For this feeling of the lofty character of the love they sang was not, in spite of what is sometimes said, confined only to the Germans, though as is well known from time immemorial the {183} Teutonic feeling towards woman was by racial influence of higher character than that of the southern Nations. As Mr. H. J. Chaytor says in the introduction to his Troubadours of Dante, there came a gradual change over the mind of the Troubadour about the beginning of the Thirteenth Century and "seeing that love was the inspiring force to good deeds," the later Troubadours gradually dissociated their love from the object which had aroused it. Among them, "as among the Minnesingers, love is no longer sexual passion, it is rather the motive to great works, to self-surrender, to the winning an honorable name as Courtier and Poet." Mr. Chaytor then quotes the well known lines from Bernart de Ventadorn, one of the Troubadours to whom Dante refers, and whose works Dante seems to have read with special attention since their poems contain similar errors of mythology. "for indeed I know Of no more subtle passion under heaven Than is the maiden passion for a maid. Not only to keep down the base in man. But teach high thought and amiable words. And courtliness and the desire of fame. And love of truth and all that makes a man." A sentiment surely that will be considered as true now as it ever was, be the time the Thirteenth Century or earlier or later, and that represents the best solution of social problems that has ever been put forward--nature's own panacea for ills that other remedies at best only palliate. In the early Nineteenth Century Carlyle said of this period what we may well repeat here: "We shall suppose that this Literary Period is partially known to all readers. Let each recall whatever he has learned or figures regarding it; represent to himself that brave young heyday of Chivalry and Minstrelsy when a stern Barbarossa, a stern Lion-heart, sang sirventes, and with the hand that could wield the sword and sceptre twanged the melodious strings, when knights-errant tilted, and ladies' eyes rained bright influences; and suddenly, as at sunrise, the whole earth had grown {184} vocal and musical. Then truly was the time of singing come; for princes and prelates, emperors and squires, the wise and the simple, men, women and children, all sang and rhymed, or delighted in hearing it done. It was a universal noise of Song; as if the Spring of Manhood had arrived, and warblings from every spray, not, indeed, without infinite twitterings also, which, except their gladness, had no music, were bidding it welcome." This is the keynote of the Century--song, blithesome and gay as the birds, solemn and harmonious as the organ tones that accord so well with the great Latin hymns--everywhere song.