Studies in Mediæval Life and Literature

by Edward T. McLaughlin

We obtain considerable information about customs of education also; such as the attention paid to languages (a girl in a French romance is said to have understood fourteen tongues), and Isolde knew French and Latin as well as Irish. Boys were sent off on their travels early, going especially to Paris. Weinhold's quotation from Hugo von Trimberg illustrates the dangers that beset the pursuit of culture even then: "Many boys go to Paris; they learn little and spend much. But yet no doubt they see Paris."

When Sir Philip Sidney derided the contemporary drama's habit of carrying a play through a large part of the hero's lifetime, instead of restricting the action to a developed episode, he made a poor criticism, out of tune, as are other parts of his criticism, with the genius of Elizabethan poetry. But the passage is interesting as a reminder of the relation to that great literature of the romances which runs back through the middle ages to the later Greek writings. Such narrations as the Daphnis and Chloe, and the Aethiopica, introduce their central characters while they are still children, and whether through transmitted influence or independently, the same course is pursued by the most important romance poems of mediæval France and Germany. To this practice we owe pleasant domestic scenes of many a hero's early life, and sometimes, indeed, a narration of early joys and sorrows of his parents' love. The Tristan of Gottfried von Strassburg, for example, begins well before the birth of its subject, with noteworthy romantic episodes. This brilliant poem's account of the early years of chivalry's typical fine gentleman illustrates the admiration paid to intellectual training at a time when polite society in general was not well educated. Tristan spent his first seven years under the care of his foster-mother, learning various lessons of good behavior; after that Rual li Foitenant provided a master, and sent him off to acquire foreign languages in their own lands, and "book-learning" as well. The luxurious temper of his chronicler stops for a long sigh at the hardship of such training, through the years when joyousness is at its best. So it is, he exclaims in his studied style, with many youth; when life is in its first bloom and freedom, away they are constrained to go from its free blossom. For seven years this young prince was constantly kept busy with the exercises of arms and horsemanship, in addition to his formal studies; he also learned hunting, and all courtly arts, especially music. Then he was called home to be prepared for his political career. The education of children was assisted by not a few treatises on manners and morals, such as Babees Books, as the old English called them. They are usually manuals of etiquette, mediæval prototypes of such modern works as Don't. Chaucer's Prioress had evidently studied the sections on table proprieties, and her gentility, which was so tender-hearted, might well have been developed under the admonishments of the ethical passages which often accompanied them. For a tender age many of these precepts were depressing. One of the gravest and most mature of these works is called Der Winsbeke, with a sequel, Die Winsbekin, for girls, the advice of a twelfth-century Solomon, which moralizes certainly as well as most of its analogues. This stanza, for instance, shows a homely dignity:

That bright candle mark, my son,
While it burns, it wastes away;
So from thee thy life doth run,
(I say true) from day to day.
In thy memory let this dwell,
And life here so rule, that then
With thy soul it may be well.
What though wealth exalt thy name?
Only this shall follow thee—
A linen cloth to hide thy shame.

These gnomic writings, running into a developed didacticism, are illustrated by the song of Walther von der Vogelweide on the restraint of eye, ear, and tongue. Whether this poet was the teacher of the young King Henry, as some have thought, or gained his experience in humbler ways, he evidently knew the trials of the pedagogue. "Oh, you self-willed boy," he cries, "too small to be put to work in the field and too big to whip, have your own way and go to sleep." As for flogging, this prince of the minnesingers took the side of the Matthew Feildes against the Boyers: "No one can switch a child into education; to those whom you can bring up well, a word is as good as a blow." Apropos of the teacher's view, we also find the pupil's feeling for his teacher recorded in that little poem of the English school-boy, who was late in the morning, and explained to the master that his mother told him to stop and milk the ducks. The boy recounts the details of what follows, and afterwards, instead of taking up his interrupted studies, he words out a day-dream in which the master is turned into a hare, his books into hounds, and the boy goes hunting.

There is a grain of humor, too, at least for the modern reader, in a much more sentimental child-play of the minnesinger Hadlaub. Though he mainly echoes the love singers who wrote a hundred years before him, one of the first songs in the collection of his poems raises a hope of something more than the ordinary, though this only leads us on to disappointment through the rest of his fifty-odd pieces. There is something very natural about this picture of the lover catching sight of his disdainful fair one playing with a little child. "She reached out her arms and caught it close to her, she took its face between her white hands, and pressed it to her lips and mouth and lovely cheek; ah, how deliciously she kissed it!" What did the child do? "Just what I should have done; threw its arms around her, and was so happy." When she let the little one go, the lover went after it and kissed it just where her lips had been, "and how that went to my heart!" Poor fellow! "I serve her since we both were children," and this is the nearest apparently that he ever came to the seals of love.

But instead of delaying over estrays, pleasant scraps like those left us by Heinrich von Morungen, for instance, one of the few minnesingers for whom one really cares, we may pass on to three or four more detailed examples from the thirteenth century, of household love and sympathy with the poetry of childhood. But first I will translate a simple sesame for opening again the early gates. The poet is known as the Wild Alexander, but his mood was gentle and gracious when this revery of his boyhood came upon him:

There we children used to play,
Thro' the meadows and away,
Looking 'mid the grassy maze
For the violets; those days
Long ago
Saw them grow;
Now one sees the cattle graze.

I remember as we fared
Thro' the blossoms, we compared
Which the prettiest might be:
We were little things, you see.
On the ground
Wreaths we bound;—
So it goes, our youth and we.

Over stick and stone we went
Till the sunny day was spent;
Hunting strawberries each skirrs
From the beeches to the firs,
Till—Hello,
Children! Go
Home, they cry—the foresters.

So he goes on to tell how their childhood took as a pleasure the hurts and stings that they received as they hunted for strawberries, and to recall the warnings against snakes that the herdsman sometimes shouted through the branches. Apart from its graceful manner, and the breezy freshness of its universal childhood, the poem's specific touches are unusual. "From the beeches to the firs," for instance, does not sound mediæval aside from one's surprise that a German should have omitted the linden. We need not be as old as was Lamb in 1820, to look back with a touch of desire on the child, that other me, there in the background. Perhaps there is the glamour of sentiment about that familiar association of childhood with purity and moral grace. Yet the feeling appeals to us as true beyond mere beauty, and many may read with responsiveness these lines, hitherto unprinted, by one on whose lips, just parted for their song, silence laid her finger: