A species of love song, peculiar, according to Weber (p. 9), to the Minne-singers, are called Watchmen’s Songs. These consist in a dialogue between a lover and the sentinel who guards his mistress. The latter is persuaded to imitate “Sir Pandarus of Troy;” and when morning breaks, summons the lover to quit his lady; who, in her turn, maintains that “it is the nightingale, and not the lark,” with almost the pertinacity of Juliet. Mr. Taylor remarks, that the German poets do not go so far in their idolatry of the fair as the Provençals, p. 127. I do not concur altogether in his reasons; but as the Minne-singers imitated the Provençals, this deviation is remarkable. I should rather ascribe it to the hyperbolical tone which the Troubadours had borrowed from the Arabians, or to the susceptibility of their temperament. 42. No poetry, however, of the Swabian period is so national as the epic romances, which drew their subjects from the highest antiquity, if they did not even adopt the language of primæval bards, which, perhaps, though it has been surmised, is not compatible with their style. In the two most celebrated productions of this kind, the Helden Buch, or Book of Heroes, and the Nibelungen Lied, the Lay of the Nibelungen, a fabulous people, we find the recollections of an heroic age, wherein the names of Attila and Theodoric stand out as witnesses of traditional history, clouded by error and coloured by fancy. The Nibelungen Lied, in its present form, is by an uncertain author, perhaps, about the year 1200;[76] but it comes, and as far as we can judge, with little or no interpolation of circumstances, from an age anterior to Christianity, to civilisation, and to the more refined forms of chivalry. We cannot well think the stories later than the sixth or seventh centuries. The German critics admire the rude grandeur of this old epic: and its fables, marked with a character of barbarous simplicity wholly unlike that of later romance, are become, in some degree, familiar to ourselves. [76] Weber says,--“I have no doubt whatever that the romance itself is of very high antiquity, at least of the eleventh century, though, certainly, the present copy has been considerably modernised.” Illustrations of Northern Romances, p. 26. But Bouterwek does not seem to think it of so ancient a date; and I believe it is commonly referred to about the year 1200. Schlegel ascribes it to Henry von Offerdingen. Heinsius, iv. 52.