Latin was the language used in university education, scholarly writing, and works of literature. By the High Middle Ages, however, no one spoke Latin as his or her original mother tongue. The barbarian invasions, the mixture of peoples, and the usual changes in language that occur over time had resulted in a variety of local dialects that blended words and linguistic forms in various ways. As kings increased the size of their holdings, they often ruled people who spoke many different dialects.

In the High Middle Ages, some authors departed from tradition and began to write in their local dialect, that is, in the everyday language of their region, which linguistic historians call the vernacular. This new vernacular literature gradually transformed some local dialects into literary languages, such as French, German, Italian, and English, while other local dialects, such as Breton and Bavarian, remained (and remain to this day) means of oral communication.

Facilitating this vernacular writing was a technological advance. By the thirteenth century techniques of making paper from old linen cloth and rags began to spread from Spain, where they had been developed by the Arabs, providing a much cheaper material on which to write than parchment or vellum (see Chapter 8). People started to write down the more mundane and the less serious — personal letters, lists, songs, recipes, rules, instructions — in their dialects, using spellings that were often personal and idiosyncratic. These writings included fables, legends, stories, and myths that had circulated orally for generations, adding to the growing body of written vernacular literature.

Stories and songs in the vernacular were composed and performed at the courts of nobles and rulers. In Germany and most of northern Europe, the audiences favored stories and songs recounting the great deeds of warrior heroes. These epics, known as chansons de geste (SHAN-suhn duh JEHST; songs of great deeds), celebrate violence, slaughter, revenge, and physical power. In southern Europe, especially in Provence in southern France, poets who called themselves troubadours (TROO-buh-dorz) wrote and sang lyric verses celebrating love, desire, beauty, and gallantry. (See “Evaluating the Evidence 10.3: Courtly Love Poetry.”) Troubadours included a few women, called trobairitz, most of whose exact identities are not known.

The songs of the troubadours were widely imitated in Italy, England, and Germany, so they spurred the development of vernacular literature there as well. At the court of his patron, Marie of Champagne, Chrétien de Troyes (ca. 1135–ca. 1190) used the legends of the fifth-century British king Arthur (see Chapter 7) as the basis for innovative tales of battle and forbidden love. His most popular story is that of the noble Lancelot, whose love for Guinevere, the wife of King Arthur, his lord, became physical as well as spiritual. Most of the troubadours came from and wrote for the aristocratic classes, and their poetry suggests the interests and values of noble culture. Their influence extended to all social groups, however, for people who could not read heard the poems and stories from people who could, so that what had originally come from oral culture was recycled back into it.

Drama, derived from the church’s liturgy, emerged as a distinct art form during the High Middle Ages. Amateurs and later professional actors performed plays based on biblical themes and on the lives of the saints; these dramas were presented in the towns, first in churches and then at the marketplace. Members of the craft guilds performed “mystery” plays, so called because guilds were sometimes called “mysteries.” By combining comical farce based on ordinary life with serious religious scenes, plays gave ordinary people an opportunity to identify with religious figures and think about their faith.