Page:EB1911 - Volume 11.djvu/805

Rh very few exceptions, Old High German literature remained. Translations of the liturgy, of Tatian’s Gospel Harmony (c. 835), of fragments of sermons, form a large proportion of it. Occasionally, as in the so-called Monsee Fragments, and at the end of the period, in the prose of Notker Labeo (d. 1022), this ecclesiastical literature attains a surprising maturity of style and expression. But it had no vitality of its own; it virtually sprang into existence at the command of Charlemagne, whose policy with regard to the use of the vernacular in place of Latin was liberal and far-seeing; and it docilely obeyed the tastes of the rulers that followed, becoming severely orthodox under Louis the Pious, and consenting to immediate extinction when the Saxon emperors withdrew their favour from it. Apart from a few shorter poetic fragments of interest, such as the Merseburg Charms (Zaubersprüche), an undoubted relic of pre-Christian times, the Wessobrunn Prayer (c. 780), the Muspilli, an imaginative description of the Day of Judgment, and the Ludwigslied (881), which may be regarded as the starting point for the German historical ballad, the only High German poem of importance in this early period was the Gospel Book (Liber evangeliorum) of Otfrid of Weissenburg (c. 800–870). Even this work is more interesting as the earliest attempt to supersede alliteration in German poetry by rhyme, than for such poetic life as the monk of Weissenburg was able to instil into his narrative. In fact, for the only genuine poetry of this epoch we have to look, not to the High German but to the Low German races. They alone seemed able to give literary expression to the memories handed down in oral tradition from the 5th century; to Saxon tradition we owe the earliest extant fragment of a national saga, the Lay of Hildebrand (Hildebrandslied, c. 800), and a Saxon poet was the author of a vigorous alliterative version of the Gospel story, the Heliand (c. 830), and also of part of the Old Testament (Genesis). This alliterative epic—for epic it may be called—is the one poem of this age in which the Christian tradition has been adapted to German poetic needs. Of the existence of a lyric poetry we only know by hearsay; and the drama had nowhere in Europe yet emerged from its earliest purely liturgic condition. Such as it was, the vernacular literature of the Old High German period enjoyed but a brief existence, and in the 10th and 11th centuries darkness again closed over it. The dominant “German” literature in these centuries is in Latin; but that literature is not without national interest, for it shows in what direction the German mind was moving. The Lay of Walter (Waltharilied, c. 930), written in elegant hexameters by Ekkehard of St Gall, the moralizing dramas of Hrosvitha (Roswitha) of Gandersheim, the Ecbasis captivi (c. 940), earliest of all the Beast epics, and the romantic adventures of Ruodlieb (c. 1030), form a literature which, Latin although it is, foreshadows the future developments of German poetry.

(a) Early Middle High German Poetry.—The beginnings of Middle High German literature were hardly less tentative than those of the preceding period. The Saxon emperors, with their Latin and even Byzantine tastes, had made it extremely difficult to take up the thread where Notker let it drop. Williram of Ebersberg, the commentator of the Song of Songs (c. 1063), did certainly profit by Notker’s example, but he stands alone. The Church had no helping hand to offer poetry, as in the more liberal epoch of the great Charles; for, at the middle of the 11th century, when the linguistic change from Old to Middle High German was taking place, a movement of religious asceticism, originating in the Burgundian monastery of Cluny, spread across Europe, and before long all the German peoples fell under its influence. For a century there was no room for any literature that did not place itself unreservedly at the service of the Church, a service which meant the complete abnegation of the brighter side of life. Repellent in their asceticism are, for instance, poems like Memento mori (c. 1050), Vom Glauben, a verse commentary on the creed by a monk Hartmann (c. 1120), and a poem on “the remembrance of death” (Von des todes gehugede) by Heinreich von Melk (c. 1150); only rarely, as in a few narrative Poems on Old Testament subjects, are the poets of this time able to forget for a time their lugubrious faith. In the Ezzolied (c. 1060), a spirited lay by a monk of Bamberg on the life, miracles and death of Christ, and in the Annolied (c. 1080), a poem in praise of the archbishop Anno of Cologne, we find, however, some traces of a higher poetic imagination.

The transition from this rigid ecclesiastic spirit to a freer, more imaginative literature is to be seen in the lyric poetry inspired by the Virgin, in the legends of the saints which bulk so largely in the poetry of the 12th century, and in the general trend towards mysticism. Andreas, Pilatus, Aegidius, Albanius are the heroes of monkish romances of that age, and the stories of Sylvester and Crescentia form the most attractive parts of the Kaiserchronik (c. 1130–1150), a long, confused chronicle of the world which contains many elements common to later Middle High German poetry. The national sagas, of which the poet of the Kaiserchronik had not been oblivious, soon began to assert themselves in the popular literature. The wandering Spielleute, the lineal descendants of the jesters and minstrels of the dark ages, who were now rapidly becoming a factor of importance in literature, were here the innovators; to them we owe the romance of König Rother (c. 1160), and the kindred stories of Orendel, Oswald and Salomon und Markolf (Salman und Morolf). All these poems bear witness to a new element, which in these years kindled the German imagination and helped to counteract the austerity of the religious faith—the Crusades. With what alacrity the Germans revelled in the wonderland of the East is to be seen especially in the Alexanderlied (c. 1130), and in Herzog Ernst (c. 1180), romances which point out the way to another important development of German medieval literature, the Court epic. The latter type of romance was the immediate product of the social conditions created by chivalry and, like chivalry itself, was determined and influenced by its French origin; so also was the version of the Chanson de Roland (Rolandslied, c. 1135), which we owe to another priest, Konrad of Regensburg, who, with considerable probability, has been identified with the author of the Kaiserchronik.

The Court epic was, however, more immediately ushered in by Eilhart von Oberge, a native of the neighbourhood of Hildesheim who, in his Tristant (c. 1170), chose that Arthurian type of romance which from now on was especially cultivated by the poets of the Court epic; and of equally early origin is a knightly romance of Floris und Blancheflur, another of the favourite love stories of the middle ages. In these years, too, the Beast epic, which had been represented by the Latin Ecbasis captivi, was reintroduced into Germany by an Alsatian monk, Heinrich der Glichezære, who based his Reinhart Fuchs (c. 1180) on the French Roman de Renart. Lastly, we have to consider the beginning of the Minnesang, or lyric, which in the last decades of the 12th century burst out with extraordinary vigour in Austria and South Germany. The origins are obscure, and it is still debatable how much in the German Minnesang is indigenous and national, how much due to French and Provençal influence; for even in its earliest phases the Minnesang reveals correspondences with the contemporary lyric of the south of France. The freshness and originality of the early South German singers, such as Kürenberg, Dietmar von Eist, the Burggraf of Rietenburg and Meinloh von Sevelingen, are not, however, to be questioned; in spite of foreign influence, their verses make the impression of having been a spontaneous expression of German lyric feeling in the 12th century. The Spruchdichtung, a form of poetry which in this period is represented by at least two poets who call themselves Herger and “Der Spervogel,” was less dependent on foreign models; the pointed and satirical strophes of these poets were the forerunners of a vast literature which did not reach its highest development until after literature had passed from the hands of the noble-born knight to those of the burgher of the towns.

(b) The Flourishing of Middle High German Poetry.—Such was the preparation for the extraordinarily brilliant, although brief epoch of German medieval poetry, which corresponded to the reigns of the Hohenstaufen emperors, Frederick I.