much respect for his text or tune; they trimmed both as they pleased, cut
away what they did not like, added and altered, changed names, turned
sense into nonsense, or less often nonsense into sense, moved by their
sweet will alone. It can be seen going on now in Germany among
students and foresters, and in all places where they sing. In a society
where men are free to follow their own natural bent, their minds
uncorrupted by books, the public taste is generally not only healthy, but
often very dainty and critical. They will find at least what they like
themselves, and have no need to consult any one else. Thus the
_Volkslied_ was the creation as it was the property of the people in
just the same sense as were our mediaeval churches. The fact that the
authors are not recognizable is vital for this kind of art.

The recreations of the people at this time were "_Sagen, Singen,
Tanzen_," story-telling, singing, dancing, in which all joined,
high and low together; no others were known. At the close of the
twelfth century, a great change began to take place in German song,
partly through the influence of foreign troubadours, but far more
owing to changes in social conditions. The reviving interest in
letters is indicated by the founding of universities in Italy and
France, by the publication of cyclopedias and other educational
treatises. There arises a cultured class outside the Church. When the
nobleman received a scholastic education, and consequently could form
a literary circle of his own, he began to look down upon the ignorant
rustic and popular poetry was affected accordingly. 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. Thus the _Volk_ was
drained of its talent; the poet becomes famous, art loses its native