or Wordsworth's ash,
"A soft eye-music of slow waving boughs,"
but they see natural objects as units, without lingering upon their parts. When we find, for example, a line that marks the jerky flight of a swallow, we are surprised at the specific touch; we look almost in vain for such landscape details as the colors of autumn. Neidhart von Reuenthal is marking his originality, when he speaks of the red tree-tops, falling down yellow.
The want of observation and the shallow sympathy with nature shown by most poets before Dante are much more surprising than their preference for placid effects. It is unusual, for instance, to meet such a suggestive note of association as in the stanza by the Frenchman Gaces Brulles:
The birds of my own land
In Brittany I hear,
And seem to understand
The distant in the near;
In sweet Champagne I stand,
No longer here.
This paraphrase, indeed, is unworthy of the charming simplicity of the original. Surely, when Matthew Arnold made his sweeping characterization of mediæval poetry as grotesque, he forgot what a straightforward evolution of narrative or of quiet sentiment, and what a transparent expression, we find in some of these minor poets. They are as direct and unadorned, as they are graceful. It is almost impossible to translate them without substituting for the fresh and delicate touch, some metaphysical warping of the idea, or some rhetorical consciousness in words. What for instance could be more elegantly remote from the grotesque than this literal translation of Brulles' expression of his sensibility to the song-birds of his home: "The birds of my country I have heard in Brittany; by their song I know well that in sweet Champagne I heard them of old."
We may sum up these outline statements to this effect.
The northern poets described storm, winter, the ocean, and kindred subjects, with considerable force and fulness. In the cultivated literatures to the south, natural description was mainly confined to the agreeable forms of beauty; the grand, awesome, and inspiring were scarcely felt, and the literal fact of their physical expression was hardly ever noticed. The exterior world was not made a subject of close observation, nor was its poetic availability realized as a setting for action, or as an interpreter of emotion.
The people of the north, through being habituated to severer weather, not merely as a fact of climate, but from their rougher, less politely organized habits of living, [we should especially observe their activity on the sea,] regarded the violent seasons and aspects of nature with the sympathetic acquiescence of custom. Moreover, this influence tended to develop sturdier and more rugged character, race-temperament obviously being in part a geographical result, which acts with the forces of social organization, especially those that affect the moral qualities, such as rude or luxurious living. This vigorous character was more susceptible to impressions of native power, as well as from association more interested in recalling them. Accordingly, we find the early northern poetry an anticipation of the seriousness of modern English literature, and, as well, of its unequalled recognition of physical symbolisms of the sublime. Where the northern force blended with more southern lightness and elegance, as it did in the Mabinogion, we find a deeper poetic sentiment; where it coincides with moral earnestness, we find such nature sensation as in the poetry of Sir Gawayn. But the literature of the Germans and their romance originals, aim at courtly levities; they artificialize sentiment and thought, as well as manner. The deeper and more spiritually sympathetic minds did not as a rule devote themselves to belles-lettres. The Church drew them into her sober service, and even though they wrote, the close theological faith was not favorable to their poetic expansion. Most of all, there was but little individualism, and any artistic sensation of our modern complex inner consciousness was still crude, even when it existed at all.