King Eric and the Outlaws, Vol. 1: or, the Throne, the Church, and the People in the Thirteenth Century.Ingemann, Bernhard Severin
History
King Eric and the Outlaws, Vol. 1: or, the Throne, the Church, and the People in the Thirteenth Century.
Ingemann, Bernhard Severin
Denmark -- History -- Erik Menved, 1286-1319 -- Fiction
The state of feverish anxiety into which Aage had been thrown, had
called the colour into his cheek, and restored the appearance of health
to his countenance. In the spacious apartment appropriated to the
female inmates of the castle, where strangers were received, and where
the household assembled on holidays before divine service, Aage and
Master Petrus were received by the aged mistress of the castle, who
herself presented the guests their warm morning drink in cups of
polished silver. At a large round table in the middle of the apartment,
which was covered with a white fringed woollen table-cloth, sat the two
German minstrels, with the smoking cups before them, in pleasant
converse with the ladies. Ulrica questioned them, with curiosity, of
their visits to foreign princes, in whose praise and exaltation Master
Rumelant was as inexhaustible as he was unwearied in reckoning up all
the honour he had gained by his lays with these "excellent lords, his
august and most gracious patrons."
Margaretha also took part in the conversation with the strangers; but
she was more modest in her queries. She was much more interested in
their art than in the good fortune they had sought and obtained by it
from the great. The solemn Master Poppe favoured her with a detailed
account of the genius and lays of the famous Minnesingers, whose most
flourishing period Master Poppe asserted could only be supposed by the
ignorant to have passed away. He affirmed, on the contrary, that the
noble art of minstrelsy had only now for the first time fully developed
itself on higher themes,--in the praise of moral truth and seraphic
beauty. Minstrels no longer repeated the monotonous praises of verdant
May, or of the beauty of earthly females and vain loves, but now in the
same, or even in a more regular measure, sang moral or religious themes
and important theological dogmas. He could not, however, deny that the
ancient love songs possessed a degree of pathos and animation which
even his good friends Master Henrick Frauenlob and a certain Master
Regenbogen, as well as the famous schoolmaster of Esslingen, with all
their learning, vainly strove to attain. Meanwhile he deemed it very
fortunate that, as princes and emperors no longer, as in former times,
devoted themselves to the noble art of minstrelsy, now cultivated
chiefly by the honest burgher class, there still were lords and
princes, like the King of Denmark, to honour and encourage the art, and
that the minstrel's lay yet resounded in knightly halls and in the
apartments of noble ladies. He lauded the poetic spirit of the
chivalrous poetry of Denmark, but still considered it, as well as the
love songs, too vain and worldly; a charge which Margaretha took much
to heart, although she readily admitted to the learned minstrel, that
all the Danish ballads she knew and admired treated of love adventures;
not a single one on scriptural or theological subjects.
Public-domain text, read in full here on John Shaqi.
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