This was a period which has nothing to compare with it in point of
art and poetry, save perhaps, and that imperfectly, the heroic and
post-Homeric age of early Greece.

The poetical efforts of that early age may be grouped under--(1) national
epos: the "Nibelungenlied;" (2) art epos: the "Rolandslied," "Percival,"
etc.; (3) the introduction of antique legends: Veldeck's "Aeneide," and
Konrad's "War of Troy;" (4) Christian legends "Barlaam," "Sylvester,"
"Pilatus," etc.; (5) poetical narratives: "Crescentia," "Graf Rudolf,"
etc.; (6) animal legends; "Reinecke Vos;" (7) didactic poems: "Der
Renner;" (8) the Minne-poetry, and prose.

The fourth group, though introduced from a foreign source, gives the
special character and much of the charm of the period we consider. This
is the sphere of legends derived from ecclesiastical ground. One of the
best German writers on the history of German literature remarks: "If the
aim and nature of all poetry is to let yourself be filled by a subject
and to become penetrated with it; if the simple representation of
unartificial, true, and glowing feelings belongs to its most beautiful
adornments; if the faithful direction of the heart to the invisible and
eternal is the ground on which at all times the most lovely flowers of
poetry have sprouted forth, these legendary poems of early Germany, in
their lovely heartiness, in their unambitious limitation, and their pious
sense, deserve a friendly acknowledgment. What man has considered the
pious images in the prayer-books of the Middle Ages, the unadorned
innocence, the piety and purity, the patience of the martyrs, the calm,
heavenly transparency of the figures of the holy angels, without being
attracted by the simple innocence and humility of these forms, the
creation of pious artists' hands? Who has beheld them without tranquil