New-York tribune., 1886-03-12
GERMAN LITERATURE.
PROF. scuERER's HISTORICAL SURVEY.

MuLIIR. . vols. l2mo, pp. Xii, 40l; vii, 40
Charles SCribners sous
There are not many histories of literature, IN
whatever anguige. which can be read with the un-
TAGGING interest likely TO be excited by TINS
work even In those who are quite leuoraht Oh tho
German tongue and who have only that geHerai ac-
ouaintance with a few German masterpieces which
translations are supposed TO furnish to every man
OF fair education. A clear and animated styie'
talent for iudicious conde lsdtiOn, power OF gen
erajizlng skill in arrang gement and giit OF faphi
and effective narrative, are among the attractions
of the authors manner. Bat very large shaic ol
his success is attributable to HIS excellent plah'
Although the number of writers mentioned ana
characterized in the book is very large, and the
statement of what they accomplished is precise ana
nmplc. the survey of German literature is not
biographical but historical. The main subject Is
the spirit and tendency of successive epOchs; and
the literary movement is always treated IN con
nection with political and social changes the huct-
nations of religious and philosophical opinion, the
influences of foreign intercourse and OF popular
codes of morality word, with the general
course of the civilization of which 1t is the most
striking phenomenon. In broad review OF thlS
kind there IS no place for the minnie schoOlmaster
sty'e of criticism which dissects an authors sen
tences balances the merits and defects OF his work
Inauship. aul assigns to each of his chief prOuuc-
tons Its relative rJnh-a CIlllCsdl VA "Hi'- i'''
Samnel Johnson was the most distinguished pro-
fessor Neither there place for that modern Dlo-
graphical style which studies an authors works by
the fight of ms personal adventures, and treats the
poet not as development of his time and clrcuT-
stances but rs tine isolated product OF special
creation Each of these methods has It's uses III
literary crlticsmbnt neither ls adequate Tor COM
prehensive history of literature
Two classical periods are generally recognized III
German literature but author believes that
there were in reality three although OF the hr7t
every text persisted except fragments of single
song its poetica creations were revived in the nero
legends OF the second period, and were thus handed
on 70 our day The three eliminating points of
German literary history are separated from each
other by intervals of about 600 years, and the
periods Of greatest depression the same distance
apart The German national epic attained It's
highest development about A. ID. 600 In the tenth
century culture had declined to lts lowest depth;
aud although some remnant of 1t was carefully pre-
served in the mOnasteres, where there was cOnsld-
cradle activity in the metrica treatment OF rellg-
ions and also of secular themes the popular poet OF
the period was the rowing minstrel, or gleenaD, VINO
wandered from court TO cOurt with the latest news
and may properly be called the journalist of his
time lie was a coarse irrevcrent jester, work
ing over old materials without improving them:
power or poetic taste until u century later. when
literature instead of being merely an amusement
for the people became serious pursuit of the
knirhtIy aristocratic class. This was the dawn OF
chivalry and with 1t came the revival of German
heroic son. and the golden age of Middle High-Ger-
man noetry About the year 1900 the half-fOrgOt-
ten hero-legends Teappearod, and were embodied IN
the "Nibelun senlied and " Gudrun," and lyric
and pic poets of the first order arose, like Wolfram
Won Eschenbach. GOttfried Won Strassbnr9, and
Walther Won der Vogel weide. The account OF these
famous poems, aud of these three famous poets,
fllna a considerable part of the first volume, will
fascinate the reader by brilliant and penetrating
criticism vivid pictures of the remote past, and ex-
traordinary aptitude for the difficult art of telling
story.
In the next era of decline. which lasted until the
period of the Reformation or somewhat later, our
historian has great deal to say upon the only
aspect of his subject which rouses in him the pole-
ical spirit. The decay of poetry after the thlr-
eemth century is attributable. he things not to in
trinsic causes but to various outside hostile in
auences The increase of the trading interest, the
passion for material improvement, the diversion to
mercantile and industrial enterprises of the energy
once expended in high ventures like the crusades
the transformation of political and social life by
the new prosperity, even the increase OF learning
and the extension of practical research, had
blighting effect upon the imaginative faculties,
exactly as a similar phase of civilization seems to
have in our own day But the greatest enemy OF
poetry was the Church. All through the history of
literature we trace q conflict between the secular
idea! of life. which inspirel poetry, and the reg
ious ideal preached by the clergy. The life OF
pleasure indulgence gay humor, cheerful content
with nature and satisfaction in sensuous beauty.
the life which dldact.c poet of the Middle Ages
personifed as Lady World this the life
which the typical singer celebrated, and literature
was richest precisely when this ideal had the
frmest hold upon the general mnnd The popular
songs of the wandering mnstrels and the verses of
chIva1c courtiers ran in tine same direction; only
the love of wine and women, or what Professor
Scherer, edphemistically, but IN all seriousness
calls liberal morality was more riotous with
gleeinen than with knights. The standard virtues
of chivary as the historian acknowledges, became
very different from those of the religious ideal.
Loyalty honor, generosity, moderation, steadtast-
ness-thcse were the h CHEST qualities of knghhood
as poetry understood it. But loyalty in bad ser
vice may be vice. honor meant little more than
the love of reputation generosity was vague In its
objects moderation included liberal morals pro-
yided the sins were not scandaousy open steadfast
ness was often only sef-esteem The characteristic
knightly virtues were quite consistent with a
very evil life. Professor Scherers sympathies are
wholly with the secular ideal. lie loves the light
hearted singer for whom the world is enough, and
the selfreant Titan who will make his own fate
and ask no help from the gods lie has no tolerance
for the "gloOmy temperament which hroods over
the last things, what he calls the "canting
pety which would hamper the free expression OF
natural impulse in Difference to the prejudices OF
religion. Yet if poetry became what he represents
H. one can readily understand how it fell under
the ban of the preacher. The beautiful secular
life which it reflected was not beautiful at all.
It's strongest marks between the twelfth and the
fifteenth century got TO be rapine and sensual in
diligence especially unchastty. When ST. Francis
sent out his Preaching Frlars their mission was to
.bo ,,;ocs of societV corrunt in every