each 
 knight who heard of this expedition of Venus and 
 did not meet her, should be solemnly put under the 
 ban of all true ladies. 
 
 On the appointed day, April 24th, Ulrich von Lich- 
 tenstein started on this Quixotic expedition. He 
 rode on horseback, dressed in his gorgeous female 
 attire of velvet and satin ; white silk gloves covered 
 his hands, white sleeves his arms, and a thick white 
 veil his face, while a magnificent coiffure towered on 
 his head, from which two long pearl-embroidered 
 braids hung down to his waist : surely the strangest 
 impersonation of Venus ever conceived by the most 
 chivalric brain of those chivalric times. He was pre- 
 ceded by his twelve squires, all dressed in white and 
 carrying a white banner ; two white-dressed maids, 
 and a half dozen or so of fiddlers, trumpeters, and 
 flute-players. An immense multitude assembled to 
 witness his departure, and crowds greeted him at 
 every station where he stopped. At one station two 
 hundred women gathered to accompany him to mass, 
 shouting loud : " Long live Queen Venus ! " In this 
 way he got many kisses ; for his sex, though well 
 known, was disregarded by the ladies, who chose to 
 treat the close-veiled knight in his woman's dress as 
 one of their own. Passing thus from place to place, 
 
Ulrich von Lichtenstein. 171 
 
 he fought an untold number of knights. In Vienna, 
 where his journey ceased and where he resumed his 
 knightly clothes, it was calculated that he had broken 
 three hundred and seven lances, distributed two hun- 
 dred and seventy-one rings, and dismounted four 
 knights. In no encounter had he himself ever been 
 shaken in his saddle. Knights and princes pro- 
 claimed this achievement as one without a peer, the 
 fame of which would last throughout all ages. 
 
 Soon after his return Ulrich met his faithful mes- 
 senger, who brought him the woeful news that his 
 mistress, the princess, would have nothing more to do 
 with him, having heard that he now served another 
 lady. This message threw Ulrich into a dreadful 
 plight. He wept and moaned, wrung his hands, and 
 raved like a madman. His friends tried to console 
 him, but without avail. The blood burst out of his 
 mouth and nose in a violent paroxysm of his agony, 
 and it was not till his messenger promised to try his 
 luck with the cold-blooded princess once more that 
 Ulrich at all recovered his usual temper. During the 
 absence of that faithful squire, Ulrich went home to 
 his " dearest spouse, who could not be dearer to me 
 than she is, although I have chosen another woman 
 for my lady." For this erotic knight had a wife ; a 
 wife, moreover, who seems to have been a very esti- 
 mable woman, and had borne him several children ; 
 nay, his "lady," the princess, was also a married 
 woman. 
 
 This time the messenger had better luck. The 
 lady received him graciously, listened attentively to 
 the song sent by Ulrich, and seemed altogether on 
 
172 The Minnesinger of Germany. 
 
 the point of yielding. She had heard of Ulrich's be- 
 havior in Vienna, his weeping, mourning, and hemor- 
 rhage, which latter circumstanceseemed above all to 
 have melted her womanly heart. So she appointed 
 an interview, but stated expressly that she did not in- 
 tend to grant him any favor, and moreover stipulated 
 that he should come dressed as a leper, and in com- 
 pany with the other lepers to whom on Sunday morn- 
 ings she used to distribute alms. This was certainly 
 not only a cruel but also on the part of a lady a 
 rather unbecoming stipulation. Ulrich, however, was 
 but too glad to receive such a gracious communica- 
 tion, and rode some hundred and fifty miles in twenty 
 hours, killing two horses, to keep the appointment at 
 the proper hour. He put on leper's clothes, and 
 joining the disgusting crowd, approached the lady's 
 castle. One of the princess's maids served them 
 with food, and whispered to Ulrich that her lady 
 could not see him that day, and, indeed, not before 
 next evening. Ulrich, rather than stay with the lepers 
 over night, went into a corn-field, where he passed a 
 wretched night amidst rain, storm, and cold. When 
 the morn came he warmed himself by running, but 
 was still all wet when he appeared at the castle gates. 
 The maid sympathized with his great troubles, but 
 told him to defer his hopes till the night. Never in 
 his life did he pass so long a day ; and when night 
 came he hid himself in a ditch until a light appeared 
 at his lady's window. Then he crept stealthily to the 
 spot, where a rope was thrown down to draw him up. 
 But mark the Quixotic sequel. So long as his squire 
 could push Ulrich, who was clinging to the rope, all 
 
Ulrich von Lichtenstein. 173 
 
 went well ; but scarcely had Ulrich got beyond his 
 squire's utmost reach when the fair hands who drew 
 the rope in the lady's chamber gave way, and down 
 he dropped — he with most rueful countenance. 
 Three times did the experiment terminate thus un- 
 successfully. Then Ulrich bethought him that his 
 squire was not of so heavy a frame as himself, and 
 by great effort the squire was successfully raised to 
 the lady's room ; where, being mistaken by the lady 
 for Ulrich himself, he was received with a loving kiss, 
 " whereat she often afterwards felt ashamed." With 
 the squire's assistance Ulrich was finally pulled up, 
 and entered the sanctuary of his many years' hopes. 
 The lady lay abed, finely dressed, and surrounded 
 by eight waiting-maids — very lovely but very super- 
 fluous, the noble knight thought. Nor could the 
 hundred lamps that shone from the walls, the two 
 great chandeliers at the bottom of the bed, the beau- 
 tiful canopy of the bedstead, and the exquisite velvet 
 mattress covered by two silk coverlets, which formed 
 the other chief ornaments of the room, atone for the 
 presence of these lovely attendants. But Ulrich's 
 fervent prayers to have them dismissed were of no 
 avail. The lady counseled the Knight of Lichten- 
 stein to dismiss ft-om his mind all thoughts of love, 
 and stated that it was only on account of his recent 
 extraordinary expedition in her honor that she had 
 admitted him to her chamber, an honor never before 
 granted to another man than her husband. As Ul- 
 rich declared that happen what might he would not 
 leave his lady's presence until the morning, she finally 
 had recourse to stratagem. She asked him to go 
 
174 The Minnesinger of Germany. 
 
 down the rope again, keeping hold of her hand for 
 surety, and let her pull him up once more. This he 
 did ; and when he was lowered a little way, she asked 
 him to lift up his head to kiss her, swearing she had 
 never loved man like him. Poor Ulrich let go her 
 hand to kiss her lips, and — down he tumbled in such 
 a terrific manner that it was a miracle he did not die. 
 Maddened with pain and anger he hurried off to a 
 river close by, resolved to drown himself. But his 
 squire caught him in time, and implored him to desist 
 from so mad an act. Finally, by. dint of repeating 
 new promises, which . the squire represented as com- 
 ing from the cruel princess, this faithful servant got 
 Ulrich to take courage again. The lady, as the 
 squire alleged, had excused herself by saying that the 
 sudden entrance of an unfaithful maid had compelled 
 her to so cruel a proceeding, and that she had. 
 pledged herself soon to admit him to her favor. 
 Meanwhile, Ulrich was to return to his castle and 
 wife ; which the rueful knight did. 
 
 Having thus quieted his master, the messenger 
 reported all the circumstances to the princess, who 
 seemed pleased enough with the knight's devotion, 
 but in another freak of coquetry sent him word that 
 he must join the next Crusade in her service. Ulrich 
 was delighted to be able to do something for his 
 mistress's glory, and sent her a glowing poem descrip- 
 tive of her unparalleled kindness and his unparalleled 
 bliss and glory in that his noble lady had permitted 
 him to go and fight for God and the cross in her 
 service. For this poem and a new song she returned 
 him her kindest thanks, and bid him prepare himself 
 
Ulrich von Lichtenstein. 175 
 
 for the Holy Land, but not to leave till he had been 
 called by her to another meeting. Ulrich, who was 
 enjoying himself in Vienna with other ladies, fighting 
 and singing for them in true knightly fashion, when 
 he received this message, fell into an ecstasy of joy, 
 and sang some more songs in honor of the princess ; 
 the great beauty of which songs so melted the heart 
 of the woman that she relieved him from the Crusade, 
 and bade him stay with her. In the full enjoyment 
 of her love Ulrich passed two years of roaming, 
 singing, and tourneying — two very happy years, as 
 he says, during which his songs were being made 
 known all over the country, both knights and ladies 
 admiring their charming melodies and elegant com- 
 position. About the end of that time, however, his 
 lady, the princess, played him a trick of so out- 
 rageous a nature that Ulrich dares not tell what it 
 was. Probably she took some other lover. So, 
 in the A^ay of all offended lovers down to this day, 
 Ulrich took to abusing the whole sex, and wrote 
 some very bitter songs which were greatly admired, 
 not only by the men but also and perhaps more by 
 the ladies, who of course knew what was the occasion 
 of those songs, Ulrich's love of the princess having 
 become a matter of common talk — and who liked 
 nothing so well than to have one of their own sex 
 abused. Ulrich's princess, however, from whom he 
 had formally separated, quitting her service, was 
 enraged at these terrific sarcasms, and through some 
 female friend Ulrich was finally persuaded to leave 
 off singing satirical songs. 
 
 Now a lover who has been discarded, after he has 
 
1/6 The Minnesinger of Germany. 
 
 exhausted his vituperation of the sex in general, 
 usually endeavors to fall in love with some other one 
 of the sex in particular j and Ulrich, though a mar- 
 ried man and of respectable years, thought it incum- 
 bent upon himself to act as a true knight of the 
 period. He reflected, namely, that no true knight 
 should be without a lady-love in whose service he 
 might perform his wonderful deeds ; and having 
 made this reflection, he chose from the ladies of 
 Germany the one above all most womanly, beautiful, 
 good, chaste, gentle, and lovely. Having chosen, 
 Ulrich was naturally in great hurry to tell the chaste 
 one of his selection and adoration, which she accepted 
 without much resistance, and thereby made Ulrich 
 the happiest of men. Ulrich sang for her the most 
 passionate songs his genius could contrive. But 
 neither songs nor tourneys were a sufficient reward 
 for the love of this paragon of all women : it was 
 absolutely necessary, Ulrich thought, that he should 
 undertake an enterprise for his new love as glorious 
 at least as the one he had undertaken for the 
 princess. Accordingly the noble knight, now some 
 thirty-six years of age, dressed himself up in gor- 
 geous style as King Arthur. He issued a proclama- 
 tion that he had come from his fabled resting-place 
 near the St. Graal to restore the order of the Round 
 Table. The line of his travels was laid down and 
 all knights challenged to meet him. Those who 
 succeeded in breaking three lances with the King 
 were to be rewarded by receiving the honor of wear- 
 ing one of the names of the knights of the Round 
 Table. A grand tourney was to end the expedition. 
 
Ulrich von Lichtenstein. 177 
 
 The excitement this proclamation produced was 
 tremendous. People gathered from all quarters to 
 witness the passing of King Arthur, who for some 
 time encountered no knight strong enough to break 
 three lances with him, but finally succeeded in sur- 
 rounding himself with a Gawain, Lancelot, Tristan, 
 Parcival, etc. These now followed all his move- 
 ments, and considered this achievement the most 
 glorious of all deeds they had ever done. Even 
 Prince Frederic of Austria congratulated Ulrich upon 
 the glory and success of his adventure, and it was 
 only on account of political disturbances that the 
 final tourney had to be p'ostponed. The lady was, 
 of course, vastly delighted with the glory Ulrich 's ad- 
 venture cast upon her, and with the beautiful songs 
 he dispatched to her during his journey. 
 
 Some time afl;er this achievement a sore calamity 
 befell the knight ; an event characteristic enough of 
 the degeneracy which was then already beginning to 
 set upon an era of high grandeur and brilliancy. 
 Two knights, followers and friends of Ulrich, turned 
 traitors and took him prisoner. Having first enticed 
 all his servants and men from the castle, they sur- 
 prised him with some of their own fellows, captured 
 him and kept him in confinement. His wife they 
 drove away from the castle, telling her that her hus- 
 band would not be set free until he had given up to 
 them all his possessions. His sons they kept in the 
 castle as additional hostages. Ulrich's wife spread 
 the news of the disaster over the neighborhood, and 
 soon got together some three hundred of Ulrich's 
 friends to rescue him. But Ulrich's jailers took their 
 
178 The Minnesinger of Germany. 
 
 prisoner to a window with a rope around his neck, 
 and told the outside multitude that on the first sign 
 of an attack upon the castle Ulrich should be hung. 
 Ulrich himself advised his friends to depart. He 
 was thus held a captive for a whole year, and cruelly 
 treated all the time, being often threatened with 
 death by his tormentors, who tried to make him 
 assign to them all his possessions. Yet his spirit 
 remained undaunted, so that even during his cap- 
 tivity he was able to compose a new song for his 
 lady-love. His liberation finally took place through 
 the Duke of Gorz coming to his assistance with 
 some of his soldiers. Yet Gorz was also forced to 
 conclude a compromise with the two traitor knights j 
 and although we do not know what sum Ulrich had 
 to pay for his ransom, it seems to have been a very 
 heavy one. 
 
 But once more free, Ulrich soon forgot all the dis- 
 comforts and costs of his confinement, in the enjoy- 
 ment of his lady's love, which filled his heart with 
 gladness. He kept up this sort of life till his death, 
 which occurred about 1274-1277 ; so that he reached 
 the age of seventy-five years. Nothing is known of 
 his later life beyond that in 1268 he was arrested — 
 conveniently it seems, and for purposes of extortion 
 — on a charge of rebellion against King Ottocar, 
 and kept imprisoned for about half a year, when he 
 purchased his ransom with his two castles Lichten- 
 stein and Muvan. He retained the castle Trauen- 
 burg, where he probably died. He has left, besides 
 other songs, two large poems, the first one, " Frauen- 
 dienst " (Woman's Service), composed by him in 1256,' 
 
Ulrich von Lichtenstein. 179 
 
 and the other one, "Frauenbuch" (Woman's Book), 
 composed in 1259, when he had been a knight in 
 woman's service for thirty-five years, and was about 
 fifty-nine years old. The first poem is the one flom 
 which this sketch of his life is taken. It is a narra- 
 tive poem of some fifteen thousand couplets, inter- 
 spersed with the songs he sang to his ladies ; the 
 " Frauenbuch " is a smaller narrative poem. It was 
 absolutely fit that this Quixotic knight — of noble 
 descent, possessed of vast estates and wealth, the 
 father of a family, and husband of an estimable 
 lady, whom he also loved, and who yet passed his 
 life chiefly in roaming over the country in the service 
 of other ladies, fighting and singing for them — 
 should before the close of his career sit down to tell 
 in minute detail all these follies of his life with a self- 
 complacency and serious admiration of his great 
 achievements that are really delightful. He has no 
 more notion of having been a fool than of having 
 been a faithless husband ; he considers himself a 
 model knight, who has duly spent his life and 
 strength in the service of the ladies. The sober way 
 in which he tells his princess that in enjoying her 
 love he will be drawn all the nearer to heaven and 
 finish the accomplishments of a true Christian knight, 
 is often astounding. This simplicity, which charac- 
 terizes the whole large poem of his autobiography, 
 does much to reconcile one with Ulrich. Besides, 
 he is a genuine poet and artist. Though loving 
 fighting above all things, to such an extent that he 
 could not even find time to learn to read and write, 
 he had studied the art of minstrelsy thoroughly. 
 
i8o The Minnesinger of Germany. 
 
 For poetical composition was at that time held as a 
 true art, requiring hard study and great experience, 
 such a study of rhythm, language, and music as 
 even the most thorough poets of modern times do 
 not undertake. And Ulrich's songs are particularly 
 distinguished by almost perfect purity of rhyme and 
 great elegance of rhythmical construction. Indeed, 
 they seem to have become very popular already in 
 Ulrich's time, and were sung all over the country. 
 One of his most admired songs is the following : — 
 
 — Lovely woman, sainted woman. 
 Woman thou most blest and good, 
 
 — Ah, I fear thou'st felt for no man 
 Love's sweet passion in thy blood. 
 
 — For if love to thee were known, 
 Thy small red mouth would have shown 
 Signs of sighs, thou blessed one ! 
 
 — " Ah, but tell me, sir, what is love ? 
 Is't a woman or a man "i 
 
 — I have ne'er yet learned of this love. 
 How it comes and goes again. 
 
 — This, sir, you must let me know : 
 How it is, was, and doth grow ; 
 
 I may then guard 'gainst its woe." 
 
 — Lady, love has such resources : 
 Every land doth it obey ; 
 
 — And so manifold its forces — 
 I will tell you what I may : 
 
 — Love is evil, love is good. 
 
Ulrich von Lichtenstein. l8l 
 
 Weal and woe flow in its flood ! 
 Lo, tlius stands it with love's mood. 
 
 Tell me, sir, can love e'er lighten 
 
 Sorrow and this life's distress ? 
 High resolves within us brighten, 
 
 Cherish good and worthiness ? 
 Surely if love has that hold 
 On our lives as you have told, 
 Its bliss must be manifold." 
 
 — Lady, I will say, moreover : 
 
 Love's reward brings wondrous bliss ; 
 
 — It to rapture leads the lover. 
 Leads him to all worthiness. 
 
 — Eye's enjoyment, heart's sweet play 
 Giveth love to all who may 
 
 With its blessings favored stay. 
 
 — "Tell me, sir, what gains a maiden 
 Who love's guerdon haps to win ? 
 
 — Is that heart with sorrow laden, 
 Wheresoe'er love enters in ? 
 
 — I'm too weak much grief to bear : 
 Shall I gain but grame and fear? 
 This is what I long to hear." 
 
 — Lady, grant my suit now slighted, 
 And the mystery will be known; 
 
 Let our beings be united 
 
 Till we both are only one. 
 As thou mine so I am thine. — 
 
1 82 The Minnesinger of Germany. 
 
 " Sir, this offer I decline ; 
 
 Be you yours and I stay mine." 
 
 The following three songs are in Ulrich's most musi- 
 cal vein, and seem, even in their English dress, proof 
 of his high rank as a Minnesinger. Indeed, so far as 
 grace and exquisite finish is concerned, Ulrich von 
 Lichtenstein's poems are the best of all Minnelieder, 
 nor does he ever in them descend to the coarseness 
 of Nithart or Tanhuser. German literary critics 
 seem to have underrated his poetical ability from 
 sheer scorn at the folly of his life : — 
 
 LOVE SONG. 
 
 — Ah, why care we for the morrow ? 
 
 Joy is good. 
 
 — From the women we must borrow 
 . Lightsome mood. 
 
 — IHappy who can win its blessing, 
 
 Faith, he is a happy man : 
 Joy we gain from love's caressing, ' 
 
 Honor follows e'er its van. 
 
 — We must, dancing, laughing, singing, 
 
 Ever learn 
 
 — From fair women ; to them clinging 
 
 Man can earn 
 
 — Worthily their love and favor, 
 If he serves them faithfully. 
 
 Who repents their service ever 
 With great grief will covered be. 
 
Ulrich von Lichtenstein, 183 
 
 — Fire by water is extinguished 
 
 With much ease : 
 
 — Sunshine by the dark is vanquished j 
 
 True are these 
 
 — Stories both ; but hearken to one 
 Who has felt it in his heart : 
 
 From heart's grief a true man no one 
 But a woman e'er can part. 
 
 — Alas me, love ! I am flowing 
 
 O'er with woe : 
 
 — Touch me, feel my pulses glowing ! 
 
 Coldest snow 
 -Would be quickly set a-burning 
 By my heart's consuming heat. 
 Love, if thou canst help my yearning, 
 Turn to me with pity sweet ! 
 
 TO THE BELOVED. 
 
 Blessed the feeling 
 That taught me the lesson thou hearest 
 
 — Gently appealing : 
 
 To love thee the longer the dearest, 
 
 — And hold thee nearest; 
 Yea, as a wonder 
 
 From yonder, that bearest 
 Rapture the wildest. 
 Thou mildest, thou purest, thou clearest. 
 
 — I faint, I die, love, 
 With ecstasy sweetest and rarest, 
 
184 The Minnesinger of Germany. 
 
 — When thou draw'st nigh, love, 
 And me thy sweet pity declarest. 
 
 — Then, as thou sharest 
 Love, O, I'll sing thee 
 
 » And bring thee bonairest 
 Redress, and over 
 Thee hover, thou sweetest^ thou fairest. 
 
 — My hands I fold, love. 
 
 And stay at thy feet, humbly kneeling, 
 
 — Till, like Isolde, love. 
 Thou yield to the passionate feeling 
 
 — O'er thy heart stealing ; 
 Till thy behavior's 
 Sweet favors reach healing 
 My heart, and tender 
 
 Love's splendor to thee be revealing. 
 
 — I pray but send me 
 
 A hope, ere my locks shall turn gray, love, 
 
 — Thou wilt befriend me. 
 And I of thy grace catch a ray, love. 
 
 — To light my way, love 
 Thine eyes were fated 
 
 And mated : their sway, love. 
 My soul beguiling 
 Shall smiling revive me for aye, love. 
 
Ulrich von Lichtenstein. 185 
 
 LOVE'S BLISS. 
 
 — Summer glow 
 Lieth low 
 
 Upon heath, field, wood, and grass. 
 
 — Here and there 
 In the glare, 
 
 White, red, gold peeps from the place. 
 
 — Full of joy 
 Laughs the sky. 
 
 Laughs what on the earth doth rove. 
 
 Happy man 
 
 He who can 
 Live so that all things him move 
 
 To love, to love. 
 
 — Whom God's grace 
 Gives no less 
 
 Than to live in love alway, 
 
 — May in faith 
 Ever bathe 
 
 In the sunny glow of May. 
 
 — He doth toy 
 With sweet joy 
 
 Whene'er called to be love's guest. 
 
 Sweet to live, 
 
 Love can give 
 To whome'er she loveth best. 
 
 Love is "so blest. 
 
 — Whom a maid 
 E'er has had 
 
1 86 The Minnesinger of Germany. 
 
 Clasped in passionate embrace, 
 
 — If he not 
 Say'st, I wot, 
 
 Great his wrong is and disgrace. 
 
 — But who true 
 Telleth you 
 
 How sweet love him has addressed ; 
 
 Him each word 
 
 Brings reward 
 When by tender arms he 's pressed 
 
 And caressed. 
 
 — Treasured hoard 
 Is each word 
 
 Which in kisses overflows ; 
 
 — When they gay 
 Play love's play. 
 
 Loving limb to limb clings close. 
 
 — With eyes bright 
 From love's light 
 
 They each other look upon. 
 
 Ah, forsooth. 
 
 Then, in truth. 
 Such a love by each is shown : 
 
 Greater none. 
 
 — Lover's bliss 
 Fully is 
 
 Realized whene'er a man 
 
 — And a maid 
 Thus are laid 
 
 In love's fond embrace, and when 
 
Ulrich von Lichtenstein. 187 
 
 — Kiss on kiss 
 
 Highest bliss 
 Into both pours with love's spell. 
 
 Whether not 
 
 More be sought ? 
 Ah, the small red mouth doth tell 
 
 By its swell — 
 
 But soon grows well. 
 
 The following, if it is really by Lichtenstein, was 
 probably written in the later period of his life : — 
 
 — Where have joy and honor vanished ? 
 Where are all good teachings banished ? 
 World, thy manners are ill-planished, 
 
 Thy praise limpeth on a staff. 
 
 — Courteous shone thy crown forever 
 What time men won woman's favor 
 Without guile, in chaste endeavor ; 
 
 Thou hast cast it off as chaff. 
 
 — Of pure woman hearty greeting 
 Would set often grief retreating 
 From the head to feet, and beating 
 
 Anyious hearts cause 'gain to laugh. 
 
 — Woman, thy name joy enhances ; 
 God on thee showers blissful trances ; 
 Thy life knows no dissonances. 
 
 Of sure comfort thou'rt a roof 
 
 — Woman all unwomanliness flying, 
 Ne'er let shame on thee be prying ; 
 
The Minnesinger of Germany. 
 
 That thy glory stay undying 
 Keep thou from all taint aloof. 
 
 — For if falseness be thy lover, 
 O'er thy name disgrace will hover ; 
 Yea, thy name with scandal cover. 
 
 And a checkmate to thee proof. 
 
 — Knighthood, how stands now thy order ? 
 Where is now thy worth's recorder ? 
 
 We saw thee erst virtue's hoarder \ 
 Ah, how proud flashed then thy glance ! 
 
 — Now the women mourn, the lusty, 
 That thy shield stays cobwebbed, dusty, 
 Wholly unused and untrusty. 
 
 Where thy tourney now, and dance ? 
 
 — Thy life thou so keep'st betraying : 
 Even shame abhors thy staying, 
 
 Her powers on the street displaying, — 
 Once more take up honor's lance ! 
 
CHAPTER VI. 
 
 THE METRICAL ROMANCES OF THE MINNESINGER, 
 AND GOTTFRIED VON STRASSBURG'S "TRISTAN 
 AND ISOLDE." 
 
 11 PART from the knightly and even from the 
 citizen Minnesinger, stood the bards of the 
 people, who chanted the hero-deeds of the 
 nation, the ballads of the Nibelungen and of Ku- 
 drun. They also employed, as the singing requires, 
 the strophe-form, but their strophes had not the tri- 
 plicity of form which distinguish the Minnesong. 
 Unknown, unremembered, these bards have passed 
 away, leaving but those two weird epics for posterity 
 to admire in wonder and fit them, as best one may, 
 to the graciousness of the Minnesong, with which 
 they were contemporary. 
 
 But there was another class of epic poems pro- 
 duced in that period, which blends more readily with 
 the Minnepoetry, and indeed was fostered by the 
 same men who sang the Minnelieder. This class 
 comprises a vast number of metrical romances or 
 narrative poems, most of which were occasioned by, 
 and partly translated from the Proven gal poets, and 
 had for their subjects the legends of King Arthur's 
 Round Table and of Charlemagne's Peers. Gottfried 
 of Monmouth's Chronicles, and the Crusades, had 
 
1 90 The Minnesinger of Germany. 
 
 spread the legend gathered around those two great 
 heroes over all Europe and Asia, where they became 
 strangely commingled with innumerable local tradi- 
 tions and historical data. 
 
 To this commingling process the addition of the 
 two most prominent personages in those legends is 
 to be ascribed: Tristan, the ; lover of Isolde, and 
 Parcival, the heir to the crown of the mystic St. 
 Graal. But not all of these metrical romances have 
 these legends for their subjects ; one of the finest of 
 them, the "Poor Henry " of Hartmann von der Aue, 
 is the original of that sweet story of self-sacrifice, 
 which Longfellow has made universally known as the 
 " Golden Legend." 
 
 Some of these romances are written in strophes ; 
 but by far the greater number in a very peculiar 
 form of metre, which for want of a better name may 
 be called here the narrative metre, and the funda- 
 mental rule of construction whereof is, that it pro- 
 ceeds in rhymed couplets, each line of which has, if 
 the rhyme is masculine, four, and, if the rhyme is 
 itxtarCmQ,. three accentuations ; and each line of which 
 must have not less than five nor more than ten syl- 
 lables. This rule was first formally fixed by Heinrich 
 von Veldeke, the father of Minnepoetry. Coleridge, 
 in his poem of " Christabel," has in part adopted this 
 metre, though, as usual with him, without acknowl- 
 edging its source. 
 
 An old English piece of poetry, that has the same 
 metre, is mentioned by Walter Scott, "Tristram," 
 Introd. cxix. 
 
 Now that lines of a given number of accentuations 
 
Metrical Romances of the Minnesinger. 191 
 
 or feet — in masic we say beats — should have op- 
 tionally five or ten syllables, seems barbarous rude- 
 ness to those who look upon rhythm as anything else 
 than the mere relation of sounding time-moments to 
 each other. To a musician it is as clear as sunlight, 
 that four beats of common or triplet music may have 
 any number of notes, provided the instruments can 
 play them fast or slow enough to keep the time j why 
 then should not a poet within his four beats or feet of 
 rhythm gather as many or few syllables as he chooses, 
 provided the tongue can utter them sufficiently quick 
 or slow to fill the accentuations ? If the musician 
 can rest his rh3rthm with exquisite effect on long 
 notes or syncopations, as Beethoven loves to do, why 
 should not the poet be allowed to check his rhythm 
 all at once, and rest slowly upon monosyllabic feet, if 
 he can but find the proper long syllables ? If the 
 musician can alternate | and | time, as modern music 
 loves to do within a few beats, why may not the 
 poet modulate suddenly from trochaics to anapaests ? 
 That such a free rhythmical construction will not 
 answer for songs is evident enough ; songs have a 
 fixed melody, that, once established, must remain 
 precisely the same for all strophes ; but for the nar- 
 rative, the raconteur-style, this constantly varying, 
 and yet in the main, in the accentuation, uniform 
 rhythrti seems to me most admirably adopted. It re- 
 quires, however, a skillful reader, and from those un- 
 accustomed to it, ready attentioH. ■ 
 
 Amongst the number of metrical romances that 
 are left to us of that time, three tower above all the 
 rest : Hartmann von der Aue's "Golden Legend of 
 
192 The Minnesinger of Germany. 
 
 Poor Henry," in which that sweet story is told in the 
 sweetest, simplest manner, within a compass of some 
 fifteen hundred lines ; Wolfram von Eschenbach's 
 " Parcival ; " and, most excellent of all, Gottfried von 
 Strassburg's " Tristan and Isolde." 
 
 It may be interesting to stop for a moment to a 
 comparison of the way in which the same subjects 
 have been treated by those poets and the foremost of 
 our own age ; and now that Tennyson's " Idylls " have 
 been completed, such a judgment as to the merits 
 of his work in comparison with the works of these 
 Minnesinger is surely not improperly made. The 
 judgment of such literary works of art decides, of 
 course, in regard to the two chief points : — 
 
 1. With respect to the development of the plan of 
 the work which forms its subject, as to whether the 
 sentiments and actions portrayed follow each other 
 in the best possible sequence, gathering around a 
 common central point ; and if an historical plan has 
 been chosen, whether all the points furnished by it 
 have been used to the greatest advantage ; as also 
 whether, in the description of the characters sketched, 
 attention has been paid to historical, and, above all, 
 to psychological truth. 
 
 2. With respect to the execution of the plan, 
 whether the most suitable metre or metres, or per- 
 haps also strophe-forms have been chosen ; whether 
 the vast resources of rhyme and rhythm have been 
 abundantly and skillfully made use of; whether 
 similes have been used judiciously, and words chosen 
 with proper art ; and whether these various forms 
 and appliances of art have been so masterly turned 
 
Metrical Romances of the Minnesinger. 193 
 
 to use with practiced hand, that no trace of labor and 
 effort is left to tell tales. 
 
 This second point we need not here consider, be- 
 yond expressing an opinion that blank verse rhythm 
 and measure seems especially limited to dramatic 
 uses, and becomes feeble in a corresponding ratio 
 as it is employed for narrative purposes. In Shake- 
 speare it has its element ; in Milton it develops won- 
 drous strength, as the dramatic effects ripen ; in the 
 " Idylls " it does many splendid things, but more 
 generally falls into insipidity. Swinburne, in his 
 " Prelude to Tristan and Isolde," has shown the right 
 art-spirit in the selection of his metre; and even 
 more than usually a wonderful mastery of rhythmic 
 effects. 
 
 In regard to the first point, Tennyson in taking up 
 an historical subject, has certainly remained true to 
 almost the only feature of that subject which seems 
 properly to claim historical truth; that is, the infidel- 
 ity of Queen Guinevere ; but in doing so, has sacri- 
 ficed the predominant interest of art. In arranging 
 the adventures which legendary lore of that subject 
 furnished him, around this historical point, King Ar- 
 thur, the chief figure of his story, not only lost the 
 dignity and nobleness of character which art abso- 
 lutely demanded, but became even a positive object 
 of contempt. For the representation in art of a cuck- 
 old is always more or less disgusting, from the simple 
 fact that he necessarily excites our contempt in that 
 he is overcome by a superior in a point wherein, 
 above all others, he ought to have made valid his 
 claim to our sympathy : in his love. If she cannot 
 
 13 
 
194 The Minnesinger of Germany. 
 
 acknowledge his superiority, we certainly cannot. 
 There was no necessity that Tennyson should have 
 made this artistic blunder. He could have treated 
 the same legends, and remained quite as true to their 
 historical truth, had he gathered those tales around 
 the figure of one of the noblest of the Round Table 
 Knights, throwing King Arthur and Guinevere's 
 shame as much as possible into the background. 
 This was all the more the proper way, in that those 
 legends had in themselves a great central drama of 
 surpassing artistic beauty and interest in the St. Graal 
 mystery ; and this was the course adopted by Wolfram 
 von Eschenbach in his treatment of the same legends. 
 This Wolfram von Eschenbach, — so named from 
 his birthplace, Eschenbach, a village near Nurem- 
 berg, — a knight of noble birth, had, like Walther, 
 being a second son, been driven by poverty to earn 
 his living by knightly services or tuneful minstrelsy. 
 Like all his fellow knights and minstrels, he was a 
 homeless wanderer ; yet most of his time seems to 
 have been spent in the service of the generous and 
 art-loving Prince Hermann of Thuringen. Eschenbach 
 died about the year 1228, fully appreciated by his age, 
 :as he indeed was appreciated for nearly three centu- 
 ries afterwards ; his great poem, " Parcival," having 
 been one of the first books printed after the invention 
 of printing. The date of that first publication of 
 " Parcival " is 1477. His other preserved larger work 
 is entitled " Titurel," although it deals only with an 
 episode of the history of that famous King of the 
 Graal: the love-episode of "Sigure and Schionatu- 
 lander." Eschenbach did not finish it. The fragment 
 
Metrical Romances of the Minnesinger. 195 
 
 preserved to us has only some one hundred and sev- 
 enty strophes, of seven lines each, in the Minnelieder 
 fashion ; yet these one hundred and seventy strophes 
 are held by all competent critics to constitute one of 
 the finest productions of German lyrical poetry, and 
 a crowning glory of Eschenbach's age. 
 
 But to return to Parcival. Eschenbach, seizing 
 upon the central point of the King Arthur legends 
 with the eye of a true artist, took for his main sub- 
 ject the solemn mystery of the St. Graal, and around 
 it gathered in glowing description the variety of inci- 
 dents furnished by those legends. The religious ear- 
 nestness which prompted the design, is plainly 
 enough indicated by the titles of the three books, into 
 which the poem is divided : Simplicity, Doubt, Salva- 
 tion. The mastery with which the multitude of ad- 
 ventures of the twenty-five thousand lines of this are 
 arranged to serve the main purpose of the story ; the 
 glorious picture of the meditative child Parcival, grow- 
 ing up in this strange world of knighthood ; the mag- 
 nificent contrast of the figure of the Red Knight, 
 Parcival, as, turned out from the Temple of the Graal, 
 he storms in vain search and despair through the 
 world, looming up every now and then amidst King 
 Arthur's revels and fights ; and the final reconciliation 
 of the worn-out soul with God and the St. Graal, — 
 all these are matters that have been the admiration 
 of men from Eschenbach's to the present time. Ten- 
 nyson had the same subjects to choose, but instead 
 of Sir Parcival, selected the utterly inane figure of 
 Galahad. 
 
 Or, if Tennyson was determined to make the 
 
196 The Miimesinger of Germany. 
 
 other distinctive feature of these legends, the love- 
 passion, the chief theme of his work, rather than the 
 religious element of the St. Graal, he had at hand 
 in one of his legends that very same relation between 
 the sexes which existed between Queen Guinevere 
 and Launcelot, and yet deprived in the essential 
 point of all disgusting characteristics. It seems 
 strange that the impropriety of making this adulterous 
 connection between the king and queen the chief 
 theme of his song should not have struck Tennyson, 
 when he dedicated his legends to the husband of 
 Queen Victoria, even in that dedication drawing 
 comparisons ; strange that he should have taken no 
 means to hide it, by at least bringing the king into 
 some position of interest, where his actions would 
 proclaim his fitness to enchain our interest in some 
 degree ; whereas he is made so little of, that he 
 seems a mild, inoffensive, gentle soul, who is ready 
 even to shake hands with the seducer of his wife. 
 With what consummate art does Gottfried von Strass- 
 burg seize every opportunity to devise some means 
 to bring forth King Mark into interesting and noble 
 positions ; so that his cuckoldom may not lower him 
 too much in our eyes. Nor is Mark ever made to 
 connive at his own disgrace in Gottfried's version of 
 the legend of " Tristan and Isolde ; " that legend, 
 which Tennyson might have chosen — discarding 
 Parcival and the St. Graal — as the central point of 
 his work ; a legend, which even now again stirs up the 
 world as it stirred up the Middle Ages beyond all 
 others of its kind. 
 
 That which gives this legend this rare charm and 
 
Metrical Romances of the Minnesinger. 197 
 
 power is the fact that its subject is the highest 
 power of that wonderful feeling which from the first 
 days of the world's existence has been recognized and 
 celebrated as love, and the veriest glory of which lies 
 in self-sacrifice of one for another, and the thus 
 making a veritable one of twain. In defiance of all 
 sneers and persecutions, in spite of all its own 
 errors, this feeling lives as it has lived, and will for- 
 ever continue to live, the almighty ruler of the world. 
 In this, its almightiness, lies both its wonderful bliss 
 and the source of its tragical elements wherever it 
 comes into collision with the opposing forces which 
 the life on earth raises against it. Having its source 
 in itself, utterly absolute in this its essence and ori- 
 gin, it admits of no why or wherefore of its ground. 
 It exists between these two beings, between this man 
 and this woman, because it exists, and so existing 
 without a ground endureth necessarily forever and 
 ever. Its very absolute character, which to the 
 superficial glance makes it seem fitful and subject to 
 all possibilities of change, holds it immutable in 
 the region where change never enters. Tennyson's 
 lines, — 
 
 " And therefore is my love so large for thee, 
 Seeing it is not bounded save by love," 
 
 suggest the ground of love's immutability and omnipo- 
 tence with perfect accuracy, and — however paradox- 
 ical it may seem — on that very account the perisha- 
 bility and impotence he seemingly intends alone to 
 convey. Conscious of this its immutable and all pow- 
 erful character, love endureth all things and over- 
 
198 The Minnesinger of Germany. 
 
 Cometh all things ; but in this effort to endure and 
 overcome meets all those earthly resistances that, as 
 already said, give rise to its tragical catastrophes, — 
 the catastrophes that make up seven eighths of our 
 dramas and novels or poems; and the fact that 
 earthly life can oppose no severer obstacles to the 
 strength and might of love than the mournful history 
 of Tristan and Isolde presents, is the very one that 
 has given to this legend its universal popularity and 
 preeminent qualification for poetical treatment. 
 
 Indeed, the merely enduring power of love affords 
 but little scope for artistic representation to excite 
 interest, the element of beauty being overbalanced 
 by the element of ugliness which calls for the endur- 
 ance. The comedian may use it in art, but even he . 
 has to handle his representation carefully. The en- 
 durance of love shines forth chiefly after marriage, 
 and consists in a miraculous sacrifice of all selfish 
 interests, down to the pettiest details of habit, life, 
 and longing. To him who sees it exhibited, and to 
 whom at the same time the ground of the endurance 
 is visible, it is the most lovable, strengthening, com- 
 forting sight of life. To the careless glance it is 
 ludicrous. By a strange perversity of human nature, 
 love itself seems to share a glimpse of this ludicrous 
 aspect of its glory ; and so you will find the wife, 
 from this perverted view, stir up the enduring hus- 
 band, or the husband stir up the enduring wife 
 by taunt, impertinence, disobedience, nay, downright 
 rebellion, to a passion which shall break that endur- 
 ance and cause both her or his own love to shine 
 forth in its strength and overcoming almightiness. 
 
Metrical Romances of the Minnesinger. 199 
 
 which otherwise would never have had a chance 
 so to shine forth. In this perversity, heightened 
 in woman by physical causes, lies the source of al- 
 most all the troubles of love-marriages. 
 
 It is, therefore, in the overcoming power of love — 
 that is, where the power appears, for in endurance, 
 though the power may be stronger, it is not manifested 
 — that art revels ; and as from the very nature of the 
 case that power can be exercised in its highest inten- 
 sity only against itself or a semblance of itself, so we 
 find everywhere the highest collision of love to be a 
 lover loving another's wife : Paris and Helen ; Sir 
 Launcelot and Guinevere ; Tristan and Isolde. In 
 this representation art must needs exhaust its su- 
 preme powers ; for not only is the highest glory and 
 strength of love to be pictured, but the relation be- 
 tween the loved one and the husband whom she does 
 not love, must be toned down to such a degree that it 
 shall not excite disgust. It is in this that the pre- 
 eminent art of Gottfried von Strassburg shows its 
 supremacy. Compare with it not merely the contem- 
 porary versions of " Tristan and Isolde," but the very 
 latest of Tennyson. In Tennyson's there is the fun- 
 damental defect of infidelity in both of the lovers, 
 who in that legend's most numerous and beautiful 
 versions are portrayed as unwaveringly faithful unto 
 each other till death ; and the relation between Isolde 
 and her lover receives from his pen an altogether un- 
 necessary addition of the disgusting element, by the 
 poet's making the excuse for her preference for Tris- 
 tan over King Mark depend upon physical grounds ; 
 and, as if this were not bad enough, the lovers them- 
 
200 The Minnesinger of Germany. 
 
 selves are represented as mocking at the ungainly 
 figure and long crane legs of the deceived husband. 
 Nothing but the irresistible power of the love-potion 
 can, even in Gottfried's delicate version, keep our 
 sympathy and pity for the unhappy faithless wife ; and 
 the merely amorous Isolde of Tennyson, who casts 
 her faith aside simply because Tristan's bodily per- 
 fections are greater than her husband's, not only 
 loses all our sympathy, but becomes an utterly unar- 
 tistic object of loathing and disgust when made her- 
 self to boast of this as her reason of preference j 
 for even more contemptible than a cuckold, yea, the 
 most contemptible of all things is a lustful woman, 
 sacrificing the representation of her immortal and di- 
 vine personality, the sacred majesty of her body, for 
 her own self's pleasure. In very proportion as that 
 sacrifice is the most exalted and glorious a woman 
 can make to a loved man, and which only woman has 
 the privilege and glory of being able to make, is it 
 unspeakably degrading to make it for herself; no art 
 can afford to even breathe the name of a Messalina. 
 Gottfried von Strassburg, the greatest of all the 
 poets of the Minnesinger-period, wrote this poem, 
 which has some twenty thousand lines, in the years 
 1206-1215, following the manuscript of an old French 
 poet, whom he calls Thomas of Brittany, and who 
 w^s perhaps the first writer who gave literary shape 
 to this British story of all powerful and faithful love. 
 Of Gottfried's circumstances and life we know liter- 
 ally nothing, except that he was not a knight but a 
 citizen ; that he was a learned man, and that he en- 
 joyed the esteem of all his contemporaries, except 
 
Metrical Romances of the Minnesinger. 20 r 
 
 that of Wolfram von Eschenbach, with whom he 
 seems to have had a feud, he disliking Eschenbach's . 
 earnest, often very uncouth and strange speech, and 
 Eschenbach equally disliking Gottfried's graciousness 
 and worldly calm. So great was the esteem in which 
 Gottfried's " Tristan " was held by his age, that two 
 other poets attempted to finish his poem, he having 
 left it unfinished, whilst many other Minnesinger in 
 their poems lament the irreparable loss. Indeed, 
 looking merely at the artist skill in the selection of a 
 subject, how could a poet having for his object to 
 sing the power of love have chosen a more judicious 
 story than this, wherein that love's irresistible power 
 need not be extolled by the subjective reflections of 
 the poet, but manifests itself dramatically, in action, 
 in constant efforts to elude a husband's claims and 
 vigilance, in infamous deceit practiced by natures 
 previously of rare nobility, and is even ready to com- 
 mit crimes for the sake of its own satisfaction ? Or 
 was any other subject so well adapted artistically to 
 represent the absoluteness and blindness of love than 
 this story, wherein that love appears as the result of 
 a love potion ? For love has no rational ground in 
 its sensuous aspect ; it is because it is, and refuses to 
 account for itself ; but in representative art a sensu- 
 ous ground is a necessity. Now, whereas painting 
 can place this sensuous ground in beauty by paint- 
 ing it, a poet can never, through mere description of 
 beauty, sufficiently inflame our fancy to make us con- 
 sider the ground equal to the effect. We always for- 
 get the beauty of the woman, because it is not sensu- 
 ously present, and are, therefore, ever impelled to ask 
 
202 The Minnesinger of Germany. 
 
 the lover, why do you act so foolishly ? In the story 
 of Tristan and Isolde, however, this question is cut 
 off from the beginning ; they love because they cannot 
 help themselves ; they must, for they have drunken 
 the philter ; they have no freedom now, and are 
 powerless under the all-powerful influence of love. 
 By this means, the poet has also saved our sympathy 
 for the chief persons of his poem. If they were 
 ordinary lovers, lustful, simply like Launcelot and 
 Guinevere, we should never overcome a feeling of 
 contempt for two persons committing crimes and 
 descending to the lowest deceit for the gratification 
 of their passion. But the love potion takes away from 
 Tristan and Isolde all such ugliness. Our sympathy 
 increases as we see the loyal, noble-hearted knight 
 giving slowly way and finally succumbing altogether : 
 and " Isolde la doux, Isolde la belle," even in a still 
 higher degree moves our pity, for in her natural con- 
 dition she hates in Tristan the murderer of her moth- 
 er's b.rother. With admirable taste and aesthetic 
 judgment has Gottfried von Strassburg represented 
 Tristan and Isolde as rather cold, or at least careless, 
 to each other during the long time that they are ac- 
 quainted before she goes on board the ship which 
 is to bring her to King Mark. There is not a sign 
 of mutual attraction or unchaste desire until the un- 
 fortunate potion has been tasted. This saves their 
 characters and our sympathy, and by a natural con- 
 sideration saves even our sympathy for King Mark. 
 In the true spirit of a classic drama, ybfe hurries these 
 three persons to destruction in a situation which 
 moves our intensest pity. 
 
Metrical Romances of the Minnesinger. 203 
 
 But to the excellence of his general arrangement 
 of subject Gottfried adds a poetic beauty of diction, 
 a wondrousness of melody of rhythm, sound of 
 rhyme, mysterious alliteration, quaint reversions, and 
 cunning refrain, the which no other of his contempo- 
 raries in this form of poetry even approaches. His 
 refrain is of that most charming kind, which gives 
 such rare beauty also to Goethe's second part of 
 " Faust," and to Tennyson's " Maud ; " a repetition 
 in slightly varied form of certain passages, rhythms, 
 rhymes, or similes, that have gone before unobserved, 
 and never caused an expectancy of repetition. 
 
 Nor is Gottfried merely skillful. His poem abounds 
 in the most charming thoughts, reflections, images, 
 and pictures, and with the rare self-consciousness of 
 a thorough master he handles every incident of his 
 story. 
 
 That this is not too high praise, witness the follow- 
 ing passages from that part of the poem where the 
 fated lovers drink the love potion. In no story of 
 first awakening love is the growth of this passion de- 
 scribed with more exquisite beauty and psychological 
 truth : — 
 
 TRISTAN AND ISOLDE DRINKING THE 
 FATAL LOVE POTION. 
 
 — Meanwhile the ships their voyage made. 
 
 From the first day's start they had 
 
 Of wind and weather fairest spell ; 
 
 But now the women 'gan to fail. 
 
 Isolde and her women crew. 
 
 To whom the sea and wind were new. 
 
204 The Minnesinger of Germany. 
 
 And new the toil they had to bear : 
 
 It was not long until they were 
 
 Worn out with such unused distress. 
 
 To rest them from their weariness, 
 
 Tristan, the master, gave command 
 
 The ship should make for the nearest land. 
 
 Into a bay their course they drew \ 
 
 Then went some of the crew 
 
 For jolly sports out on the land. 
 
 But Sir Tristan thought t'attend 
 
 On his charge, Isolde, and greet 
 
 By visit her as it was meet. 
 
 Now when he down by her sat — 
 
 Talking or of this or that. 
 
 Whatever came into their thought — 
 
 He asked that a drink to him be brought : 
 
 What time attending his dear queen 
 
 There was no one to be seen 
 
 But some small girls t'obey her sign. 
 
 One, beckoned thus, cried : " Here is wine ! 
 
 At least I think it must be so." 
 
 Ah me, that fated flask did glow 
 
 With anything but wine, alas ! 
 
 Although it looked so in the glass. 
 
 It held the growing heaviness. 
 
 The endless, weary heart-distress, 
 
 From which at last they both fell dead. 
 
 But neither knew this then ; the maid 
 
 Went quick to where stood put away 
 
 The flask and drink — alack the day ! 
 
 She off'ered it to Tristan first, 
 
 Who bade Isolde first quench her thirst. 
 
Metrical Romances of the Minnesinger. 205 
 
 She drank constrained and as if pained. 
 
 Then gave it him ; he quickly drained 
 
 The glass, and both thought they'd drank wine. 
 
 Just then Brangaene them did join ; 
 
 The flask she knew at once, and clear 
 
 The whole truth there flashed upon her ; 
 
 Whereat she felt such dreadful woe 
 
 That all her strength left her, as though 
 
 Her body were already dead. 
 
 With a dead heart then the maid 
 
 Arose and took the glass of woe^ 
 
 And, staggering forward, cast it so 
 
 Into the wild and raging sea. 
 
 " Ah, woe is me ; ah, woe ! " cried she, 
 
 " That birth was given me ever 1 
 
 I, wretched one, shall never 
 
 Faith and honor regain for aye ; 
 
 May God repent and rue the day 
 
 That on this fatal trip I came ! 
 
 That death kept me not from this shame, 
 
 When I t'accompany Isolde 
 
 Upon this dreadful ship, was told ! 
 
 Ah, woe, Isolde ! and Tristan, woe ! 
 
 That drink will prove your death I trow." 
 
 Now, when the virgin and the man 
 
 These two, Isolde and Tristan, 
 
 Had drank the drink : what chanced to them ? 
 
 Ah, then the world's unquiet came. 
 
 Love, the heart-huntress, and began 
 
 To slip in the hearts of maid and man 
 
2o6 The Minnesinger of Germany. 
 
 Before of it they were aware. 
 
 She raised her flag of victory there, 
 
 And without scarce a struggle drew 
 
 Into her power and glory the two. 
 
 They now grew one and all the same ; 
 
 Who had been two now one became : 
 
 They now no more could move apart. 
 
 Isolde's hatred had left her heart. 
 
 The mighty purifier, Love, 
 
 So wonderfully their soul gan move, 
 
 All hate from their hearts clearing. 
 
 And so with love them stirring. 
 
 That each one to the other was 
 
 Clear as the clearest mirror-glass. 
 
 They both together had but one heart, 
 
 His grief she took in equal part ; 
 
 Her pain oppressed him as his own. 
 
 They were both simply one 
 
 In sad and loving feeling. 
 
 Yet did they try concealing. 
 
 This was occasioned by doubt and shame ; 
 
 She felt ashamed and he the same. 
 
 She doubted him, he doubted her, 
 
 However blind their love might stir. 
 
 Flowing together in one glow. 
 
 Still lacked they courage in their woe 
 
 For the beginning and the first word ; 
 
 This kept confession long deferred. 
 
 Tristan, when love first stirred in him, 
 Began to think and reason grim 
 On honor and fidelity. 
 
Metrical Romances of the Minnesinger. 207 
 
 He wished to turn away and fly. 
 
 " No," thought he e'er and e'er again, 
 
 " No, Tristan, come and be a man, 
 
 And from this sin keep well aloof." 
 
 Yet suffered his heart no reproof. 
 
 Thus did he 'gainst his wish conspire, 
 
 Desired against his best desire. 
 
 It drew him off, it drew him on. 
 
 The entrapped, bewitched man, prone 
 
 To try, tried if by force perhaps 
 
 He could escape love's tightening grasps. 
 
 And long indeed held he out so. 
 
 The faithful one bore double woe : 
 
 One as the other his heart struck. 
 
 Whene'er into her eye he'd look. 
 
 Then by the power of mighty love 
 
 His heart and senses 'gan to move 
 And inmost soul to be consumed. 
 
 He thought of honor and faith entombed ; 
 But thus awhile gained victory then. 
 
 Immediately began again 
 
 His hereditary queen, sweet love, 
 
 To force him near her heart to move. 
 
 Faith and honor never 
 
 Gave up their endeavor ; 
 
 But love still did endeavor more, 
 
 And used him sorer e'en than sore ; 
 
 Worse than faith or honor either. 
 
 Nay, worse than both together. 
 
 Love looked sweet-smiling at his heart, 
 
 And cast into his eyen her dart. 
 
2o8 The Minnesinger of Germany, 
 
 But when love did not look at him, 
 
 His suffering was e'en still more grim. 
 
 Right often, too, he'd think, e'en as 
 
 Thoughts through a prisoner's mind will pass. 
 
 How he might banish all that pain. 
 
 He thus thought oft and oft again : 
 
 " Let me my heart elsewhere direct. 
 
 And change or alter its effect, 
 
 Love and pursue another light." 
 
 Then closed the sling and held him tight. 
 
 He oft his heart and senses took. 
 
 To seek some change in a secret nook, 
 
 But there was nothing in their hold, 
 
 Thau love and his sweet queen Isolde. 
 
 Isolde in the same fashion 
 
 Tried the same with her wild passion. 
 
 In raging grief she flared, what time 
 
 She recognized the catching lime 
 
 Of that love alluring, 
 
 Which held and kept enduring 
 
 All her senses and her soul. 
 
 She tried to 'scape heart-free and whole, 
 
 And struggled to obtain release. 
 
 But ah ! the lime held her with ease. 
 
 And dragged her down despairing. 
 
 In vain she'd try proud bearing, 
 
 And struggle hard at every step \ 
 
 She struggled to get out of the trap. 
 
 And tried in vain at every end 
 
 With her foot and her hand. 
 
 She turned and twisted in every shape. 
 
Metrical Romances of the Minnesinger. 209 
 
 But more and more, ah sad mishap ! 
 Sank her hands and feet again 
 In the blind sweetness of the man 
 And of his love's attraction. 
 Her soul from this lime's action 
 Could not again itself unloose, 
 Nor find a way or bridge, where close 
 Love did not follow everywhere. 
 At each half step that she took there. 
 Whate'er she pondered in her thought 
 Or to her mind, to dream of, brought. 
 It was no other subject than 
 Ever her love and her Tristan. 
 Now this she held concealed so far : 
 It was an everlasting war 
 Between the heart and 'tween the eye. 
 Shame caused her eye away to hie, 
 Whilst love in the heart found willing stay ; 
 And this fore'er conflicting sway 
 'Twixt maid and man, love and shame. 
 Made her confused as to her aim. 
 The maid hungered to have the man, 
 Yet turned her eye away again. 
 Whilst shame desired to love ; but so 
 That no one of its love might know. 
 What could this help her ? Shame and maid, 
 As all the world has often said, 
 Are so changing and fickle 
 That they can never mickle 
 Resistance to strong passion show. 
 Isolde let the war e'en go 
 14 
 
2IO The Minnesinger of Germany. 
 
 As it might choose, and gave away ; 
 Vict'ryless ceding to the sway 
 Of the man and love combined 
 With her body and her mind. 
 Often his eye with hers she sought. 
 And secretly of him took note. 
 Her clear eyen and eke her heart 
 Now in peace acted their part. 
 Her heart and eyen went stealing, 
 Cautiously their way feeling. 
 And full of love, unto the man. 
 The man looked at her again 
 With tender and imploring mien ; ' 
 He too 'gan to yield within, 
 Since love would not relax its hold. 
 Thus Sir Tristan and Isolde 
 Gave each other every hour, 
 Whenever it was in their power. 
 Passionate eye-pleasure. 
 They each seemed each to treasure 
 More beautiful than e'er before ; 
 Love worked this wonder as of yore, 
 And still it works it, ruleth now. 
 And will forever rule, I trow. 
 Each year the lovers learn again 
 That they each other please more when 
 Love of them has taken hold ; 
 More flowers love's usury doth unfold. 
 And through its sweetness 'gin to grow. 
 Than in her first spring-time e'er blow. 
 Yea, usurious love still grows 
 After it first in th' heart arose ; 
 
Metrical Romances of the Minnesinger. 211 
 
 This is the seed which love doth sow, 
 Which nevermore may lay her low. 
 
 — Love seemeth sweeter than before, 
 Thus doth love's right its bloom restore ; 
 If love seemed ever as before, 
 
 No power could its lost bloom restore. 
 
 — The ships again from the coast had cleared, 
 And joyously their home-path steered. 
 
 Only two tender hearts therein 
 
 Mighty love now did begin 
 
 Far from their path to lead astray. 
 
 In deep thoughts sunk away 
 
 Both care and grief did borrow 
 
 From that dearest sorrow 
 
 Which, miracles fulfilling. 
 
 Honey to gall distilling, 
 
 Sweetness all sour can render ; 
 
 To fire the dew's wet splendor 
 
 And the gentle change to sadness, 
 
 Mild hearts turn to strange badness, 
 
 Which all the world doth turn awry ; 
 
 This sorrow 'twas which, to destroy 
 
 Tristan and the fair Isolde 
 
 Threatened with, its grasping hold. 
 
 It weighed upon both equally. 
 
 Never rest upon the sea 
 
 Nor here nor there could find the twain 
 
 Till each the other saw again j 
 
 And when they saw each other 
 
 Their looks they tried to smother. 
 
212 The Minnesinger of Germany. 
 
 Hindered by fear of duty 
 
 To revel in their beauty. 
 
 Strangeness it was, and eke a shame 
 
 Which ever their delight o'ercame. 
 
 If glance from glance sweet drinking, 
 
 Their eyes at last 'gan sinking 
 
 Into each other, when alone, 
 
 They ever colored and shone 
 
 Like to their mind and to their heart. 
 
 This was love's, the colorer'sy art. 
 
 Love did not. deem't enough to prey 
 
 On noble hearts in secret sway, 
 
 But longed to tell its story 
 
 And manifest its glory 
 
 By causing both at every hour 
 
 To testify of love's strange power. 
 
 Their color stayed not long the same. 
 
 Not long the same their color came. 
 
 It changed before you'd marked it well, 
 
 Pale with the red, the red with pale. 
 
 They now turned pale, they now turned red. 
 
 As love's emotions o'er them swayed. 
 
 Thereby in each did knowledge rise. 
 
 As could not well be otherwise. 
 
 That somewhat of love's burning. 
 
 Each to the other turning, 
 
 Must in all their senses move. 
 
 Then began they too with love 
 
 Upon each other much to dote, 
 
 And time and hour with care to note 
 
 When usually they together came. 
 
 Like true hunters of love's game, 
 
Metrical Romances of the Minnesinger. 213 
 
 With fondling looks they fastened 
 
 Their nets and traps ; and hastened 
 
 To fix nooses and gins for each. 
 
 They passed their time with cunning speech — 
 
 Questions and replies and play. 
 
 Isolde in her girlish way 
 
 Found for it the beginning. 
 
 Gently she neared him, winning 
 
 Quite from afar, as 'twere her way. 
 
 She asked : If he recalled the day 
 
 When he to Develin alone. 
 
 In a little boatlet thrown, 
 
 Sorely wounded and helpless had come ; 
 
 How her mother then him home 
 
 Had removed to cure his limb ? 
 
 This led her to say to him. 
 
 How herself, under his care, 
 
 Writing neatly had learned there ; 
 
 Latin too, and the harp to play. 
 
 Many such hints in his way. 
 
 Were by sweet Isolde thrown ; 
 
 And how his manliness had shown 
 
 In the fearful serpent-fight ; 
 
 How then she'd recognized the knight 
 
 In the wood and in the bath. 
 
 Their words pursued an equal path. 
 
 She'd speak to him and he reply. 
 
 " Alas ! " Isolde said, " that I 
 
 Neglected chance and checked just wrath. 
 
 And did not kill you in the bath. 
 
 O God ! what did possess me so ? 
 
 Had I known then what now I know. 
 
214 The Minnesinger of Germany. 
 
 Your death it had been verily." 
 
 " But why, my sweet Isolde ? " said he ; 
 
 " What worries you ; what is't you know ? " 
 
 " Yea, what I know, that is my woe, 
 
 What I see that worries me ; 
 
 The sky doth plague me, and the sea, 
 
 Life and body cause me fear." 
 
 With that she forward bent, and near, 
 
 With elbow against him 'gan to lean ; 
 
 Thus did their boldness first begin. 
 
 Her eyes, mirror-clear and holy. 
 
 Seemed to gather water slowly ; 
 
 Her heart began bounding, 
 
 Her sweet, small mouth rounding ; 
 
 Her head drooped on her shoulder. 
 
 Then again her friend to hold her, 
 
 With his arms drew nearer ; 
 
 Yet clasped he her not dearer, 
 
 Than to stranger she might have ceded. 
 
 Softly and sweetly he pleaded : 
 
 " O, sweet lady, let me know. 
 
 Why worry, why complain you so ? " 
 
 The shuttlecock of love, Isolde, 
 
 " Lameir," said she, " my woe I hold, 
 
 Lameir oppresses thus my heart ; 
 
 It is Lameir that makes me smart." 
 
 When she Lameir so often said, 
 
 Tristan then to reflect essayed, 
 
 And with anxious care to glean 
 
 What the little word might mean. 
 
 Then qUick the remembrance came : 
 
 Ameir stood for love's sweet name, 
 
Metrical Romances of the Minnesinger. 215 
 
 Amer, for bitter, la mer for sea : 
 
 A herd of meanings there seemed to be. 
 
 He overlooked one of the three, 
 
 And but of two made inquiry ; 
 
 Love's sweet name concealing 
 
 The ruler of their feeling. 
 
 Their comfort, their desire and yoke ; 
 
 And but of sea and bitter spoke. 
 
 " I fear me," said he, " sweet Isolde, 
 
 That sea and fog have caused you cold, 
 
 That sea and wet winds cause you fear. 
 
 'Tis they, are bitter to you here.'' 
 
 " By no means, sir, why say ye so ? 
 
 Of both, faith, neither gives me woe. 
 
 Me worries neither sea nor air. 
 
 My only suffering is Lameir." 
 
 — When on that word's track thus he came, 
 
 As meaning love's sweet foreign name. 
 
 He whispered her quite secretly : 
 
 " Faith, sweet one, 'tis the same with me, 
 
 Lameir and you my woe I hold. 
 
 Sweet heart's ruler, dear Isolde, 
 
 You and your sweet love alone 
 
 Have my senses one by one 
 
 Sore confused and shaken.. 
 
 From the straight path I'm taken 
 
 So forcibly, so far astray, 
 
 I never more shall find my way. 
 
 Me worrieth and annoyeth, 
 
 Me loatheth and destroyeth 
 
 Whatsoever meets my glance. 
 
 O, love, in all the world's expanse 
 
2i6 The Minnesinger of Germany. 
 
 My heart holds nothing dear but thee." 
 Isolde said : " Sir, so is't with me." 
 
 — When now the lovers 'suredly 
 
 Of one sense knew themselves to be 
 
 One single heart and eke one will, 
 
 Their grief it began to still ; 
 
 But also to betray their yoke. 
 
 Each of them both looked and spoke 
 
 Bolder to the other then ; 
 
 The man to the maid, the maid to the man. 
 
 That former strangeness left their whim : , 
 
 He kissed her, she kissed him 
 
 With sweet and lingering kisses. 
 
 This was of their distresses 
 
 The first intoxicating draught. 
 
 Each one proffered then and quaffed 
 
 The sweetness which rose from the heart. 
 
 As often as they met apart 
 
 This love exchange 'tween them was made. 
 
 It almost seemed a smuggling trade. 
 
 For it went on so stealthily 
 
 That no one in the world did see 
 
 Their secret mind or their strange spell, 
 
 Excepting one, who knew it well. 
 
 — Brangaene, she, the prudent maid. 
 With her looks often strayed 
 Watchful toward the loving pair. 
 Noting their secret ways and care ; 
 And often to herself she thought :■ 
 " Alas that I this evil wrought ! 
 
Metrical Romances of the Minnesinger. 217 
 
 Love in these two beginneth now." 
 
 Not long after she saw how 
 
 In both an eager earnestness, 
 
 Violent grief and strange distress 
 
 Of the heart ahd of the mind 
 
 Did outward expression .find. 
 
 Then did their great grief cause her woe, 
 
 Whom she all times saw suffer so ; 
 
 Ameiring and amuring. 
 
 Longingly enduring, 
 
 Yearning, thinking, falt'ring, 
 
 And their color alt'ring. 
 
 So mighty was their yearning : 
 
 Food and drink spurning. 
 
 They wasted, until want and care 
 
 Betrayed even by their bodies were ; 
 
 And Brangaene, the faithful maid. 
 
 Daily became more afraid 
 
 Death would on them both lay hold. 
 
 " Now let me be quick and bold," 
 
 Spoke she, " and ask their secret grame." 
 
 — Then there sat one day with them 
 
 Quietly watching 
 
 The proud, wise maid — catching 
 
 Quick at the chance : " Here is none but us three, 
 
 Now tell me, what is't with you two ? " said she. 
 
 Every hour in pensive mood 
 You sit here and sigh and brood. 
 Listless, drooping and complain." 
 " Lady, dared I but explain 
 
 »<£ 
 
2i8 ■ The Minnesinger of Germany. 
 
 I'd gladly do it," said Tristan. 
 
 " But sir, that dare you well ; come, then. 
 
 Tell me, what it is you crave ? " 
 
 " Blessed maid," reply then gave 
 
 Tristan, " I dare not say more, 
 
 Unless you solemnly before 
 
 With oath pledge us assurance. 
 
 That you to us two poor ones 
 
 Will graciously assistance give. 
 
 For otherwise we may not live." 
 
 — Brangaene quickly pledged her word. 
 
 She promised her mistress and her lord, 
 
 With oaths, that even unto death 
 
 To their behests she'd plight her faith. 
 
 Then Tristan said : " Thou good and kind, 
 
 First on God direct your mind. 
 
 Then consult your own goodness. 
 
 Consider our grievous distress 
 
 And all our suffering untold. 
 
 I, poor one, and the poor Isolde — 
 
 How it has come, I know not ; — we 
 
 Within short time have grown to be 
 
 Crazy both of us sadly ; ' 
 
 Suffering strangely and madly. 
 
 We're dying in love's fever, 
 
 And yet cannot find ever 
 
 Chance or occasion. 
 
 'Tis you who disturbs our passion. 
 
 And should we die, most 'suredly 
 
 You alone the cause would be. 
 
 Our life and death even 
 
Metrical Romances of the Minnesinger. 219 
 
 Into your hands are given. 
 Herewith now enough is said, 
 Brangaene, blessed maid, 
 Help us and save us graciously, 
 Isolde, your lady, as well as me." 
 
 — Brangaene to Isolde spoke : 
 " Lady, has this passion's yoke. 
 As he doth say, on you such hold ? " 
 " Aye, heart's cousin," said Isolde. 
 Brangaene cried : " God rue the day 
 That the devil thus his play 
 With us three has carried on. 
 I see well, nothing can now be done ; 
 For you I must offer, 
 Howe'er loth, to suffer 
 E'en disgrace and shame ; for I, 
 Rather than to let you die. 
 Will give you opportunity. 
 What you to do may willing be. 
 For my sake leave it not undone, 
 If you for honor and duty alone 
 Do not choose to shun it. 
 But could you leave undone it, 
 And to do't yourselves restrain, 
 Then to restrain I'd urge again. 
 At least the shame concealed let be, 
 And closely kept between us three. 
 If you keep not the story, • 
 'Twill cost you fame and glory. 
 Unless you keep it close, you two, 
 I shall be lost, and so shall you. 
 
220 The Minnesinger of Germany. 
 
 Dear heart's lady, sweet Isolde, 
 Your life as well as death you hold 
 Into your own hands given. 
 Now death and life guide even 
 As in your heart you are inclined. 
 Henceforth never more you'll find 
 Me a hindrance to you two ; 
 Whate'er you please to do, that do." 
 
 When the lady lay alone that night. 
 
 Grieving and suffering, in sore plight 
 
 For her friend and lover. 
 
 Then did stealthily hover 
 
 Nearer to her casemate's side, 
 
 Her friend, her doctress and her bride : 
 
 Love, her Tristan leading, 
 
 Love, for Tristan pleading ; 
 
 With her sufferer at her side, 
 
 Tristan, who for love sheer died. 
 
 Love found another sufferer there. 
 
 The sufferers then love took with care. 
 
 And gave her him and him to her, 
 
 Each the other's cure fore'er. 
 
 What else, indeed, could ever 
 
 These two in this world sever 
 
 From their same grief and union. 
 
 Than common sweet communion, 
 
 And entrancement of their feeling ? 
 
 Entrancing Love, full willing, 
 
 So caught the maid's heart and eke his 
 
 With the trances of its great sweetness, 
 
 With such a mighty master skill, 
 
Metrical Romances of the Minnesinger. 221 
 
 With such a wonderful power and will, 
 That it held them forever ; 
 Redeemed they were never. 
 
 And now, after all this tumult of passion, how ex- 
 quisitely does the poet improve the pause for the 
 thoughtful lines that follow : — 
 
 — For love with long speech pleading 
 Offendeth courtly breeding : 
 
 Short speech for good love pleading, 
 Doeth good to goodly breeding. 
 
 — However little in my life 
 
 Of love I've suffered and love's strife, 
 
 That gentle heart-love's smarting. 
 
 Which, in the heart upstarting. 
 
 So mickle gently ungentle stirs ; 
 
 Yet my mind to me avers. 
 
 And joyful am I to believe : 
 
 These two lovers felt relief. 
 
 And happy and blessed were amain 
 
 When they knew shame's hated bane, 
 
 That torture of true loving, 
 
 Love's enemy removing. 
 
 And from their path wending away. 
 
 I have thought much of both alway, 
 
 And think to-day and all the days. 
 
 When love and yearning heart's distress 
 
 Before my eyes outspreading, 
 
 I 'gin their various pleading 
 
222 The Minnesinger of Germany. 
 
 In heart and thought to ponder. 
 
 Lo ! then my soul with wonder 
 
 And courage, my heart's comrade, swells : 
 
 High in the clouds it mounts and dwells. 
 
 When I still further ponder 
 
 This wonder and that wonder, 
 
 Which he, who knew how't to detect 
 
 In love could find and from't extract ; 
 
 The joy by love to be spended. 
 
 If faithfully attended : 
 
 My heart so big within me grows, 
 
 The whole wide world it overflows. 
 
 And pities me love dearly ! 
 
 My heart is touched nearly. 
 
 In that the most of living men 
 
 Around love rally and wear its chain. 
 
 Whilst none of them love justly treat. 
 
 We all would like things so to fit 
 
 As to make a friend of this same love. 
 
 But love does not so act and move 
 
 As we t'ourselves keep doing : 
 
 With false pretense and showing. 
 
 We take an unjust view of things : 
 
 We sow the seed that henbane brings ; 
 
 And then expect that this vile seed 
 
 Roses and lilies us should breed. 
 
 In faith, but this can never be. 
 
 We must expect to reap as we 
 
 Into the ground have put before ; 
 
 Must take that which the seed us bore. 
 
 We must cut and we must mow 
 
 Even as we erst did sow. 
 
Metrical Romances of the Minnesinger. 223 
 
 We would build love's dwelling, 
 
 Our heart with bile o'erswelling, 
 
 With falsity and with a lie, 
 
 And then search in't to find true joy 
 
 Of heart and body ; O folly ! 
 
 It brings us troubles solely, 
 
 Bad mood, bad fruit, and bad lot. 
 
 Just as we in the building put. 
 
 Now when repentance there doth rise 
 
 And into our heart its poison flies, 
 
 Our life within us strangling. 
 
 We charge love with wrangling, 
 
 And accuse't of that which ne'er 
 
 Love was guilty of putting there. 
 
 We do always falseness sow ; 
 
 Then vice and sorrow for us grow. 
 
 If the sorrow us sore does touch, 
 
 We ought to consider much, 
 
 How to do better sowing ; 
 
 Then might come better mowing 
 
 We who have a worldly mood, 
 
 Whether 'tis evil or whether good : 
 
 How do we spend our days ? 
 
 We dissipate them in many ways 
 
 Under love's name's cover^ 
 
 And find them all over. 
 
 Bring forth nought but the same work, 
 
 Which we to put there did not shirk : 
 
 Miscarryings and mishap. 
 
 We find ne'er that good in'ts lap, 
 For which each of us here pines. 
 And which yet no one entwines : 
 
224 The Minnesinger of Germany. 
 
 Namely, a steady friend's kind mood, 
 
 With gentleness steadily imbued. 
 
 Which roses with the thorns e'er brings, 
 
 Which fanneth labor with rest's sweet wings, 
 
 Wherein lies hid in a furrow. 
 
 Love close unto sorrow, 
 
 Which every end with joy doth crown. 
 
 As often as it was outthrown. 
 
 Ah, little do we now oft find : 
 
 Such fruit our works have borne in kind. 
 
 — 'Tis mickle true that which they say : 
 
 "Love has been driven and chased away; 
 
 To the furthest end of the world't has soared." 
 
 We've only left of it the word. 
 
 Us is remained nought but the name. 
 
 And e'en that we've so driven to shame. 
 
 So wrong-worded, and so wrong-named, 
 
 That love out of its name is shamed ; 
 
 And from the word gets trouble. 
 
 Love seems t'itself a bubble, 
 
 A sickened thing upon the earth. 
 
 Honorless and without worth 
 
 It sneaks 'long the houses begging ; 
 
 And like the vicious goes dragging 
 
 A many-folded bag along. 
 
 Wherein its stolen things are flung. 
 
 Thus love itself slays in the face. 
 
 And offers itself in public ways. 
 
 Ah woe ! such market we have made ! 
 
 Such change must to our doors be laid j 
 
 And yet we all claim innocence ! 
 
Metrical Romances of the Minnesinger. 225 
 
 Love, the queen of every man's 
 
 Heart and soul, the holy, 
 
 Is open to purchase solely. 
 
 Lordly domain we held in her, 
 
 Now are we wretched renters mere. 
 
 We have a wicked counterfeit 
 
 Put in her gold ring — such a cheat, 
 
 Wherewith ourselves we're cheating. 
 
 A cheat, so badly fitting. 
 
 That while it cheats our friends, it aye 
 
 Comes back and cheats us the same way. 
 
 We miserable love-cheaters ! 
 
 We love's false counterfeiters ! 
 
 How do our days from us so pass. 
 
 That to this straying in wickedness 
 
 We put an end so rarely ! 
 
 How passes our life, so sparely 
 
 Endowed with pleasure and with good ! 
 
 And yet it gives us pleasant mood 
 
 When in another field it grows. 
 
 Whate'er fine story is told to us 
 
 Of matters of love affections. 
 
 All speeches we hear of the actions 
 
 Of those who lived before us, lo 
 
 Many hundred years ago : 
 
 This in our hearts gives us good cheer. 
 
 And this mood does so many stir, 
 
 That rarely lived one ever, 
 
 Who truthfulness did favor. 
 
 And who to friend ne'er falseness bore. 
 
 But such a cheer would o'er and o'er 
 
 IS 
 
226 The Minnesinger of Germany. 
 
 In heart and sense keep trying 
 
 To rouse sincere enjoying. 
 
 But lo, most pitifully it 
 
 In wretchedness now lies 'neath our feetj 
 
 It, that such joy in us does move : 
 
 The truth and steadfastness of love 1 
 
 In vain it offers itself to us. 
 
 Our eyes we turn away, and thus 
 
 The sweetest one we shatter 
 
 Under our feet and scatter. 
 
 We have trodden her out of worth 
 
 Into the dust of the earth : 
 
 Now, should we go to hunt the place. 
 
 We'd scarcely find it out straightways. 
 
 But since such very sweet reward 
 
 This faithfulness for us does guard, 
 
 Why then do we love it not ? 
 
 A glance from face that loveth, caught 
 
 From eyes that heart-love treasure. 
 
 Can drown in fullest measure 
 
 Hundred thousand sorrows. 
 
 That heart or body borrows. 
 
 A kiss from lips love-rounded, 
 
 If from the heart it bounded 
 
 And upward ventured daftly ; 
 
 Ah me ! how quickly and softly 
 
 It would dispel all heart's distress ! 
 
 As a further and final specimen of Gottfried's art, 
 we give the description of Tristan and Isolde's life in 
 the " Grotto of Love." Let the reader compare with 
 it the treatment of the same subject under the hands 
 
Metrical Romances of the Minnesinger, 227 
 
 of all other poets, particularly of Gottfried's contem- 
 poraries and predecessors, the French poets, and he 
 cannot but admire the free grace, ingenuity, and 
 chaste art-spirit with which Gottfried has wrought out 
 the same. The latter part contains, as it were, the 
 apologia of the whole poem. 
 
 With this extract we must take l6ave of the poem, 
 and indeed of the whole subject. Perhaps it would 
 have been more interesting to sketch out the story it- 
 self as Gottfried has told it, but as he remains gen- 
 erally faithful to the well-known features of the le- 
 gend, it seemed more useful to present the work- 
 manship of the artist by a translation of two of the 
 finest parts of his work. 
 
 The lovers have just been turned out of court by 
 King Mark, who has finally made up his mind that 
 they are guilty, though he has never been able to get 
 conclusive proof Brangaene is sent along with them, 
 and the three proceed thus into the wilderness. 
 
 TRISTAN AND ISOLDE IN THE GROTTO OF 
 LOVE. 
 
 Thus went the three with steady pace 
 
 Onward to the wilderness. 
 
 Through forest and o'er heather 
 
 Full two days together. 
 
 There Tristan knew from long ago 
 
 In a wild mountain a cave lying low, 
 
 Which he had found when faring 
 
 On some venture daring. 
 
 He had been riding upon his horse. 
 
 And chance had made him take this course. 
 
228 The Minnesinger of Germany. 
 
 This same cave had long before 
 
 In the heathen times of yore, 
 
 Ere Korineus was master, 
 
 When giants ruled, spreading disaster, 
 
 In the mountain's side been cut. 
 
 There had they had their hiding-spot, 
 
 When in secret they would be 
 
 And worship love's mystery. 
 
 Where such a cave their sight allured 
 
 With iron they had it secured, 
 
 And by Love's name 'mongst them it went : 
 
 La fossiure a la gent amant : 
 
 Which meaneth e'en : the Grotto of Love. 
 
 And fitting, too, the name does prove. 
 
 The story tells, moreover, 
 
 Of this fossiure and cover. 
 
 As being wide, high, and upright. 
 
 Snow-white, everywhere even and tight. 
 
 The vaulted roof closed tightly. 
 
 Deserving all praise ; and brightly 
 
 Upon the joint great splendor 
 
 A pendent crown did render. 
 
 Adorned all o'er and under 
 
 With gems : a jeweled wonder ! 
 
 And down below the floor did stretch ; 
 
 Smooth, and pure, and very rich, 
 
 Of green marble, e'en as grass. 
 
 A bed in the middle had its place, 
 
 Finely upon its pedestal 
 
 Cut out of pure crystal ; 
 
 High and wide, well upraised, 
 
 With letters on each side skillfully traced. 
 
Metrical Romances of the Minnesinger. 229 
 
 Further the story has noted : 
 
 The grotto was devoted 
 
 To the Goddess of Love. 
 
 In the grotto, ranged above, 
 
 Little windows had been made 
 
 Where the light came in and played. 
 
 These gave light here and there. 
 
 Where you went in and out, there were 
 
 The fastenings of an iron door. 
 
 Outside stood, the door before, 
 
 Richly-branched lindens three ; 
 
 None more above these could you see ; 
 
 But everywhere else around 
 
 Countless trees were to be found, 
 
 To all the mountains' ranges 
 
 Giving shade with leaves and branches. 
 
 Within the plain of the mountain 
 
 Played a flowing fountain. 
 
 With fresh clear life inherent, 
 
 And as the sun transparent. 
 
 Around it, too, three linden stood, 
 
 Beautiful, worthy of praise, and good, 
 
 Sheltering the river 
 
 From rain and sunshine ever. 
 
 Glowing flowers and green-sheened grass, 
 
 Wherewith the plain all lit up was, 
 
 Battled e'er so sweetly there. 
 
 Each one seemed there biit to care 
 
 How to outdo the other's glows. 
 
 In proper time there too arose 
 
 The pretty birds' sweet ditty ; 
 
 Their ditty rang there as pretty, 
 
230 The Minnesinger of Germany. 
 
 Aye, prettier than anywhere. 
 
 Eyes and ears as well had there 
 
 Rapture both and pleasure : 
 
 The eye its pleasure could treasure, 
 
 The ear its passing rapture. 
 
 Shade and sun there you could capture ; 
 
 And air and wind played meetly 
 
 There forever sweetly. 
 
 From this mountain and cave away 
 
 About the distance of a day. 
 
 Lay rocky ground and hilly, 
 
 A desert wild and chilly ; 
 
 There no opportunity 
 
 Of way or path the eye could see. 
 
 Yet was there nought so dreary 
 
 In this wild place, or weary, 
 
 But Tristan there must now 
 
 With his loved companion go. 
 
 Taking up quarters by the fountain 
 
 In the rocks and in the mountain. 
 
 Now when they'd quartered there, the twain. 
 
 They sent Kurvenal again. 
 
 News at the court to be spreading, 
 
 And where he might deem't needing, 
 
 That Tristan and the fair Isolde 
 
 In misery and woes manifold. 
 
 Passage had taken for Ireland's shore, 
 
 There their innocence all o'er 
 
 To make known to men and land. 
 
 They told him to depart off-hand 
 
 And at the court be ready 
 
Metrical Romances of the Minnesinger. 231 
 
 To do whate'er the lady 
 Brangaene might command him, 
 And to do remand him, 
 In her love unremitting 
 For both ; her troth ne'er quitting. 
 They told him also to find out 
 What King Mark might be about, 
 Whether he had not wicked mind 
 Some wickedness to do, and find 
 If Mark inclined to kill them ; 
 Then quick to come and tell them. 
 Again their messenger they told 
 Ever Tristan and Isolde 
 To remember duly, 
 And return most truly 
 With news that he might gather. 
 As ought to be known to either. 
 Once in every twenty days. 
 \Yhat more need I now digress ? 
 He did e'en as he was told. 
 Thus were Tristan and Isolde 
 In their house unnettled 
 Within this wilderness settled. 
 
 Now many a one does ponder. 
 And here has mickle wonder. 
 Greatly distressed e'en to be told 
 How Tristan and Isolde 
 Managed themselves to nourish 
 In this desert, and not to perish. 
 This now will I e'en tell them 
 And their great doubts dispel them ; 
 
232 The Minnesinger of Germany. 
 
 They looked into each other's face ; 
 
 Thus their nourishing took place. 
 
 The fullness, which the eye filled o'er, 
 
 Was their nourishment and store. 
 
 Nought else was now their eating 
 
 But love and soul's sweet greeting. 
 
 This loving massenie 
 
 Was their only mangerie ; 
 
 It gave them little trouble. 
 
 Under their dress the couple 
 
 Sweetly concealed did carry 
 
 Food the best, most cheery. 
 
 Which in the world can e'er be got. 
 
 This of itself to them it brought. 
 
 New and fresh each ration. 
 
 'Twas even pure troth's passion, 
 
 Love, th' embalmed and holy. 
 
 Which body and soul so fully 
 
 Fills with inmost gentleness ; 
 
 Which lends to heart and soul its grace ; 
 
 This was there their best nourishment. 
 
 Seldom they e'er their pleasure bent 
 
 To any other food than this, 
 
 Of which the heart drew all its bliss 
 
 And the eye its ecstasy ; 
 
 E'en with the body't did agree. 
 
 Thereof had they enough I trow. 
 
 Love steadily pulled its plow. 
 
 Following them step by step, 
 
 At every hour, through every hap. 
 
 And gave them all in fullest flow 
 
 That for well living life needs bestow. 
 
Metrical Romances of the Minnesinger, 233 
 
 Nor caused it them heart-burning, 
 
 That, into the desert turning, 
 
 They were left so all alone. 
 
 What needed they any other one. 
 
 Or should they do with company ? 
 
 They were an even number ; see, 
 
 There were simply one and one. 
 
 What should there a third have done ? 
 
 Had he joined their number even, 
 
 It uneven had. turned and given, 
 
 By this same uneveness 
 
 Them but trouble and distress. 
 
 To these two their society 
 
 Seemed in the twain so grand and free. 
 
 That the blessed Arthur ne'er 
 
 At home, in his own house, such cheer 
 
 And wondrous feast did enjoy, 
 
 As could have made them think't more high 
 
 And richer in its pleasures. 
 
 Of bliss, no joyful measures 
 
 Could have been found in any land. 
 
 For which these two, thus hand in hand. 
 
 Coupled and blessed together, 
 
 Had given the blow of a feather. 
 
 What every one would surely call 
 The happiest, sweetest life of all 
 In any country, far or near, 
 They had in the forest here. 
 For better life they' even 
 Would not a bean have given, 
 'Twere then their honor to regain. 
 Indeed, what more could they attain ? 
 
234 The Minnesinger of Germany. 
 
 They had a court and wealth no less 
 
 Which surely giveth happiness. 
 
 Their ample court and their wide hall 
 
 Were the linden green and tall, 
 
 The sunshine and the shadow, 
 
 The spring and the meadow. 
 
 Grass, flowers, leaves, and blossom. 
 
 What gladdens the eye and the bosom. 
 
 Their servants were the songs of the vale : 
 
 The little, gentle nightingale,^ 
 
 The graceful linnet and the thrush. 
 
 And other birdlets of the bush. 
 
 The goldfinch and the lark so dear 
 
 Sang against each other here, 
 
 As in zealous rivalry. 
 
 These servants always served in glee 
 
 Their senses and their hearing. 
 
 Their feast was love endearing. 
 
 Love, the crown of all their joy. 
 
 So to charm both in heart and eye 
 
 At every hour was able, 
 
 That Arthur's Round Table 
 
 And all its joys they here did feel. 
 
 Needed they any better meal ? 
 
 Or cheer more sweetly human ? 
 
 Here was man with woman 
 
 And woman with man : 
 
 What more needed they, then ? 
 
 They had what they ought to, 
 
 And never where they sought to. 
 
 Yet many still will worry 
 
 And with their speech us flurry, 
 
Metrical Romances of the Minnesinger. 235 
 
 Although I will not follow them, 
 Who say this play needs all the same 
 Ever other kind of food. 
 I know not if this speech be good, 
 For still methinks that does suffice. 
 But if another man, more wise, 
 Better food than that one 
 Ever in his life has known. 
 Let him speak as he knows it. 
 I, too, to lead once chose it. 
 Made that mode of life my own ; 
 Then thought I't food enough alone. 
 
 Now let me keep your favor 
 
 As I t'explain endeavor 
 
 My meaning when I asserted 
 
 Tht fossiure, where they consorted. 
 
 Had the form as I have told. 
 
 It was, as I did erst unfold. 
 
 Rounded, wide, high, and upright. 
 
 Snow-white, everywhere even and tight. 
 
 The vault so rounded riven 
 
 Is love's simplicity even. 
 
 Simplicity fits well love's shape. 
 
 For love should have no cornered trap. 
 
 The corner, which is found in love. 
 
 Is falsity and cunning's groove. 
 
 The wideness love's power does portend. 
 
 For love's power is without an end. 
 
 The height is e'en of love th' high mood. 
 
 Which up in the clouds e'er seeks its flood ; 
 
 For it deems nought ever too high, 
 
 Since it would rise up to that sky 
 
236 The Minnesinger of Germany. 
 
 Where all the virtues join and dwell 
 
 Together in a vaulted spell, 
 
 Nor knows it ever failing. 
 
 Those virtues are impaling, 
 
 Bejeweled and besplendored, 
 
 With glory so engendered, 
 
 That we, whose mood tendeth but low, 
 
 Whose mood doth ever downward flow 
 
 And keepeth clinging to the floor. 
 
 Neither floating, nor sticking more : 
 
 We all do ever upward look 
 
 And contemplate that glorious book. 
 
 Whereon those virtues are writ in gold. 
 
 Where from their praise pours down unrolled. 
 
 Which over us in the clouds float bright, 
 
 And stream adown to us their light : 
 
 These look we at with wond'ring gaze ; 
 
 These grow us wings by their sweet grace, 
 
 That waft the mood to that clear height. 
 
 Where praises it draws from them in its flight. 
 
 The wall was white, even and tight ; 
 This is truthfulness, e'er bright. 
 Its whiteness and its self-same sheen 
 Never must be speckled seen. 
 Nor must on't suspicion find 
 Cracks or spots of any kind. 
 The marble floor, that outspread there. 
 To steadfastness we may compare 
 In firmness and green splendor ; 
 Thi s it does visible render 
 
Metrical Romances of the Minnesinger. 237 
 
 In color and in quality, 
 
 For steadfastness ought e'er to be 
 
 E'en as green as the grass, 
 
 And as polished and pure as glass. 
 
 The bed, in the middle framed. 
 
 Crystal Love was namfed, 
 
 And most justly this name bore. 
 
 He love's rights knew o'er and o'er 
 
 Who from crystal had it made 
 
 For love's resting-place and bed. 
 
 Since love, like crystal, must abide 
 
 Transparent and transpurified. 
 
 Inside on the iron door 
 Two bolts were put before ; 
 A latch there also fastened. 
 Skillfully wrought in the best, and 
 Made to pass to the outer side ; 
 Where Tristan found it to abide. 
 This outside knob a lever moved. 
 From the outside to the inside grooved, 
 And thus the door opened and shut ; 
 No lock nor key in it was put. 
 And I will tell you why this was : 
 There was no lock to the door because 
 Whatever fastening on a door, 
 I mean on th' outside and no more. 
 To close it or to lock't is made 
 Tends all to show there 's falseness laid. 
 For who would enter the door of love 
 When't does not from inside open move, 
 
238 The Minnesinger of Germany. 
 
 He follows not love's own true course, 
 
 But uses falseness and vile force. 
 
 For this 'tis, that love's gate before 
 
 You always find the iron door. 
 
 Which none can hope to be moving, 
 
 Unless they move't with loving. 
 
 'Tis also iron, mark ye that. 
 
 That no force can be connived at. 
 
 Neither of violence or ill 
 
 Of cunning or of master-skill. 
 
 Or falsehood that could copen 
 
 With the door and force it open. 
 
 And inward each bolt, fastened. 
 
 Each bolt love's own seal chastened, 
 
 Was each one toward the other bent ; 
 
 Toward either side of the wall they went ; 
 
 And one was made of the cedar tree,_ 
 
 And the other one of ivory. 
 
 Now their portend consider : 
 
 The seal made of cedar 
 
 Proves that love enhances 
 
 Wisdom and the senses. 
 
 The ivory shows with sureness 
 
 Love's chastity and pureness. 
 
 With these two seals well warded. 
 
 With these pure bolts well guarded, 
 
 Is ever kept the house of love ; 
 
 Force nor lie can into't move. 
 
 The knob, of which I spoke before. 
 Which from th' outside through the door, 
 Was led the latch to catch. 
 
Metrical Romances of the Minnesinger. 239 
 
 Was a knob of tin ; the latch 
 
 Itself of gold wrought neatly, 
 
 As it should be fitly. 
 
 Latch and knob, this and that, 
 
 Neither could have had better mate, 
 
 Or in a better way been wrought. 
 
 The tin portends the will and thought 
 
 In secret to pursue it. 
 
 The gold is, how to do it. 
 
 Tin and gold fit well in here : 
 
 His will each man can certainly steer 
 
 As he chooses, and gulden. 
 
 Narrow it or widen. 
 
 Shorten or lengthen. 
 
 Weaken or strengthen. 
 
 Thus or thus, this or that way. 
 
 With little labor, like tin bends aye. 
 
 And without harm to't being done. 
 
 But who with kindly will alone 
 
 On love has bent his heart and thought, 
 
 This little knob of tin has brought, — 
 
 This tin, unseemly treasure, — 
 
 Near golden joy and pleasure. 
 
 And most rare adventure. 
 
 In the cave indenture 
 
 Was only by three windows made ; 
 
 Nicely and secretly too they had 
 
 Through the mountain's rock been cut : 
 
 Through them the sunshine came to the spot. 
 
 The one is kind behavior. 
 
 The other meekness' favor, 
 
240 The Minnesinger of Germany. 
 
 The third propriety. To these three 
 
 Laugheth in the sweet glow free, 
 
 The ever-blessbd honor, 
 
 Of all the best light-donor ; 
 
 And lights up all the places 
 
 Of blessed adventure and graces. 
 
 'T had also meaning surely, 
 
 That Mh&fossiure demurely 
 
 Lay in the wilderness alone. 
 
 From it this simile may be won : 
 
 That love and love's chance are not free 
 
 Offered on streets and publicly. 
 
 Nor in open spaces. 
 
 Love lieth in wild, strange places ; 
 
 T'her home the path is dreary, 
 
 Laborsome, and weary. 
 
 Mountains lie around it, 
 
 And with many a turning bound it. 
 
 Leading astray the seekers. 
 
 Paths up and down, with breakers, 
 
 For us poor martyrs groping. 
 
 And rocks bestrewn run sloping, 
 
 So twistedly, keep we not straight 
 
 On the path, or but one step stray get, 
 
 We ne'er shall find a clearing. 
 
 But stay there ever erring. 
 
 But who so blessbd shall be found 
 
 That he at last reaches its bound. 
 
 That same one all his toil's distress 
 
 Most blessedly invested has. 
 
 There findeth he his heart's loved play j 
 
 For what the ear would hear alway, 
 
 And what the eye should ever love. 
 
Metrical Romances of the Minnesinger. 241 
 
 All in this wilderness does move. 
 He would not like to be elsewhere- 
 
 This I know well, for I was there. 
 
 I also in this hollow 
 
 Wild birds and game did follow ; 
 
 The stag and wild beasts over 
 
 Many a wooded cover 
 
 Following and pursuing ; 
 
 But yet time so undoing, 
 
 That I the quarry ' ne'er saw yet. 
 
 My labor and my toil ne'er met 
 
 Any sort of adventure. 
 
 I found ik\& fossiure' s centre, 
 
 The knob and latch I lifted. 
 
 Yea, to the crystal drifted 
 
 I at hours and eyed it. 
 
 Often and often I tried it, 
 
 E'en how to rtfach it, drawing close, 
 
 Yet did I ne'er in it repose. 
 
 Ah, but the floor in front of it ! 
 
 However hard its marble sheet, 
 
 I so with steps have it defaced : 
 
 Had not its greenness food replaced, 
 
 From which it all its virtues drew, 
 
 Of which it daily anew there gtew, 
 
 You still could see engraven 
 
 The trace Love's steps had pavenv 
 
 Aye, and of the gleaming wall 
 
 Often did my eyes scan all ; 
 
 i Skinning of the deer. 
 16 
 
.342 The Minnesinger of Germany. 
 
 And all o'er the vaulted dome 
 Where the arches together come 
 Have I glanced with wonder. 
 My eyes opened to yonder 
 Jeweled crown so fairly 
 Bestarred, praiseworthy and rarely. 
 The sun-erasing window's art 
 Even has sent into my heart 
 ■Often their brightest glow. 
 I ^i^fossiure learned to know 
 Even at my eleventh year ; 
 And yet in Kurnerval was I ne'er. 
 
 The faithful and devoted pair, 
 
 Tristan and Isolde the fair, 
 
 Had in this sweet wilderness. 
 
 The forest and the fields, sweet ease 
 
 And time enough to ponder, 
 
 And o'er their love to wonder: 
 
 They both loved ever and alway 
 
 At each other's side to stay. 
 
 At morning in the dew they went 
 
 Down to the meadow's wide extent, 
 
 Whereon the grass and colored flowers 
 
 :Stood new-refreshed by dewy showers. 
 
 The cool fresh meadow there did seem 
 
 A fairy realm of bliss to them. 
 
 Together up and down they'd walk 
 
 Talking together sweet love-talk ; 
 
 And listening 'midst their whispered words 
 
 To the sweet singing of the birds. 
 
 Then would they walk towards a spot 
 
Metrical Romances of the Minnesinger. 243 
 
 Where a cool spring played in a grot ; 
 To its sweet tune then list'ning^ 
 And watching it flowing and glist'ning 
 To where it vanished in the plain. 
 There sat they down and rested then, 
 List'ning to the flowing, 
 And watching the rivulet's glowing : 
 This was their sweetest pleasure. 
 
 But when the sun's full measure 
 
 Began to show itself on high, 
 
 And fiercer heat fell from the sky, 
 
 Then went they to the shadow 
 
 Of the linden on the meadow. 
 
 Where the sweet breezes still their breast 
 
 Both in and outwardly caressed ; 
 
 They gladdened their eye and senses there. 
 
 There the sweet linden sweetened e'er 
 
 By its green leaves the air and shade. 
 
 Its shade the gentle wind sweet made : 
 
 Sweet, cool, and refreshing. 
 
 The linden's bench was flashing 
 
 With flowers and grass so gay, I wot. 
 
 It made it the best-painted spot 
 
 That e'er did round a linden stand. 
 
 And here they sat them, hand in hand. 
 
 Lover by faithful lover. 
 
 Telling old stories over 
 
 Of passionate lovers, that, years ago. 
 
 Were all destroyed by love's great woe. 
 
 They talked of many a lover ; 
 
 Pitying and sorrowing over 
 
244 "^^^ Minnesinger of Germany. 
 
 Phyllis of Thracia and her fate, 
 
 And poor Canac6, and the great 
 
 Anguish she suffered from love's stroke. 
 
 And o'er sweet Byblis, whose heart broke 
 
 With love for her fair brother. 
 
 Then wept they o'er that other 
 
 Sad tale of Dido, Queen of Tyre 
 
 And Sidon, who from love's wild fire 
 
 Had suffered sorrows great and sore. 
 
 Thus beguiled they with love-lore 
 
 Many an hour of leisure. 
 
 When then they felt a pleasure 
 
 Another sport or joy to have, 
 
 They'd retire into their cave 
 
 And there take into their hand 
 
 Whatsoever mirth might lend. 
 
 Then through the cave went ringing 
 
 Their harping and their singing 
 
 Yearningly and sweetly. 
 
 They changed their playing fitly 
 
 With their hands and their tongue-.. 
 
 Thus they harped and they sung 
 
 Lays and notes of loving. 
 
 Therein they kept moving 
 
 As it might please either one. 
 
 Whiche'er then struck the harp's sweet tone 
 
 It ever was the other's way 
 
 To deem't so sweet and fine a play 
 
 That th' other needs must sing thereto. 
 
 Moreover ev'ry sound there so 
 
 Delightfully and sweetly rung 
 
 Of the harp and of the: tongue, 
 
Metrical Romances of the Minnesinger. 245 
 
 When they joined in a harmony, 
 
 That their cave most truthfully 
 
 Ever by the sweet name went : 
 
 La fossiure a la gent amant. 
 
 But all that of adventure 
 
 Round ^vs> fossiure did centre, 
 
 And ever had been spoken, 
 
 Of that got they full token. 
 
 Their hostess, Love, that treasure. 
 
 Now first began her pleasure 
 
 In that cavern to display. 
 
 Whate'er had been before that day ; 
 
 Of games invented or delights. 
 
 Came not up to their new rites. 
 
 Of love was livfed surely 
 
 Never aught so purely 
 
 Than amongst them their loving play. 
 
 They passed love's hours away so gay, 
 
 So well, as never lovers did. 
 
 Naught but whereunto they were bid 
 
 By their own hearts did they ever do. 
 
 Enough of pastime found the two 
 T'indulge in each day's courses. 
 They rode at times on horses 
 Through the wildernesses 
 With their arching pieces ; 
 O'er the desert prying, 
 Birds and wild beasts spying. 
 Some days too adown the hollow 
 In the chase the stag they'd follow 
 With Hiudane, their faithful hound. 
 That ne'er before was known to bound 
 
246 The Minnesinger of Germany. 
 
 Without bark the track anent. 
 
 But Tristan now so'd trained its scent, 
 
 And taught it over and over 
 
 To follow the deer, or the cover 
 
 Of the wild beast, or any game, 
 
 Through forests and through fields the same, 
 
 On the scent of the beast. 
 
 Without bark or noise the least. 
 
 Therewith enjoyed they many a day j 
 
 Nor did they do it for the prey 
 
 As most men do it in the chase. 
 
 They did it for pastime always. 
 
 And always found it them to please. 
 
 Their hound and eke their arching piece 
 
 They exercised, as I well know. 
 
 More for their pleasure and heart's glow. 
 
 And for delectation, 
 
 Than to seek their ration. 
 
 Their doings and their passions 
 
 Were upon all occasions 
 
 Nothing else than simply this : 
 
 To do that which seemed most to please. 
 
 But the while this happened here, 
 Much distress and little cheer 
 Had King Mark, the weary. 
 He was mickle dreary 
 Over his honor and his wife. 
 Him now grew his mood and life 
 From day to day more cheerless. 
 Honor and good more dearless. 
 Now one day that time he rode 
 
Metrical Romances of the Minnesinger. 247 
 
 Out hunting in that self-same wood 
 More his grief to quiet 
 Than for venturous riot. 
 And when to the wood they came 
 They found there a herd of game 
 By their hounds' faithful scent. 
 Then the hounds forward went, 
 And the king's dogs with cunning art 
 Had quickly set and driven apart 
 From the herd a rare, strange stag. 
 A mane of horse flew from his neck ; 
 Strong was he and tall and sleek. 
 Small his horns, and antlered weak. 
 Just beginning regrowing, 
 As he'd been them off-throwing 
 Not so very long ago. 
 Him the chase hunted now 
 With a roused up rival zest 
 Till the eve set in at last ; 
 Then they were thrown off the track. 
 Thus the stag escaped and back 
 Hurried frightened to his home, 
 Even to where he had come from ; 
 This was where t\\&/ossiure was ; 
 Thither he fled and thus found grace. 
 
 Now worried it Mark sorely, 
 
 The hunters, too, felt poorly. 
 
 That it so happened with the deer. 
 
 For he had looked quite strange and queer 
 , In his color and with his mane. 
 . They all were disappointed then. 
 
248 The Minnesinger of Germany. 
 
 Their hounds they called back with all might ; 
 
 Then settled down to pass the night, 
 
 For rest they sorely needed all. 
 
 Now Tristan and Isolde the call 
 
 Of horns and hounds had the whole day 
 
 Heard coming through the forest aye, 
 
 The bugle and the barking ; 
 
 And had been remarking 
 
 Straightway that it must be Mark. 
 
 Then their hearts grew drear and dark. 
 
 Both were troubled by the fear. 
 
 He knew them concealed here. 
 
 The next day at early dawn 
 
 The hunting master rose alone 
 
 Ere the clouds were lined with red, 
 
 And bid his men stay where they laid 
 
 Till the day's in the hollow, 
 
 Then his traces to follow. 
 
 To a leading string he tied 
 
 The surest hound that he espied. 
 
 And took him straight to the scent. 
 
 Then led the hound him as he went 
 
 Through many dangerous passes 
 
 O'er rocky and steep places, 
 
 Over stones and grassy plot 
 
 Till they came to the same spot, 
 
 Where last night the stag escaped. 
 
 Now followed they the trail, and trapped 
 
 Him through the hollow and the close ; 
 
 Then the morning sun arose . 
 
 And found them on the mountain 
 
 E'en by Tristan's fountain. 
 
Metrical Romances of the Minnesinger. 249 
 
 That same early morn Tristan 
 
 And his love-companion, 
 
 Hand in hand walking, 
 
 Went forth, sweetly talking, 
 
 In th' early dew to the flowered 
 
 Meadow, where it lowered 
 
 Down into the glorious vale. 
 
 Lark and nightingale 
 
 Began their organ-fluting 
 
 Their company saluting. 
 
 They greeted, not unholdy, 
 
 Tristan and Isolde. 
 
 The wild birdlets of the wood 
 
 Bid them welcome too, renewed, 
 
 In their sweet-toned Latin. 
 
 Many sweet birds, their matin 
 
 Singing, found them welcome there. 
 
 They all had put on cheery air 
 
 Of pleasantest enjoyment. 
 
 To please, by their employment, 
 
 The loving twain, they sang now 
 
 Their blissful song, and rang now 
 
 Its changeful, varying measures. 
 
 O ! many sweet tongue rare treasures 
 
 Then schantoit and discantoit. 
 
 In schanzun and in refloit 
 
 For the lovers' hearing. 
 
 The cool spring endearing 
 
 Most sweetly shone on their sight, and dear, 
 
 But sweeter still rang in their ear. 
 
 Murmuring't went to greet the pair, 
 
 And with its murmur received them there. 
 
250 The Minnesinger of Germany. 
 
 Sweetly it murmured, fitting 
 
 Gentle lover's greeting. 
 
 The linden too greeting uttered 
 
 With sweet winds, low-fluttered, 
 
 Inward and outward enticing, 
 
 The ears and the heart rejoicing. 
 
 The wood-trees blossom 
 
 The meadows gay bosom, 
 
 The flowers, and the dark green grass, 
 
 And all that blooming around there was, 
 
 It all laughed at them sweetest smile. 
 
 Sweet greeting e'en did round them coil, 
 
 The dew's fresh fullness. 
 
 It gave their feet coolness 
 
 And refreshed their heart and soul. 
 
 When this had been done to the full. 
 
 They stole to the grotto back. 
 
 And began counsel to take 
 
 How to guide their doing, 
 
 For fears kept them pursuing, 
 
 And dread — e'en as it came to be — 
 
 That in some way soon somebody 
 
 Of the hunters might pass by them 
 
 And in their doings spy them. 
 
 Then hit Tristan on a thought, 
 
 Which pleased both and was done on the spot. 
 
 They went into the bed again 
 
 And there again laid down, the twain, 
 
 But apart, in such a way 
 
 As a man with man does lay, 
 
 Not as woman with a man. 
 
Metrical Romances of the Minnesinger. 251 
 
 Thus lay love with love, but fain 
 In strange fashion in the bed. 
 Tristan furthermore had laid 
 His naked sword between the pair ; 
 Thus lay he here and she lay there ; 
 They lay asunder, one and one ; 
 Thus asleep together gone. 
 
 The hunter now, of whom I read. 
 
 Whom to the spring his hound had led. 
 
 Saw in the dew some traces. 
 
 E'en Tristan and Isolde's paces, 
 
 Where they had gone before that day. 
 
 These took he for the stag's lost way, 
 
 He jumped from horse and 'gan to take 
 
 Straight along the self-same track 
 
 Which the two had gone before. 
 
 This brought him to \hs. fossiur^ s door. 
 
 But this securely had been shut 
 
 By the two bolts behind it put : 
 
 So now no further could he go. 
 
 But since this path was closed t'him so. 
 
 He tried to get around it. 
 
 All round and round he found it 
 
 Tightly closed, until by chance 
 
 Up above espied his glance 
 
 A concealed window neat. 
 
 Cautiously looked he into it 
 
 And beheld, thus spying. 
 
 Love's sole guests there lying : 
 
 Simply a woman and a man. 
 
 Wondrously he looked again, 
 
252 The Minnesinger of Germany. 
 
 For to him seemed the woman 
 So fair, as ne'er of common 
 Woman's womb, so rarely made, 
 Into the world could have been bred. 
 Yet did he not a long while stare 
 Until his eyes became aware 
 How the sword there naked laid. 
 Thereat became he sore afraid. 
 It seemed to him quite frightening. 
 He thought he might be sightening 
 Some unearthly things in the cave. 
 Fear drove him himself to save : 
 He ran quick down the mountain 
 And back to the hound by the fountain. 
 
 Now Mark had also hastened, 
 
 And, his horse unfastened. 
 
 In advance of his followers, rode through the wood. 
 
 He met that hunter as he rode. 
 
 " O, listen ! " cried he, panting, 
 
 " King, Lord, I bring enchanting 
 
 News of rare adventure. 
 
 Which here around does centre." 
 
 " Adventure ? Of what manner ? " 
 
 " A Love-fossiure ! " " Speak plainer ! 
 
 Where didst thou find it, in what way ? " 
 
 " My Lord, e'en in this wold astray." 
 
 " In this wild desert wold ? " " Sire, yes ! " 
 
 " Is any one living in the place ? " 
 
 "Yes, sir, it is the cover 
 
 Of a goddess and man lover. 
 
 Upon a bed they're sleeping 
 
Metrical Romances of the Minnesinger. 253 
 
 As if a wager keeping. 
 
 The man is like another man, 
 
 But I some doubts do still retain 
 
 Whether his sleep comrade be 
 
 A human being : so fair is she. 
 
 Aye, fairer than a fairy. 
 
 Of flesh and bone, unairy, 
 
 Could ne'er have been bred creature 
 
 On earth, so shaped each feature. 
 
 And, — I know not from what cause, — 
 
 A naked sword between them was 
 
 Lying, very bright and gay." 
 
 The king said, " Lead thou me the way.'" 
 
 Then led the hunter him again 
 Through the wilderness and plain 
 To where he erst dismounted had. 
 The king dismounted too, and bade 
 The hunter stay e'en where he was ; 
 Alone the king strode through the grass. 
 And now when Mark came to the door. 
 He turned aside and o'er and o'er 
 The cavern's walls went spying, 
 Each side of the stone walls trying, 
 And taking every turning 
 He from the hunter'd been learning. 
 Till he came to the windowed place. 
 Then through the window fell his gaze; 
 On love and sorrow, sweet couple. 
 He saw them both so supple 
 Moulded lying there in the bed 
 Of crystal, still in deep sleep laid. 
 
254 "^^^ Minnesmger of Germany. 
 
 He found them, too, as they had been found. 
 
 Each from the other turned around. 
 
 The one this way, the other that. 
 
 Between them the drawn sword lay pat. 
 
 He recognized nephew and wife ; 
 
 His heart within him, yea, all his life 
 
 Turned cold with infinite loving, 
 
 Aye, and with sorrow moving. 
 
 This strange opportunity 
 
 Woke both pleasure and sorrow, see : 
 
 Pleasure, as attesting 
 
 Their innocence, thus resting ; 
 
 Sorrow, to see together both. 
 
 In his heart spoke he loth : 
 
 " Gracious God and Lord, show me 
 
 What may the truth of these things be ? 
 
 If anything like that has passed, 
 
 Which my suspicion charged amazed, 
 
 How lie they in this fashion ? 
 
 Sure woman loved man with passion 
 
 Should in her arms be holding. 
 
 Always dearly enfolding, 
 
 How then these lovers lie they so ?" 
 
 Then to himself spoke he low : 
 
 " In this matter is there aught ? 
 
 Is there guilt or is there not ? " 
 
 Thus came doubt with sore distress. 
 
 " Guilt ? " said he,- " Truly, yes." 
 
 " Guilt ? " said he, " Truly, no ! " 
 
 Thus ruminated he on the two, 
 Till the poor way-lost man, 
 
Metrical Romances of the Minnesinger. 255 
 
 Mark, at last to doubt began 
 
 Of the lovers' loving. 
 
 Love, e'er hate-removing, 
 
 Stole moreo'er unto him 
 
 Assurance full to show him. 
 
 Adorned in all her brightness. 
 
 She had on her whiteness 
 
 Skillfully spread over 
 
 Bold lie's red gold cover. 
 
 Painted in best color : No ! 
 
 This word shone and cast its glow 
 
 Into Mark's heart most thorough. 
 
 The other, his great sorrow. 
 
 The word, so mickle unpleasant. Yes, 
 
 Of that saw Mark now not the least trace. 
 
 It had straightway been put aside, 
 
 No doubt or fear did now abide. 
 
 Love's own overguilding maid. 
 
 Sweet golden Innocence, now led 
 
 His eyes and soul and senses 
 
 With her coaxing trances 
 
 To where the gladsome easterday. 
 
 Aye, of all his pleasures lay. 
 
 He looked upon that treasure, 
 
 Isolde, his heart's sole pleasure, 
 
 And never in all past time't did seem 
 
 So beautiful had she looked to him. 
 
 I know not what toil't could have been, 
 Which could have heated her rosy sheen 
 As the story telleth us, 
 Coloring her so glorious, 
 
256 The Minnesinger of Germa7ty. 
 
 She seemed so sweetly burning 
 
 A mixfed rose upturning 
 
 Her wondrous face up to the man. 
 
 Her mouth fired and burned again 
 
 Even as a burning coal. 
 
 Ah, now I recollect the whole 
 
 What the toil was made it so, 
 
 Isolde, I said not long ago, 
 
 Had in the dew of the morning 
 
 Down to the dale been turning, 
 
 And this had roused her color. 
 
 The sun, too, risen fuller, 
 
 Now down upon her sent a gleam. 
 
 Upon her cheek lit the wee stream. 
 
 And on her mouth and on her chin. 
 
 Two wonders joined that time to win 
 
 Between themselves a curious game ; 
 
 Light and light shone ; both the same ; 
 
 This sun and that sun ; either 
 
 Had great joy together 
 
 In the wedding, they thus play'd 
 
 On Isolde's face upon her bed. 
 
 Her chin, her mouth, her color, her skin 
 
 Shone, O, so wondrous there within. 
 
 So lovingly, so full of grace \ 
 
 Mark felt it rushing to his face ;. 
 
 Desire arose and yearning. 
 
 To kiss that mouth love-burning. 
 
 Love came and threw in him her flame, 
 
 Love threw her flames in the man so grame^ 
 
 By the beauty of her body. 
 
 Her beauty so sunny and ruddy 
 
Metrical Romances of the Minnesinger. 257 
 
 Coaxed with all its trances 
 
 To love and loving his senses. 
 
 His eye looked with a charmfed stare, 
 
 Deeply he became aware 
 
 How beautiful gleamed from her dress 
 
 Her neck and her bosom's grace, 
 
 Her arms and hands so rounded. 
 
 Her hair, all unbounded, 
 
 Had upon't a clover-wreath. 
 
 Her master thought her — scarce did he breathe — 
 
 More charming than she ever was. 
 
 Now when he saw the sunshine, as 
 It from above through the stone 
 Upon her glorious features shone, 
 He feared that her complexion might 
 Be harmed and damaged by the light. 
 He took grass, flowers, leaves, and thus 
 The window he began to close. 
 Then wafting toward the fair his blessing. 
 And for her welfare God addressing. 
 He took leave, weeping amain. 
 The broken-hearted man again 
 To his hounds returned straight. 
 The chase he stopped, nor did he wait. 
 But speedily commanded. 
 The hunt being ended. 
 Hunters and hounds home to return. 
 This did he, that no one might learn 
 About the grotto and go there 
 And behold the banished pair. 
 17 
 
258 The Minnesinger of Germany. 
 
 Scarce had the king departed when 
 Isolde woke up and Tristan. 
 Now when they 'gan to look around 
 For the sunshine, lo, they found 
 It shone not in as it did before, 
 But only through two windows more. 
 When then they looked up to the third, 
 And saw no light through it appeared, 
 They began to wonder. 
 Nor waited they longer yonder 
 But straightway got up both and took 
 Outside of the cave good look. 
 Then leaves, flowers, and the grass 
 Which were in the window's place 
 To their sight appeared off-hand. 
 The two traced also in the sand 
 Of xh&fossiure and far back 
 A man's step and a man's track, 
 Even there and even then. 
 This made tremble them again 
 And with fear to flurry. 
 They thought in their worry 
 » Mark had somehow found the spot 
 And of them had taken note. 
 This their apprehension was ; 
 But of certainty no trace 
 Could they there discover. 
 Their great hope was moreover. 
 That whosoe'er had seen them 
 Had seen the sword between them. 
 And how they turned from each other were, 
 And in what manner lying there. 
 
Metrical Romances of the Minnesinger. 259 
 
 The king at once 'gan sending 
 
 And bid at court attending 
 
 All the counsel and friends of his 
 
 T'advise with them in his distress. 
 
 He told them and made to them known, 
 
 All I just to you have shown ; 
 
 How he had found the couple, 
 
 And how, 'midst all his trouble. 
 
 He had resolved that he would hold 
 
 Guiltless both Tristan and Isolde. 
 
 His counsel noted them offhand 
 
 How his will now seemed to bend. 
 
 And that his speech was even framed 
 
 To have the fair to the court reclaimed. 
 
 They counseled as the wise men do, 
 
 That is, e'en as his heart did show, 
 
 And as his wishes tended : 
 
 That he should send befriended 
 
 Messenger to his nephew and wife ; 
 
 No proof of guilt or shameless life 
 
 Being had, and no suspicion raised, 
 
 Kurvenal was called and pressed 
 
 To undertake the passage 
 
 Through the wilderness with this message. 
 
 He knowing where to find them. 
 
 The king bid him remind them. 
 
 Both Tristan and his wife, the queen. 
 
 Of his love and grace, and e'en 
 
 Tell them on their returning 
 
 No more jealous heart-burning 
 
 Should ever trouble between them raise. 
 
26a The Minnesinger of Germany. 
 
 Kurvenal then went his ways 
 
 And to both made known Mark's mood. 
 
 This seemed to both the lovers good, 
 
 And in their hearts they both were glad. 
 
 This gladness through both of them had 
 
 In a far greater measure 
 
 For God and honor than pleasure, 
 
 Or for any other thing on earth. 
 
 Both returned to former worth 
 
 And their station as before. 
 
 But henceforth and nevermore 
 
 In all their years they ever 
 
 So sweetly quaffed love's favor. 
 
 Nor found they opportunity 
 
 E'er as before that time, so free. 
 
 And yet King Mark endeavored, 
 
 And court and men all favored 
 
 To show them kindness still stronger. 
 
 But they were no longer 
 
 Free and constraintless. 
 
 Mark from doubt ne'er taintless 
 
 Entreated and commanded. 
 
 From Tristan and Isolde demanded, 
 
 That they for God's sake and for his 
 
 Should proper measure keep in this, 
 
 And the ever sweet trances 
 
 Of their loving glances 
 
 Try to avoid and smother. 
 
 Nor keep so near each other. 
 
 And speak so lovingly as before. 
 
 This grieved the lovers very sore. 
 
Metrical Romances of the Minnesinger. 261 
 
 Mark, however, now was glad. 
 
 For his gladness, though, he had 
 
 In his wife, whatever 
 
 His heart desired of favor, 
 
 Only in appearance. 
 
 He had no endearance 
 
 Of love or of loving. 
 
 That happiness heart moving, 
 
 Which God created, in his wife. 
 
 True in his name and for his life 
 
 She was his lady and his queen. 
 
 In all that he was king within. 
 
 Yet did he take it all for good 
 
 And cherish toward her fond mood 
 
 As if he were her lover. 
 
 This was the fault all over 
 
 Of that heartless blindedhess. 
 
 And foolish, whereof the proverb says : 
 
 " The blindness of love blindeth 
 
 Outward and inward ; and grindeth 
 
 Blindness out of eye and mind. 
 
 So that they'll never see and find 
 
 What yet before their sight lies close." 
 
 To Mark it happened even thus : 
 
 He knew it just as sure as death. 
 
 And saw how Isolde's his wife's faith 
 
 Heart and soul kept moving 
 
 Simply in Tristan's loving ; 
 
 How this to them was all ; but lo. 
 
 Although he saw he would not know. 
 
 Now whom shall we assign the guilt 
 
 Of that joyless life, unhealt, 
 
262 The Minnesinger of Germany. 
 
 The two led thus together ? 
 
 For truly it were neither 
 
 Right nor fair to accuse Isolde 
 
 Of falseness or deceiving mould. 
 
 Nor she deceived him, nor Tristan. 
 
 With his own eyes he saw it plain 
 
 And knew it unseen well enough, 
 
 That she for him had ne'er felt love ; 
 
 And yet he loved her without that. 
 
 " But why, sir, tell us, and for what 
 
 Bore he towards her such loving mood ? " 
 
 For the same cause, which yet holds good : 
 
 Desiring and love yearning 
 
 Must suffer heart-burning ; 
 
 For so to suffer is their fate. 
 
 Ah, how e'en yet to-day are met 
 
 So many a Mark and Isolde here — 
 
 But that they wish't not mentioned e'er ! — 
 
 Who blinder or at least as blind 
 
 In heart and eye are, and in mind. 
 
 Not only are there not found none, 
 
 No, many and many are there, each one 
 
 With blindness struck so sheerly. 
 
 He will not know what clearly 
 
 Before his eyes lies patent. 
 
 His hope in a lie stays latent. 
 
 Although he knows, and though he sees. 
 
 Whose fault then is this blindness his ? 
 
 If we would judge them fairly 
 
 The women should be clearly 
 
 Charged with no guilt ; for this is plain : 
 
Metrical Romances of the Minnesinger. 263 
 
 They're innocent towards the men, 
 
 Whom they let with their own eyes see 
 
 What they are doing openly. 
 
 Who sees the guilt with his own eyes 
 
 Cannot say that his wife him lies, 
 
 Cheats, or deceives. No, truly, 
 
 'Tis simply lust, th' unruly. 
 
 Which draws the neck up 'fore his eyes. 
 
 Lust is that cataract which lies 
 
 Blinding in the well-seeing sight 
 
 Of all the world and time and light. 
 
 Whatever men of blindness say : 
 
 No blindness blindeth any way 
 
 So thoroughly, so fully 
 
 As longing lust unruly. 
 
 Howe'er we'd pass't in silence by, 
 
 The truth of the saying we can't deny : 
 
 " Beauty killeth duty." 
 
 The wonderful, great beauty 
 
 Of Isolde blinded 
 
 By its bloom th' unminded 
 
 Mark without and within, 
 
 Eyes and soul, with such a screen. 
 
 That he could not see in her aught 
 
 What he might charge as bad ; no, nought. 
 
 All that he saw her doing 
 
 As the best shone in his knowing. 
 
 To end this matter, let me say 
 
 He loved to be with her alway 
 
 So dearly, that he overlooked 
 
 All the care and grief he from her brooked. 
 
264 The Minnesinger of Germany. 
 
 What in the heart lies all the time 
 
 Sealed up and closed from its first prime, 
 
 Cannot remain long hidden. 
 
 We like to do what bidden 
 
 By our thoughts to do in a matter. 
 
 The eye loves to fetter 
 
 Its sight into its pleasure. 
 
 Heart and eye, both treasure 
 
 And love to pasture on that lawn. 
 
 Where each its pleasure sees upgrown. 
 
 And who such play would seek to spoil, 
 
 God knows, makes't dearer all the while. 
 
 The more you try to drive them off, 
 
 The more they love this play of love. 
 
 And closer grasp it in their hold. 
 
 Thus did Tristan and Isolde. 
 
 As soon as this to them was done. 
 
 And all their joy and pleasure gone. 
 
 By watchful guard locked out their love. 
 
 And by command from them shut off: 
 
 Sorely seized them sorrow. 
 
 Love and longing then through 
 
 Grief first roused in them, and woe. 
 
 Aye woe more wild than e'er ; and so 
 
 They yearned toward each other 
 
 With a burning, harder to smother. 
 
 Than them before had troubled. 
 
 The mountain load redoubled 
 
 Fell on them, of the hated 
 
 Watch ; and unabated 
 
 Pressed on them like a mountain of lead. 
 
 Watchful guard — the devil -bred — 
 
Metrical Romances of the Minnesinger. 265 
 
 That foe of love and hater 
 
 All their mind did scatter. 
 
 Isolde chiefly languished. 
 
 She grieved and she anguished : 
 
 Tristan's estrangement was her grief. 
 
 The more her lord told her to live 
 
 No more with Tristan so intimate, 
 
 The more her thought and soul did set, 
 
 And in Tristan were buried now. 
 
 Aye, thanks to the watch for this we owe ! 
 
 The watch does ever feed and bear, 
 
 Whene'er we feeding it uprear, 
 
 Nought but the haw-bush and the thorn, 
 
 This is the jealous wrath then born, 
 
 Which glory and honor takes fro' man. 
 
 And dishonors many a woman, 
 
 Who'd gladly honor nourish, 
 
 Would we her rightly cherish. 
 
 But when injustice her is showed, 
 
 She sickens in honor and in mood. 
 
 Thus has the watch perverted. 
 
 And honor and mood deserted. 
 
 And with all these tricks uncommon, 
 
 Watch is wasted on woman ; 
 
 And for this ground : because no man 
 
 With watch a bad one can restrain ; 
 
 And a good one needs no watch, for she 
 
 Watches herself, as we can see. 
 
 And who puts other v/atch her o'er 
 
 Grows hateful to her more and more ; 
 
 Helping merely to lower 
 
 The woman, and taking fro' her 
 
266 The Minnesinger of Germany. 
 
 Honor and truth so fully, 
 
 She nevermore can duly 
 
 To pure behavior now return. 
 
 There 's always something will stay and burn ! 
 
 'Tis even the fruit the hawthorn left. 
 
 For wheresoe'er the hawthorn daft 
 
 In such sweet ground and furrow 
 
 Took its root once through, 
 
 'Tis harder work to weed it out 
 
 Than when in the desert it does sprout. ■ 
 
 I know well, that a noble will, 
 
 If we unjustly treat it, till 
 
 To evil fruit't at last gives birth. 
 
 Henceforth more evil fruit brings forth 
 
 Than one that 's always evil been. 
 
 'Tis true, for thus I've read it e'en. 
 
 Hence should a wise man and one whom 
 
 A woman's honor is dear and home. 
 
 On a woman's doing 
 
 No watch keep e'er pursuing 
 
 In secret, or guard, other than 
 
 Kind teaching and guiding can restrain, 
 
 Tenderness and loving. 
 
 This watch ne'er-removing 
 
 He for a certainty may know 
 
 Better watch none can bestow. 
 
 For whether she good or evil is, 
 
 Does one her often injustice, 
 
 She, like enough, a mind will sprout. 
 
 Which you would gladly be without. 
 
 Nay, every brave and honest man. 
 
Metrical Romances of the Minnesinger. 267 
 
 Who manful mood boasts not in vain, 
 Should trust in his wife's purity, 
 And in himself have surety 
 That for his love and pleasure 
 She'll ne'er transgress the measure 
 However you begin it ; 
 From woman her love, to win it 
 You must not use, or force, or eke 
 Such evil ways as some men seek. 
 You'll rather quench love in this way. 
 Watch is in love an evil play. 
 It quickens anger and passion's host. 
 And the woman with it is surely lost. 
 
 Faith, who'd leave off these vain commands 
 
 Would certainly do well, my friends ! 
 
 In women they raise scorn and scoff. 
 
 Simply to break them is pleasure enough j 
 
 And thus we do what we never done had 
 
 Had it not been prohibited. 
 
 This very thistle and this thorn, 
 
 God knows ! in woman seems inborn. 
 
 Women of this kind, who so live. 
 
 Are children of their mother Eve. 
 
 She 'twas who the first commandment broke. 
 
 Our Lord God gave her leave to pluck 
 
 Fruits and flowers and rare grass. 
 
 All that there in paradise was. 
 
 To do with it without measure 
 
 As might suit her pleasure. 
 
 But one He her prohibited 
 
 By hef life and death — 'tis said 
 
268 The Minnesinger of Germany. 
 
 By priests this tree of Eden 
 
 Was the fig-tree all fruit-laden. 
 
 This plucked she and broke God's command, 
 
 Loosing herself and God oflf-hand. 
 
 It is e'en still my firm belief, 
 
 Eve never had thus come to grief, 
 
 Had not the command been on her laid. 
 
 The first work thus which e'er she made 
 
 Therewith she built up all her kind : 
 
 What was commanded she did not mind. 
 
 And when we think the matter o'er, 
 
 Eve surely could dispense this ; for 
 
 Of all the fruits this woman 
 
 Could claim all in common 
 
 At her pleasure's option. 
 
 This one but the exception ; 
 
 And yet she would none but this one. 
 
 And all her honor with it was gone. 
 
 Thus are they all yet children of Eve, 
 Who after Eve are Eved and live. 
 Aye who the command could issue : 
 How many of Eve's tissue 
 Could yet be found command would eke 
 Themselves and God most untrue make ! 
 Now since their kind brings this with it, 
 And nature thus makes't in them meet : 
 That woman, who can above it rise 
 Gains praise and honor in our eyes. 
 For she is virtuous in spite of kind. 
 Who gladly in spite of kind keeps mind 
 Of her honor, body, and her shame. 
 
Metrical Romances of th& Minnesinger. 269 
 
 She is a woman but by name, 
 
 And is a man in manner. 
 
 Nor should we e'er restrain her, 
 
 But all her deeds upon her 
 
 Turn to praises and honor. 
 
 Where thus a woman her womanhood 
 
 And her heart throws off and mood, 
 
 And with man's kind thus blendeth 
 
 There the pine-tree honey spendeth. 
 
 The henbane balm outfloweth ; 
 
 The nettle's root upgroweth 
 
 Into fair rose unto men. 
 
 What else indeed can woman 
 
 Bring forth of purer breeding 
 
 Than 'gainst her body's pleading 
 
 To lead her honor's forces ? 
 
 According to the resources 
 
 Of each, body and honor ? 
 
 Turning the fight upon her 
 
 So that each one gets its just due ; 
 
 Protecting each one of the two 
 
 So that the other one dies not 
 
 Neglected by her in its lot ? 
 
 She no noble woman is 
 
 Who her body her honor to please. 
 
 Or her honor for her body neglects. 
 
 She has the power, if she right acts. 
 
 To keep of both possession, 
 
 Detract from neither in passion. 
 
 But keep both retaining 
 
 In weal or woe ne'er waning, 
 
270 The Minnesinger of Germany. 
 
 No matter what may happen. 
 God knows, things must so shapen, 
 That she will rise in worth always. 
 With effort e'er remittingless 
 Let her by proper measure 
 Weigh all her life and pleasure ; 
 Therewith e'er garnish all her soul 
 Thereunder her body and arts enroll. 
 Measure, the pure and holy, 
 Body and honor guards solely. 
 
 Of all the things that in this world 
 The sunlight has to sight unfurled 
 The blessedest thing a woman is, 
 Who body and life, never remiss, 
 Doth under measure's rule e'er keep. 
 Who for herself feels rare love deep ; 
 And all the time and all the while 
 That she on herself with love does smile, 
 'Tis simply fair, that even so 
 The world should with love for her grow. 
 A woman who her own body harms, 
 Whose mind is turned to such vile charms, 
 As make her herself wrathy hate, — 
 Who can love her as loving mate ? 
 Who her own body disgraces 
 And all the world thus faces : 
 How can one love and honor 
 And faith pour out upon her ? 
 We quench whatever yearning 
 Had just begun heartburning. 
 The nameless life of love to live 
 
Metrical Romances of the Minnesinger. 271 
 
 With name unworthy't to receive. 
 
 No, no, that is not loving 1 
 
 That is love's foe, the roving 
 
 Honorless and reckless 
 
 Evil, never speckless 
 
 That ne'er lent worth to woman's name. 
 
 A truthful proverb says the same : 
 
 " Who many's love pursueth. 
 
 The love of many undoeth ! " 
 
 Who keeps her mind e'er moving 
 
 To catch the whole world's loving : 
 
 Let her first love herself and prove 
 
 To all the world what kind her love. 
 
 Has her love genuine color. 
 
 All the world her love will follow. 
 
 A woman, who her womanhood 
 
 'Gainst her own body keepeth good^ 
 
 For the world's sweet pleasure, 
 
 The whole world too should treasure, 
 
 Beautify, praise-crown her, 
 
 In wreaths and flowers drown her. 
 
 And new honoring daily, 
 
 Themselves new honor rally. 
 
 Whom such a one gives ever, 
 
 And blesses with, her favor. 
 
 Her body, and soul, and senses. 
 
 Her love and her love's trances : 
 
 Ah, such a man was born to be blest ! 
 
 He was born and chosen for best 
 
 And blessedest life in every wise ! 
 
 He has the living paradise 
 
 Buried in his heart's furrow. 
 
 He need ne'er fear and sorrow 
 
2/2 The Minnesinger of Germany. 
 
 That hiip the haw may stinging clasp 
 
 When he the flowers would fold in his grasp. 
 
 That him the thorn may pricken, 
 
 When he the rose would breaken. 
 
 There is no haw, there is no thorn ; 
 
 There never thistle wrath has born, 
 
 It cannot grow there cozy. 
 
 Peace the ever rosy 
 
 Has weeded all these things we saw. 
 
 Thorn and thistle and the haw. 
 
 Aye, in this love-paradise 
 
 On the branches see the eyes 
 
 Greening or growing nought but what 
 
 The eye is flattered to look at. 
 
 It is all perfuming. 
 
 With womanly goodness blooming. 
 
 No fruit grows there unto man 
 
 But the truth and love of woman, 
 
 Honor and glory, that reach the skies. 
 
 Aye, in such wondrous paradise 
 With joy so overshowered, 
 With May so overflowered, 
 A man of blessfed kind and mind 
 His heart's blessedness sure would find, 
 And see his eyes' sweet ecstasy. 
 Faith, worse for him it could not be 
 Than 'twas for Tristan and Isolde. 
 If he 's seized right what I have told, 
 He never need his own life give 
 The life that Tristan led to live. 
 For, whom a noble and virtuous wife 
 
Metrical Romances of the Minnesinger. 273 
 
 Gives honor, body, herself, and life. 
 
 Intrusting both unto his care : 
 
 How loving then attends she e'er 
 
 And sweet attention him bestows ! 
 
 How clears she all his paths e'er thus 
 
 From thorns and from thistles 
 
 And jealous wrath's sharp bristles ! 
 
 How does she heartache from him hold ! 
 
 O, never any loved Isolde 
 
 Her Tristan watched with tenderer care, 
 
 I hold it true, yea everywhere, 
 
 Who close search would be giving : 
 
 Isoldes still are living 
 
 In whom he'd find in-fullest bloom 
 
 All he to find had longed and come. 
 
INDEX. 
 
 Aachen, Otto's coronation at, with false jewels, 145 ; Philip's coronation 
 
 with the genuine crown, 147. 
 Advice to a Child, Minnesong by Gottfried von Strassburg, 34. 
 Ah! I saw her sweetly pet a little Child, Minnesong by Johann Hadloub, 26. 
 Arthur, King, the tales of his Round Table arousing a spirit of poetry over all 
 
 Germany, 4 ; fantastically represented by Ulrich von Lichtenstein, 176 ; the 
 
 legends of his Round Table commingling with the local legends of other 
 
 countries, and thus with the legend of Tristan and Isolde, 189 ; the dignity 
 
 of the king's character lost in Tennyson's representation, 193; all the glory 
 
 and cheer of Arthur's Round Table not envied by Tristan and Isolde in 
 
 their Grotto of Love, 233, 234. 
 Aue von der Hartmann, his romance of Poor Henry the original of Long- 
 
 felloVs Golden Legend, 190; and one of the tln-ee foremost romances of 
 
 his times, 191. 
 Austria, Duke Leopold of, one of the Minnesinger, 4 ; patron of Walther 
 
 von der Vogelweide, 147 ; celebrates the wedding of his daughter Agnes, 
 
 164 ; gives a great festival, 167. 
 Austria, Margrave Henry of, Ulrich von Lichtenstein' s first knightly model, 
 
 X64. 
 Austria, Prince Frederic of, congratulates Ulrich von Lichtenstein on the 
 
 glorious achievement of one of his astoimdingly wonderful adventures, 
 
 177. 
 
 Babenberg, the Dukes of the house patrons of the arts, and their palace the 
 
 resort of minstrels, 127; Walther von der Vogelweide a favorite of Duke 
 
 Frederic I. 
 Barbarossa, singing Minnesongs after hunt or battle, 4. 
 Bards, the poets of the people, chanting the hero deeds of the nation in the 
 
 Niebelungen and Kudrun, 189. 
 Bartsch, Professor, on the authorship of the Great Hymn to the Virgin. 
 Beethoven loves to rest rhythm on syncopated notes, 191. 
 Bodmer makes known the Manessian collection of Minnelieder to German 
 
 literature, 3, 7. 
 Brabant, Duke John of, knight-minstrel, 4- 
 
276 
 
 Index, 
 
 Brangaene (Brengwain in the old English poem of Sir Tristrem), Is61de's 
 cousin and companion, intrusted by Isolde's mother with the love potion for 
 King Mark, 205, 216, 231. 
 
 Breslau, Duke Henry of, knight-minstrel, 4. 
 
 Browning school of poetry, 42. 
 
 Byblis, daughter of Miletos, died of love for her brother Kaunos, 244. 
 
 Canac6, daughter of jEoIos and beloved of Neptune, who discarded her in 
 disgrace on discovering her passion for her brother Makareus ; after which, 
 at the bidding of her father, she killed herself with his sword, 244. 
 
 Cathedrals, those of Cologne and Strassburg conceived and wrought out in the 
 Minnesinger period, i ; the beauty of the Great Hymn to the Virgin akin to 
 that of the Strassburg Cathedral, 77. 
 
 Cervantes, his Don Quixote but little exaggerated, 7. 
 
 Chaucer, father of English poetry, i. 
 
 Children with Rod ruling, Minnesong by Walther von der Vogelweide, 149. 
 
 Chronicles, Godfrey of Monmouth's, i8g. 
 
 Coleridge, his adoption of the narrative metre of the Minnesinger in Chris- 
 tabel, 190. 
 
 Cologne, Archbishop of, recommends Walther von der Vogelweide to Frederic 
 II. 
 
 Conrad, King, one of the Minnesinger, 4. 
 
 Coquette, The, Minnesong by Walther von der Vogelweide, 134. 
 
 Crusader's Hymn, Minnesong by Walther von der Vogelweide, 156. 
 
 Crusades, Minne-poetry arising amidst their turmoil, i ; stimulating the worship 
 of the Virgin Mary, 75 ; money raised ostensibly in their behalf by irwTicos, 
 146; Walther joining them, 151; Lichtenstein bid to join them, 174. 
 
 Damen, Hermann, a Minnesinger of Northern Germany, 42. 
 
 Dance-song by Tanhuser, 54. 
 
 Day-songs, 23-25. 
 
 Denmark, the home of Minne-poetry in its later period, 42. 
 
 De Quincy, his remarks on pauses in Greek poetry, ig. 
 
 Develin, the city of Dublin, where Tristan wooed and won for his uncle Mark 
 
 the Irish princess Isolde, 213. 
 Dido, Queen of Tyre, 244. 
 Don Quixote, the last of the famous race of erring knights, 6 ; Ulrich von 
 
 Lichtenstein his copy, 7. 
 Dream of Love, The, Minnesong by Walther von der Vogelweide, 128. 
 Dreariness of Winter, Minnesong by Walther von der Vogelweide, 15. 
 Duering, one of his Minnesongs, 33. 
 
 Ecstasy of Love, Minnesong by Walther von der Vogelweide, 13 1. 
 Eric VI., King of Denmark and liberal patron of the later Minnesinger, 4a. 
 Enemies of Love, The, Minnesong by Walther von der Vogelweide, 139. 
 Eschenbach von Wolfram, not able to read or write, 4 ; one of his watch- 
 
Index, 277 
 
 songs, 23 ; his Parcival one of the three great metrical romances of the 
 Minnesinger period, 192; his birth, life, and works, 192; his art genius in 
 the selection of the St. Graal legend as the central point of the Parcival 
 romance, 195 *, his often uncouth speech and opposition to Gottfried von 
 Strassburg, 201. 
 Eve, prototype of all women in their .disposition to break a command, 267, 
 268. 
 
 Farewell to the World, a Minnesong by Nithart, 50. 
 
 Faust, refrain in the second part of Goethe's Faust, 203. 
 
 Fischart, Johann, the great German humorist of the sixteenth century, 58. 
 
 Frauenlob, his wondrous rhyming, 14 ; why named Frauenlob, 43 ; chief of 
 the later school of Minnesinger, 43 ; his great skill in the art of poetry, 44 ; 
 his Long Tone one of the foxw crowned tones of the Meistersaenger, 45 ; 
 specimen of that Long Tone, 47 ; illustrating the fullest force of the Minne- 
 lay form of poetry in his version of Solomon's Song, 71 ; his great popu- 
 larity, 72 ; verses from his Latin version of the Cantica Canticorum, 73. 
 
 Frederic IL, Emperor, knight-minstrel, 4; bloom of Minne-poetry under his 
 reign, 58 ; his accession to the crown and patronage of Walther von der 
 Vogelweide, 148, 150; Walther follows his crusade, 151. 
 
 Frederic Wilhelm III., King, his generous support of von der Hagen's publi- 
 cation of the Minnesinger, 3. 
 
 French poets, their versions of the Tristan and Isolde legend inferior to 
 Gottfried von Strassburg* s, 227. 
 
 Giants, traditionary descendants of the devil and the tin'enty amiable Greek 
 princesses who, having agreed to slaughter their husbands jointly, were 
 betrayed by the youngest sister, and banished to Great Britain, which after 
 the eldest, Albia, was now named Albion. Besides love grottoes, these giants 
 built such works as the famous Stonehenge, which they brought over from 
 Africa, 22S. 
 
 Goethe, the first modem German poet to strike again the true tone of German 
 lyric poetry, i ; surpassed by the Minnesinger in purity of rhyme, 2 ; beauty 
 of his second part of Faust, 203. 
 
 Golden Legend, Hartmann von der Aue's romance, Poor Henry, the orig- 
 inal of this legend, 190. 
 
 Good Night to Mine Hostess World, Minnesong by Walther von der Vogel- 
 weide, 154. 
 
 G5rz, Duke of, liberates Ulrich von Lichtenstein, 177. 
 
 Graal, St. Saga, Parcival heir to the crown of the St. Graal, 190 ; the Saga the 
 great central drama of the various King Arthiu- legends, 194 ; its treatment 
 as such by Eschenbach, 195. 
 
 Grammatical rhymes, their various employment by the Minnesinger, 14, 15. 
 
 Greek poets, their skill compared with that of the Minnesinger, S. 
 
 Grimm, Jacob, his judgment of Minnesongs as a womanly poetry, 3. 
 
 Grotto of Love, Tristan and Isolde in the, 227. 
 
278 Index, 
 
 Guinevere, her infidelity, the only main histprical feature of the King Arthur 
 legends, made the central point of Tennyson's Idylls, 193 ; her relation. to 
 Launcelot, ig6, 199. 
 
 Hadloub, Johann, arranger of the Manessian collection of Minnesinger, 6 ; 
 
 one of his own Minnesongs, 26. 
 Hamle, Christian von, one of his Minnesongs, 28. 
 Hamlet, quotation from, to illustrate pauses, 19. 
 
 Hark I I hear the Birdlets singing, Minnesong by Gottfried von Nifen, 30. 
 Henry VI., Emperor, one of the Minnesinger, 4 ; his death and its effects on th? 
 
 peace of Germany, 142. 
 Hildegunde, Minnesong by Walther von der Vogelweide, 137. 
 Hohenburg, Margrave von, one of his Watch-songs, 25. 
 Hohenstauffen, the glorious reign of the house, i ; establishment of flie 
 
 Swabian form of the German language under its rule, 3 ; period of peace 
 
 and justice, 127. 
 Hymn to the Virgin, the divine Minnesong, 80. 
 
 Innocent III,, Pope, refuses to recognize Frederic II. as Emperor, 142 ; faps 
 civil war in Germany, 145 ; issues truticos^ ostensibly jn support of the 
 Crusades, 146. 
 
 Isolde (English Ysoude, Vsodd; French, Iseult, Iseut, Isot; Welsh, Essylt; 
 Provencal Iseus ; Italian, Isotta; in Gottfried von Strassburg's romance 
 alternately Isot, Isote, Isolt, Isolde, as rhyme or rhythm may suggest), 
 alluded to in one of Ulrich von Lichtenstein's poems, 184 ; her relation to 
 Tristan rendered unnecessarily disgusting in Tennyson's version, 199 ; Gott-' 
 fried' s romance excites, on the contrary, our sympathy and pity for her, 200 • 
 no unchaste desire until the love potion is taken, 202, 
 
 KJtmten, Duke of, for a time host of Walther von der Vogelweide, but be- 
 having rather stingily, 147. 
 
 Knight-minstrels, description of their education and life, 7. 
 
 Korineis (Korineus), Roman general, traditionary brother of Brutus, and con- 
 queror over the giant inhabitants of ancient Britain, 228. 
 
 Kudrun, one of the two great national German epics of the Minnesinger 
 period, 2 ; its construction in strophe-form by the bards of the people, 189. 
 
 Kurneval (Corn wales), where the Grotto of Love was situated, and Mark's 
 kingdom, 242. 
 
 Kurvenal, in the old English poem called "Gouvemayl, his man," Tristan's 
 tutor, friend, and companion, accompanies Tristan and Isolde to the Grotto 
 of Love, 227; is sent back to court by them, 230^ Mark dispatches him to 
 bring Tristan and Isolde back to coiurt, 259. 
 
 Lament, Minnesong by Walther von der Vogelweide, 159. 
 
 Latin, rhyme capacities of the language' made use of by the Minnesinger, 73. 
 
 Launcelot, his relation to Queen Guinevere, 196, 199. 
 
 Lay, distinctive form of the Minnelay, 57; Lays of Ulrich von Wintersteten, 
 
Index, 279 
 
 58 ; extension of the Lay-form to various subjects, 64 ; Frauenlob chief of 
 Lay-singers, 71. 
 
 Lay to the Virgin, by Walther von der Vogelweide, 64. 
 
 Lazy Angels, The, Minnesong by Walther von der Vogelweide, 151. 
 
 Lichtenstein, Ulrich von, unable to read or write, 4 ; illustrating the more ex- 
 travagant form of knight-minstrelsy, 7 ; skill in improvising, 8 ; an excellent 
 singer of Lays, 57, 58 ; his Quixotic life, 163, 179 ; his two large works of 
 poems, Woman's Service and Woman's Book, .178; estimate of his 
 character, 179 ; estimate of his poetical powers, xSo, 182 \ some of Jiis mos^ 
 admired songs, 180-188. 
 
 Longfellow, his Golden Legend, igo. 
 
 Love's Bliss, Minnesong by Ulrich von Lichtenstein, 185. 
 
 Love is Two Hearts' blessed Rapture, Minnesong by Walther von der Vogel- 
 weide, 136. 
 
 Love Song, Minnesong by Ulrich von Lichtenstein, 182. 
 
 Love Song, Minnesong by Duering, 32. 
 
 Lovely Woman, Sainted Woman, Minnesong by Ulrich von Lichtenstein 
 ' 180. 
 
 Luther, creating a new German language in the Castle of Wartburg, 5. 
 
 Manesse, RUdiger of, collects all accessible Minnelieder, employing Johan 
 Hadloub to edit them, and thus creates the famous Manessian collection, 6. 
 
 Mark, King (king of Comwales, uncle of Tristan and husband of Isolde), 
 Gottfreid von Strassburg's treatment of his character, 196 ; compared with 
 that of Tennyson, 199, 200 ; our sympathy retained for Mark, 202 ; King 
 Mark's regret at the banishment of Tristan and Isolde, 246 ; orders a hunt, 
 247; discovers them in the Love Grotto, 253 j has them brought back to 
 court, 259; Mark's jealousy, 260-262. 
 
 Mamer, one of the later Minnesinger, 44 ; specimen stanza of his Long Tone 
 from a Hymn to the Virgin, 48. 
 
 Maud, its beauty of refrain, 203. 
 
 Mayence, Philip's coronation at, 144. 
 
 Meadow, The, Minnesong by Christian von Hamle, 28. 
 
 Meisner, one of the later school ©f Minnesinger, 44 ; his poem on The Trinity, 
 45. 
 
 Meissen, Henry von, generally known as Frauenlob, 43- 
 
 Meissen, Margrave Henry of, one of the princely knight-minstrels, 4. 
 
 Meistersaenger, their use of pauses, 19 ; practices of their guild, 44-4S- 
 
 Meran, Princess of, Ulrich von Lichtenstein's first flame, 163, 
 
 Metres, peculiarity of those of the Minnesinger, 22. 
 
 Milton, his use of blank verse, 193. 
 
 Minnesinger, their sudden origin, x ; characteristic of their songs, 2, 3 ; kings 
 and princes are seized with their spirit, 4; their mode of life, 5, 6; their 
 great mastery over the resources of rhyme and rhythm, 8 ; the form of their 
 generally improvised songs, 9. 
 
 Minnesong, its characteristic spirit, 3 ; its form, 8 ; its distinction from the 
 
28o Index, 
 
 Saying and from the metrical romances, 9 ; establishment of its first rules by 
 Veldeke, and later development by Frauenlob, Nithart, etc., 9; its invari- 
 able accompaniment by a melody, 10; character of its rhymes, 13-15; 
 of its rhythm, 21; of its metres, 22; their gracefulness, 26; frequently 
 solemn character, 33 ; use of refrain in them, 39 ; change of its character and 
 form, 41 ; its gradual submersion into the Meistersong, 45 ; change of its 
 character in another direction into vulgarity, 49 ; and gradual decline into 
 the village song, 53, 54. 
 
 Miigglin, one of the Meistersaenger, 45. 
 
 Mulnhusen, one of his Minnesongs, 38. 
 
 My Critics, Minnesong by Walther von der Vogelweide, 153. 
 
 My Lady, Minnesong by Mulnhusen, 38. 
 
 Nibelungen, the great national German epic, 2 ; song by the bards of the 
 people, 189. 
 
 Nifen, Gottfried von, one of the most lively knight-minstrels, 30 ; characteristic 
 specimen of his Minnesongs, 30. 
 
 Nithart^one of the later poets, 9 ; chief leader in the downward movement of 
 the Minnesong, 49 ; a minstrel-vagabond, 50 ; two of his poems, 51, 52 ; 
 his command of language best exhibited in his Lays, 57 ; his coarseness, com- 
 pared with the tone of Lichtenstein's songs, 1S2. 
 
 Northern Germany, the rallying spot of the later Minnesinger, 42. 
 
 Orphan, The, the most precious jewel in the German imperial crown, njg. 
 
 Otto, Emperor, rival candidate of Philip of Swabia, 142 ; crowned with 
 false jewels at Aachen, 145 ; final accession to the crown, 147 ; excommuni- 
 catedby the Pope, 147 ; defeated and succeeded by Frederic II., 148. 
 
 Ottokar, King, arrests Ulrich von Lichtenstein on a charge of rebellion, 178, 
 
 Parcival, heir to the St. Graal, 190 ; the romance Parcival one of the three 
 finest of that period, 192 ; its popularity and fii'st print, 194 ; plan of the 
 romance, 195. 
 
 Pauses, their importance in metrical poetry, and use made of them by the 
 Minnesinger and Meistersaenger, ig. 
 
 Personification of virtues and vices, a peculiarity of the Minnesinger, 134. 
 
 Pfeifier, Franz, his showing the Great Hymn to the Virgin to have been 
 falsely attributed to Gottfried von Strassburg, 79 ; his opinion on Walther 
 von der Vogelweide's birthplace, 127 ; his suggestion as to the reference of 
 the name of Hildegunde in one of Walther's poems, 134. 
 
 Philip, Emperor, Sayings addressed to him by Walther von der Vogelweide, 
 143, 144 ; his relation to Walther, and coronation at Mayence, 144, 145 ; he 
 overcomes his rival Otto, and is crowned in Aachen, 147 ; assassinated, 
 147. 
 
 Phyllis of Thracia, daughter of the Thracian King Lykurgus, in love with 
 Demophoon, a son of Theseus and Phasdra, to whom at parting she gave a 
 box with the request not to open it till he should be sure that he would never 
 see her again. Learning that, hopeless of their union, she had killed herself, 
 
Index, 281 
 
 he opened the box, and from that moment the spirit of his dead love hovered 
 over and never left hira. From the grave of PhylHs grew up a leafless 
 almond-tree, which sprouted forth with a rare crown of leaves, wlien Demo- 
 phoon, kneeling on the grave embraced it, 244. 
 
 Platen, the purity of his rhymes, 2. 
 
 Poe, on pauses or cffisuras, ig; his "Bells" an illustration of the Lay- 
 form. 
 
 Poor Henry, an original legend by Hartmann von der Aue, igo ; one of the 
 three finest metrical romances of the Minnesinger period, 192. 
 
 Provencal poets, their poetry inferior in art to that of the Minnesinger, 8 ; 
 lacking the triplicity characteristic of the Minnesong, 9 ; furnishing for the 
 greater part the originals of the narrative poems of the Minnesinger, 189. 
 
 Puritanism, its spirit put into the form of the Minnesong, 42. 
 
 Refloit, song with refrain, 249. 
 
 Refrain, in the Minnesongs, 17, 39; peculiarity of refrain in the Divine Minne- 
 song, 77 ; in Tristan and Isolde, 203. 
 
 Regenbogen, one of the noteworthy later Minnesinger, 42 ; his controversy 
 with Frauenlob, 43 ; his Long Tone one of the four crowned tones -of_the 
 Meistersaenger, 45 ; specimen of his Long Tone, 46. 
 
 Reinmar the Old, Walther von der Vogelweide's teacher in the art of min- 
 strelsy, 128. 
 
 Rhyme, purity of the rhymes of the Minnesinger, 2 ; their intricate con- 
 struction, 8 ; kind of rhymes used, 13-15 ; curious instances of rhyming, 
 i5j '7) 3°; skill in the rhymes of the Divine Minnesong, 79; in one of 
 Walther's songs for children, 149, 150; Lichtenstein's rhymes, 180; Gott- 
 fried's rhyme, 203. 
 
 Rhythm, the Minnesinger's ear for rhythm ; 2 ; intricacy of their rhythm, 8 ; 
 rhythmical novelties, iS ; peculiarity of the Minnesinger's rhythm, 21; 
 rhythm of the metrical romances justified, 191. 
 
 Rosy-colored Meadows, Minnesong attributed to Lady Winsbecke, 17. 
 
 Roimd Table, Tales of the, spread over Europe, 4 ; form the subjects of most 
 all the metrical romances of the Minnesinger, 189 ; their commingling with 
 other tales, 190; Tennyson's art treatment of them, 192, 194 ; compared with 
 Eschenbach's, 195; with Gottfried von Strassburg's, ig6. 
 
 RUckert, his purity of rhymes, 2. 
 
 Rugen, Island of, resort of Minnesinger under the rule of Prince Wizlav IV., 
 142. 
 
 Rumeland, one of the more noted of the later Minnesinger, 42- 
 
 Sancbo Panza, following the knight-minstrel, Don Quixote, in the shape of a 
 
 Singerlein. 
 Saxony, Duke of, his wedding with Agnes of Austria, 164. 
 Sayings, by Walther von der Vogelweide, ii-i3j i43-i47- 
 Schanzun, chanson., song, 249. 
 Schiller, his rhymes compared with those of the Minnesinger, 2. 
 
282 Index. 
 
 Scott, Walter, mentions an instance of the Minnesinger narrative metre in an 
 English poem, 190. 
 
 Shakespeare, his admirable ear for rhythm, 19 ; blank verse rhythm has its 
 element in his dramas, 193. 
 
 Shelley, in some of his musical lyrics resembling the Minnesinger, 2. 
 
 Sigure and Schionatulander, love episode from the Titurel, 194 ; its rank in 
 German lyrical poetry, 195. 
 
 Singerlein, the occupation of a knight-minstrel's love-messenger, 6. 
 
 Smithy, Golden, a magnificent narrative poem by Conrad von Wurzburg 
 in praise of the Virgin, 4? ; its great beauty and popularity, 76, 
 
 Solomon's Song, Frauenlob's famous Cantica Canticoritffit or Lay of our 
 Lady, a version of it, 71. 
 
 Sonnenburg, one of the later Minnesinger, 42. 
 
 Southern Germany, Minnesinger leave its freer life for the North, 42. 
 
 Spring Song, a Minnesong by Nithart, 53. 
 
 Steadiness, Minnesong by Walther von der Vogelwelde. 
 
 Strassburg, Albert von, author of a Latin Chronicle, commemorating Frauen- 
 lob's death and burial, 72^ 
 
 Strassburg, Master Gottfried von, a citizen poet, 5 ; the greatest of his age, 
 33 ; one of his Minnesongs, 34 ; describes the form of the Lay in Tristan 
 and Isolde, 57 ; connection of his name with the Divine Minnesong, 75, 80; 
 his praise of Walther von der Vogelweide, 161 ; his Tristan and Isolde the 
 most excellent of all metrical romances of that age, 192 ; his great art in the 
 treatment of that legend, ig6, 200 ; his life and relation to Eschenbach, 201 ; 
 his wondrous art power, 202, 203. 
 
 Strophe-forms of the Minnesinger, triplicity their characteristic, 8 ; exceptidn in 
 the case of the Sayings, 10 ; great variety of the Minnesinger strophe-forms, 
 10 ; triplicity of the strophB-form discarded by the Lay, 57 ; strophe-forms 
 employed in the national epics, 189. 
 
 Swabian form of the German language, becomes the general language of cul- 
 tured men in Germany, now known as Mittelhochdeutschj 3. 
 
 Swinburne, in melodious sound of words, artful construction of rhythm, etc*, 
 resembling the Minnesinger, 2 ; likened to Frauenlob, 44; his Prelude to 
 Tristan and Isolde characterized, 193. 
 
 Symphony, form of it changed by modern music frequently into the looser 
 symphonic poem, 64. 
 
 Tanhuser, not improbably the prototype of the legendary Tannhauser, 53 ; 
 his Dance-song, 54 ; characteristic of his Lays, 57. 
 
 Tennyson, his musical poetry resembling that of the Minnesinger, 2 ; an in- 
 stance, 17 ; his treatment of the King Arthur Legends and the story of Tra- 
 tan and Isolde, 193-200. 
 
 Tergensee Abbey, conducted on cold-water principlea, to the disgust of 
 Walther von der Vogelweide, 147. 
 
 Thomas of Brittany, Gottfried von Strassburg's authority for his version of the 
 Tristan and Isolde legend; evidently some ancient chronicler, unknown, 
 
Index. 283 
 
 besides whom Gottfried must have followed a poem in the northern French 
 language, his own poem retaining a number of expressions from that lan- 
 guage, 200. 
 
 Thomasin of Zerclare, a prominent writer of the time, author of a curious 
 poem Der Walscke Gasi^ wherein that censure of Walther von der Vogel- 
 weide's opposition to papal abuse occurs, 146. 
 
 Thuringen, Landgrave Herrmann of, chief patron of the Minnesinger, 5, 42 ; 
 proves at first rather unfriendly to Walther von der Vogelweide, 142; 
 kindly receives him at a later time, 148 ; is the ardent protector of Wolfram 
 von Eschenbach, 194. 
 
 Titurel, metrical romance by Eschenbach, 194. 
 
 Toberlu, a famous cloister alluded to in one of Walther von der Vogelweide's 
 songs, 15, 16. 
 
 Tones, or strophe forms, 10 ; the adoption of the Minnesinger's tones by the 
 later school of Meistersaenger, 44. 
 
 To the Beloved, Minnesong by Ulrich von Lichtenstein, 183, 
 
 Trinity, The, theological Minnesong by Meisner. 
 
 Tristan (Tristrem, Tristram, Tristan, Tritan, etc., in various romances), nephew 
 of King Mark. His loyal spirit in Gottfried's representation, 202. 
 
 Tristan and Isolde drinking the Fatal Love Potion, from Gottfried von Strass- 
 burg's romance Tristan and Isolde,, 203-226. 
 
 Tristan and Isolde in the Grotto of Love, from Gottfried von Strassburg's 
 romance Tristan and Isolde ^ 227-273. 
 
 Troubadours, German or Provenpal, never mention the names of their lady 
 loves in their songs, 133. 
 
 Tyrol, supposed by some to be the native country of Walther von der Vogel- 
 weide, 127. 
 
 Under the Linden, Minnesong by Walther von der Vogelweide, 130W 
 
 Veldeke, probably the first Minnesinger to connect several stanzas into one 
 song, 9 ; fixes the rhytlira of the metrical romances, 190. 
 
 Venus, strangely impersonated by Ulrich von Lichtenstein, 169. 
 
 Venus Mountain, with the legendary Tannhauser, 53. 
 
 Virgin Mary, her love and sweetness sung in the Minnelieder, 3 ; stanzas in 
 her praise from the three crowned Long Tones of the Minnesinger, 45-47 ; 
 Lay in her celebration, 64 ; metrical romance in her praise, 76 ; her tran- 
 scendent glorification in the Divine Minnesong, 73-126. 
 
 Vogelweide, Walther von der, manly character of his poems, 3 ; his life repre- 
 senting the average life of a knight-minstrel, 7 ; skill and noble thoughts ex- 
 hibited in some of his Sayings, ro-13; rare purity of his rhymes, 14; grammat- 
 ical rhymes in one of his poems, 15 ; peculiar rhythmical novelty in some 
 of his poems, 18-21 ; his Lay to the Virgin, 64 ; birthplace and eariy life, 
 127 ; some of his earlier poems, 128-133 ; some poems of his maturer life, "134- 
 142 ; he begins to take active part in political life, 142 ; some of his political 
 Sayings^ 14^-146 ; retires for a while into quiet life, but after Otto's excom- 
 
284 Index, 
 
 jnunication resumes his political activity, 147 ; stays at the court of Thuringen, 
 148 ; after Otto's defeat jobs the Emperor Frederic II., and educates his 
 son, 14S ; sings him an educational song, 149 ; gives up his tutorship, but 
 continues his stay at court, 150 ; joins a crusade, returns, and dies, 151 ; 
 some poems of his later age, 151-161 ; sketch of his character, 162. 
 Von der Hagen, Heinrich, his untiring exertions in publishing an edition of all 
 known Mionesongs, 3 ; his appreciation of one of Jacob von Warte's songs, 
 28; quotation from him referring to the Divine Minnesong, 77. 
 
 Wallace, Dr., a poem of his illustrating grammatical rhjTnes, 15. 
 
 Warte, Jacob von, one of his Minnesongs, 28, 29. 
 
 Wartburg, the castle, a home of song and literary development long before 
 Luther's time, 5 ; Walther von der Vogelweide's residence there for a time 
 probably the cause of his being mentioned in the Wartburg Minstrel's 
 War as one of the contestants, 148. 
 
 Watch-songs, by Winli, Eschenbach, and von Hohenburg, 23-25. 
 
 Wenzel, King of Bohemia, one of the Minnesinger, 4. 
 
 Where thy Heart is, there is eke thy Hoard, Minnesong by Ulrich von Win- 
 tersteten, 39. 
 
 Where have Joy and Honor vanished? Minnesong by Ulrich von Lich- 
 tenstein, 187. 
 
 Winli, one of his watch-songs, 23. 
 
 Winsbecke, Lady, the existence of such a poetess doubtful ; origin of her nam- 
 ing; one of the songs attributed to her, 17. 
 
 Wintersteten, Ulrich von, one of his Minnesongs with refi^in, 39 ; time of life 
 in the bloom of Minne-poetry, and preference for the Lay-form of that poetry, 
 58 ; two of his Lays, 58-63, 
 
 Wizlav IV., Prince of Kiigen, the last of princely Minnesingers, singing 
 chiefly of theology, but also of love, 42, 
 
 Woman, controversy on the superiority of the name of woman over that of lady, 
 43. 
 
 Woman and Lady, a Minnesong on the above subject by Walther von der 
 Vogelweide, 43. 
 
 Women and Spring, Minnesong by Walther von der Vogelweide, 132. 
 
 World's Reward, The, Minnesong by Walther von der Vogelweide, 20. 
 
 Wurzburg, Conrad von, one of the later Minnesinger, but very sweet and grace- 
 ful in his poems, also the author of numerous nanative poems, 42 ; descrip- 
 tion of his famous Golden Smithy, a narrative poem glorifying the 
 Virgin Mary, 76. 
 
 You shall hear Songs sweetly pealing, Minnesong by Jacob von Warte, 29.