And the dance of the Trevisan;
The graceful form of the Arragoneze
And the pearl of the Julian;[274]
An English face and hands to see,
And a page of Tuscany.”[275]
The love songs of the Germans were not so fiery as those of Provence; while the adoration of the troubadour for his love went all lengths, the German knight rendered to his own a much quieter, (and chaster) species of homage. There were not such criminal passions (often ending in murder at the hands of the outraged husband) as in France. In epic poems this school was very successful, and that stateliest of German poems, “The Nibelungen-lied,” dates from about this time, although its author is not known.
The preservation of many of the songs of the Minne-singers is due to Rudiger of Manesse, a senator of Zurich (fourteenth century). To those who are desirous of seeing the main part of his collection we cannot do better than to recommend the excellent work of F. von der Hagen, (“Minne-sänger,” Manessische Sammlung), in which all the gems of this early growth of mediæval poetry are given. One peculiar species of their songs were called “Wacht-lieder” (Watch-songs), and represent the pleading of the knight, with the watchman of the castle, for admittance to his love; or the warning of the watchman to the lover in the castle, to avoid discovery by leaving while it was yet dark. We present the reader with a specimen (author unknown).
Vor tags ich hort, in liebes port, wohl diese wort,
Von wächters mund erklingen;
Ist jeman ji, vorborgen hie, derachte wie,