THE NAIVE FEELING AT THE TIME OF THE CRUSADES
In the development and maturing of the race, as of the individual, nothing is more helpful than contact with foreign elements, people of other manners, thoughts, and feelings. Intimate intercourse between different nationalities rouses what is best in the soul of a nation, inviting, as it does, to discussion and opposition, as well as to the acquisition of new ideas. The conquests of Alexander the Great opened up a new world to the Greek, and a new culture arose--Hellenism. It was a new world that rose before the astonished eyes of the Crusader--in his case too, the East; but the resulting culture did not last. The most diverse motives fused to bring about this great migration to a land at once unknown and yet, through religion, familiar; and a great variety of characters and nations met under the banner of the Cross.
Naturally this shaking up together, not only of Europeans among themselves, but of the eastern with the western world, brought about a complete revolution in manners, speech, art, science, trade, manufacture, thought, and feeling, and so became an important factor in general progress.
The narrow boundaries of nationality, race, and education were broken through; all felt equal before the leading idea; men, places, plants, and animals were alike new and wonderful. Little wonder if German knights returning home from the East wove fiction with their fact, and produced the most fantastic and adventurous heroic songs.
Many of the noblest of the nations joined the Crusades in pious ardour for the cause, and it is easy to imagine the effect of the complete novelty of scene upon them. With such tremendous new impressions to cope with, it is not surprising that even the best minds, untrained as they were, were unequal to the task, and that the descriptions of real experiences or events in poetic form failed to express what they meant. Besides this, there is no doubt that in many ways the facts fell below their ideals; also that the Crusader's mantle covered at the same time a rabble, which joined from the lowest motives, the scum of Europe. It must also be remembered that it is far easier to experience or feel than to pass on that experience and feeling to others; that those who wrote did not always belong to the most educated; and that they wrote, for the most part, with difficulty in Greek or Latin. When all this has been weighed and admitted, the fact remains that in existing accounts of the Crusades there is great poverty of description of scenery, and lack of much feeling for Nature. The historian, as such, was bound to give first place to matters of fact and practical importance, and so to judge a place by its value to an army passing through or occupying it; by its fertility, water-supply, its swamps or stony ground, and so forth; but still the modern reader is astonished to see how little impression the scenery of the Holy Land made, judged by the accounts we possess, upon the Crusaders. Even when it is conceded that other important concerns came first, and that danger, want, and hunger must often have made everything disagreeable, still, references to Nature are very scanty, and one may look in vain for any interest in beautiful scenery for its own sake.
There is only matter-of-fact geographical and mythological information in William of Tours' History of the Crusades; for instance, in his description of the Bosphorus he does not waste a word over its beauty. But, as 'fruitful' and 'pleasant' are ever-recurring adjectives with him, one cannot say that he absolutely ignored it.
He said of Durazzo: 'They weather the bad seasons of the year in fruitful districts rich in woods and fields, and all acceptable conditions'; of Tyre, 'The town has a most excellent position on a plain, almost entirely surrounded by mountains. The soil is productive, the wood of value in many ways.' Of Antioch, 'Its position is very convenient and pleasant, it lies in valleys which have excellent and fertile soil, and are most pleasantly watered by springs and streams. The mountains which enclose the town on both sides are really very high; but send down very clear water, and their sides and slopes are covered by buildings up to the very summits.' There is nothing about beautiful views, unless one takes this, which really only records a meteorological curiosity: 'From the top of one mountain one can see the ball of the sun at the fourth watch of the night, and if one turns round at the time when the first rays light up the darkness, one has night on one side and day on the other.'
Tyre is described again as 'conspicuous for the fertility of its soil and the charm of its position.' Its great waterworks are especially admired, since by their means 'not only the gardens and most fruitful orchards flourish, but the cane from which sugar is made, which is so useful to man for health and other purposes, and is sent by merchants to the most distant parts of the world.' Other reporters were charmed by the fertility and wealth of the East. 'On those who came from the poorer and colder western countries, the rich resources of the sunny land in comparison with the poverty of home made an impression of overflowing plenty, and at times almost of inexhaustibleness. The descriptions of certain districts, extolled for their special richness, sound almost enthusiastic.[[1]]
Burkhard von Monte Sion was enthusiastic about Lebanon's wealth of meadows and gardens, and the plain round Tripolis, and considered the Plain of Esdraelon the most desirable place in the world; but, on exact and unprejudiced examination, there is nothing in his words beyond homely admiration and matter-of-fact discussion of its great practical utility.
He says of La Boneia, 'That plain has many homesteads, and beautiful groves of olive and fig and other trees of various kinds, and much timber. Moreover, it abounds in no common measure in rivers and pasture land'; closes a geographical account of Lebanon thus, 'There are in Libanus and Antilibanus themselves fertile and well-tilled valleys, rich in pasture land, vineyards, gardens, plantations--in a word, in all the good things of the world'; and says of the Plain of Galilee, 'I never saw a lovelier country, if our sins and wrong-doing did not prevent Christians from living there.'
He had some feeling too for a distant view. He wrote of Samaria: 'The site was very beautiful; the view stretched right to the Sea of Joppa and to Antipatris and Cæsarea of Palestine, and over the whole mountain of Ephraim down to Ramathaym and Sophim and to Carmel near Accon by the sea. And it is rich in fountains and gardens and olive groves, and all the good things this world desires.' But it would be going too far to conclude from the following words that he appreciated the contrast between simple and sublime scenery: 'It must be noticed too, that the river, from the source of Jordan at the foot of Lebanon as far as the Desert of Pharan, has broad and pleasant plains on both sides, and beyond these the fields are surrounded by very high mountains as far as the Red Sea.'
In dealing with Gethsemane and the Mount of Olives, religious enthusiasm suppresses any reference to scenery.
These descriptions shew that the wealth and fertility of the country were praised before its beauty, and that this was only referred to in short, meagre phrases, which tell less about it than any raptures without special knowledge.
It was much the same with Phokas, who visited the Holy Land in 1135.[[2]]
He was greatly impressed by the position of Antioch, 'with its meadows and fruitful gardens, and the murmur of waters as the river, fed by the torrents of the Castalian spring, flows quietly round the town and besprinkles its towers with its gentle waves ... but most to be admired of all is the mountain between town and sea, a noble and remarkable sight--indeed, a delight to the beholder's eye ... the Orontes flows with countless windings at the foot of it, and discharges itself into the sea.'
He thought Lebanon very beautiful and worthy its praise in Holy Scripture: 'The sun lies like white hair upon its head; its valleys are crowned with pines, cedars, and cypresses; streams, beautiful to look at and quite cold, flow from the ravines and valleys down to the sea, and the freshly melted snow gives the flowing water its crystal clearness.'
Tyre, too, was praised for its beauty: 'Strangers were particularly delighted with one spring, which ran through meadows; and if one stands on the tower, one can see the dense growth of plants, the movement of the leaves in the glow of noon.'
The plain of Nazareth, too, was 'a heaven on earth, the delight of the soul.'
But recollections of the sacred story were dearer to Phokas than the scenery, and elsewhere he limited himself to noting the rich fruit gardens, shady groups of trees, and streams and rivers with pleasant banks.
Epiphanius Monachus Hagiopolitæ, in his Enarratio Syriæ, was a very dry pioneer; so, too, the Anonymus de locis Hierosolymitanis; Perdiccas, in his Hierosolyma, describes Sion thus: 'It stands on an eminence so as to strike the eye, and is beautiful to behold, owing to a number of vines and flower gardens and pleasant spots.'
It must be admitted then, that, beside utilitarian admiration of a Paradise of fruitfulness, there is some record of simple, even enthusiastic delight in its beauty; but only as to its general features, and in the most meagre terms. The country was more interesting to the Crusaders as the scene of the Christian story than as a place in which to rest and dream and admire Nature for her own sake.
The accounts of German pilgrimages[[3]] of the fourteenth and fifteenth centuries only contain dry notices, such as those of Jacob von Bern (1346-47), Pfintzing (1436-40), and Ulrich Leman (1472-80). The last-mentioned praises Damascus in this clumsy fashion: 'The town is very gay, quite surrounded by orchards, with many brooks and springs flowing inside and out, and an inexpressible number of people in it,' etc. Dietrich von Schachten describes Venice in this way: 'Venice lies in the sea, and is built neither on land nor on mountain, but on wooden piles, which is unbelievable to one who has not seen it'; and Candia: 'Candia is a beautiful town in the sea, well built; also a very fruitful island, with all sorts of things that men need for living.' He describes a ride through Southern Italy: 'Saturday we rode from Trepalda, but the same day through chestnut and hazel woods; were told that these woods paid the king 16,000 gulden every year. After that we rode a German mile through a wood, where each tree had its vine--many trees carried 3 ohms of wine, which is pleasant to see--and came to Nola.'
He called Naples 'very pretty and big,' and on: 'Then the king took us to the sea and shewed us the ports, which are pretty and strong with bulwarks and gates; we saw many beautiful ships too,' etc. One does not know which is the more wonderful here, the poverty of the description or the utter lack of personal observation: what the wood produced, and how one was protected from the sea, was more important to the writer than wood and sea themselves, and this, even in speaking of the Bay of Naples, perhaps the most beautiful spot in Europe. But instances like these are typical of German descriptions at the time, and their Alpine travels fared no better.[[4]]
Geographical knowledge of the Alps advanced very slowly; there was as yet no æsthetic enjoyment of their beauty. The Frankish historians (Gregory of Tours, Fredegar) chronicled special events in the Alps, but very briefly. Fredegar, for instance, knew of the sudden appearance of a hot spring in the Lake of Thun, and Gregory of Tours notes that the land-slip in 563 at the foot of the Dent du Midi, above the point where the Rhine enters the Lake of Geneva, was a dreadful event. Not only was the Castle of Tauretunum overwhelmed, but the blocking of the Rhine caused a deluge felt as far as Geneva. The pious prince of the Church explained this as a portent of another catastrophe, the pest, which ravaged Gaul soon after.
There was much fabling at that time in the legends of saints, about great mines of iron, gold, and silver, and about chamois and buck, cattle-breeding and Alpine husbandry in the 'regio montana'; for example, in von Aribo's Vita S. Emmerani. When the Alps became more frequented, especially when, through Charlemagne, a political bridge came to unite Italy and Germany, new roads were made and the whole region was better known--in fact, early in mediæval times, not only political, but ecclesiastical and mercantile life spread its threads over a great part of the known world, and began to bind the lives of nations together, so that the Alps no longer remained terra incognita to dwellers far and near.
We have accounts of Alpine journeys by the Abbé Majolus v. Clugny (970), Bernard v. Hildesheim (1101), Aribert v. Mailand, Anno v. Coeln[[5]], but without a trace of orography. They scarcely refer to the snow and glacier regions from the side of physical geography, or even of æsthetic feeling; and do not mention the mountain monarchs so familiar to-day--Mt. Blanc, the Jungfrau, Ortner, Glockner, etc.--which were of no value to their life, practical or scientific. These writers record nothing but names of places and their own troubles and dangers in travelling, especially in winter. And even at the end of the fifteenth century, German travels across the Alps were written in the same strain--for example, the account of the voyage of the Elector-Palatine Alexander v. Zweibrücken and Count Joh. Ludwig zu Nassau (1495-96) from Zurich Rapperschwyl and Wesen to Wallensee: 'This is the real Switzerland; has few villages, just a house here and a house there, but beautiful meadows, much cattle, and very high mountains, on which snow lies, which falls before Christmas, and is as hard as any rock.' As an exception to this we have a vivid and poetic description of the famous Verona Pass in Latin verse by Guntherus Ligurinus.
Günther's description of this notorious ravine, between sky-high Alps, with the torrent rushing at the bottom and a passage so narrow that men could only move forward one by one, sounds like a personal experience. This twelfth-century poem comes to us, in fact, like a belated echo of Fortunatus.
We must now enquire whether the chief representatives of German literature at this time shewed any of the national love of Nature, whether the influence of the Crusades was visible in them, how far scenery took a place in epic and song, and whether, as moderns have so often stated, mediæval Germany stood high above antiquity in this respect. Gervinus, a classic example on the last point, in the section of his history of German poetry which treats of the difference between the German fables about animals on the one hand, and Esop's and the Oriental on the other, said:
The way in which animals are handled in the fables demanded a far slighter familiarity between them and men; so exact a knowledge as we see in the German fables, often involving knowledge of their natural history, such insight into the 'privacy of the animal world,' belonged to quite another kind of men. Antiquity did not delight in Nature, and delight in Nature is the very foundation of these poems. Remote antiquity neither knew nor sought to know any natural history; but only wondered at Nature. The art of hunting and the passion for it, often carried to excess in the Middle Ages, was unknown to it. It is a bold remark of Grimm's that he could smell the old smell of the woods in the German animal poems, but it is one whose truth every one will feel, who turns to this simple poetry with an open mind, who cares for Nature and life in the open.
This is a very tangle of empty phrases and misstatements. No people stood in more heartfelt and naive relation to Nature, especially to the animal world, than the Hindoos and Persians. In earlier enquiries[[6]] we have reviewed the naive feeling displayed in Homer and the sentimental in Hellenism, and have seen that the taste for hunting increased knowledge of Nature in the open in Hellenic days far more than in the Middle Ages. We shall see now that the level of feeling reached in those and imperial Roman days was not regained in European literature until long after the fall of Latin poetry, and that it was the fertilizing influence of that classic spirit, and that alone, which enabled the inborn German taste for Nature, and for hunting, and plant and animal life, to find artistic expression. It was a too superficial knowledge of classic literature, and an inclination to synthesis, and clever a priori argument (a style impressed upon his day by Hegel's method, and fortunately fast disappearing), which led Gervinus to exalt the Middle Ages at the expense of antiquity. It sounds like a weak concession when he says elsewhere:
Joy in Nature, which is peculiar to modern times, in contrast to antiquity, which is seen in the earliest mediæval poems, and in which, moreover, expiring antiquity came to meet the German--this joy in Nature, in dwelling on plant and animal life, is the very soul of this (animal) poetry. As in its plastic art, so in all its poetry, antiquity only concerned itself with gods and heroes; its glance was always turned upwards.
But, as a fact, no one has ever stood with feet more firmly planted on this earth than the Greek, enjoying life and undeterred by much scruple or concern as to the powers above; and centuries of development passed before German literature equalled Greek in love of Nature and expressive representation of her beauty.
To rank the two national epics of Germany, the Nibelungenlied and Gudrun, side by side with the Iliad and Odyssey is to exaggerate their value. And here, as ever, overstraining the comparison is mischievous.
The Nibelungenlied is undeniably charming with its laconic and yet plastic descriptions, its vigorous heroes, and the tragic course of their fate; so is Gudrun, that melodious poem of the North Sea. But they never, either in composition, method of representation, or descriptive epithets, reach the perfect art of the Greek epics. What moral beauty and plastic force there is in Homer's comparisons and in his descriptions of times and seasons! what a clear eye and warm heart he has for Nature in all her moods! and what raw and scanty beginnings of such things we have in the Nibelungenlied! It is true Homer had not attained to the degree of sympathy which finds in Nature a friend, a sharer of one's joys and sorrows; she is pictured objectively in the form of epic comparisons; but how faithfully, and with what range and variety!
There can scarcely be another epic in the world so poor in descriptions of time and place as the Nibelungenlied; it cannot be used to prove German feeling for Nature!
India, Persia, and Greece made natural phenomena the counterparts of human life, weaving into the tale, by way of comparison or environment, charming genre pictures of plant and animal life, each complete in itself; in the Nibelungenlied Nature plays no part at all, not even as framework.
Time is indicated as sparsely as possible:
'Upon the 7th day at Worms on the Rhine shore, the gallant horsemen arrived.'
'On a Whitsun morning we saw them all go by'; or 'When it grew towards even, and near the sun's last ray, seeing the air was cooler'; or 'He must hang, till light morning threw its glow through the window.' The last is the most poetic; elsewhere it is 'Day was over, night fell.'
Terseness can be both a beauty and a force; but, in comparison with Greece, how very little feeling for Nature these expressions contain!
It is no better with descriptions of place:
'From the Rhine they rode through Hesse, their warriors as well, towards the Saxon country, where they to fighting fell.'
'He found a fortress placed upon a mountain.'
'Into a wide-roomed palace of fashion excellent, for there, beneath it rushing, one saw the Danube's flood.'
Even the story of the hunt and the murder of Siegfried is quite matter-of-fact and sparse as to scenery: 'By a cold spring he soon lost his life ... then they rode from there into a deep wood ... there they encamped by the green wood, where they would hunt on the broad mead ... one heard mountain and tree echo.'
'The spring of water was pure and cool and good.' ...
'There fell Chriemhild's husband among the flowers ... all round about the flowers were wetted with his blood.'
One thinks instinctively of Indian and Greek poetry, of Adonis and the death of Baldur in the Northern Saga. But even here, where the subject almost suggests it, there is no trace of Nature's sympathy with man.
References to the animal world too--Chriemhild's dreams of the falcons seized by two eagles, and the two wild boars which attacked Siegfried, the game hunted in the forests by the heroes who run like panthers--all show it to be of no importance.
Even such phrases as rosy-red, snow-white, etc., are rare--'Her lovely face became all rosy-red with pleasure'; but there is a certain tenderness in the comparisons of Chriemhild:
'Then came the lovely maiden, even as morning red from sombre clouds outbreaking,' and, 'just as the moon in brightness excels the brightest stars, and suddenly outshining, athwart the clouds appears,' so she excelled all other women.
It has been said that one can hear the sighing of the north wind and the roar of the North Sea in Gudrun, but this is scarcely more than a pretty phrase. The 'dark tempestuous' sea, 'wild unfathomable' waves, the shore 'wet from the blood of the slain,' are indeed mentioned, but that is all.
Wat of Sturmland says to the young warriors: 'The air is still and the moon shines clear ... when the red star yonder in the south dips his head in the brine, I shall blow on my great horn that all the hosts shall hear'; but it is hope of morning, not delight in the starry sky, that he is expressing.
Indications of place too are of the briefest, just 'It was a broad neck of land, called the Wülpensand,' or, 'In a few hours they saw the shores where they would land, a little harbour lay in sight enfolded by low hills clothed with dark fir trees.'
The first trace of sympathy with Nature occurs in the account of the effect of Horand's song.
Like Orpheus, he charms the little birds and other creatures: 'He sang with such a splendid voice, that the little birds ceased their song.'
'And as he began to sing again, all the birds in the copse round ceased their sweet songs.'
'The very cattle left their green pastures to hearken, the little gold beetles stopped running among the grass, the fishes ceased to shoot about in the brooks. He sang long hours, and it seemed but a brief moment. The very church bells sounded sweet no longer; the folk left the choir songs of the priests and ran to hear him. All who heard his voice were heart-sick after the singer, so grand and sweet was the strain.'
Indications of time are rarely found more short and concise than here:
When night ended and day began.
On the 12th day they quitted the country.
In Maytime. On a cool morning.
This is a little richer:
It was the time when leaves spring up delightfully and birds of all sorts sing their best in the woods.
Much more definite and distinct is:
It was about that time of the year when departing winter sheds his last terrors upon the earth; a sharp breeze was blowing and the sea was covered with broken up ice; but there were gleams of sunshine upon the hills, and the little birds began to tune their throats tremulously, that they might be ready to sing their lay when the March weather was past.
Gudrun trembled with cold; her wet garment clung close to her white limbs; the wind dashed her golden hair about her face.
And later, when the morning of Gudrun's deliverance breaks, the indications of time, though short, are plastic enough:
After the space of an hour the red star went down upon the edge of the sea, and Wat of Sturmland, standing upon the hill, blew a great blast on his horn, which was heard in the land for miles round.... The sound of Wat's horn ... wakened a young maid, who, stealing on tiptoe to the window, looked over the bay and beheld the glimmering of spears and helms upon the sands.... 'Awake, mistress,' she cried, 'the host of the Hegelings is at hand.'
Companions are few;
He sprang like a wild lion.
The shower of stones flung down upon Wat 'is but an April shower.'
Images are few too:
This flower of hope, to find repose here on the shore, Hartmouth and his friends did not bring to blossom.
Wilhelm Grimm rightly observes:
At this epoch the poetry of the Fatherland gave no separate descriptions of Nature--descriptions, that is, whose only object was to paint the impression of the landscape in glowing colours upon the mind. The old German masters certainly did not lack feeling for Nature, but they have left us no other expression of it than such as its connection with historical events demanded.
And further:
The question, whether contact with Southern Italy, or, through the Crusades, with Asia Minor, Syria, and Palestine, did not enrich German poetry with new pictures of Nature, can only, as a general rule, be answered in the negative.
In the courtly epics of chivalry, the place of real Nature was taken by a fabulous wonderworld, full of the most fantastic and romantic scenery, in which wood, field, plants, and animals were all distorted. For instance, in the Alexander saga (of Pfaffen Lamprecht) Alexander the Great describes to his teacher Aristotle the wonders he has seen, and how one day he came with his army to a dark forest, where the interlacing boughs of tall trees completely shut out the sunlight. Clear, cool streams ran through it down to the valley, and birds' songs echoed in the shade. The ground was covered by an enormous quantity of flower buds of wondrous size, which looked like great balls, snow-white and rose-coloured, closely folded up. Presently, the fragrant goblets opened, and out of all these wonder-flowers stepped lovely maidens, rosy as dawn and white as day, and about twelve years old. All these thousands of charming beings raised their voices together and competed with the birds in song, swaying up and down in charming lines, singing and laughing in the cool shade. They were dressed in red and white, like the flowers from which they were born; but if sun rays fell on them, they would fade and die. They were only children of the woodland shade and the summer, and lived no longer than the flowers, which May brings to life and Autumn kills. In this wood Alexander and his host pitched their tents, and lived through the summer with the little maids. But their happiness only lasted three months and twelve days:
When the time came to an end, our joy passed away too; the flowers faded, and the pretty girls died; trees lost their leaves, springs their flow, and the birds their song; all pleasure passed away. Discomfort began to touch my heart with many sorrows, as day by day I saw the beautiful maidens die, the flowers fade: with a heavy heart, I departed with my men.
This fairy-like tale, with its blending of human and plant life, is very poetically conceived; but it is only a play of fancy, one of the early steps towards the modern feeling.
The battle scenes, as well as other scenes in this poem, are bold and exaggerated. Armies meet like roaring seas; missiles fly from both sides as thick as snow; after the dreadful bath of blood, sun and moon veil their light and turn away from the murder committed there.
Hartmann von der Aue, too, did not draw real Nature, but only one of his own invention.
For example, the wild forest with the magic spring in Iwein:
I turned to the wilds next morning, and found an extensive clearing, hidden in the forest, solitary and without husbandmen. There, to my distress, I descried a sad delight of the eyes--beasts of every kind that I know the names of, attacking each other.... this spring is cold and very pure; neither rain, sun, or wind reach it; it is screened by a most beautiful lime tree. The tree is excessively tall and thick, so that neither sun nor rain can penetrate its foliage, winter does not injure it, nor lessen its beauty by one hair; 'tis green and blossoming the whole year round.... Over the spring there is a wonderfully fine stone ... the tree was so covered with birds that I could scarcely see the branches, and even the foliage almost disappeared. The sweet songs were pleasant and resounded through the forest, which re-echoed them....
As I poured water upon the ruby, the sun, which had just come out, disappeared, the birds' song round about ceased, a black storm approached, dark heavy storm-clouds came from all four quarters of the vault of heaven. It seemed no longer bright day ... soon a thousand flashes of lightning played round me in the forest ... there came storm, rain, and hail ... the storm became so great that the forest broke down.
He never shews a real love for Nature even in his lyrics, for the wish for flowers in Winter Complaint can hardly be said to imply that:
He who cares for flowers must lament much at this heavy, dismal time; a wife helps to shorten the long nights. In this way I will shorten long winter without the birds' song.
Wolfram von Eschenbach, too, is very sparing of references to Nature: time is given by such phrases as 'when twilight began,' or 'as the day broke,' 'at the bright glow of morning' ... 'as day already turned to evening.'
His interest in real things was driven into the background by love-making and adventures--Arthur's Round Table and the Holy Grail; all the romance of knighthood. When he described a forest or a garden, he always decked it out lavishly.
For instance, the garden in Orgeluse:
A garden surrounding a mountain, planted with noble trees where pomegranates, figs, olives, vines, and other fruits grew richly ... a spring poured from the rock, and (for all this would have been nothing to him without a fair lady) there he found what did not displease him--a lady so beautiful and fair that he was charmed at the sight, the flower of womanly beauty.
Comparisons are few and not very poetic. In Songs of the Heart--
The lady of the land watered herself with her heart's tears.
Her eyes rained upon the child.
Her joy was drowned in lamentation.
Gawan and Orgeluse,
Spite their outer sweetness, as disagreeable as a shower of rain in sunshine.
There were many fair flowers, but their colours could not compare with that of Orgeluse.
His heroes are specially fond of birds. Young Parzival
Felt little care while the little birds sang round him; it made his heart swell, he ran weeping into the house.
and Gawan
Found a door open into a garden; he stept in to look round and enjoy the air and the singing of the birds.
So we see that in the Nibelungenlied scarcely a plant grew, and Hartmann and Wolfram's gardens belonged almost entirely to an unreal region; there are no traces of a very deep feeling for Nature in all this.
But Gottfried von Strassburg, with his vivid, sensuous imagination and keen eye for beauty, shewed a distinct advance both in taste and achievement. He, too, notes time briefly: 'And as it drew towards evening,' 'Now day had broke.' He repeats his comparisons: fair ladies are 'the wonder rose of May,' 'the longing white rose.' The two Isolts are sun and dawn. Brangäne is the full moon. The terrified girl is thus described:
Her rosy mouth paled; the fair colour, which was her ornament, died out of her skin; her bright eyes grew dim like night after day.
Another comparison is:
Like the siren's song, drawing a bark to the reef as by a magnet, so the sweet young queen attracted many hearts.
Love is a usurious plant, whose sun never goes down; a romance sweetens the mood as May dew sweetens the blood.
Constant friendship is one which takes the pleasure with the pain, the thorn with the rose. The last comparisons shew more thought, and still more is seen in the beginning of the poem, Riwalin and Blancheflur, which has a charming description of Spring.
Now the festival was agreed upon and arranged
For the four flowering weeks
When sweet May attracts, till he flies off again.
At Tinkapol upon a green plain
High up on a wonderful meadow with spring colour
Such as no eye has seen before or since. Soft sweet May
Had dressed it with his own charming extravagance.
There were little wood birds, a joy to the ear,
Flowers and grass and green plants and summer meads
That were a delight to eye and heart.
One found there whatever one would, whatever May should bring--
Shade from the sun, limes by the brook,
A gentle breeze which brought the prattle
Of Mark's court people. May's friend, the green turf,
Had made herself a charming costume of flowers,
In which she shone back at the guests with a festival of her own;
The blossoming trees smiled so sweetly at every one,
That heart and mind smiled back again.
The pure notes of the birds, blessed and beautiful,
Touched heart and senses, filling hill and dale with joy.
The dear nightingale,
Sweet bird, may it ever be blessed!
Sang so lustily upon the bough
That many a heart was filled with joy and good humour.
There the company pitched itself
With great delight on the green grass.
The limes gave enough shade,
And many covered their tent roofs with green boughs.
There is a heartfelt ring in this. We see that even this early period of German mediæval poetry was not entirely lacking in clear voices to sing of Nature with real sympathy.
The description of the Minne grotto is famous, with its magical accessories, its limes and other trees, birds, songs, and flowers, so that 'eye and ear alike found solace'; but the romantic love episode, interwoven as it is by the poet with the life of Nature, is more interesting for our purpose.
They had a court, they had a council which brought them nought but joy. Their courtiers were the green trees, the shade and the sunlight, the streamlet and the spring; flowers, grass, leaf, and blossom, which refreshed their eyes. Their service was the song of the birds, the little brown nightingales, the throstlets and the merles and other wood birds. The siskin and the ringdove vied with each other to do them pleasure, all day long their music rejoiced ear and soul. Their love was their high feast.... The man was with the woman, and the woman with the man; they had the fellowship they most desired, and were where they fain would be....
In the dewy morning they gat them forth to the meadow where grass and flowers alike had been refreshed. The glade was their pleasure-ground; they wandered hither and thither hearkening each other's speech, and waking the song of the birds by their footsteps. Then they turned them to where the cool clear spring rippled forth, and sat beside its stream and watched its flow till the sun grew high in the heaven, and they felt its shade. Then they betook them to the linden, its branches offered them a welcome shelter, the breezes were sweet and soft beneath its shade, and the couch at its feet was decked with the fairest grass and flowers.
With these lovers, love of Nature is only second to love of each other. So in the following:
That same morning had Tristan and his lady-love stolen forth hand in hand and come full early, through the morning dew, to the flowery meadow and the lovely vale. Dove and nightingale saluted them sweetly, greeting their friends Tristan and Iseult. The wild wood birds bade them welcome in their own tongue ... it was as if they had conspired among themselves to give the lovers a morning greeting. They sang from the leafy branches in changeful wise, answering each other in song and refrain. The spring that charmed their eye and ear whispered a welcome, even as did the linden with its rustling leaves. The blossoming trees, the fair meadow, the flowers, and the green grass--all that bloomed laughed at their coming; the dew which cooled their feet and refreshed their heart offered a silent greeting.
The amorous passion was the soil in which, in its early narrow stages, sympathy for Nature grew up. Was it the thirteenth-century lyrics, the love-songs of the Minnesingers, which unfolded the germ? For the lyric is the form in which the deepest expression can be given to feeling for Nature, and in which she either appears as background, frame, or ornament, or, by borrowing a soul or symbolizing thought and feeling, blends with the inner life.
As the German court epics took their material from France, so the German love-songs were inspired by the Provençal troubadours. The national differences stand out clear to view: the vivid glowing Provençal is fresher, more vehement, and mettlesome; the dreamy German more monotonous, tame, and melancholy. The one is given to proud daring, wooing, battle, and the triumph of victory; the other to musing, loving, and brooding enthusiasm. The stamp of the occasional, of improvisation, is upon all Provençal work; while with the German Minnesingers, everything--Nature as well as love--tends to be stereotyped, monotonous.
The scanty remains of Troubadour songs[[7]] often shew mind and Nature very strikingly brought together, either in harmony or contrast. For example, Bernard von Ventadour (1195):
It may annoy others to see the foliage fall from the trees, but it pleases me greatly; one cannot fancy I should long for leaves and flowers when she, my dear one, is haughty to me.
Cold and snow become flowers and greenery under her charming glance.
As I slumber at night, I am waked by the sweet song of the nightingale; nothing but love in my mind quite thrilled by shudders of delight.
God! could I be a swallow and sweep through the air, I would go at midnight to her little chamber.
When I behold the lark up spring
To meet the bright sun joyfully,
How he forgets to poise his wing
In his gay spirit's revelry.
Alas! that mournful thoughts should spring
E'en from that happy songster's glee!
Strange that such gladdening sight should bring
Not joy but pining care to me.
A very modern thought which calls to mind Theodore Storm's touching lines after the death of his wife:
But this I cannot endure, that the sun smiles as before, clocks strike and bells ring as in thy lifetime, and day and night still follow each other.
He connects spring with love:
When grass grows green and fresh leaves spring
And flowers are budding on the plain,
When nightingales so sweetly sing
And through the greenwood swells the strain,
Then joy I in the song and in the flower,
Joy in myself but in my lady more;
All objects round my spirit turns to joy,
But most from her my rapture rises high.
Arnold von Mareuil (about 1200) sings in the same way:
O! how sweet the breeze of April
Breathing soft, as May draws near,
While through nights serene and gentle
Songs of gladness meet the ear.
Every bird his well-known language
Warbling in the morning's pride,
Revelling on in joy and gladness
By his happy partner's side....
With such sounds of bliss around me,
Who could wear a saddened heart?
He calls his lady-love
The fairest creature which Nature has produced here below, fairer than I can express and faker than a beautiful May day, than sunshine in March, shade in summer, than May roses, April rain, the flower of beauty, mirror of love, the key of Fame.
Bertran de Born too sings:
The beautiful spring delights me well
When flowers and leaves are growing,
And it pleases my heart to hear the swell
Of the bird's sweet chorus flowing
In the echoing wood, etc.
The Greek lyrists up to Alexandrian times contented themselves with implying indirectly that nothing delighted them so much as May and its delights; but these singers implicitly state it. The German Minnesingers too[[8]] are loud in praise of spring, as in that anonymous song:
I think nothing so good nor worthy of praise
As a fair rose and my good man's love;
The song of the little birds in the woods is clear to many a heart.
and summer is greeted with:
The good are glad that summer comes. See what a benefit it is to many hearts.
The Troubadour motive is here too:
Winter and snow seem as beautiful flowers and clover to me, when I have embraced her.
and Kürenberg makes a lady sing:
When I stand there alone in my shift and think of thee, noble knight, I blush like a rose on its thorn.
Delight in summer, complaint of winter--this is the fundamental chord struck again and again; there is scarcely any trace of blending the feelings of the lover with those of Nature. It is a monotonous repetition of a few themes, of flowers and little birds as messengers of love, and lady-loves who are brighter than the sun, whose presence brings spring in winter or cheers a grey and snowy day.
Deitmar von Eist greets spring with:
Ah! now the time of the little birds' singing is coming for us, the great lime is greening, the long winter is past, one sees well-shaped flowers spread their glory over the heath. 'Tis a joy to many hearts, and a comfort too to mine.
In another song the birds and roses remind him of a happy past and of the lady of his heart.
A little bird sang on the lime o'erhead,
Its song resounded through the wood
And turned my heart back to another place;
And once again I saw the roses blow,
And they brought back the many thoughts
I cherish of a lady.
A lady says to a falcon:
You happy falcon you! You fly whither you will!
And choose the tree you like in the wood.
I have done the same. I chose a husband
For myself, whom my eyes chose.
So 'tis fitting for beautiful women.
In winter he complains:
Alas for summer delight! The birds' song has disappeared with the leaves of the lime. Time has changed, the nightingales are dumb. They have given up their sweet song and the wood has faded from above.
Uhland's beautiful motive in Spring Faith, that light and hope will come back to the oppressed heart with the flowers and the green, is given, though stiffly and dimly, by Heinrich von Veldegge:
I have some delightful news; the flowers are sprouting on the heath, the birds singing in the wood. Where snow lay before, there is now green clover, bedewed in the morning. Who will may enjoy it. No one forces me to, I am not free from cares.
and elsewhere:
At the time when flowers and grass come to us, all that made my heart sad will be made good again.
The loss of the beauty of summer makes him sad:
Since the bright sunlight has changed to cold, and the little birds have left off singing their song, and cold nights have faded the foliage of the lime, my heart is sad.
Ulrich von Guotenberg makes a pretty comparison:
She is my summer joy, she sows flowers and clover
In my heart's meadow, whence I, whate'er befall,
Must teem with richer bliss: the light of her eyes
Makes me bloom, as the hot sun the dripping trees....
Her fair salute, her mild command
Softly inclining, make May rain drop down into my heart.
Heinrich von Rugge laments winter:
The dear nightingale too has forgotten how beautifully she sang ... the birds are mourning everywhere.
and longs for summer:
I always craved blissful days.... I liked to hear the little birds' delightful songs. Winter cannot but be hard and immeasurably long. I should be glad if it would pass away.
Heinrich von Morungen:
How did you get into my heart?
It must ever be the same with me.
As the noon receives her light from the sun,
So the glance of your bright eyes, when you leave me,
Sinks into my heart.
He calls his love his light of May, his Easter Day:
She is my sweetheart, a sweet May
Bringing delights, a sunshine without cloud.
and says, in promising fidelity: 'My steady mind is not like the wind.'
Reinmar says:
When winter is over
I saw the heath with the red flowers, delightful there....
The long winter is past away; when I saw the green leaves
I gave up much of my sorrow.
In a time of trouble he cried:
To me it must always be winter.
So we see that Troubadour references to Nature were drawn from a very limited area. Individual grasp of scenery was entirely lacking, it did not occur to them to seek Nature for her own sake. Their comparisons were monotonous, and their scenes bare, stereotyped arabesques, not woven into the tissue of lyric feeling. Their ruling motives were joy in spring and complaint of winter. Wood, flowers, clover, the bright sun, the moon (once), roses, lilies, and woodland birds, especially the nightingale, served them as elementary or landscape figures.
Wilhelm Grimm says:
The Minnesingers talk often enough of mild May, the nightingale's song, the dew shining on the flowers of the heath, but always in relation only to their own feelings reflected in them. To indicate sad moods they used faded leaves, silent birds, seed buried in snow.
and Humboldt:
The question, whether contact with Southern Italy, or the Crusades in Asia Minor, Syria, and Palestine, have enriched the art of poetry in Germany with new natural pictures, can only generally be answered by the negative. It is not remarked that the acquaintance with the East gave any new direction to the songs of the minstrels. The Crusaders came little into actual contact with the Saracens; they even lived in a state of great restraint with other nations who fought in the same cause. One of the oldest lyric poets was Friedrich of Hausen. He perished in the army of Barbarossa. His songs contain many views of the Crusades; but they chiefly express religious sentiments on the pain of being separated from his dear friends. He found no occasion to say anything concerning the country or any of those who took part in the wars, as Reinmar the Elder, Rubin, Neidhart, and Ulrich of Lichtenstein. Reinmar came a pilgrim to Syria, as it appears, in the train of Leopold the 6th, Duke of Austria. He complains that the recollections of his country always haunted him, and drew away his thoughts from God. The date tree has here been mentioned sometimes, when they speak of the palm branches which pious pilgrims bore upon their shoulders. I do not remember that the splendid scenery in Italy has excited the fancy of the minstrels who crossed the Alps. Walther, who had wandered about, had only seen the river Po; but Friedank was at Rome. He merely remarked that grass grew in the palaces of those who formerly bore sway there.
As a fact, even the greatest Minnesinger, Walther, the master lyrist of the thirteenth century, was not ahead of his contemporaries in this matter. His Spring Longing begins:
Winter has wrought us harm everywhere,
Forest and field are dreary and bare
Where the sweet voices of summer once were,
Yet by the road where I see maiden fair
Tossing the ball, the birds' song is there.
and Spring and Women:
When flowers through the grass begin to spring
As though to greet with smiles the sun's bright rays,
On some May morning, and in joyous measure,
Small songbirds make the dewy forest ring
With a sweet chorus of sweet roundelays,
Hath life in all its store a purer pleasure?
'Tis half a Paradise on earth.
Yet ask me what I hold of equal worth,
And I will tell what better still
Ofttimes before hath pleased mine eyes,
And, while I see it, ever will.
When a noble maiden, fair and pure,
With raiment rich and tresses deftly braided,
Mingles, for pleasure's sake, in company,
High bred, with eyes that, laughingly demure,
Glance round at times and make all else seem faded,
As, when the sun shines, all the stars must die.
Let May bud forth in all its splendour;
What sight so sweet can he engender
As with this picture to compare?
Unheeded leave we buds and blooms,
And gaze upon the lovely fair!
The grace in this rendering of a familiar motive, and the individuality in the following Complaint of Winter, were both unusual at the time:
Erewhile the world shone red and blue
And green in wood and upland too,
And birdlets sang on the bough.
But now it's grown grey and lost its glow,
And there's only the croak of the winter crow,
Whence--many a ruffled brow!
Elsewhere he says that his lady's favour turns his winter to spring, and adds:
Cold winter 'twas no more for me,
Though others felt it bitterly;
To me it was mid May.
He has many pictures of Nature and pretty comparisons, but the stereotyped style predominates--heath, flowers, grass, and nightingales. The pearl of the collection is the naive song which touches sensuous feeling, like the Song of Solomon, with the magic light of innocence:
Under the lime on the heath where I sat with my love,
There you would find
The grass and the flowers all crushed--
Sweetly the nightingale sang in the vale by the wood.
Tandaradei!
When I came up to the meadow my lover was waiting me there.
Ah! what a greeting I had! Gracious Mary, 'tis bliss to me still!
Tandaradei! Did he kiss me, you ask? Look at the red of my lips!
Of sweet flowers of all sorts he made us a bed,
I wager who passes now smiles at the sight,
The roses would still show just where my head lay.
Tandaradei!
But how he caressed me, that any but one
Should know that, God forbid! I were shamed if they did;
Only he and I know it,
And one little birdie who never will tell.
So we see that interest in Nature in the literature of the Crusaders very seldom went beyond the utilitarian bounds of pleasure and admiration in fertility and pleasantness; and the German national epics rarely alluded to her traits even by way of comparison. The court epics shewed some advance, and sympathy was distinctly traceable in Gottfried, and even attained to artistic expression in his lyrics, where his own feelings chimed with Nature.
For the rest, the Minnesingers' descriptions were all alike. The charm of Nature apart from other considerations, delight in her for her own sake alone, was unknown to the time.
Hitherto we have only spoken of literature.
Feeling for Nature reveals itself in plastic art also, especially in painting; and since the mind of a people is one united organism, the relation between poetry and painting is not one of opposition and mutual exclusion--they rather enlarge and explain, or condition each other.
As concerns feeling for Nature, it may be taken as a universal rule that landscape-painting only develops when Nature is sought for her own sake, and that so long as scenery merely serves the purpose of ornament in literature, so long it merely serves as accessory and background in painting; whereas, when Nature takes a wider space in prose and poetry, and becomes an end of representation in herself, the moment for the birth of landscape-painting has come. We will follow the stages of the development of painting very briefly, from Woltmann and Woermann's excellent book,[[9]] which, if it throws no fresh light upon our subject, illustrates what has just been said in a striking manner.
In the first centuries Anno Domini, painting was wholly proscribed by Christendom. Its technique did not differ from that of antiquity; but Christendom took up an attitude of antagonism. The picture worship of the old religions was opposed to its very origin and essence, and was only gradually introduced into the Christian cult through heathen influences. It is a fact too, easy to explain, especially through its Jewish origin, that Christianity at first felt no need of art, and that this one-sidedness only ceased when the specifically Jewish element in it had died out, and Christendom passed to cultivated Greeks and Romans. In the cemeteries and catacombs of the first three centuries, we find purely decorative work, light vines with Cupids, but also remains of landscapes; for instance, in the oldest part of the cemetery of Domitilla at Rome, where the ceiling decoration consists of shepherds, fishers, and biblical scenes. The ceiling picture in St Lucina (second century) has apparently the Good Shepherd in the middle, and round it alternate pictures of Him and of the praying Madonna; whilst in the middle it has also charming divisions with fields, branches with leaves and flowers, birds, masks, and floating genii.
In Byzantine painting too, the influence of antiquity was still visible, especially in a Psaltery with a Commentary and fourteen large pictures. David appears here as a shepherd; a beautiful woman's form, exhibiting the melody, is leaning with her left arm upon his shoulder; a nymph's head peeps out of the foliage; and in front we have Bethlehem, and the mountain god resting in a bold position under a rock; sheep, goats, and water are close by, and a landscape with classic buildings, streams, and mountains forms the background; it is very poetically conceived. Elsewhere, too, personifications recur, in which classic beauty is still visible, mixed with severe Christian forms.
At the end of the tenth century began the Romantic period, which closed in the thirteenth.
The brilliant progress made by architecture paved the way for the other arts; minds trained in its laws began to look for law in organic Nature too, and were no longer content with the old uncertain and arbitrary shapes. But as no independent feeling for Nature, in the widest sense of the term, existed, mediæval art treated her, not according to her own laws, but to those of architecture. With the development of the Gothic style, from the thirteenth century on, art became a citizen's craft, a branch of industry. Heretofore it had possessed but one means of expression--religious festival or ceremony, severely ecclesiastical. This limit was now removed. The artist lived a wide life, open to impressions from Nature, his imagination fed by poetry with new ideas and feelings, and constantly stimulated by the love of pleasure, which was so vehement among all classes that it turned every civil and ecclesiastical event to histrionic purposes, and even made its influence felt upon the clergy. The strong religious feeling which pervaded the Middle Ages still ruled, and even rose to greater enthusiasm, in accordance with the spirit of the day; but it was no longer a matter of blind submission of the will, but of conscious acceptance.
It is true that knowledge of the external world was as yet very limited; the painter had not explored and mastered it, but only used it as a means to represent a certain realm of feeling, studying it just so far as this demanded. We have seen the same in the case of poetry. The beginnings of realistic painting were visible, although, as, for example, in representing animals, no individuality was reached.
From the middle of the fourteenth century a new French school sprang up. The external world was more keenly and accurately studied, especially on its graceful side. It was only at the end of that period that painting felt the need to develop the background, and indicate actual surroundings by blue sky, hills, Gothic buildings, and conventional trees. These were given in linear perspective; of aerial perspective there was none. The earlier taste still ruled in initialling and border decorations; but little flowers were added by degrees to the thorn-leaf pattern, and birds, sometimes angels, introduced.
The altar-piece at Cologne, at the end of the fourteenth century, is more subjective in conception, and full of lyric feeling. Poetic feeling came into favour, especially in Madonna pictures of purely idyllic character, which were painted with most charming surroundings. Instead of a throne and worshipping figures, Mary was placed sitting comfortably with the Child on flowery turf, and saints around her; and although the background might be golden instead of landscape, yet all the stems and blossoms in the grass were naturally and accurately treated. In a little picture in the town museum at Frankfort, the Madonna is seated in a rose garden under fruit trees gay with birds, and reading a book; a table with food and drinks stands close by, and a battlemented wall surrounds the garden. She is absorbed in contemplation; three female saints are attending to mundane business close by, one drawing water from a brook, another picking cherries, the third teaching the child Christ to play the zither. There is real feeling in the whole picture, and the landscape is worked in with distinct reference to the chief idea.
Hence, although there were many isolated attempts to shew that realistic and individual study of Nature had begun, landscape-painting had not advanced beyond the position of a background, treated in a way more or less suited to the main subject of the picture; and trees, rocks, meadows, flowers, were still only framework, ornament, as in the poetry of the Minnesingers.[[10]]