joy at the soft splendor poured, over them, without deep sympathy, nay,
without a certain emotion and tenderness? And the same spirit that
created these images also produced those poetical effusions, the same
spirit of pious belief, of deep devotion, of heavenly longing. If we
make a present reality of the heroic songs of the early German popular
poetry, and the chivalrous epics of the art poetry, the military
expeditions and dress of the Crusades, this legendary poetry appears as
the invention of humble pilgrims, who wander slowly on the weary way to
Jerusalem, with scollop and pilgrim's staff, engaged in quiet prayer,
till they are all to kneel at the Saviour's sepulchre; and thus
contented, after touching the holy earth with their lips, they return,
poor as they were, but full of holy comfort, to their distant home.

"While the knightly poetry is the poetry of the splendid secular life,
full of cheerful joy, full of harp-tones and song, full of tournaments
and joyous festivals, the poetry of the earthly love for the earthly
bride, the poetry of the legends is that of the spontaneous life of
poverty, the poetry of the solitary cloister cell, of the quiet,
well-walled convent garden, the poetry of heavenly brides, who without
lamenting the joys of the world, which they need not, have their joy in
their Saviour in tranquil piety and devout resignation--who attend at the
espousals of Anna and Joachim, sing the Magnificat with the Holy Mother
of God, stand weeping beneath the cross, to be pierced also by the sword,
who hear the angel harp with St. Cecilia, and walk with St. Theresa in
the glades of Paradise. While the Minne-poetry was the tender homage
offered to the beauty, the gentleness, the grace, and charm of noble
women of this world, legendary poetry was the homage given to the Virgin
Mother, the Queen of Heaven, transfiguring earthly love into a heavenly
and eternal love."