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.