DECORATION (XIII. CENT. PSALTER MSS.)
X
THE CID, THE HOLY GRAIL, THE NIBELUNGEN.
Anyone who has studied even perfunctorily the Books of the Arts and of the Deeds of the Thirteenth Century, who has realized its accomplishments in enduring artistic creations, sublime and exemplary models and inspirations for all after time, who has appreciated what it succeeded in doing for the education of the classes and of the masses, the higher education being provided for at least as large a proportion of the people as in our present century, while the creation of what were practically great technical schools that culled out of the masses the latent geniuses who could accomplish supreme artistic results in the arts and crafts and did more and better for the masses than any subsequent generation, can scarcely help but turn with interest to read the Book of the Words of the period and to find out what forms of literature interested this surprising people. One is almost sure to think at the first moment of consideration that the literature will not be found worthy of the other achievements of the times. In most men's minds the Thirteenth Century does not readily call up the idea of a series of great works in literature, whose influence has been at all as profound and enduring as that of the universities in the educational order, or of the Cathedrals in the artistic order.
This false impression, however, is due only to the fact that the literary creations of the Thirteenth Century are so diverse in subject and in origin, that they are very seldom associated with each other, unless there has been actual recognition of their contemporaneousness from deliberate calling to mind of the dates at which certain basic works in our modern literatures were composed. It is not the least surprise that comes to the student of the Thirteenth Century, to find that the great origins of what well deserves the name of classic modern literature, comprising a series of immortal works in prose and poetry, were initiated by the contemporaries of the makers of the [{167}] universities and the builders of the Cathedrals. If we stop to think for a moment it must be realized, that generations who succeeded in expressing themselves so effectively in other departments of esthetics could scarcely be expected to fail in literature alone, and they did not. From the Cid in Spain, through the Arthur Legends in England, the Nibelungen in Germany, the Minnesingers and the Meistersingers in the southern part of what is now the German Empire, the Trouvères in North France, the Troubadours in South France and in Italy, down to Dante, who was 35 before the century closed, there has never been such a mass of undying literature written within a little more than a single hundred years, as came during the period from shortly before 1200 down to 1300. Great as was the Fifth Century before Christ in this matter it did not surpass the Thirteenth Century after Christ in its influence on subsequent generations.
We have already pointed out in discussing the Cathedrals that one of the most characteristic features of the Gothic architecture was the marvelous ease with which it lent itself to the expression of national peculiarities. Norman Gothic is something quite distinct from German Gothic which arose in almost contiguous provinces, but so it is also from English Gothic; these two were very closely related in origin and undoubtedly the English Cathedrals owe much to the Norman influence so prevalent in England at the end of the Twelfth Century, and the beginning of the Thirteenth Century. Italian Gothic has the principal characteristic peculiarities of the architectural style which passes under the name developed to a remarkable degree, and yet its finished product is far distant from any of the three other national forms that have been mentioned, yet is not lacking in a similar interest. Spanish Gothic has an identity of its own that has always had a special appeal for the traveler. Any one who has ever visited the shores of the Baltic sea and has seen what was accomplished in such places as Stralsund, Greifswald, Lübeck, and others of the old Hansa towns, will appreciate still more the power of Gothic to lend itself to the feelings of the people and to the materials that they had at hand. Here in the distant North they were far away from any sources of the stone that would ordinarily be deemed absolutely [{168}] necessary for Gothic construction. How effectively they used brick for ecclesiastical edifices can only be realized by those who have seen the remains of the Gothic monuments of this portion of Europe.
The distinguishing mark of all these different styles is the eminent opportunity for the expression of nationality which, they afford. It might be expected that since they were all Gothic, most of them would be little better than servile copies, or at best scarce more than good imitations of the great originals of the North of France. As a matter of fact, the assertion of national characteristics, far from destroying the effectiveness of Gothic, rather added new beauties to this style of architecture. This was true even occasionally when mistakes were made by architects and designers. As Ferguson has said in his History of Architecture, St. Stephen's at Vienna is full of architectural errors and yet the attractiveness of the Cathedral remains. It was a poet who designed it and something of his poetic soul gleams out of the material structure after the lapse of centuries.
In nearly this same way the literatures of the different countries during the Thirteenth Century are eminently national and mirror with quite wonderful appropriateness the characteristics of the various people. This is true even when similar subjects, as for instance the Graal stories, are treated from nearly the same standpoint by the two Teutonic nations, the Germans and the English. Parsifal and Galahad are national as well as poetic heroes with a distinction of character all their own. As we shall see, practically every nation finds in this century some fundamental expression of its national feeling that has been among its most cherished classics ever since.