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Updated: June 28, 2025
It is moreover extremely the likely that these love poems, in which, successfully or unsuccessfully, the poet usually offers a bribe to the woman of low degree, conceal beneath the conventional pastoral trappings the intrigues of minnesingers and troubadours with women of the small artizan or village proprietor class.
Yes, while they sing Provençals, minnesingers, Sicilians, sing of their earthly lady and of their paramour in heaven the hideous peasant, whose naked granny is starving on the straw, looks on with dull and tearless eyes; crying out to posterity, as the serf cries to Aucassin: "Woe to those who shall sorrow at the tears of such as these."
Even on the Continent, the great schools of contrapuntists delighted to show their skill by employing as their cantus firmus, or chief part, some well-known popular song, such as "L'Homme Armé," for example. In Germany, the mantle of the Minnesingers fell upon the guilds of musical amateurs in the growing commercial cities.
Now, in order to understand mediæval love, we must reflect for a moment upon this feudal castle, and upon the kind of life which the love poets of the late twelfth and early thirteenth century whether lords like Bertram de Born, and Guillaume de Poitiers, among the troubadours; the Vidame de Chartres, Meurisses de Craon, and the Duke of Brabant among the trouvères of Northern France; like Ulrich von Liechtenstein among the minnesingers; or retainers and hangers-on like Bernard de Ventadour and Armand de Mareulh, like Chrestiens de Troyes, Gaisses Brulez, or Quienes de Béthune, like Walther, Wolfram, and Tannhäuser great or small, good or bad, saw before them and mixed with in that castle.
GERMAN, ENGLISH, AND SPANISH WRITERS. In Germany, in the age of the Hohenstaufens, the poets called Minnesingers abounded. They were conspicuous at the splendid tournaments and festivals. In the thirteenth century numerous lays of love, satirical fables, and metrical romances were composed or translated.
The Minnesingers, like the Troubadours, were amateurs, and aimed to keep free from the taint of professionalism. Men of the highest rank were proud to belong to this order of musicians, and emperors, princes, and famous knights are found among them. The love-songs of the Minnesingers, as already intimated, were less fiery than those of the Troubadours.
The earliest actual form of the epic is referred to the first part of the thirteenth century, but it is probable that a Latin original founded on ballads or folk-songs was in use about the middle or latter end of the tenth century. The work, despite many medieval interpolations and the manifest liberties of generations of bards and minnesingers, bears the unmistakable stamp of a great antiquity.
The Courts attracted a special class of professional singers, the Minnesingers, and it was natural that the more talented among the people should be no longer content to blossom unknown, but should seek engagement at the Courts where they were honoured and paid.
So beautiful were the bridal pair, and such were the attractions of their court, which, as in Frederick's time, was the favorite resort of distinguished poets and lovely women, that a bard of the times declared, "Paradise has once more appeared upon earth." Manfred, like his father and his brother Enzio, was a poet, being classed among the Minnesingers.
And, indeed, it appears to me that one might say, without too much paradox, that in these peasant songs only does the poetry of minnesingers and troubadours, become thoroughly enjoyable; that only when the conventionality of feeling and imagery is corrected by the freshness, the straightforwardness, nay, even the grotesqueness of rural likings, dislikings, and comparisons, can the dainty beauty of mediæval Courtly poetry ever really satisfy our wishes.
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