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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Wine, Women, and Song + Mediaeval Latin Students' songs; Now first translated into English verse + +Author: Various + +Translator: John Addington Symonds + +Release Date: March 24, 2006 [EBook #18044] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WINE, WOMEN, AND SONG *** + + + + +Produced by Michael Ciesielski, Sankar Viswanathan, and +the Online Distributed Proofreading Team at +http://www.pgdp.net + + + + + + +</pre> + + + + + + +<h1>WINE, WOMEN, AND SONG.</h1> +<p> </p> + +<div class="poem"><div class="stanza"> +<span class="i10">"Wer liebt nicht Weib Wein and Gesang</span> +<span class="i10">Der bleibt ein Narr sein Lebenslang."</span> +</div></div> + +<p class="sig">—<i>Martin Luther.</i></p> +<p> </p> + + + + + +<h3><i>MEDIÆVAL LATIN STUDENTS' SONGS</i></h3> + +<h4>Now First Translated into English Verse</h4> + +<h3>WITH AN ESSAY</h3> +<p> </p> +<p> </p> +<h3>BY</h3> + +<h2>JOHN ADDINGTON SYMONDS</h2> +<p> </p> +<p> </p> +<p class="center"><img src="images/image_01.jpg" alt="Seal" width="150" height="105" /></p> +<p> </p> +<p> </p> +<h3>London</h3> + +<h2>CHATTO AND WINDUS, PICCADILLY</h2> + +<h3>1884</h3> + +<hr style="width: 65%;" /> + + +<h3>TO</h3> +<h2><i>ROBERT LOUIS STEVENSON.</i></h2> +<p class="sig2"><i>Dear Louis,</i></p> + +<p><i>To you, in memory of past symposia, when wit (your wit) flowed freer +than our old Forzato, I dedicate this little book, my pastime through +three anxious months.</i></p> + +<p class="sig1"><i>Yours,</i></p> + +<p class="sig"><i>JOHN ADDINGTON SYMONDS</i></p> + +<p><i>Villa Emily, San Remo,</i></p> + +<p class="sig3"><i>May 1884.</i></p> + + + +<hr style="width: 65%;" /> +<h2>Wine, Women, and Song.</h2> +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2>I.</h2> +<p>When we try to picture to ourselves the intellectual and moral state +of Europe in the Middle Ages, some fixed and almost stereotyped ideas +immediately suggest themselves. We think of the nations immersed in a +gross mental lethargy; passively witnessing the gradual extinction of +arts and sciences which Greece and Rome had splendidly inaugurated; +allowing libraries and monuments of antique civilisation to crumble +into dust; while they trembled under a dull and brooding terror of +coming judgment, shrank from natural enjoyment as from deadly sin, or +yielded themselves with brutal eagerness to the satisfaction of vulgar +appetites. Preoccupation with the other world in this long period +weakens man's hold upon the things that make his life desirable. +Philosophy is sunk in the slough of ignorant, perversely subtle +disputation<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span> upon subjects destitute of actuality. Theological +fanaticism has extinguished liberal studies and the gropings of the +reason after truth in positive experience. Society lies prostrate +under the heel of tyrannous orthodoxy. We discern men in masses, +aggregations, classes, guilds—everywhere the genus and the species of +humanity, rarely and by luminous exception individuals and persons. +Universal ideals of Church and Empire clog and confuse the nascent +nationalities. Prolonged habits, of extra-mundane contemplation, +combined with the decay of real knowledge, volatilise the thoughts and +aspirations of the best and wisest into dreamy unrealities, giving a +false air of mysticism to love, shrouding art in allegory, reducing +the interpretation of texts to an exercise of idle ingenuity, and the +study of Nature (in Bestiaries, Lapidaries, and the like) to an insane +system of grotesque and pious quibbling. The conception of man's fall +and of the incurable badness of this world bears poisonous fruit of +cynicism and asceticism, that twofold bitter almond, hidden in the +harsh monastic shell. The devil has become God upon this earth, and +God's eternal jailer in the next world. Nature is regarded with +suspicion and aversion; the flesh, with shame and loathing, broken by +spasmodic outbursts of lawless self-indulgence. For human life there +is one formula:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Of what is't fools make such vain keeping?<br /></span> +<span class="i0">Sin their conception, their birth weeping,<br /></span> +<span class="i0">Their life a general mist of error,<br /></span> +<span class="i0">Their death a hideous storm of terror."<br /></span> +</div></div> +<p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> + +<p>The contempt of the world is the chief theme of edification. A charnel +filled with festering corpses, snakes, and worms points the preacher's +moral. Before the eyes of all, in terror-stricken vision or in +nightmares of uneasy conscience, leap the inextinguishable flames of +hell. Salvation, meanwhile, is being sought through amulets, relics, +pilgrimages to holy places, fetishes of divers sorts and different +degrees of potency. The faculties of the heart and head, defrauded of +wholesome sustenance, have recourse to delirious debauches of the +fancy, dreams of magic, compacts with the evil one, insanities of +desire, ineptitudes of discipline. Sexual passion, ignoring the true +place of woman in society, treats her on the one hand like a servile +instrument, on the other exalts her to sainthood or execrates her as +the chief impediment to holiness. Common sense, sanity of judgment, +acceptance of things as they are, resolution to ameliorate the evils +and to utilise the goods of life, seem everywhere deficient. Men are +obstinate in misconception of their proper aims, wasting their +energies upon shadows instead of holding fast by realities, waiting +for a future whereof they know nothing, in lieu of mastering and +economising the present. The largest and most serious undertakings of +united Europe in this period—the Crusades—are based upon a radical +mistake. "Why seek ye the living among the dead? Behold, He is not +here, but risen!" With these words ringing in their ears, the nations +flock to Palestine and pour their blood forth for an empty sepulchre. +The one Emperor who attains the object of<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> Christendom by rational +means is excommunicated for his success. Frederick II. returns from +the Holy Land a ruined man because he made a compact useful to his +Christian subjects with the Chief of Islam.</p> + + + +<hr style="width: 65%;" /> +<h2>II.</h2> + + +<p>Such are some of the stereotyped ideas which crowd our mind when we +reflect upon the Middle Ages. They are certainly one-sided. Drawn for +the most part from the study of monastic literature, exaggerated by +that reaction against medievalism which the Renaissance initiated, +they must be regarded as inadequate to represent the whole truth. At +no one period between the fall of the Roman Empire and the close of +the thirteenth century was the mental atmosphere of Europe so +unnaturally clouded. Yet there is sufficient substance in them to +justify their formulation. The earlier Middle Ages did, in fact, +extinguish antique civility. The later Middle Ages did create, to use +a phrase of Michelet, an army of dunces for the maintenance of +orthodoxy. The intellect and the conscience became used to moving +paralytically among visions, dreams, and mystic terrors, weighed down +with torpor, abusing virile faculties for the suppression of truth and +the perpetuation of revered error.</p> + +<p>It is, therefore, with a sense of surprise, with something like a +shock to preconceived opinions, that we first become acquainted with +the medieval literature which it is my object in the present treatise +to make better known to English<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> readers. That so bold, so fresh, so +natural, so pagan a view of human life as the Latin songs of the +Wandering Students exhibit, should have found clear and artistic +utterance in the epoch of the Crusades, is indeed enough to bid us +pause and reconsider the justice of our stereotyped ideas about that +period. This literature makes it manifest that the ineradicable +appetites and natural instincts of men and women were no less vigorous +in fact, though less articulate and self-assertive, than they had been +in the age of Greece and Rome, and than they afterwards displayed +themselves in what is known as the Renaissance.</p> + +<p>With something of the same kind we have long been familiar in the +Troubadour poetry of Provence. But Provençal literature has a strong +chivalrous tincture, and every one is aware with what relentless fury +the civilisation which produced it was stamped out by the Church. The +literature of the Wandering Students, on the other hand, owes nothing +to chivalry, and emanates from a class which formed a subordinate part +of the ecclesiastical militia. It is almost vulgar in its presentment +of common human impulses; it bears the mark of the proletariate, +though adorned with flourishes betokening the neighbourhood of Church +and University.</p> + + + +<hr style="width: 65%;" /> +<h2>III.</h2> + + +<p>Much has recently been written upon the subject of an abortive +Renaissance within the Middle Ages. The centre of it was France, and +its period of brilliancy may<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> be roughly defined as the middle and end +of the twelfth century. Much, again, has been said about the religious +movement in England, which spread to Eastern Europe, and anticipated +the Reformation by two centuries before the date of Luther. The songs +of the Wandering Students, composed for the most part in the twelfth +century, illustrate both of these early efforts after +self-emancipation. Uttering the unrestrained emotions of men attached +by a slender tie to the dominant clerical class and diffused over all +countries, they bring us face to face with a body of opinion which +finds in studied chronicle or laboured dissertation of the period no +echo. On the one side, they express that delight in life and physical +enjoyment which was a main characteristic of the Renaissance; on the +other, they proclaim that revolt against the corruption of Papal Rome +which was the motive-force of the Reformation.</p> + +<p>Our knowledge of this poetry is derived from two chief sources. One is +a MS. of the thirteenth century, which was long preserved in the +monastery of Benedictbeuern in Upper Bavaria, and is now at Munich. +Richly illuminated with rare and curious illustrations of contemporary +manners, it seems to have been compiled for the use of some +ecclesiastical prince. This fine codex was edited in 1847 at +Stuttgart. The title of the publication is <i>Carmina Burana</i>, and under +that designation I shall refer to it. The other is a Harleian MS., +written before 1264, which Mr. Thomas Wright collated with other +English MSS., and published in 1841 under the name of <i>Latin Poems +commonly attributed to Walter Mapes</i>.<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p> + +<p>These two sources have to some extent a common stock of poems, which +proves the wide diffusion of the songs in question before the date +assignable to the earlier of the two MS. authorities. But while this +is so, it must be observed that the <i>Carmina Burana</i> are richer in +compositions which form a prelude to the Renaissance; the English +collections, on the other hand, contain a larger number of serious and +satirical pieces anticipating the Reformation.</p> + +<p>Another important set of documents for the study of the subject are +the three large works of Edelstand du Méril upon popular Latin poetry; +while the stores at our disposal have been otherwise augmented by +occasional publications of German and English scholars, bringing to +light numerous scattered specimens of a like description. Of late it +has been the fashion in Germany to multiply anthologies of medieval +student-songs, intended for companion volumes to the <i>Commersbuch</i>. +Among these, one entitled <i>Gaudeamus</i> (Teubner, 2d edition, 1879) +deserves honourable mention.</p> + +<p>It is my purpose to give a short account of what is known about the +authors of these verses, to analyse the general characteristics of +their art, and to illustrate the theme by copious translations. So far +as I am aware, the songs of Wandering Students offer almost absolutely +untrodden ground to the English translator; and this fact may be +pleaded in excuse for the large number which I have laid under +contribution.</p> + +<p>In carrying out my plan, I shall confine myself princi<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>pally, but not +strictly, to the <i>Carmina Burana</i>. I wish to keep in view the +anticipation of the Renaissance rather than to dwell upon those +elements which indicate an early desire for ecclesiastical reform.</p> + + + +<hr style="width: 65%;" /> +<h2>IV.</h2> + + +<p>We have reason to conjecture that the Romans, even during the +classical period of their literature, used accentual rhythms for +popular poetry, while quantitative metres formed upon Greek models +were the artificial modes employed by cultivated writers. However this +may be, there is no doubt that, together with the decline of antique +civilisation, accent and rhythm began to displace quantity and metre +in Latin versification. Quantitative measures, like the Sapphic and +Hexameter, were composed accentually. The services and music of the +Church introduced new systems of prosody. Rhymes, both single and +double, were added to the verse; and the extraordinary flexibility of +medieval Latin—that sonorous instrument of varied rhetoric used by +Augustine in the prose of the <i>Confessions</i>, and gifted with poetic +inspiration in such hymns as the <i>Dies Irae</i> or the <i>Stabat +Mater</i>—rendered this new vehicle of literary utterance adequate to +all the tasks imposed on it by piety and metaphysic. The language of +the <i>Confessions</i> and the <i>Dies Irae</i> is not, in fact, a decadent form +of Cicero's prose or Virgil's verse, but a development of the Roman +speech in accordance with the new conditions introduced by +Christianity.<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> It remained comparatively sterile in the department of +prose composition, but it attained to high qualities of art in the +verse and rhythms of men like Thomas of Celano, Thomas of Aquino, Adam +of St. Victor, Bernard of Morlais, and Bernard of Clairvaux. At the +same time, classical Latin literature continued to be languidly +studied in the cloisters and the schools of grammar. The metres of the +ancients were practised with uncouth and patient assiduity, strenuous +efforts being made to keep alive an art which was no longer rightly +understood. Rhyme invaded the hexameter, and the best verses of the +medieval period in that measure were leonine.</p> + +<p>The hymns of the Church and the secular songs composed for music in +this base Latin took a great variety of rhythmic forms. It is clear +that vocal melody controlled their movement; and one fixed element in +all these compositions was rhyme—rhyme often intricate and complex +beyond hope of imitation in our language. Elision came to be +disregarded; and even the accentual values, which may at first have +formed a substitute for quantity, yielded to musical notation. The +epithet of popular belongs to these songs in a very real sense, since +they were intended for the people's use, and sprang from popular +emotion. Poems of this class were technically known as <i>moduli</i>—a +name which points significantly to the importance of music in their +structure. Imitations of Ovid's elegiacs or of Virgil's hexameters +obtained the name of <i>versus</i>. Thus Walter of Lille, the author of a +regular epic poem on Alexander, one of the best medieval writers of +<i>versus</i>,<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span> celebrates his skill in the other department of popular +poetry thus—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Perstrepuit <i>modulis</i> Gallia tota meis."<br /></span> +<span class="i0">(All France rang with my songs.)<br /></span> +</div></div> + +<p>We might compare the <i>versus</i> of the Middle Ages with the stiff +sculptures on a Romanesque font, lifelessly reminiscent of decadent +classical art; while the <i>moduli</i>, in their freshness, elasticity, and +vigour of invention, resemble the floral scrolls, foliated cusps, and +grotesque basreliefs of Gothic or Lombard architecture.</p> + + + +<hr style="width: 65%;" /> +<h2>V.</h2> + + +<p>Even in the half-light of what used to be called emphatically the Dark +Ages, there pierce gleams which may be reflections from the past +evening of paganism, or may intimate the earliest dawn of modern +times. One of these is a song, partly popular, partly scholastic, +addressed to a beautiful boy.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> It begins thus—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"O admirabile veneris idolum"—<br /></span> +</div></div> + +<p>and continues in this strain, upon the same rhythm, blending +reminiscences of classical mythology and medieval metaphysic, and +winding up with a reference to the Horatian <i>Vitas hinnuleo me similis +Chloe</i>. This poem was composed in the seventh century, probably at +Verona, for mention is made in it of the river Adige. The metre can +perhaps be regarded as a barbarous treatment of the long Asclepiad; +but each line seems to work out into <span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>two bars, divided by a marked +rest, with two accents to each bar, and shows by what sort of +transition the modern French Alexandrine may have been developed.</p> + +<p>The oddly archaic phraseology of this love-song rendered it unfit for +translation; but I have tried my hand at a kind of hymn in praise of +Rome, which is written in the same peculiar rhythm:<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"O Rome illustrious, of the world emperess!<br /></span> +<span class="i0">Over all cities thou queen in thy goodliness!<br /></span> +<span class="i0">Red with the roseate blood of the martyrs, and<br /></span> +<span class="i0">White with the lilies of virgins at God's right hand!<br /></span> +<span class="i0">Welcome we sing to thee; ever we bring to thee<br /></span> +<span class="i0">Blessings, and pay to thee praise for eternity.<br /></span> +</div><div class="stanza"> +<span class="i0">"Peter, thou praepotent warder of Paradise,<br /></span> +<span class="i0">Hear thou with mildness the prayer of thy votaries;<br /></span> +<span class="i0">When thou art seated to judge the twelve tribes, O then<br /></span> +<span class="i0">Show thyself merciful; be thou benign to men;<br /></span> +<span class="i0">And when we call to thee now in the world's distress,<br /></span> +<span class="i0">Take thou our suffrages, master, with gentleness.<br /></span> +</div><div class="stanza"> +<span class="i0">"Paul, to our litanies lend an indulgent ear,<br /></span> +<span class="i0">Who the philosophers vanquished with zeal severe:<br /></span> +<span class="i0">Thou that art steward now in the Lord's heavenly house,<br /></span> +<span class="i0">Give us to taste of the meat of grace bounteous;<br /></span> +<span class="i0">So that the wisdom which filled thee and nourished thee<br /></span> +<span class="i0">May be our sustenance through the truths taught by thee."<br /></span> +</div></div> + +<p>A curious secular piece of the tenth century deserves more than +passing mention. It shows how wine, women, and song, even in an age +which is supposed to have <span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>trembled for the coming destruction of the +world, still formed the attraction of some natures. What is more, +there is a certain modern, as distinguished from classical, tone of +tenderness in the sentiment. It is the invitation of a young man to +his mistress, bidding her to a little supper in his rooms:<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Come therefore now, my gentle fere,<br /></span> +<span class="i0">Whom as my heart I hold full dear;<br /></span> +<span class="i0">Enter my little room, which is<br /></span> +<span class="i0">Adorned with quaintest rarities:<br /></span> +<span class="i0">There are the seats with cushions spread,<br /></span> +<span class="i0">The roof with curtains overhead;<br /></span> +<span class="i0">The house with flowers of sweetest scent<br /></span> +<span class="i0">And scattered herbs is redolent:<br /></span> +<span class="i0">A table there is deftly dight<br /></span> +<span class="i0">With meats and drinks of rare delight;<br /></span> +<span class="i0">There too the wine flows, sparkling, free;<br /></span> +<span class="i0">And all, my love, to pleasure thee.<br /></span> +<span class="i0">There sound enchanting symphonies;<br /></span> +<span class="i0">The clear high notes of flutes arise;<br /></span> +<span class="i0">A singing girl and artful boy<br /></span> +<span class="i0">Are chanting for thee strains of joy;<br /></span> +<span class="i0">He touches with his quill the wire,<br /></span> +<span class="i0">She tunes her note unto the lyre:<br /></span> +<span class="i0">The servants carry to and fro<br /></span> +<span class="i0">Dishes and cups of ruddy glow;<br /></span> +<span class="i0">But these delights, I will confess,<br /></span> +<span class="i0">Than pleasant converse charm me less;<br /></span> +<span class="i0">Nor is the feast so sweet to me<br /></span> +<span class="i0">As dear familiarity.<br /></span> +<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></div><div class="stanza"> +<span class="i0">"Then come now, sister of my heart,<br /></span> +<span class="i0">That dearer than all others art,<br /></span> +<span class="i0">Unto mine eyes thou shining sun,<br /></span> +<span class="i0">Soul of my soul, thou only one!<br /></span> +<span class="i0">I dwelt alone in the wild woods,<br /></span> +<span class="i0">And loved all secret solitudes;<br /></span> +<span class="i0">Oft would I fly from tumults far,<br /></span> +<span class="i0">And shunned where crowds of people are.<br /></span> +<span class="i0">O dearest, do not longer stay!<br /></span> +<span class="i0">Seek we to live and love to-day!<br /></span> +<span class="i0">I cannot live without thee, sweet!<br /></span> +<span class="i0">Time bids us now our love complete.<br /></span> +<span class="i0">Why should we then defer, my own,<br /></span> +<span class="i0">What must be done or late or soon?<br /></span> +<span class="i0">Do quickly what thou canst not shun!<br /></span> +<span class="i0">I have no hesitation."<br /></span> +</div></div> + +<p>From Du Méril's collections further specimens of thoroughly secular +poetry might be culled. Such is the panegyric of the nightingale, +which contains the following impassioned lines:<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Implet silvas atque cuncta modulis arbustula,<br /></span> +<span class="i0">Gloriosa valde facta veris prae laetitia;<br /></span> +<span class="i0">Volitando scandit alta arborum cacumina,<br /></span> +<span class="i0">Ac festiva satis gliscit sibilare carmina."<br /></span> +</div></div> + +<p>Such are the sapphics on the spring, which, though they date from the +seventh century, have a truly modern sentiment of Nature. Such, too, +is the medieval legend of the Snow-Child, treated comically in +burlesque Latin verse, and meant to be sung to a German tune of +love<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>—</p> + +<p><i>Modus Liebinc</i>. To the same category may be referred the horrible, +but singularly striking, series of Latin poems edited from a MS. at +Berne, which set forth the miseries of monastic life with realistic +passion bordering upon delirium, under titles like the +following—<i>Dissuasio Concubitûs in in Uno tantum Sexu</i>, or <i>De +Monachi Cruciata</i>.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Du Méril, <i>Poésies Populaires Latines Antérieures au +Deuxième: Siècle</i>, p. 240.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Du Méril, <i>op. cit.</i>, p. 239.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Du Méril, <i>Poésies Populaires Latines du Moyen Age</i>, p. +196.</p></div> + +<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Du Méril, <i>Poésies Pop. Lat. Ant.</i>, pp. 278, 241, 275.</p></div> + +<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> These extraordinary compositions will be found on pp. +174-182 of a closely-printed book entitled <i>Carmina Med. Aev. Max. +Part. Inedita. Ed. H. Hagenus. Bernae. Ap. G. Frobenium</i>. MDCCCLXXVII. +The editor, so far as I can discover, gives but scant indication of +the poet who lurks, with so much style and so terrible emotions, under +the veil of Cod. Bern., 702 s. Any student who desires to cut into the +core of cloister life should read cvii. pp. 178-182, of this little +book.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2>VI.</h2> + + +<p>There is little need to dwell upon these crepuscular stirrings of +popular Latin poetry in the earlier Middle Ages. To indicate their +existence was necessary; for they serve to link by a dim and fragile +thread of evolution the decadent art of the base Empire with the +renascence of paganism attempted in the twelfth century, and thus to +connect that dawn of modern feeling with the orient splendours of the +fourteenth and fifteenth centuries in Italy.</p> + +<p>The first point to notice is the dominance of music in this verse, and +the subjugation of the classic metres to its influence. A deeply +significant transition has been effected from the <i>versus</i> to the +<i>modulus</i> by the substitution of accent for quantity, and by the value +given to purely <span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>melodic cadences. A long syllable and a short +syllable have almost equal weight in this prosody, for the musical +tone can be prolonged or shortened upon either. So now the +<i>cantilena</i>, rather than the <i>metron</i>, rules the flow of verse; but, +at the same time, antique forms are still conventionally used, though +violated in the using. In other words, the modern metres of the modern +European races—the Italian Hendecasyllable, the French Alexandrine, +the English Iambic and Trochaic rhythms—have been indicated; and a +moment has been prepared when these measures shall tune themselves by +means of emphasis and accent to song, before they take their place as +literary schemes appealing to the ear in rhetoric. This phase, whereby +the metres of antiquity pass into the rhythms of the modern races, +implies the use of medieval Latin, still not unmindful of classic art, +but governed now by music often of Teutonic origin, and further +modified by affinities of prosody imported from Teutonic sources.</p> + +<p>The next point to note is that, in this process of transition, popular +ecclesiastical poetry takes precedence of secular. The great rhyming +structures of the Middle Ages, which exercised so wide an influence +over early European literature, were invented for the service of the +Church—voluminous systems of recurrent double rhymes, intricate +rhythms moulded upon tunes for chanting, solid melodic fabrics, which, +having once been formed, were used for lighter efforts of the fancy, +or lent their ponderous effects to parody. Thus, in the first half of +the centuries which intervene between the extinction of the<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> genuine +Roman Empire and the year 1300, ecclesiastical poetry took the lead in +creating and popularising new established types of verse, and in +rendering the spoken Latin pliable for various purposes of art.</p> + +<p>A third point worthy of attention is, that a certain breath of +paganism, wafting perfumes from the old mythology, whispering of gods +in exile, encouraging men to accept their life on earth with genial +enjoyment, was never wholly absent during the darkest periods of the +Middle Ages. This inspiration uttered itself in Latin; for we have +little reason to believe that the modern languages had yet attained +plasticity enough for the expression of that specific note which +belongs to the Renaissance—the note of humanity conscious of its +Græco-Roman pagan past. This Latin, meanwhile, which it employed was +fabricated by the Church and used by men of learning.</p> + + + +<hr style="width: 65%;" /> +<h2>VII.</h2> + + +<p>The songs of the Wandering Students were in a strict sense <i>moduli</i> as +distinguished from <i>versus</i>; popular and not scholastic. They were, +however, composed by men of culture, imbued with classical learning of +some sort, and prepared by scholarship for the deftest and most +delicate manipulation of the Latin language.</p> + +<p>Who were these Wandering Students, so often mentioned, and of whom +nothing has been as yet related? As their name implies, they were men, +and for the most<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> part young men, travelling from university to +university in search of knowledge. Far from their homes, without +responsibilities, light of purse and light of heart, careless and +pleasure-seeking, they ran a free, disreputable course, frequenting +taverns at least as much as lecture-rooms, more capable of pronouncing +judgment upon wine or women than upon a problem of divinity or logic. +The conditions of medieval learning made it necessary to study +different sciences in different parts of Europe; and a fixed habit of +unrest, which seems to have pervaded society after the period of the +Crusades, encouraged vagabondage in all classes. The extent to which +travelling was carried in the Middle Ages for purposes of pilgrimage +and commerce, out of pure curiosity or love of knowledge, for the +bettering of trade in handicrafts or for self-improvement in the +sciences, has only of late years been estimated at a just calculation. +"The scholars," wrote a monk of Froidmont in the twelfth century, "are +wont to roam around the world and visit all its cities, till much +learning makes them mad; for in Paris they seek liberal arts, in +Orleans authors, at Salerno gallipots, at Toledo demons, and in no +place decent manners."</p> + +<p>These pilgrims to the shrines of knowledge formed a class apart. They +were distinguished from the secular and religious clergy, inasmuch as +they had taken no orders, or only minor orders, held no benefice or +cure, and had entered into no conventual community. They were still +more sharply distinguished from the laity,<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> whom they scorned as +brutes, and with whom they seem to have lived on terms of mutual +hostility. One of these vagabond gownsmen would scarcely condescend to +drink with a townsman:<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i9">"In aeterno igni<br /> +</span> +<span class="i0">Cruciantur rustici, qui non sunt tam digni<br /></span> +<span class="i0">Quod bibisse noverint bonum vinum vini."<br /></span> +</div><div class="stanza"> +<span class="i0">"Aestimetur laicus ut brutus,<br /></span> +<span class="i0">Nam ad artem surdus est et mutus."<br /></span> +</div><div class="stanza"> +<span class="i0">"Litteratos convocat decus virginale,<br /></span> +<span class="i0">Laicorum execrat pectus bestiale."<br /></span> +</div></div> + +<p>In a parody of the Mass, which is called <i>Officium Lusorum,</i> and in +which the prayers are offered to Bacchus, we find this devout +collect:<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>—"Omnipotens sempiterne deus, qui inter rusticos et +clericos magnam discordiam seminasti, praesta quaesumus de laboribus +eorum vivere, de mulieribus ipsorum vero et de morte deciorum semper +gaudere."</p> + +<p>The English version of this ribald prayer is even more explicit. It +runs thus:—"Deus qui multitudinem rusticorum ad servitium clericorum +venire fecisti et militum et inter nos et ipsos discordiam seminasti."</p> + +<p>It is open to doubt whether the <i>milites</i> or soldiers were included +with the rustics in that laity, for which the <span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>students felt so bitter +a contempt. But the tenor of some poems on love, especially the +<i>Dispute of Phyllis and Flora</i>, shows that the student claimed a +certain superiority over the soldier. This antagonism between clerk +and rustic was heartily reciprocated. In a song on taverns the student +is warned that he may meet with rough treatment from the +clodhopper:<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"O clerici dilecti,<br /></span> +<span class="i2">Discite vitare<br /></span> +<span class="i0">Tabernam horribilem,<br /></span> +<span class="i2">Qui cupitis regnare;<br /></span> +<span class="i0">Nec audeant vos rustici<br /></span> +<span class="i2">Plagis verberare!<br /></span> +</div><div class="stanza"> +<span class="i0">"Rusticus dum se<br /></span> +<span class="i2">Sentit ebriatum,<br /></span> +<span class="i0">Clericum non reputat<br /></span> +<span class="i2">Militem armatum.<br /></span> +<span class="i0">Vere plane consulo<br /></span> +<span class="i2">Ut abstineatis,<br /></span> +<span class="i0">Nec unquam cum rusticis<br /></span> +<span class="i2">Tabernam ineatis."<br /></span> +</div></div> + +<p>The affinities of the Wandering Students were rather with the Church +than with laymen of any degree. They piqued themselves upon their +title of <i>Clerici</i>, and added the epithet of <i>Vagi</i>. We shall see in +the sequel that they stood in a peculiar relation of dependence upon +ecclesiastical society.</p> + +<p>According to tendencies prevalent in the Middle Ages, <span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>they became a +sort of guild, and proclaimed themselves with pride an Order. Nothing +is more clearly marked in their poetry than the <i>esprit de corps</i>, +which animates them with a cordial sense of brotherhood.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> The same +tendencies which prompted their association required that they should +have a patron saint. But as the confraternity was anything but +religious, this saint, or rather this eponymous hero, had to be a +Rabelaisian character. He was called Golias, and his flock received +the generic name of Goliardi. Golias was father and master; the +Goliardi were his family, his sons, and pupils. <i>Familia Goliae</i>, +<i>Magister Golias</i>, <i>Pueri Goliae</i>, <i>Discipulus Goliae</i>, are phrases to +be culled from the rubrics of their literature.</p> + +<p>Much has been conjectured regarding these names and titles. Was Golias +a real person? Did he give his own name to the Goliardi; or was he +invented after the Goliardi had already acquired their designation? In +either case, ought we to connect both words with the Latin <i>gula</i>, and +so regard the Goliardi as notable gluttons; or with the Provençal +<i>goliar</i>, <i>gualiar</i>, <i>gualiardor</i>, which carry a significance of +deceit? Had Golias anything to do with Goliath of the Bible, the great +Philistine, who in the present day would more properly be chosen as +the hero of those classes which the students held in horror?</p> + +<p>It is not easy to answer these questions. All we know for certain is, +that the term Goliardus was in common medieval use, and was employed +as a synonym for <span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>Wandering Scholar in ecclesiastical documents. <i>Vagi +scholares aut Goliardi—joculatores, goliardi seu bufones—goliardia +vel histrionatus—vagi scholares qui goliardi vel histriones alio +nomine appellantur—clerici ribaudi, maxime qui dicuntur de familia +Goliae</i>: so run the acts of several Church Councils.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> The word +passed into modern languages. The <i>Grandes Chroniques de S. Denis</i> +speak of <i>jugleor, enchanteor, goliardois, et autres manières de +menestrieux</i>. Chaucer, in his description of the Miller, calls this +merry narrator of fabliaux <i>a jangler and a goliardeis</i>. In <i>Piers +Ploughman</i> the <i>goliardeis</i> is further explained to be <i>a glutton of +words</i>, and talks in Latin rhyme.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> + +<p>Giraldus Cambrensis, during whose lifetime the name Golias first came +into vogue, thought that this father of the Goliardic family was a +real person.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> He writes of him thus:—"A certain parasite called +Golias, who in our time obtained wide notoriety for his gluttony and +lechery, and by addiction to gulosity and debauchery deserved his +surname, being of excellent culture but of bad manners, and of no +moral discipline, uttered oftentimes and in many forms, both of rhythm +and metre, infamous libels against the Pope and Curia of Rome, with no +less impudence than imprudence." This is perhaps the most outspoken +utterance with regard to the eponymous hero of the Goliardic class +which we possess, and it deserves a close inspection.</p> + +<p>In the first place, Giraldus attributes the satiric poems <span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>which +passed under the name of Golias to a single author famous in his days, +and says of this poet that he used both modern rhythms and classical +metres. The description would apply to Gualtherus de Insula, Walter of +Lille, or, as he is also called, Walter of Chatillon; for some of this +Walter's satires are composed in a curious mixture of the rhyming +measures of the medieval hymns with classical hexameters.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> Yet had +Giraldus been pointing at Walter of Lille, a notable personage in his +times, there is no good reason to suppose that he would have +suppressed his real name, or have taken for granted that Golias was a +<i>bona fide</i> surname. On the theory that he knew Golias to be a mere +nickname, and was aware that Walter of Lille was the actual satirist, +we should have to explain his paragraph by the hypothesis that he +chose to sneer at him under his <i>nom de guerre</i> instead of +stigmatising him openly in person.</p> + +<p>His remarks, at any rate, go far toward disposing of the old belief +that the Goliardic satires were the work of Thomas Mapes. Giraldus was +an intimate friend of that worthy, who deserves well of all lovers of +medieval romance as a principal contributor to the Arthurian cycle. It +is hardly possible that Giraldus should have gibbeted such a man under +the sobriquet of Golias.</p> + +<p>But what, it may be asked, if Walter of Lille, without <span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>the cognisance +of our English annalist, had in France obtained the chief fame of +these poems? what if they afterwards were attributed in England to +another Walter, his contemporary, himself a satirist of the monastic +orders? The fact that Walter of Lille was known in Latin as Gualtherus +de Insula, or Walter of the Island, may have confirmed the +misapprehension thus suggested. It should be added that the ascription +of the Goliardic satires to Walter Mapes or Map first occurs in MSS. +of the fourteenth century.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> See the drinking song printed in <i>Walter Mapes</i>, p. xlv., +and <i>Carm. Bur.</i>, pp. 198, 179.</p></div> + +<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> <i>Carm. Bur.</i>, p. 249, note. There is a variation in the +parody printed by Wright, <i>Rel. Antiq.</i>, ii.</p></div> + +<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> See A.P. von Bärnstein's little volume, <i>Ubi sunt qui +ante nos</i>, p. 46.</p></div> + +<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> See especially the songs <i>Ordo Noster</i> and <i>Nos +Vagabunduli</i>, translated below in Section xiii.</p></div> + +<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> See Wright's introduction to <i>Walter Mapes</i>.</p></div> + +<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> Ibid.</p></div> + +<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Ibid.</p></div> + +<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> See Müldner, <i>Die zehn Gedichte des Walther von Lille</i>. +1859. Walter Mapes (ed. Wright) is credited with five of these +satires, including two which close each stanza with a hexameter from +Juvenal, Virgil, Ovid, Lucan, Horace.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2>VIII.</h2> + + +<p>I do not think there is much probability of arriving at certainty with +regard to the problems indicated in the foregoing section. We must be +content to accept the names Golias and Goliardi as we find them, and +to treat of this literature as the product of a class, from the midst +of which, as it is clear to any critic, more than one poet rose to +eminence.</p> + +<p>One thing appears manifest from the references to the Goliardi which I +have already quoted. That is, that the Wandering Students ranked in +common estimation with jongleurs, buffoons, and minstrels. Both +classes held a similar place in medieval society. Both were parasites +devoted to the entertainment of their superiors in rank. Both were +unattached, except by occasional engagements, to any fixed abode. But +while the minstrels found their temporary homes in the castles of the +nobility, we have<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> reason to believe that the Goliardi haunted abbeys +and amused the leisure of ecclesiastical lords.</p> + +<p>The personality of the writer disappears in nearly all the <i>Carmina +Vagorum</i>. Instead of a poet with a name, we find a type; and the verse +is put into the mouth of Golias himself, or the Archipoeta, or the +Primate of the order. This merging of the individual in the class of +which he forms a part is eminently characteristic of popular +literature, and separates the Goliardic songs from those of the +Provençal Troubadours. The emotions to which popular poetry gives +expression are generic rather than personal. They are such that all +the world, granted common sympathies and common proclivities, can feel +them and adopt the mode of utterance invented for them by the singer. +If there be any bar to their universal acceptance, it is only such as +may belong to the peculiar conditions of the social class from which +they have emanated. The <i>Rispetti</i> of Tuscany imply a certain form of +peasant life. The <i>Carmina Vagorum</i> are coloured to some extent by the +prejudices and proclivities of vagabond existence.</p> + +<p>Trenchantly true as the inspiration of a popular lyric may be, +inevitable as may be the justice of its sentiment, unerring as may be +its touch upon reality, still it lacks the note which marks it out for +one man's utterance among a thousand. Composing it, the one has made +himself the mouthpiece of the thousand. What the <i>Volkslied</i> gains in +universality it loses in individuality of character. Its applicability +to human nature at large is<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> obtained at the sacrifice of that +interest which belongs to special circumstances. It suits every one +who grieves or loves or triumphs. It does not indicate the love, the +grief, the triumph of this man and no other. It possesses the pathos +and the beauty of countless human lives prolonged through inarticulate +generations, finding utterance at last in it. It is deficient in that +particular intonation which makes a Shelley's voice differ from a +Leopardi's, Petrarch's sonnets for Laura differ from Sidney's sonnets +for Stella. It has always less of perceptible artistic effect, more +enduring human quality. Some few of its lines are so well found, so +rightly said, that they possess the certainty of natural things—a +quality rare in the works of all but the greatest known poets. But +these phrases with the accent of truest truth are often embedded in +mere generalities and repetitions.</p> + +<p>These characteristics of popular poetry help to explain the frequent +recurrence of the same ideas, the same expressions, the same stanzas +even, in the lyrics of the Goliardi. A <i>Volkslied</i>, once created, +becomes common property. It flies abroad like thistledown; settles and +sows its seed; is maimed and mutilated; is improved or altered for the +worse; is curtailed, expanded, adapted to divers purposes at different +times and in very different relations.</p> + +<p>We may dismiss the problem of authorship partly as insoluble, partly +as of slight importance for a literature which is manifestly popular. +With even greater brevity may the problem of nationality be disposed +of. Some<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> critics have claimed an Italian, some an English, some a +French, and some a German origin for the <i>Carmina Vagorum</i>. The truth +is that, just as the <i>Clerici Vagi</i> were themselves of all nations, so +were their songs; and the use of a Latin common to all Europe in the +Middle Ages renders it difficult even to conjecture the soil from +which any particular lyric may have sprung. As is natural, a German +codex contains more songs of Teutonic origin; an English displays +greater abundance of English compositions. I have already observed +that our two chief sources of Goliardic literature have many elements +in common; but the treasures of the Benedictbeuern MS. differ in +complexion from those of the Harleian in important minor details; and +it is probable that if French and Italian stores were properly +ransacked—which has not yet been done—we should note in them similar +characteristic divergences.</p> + +<p>The <i>Carmina Burana</i>, by their frequent references to linden-trees and +nightingales, and their numerous German refrains, indicate a German +home for the poems on spring and love, in which they are specially +rich.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> The collections of our own land have an English turn of +political thought; the names Anglia and Anglus not unfrequently occur; +and the use of the word "Schellinck" in one of the <i>Carmina Burana</i> +may point, perhaps, to an <span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>English origin. France claims her own, not +only in the acknowledged pieces of Walter de Lille, but also in a few +which exhibit old French refrains. To Italian conditions, if not to +Italian poets, we may refer those that introduce spreading pines or +olive-trees into their pictures, and one which yields the refrain +<i>Bela mia</i>. The most important lyric of the series, <i>Golias' +Confession</i>, was undoubtedly written at Pavia, but whether by an +Italian or not we do not know. The probability is rather, perhaps, in +favour of Teutonic authorship, since this <i>Confession</i> is addressed to +a German prelate. Here it may be noticed that the proper names of +places and people are frequently altered to suit different countries; +while in some cases they are indicated by an N, sufficiently +suggestive of their generality. Thus the <i>Confession of Golias</i> in the +<i>Carmina Burana</i> mentions <i>Electe Coloniae</i>; in an English version, +introduces <i>Praesul Coventriae</i>. The prayer for alms, which I have +translated in Section xiii., is addressed to <i>Decus N——</i>, thou +honour of Norwich town, or Wittenberg, or wherever the wandering +scholar may have chanced to be.</p> + +<p>With regard to the form and diction of the <i>Carmina Vagorum</i>, it is +enough to say two things at the present time. First, a large portion +of these pieces, including a majority of the satires and longer +descriptive poems, are composed in measures borrowed from hymnology, +follow the diction of the Church, and imitate the double-rhyming +rhythms of her sequences. It is not unnatural, this being the case, +that parodies of hymns should be comparatively common.<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> Of these I +shall produce some specimens in the course of this study. Secondly, +those which do not exhibit popular hymn measures are clearly written +for melodies, some of them very complicated in structure, suggesting +part-songs and madrigals, with curious interlacing of long and short +lines, double and single rhymes, recurrent ritournelles, and so forth.</p> + +<p>The ingenuity with which these poets adapted their language to the +exigencies of the tune, taxing the fertility of Latin rhymes, and +setting off the long sonorous words to great advantage, deserves +admiring comment. At their best, it is almost impossible to reproduce +in English the peculiar effects of their melodic artifices. But there +is another side to the matter. At their worst, these Latin lyrics, +moulded on a tune, degenerate into disjointed verbiage, sound and +adaptation to song prevailing over sense and satisfaction to the mind. +It must, however, be remembered that such lyrics, sometimes now almost +unintelligible, have come down to us with a very mutilated text, after +suffering the degradations through frequent oral transmission to which +popular poetry is peculiarly liable.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> The more I study the songs of love and wine in this +codex, the more convinced am I that they have their origin for the +most part in South-Western Germany, Bavaria, the Bodensee, and +Elsass.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2>IX.</h2> + + +<p>It is easier to say what the Goliardi wrote about than who the writers +were, and what they felt and thought than by what names they were +baptised. The mass of their literature, as it is at present known to +us, divides<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> into two broad classes. The one division includes poems +on the themes of vagabond existence, the truant life of these +capricious students; on spring-time and its rural pleasure; on love in +many phases and for divers kinds of women; lastly, on wine and on the +dice-box. The other division is devoted to graver topics; to satires +on society, touching especially the Roman Court, and criticising +eminent ecclesiastics in all countries; to moral dissertations, and to +discourses on the brevity of life.</p> + +<p>Of the two divisions, the former yields by far the livelier image of +the men we have to deal with. It will therefore form the staple of my +argument. The latter blends at so many points with medieval literature +of the monastic kind, that it is chiefly distinguished by boldness of +censure and sincerity of invective. In these qualities the serious +poems of the Goliardi, emanating from a class of men who moved behind +the scenes and yet were free to speak their thoughts, are unique. +Written with the satirist's eye upon the object of his sarcasm, tinged +with the license of his vagabondage, throbbing with the passionate and +nonchalant afflatus of the wine-cup, they wing their flight like +poisoned arrows or plumed serpents with unerring straightness at +abuses in high places.</p> + +<p>The wide space occupied by Nature in the secular poems of the Goliardi +is remarkable. As a background to their love-songs we always find the +woods and fields of May, abundant flowers and gushing rivulets, +lime-trees and pines and olive-trees, through which soft winds are +blowing. There are rose-bowers and nightingales; fauns,<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> nymphs, and +satyrs dancing on the sward. Choirs of mortal maidens emerge in the +midst of this Claude-landscape. The scene, meanwhile, has been painted +from experience, and felt with the enthusiasm of affection. It +breathes of healthy open air, of life upon the road, of casual joys +and wayside pleasure, snatched with careless heart by men whose tastes +are natural. There is very little of the alcove or the closet in this +verse; and the touch upon the world is so infantine, so tender, that +we are indulgent to the generalities with which the poets deal.</p> + +<p>What has been said about popular poetry applies also to popular +painting. In the landscapes of Goliardic literature there is nothing +specific to a single locality—no name like Vaucluse, no pregnant +touch that indicates one scene selected from a thousand. The landscape +is always a background, more northern or more southern as the case may +be, but penetrated with the feeling of the man who has been happy or +has suffered there. This feeling, broadly, sensuously diffused, as in +a masterpiece of Titian, prepares us for the human element to be +exhibited.</p> + +<p>The foreground of these pictures is occupied by a pair of lovers +meeting after the long winter's separation, a dance upon the village +green, a young man gazing on the mistress he adores, a disconsolate +exile from his home, the courtship of a student and a rustic beauty, +or perhaps the grieved and melancholy figure of one whose sweetheart +has proved faithless. Such actors in the comedy of life are defined +with fervent intensity of<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> touch against the leafy vistas of the +scene. The lyrical cry emerges clear and sharp in all that concerns +their humanity.</p> + +<p>The quality of love expressed is far from being either platonic or +chivalrous. It is love of the sensuous, impulsive, appetitive kind, to +which we give the name of Pagan. The finest outbursts of passion are +emanations from a potent sexual desire. Meanwhile, nothing indicates +the character or moral quality of either man or woman. The student and +the girl are always <i>vis-à-vis</i>, fixed characters in this lyrical +love-drama. He calls her Phyllis, Flora, Lydia, Glycerion, Caecilia. +He remains unnamed, his physical emotion sufficing for personal +description. The divinity presiding over them is Venus. Jove and +Danae, Cupid and the Graces, Paris and Helen, follow in her train. All +the current classical mythology is laid under cheap contribution. Yet +the central emotion, the young man's heart's desire, is so vividly +portrayed, that we seem to be overhearing the triumphant ebullition or +the melancholy love-lament of a real soul.</p> + + + +<hr style="width: 65%;" /> +<h2>X.</h2> + + +<p>The sentiment of love is so important in the songs of the Wandering +Students, that it may not be superfluous at this point to cull a few +emphatic phrases which illustrate the core of their emotion, and to +present these in the original Latin.</p> + +<p>I may first observe to what a large extent the ideas of<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> spring and of +female society were connected at that epoch. Winter was a dreary +period, during which a man bore his fate and suffered. He emerged from +it into sunshine, brightened by the intercourse with women, which was +then made possible. This is how the winter is described:<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In omni loco congruo<br /></span> +<span class="i0">Sermonis oblectatio<br /></span> +<span class="i0">Cum sexu femineo<br /></span> +<span class="i0">Evanuit omni modo."<br /></span> +</div></div> + +<p>Of the true love-songs, only one refers expressly to the winter +season. That, however, is the lyric upon Flora, which contains a +detailed study of plastic form in the bold spirit of the Goliardic +style.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></p> + +<p>The particularity with which the personal charms of women are +described deserves attention. The portrait of Flora, to which I have +just alluded, might be cited as one of the best specimens. But the +slightest shades are discriminated, as in this touch:<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Labellulis<br /></span> +<span class="i0">Castigate tumentibus."<br /></span> +</div></div> + +<p>One girl has long tawny tresses: <i>Caesaries subrubea</i>. Another is +praised for the masses of her dark hair: <i>Frons nimirum coronata, +supercilium nigrata</i>. Roses and lilies vie, of course, upon the cheeks +of all; and sometimes their <span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>sweetness surpasses the lily of the +valley. From time to time a touch of truer poetry occurs; as, for +instance<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"O decora super ora<br /></span> +<span class="i0">Belli Absalonis!"<br /></span> +</div></div> + +<p>Or take again the outburst of passion in this stanza, where both the +rhythm and the ponderous Latin words, together with the abrupt +transition from the third to the fourth line, express a fine +exaltation:<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Frons et gula, labra, mentum<br /></span> +<span class="i0">Dant amoris alimentum;<br /></span> +<span class="i0">Crines ejus adamavi,<br /></span> +<span class="i0">Quoniam fuere flavi."<br /></span> +</div></div> + +<p>The same kind of enthusiasm is more elaborately worked out in the +following comparisons:<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Matutini sideris<br /></span> +<span class="i0">Jubar praeis,<br /></span> +<span class="i0">Et lilium<br /></span> +<span class="i0">Rosaque periere:<br /></span> +<span class="i0">Micat ebur dentium<br /></span> +<span class="i0">Per labium,<br /></span> +<span class="i0">Ut Sirium<br /></span> +<span class="i0">Credat quis enitere."<br /></span> +</div></div> + +<p>As might be expected, such lovers were not satisfied with +contemplative pleasures:<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a>—</p> + +<p><span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></p><div class="poem"><div class="stanza"> +<span class="i0">"Visu, colloquio,<br /></span> +<span class="i0">Contactu, basio,<br /></span> +<span class="i0">Frui virgo dederat;<br /></span> +<span class="i0">Sed aberat<br /></span> +<span class="i0">Linea posterior<br /></span> +<span class="i0">Et melior amori,<br /></span> +<span class="i0">Quam nisi transiero,<br /></span> +<span class="i0">De cetero<br /></span> +<span class="i0">Sunt quae dantur alia<br /></span> +<span class="i0">Materia furori."<br /></span> +</div></div> + +<p>The conclusion of this song, which, taken in its integrity, deserves +to be regarded as typical of what is pagan in this erotic literature, +may be studied in the Appendix to <i>Carmina Burana</i>.</p> + +<p>Occasionally the lover's desire touches a higher point of +spirituality:<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Non tactu sanabor labiorum,<br /></span> +<span class="i0">Nisi cor unum fiat duorum<br /></span> +<span class="i0">Et idem velle. Vale, flos florum!"<br /></span> +</div></div> + +<p>Occasionally, the sensuous fervour assumes a passionate +intensity:<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Nocte cum ea si dormiero,<br /></span> +<span class="i0">Si sua labra semel suxero,<br /></span> +<span class="i0">Mortem subire, placenter obire, vitamque finire,<br /></span> +<span class="i0">Libens potero."<br /></span> +</div></div> + +<p>Very rarely there is a strong desire expressed for fidelity, <span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>as in a +beautiful lyric of absence, which I hope to give translated in full in +my 17th Section.</p> + +<p>But the end to be attained is always such as is summed up in these +brief words placed upon a girl's lips:<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Dulcissime,<br /></span> +<span class="i0">Totam tibi subdo me."<br /></span> +</div></div> + +<p>And the motto of both sexes is this:<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quicquid agant alii,<br /></span> +<span class="i0">Juvenes amemus."<br /></span> +</div></div> + +<p>It may be added, in conclusion, that the sweethearts of our students +seem to have been mostly girls of the working and rustic classes, +sometimes women of bad fame, rarely married women. In no case that has +come beneath my notice is there any hint that one of them aspired to +such amours with noble ladies as distinguished the Troubadours. A +democratic tone, a tone of the proletariate, is rather strangely blent +with the display of learning, and with the more than common literary +skill apparent in their work.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> <i>Carm. Bur.</i>, p. 174.</p></div> + +<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Ibid., p. 149, translated below in Section<a href="#XVII"> xvii.</a></p> +</div> + +<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> Ibid., p. 130.</p></div> + +<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> <i>Carm. Bur.</i>, p. 200.</p></div> + +<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Ibid., p. 231.</p></div> + +<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Ibid., p. 121.</p></div> + +<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Ibid., p. 135.</p></div> + +<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>Carm. Bur.</i>, p. 145.</p></div> + +<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Ibid., p. 230.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2>XI.</h2> + + +<p>The drinking-songs are equally spontaneous and fresh. Anacreon pales +before the brilliancy of the Archipoeta when wine is in his veins, and +the fountain of the Bacchic chant swells with gushes of strongly +emphasised bold <span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>double rhymes, each throbbing like a man's firm +stroke upon the strings of lyres. A fine audacity breathes through the +praises of the wine-god, sometimes rising to lyric rapture, sometimes +sinking to parody and innuendo, but always carrying the bard on +rolling wheels along the paths of song. The reality of the inspiration +is indubitable. These Bacchanalian choruses have been indited in the +tavern, with a crowd of topers round the poet, with the rattle of the +dice-box ringing in his ears, and with the facile maidens of his +volatile amours draining the wine-cup at his elbow.</p> + +<p>Wine is celebrated as the source of pleasure in social life, +provocative of love, parent of poetry:<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Bacchus forte superans<br /></span> +<span class="i2">Pectora virorum<br /></span> +<span class="i0">In amorem concitat<br /></span> +<span class="i2">Animos eorum.<br /></span> +</div><div class="stanza"> +<span class="i0">"Bacchus saepe visitans<br /></span> +<span class="i2">Mulierum genus<br /></span> +<span class="i0">Facit eas subditas<br /></span> +<span class="i2">Tibi, O tu Venus!"<br /></span> +</div></div> + +<p>From his temple, the tavern, water-drinkers and fastidious persons are +peremptorily warned:<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Qui potare non potestis,<br /></span> +<span class="i0">Ite procul ab his festis;<br /></span> +<span class="i0">Non est hic locus modestis:<br /></span> +<span class="i0">Devitantur plus quam pestis."<br /></span> +</div></div> + +<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p><p>The tavern is loved better than the church, and a bowl of wine than +the sacramental chalice:<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Magis quam ecclesiam<br /></span> +<span class="i2">Diligo tabernam."<br /></span> +</div><div class="stanza"> +<span class="i0">"Mihi sapit dulcius<br /></span> +<span class="i2">Vinum de taberna,<br /></span> +<span class="i0">Quam quod aqua miscuit<br /></span> +<span class="i2">Praesulis pincerna."<br /></span> +</div></div> + +<p>As in the love-songs, so in these drinking-songs we find no lack of +mythological allusions. Nor are the grammatical quibbles, which might +also have been indicated as a defect of the erotic poetry, conspicuous +by absence. But both alike are impotent to break the spell of evident +sincerity. We discount them as belonging to the euphuism of a certain +epoch, and are rather surprised than otherwise that they should not be +more apparent. The real and serious defect of Goliardic literature is +not affectation, but something very different, which I shall try to +indicate in the last Section of this treatise. Venus and Helen, Liber +and Lyaeus, are but the current coin of poetic diction common to the +whole student class. These Olympian deities merge without a note of +discord into the dim background of a medieval pothouse or the sylvan +shades of some ephemeral amour, leaving the realism of natural +appetite in either case untouched.</p> + +<p>It is by no means the thin and conventional sprinkling of classical +erudition which makes these poems of the <span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>Goliardi pagan, and reminds +the student of Renaissance art. Conversely, the scholastic plays on +words which they contain do not stamp them out as medieval. Both of +these qualities are <i>rococo</i> and superficial rather than essential and +distinctive in their style. After making due allowances for either +element of oddity, a true connoisseur will gratefully appreciate the +spontaneous note of enjoyment, the disengagement from ties and duties +imposed by temporal respectability, the frank animalism, which +connects these vivid hymns to Bacchus and Venus with past Aristophanes +and future Rabelais. They celebrate the eternal presence of +mirth-making powers in hearts of men, apart from time and place and +varying dogmas which do not concern deities of Nature.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> <i>Carm. Bur.</i>, p. 133.</p></div> + +<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Ibid., p. 251.</p></div> + +<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> <i>Carm. Bur.</i>, p. 238.</p></div> + +<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Ibid., p. 240.</p></div> + +<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Wright's <i>Walter Mapes</i>, p. xlv.; <i>Carm. Bur.</i>, p. 69.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2>XII.</h2> + + +<p>The time has now come for me to introduce my reader to the versions I +have made from the songs of Wandering Students. I must remind him +that, while the majority of these translations aim at literal +exactness and close imitation of the originals in rhyme and structure, +others are more paraphrastic. It has always been my creed that a good +translation should resemble a plaster-cast; the English being <i>plaquè</i> +upon the original, so as to reproduce its exact form, although it +cannot convey the effects of bronze or marble, which belong to the +material of the work of art. But this method has not always seemed to<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> +me the most desirable for rendering poems, an eminent quality of which +is facility and spontaneity. In order to obtain that quality in our +language, the form has occasionally to be sacrificed.</p> + +<p>What Coleridge has reported to have said of Southey may be applied to +a translator. He too "is in some sort like an elegant setter of +jewels; the stones are not his own: he gives them all the advantage of +his art, but not their native brilliancy." I feel even more than this +when I attempt translation, and reflect that, unlike the jeweller, it +is my doom to reduce the lustre of the gems I handle, even if I do not +substitute paste and pebbles. Yet I am frequently enticed to repeat +experiments, which afterwards I regard in the light of failures. What +allures me first is the pleasure of passing into that intimate +familiarity with art which only a copyist or a translator enjoys. I am +next impelled by the desire to fix the attention of readers on things +which I admire, and which are possibly beyond their scope of view. +Lastly comes that <i>ignis fatuus</i> of the hope, for ever renewed, if +also for ever disappointed, that some addition may be made in this way +to the wealth of English poetry. A few exquisite pieces in Latin +literature, the Catullian <i>Ille mi par</i>, for example, a few in our +own, such as Jonson's <i>Drink to me only with thine eyes</i>, are +translations. Possibly the miracle of such poetic transmutation may be +repeated for me; possibly an English song may come to birth by my +means also. With this hope in view, the translator is strongly tempted +to engraft upon his versions elegances<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> in the spirit of his native +language, or to use the motives of the original for improvisations in +his own manner. I must plead guilty to having here and there yielded +to this temptation, as may appear upon comparison of my English with +the Latin. All translation is a compromise; and while being conscious +of having to sacrifice much, the translator finds himself often +seeking to add something as a makeweight.</p> + +<p>I shall divide my specimens into nine Sections. The first will include +those which deal with the Order of Wandering Students in general, +winding up with the <i>Confession</i> ascribed to Golias, the father of the +family. The second, third, fourth, and fifth are closely connected, +since they contain spring-songs, pastorals, descriptive poems touching +upon love, and erotic lyrics. The sixth Section will be devoted to a +few songs of exile, doubt, and sorrow. In the seventh we shall reach +anacreontics on the theme of wine, passing in the eighth to parodies +and comic pieces. Four or five serious compositions will close the +list in the ninth Section.</p> + +<p>At the end of the book I mean to print a table containing detailed +references to the originals of the songs I have chosen for +translation, together with an index of the principal works that have +been published on this subject.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> +<h2>XIII.</h2> + + +<p>The first song which concerns the Order of Wandering Students in +general has been attributed to the Archipoeta or head-bard of the +guild. Whoever this poet may have been, it is to him that we owe the +<i>Confession of Golias</i>, by far the most spirited composition of the +whole Goliardic species. I do not think the style of the poem on the +Order, though it belongs to a good period, justifies our ascribing it +to so inspired and genial a lyrist.</p> + +<p>The argument runs as follows. Just as commission was given to the +Apostles to go forth and preach in the whole world, so have the +Wandering Students a vocation to travel, and to test the hearts of men +wherever they may sojourn. A burlesque turn is given to this function +of the <i>Vagi</i>. Yet their consciousness of a satiric mission, their +willingness to pose as critics of society from the independent +vantage-ground of vagabondage, seems seriously hinted at.</p> + +<p>The chief part of the song is devoted to a description of the +comprehensive nature of the Order, which receives all sorts and +conditions of men, and makes no distinction of nationality. The +habitual poverty of its members, their favourite pastimes and vices, +their love of gaming and hatred of early rising, are set forth with +some humour.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> +<h2><a name="ON_THE_ORDER_OF_WANDERING_STUDENTS" id="ON_THE_ORDER_OF_WANDERING_STUDENTS"></a>ON THE ORDER OF WANDERING STUDENTS.</h2> + +<h3>No. 1.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">At the mandate, Go ye forth,<br /></span> +<span class="i2">Through the whole world hurry!<br /></span> +<span class="i0">Priests tramp out toward south and north,<br /></span> +<span class="i2">Monks and hermits skurry,<br /></span> +<span class="i0">Levites smooth the gospel leave,<br /></span> +<span class="i2">Bent on ambulation;<br /></span> +<span class="i0">Each and all to our sect cleave,<br /></span> +<span class="i2">Which is life's salvation.<br /></span> +</div><div class="stanza"> +<span class="i0">In this sect of ours 'tis writ:<br /></span> +<span class="i2">Prove all things in season;<br /></span> +<span class="i0">Weigh this life and judge of it<br /></span> +<span class="i2">By your riper reason;<br /></span> +<span class="i0">'Gainst all evil clerks be you<br /></span> +<span class="i2">Steadfast in resistance,<br /></span> +<span class="i0">Who refuse large tithe and due<br /></span> +<span class="i2">Unto your subsistence.<br /></span> +</div><div class="stanza"> +<span class="i0">Marquesses, Bavarians,<br /></span> +<span class="i2">Austrians and Saxons,<br /></span> +<span class="i0">Noblemen and chiefs of clans,<br /></span> +<span class="i2">Glorious by your actions!<br /></span> +<span class="i0">Listen, comrades all, I pray,<br /></span> +<span class="i2">To these new decretals:<br /></span> +<span class="i0">Misers they must meet decay,<br /></span> +<span class="i2">Niggardly gold-beetles.<br /></span> +<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></div><div class="stanza"> +<span class="i0">We the laws of charity<br /></span> +<span class="i2">Found, nor let them crumble;<br /></span> +<span class="i0">For into our order we<br /></span> +<span class="i2">Take both high and humble;<br /></span> +<span class="i0">Rich and poor men we receive,<br /></span> +<span class="i2">In our bosom cherish;<br /></span> +<span class="i0">Welcome those the shavelings leave<br /></span> +<span class="i2">At their doors to perish.<br /></span> +</div><div class="stanza"> +<span class="i0">We receive the tonsured monk,<br /></span> +<span class="i2">Let him take his pittance;<br /></span> +<span class="i0">And the parson with his punk,<br /></span> +<span class="i2">If he craves admittance;<br /></span> +<span class="i0">Masters with their bands of boys,<br /></span> +<span class="i2">Priests with high dominion;<br /></span> +<span class="i0">But the scholar who enjoys<br /></span> +<span class="i2">Just one coat's our minion!<br /></span> +</div><div class="stanza"> +<span class="i0">This our sect doth entertain<br /></span> +<span class="i2">Just men and unjust ones;<br /></span> +<span class="i0">Halt, lame, weak of limb or brain,<br /></span> +<span class="i2">Strong men and robust ones;<br /></span> +<span class="i0">Those who flourish in their pride,<br /></span> +<span class="i2">Those whom age makes stupid;<br /></span> +<span class="i0">Frigid folk and hot folk fried<br /></span> +<span class="i2">In the fires of Cupid.<br /></span> +</div><div class="stanza"> +<span class="i0">Tranquil souls and bellicose,<br /></span> +<span class="i2">Peacemaker and foeman;<br /></span> +<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span><span class="i0">Czech and Hun, and mixed with those<br /></span> +<span class="i2">German, Slav, and Roman;<br /></span> +<span class="i0">Men of middling size and weight,<br /></span> +<span class="i2">Dwarfs and giants mighty;<br /></span> +<span class="i0">Men of modest heart and state,<br /></span> +<span class="i2">Vain men, proud and flighty.<br /></span> +</div><div class="stanza"> +<span class="i0">Of the Wanderers' order I<br /></span> +<span class="i2">Tell the Legislature—<br /></span> +<span class="i0">They whose life is free and high,<br /></span> +<span class="i2">Gentle too their nature—<br /></span> +<span class="i0">They who'd rather scrape a fat<br /></span> +<span class="i2">Dish in gravy swimming,<br /></span> +<span class="i0">Than in sooth to marvel at<br /></span> +<span class="i2">Barns with barley brimming.<br /></span> +</div><div class="stanza"> +<span class="i0">Now this order, as I ken,<br /></span> +<span class="i2">Is called sect or section,<br /></span> +<span class="i0">Since its sectaries are men<br /></span> +<span class="i2">Divers in complexion;<br /></span> +<span class="i0">Therefore <i>hic</i> and <i>haec</i> and <i>hoc</i><br /></span> +<span class="i2">Suit it in declension,<br /></span> +<span class="i0">Since so multiform a flock<br /></span> +<span class="i2">Here finds comprehension.<br /></span> +</div><div class="stanza"> +<span class="i0">This our order hath decried<br /></span> +<span class="i2">Matins with a warning;<br /></span> +<span class="i0">For that certain phantoms glide<br /></span> +<span class="i2">In the early morning,<br /></span> +<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span><span class="i0">Whereby pass into man's brain<br /></span> +<span class="i2">Visions of vain folly;<br /></span> +<span class="i0">Early risers are insane,<br /></span> +<span class="i2">Racked by melancholy.<br /></span> +</div><div class="stanza"> +<span class="i0">This our order doth proscribe<br /></span> +<span class="i2">All the year round matins;<br /></span> +<span class="i0">When they've left their beds, our tribe<br /></span> +<span class="i2">In the tap sing latins;<br /></span> +<span class="i0">There they call for wine for all,<br /></span> +<span class="i2">Roasted fowl and chicken;<br /></span> +<span class="i0">Hazard's threats no hearts appal,<br /></span> +<span class="i2">Though his strokes still thicken.<br /></span> +</div><div class="stanza"> +<span class="i0">This our order doth forbid<br /></span> +<span class="i2">Double clothes with loathing:<br /></span> +<span class="i0">He whose nakedness is hid<br /></span> +<span class="i2">With one vest hath clothing:<br /></span> +<span class="i0">Soon one throws his cloak aside<br /></span> +<span class="i2">At the dice-box calling;<br /></span> +<span class="i0">Next his girdle is untied,<br /></span> +<span class="i2">While the cards are falling.<br /></span> +</div><div class="stanza"> +<span class="i0">What I've said of upper clothes<br /></span> +<span class="i2">To the nether reaches;<br /></span> +<span class="i0">They who own a shirt, let those<br /></span> +<span class="i2">Think no more of breeches;<br /></span> +<span class="i0">If one boasts big boots to use,<br /></span> +<span class="i2">Let him leave his gaiters;<br /></span> +<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span><span class="i0">They who this firm law refuse<br /></span> +<span class="i2">Shall be counted traitors.<br /></span> +</div><div class="stanza"> +<span class="i0">No one, none shall wander forth<br /></span> +<span class="i2">Fasting from the table;<br /></span> +<span class="i0">If thou'rt poor, from south and north<br /></span> +<span class="i2">Beg as thou art able!<br /></span> +<span class="i0">Hath it not been often seen<br /></span> +<span class="i2">That one coin brings many,<br /></span> +<span class="i0">When a gamester on the green<br /></span> +<span class="i2">Stakes his lucky penny?<br /></span> +</div><div class="stanza"> +<span class="i0">No one on the road should walk<br /></span> +<span class="i2">'Gainst the wind—'tis madness;<br /></span> +<span class="i0">Nor in poverty shall stalk<br /></span> +<span class="i2">With a face of sadness;<br /></span> +<span class="i0">Let him bear him bravely then,<br /></span> +<span class="i2">Hope sustain his spirit;<br /></span> +<span class="i0">After heavy trials men<br /></span> +<span class="i2">Better luck inherit!<br /></span> +</div><div class="stanza"> +<span class="i0">While throughout the world you rove,<br /></span> +<span class="i2">Thus uphold your banners;<br /></span> +<span class="i0">Give these reasons why you prove<br /></span> +<span class="i2">Hearts of men and manners:<br /></span> +<span class="i0">"To reprove the reprobate,<br /></span> +<span class="i2">Probity approving,<br /></span> +<span class="i0">Improbate from approbate<br /></span> +<span class="i2">To remove, I'm moving."<br /></span> +<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></div></div> + +<p>The next song is a lament for the decay of the Order and the +suppression of its privileges. It was written, to all appearances, at +a later date, and is inferior in style. The Goliardi had already, we +learn from it, exchanged poverty for luxury. Instead of tramping on +the hard hoof, they moved with a retinue of mounted servants. We seem +to trace in the lament a change from habits of simple vagabondage to +professional dependence, as minstrels and secretaries, upon men of +rank in Church and State, which came over the Goliardic class. This +poem, it may be mentioned, does not occur in the <i>Carmina Burana</i>, nor +is it included among those which bear the name of Walter Mapes or Map.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="ON_THE_DECAY_OF_THE_ORDER" id="ON_THE_DECAY_OF_THE_ORDER"></a>ON THE DECAY OF THE ORDER.</h2> + +<h3>No. 2.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Once (it was in days of yore)<br /></span> +<span class="i2">This our order flourished;<br /></span> +<span class="i0">Popes, whom Cardinals adore,<br /></span> +<span class="i2">It with honours nourished;<br /></span> +<span class="i0">Licences desirable<br /></span> +<span class="i2">They gave, nought desiring;<br /></span> +<span class="i0">While our prayers, the beads we tell,<br /></span> +<span class="i2">Served us for our hiring.<br /></span> +</div><div class="stanza"> +<span class="i0">Now this order (so time runs)<br /></span> +<span class="i2">Is made tributary;<br /></span> +<span class="i0">With the ruck of Adam's sons<br /></span> +<span class="i2">We must draw and carry;<br /></span> +<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span><span class="i0">Ground by common serfdom down,<br /></span> +<span class="i2">By our debts confounded,<br /></span> +<span class="i0">Debts to market-place and town<br /></span> +<span class="i2">With the Jews compounded.<br /></span> +</div><div class="stanza"> +<span class="i0">Once ('twas when the simple state<br /></span> +<span class="i2">Of our order lasted)<br /></span> +<span class="i0">All men praised us, no man's hate<br /></span> +<span class="i2">Harried us or wasted;<br /></span> +<span class="i0">Rates and taxes on our crew<br /></span> +<span class="i2">There was none to levy;<br /></span> +<span class="i0">But the sect, douce men and true,<br /></span> +<span class="i2">Served God in a bevy.<br /></span> +</div><div class="stanza"> +<span class="i0">Now some envious folks, who spy<br /></span> +<span class="i2">Sumptuous equipages,<br /></span> +<span class="i0">Horses, litters passing by,<br /></span> +<span class="i2">And a host of pages,<br /></span> +<span class="i0">Say, "Unless their purses were<br /></span> +<span class="i2">Quite with wealth o'erflowing,<br /></span> +<span class="i0">They could never thus, I swear,<br /></span> +<span class="i2">Round about be going!"<br /></span> +</div><div class="stanza"> +<span class="i0">Such men do not think nor own<br /></span> +<span class="i2">How with toil we bend us,<br /></span> +<span class="i0">Not to feed ourselves alone,<br /></span> +<span class="i2">But the folk who tend us:<br /></span> +<span class="i0">On all comers, all who come,<br /></span> +<span class="i2">We our substance lavish,<br /></span> +<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> +<span class="i0">Therefore 'tis a trifling sum<br /></span> +<span class="i2">For ourselves we ravish.<br /></span> +</div><div class="stanza"> +<span class="i0">On this subject, at this time,<br /></span> +<span class="i2">What we've said suffices:<br /></span> +<span class="i0">Let us leave it, lead the rhyme<br /></span> +<span class="i2">Back to our devices:<br /></span> +<span class="i0">We the miseries of this life<br /></span> +<span class="i2">Bear with cheerful spirit,<br /></span> +<span class="i0">That Heaven's bounty after strife<br /></span> +<span class="i2">We may duly merit.<br /></span> +</div><div class="stanza"> +<span class="i0">'Tis a sign that God the Lord<br /></span> +<span class="i2">Will not let us perish,<br /></span> +<span class="i0">Since with scourge and rod and sword<br /></span> +<span class="i2">He our souls doth cherish;<br /></span> +<span class="i0">He amid this vale of woes<br /></span> +<span class="i2">Makes us bear the burden,<br /></span> +<span class="i0">That true joys in heaven's repose<br /></span> +<span class="i2">May be ours for guerdon.<br /></span> +</div></div> + +<p>Next in order to these poems, which display the Wandering Students as +a class, I will produce two that exhibit their mode of life in detail. +The first is a begging petition, addressed by a scholar on the tramp +to the great man of the place where he is staying. The name of the +place, as I have already noticed, is only indicated by an N. The nasal +whine of a suppliant for alms, begging, as Erasmus begged, not in the +name of charity,<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span> but of learning, makes itself heard both in the +rhyme and rhythm of the original Latin. I have tried to follow the +sing-song doggerel.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_WANDERING_STUDENTS_PETITION" id="A_WANDERING_STUDENTS_PETITION"></a>A WANDERING STUDENT'S PETITION.</h2> + +<h3>No. 3.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">I, a wandering scholar lad,<br /></span> +<span class="i2">Born for toil and sadness,<br /></span> +<span class="i0">Oftentimes am driven by<br /></span> +<span class="i2">Poverty to madness.<br /></span> +</div><div class="stanza"> +<span class="i0">Literature and knowledge I<br /></span> +<span class="i2">Fain would still be earning,<br /></span> +<span class="i0">Were it not that want of pelf<br /></span> +<span class="i2">Makes me cease from learning.<br /></span> +</div><div class="stanza"> +<span class="i0">These torn clothes that cover me<br /></span> +<span class="i2">Are too thin and rotten;<br /></span> +<span class="i0">Oft I have to suffer cold,<br /></span> +<span class="i2">By the warmth forgotten.<br /></span> +</div><div class="stanza"> +<span class="i0">Scarce I can attend at church,<br /></span> +<span class="i2">Sing God's praises duly;<br /></span> +<span class="i0">Mass and vespers both I miss,<br /></span> +<span class="i2">Though I love them truly.<br /></span> +</div><div class="stanza"> +<span class="i0">Oh, thou pride of N——,<br /></span> +<span class="i2">By thy worth I pray thee<br /></span> +<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span> +<span class="i0">Give the suppliant help in need,<br /></span> +<span class="i2">Heaven will sure repay thee.<br /></span> +</div><div class="stanza"> +<span class="i0">Take a mind unto thee now<br /></span> +<span class="i2">Like unto St. Martin;<br /></span> +<span class="i0">Clothe the pilgrim's nakedness,<br /></span> +<span class="i2">Wish him well at parting.<br /></span> +</div><div class="stanza"> +<span class="i0">So may God translate your soul<br /></span> +<span class="i2">Into peace eternal,<br /></span> +<span class="i0">And the bliss of saints be yours<br /></span> +<span class="i2">In His realm supernal.<br /></span> +</div></div> + +<p>The second is a jovial <i>Song of the Open Road</i>, throbbing with the +exhilaration of young life and madcap impudence. We must imagine that +two vagabond students are drinking together before they part upon +their several ways. One addresses the other as <i>frater catholice, vir +apostolice</i>, vows to befriend him, and expounds the laws of loyalty +which bind the brotherhood together. To the rest of the world they are +a terror and a nuisance. Honest folk are jeeringly forbidden to beware +of the <i>quadrivium</i>, which is apt to form a fourfold rogue instead of +a scholar in four branches of knowledge.</p> + +<p>The Latin metre is so light, careless, and airy, that I must admit an +almost complete failure to do it justice in my English version. The +refrain appears intended to imitate a bugle-call.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> +<h2><a name="A_SONG_OF_THE_OPEN_ROAD" id="A_SONG_OF_THE_OPEN_ROAD"></a>A SONG OF THE OPEN ROAD.</h2> + +<h3>No. 4.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">We in our wandering,<br /></span> +<span class="i0">Blithesome and squandering,<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Eat to satiety,<br /></span> +<span class="i0">Drink with propriety;<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Laugh till our sides we split,<br /></span> +<span class="i0">Rags on our hides we fit;<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Jesting eternally,<br /></span> +<span class="i0">Quaffing infernally:<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Craft's in the bone of us,<br /></span> +<span class="i0">Fear 'tis unknown of us:<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">When we're in neediness,<br /></span> +<span class="i0">Thieve we with greediness:<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Brother catholical,<br /></span> +<span class="i0">Man apostolical,<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></div><div class="stanza"> +<span class="i0">Say what you will have done,<br /></span> +<span class="i0">What you ask 'twill be done!<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Folk, fear the toss of the<br /></span> +<span class="i0">Horns of philosophy!<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Here comes a quadruple<br /></span> +<span class="i0">Spoiler and prodigal!<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">License and vanity<br /></span> +<span class="i0">Pamper insanity:<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">As the Pope bade us do,<br /></span> +<span class="i0">Brother to brother's true:<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Brother, best friend, adieu!<br /></span> +<span class="i0">Now, I must part from you!<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">When will our meeting be?<br /></span> +<span class="i0">Glad shall our greeting be!<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Vows valedictory<br /></span> +<span class="i0">Now have the victory;<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></div><div class="stanza"> +<span class="i0">Clasped on each other's breast,<br /></span> +<span class="i0">Brother to brother pressed,<br /></span> +<span class="i4">Tara, tantara, teino!<br /> +</span> +</div></div> + +<p>In the fourth place I insert the <i>Confession of Golias</i>. This +important composition lays bare the inner nature of a Wandering +Student, describing his vagrant habits, his volatile and +indiscriminate amours, his passion for the dice-box, his devotion to +wine, and the poetic inspiration he was wont to draw from it.</p> + +<p>In England this <i>Confession</i> was attributed to Walter Map; and the +famous drinking-song, on which the Archdeacon of Oxford's reputation +principally rests in modern times, was extracted from the stanzas II +<i>et seq.</i><a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> But, though Wright is unwilling to refuse Map such +honour as may accrue to his fame from the composition, we have little +reason to regard it as his work. The song was clearly written at +Pavia—a point inexplicably overlooked by Wright in the note appended +to stanza 9—and the Archbishop-elect of Cologne, who is appealed to +by name in stanza 24, was Reinald von Dassel, a minister of Frederick +Barbarossa. This circumstance enables us to determine the date of the +poem between 1162 and 1165. When the <i>Confession</i> was manipulated for +English readers, <i>Praesul Coventrensium, Praesul mibi cognite</i>, and <i>O +pastor ecclesiae</i> were in several MS. redactions substituted for +<i>Electe Coloniae</i>. Instead of <i>Papiae</i>, in stanza 8, we read <i>in +mundo</i>; but in stanza 9, where the rhyme required it, <span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span><i>Papiae</i> was +left standing—a sufficient indication of literary rehandling by a +clumsy scribe. In the text of the <i>Carmina Burana</i>, the <i>Confession</i> +winds up with a petition that Reinald von Dassel should employ the +poet as a secretary, or should bestow some mark of his bounty upon +him.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Wright's <i>Walter Mapes</i>, p. xlv.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="THE_CONFESSION_OF_GOLIAS" id="THE_CONFESSION_OF_GOLIAS"></a>THE CONFESSION OF GOLIAS.</h2> + +<h3>No. 5.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Boiling in my spirit's veins<br /></span> +<span class="i2">With fierce indignation,<br /></span> +<span class="i0">From my bitterness of soul<br /></span> +<span class="i2">Springs self-revelation:<br /></span> +<span class="i0">Framed am I of flimsy stuff,<br /></span> +<span class="i2">Fit for levitation,<br /></span> +<span class="i0">Like a thin leaf which the wind<br /></span> +<span class="i2">Scatters from its station.<br /></span> +</div><div class="stanza"> +<span class="i0">While it is the wise man's part<br /></span> +<span class="i2">With deliberation<br /></span> +<span class="i0">On a rock to base his heart's<br /></span> +<span class="i2">Permanent foundation,<br /></span> +<span class="i0">With a running river I<br /></span> +<span class="i2">Find my just equation,<br /></span> +<span class="i0">Which beneath the self-same sky<br /></span> +<span class="i2">Hath no habitation.<br /></span> +</div><div class="stanza"> +<span class="i0">Carried am I like a ship<br /></span> +<span class="i2">Left without a sailor,<br /></span> +<span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span><span class="i0">Like a bird that through the air<br /></span> +<span class="i2">Flies where tempests hale her;<br /></span> +<span class="i0">Chains and fetters hold me not,<br /></span> +<span class="i2">Naught avails a jailer;<br /></span> +<span class="i0">Still I find my fellows out,<br /></span> +<span class="i2">Toper, gamester, railer.<br /></span> +</div><div class="stanza"> +<span class="i0">To my mind all gravity<br /></span> +<span class="i2">Is a grave subjection;<br /></span> +<span class="i0">Sweeter far than honey are<br /></span> +<span class="i2">Jokes and free affection.<br /></span> +<span class="i0">All that Venus bids me do,<br /></span> +<span class="i2">Do I with erection,<br /></span> +<span class="i0">For she ne'er in heart of man<br /></span> +<span class="i2">Dwelt with dull dejection.<br /></span> +</div><div class="stanza"> +<span class="i0">Down the broad road do I run,<br /></span> +<span class="i2">As the way of youth is;<br /></span> +<span class="i0">Snare myself in sin, and ne'er<br /></span> +<span class="i2">Think where faith and truth is;<br /></span> +<span class="i0">Eager far for pleasure more<br /></span> +<span class="i2">Than soul's health, the sooth is,<br /></span> +<span class="i0">For this flesh of mine I care,<br /></span> +<span class="i2">Seek not ruth where ruth is.<br /></span> +</div><div class="stanza"> +<span class="i0">Prelate, most discreet of priests,<br /></span> +<span class="i2">Grant me absolution!<br /></span> +<span class="i0">Dear's the death whereof I die,<br /></span> +<span class="i2">Sweet my dissolution;<br /></span> +<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span><span class="i0">For my heart is wounded by<br /></span> +<span class="i2">Beauty's soft suffusion;<br /></span> +<span class="i0">All the girls I come not nigh,<br /></span> +<span class="i2">Mine are in illusion.<br /></span> +</div><div class="stanza"> +<span class="i0">'Tis most arduous to make<br /></span> +<span class="i2">Nature's self surrender;<br /></span> +<span class="i0">Seeing girls, to blush and be<br /></span> +<span class="i2">Purity's defender!<br /></span> +<span class="i0">We young men our longings ne'er<br /></span> +<span class="i2">Shall to stern law render,<br /></span> +<span class="i0">Or preserve our fancies from<br /></span> +<span class="i2">Bodies smooth and tender.<br /></span> +</div><div class="stanza"> +<span class="i0">Who, when into fire he falls,<br /></span> +<span class="i2">Keeps himself from burning?<br /></span> +<span class="i0">Who within Pavia's walls<br /></span> +<span class="i2">Fame of chaste is earning?<br /></span> +<span class="i0">Venus with her finger calls<br /></span> +<span class="i2">Youths at every turning,<br /></span> +<span class="i0">Snares them with her eyes, and thralls<br /></span> +<span class="i2">With her amorous yearning.<br /></span> +</div><div class="stanza"> +<span class="i0">If you brought Hippolitus<br /></span> +<span class="i2">To Pavia Sunday,<br /></span> +<span class="i0">He'd not be Hippolitus<br /></span> +<span class="i2">On the following Monday;<br /></span> +<span class="i0">Venus there keeps holiday<br /></span> +<span class="i2">Every day as one day;<br /></span> +<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span><span class="i0">'Mid these towers in no tower dwells<br /></span> +<span class="i2">Venus Verecunda.<br /></span> +</div><div class="stanza"> +<span class="i0">In the second place I own<br /></span> +<span class="i2">To the vice of gaming:<br /></span> +<span class="i0">Cold indeed outside I seem,<br /></span> +<span class="i2">Yet my soul is flaming:<br /></span> +<span class="i0">But when once the dice-box hath<br /></span> +<span class="i2">Stripped me to my shaming,<br /></span> +<span class="i0">Make I songs and verses fit<br /></span> +<span class="i2">For the world's acclaiming.<br /></span> +</div><div class="stanza"> +<span class="i0">In the third place, I will speak<br /></span> +<span class="i2">Of the tavern's pleasure;<br /></span> +<span class="i0">For I never found nor find<br /></span> +<span class="i2">There the least displeasure;<br /></span> +<span class="i0">Nor shall find it till I greet<br /></span> +<span class="i2">Angels without measure,<br /></span> +<span class="i0">Singing requiems for the souls<br /></span> +<span class="i2">In eternal leisure.<br /></span> +</div><div class="stanza"> +<span class="i0">In the public-house to die<br /></span> +<span class="i2">Is my resolution;<br /></span> +<span class="i0">Let wine to my lips be nigh<br /></span> +<span class="i2">At life's dissolution:<br /></span> +<span class="i0">That will make the angels cry,<br /></span> +<span class="i2">With glad elocution,<br /></span> +<span class="i0">"Grant this toper, God on high,<br /></span> +<span class="i2">Grace and absolution!"<br /></span> +<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span></div><div class="stanza"> +<span class="i0">With the cup the soul lights up,<br /></span> +<span class="i2">Inspirations flicker;<br /></span> +<span class="i0">Nectar lifts the soul on high<br /></span> +<span class="i2">With its heavenly ichor:<br /></span> +<span class="i0">To my lips a sounder taste<br /></span> +<span class="i2">Hath the tavern's liquor<br /></span> +<span class="i0">Than the wine a village clerk<br /></span> +<span class="i2">Waters for the vicar.<br /></span> +</div><div class="stanza"> +<span class="i0">Nature gives to every man<br /></span> +<span class="i2">Some gift serviceable;<br /></span> +<span class="i0">Write I never could nor can<br /></span> +<span class="i2">Hungry at the table;<br /></span> +<span class="i0">Fasting, any stripling to<br /></span> +<span class="i2">Vanquish me is able;<br /></span> +<span class="i0">Hunger, thirst, I liken to<br /></span> +<span class="i2">Death that ends the fable.<br /></span> +</div><div class="stanza"> +<span class="i0">Nature gives to every man<br /></span> +<span class="i2">Gifts as she is willing;<br /></span> +<span class="i0">I compose my verses when<br /></span> +<span class="i2">Good wine I am swilling,<br /></span> +<span class="i0">Wine the best for jolly guest<br /></span> +<span class="i2">Jolly hosts are filling;<br /></span> +<span class="i0">From such wine rare fancies fine<br /></span> +<span class="i2">Flow like dews distilling.<br /></span> +</div><div class="stanza"> +<span class="i0">Such my verse is wont to be<br /></span> +<span class="i2">As the wine I swallow;<br /></span> +<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span><span class="i0">No ripe thoughts enliven me<br /></span> +<span class="i2">While my stomach's hollow;<br /></span> +<span class="i0">Hungry wits on hungry lips<br /></span> +<span class="i2">Like a shadow follow,<br /></span> +<span class="i0">But when once I'm in my cups,<br /></span> +<span class="i2">I can beat Apollo.<br /></span> +</div><div class="stanza"> +<span class="i0">Never to my spirit yet<br /></span> +<span class="i2">Flew poetic vision<br /></span> +<span class="i0">Until first my belly had<br /></span> +<span class="i2">Plentiful provision;<br /></span> +<span class="i0">Let but Bacchus in the brain<br /></span> +<span class="i2">Take a strong position,<br /></span> +<span class="i0">Then comes Phoebus flowing in<br /></span> +<span class="i2">With a fine precision.<br /></span> +</div><div class="stanza"> +<span class="i0">There are poets, worthy men,<br /></span> +<span class="i2">Shrink from public places,<br /></span> +<span class="i0">And in lurking-hole or den<br /></span> +<span class="i2">Hide their pallid faces;<br /></span> +<span class="i0">There they study, sweat, and woo<br /></span> +<span class="i2">Pallas and the Graces,<br /></span> +<span class="i0">But bring nothing forth to view<br /></span> +<span class="i2">Worth the girls' embraces.<br /></span> +</div><div class="stanza"> +<span class="i0">Fasting, thirsting, toil the bards,<br /></span> +<span class="i2">Swift years flying o'er them;<br /></span> +<span class="i0">Shun the strife of open life,<br /></span> +<span class="i2">Tumults of the forum;<br /></span> +<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span><span class="i0">They, to sing some deathless thing,<br /></span> +<span class="i2">Lest the world ignore them,<br /></span> +<span class="i0">Die the death, expend their breath,<br /></span> +<span class="i2">Drowned in dull decorum.<br /></span> +</div><div class="stanza"> +<span class="i0">Lo! my frailties I've betrayed,<br /></span> +<span class="i2">Shown you every token,<br /></span> +<span class="i0">Told you what your servitors<br /></span> +<span class="i2">Have against me spoken;<br /></span> +<span class="i0">But of those men each and all<br /></span> +<span class="i2">Leave their sins unspoken,<br /></span> +<span class="i0">Though they play, enjoy to-day,<br /></span> +<span class="i2">Scorn their pledges broken.<br /></span> +</div><div class="stanza"> +<span class="i0">Now within the audience-room<br /></span> +<span class="i2">Of this blessed prelate,<br /></span> +<span class="i0">Sent to hunt out vice, and from<br /></span> +<span class="i2">Hearts of men expel it;<br /></span> +<span class="i0">Let him rise, nor spare the bard,<br /></span> +<span class="i2">Cast at him a pellet;<br /></span> +<span class="i0">He whose heart knows not crime's smart,<br /></span> +<span class="i2">Show my sin and tell it!<br /></span> +</div><div class="stanza"> +<span class="i0">I have uttered openly<br /></span> +<span class="i2">All I knew that shamed me,<br /></span> +<span class="i0">And have spued the poison forth<br /></span> +<span class="i2">That so long defamed me;<br /></span> +<span class="i0">Of my old ways I repent,<br /></span> +<span class="i2">New life hath reclaimed me;<br /></span> +<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span><span class="i0">God beholds the heart—'twas man<br /></span> +<span class="i2">Viewed the face and blamed me.<br /></span> +</div><div class="stanza"> +<span class="i0">Goodness now hath won my love,<br /></span> +<span class="i2">I am wroth with vices;<br /></span> +<span class="i0">Made a new man in my mind,<br /></span> +<span class="i2">Lo, my soul arises!<br /></span> +<span class="i0">Like a babe new milk I drink—<br /></span> +<span class="i2">Milk for me suffices,<br /></span> +<span class="i0">Lest my heart should longer be<br /></span> +<span class="i2">Filled with vain devices.<br /></span> +</div><div class="stanza"> +<span class="i0">Thou Elect of fair Cologne,<br /></span> +<span class="i2">Listen to my pleading!<br /></span> +<span class="i0">Spurn not thou the penitent;<br /></span> +<span class="i2">See, his heart is bleeding!<br /></span> +<span class="i0">Give me penance! what is due<br /></span> +<span class="i2">For my faults exceeding<br /></span> +<span class="i0">I will bear with willing cheer,<br /></span> +<span class="i2">All thy precepts heeding.<br /></span> +</div><div class="stanza"> +<span class="i0">Lo, the lion, king of beasts,<br /></span> +<span class="i2">Spares the meek and lowly;<br /></span> +<span class="i0">Toward submissive creatures he<br /></span> +<span class="i2">Tames his anger wholly.<br /></span> +<span class="i0">Do the like, ye powers of earth,<br /></span> +<span class="i2">Temporal and holy!<br /></span> +<span class="i0">Bitterness is more than's right<br /></span> +<span class="i2">When 'tis bitter solely.<br /></span> +</div></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p> +<h2>XIV.</h2> + +<p>Having been introduced to the worshipful order of vagrants both in +their collective and in their personal capacity, we will now follow +them to the woods and fields in spring. It was here that they sought +love-adventures and took pastime after the restraints of winter.</p> + +<p>The spring-songs are all, in the truest sense of the word, +<i>lieder</i>—lyrics for music. Their affinities of form and rhythm are +less with ecclesiastical verse than with the poetry of the Minnesinger +and the Troubadour. Sometimes we are reminded of the French +<i>pastourelle</i>, sometimes of the rustic ditty, with its monotonous +refrain.</p> + +<p>The exhilaration of the season which they breathe has something of the +freshness of a lark's song, something at times of the richness of the +nightingale's lament. The defect of the species may be indicated in a +single phrase. It is a tedious reiteration of commonplaces in the +opening stanzas. Here, however, is a lark-song.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="WELCOME_TO_SPRING" id="WELCOME_TO_SPRING"></a>WELCOME TO SPRING.</h2> + +<h3>No. 6.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Spring is coming! longed-for spring<br /></span> +<span class="i2">Now his joy discloses;<br /></span> +<span class="i0">On his fair brow in a ring<br /></span> +<span class="i2">Bloom empurpled roses!<br /></span> +<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span><span class="i0">Birds are gay; how sweet their lay!<br /></span> +<span class="i2">Tuneful is the measure;<br /></span> +<span class="i0">The wild wood grows green again,<br /></span> +<span class="i0">Songsters change our winter's pain<br /></span> +<span class="i2">To a mirthful pleasure.<br /></span> +</div><div class="stanza"> +<span class="i0">Now let young men gather flowers,<br /></span> +<span class="i2">On their foreheads bind them,<br /></span> +<span class="i0">Maidens pluck them from the bowers,<br /></span> +<span class="i2">Then, when they have twined them,<br /></span> +<span class="i0">Breathe perfume from bud and bloom,<br /></span> +<span class="i2">Where young love reposes,<br /></span> +<span class="i0">And into the meadows so<br /></span> +<span class="i0">All together laughing go,<br /></span> +<span class="i2">Crowned with ruddy roses.<br /></span> +</div></div> + +<p>Here again the nightingale's song, contending with the young man's +heart's lament of love, makes itself heard.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LOVER_AND_THE_NIGHTINGALE" id="THE_LOVER_AND_THE_NIGHTINGALE"></a>THE LOVER AND THE NIGHTINGALE.</h2> + +<h3>No. 7.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">These hours of spring are jolly;<br /></span> +<span class="i4">Maidens, be gay!<br /> +</span> +<span class="i0">Shake off dull melancholy,<br /></span> +<span class="i4">Ye lads, to-day!<br /></span> +<span class="i2">Oh! all abloom am I!<br /> +</span> +<span class="i2">It is a maiden love that makes me sigh,<br /> +</span> +<span class="i2">A new, new love it is wherewith I die!<br /> +</span> +<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></div><div class="stanza"> +<span class="i0">The nightingale is singing<br /></span> +<span class="i4">So sweet a lay!<br /> +</span> +<span class="i0">Her glad voice heavenward flinging—<br /></span> +<span class="i4">No check, no stay.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Flower of girls love-laden<br /></span> +<span class="i4">Is my sweetheart;<br /> +</span> +<span class="i0">Of roses red the maiden<br /></span> +<span class="i4">For whom I smart.<br /> +</span> +</div><div class="stanza"> +<span class="i0">The promise that she gives me<br /></span> +<span class="i4">Makes my heart bloom;<br /> +</span> +<span class="i0">If she denies, she drives me<br /></span> +<span class="i4">Forth to the gloom.<br /> +</span> +</div><div class="stanza"> +<span class="i0">My maid, to me relenting,<br /></span> +<span class="i4">Is fain for play;<br /> +</span> +<span class="i0">Her pure heart, unconsenting,<br /></span> +<span class="i4">Saith, "Lover, stay!"<br /> +</span> +</div><div class="stanza"> +<span class="i0">Hush, Philomel, thy singing,<br /></span> +<span class="i4">This little rest!<br /> +</span> +<span class="i0">Let the soul's song rise ringing<br /></span> +<span class="i4">Up from the breast!<br /> +</span> +</div><div class="stanza"> +<span class="i0">In desolate Decembers<br /></span> +<span class="i4">Man bides his time:<br /> +</span> +<span class="i0">Spring stirs the slumbering embers;<br /></span> +<span class="i4">Love-juices climb.<br /> +</span> +<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></div><div class="stanza"> +<span class="i0">Come, mistress, come, my maiden!<br /></span> +<span class="i4">Bring joy to me!<br /> +</span> +<span class="i0">Come, come, thou beauty-laden!<br /></span> +<span class="i4">I die for thee!<br /> +</span> +<span class="i2">O all abloom am I!<br /> +</span> +<span class="i2">It is a maiden love that makes me sigh,<br /> +</span> +<span class="i2">A new, new love it is wherewith I die!<br /> +</span> +</div></div> + +<p>There is a very pretty <i>Invitation to Youth</i>, the refrain of which, +though partly undecipherable, seems to indicate an Italian origin. I +have thought it well to omit this refrain; but it might be rendered +thus, maintaining the strange and probably corrupt reading of the last +line:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"List, my fair, list, <i>bela mia</i>,<br /></span> +<span class="i0">To the thousand charms of Venus!<br /></span> +<span class="i0"><i>Da hizevaleria</i>."<br /></span> +</div></div> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_INVITATION_TO_YOUTH" id="THE_INVITATION_TO_YOUTH"></a>THE INVITATION TO YOUTH.</h2> + +<h3>No. 8.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Take your pleasure, dance and play,<br /></span> +<span class="i0">Each with other while ye may:<br /></span> +<span class="i0">Youth is nimble, full of grace;<br /></span> +<span class="i0">Age is lame, of tardy pace.<br /></span> +</div><div class="stanza"> +<span class="i0">We the wars of love should wage,<br /></span> +<span class="i0">Who are yet of tender age;<br /></span> +<span class="i0">'Neath the tents of Venus dwell<br /></span> +<span class="i0">All the joys that youth loves well.<br /></span> +<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></div><div class="stanza"> +<span class="i0">Young men kindle heart's desire;<br /></span> +<span class="i0">You may liken them to fire:<br /></span> +<span class="i0">Old men frighten love away<br /></span> +<span class="i0">With cold frost and dry decay.<br /></span> +</div></div> + +<p>A roundelay, which might be styled the <i>Praise of May</i> or the +exhortation to be liberal in love by <i>The Example of the Rose</i>, shall +follow.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_EXAMPLE_OF_THE_ROSE" id="THE_EXAMPLE_OF_THE_ROSE"></a>THE EXAMPLE OF THE ROSE.</h2> + +<h3>No. 9.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Winter's untruth yields at last,<br /></span> +<span class="i2">Spring renews old mother earth;<br /></span> +<span class="i0">Angry storms are overpast,<br /></span> +<span class="i2">Sunbeams fill the air with mirth;<br /></span> +<span class="i2">Pregnant, ripening unto birth,<br /></span> +<span class="i6">All the world reposes.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Our delightful month of May,<br /></span> +<span class="i2">Not by birth, but by degree,<br /></span> +<span class="i0">Took the first place, poets say;<br /></span> +<span class="i2">Since the whole year's cycle he,<br /></span> +<span class="i2">Youngest, loveliest, leads with glee,<br /></span> +<span class="i6">And the cycle closes.<br /> +</span> +</div><div class="stanza"> +<span class="i0">From the honours of the rose<br /></span> +<span class="i2">They decline, the rose abuse,<br /></span> +<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span><span class="i0">Who, when roses red unclose,<br /></span> +<span class="i2">Seek not their own sweets to use;<br /></span> +<span class="i2">'Tis with largess, liberal dues,<br /></span> +<span class="i6">That the rose discloses.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Taught to wanton, taught to play,<br /></span> +<span class="i2">By the young year's wanton flower,<br /></span> +<span class="i0">We will take no heed to-day,<br /></span> +<span class="i2">Have no thought for thrift this hour;<br /></span> +<span class="i2">Thrift, whose uncongenial power<br /></span> +<span class="i6">Laws on youth imposes.<br /> +</span> +</div></div> + +<p>Another song, blending the praises of spring with a little pagan vow +to Cupid, has in the original Latin a distinction and purity of +outline which might be almost called Horatian.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_VOW_TO_CUPID" id="THE_VOW_TO_CUPID"></a>THE VOW TO CUPID.</h2> + +<h3>No. 10.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Winter, now thy spite is spent,<br /></span> +<span class="i0">Frost and ice and branches bent!<br /></span> +<span class="i0">Fogs and furious storms are o'er,<br /></span> +<span class="i0">Sloth and torpor, sorrow frore,<br /></span> +<span class="i0">Pallid wrath, lean discontent.<br /></span> +</div><div class="stanza"> +<span class="i0">Comes the graceful band of May!<br /></span> +<span class="i0">Cloudless shines the limpid day,<br /></span> +<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span><span class="i0">Shine by night the Pleiades;<br /></span> +<span class="i0">While a grateful summer breeze<br /></span> +<span class="i0">Makes the season soft and gay.<br /></span> +</div><div class="stanza"> +<span class="i0">Golden Love I shine forth to view!<br /></span> +<span class="i0">Souls of stubborn men subdue!<br /></span> +<span class="i0">See me bend! what is thy mind?<br /></span> +<span class="i0">Make the girl thou givest kind,<br /></span> +<span class="i0">And a leaping ram's thy due!<br /></span> +</div><div class="stanza"> +<span class="i0">O the jocund face of earth,<br /></span> +<span class="i0">Breathing with young grassy birth!<br /></span> +<span class="i0">Every tree with foliage clad,<br /></span> +<span class="i0">Singing birds in greenwood glad,<br /></span> +<span class="i0">Flowering fields for lovers' mirth!<br /></span> +</div></div> + +<p>Nor is the next far below it in the same qualities of neatness and +artistic brevity.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A-MAYING" id="A-MAYING"></a>A-MAYING.</h2> + +<h3>No. 11.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Now the fields are laughing; now the maids<br /></span> +<span class="i0">Take their pastime; laugh the leafy glades:<br /></span> +<span class="i2">Now the summer days are blooming,<br /> +</span> +<span class="i2">And the flowers their chaliced lamps for love illuming.<br /> +</span> +<span class="i0">Fruit-trees blossom; woods grow green again;<br /></span> +<span class="i0">Winter's rage is past: O ye young men,<br /></span> +<span class="i2">With the May-bloom shake off sadness!<br /> +</span> +<span class="i2">Love is luring you to join the maidens' gladness.<br /> +</span> +<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></div><div class="stanza"> +<span class="i0">Let us then together sport and play;<br /></span> +<span class="i0">Cytherea bids the young be gay:<br /></span> +<span class="i2">Laughter soft and happy voices,<br /> +</span> +<span class="i2">Hope and love invite to mirth when May rejoices.<br /> +</span> +</div></div> + +<p>All the spring is in the lyric next upon my list.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_RETURN_OF_SPRING" id="THE_RETURN_OF_SPRING"></a>THE RETURN OF SPRING:</h2> + +<h3>No. 12.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Spring returns, the glad new-comer,<br /></span> +<span class="i2">Bringing pleasure, banning pain:<br /></span> +<span class="i0">Meadows bloom with early summer,<br /></span> +<span class="i2">And the sun shines out again:<br /></span> +<span class="i0">All sad thoughts and passions vanish;<br /></span> +<span class="i0">Plenteous Summer comes to banish<br /></span> +<span class="i2">Winter with his starveling train.<br /></span> +</div><div class="stanza"> +<span class="i0">Hails and snows and frosts together<br /></span> +<span class="i2">Melt and thaw like dews away;<br /></span> +<span class="i0">While the spring in cloudless weather<br /></span> +<span class="i2">Sucks the breast of jocund May;<br /></span> +<span class="i0">Sad's the man and born for sorrow<br /></span> +<span class="i0">Who can live not, dares not borrow<br /></span> +<span class="i2">Gladness from a summer's day.<br /></span> +</div><div class="stanza"> +<span class="i0">Full of joy and jubilation,<br /></span> +<span class="i2">Drunk with honey of delight,<br /></span> +<span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span><span class="i0">Are the lads whose aspiration<br /></span> +<span class="i2">Is the palm of Cupid's fight!<br /></span> +<span class="i0">Youths, we'll keep the laws of Venus,<br /></span> +<span class="i0">And with joy and mirth between us<br /></span> +<span class="i2">Live and love like Paris wight!<br /></span> +</div></div> + +<p>The next has the same accent of gladness, though it is tuned to a +somewhat softer and more meditative note of feeling.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_SWEETNESS_OF_THE_SPRING" id="THE_SWEETNESS_OF_THE_SPRING"></a>THE SWEETNESS OF THE SPRING.</h2> + +<h3>No. 13.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Vernal hours are sweet as clover,<br /></span> +<span class="i0">With love's honey running over;<br /></span> +<span class="i0">Every heart on this earth burning<br /></span> +<span class="i0">Finds new birth with spring's returning.<br /></span> +</div><div class="stanza"> +<span class="i0">In the spring-time blossoms flourish,<br /></span> +<span class="i0">Fields drink moisture, heaven's dews nourish;<br /></span> +<span class="i0">Now the griefs of maidens, after<br /></span> +<span class="i0">Dark days, turn to love and laughter.<br /></span> +</div><div class="stanza"> +<span class="i0">Whoso love, are loved, together<br /></span> +<span class="i0">Seek their pastime in spring weather;<br /></span> +<span class="i0">And, with time and place agreeing,<br /></span> +<span class="i0">Clasp, kiss, frolic, far from seeing.<br /></span> +</div></div> + +<p>Gradually the form of the one girl whom the lyrist loves emerges from +this wealth of description.<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_SUIT_TO_PHYLLIS" id="THE_SUIT_TO_PHYLLIS"></a>THE SUIT TO PHYLLIS.</h2> + +<h3>No. 14.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Hail! thou longed-for month of May,<br /></span> +<span class="i0">Dear to lovers every day!<br /></span> +<span class="i0">Thou that kindlest hour by hour<br /></span> +<span class="i0">Life in man and bloom in bower!<br /></span> +<span class="i0">O ye crowds of flowers and hues<br /></span> +<span class="i0">That with joy the sense confuse,<br /></span> +<span class="i0">Hail! and to our bosom bring<br /></span> +<span class="i0">Bliss and every jocund thing!<br /></span> +<span class="i0">Sweet the concert of the birds;<br /></span> +<span class="i0">Lovers listen to their words:<br /></span> +<span class="i0">For sad winter hath gone by,<br /></span> +<span class="i0">And a soft wind blows on high.<br /></span> +</div><div class="stanza"> +<span class="i0">Earth hath donned her purple vest,<br /></span> +<span class="i0">Fields with laughing flowers are dressed,<br /></span> +<span class="i0">Shade upon the wild wood spreads,<br /></span> +<span class="i0">Trees lift up their leafy heads;<br /></span> +<span class="i0">Nature in her joy to-day<br /></span> +<span class="i0">Bids all living things be gay;<br /></span> +<span class="i0">Glad her face and fair her grace<br /></span> +<span class="i0">Underneath the sun's embrace!<br /></span> +<span class="i0">Venus stirs the lover's brain,<br /></span> +<span class="i0">With life's nectar fills his vein,<br /></span> +<span class="i0">Pouring through his limbs the heat<br /></span> +<span class="i0">Which makes pulse and passion beat.<br /></span> +</div><div class="stanza"> +<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span><span class="i0">O how happy was the birth<br /></span> +<span class="i0">When the loveliest soul on earth<br /></span> +<span class="i0">Took the form and life of thee,<br /></span> +<span class="i0">Shaped in all felicity!<br /></span> +<span class="i0">O how yellow is thy hair!<br /></span> +<span class="i0">There is nothing wrong, I swear,<br /></span> +<span class="i0">In the whole of thee; thou art<br /></span> +<span class="i0">Framed to fill a loving heart!<br /></span> +<span class="i0">Lo, thy forehead queenly crowned,<br /></span> +<span class="i0">And the eyebrows dark and round,<br /></span> +<span class="i0">Curved like Iris at the tips,<br /></span> +<span class="i0">Down the dark heavens when she slips!<br /></span> +</div><div class="stanza"> +<span class="i0">Red as rose and white as snow<br /></span> +<span class="i0">Are thy cheeks that pale and glow;<br /></span> +<span class="i0">'Mid a thousand maidens thou<br /></span> +<span class="i0">Hast no paragon, I vow.<br /></span> +<span class="i0">Round thy lips and red as be<br /></span> +<span class="i0">Apples on the apple-tree;<br /></span> +<span class="i0">Bright thy teeth as any star;<br /></span> +<span class="i0">Soft and low thy speeches are;<br /></span> +<span class="i0">Long thy hand, and long thy side,<br /></span> +<span class="i0">And the throat thy breasts divide;<br /></span> +<span class="i0">All thy form beyond compare<br /></span> +<span class="i0">Was of God's own art the care.<br /></span> +</div><div class="stanza"> +<span class="i0">Sparks of passion sent from thee<br /></span> +<span class="i0">Set on fire the heart of me;<br /></span> +<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span><span class="i0">Thee beyond all whom I know<br /></span> +<span class="i0">I must love for ever so.<br /></span> +<span class="i0">Lo, my heart to dust will burn<br /></span> +<span class="i0">Unless thou this flame return;<br /></span> +<span class="i0">Still the fire will last, and I,<br /></span> +<span class="i0">Living now, at length shall die!<br /></span> +<span class="i0">Therefore, Phyllis, hear me pray,<br /></span> +<span class="i0">Let us twain together play,<br /></span> +<span class="i0">Joining lip to lip and breast<br /></span> +<span class="i0">Unto, breast in perfect rest!<br /></span> +</div></div> + +<p>The lover is occasionally bashful, sighing at a distance.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="MODEST_LOVE" id="MODEST_LOVE"></a>MODEST LOVE.</h2> + +<h3>No. 15.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Summer sweet is coming in;<br /></span> +<span class="i0">Now the pleasant days begin;<br /></span> +<span class="i0">Phoebus rules the earth at last;<br /></span> +<span class="i0">For sad winter's reign is past.<br /></span> +</div><div class="stanza"> +<span class="i0">Wounded with the love alone<br /></span> +<span class="i0">Of one girl, I make my moan:<br /></span> +<span class="i0">Grief pursues me till she bend<br /></span> +<span class="i0">Unto me and condescend.<br /></span> +</div><div class="stanza"> +<span class="i0">Take thou pity on my plight!<br /></span> +<span class="i0">With my heart thy heart unite!<br /></span> +<span class="i0">In my love thy own love blending,<br /></span> +<span class="i0">Finding thus of life the ending!<br /></span> +</div></div> +<p><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p> + +<p>Occasionally his passion assumes a romantic tone, as is the case with +the following <i>Serenade</i> to a girl called Flos-de-spina in the Latin. +Whether that was her real name, or was only used for poetical +purposes, does not admit of debate now. Anyhow, Flos-de-spina, +Fior-di-spina, Fleur-d'epine, and English Flower-o'-the-thorn are all +of them pretty names for a girl.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_SERENADE_TO_FLOWER-O-THE-THORN" id="THE_SERENADE_TO_FLOWER-O-THE-THORN"></a>THE SERENADE TO FLOWER-O'-THE-THORN.</h2> + +<h3>No. 16.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">The blithe young year is upward steering.<br /></span> +<span class="i0">Wild winter dwindles, disappearing;<br /></span> +<span class="i0">The short, short days are growing longer,<br /></span> +<span class="i0">Rough weather yields and warmth is stronger.<br /></span> +<span class="i2">Since January dawned, my mind<br /> +</span> +<span class="i2">Waves hither, thither, love-inclined<br /> +</span> +<span class="i2">For one whose will can loose or bind.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Prudent and very fair the maiden,<br /></span> +<span class="i0">Than rose or lily more love-laden;<br /></span> +<span class="i0">Stately of stature, lithe and slender,<br /></span> +<span class="i0">There's naught so exquisite and tender.<br /></span> +<span class="i2">The Queen of France is not so dear;<br /> +</span> +<span class="i2">Death to my life comes very near<br /> +</span> +<span class="i2">If Flower-o'-the-thorn be not my cheer.<br /> +</span> +</div><div class="stanza"> +<span class="i0">The Queen of Love my heart is killing<br /></span> +<span class="i0">With her gold arrow pain-distilling;<br /></span> +<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span><span class="i0">The God of Love with torches burning<br /></span> +<span class="i0">Lights pyre on pyre of ardent yearning.<br /></span> +<span class="i2">She is the girl for whom I'd die;<br /> +</span> +<span class="i2">I want none dearer, far or nigh,<br /> +</span> +<span class="i2">Though grief on grief upon me lie.<br /> +</span> +</div><div class="stanza"> +<span class="i0">I with her love am thralled and taken,<br /></span> +<span class="i0">Whose flower doth flower, bud, bloom, and waken;<br /></span> +<span class="i0">Sweet were the labour, light the burden,<br /></span> +<span class="i0">Could mouth kiss mouth for wage and guerdon.<br /></span> +<span class="i2">No touch of lips my wound can still,<br /> +</span> +<span class="i2">Unless two hearts grow one, one will,<br /> +</span> +<span class="i2">One longing! Flower of flowers, farewell!<br /> +</span> +</div></div> + +<p>Once at least we find him writing in absence to his mistress, and +imploring her fidelity. This ranks among the most delicate in +sentiment of the whole series.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LOVE-LETTER_IN_SPRING" id="THE_LOVE-LETTER_IN_SPRING"></a>THE LOVE-LETTER IN SPRING.</h2> + +<h3>No. 17.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Now the sun is streaming,<br /></span> +<span class="i2">Clear and pure his ray;<br /></span> +<span class="i0">April's glad face beaming<br /></span> +<span class="i2">On our earth to-day.<br /></span> +<span class="i0">Unto love returneth<br /></span> +<span class="i2">Every gentle mind;<br /></span> +<span class="i0">And the boy-god burneth<br /></span> +<span class="i2">Jocund hearts to bind.<br /></span> +<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></div><div class="stanza"> +<span class="i0">All this budding beauty,<br /></span> +<span class="i2">Festival array,<br /></span> +<span class="i0">Lays on us the duty<br /></span> +<span class="i2">To be blithe and gay.<br /></span> +<span class="i0">Trodden ways are known, love!<br /></span> +<span class="i2">And in this thy youth,<br /></span> +<span class="i0">To retain thy own love<br /></span> +<span class="i2">Were but faith and truth.<br /></span> +</div><div class="stanza"> +<span class="i0">In faith love me solely,<br /></span> +<span class="i2">Mark the faith of me,<br /></span> +<span class="i0">From thy whole heart wholly,<br /></span> +<span class="i2">From the soul of thee.<br /></span> +<span class="i0">At this time of bliss, dear,<br /></span> +<span class="i2">I am far away;<br /></span> +<span class="i0">Those who love like this, dear,<br /></span> +<span class="i2">Suffer every day!<br /></span> +</div></div> + +<p>At one time he seems upon the point of clasping his felicity.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_SPRING_DITTY" id="A_SPRING_DITTY"></a>A SPRING DITTY.</h2> + +<h3>No. 18.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">In the spring, ah happy day!<br /></span> +<span class="i0">Underneath a leafy spray<br /></span> +<span class="i0">With her sister stands my may.<br /></span> +<span class="i3">O sweet love!<br /> +</span> +<span class="i3">He who now is reft of thee<br /> +</span> +<span class="i3">Poor is he!<br /> +</span> +<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></div><div class="stanza"> +<span class="i0">Ah, the trees, how fair they flower<br /></span> +<span class="i0">Birds are singing in the bower;<br /></span> +<span class="i0">Maidens feel of love the power.<br /></span> +<span class="i3">O sweet love!<br /> +</span> +</div><div class="stanza"> +<span class="i0">See the lilies, how they blow!<br /></span> +<span class="i0">And the maidens row by row<br /></span> +<span class="i0">Praise the best of gods below.<br /></span> +<span class="i3">O sweet love!<br /> +</span> +</div><div class="stanza"> +<span class="i0">If I held my sweetheart now,<br /></span> +<span class="i0">In the wood beneath the bough,<br /></span> +<span class="i0">I would kiss her, lip and brow.<br /></span> +<span class="i3">O sweet love!<br /> +</span> +<span class="i3">He who now is reft of thee,<br /> +</span> +<span class="i3">Poor is he!<br /> +</span> +</div></div> + +<p>At another time he has clasped it, but he trembles lest it should +escape him.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="LOVE-DOUBTS" id="LOVE-DOUBTS"></a>LOVE-DOUBTS.</h2> + +<h3>No. 19.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">With so sweet a promise given<br /></span> +<span class="i2">All my bosom burneth;<br /></span> +<span class="i0">Hope uplifts my heart to heaven,<br /></span> +<span class="i2">Yet the doubt returneth,<br /></span> +<span class="i0">Lest perchance that hope should be<br /></span> +<span class="i0">Crushed and shattered suddenly.<br /></span> +<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></div><div class="stanza"> +<span class="i0">On one girl my fancy so,<br /></span> +<span class="i2">On one star, reposes;<br /></span> +<span class="i0">Her sweet lips with honey flow<br /></span> +<span class="i2">And the scent of roses:<br /></span> +<span class="i0">In her smile I laugh, and fire<br /></span> +<span class="i0">Fills me with her love's desire.<br /></span> +</div><div class="stanza"> +<span class="i0">Love in measure over-much<br /></span> +<span class="i2">Strikes man's soul with anguish;<br /></span> +<span class="i0">Anxious love's too eager touch<br /></span> +<span class="i2">Makes man fret and languish:<br /></span> +<span class="i0">Thus in doubt and grief I pine;<br /></span> +<span class="i0">Pain more sure was none than mine.<br /></span> +</div><div class="stanza"> +<span class="i0">Burning in love's fiery flood,<br /></span> +<span class="i2">Lo, my life is wasted!<br /></span> +<span class="i0">Such the fever of my blood<br /></span> +<span class="i2">That I scarce have tasted<br /></span> +<span class="i0">Mortal bread and wine, but sup<br /></span> +<span class="i0">Like a god love's nectar-cup.<br /></span> +</div></div> + +<p>The village dance forms an important element in the pleasures of the +season. Here is a pretty picture in two stanzas of a linden sheltering +some Suabian meadow.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_VILLAGE_DANCE" id="THE_VILLAGE_DANCE"></a>THE VILLAGE DANCE.</h2> + +<h3>No. 20.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Wide the lime-tree to the air<br /></span> +<span class="i0">Spreads her boughs and foliage fair;<br /></span> +<span class="i2">Thyme beneath is growing<br /></span> +<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span><span class="i0">On the verdant meadow-where<br /></span> +<span class="i2">Dancers' feet are going.<br /></span> +</div><div class="stanza"> +<span class="i0">Through the grass a little spring<br /></span> +<span class="i0">Runs with jocund murmuring;<br /></span> +<span class="i2">All the place rejoices;<br /></span> +<span class="i0">Cooling zephyrs breathe and sing<br /></span> +<span class="i2">With their summer voices.<br /></span> +</div></div> + +<p>I have freely translated a second, which presents a more elaborate +picture of a similar scene.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="LOVE_AMONG_THE_MAIDENS" id="LOVE_AMONG_THE_MAIDENS"></a>LOVE AMONG THE MAIDENS.</h2> + +<h3>No. 21.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Yonder choir of virgins see<br /></span> +<span class="i2">Through the spring advancing,<br /></span> +<span class="i0">Where the sun's warmth, fair and free,<br /></span> +<span class="i2">From the green leaves glancing,<br /></span> +<span class="i0">Weaves a lattice of light gloom<br /></span> +<span class="i2">And soft sunbeams o'er us,<br /></span> +<span class="i0">'Neath the linden-trees in bloom,<br /></span> +<span class="i2">For the Cyprian chorus.<br /></span> +</div><div class="stanza"> +<span class="i0">In this vale where blossoms blow,<br /></span> +<span class="i2">Blooming, summer-scented,<br /></span> +<span class="i0">'Mid the lilies row by row,<br /></span> +<span class="i2">Spreads a field flower-painted.<br /></span> +<span class="i0">Here the blackbirds through the dale<br /></span> +<span class="i2">Each to each are singing,<br /></span> +<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span><span class="i0">And the jocund nightingale<br /></span> +<span class="i2">Her fresh voice is flinging.<br /></span> +</div><div class="stanza"> +<span class="i0">See the maidens crowned with rose<br /></span> +<span class="i2">Sauntering through the grasses!<br /></span> +<span class="i0">Who could tell the mirth of those<br /></span> +<span class="i2">Laughing, singing lasses?<br /></span> +<span class="i0">Or with what a winning grace<br /></span> +<span class="i2">They their charms discover,<br /></span> +<span class="i0">Charms of form and blushing face,<br /></span> +<span class="i2">To the gazing lover?<br /></span> +</div><div class="stanza"> +<span class="i0">Down the flowery greenwood glade<br /></span> +<span class="i2">As I chanced to wander,<br /></span> +<span class="i0">From bright eyes a serving-maid<br /></span> +<span class="i2">Shot Love's arrows yonder;<br /></span> +<span class="i0">I for her, 'mid all the crew<br /></span> +<span class="i2">Of the girls of Venus,<br /></span> +<span class="i0">Wait and yearn until I view<br /></span> +<span class="i2">Love spring up between us.<br /></span> +</div></div> + +<p>Another lyric of complicated rhyming structure introduces a not +dissimilar motive, with touches that seem, in like manner, to indicate +its German origin. It may be remarked that the lover's emotion has +here unusual depth, a strain of <i>sehnsucht</i>; and the picture of the +mother followed by her daughter in the country-dance suggests the +domesticity of Northern races.<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="AT_THE_VILLAGE_DANCE" id="AT_THE_VILLAGE_DANCE"></a>AT THE VILLAGE DANCE.</h2> + +<h3>No. 22.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Meadows bloom, in Winter's room<br /></span> +<span class="i2">Reign the Loves and Graces,<br /></span> +<span class="i0">With their gift of buds that lift<br /></span> +<span class="i2">Bright and laughing faces;<br /></span> +<span class="i0">'Neath the ray of genial May,<br /></span> +<span class="i2">Shining, glowing, blushing, growing,<br /></span> +<span class="i2">They the joys of spring are showing<br /></span> +<span class="i0">In their manifold array.<br /></span> +</div><div class="stanza"> +<span class="i0">Song-birds sweet the season greet,<br /></span> +<span class="i2">Tune their merry voices;<br /></span> +<span class="i0">Sound the ways with hymns of praise,<br /></span> +<span class="i2">Every lane rejoices.<br /></span> +<span class="i0">On the bough in greenwood now<br /></span> +<span class="i2">Flowers are springing, perfumes flinging,<br /></span> +<span class="i2">While young men and maids are clinging<br /></span> +<span class="i0">To the loves they scarce avow.<br /></span> +</div><div class="stanza"> +<span class="i0">O'er the grass together pass<br /></span> +<span class="i2">Bands of lads love-laden:<br /></span> +<span class="i0">Row by row in bevies go<br /></span> +<span class="i2">Bride and blushing maiden.<br /></span> +<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span><span class="i0">See with glee 'neath linden-tree,<br /></span> +<span class="i2">Where the dancing girls are glancing,<br /></span> +<span class="i2">How the matron is advancing!<br /></span> +<span class="i0">At her side her daughter see!<br /></span> +</div><div class="stanza"> +<span class="i0">She's my own, for whom alone,<br /></span> +<span class="i2">If fate wills, I'll tarry;<br /></span> +<span class="i0">Young May-moon, or late or soon,<br /></span> +<span class="i2">'Tis with her I'd marry!<br /></span> +<span class="i0">Now with sighs I watch her rise,<br /></span> +<span class="i2">She the purely loved, the surely<br /></span> +<span class="i2">Chosen, who my heart securely<br /></span> +<span class="i0">Turns from grief to Paradise.<br /></span> +</div><div class="stanza"> +<span class="i0">In her sight with heaven's own light<br /></span> +<span class="i2">Like the gods I blossom;<br /></span> +<span class="i0">Care for nought till she be brought<br /></span> +<span class="i2">Yielding to my bosom.<br /></span> +<span class="i0">Thirst divine my soul doth pine<br /></span> +<span class="i2">To behold her and enfold her,<br /></span> +<span class="i2">With clasped arms alone to hold her<br /></span> +<span class="i0">In Love's holy hidden shrine.<br /></span> +</div></div> + +<p>But the theme of the dance is worked up with even greater elaboration +and a more studied ingenuity of rhyme and rhythm in the following +characteristic song. This has the true accent of what may be called +the <i>Musa Vagabundula</i>, and is one of the best lyrics of the +series:<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>—</p> + + + +<hr style="width: 65%;" /> +<h2><a name="INVITATION_TO_THE_DANCE" id="INVITATION_TO_THE_DANCE"></a>INVITATION TO THE DANCE.</h2> + +<h3>No. 23.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Cast aside dull books and thought;<br /></span> +<span class="i2">Sweet is folly, sweet is play:<br /></span> +<span class="i0">Take the pleasure Spring hath brought<br /></span> +<span class="i2">In youth's opening holiday!<br /></span> +<span class="i0">Right it is old age should ponder<br /></span> +<span class="i2">On grave matters fraught with care;<br /></span> +<span class="i0">Tender youth is free to wander,<br /></span> +<span class="i2">Free to frolic light as air.<br /></span> +<span class="i4">Like a dream our prime is flown,<br /> +</span> +<span class="i5">Prisoned in a study:<br /></span> +<span class="i4">Sport and folly are youth's own,<br /> +</span> +<span class="i5">Tender youth and ruddy.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Lo, the Spring of life slips by,<br /></span> +<span class="i2">Frozen Winter comes apace;<br /></span> +<span class="i0">Strength is 'minished silently,<br /></span> +<span class="i2">Care writes wrinkles on our face:<br /></span> +<span class="i0">Blood dries up and courage fails us,<br /></span> +<span class="i2">Pleasures dwindle, joys decrease,<br /></span> +<span class="i0">Till old age at length assails us<br /></span> +<span class="i2">With his troop of illnesses.<br /></span> +<span class="i4">Like a dream our prime is flown,<br /> +</span> +<span class="i5">Prisoned in a study;<br /> +</span> +<span class="i4">Sport and folly are youth's own,<br /> +</span> +<span class="i5">Tender youth and ruddy.<br /> +</span> +<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></div><div class="stanza"> +<span class="i0">Live we like the gods above;<br /></span> +<span class="i2">This is wisdom, this is truth:<br /></span> +<span class="i0">Chase the joys of tender love<br /></span> +<span class="i2">In the leisure of our youth!<br /></span> +<span class="i0">Keep the vows we swore together,<br /></span> +<span class="i2">Lads, obey that ordinance;<br /></span> +<span class="i0">Seek the fields in sunny weather,<br /></span> +<span class="i2">Where the laughing maidens dance.<br /></span> +<span class="i4">Like a dream our prime is flown,<br /> +</span> +<span class="i5">Prisoned in a study;<br /> +</span> +<span class="i4">Sport and folly are youth's own,<br /> +</span> +<span class="i5">Tender youth and ruddy.<br /> +</span> +</div><div class="stanza"> +<span class="i0">There the lad who lists may see<br /></span> +<span class="i2">Which among the maids is kind:<br /></span> +<span class="i0">There young limbs deliciously<br /></span> +<span class="i2">Flashing through the dances wind:<br /></span> +<span class="i0">While the girls their arms are raising,<br /></span> +<span class="i2">Moving, winding o'er the lea,<br /></span> +<span class="i0">Still I stand and gaze, and gazing<br /></span> +<span class="i2">They have stolen the soul of me!<br /></span> +<span class="i4">Like a dream our prime is flown,<br /> +</span> +<span class="i5">Prisoned in a study;<br /> +</span> +<span class="i4">Sport and folly are youth's own,<br /> +</span> +<span class="i5">Tender youth and ruddy.<br /> +</span> +<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></div></div> + + + +<hr style="width: 65%;" /> +<h2>XV.</h2> + + +<p>A separate Section can be devoted to songs in the manner of the early +French pastoral. These were fashionable at a remote period in all +parts of Europe; and I have already had occasion, in another piece of +literary history, to call attention to the Italian madrigals of the +fourteenth century composed in this species.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> Their point is mainly +this: A man of birth and education, generally a dweller in the town, +goes abroad into the fields, lured by fair spring weather, and makes +love among trees to a country wench.</p> + +<p>The <i>Vagi</i> turn the pastoral to their own purpose, and always +represent the greenwood lover as a <i>clericus</i>. One of these rural +nieces has a pretty opening stanza:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"When the sweet Spring was ascending,<br /></span> +<span class="i0">Not yet May, at April's ending,<br /></span> +<span class="i0">While the sun was heavenward wending,<br /></span> +<span class="i0">Stood a girl of grace transcending<br /></span> +<span class="i0">Underneath the green bough, sending<br /></span> +<span class="i3">Songs aloft with pipings."<br /> +</span> +</div></div> + +<p>Another gives a slightly comic turn to the chief incident.<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p> +<div class="footnotes"><h3>FOOTNOTES:</h3> +<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> See <i>Renaissance in Italy</i>, vol. iv. p. 156.</p></div></div> + + + +<hr style="width: 65%;" /> +<h2><a name="A_PASTORAL" id="A_PASTORAL"></a>A PASTORAL.</h2> + +<h3>No. 24.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">There went out in the dawning light<br /></span> +<span class="i2">A little rustic maiden;<br /></span> +<span class="i0">Her flock so white, her crook so slight,<br /></span> +<span class="i2">With fleecy new wool laden.<br /></span> +</div><div class="stanza"> +<span class="i0">Small is the flock, and there you'll see<br /></span> +<span class="i2">The she-ass and the wether;<br /></span> +<span class="i0">This goat's a he, and that's a she,<br /></span> +<span class="i2">The bull-calf and the heifer.<br /></span> +</div><div class="stanza"> +<span class="i0">She looked upon the green sward, where<br /></span> +<span class="i2">A student lay at leisure:<br /></span> +<span class="i0">"What do you there, young sir, so fair?"<br /></span> +<span class="i2">"Come, play with me, my treasure!"<br /></span> +</div></div> + +<p>A third seems to have been written in the South, perhaps upon the +shores of one of the Italian lakes—Como or Garda.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_MULBERRY-GATHERER" id="THE_MULBERRY-GATHERER"></a>THE MULBERRY-GATHERER.</h2> + +<h3>No. 25.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">In the summer's burning heat,<br /></span> +<span class="i0">When the flowers were blooming sweet,<br /></span> +<span class="i0">I had chosen, as 'twas meet,<br /></span> +<span class="i0">'Neath an olive bough my seat;<br /></span> +<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span><span class="i0">Languid with the glowing day,<br /></span> +<span class="i0">Lazy, careless, apt for play.<br /></span> +</div><div class="stanza"> +<span class="i0">Stood the tree in fields where grew<br /></span> +<span class="i0">Painted flowers of every hue,<br /></span> +<span class="i0">Grass that flourished with the dew,<br /></span> +<span class="i0">Fresh with shade where breezes blew;<br /></span> +<span class="i0">Plato, with his style so rare,<br /></span> +<span class="i0">Could not paint a spot more fair.<br /></span> +</div><div class="stanza"> +<span class="i0">Runs a babbling brook hard by,<br /></span> +<span class="i0">Chants the nightingale on high;<br /></span> +<span class="i0">Water-nymphs with song reply.<br /></span> +<span class="i0">"Sure, 'tis Paradise," I cry;<br /></span> +<span class="i0">For I know not any place<br /></span> +<span class="i0">Of a sweeter, fresher grace.<br /></span> +</div><div class="stanza"> +<span class="i0">While I take my solace here,<br /></span> +<span class="i0">And in solace find good cheer,<br /></span> +<span class="i0">Shade from summer, coolness dear,<br /></span> +<span class="i0">Comes a shepherd maiden near—<br /></span> +<span class="i0">Fairer, sure, there breathes not now—<br /></span> +<span class="i0">Plucking mulberries from the bough.<br /></span> +</div><div class="stanza"> +<span class="i0">Seeing her, I loved her there:<br /></span> +<span class="i0">Venus did the trick, I'll swear!<br /></span> +<span class="i0">"Come, I am no thief, to scare,<br /></span> +<span class="i0">Rob, or murder unaware;<br /></span> +<span class="i0">I and all I have are thine,<br /></span> +<span class="i0">Thou than Flora more divine!"<br /></span> +<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></div><div class="stanza"> +<span class="i0">But the girl made answer then:<br /></span> +<span class="i0">"Never played I yet with men;<br /></span> +<span class="i0">Cruel to me are my kin:<br /></span> +<span class="i0">My old mother scolds me when<br /></span> +<span class="i0">In some little thing I stray:—<br /></span> +<span class="i0">Hold, I prithee, sir, to-day!"<br /></span> +</div></div> + +<p>A fourth, consisting of a short conventional introduction in praise of +Spring, followed by a dialogue between a young man and a girl, in +which the metre changes for the last two stanzas, may be classed among +the pastorals, although it is a somewhat irregular example of the +species.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_WOOING" id="THE_WOOING"></a>THE WOOING.</h2> + +<h3>No. 26.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">All the woods are now in flower,<br /></span> +<span class="i0">Song-birds sing in field and bower,<br /></span> +<span class="i0">Orchards their white blossoms shower:<br /></span> +<span class="i0">Lads, make merry in Love's hour!<br /></span> +</div><div class="stanza"> +<span class="i0">Sordid grief hath flown away,<br /></span> +<span class="i0">Fervid Love is here to-day;<br /></span> +<span class="i0">He will tame without delay<br /></span> +<span class="i0">Those who love not while they may.<br /></span> +</div></div> + +<p><i>He.</i></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Fairest maiden, list to me;<br /></span> +<span class="i0">Do not thus disdainful be;<br /></span> +<span class="i0">Scorn and anger disagree<br /></span> +<span class="i0">With thy youth, and injure thee.<br /></span> +<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></div><div class="stanza"> +<span class="i0">"I am weaker than thou art;<br /></span> +<span class="i0">Mighty Love hath pierced my heart;<br /></span> +<span class="i0">Scarce can I endure his dart:<br /></span> +<span class="i0">Lest I die, heal, heal my smart!"<br /></span> +</div></div> + +<p><i>She.</i></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Why d'you coax me, suitor blind?<br /></span> +<span class="i0">What you seek you will not find;<br /></span> +<span class="i0">I'm too young for love to bind;<br /></span> +<span class="i0">Such vain trifles vex my mind.<br /></span> +</div><div class="stanza"> +<span class="i0">"Is't your will with me to toy?<br /></span> +<span class="i0">I'll not mate with man or boy:<br /></span> +<span class="i0">Like the Phoenix, to enjoy<br /></span> +<span class="i0">Single life shall be my joy."<br /></span> +</div></div> + +<p><i>He.</i></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Yet Love is tyrannous,<br /></span> +<span class="i0">Harsh, fierce, imperious!<br /></span> +<span class="i0">He who man's heart can thus<br /></span> +<span class="i2">Shatter, may make to bow<br /></span> +<span class="i2">Maidens as stern as thou!"<br /></span> +</div></div> + +<p><i>She.</i></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Now by your words I'm 'ware<br /></span> +<span class="i0">What you wish, what you are;<br /></span> +<span class="i0">You know love well, I swear!<br /></span> +<span class="i2">So I'll be loved by you;<br /></span> +<span class="i2">Now I'm on fire too!"<br /></span> +</div></div> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> +<h2>XVI.</h2> + + +<p>Some semi-descriptive pieces, which connect the songs of Spring with +lyrics of a more purely personal emotion, can boast of rare beauty in +the original.</p> + +<p>The most striking of these, upon the theme of Sleep and Love, I have +tried to render in trochaic verse, feeling it impossible, without +knowledge of the medieval melody, to reproduce its complicated and now +only half-intelligible rhythms.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_DESCANT_UPON_SLEEP_AND_LOVE" id="A_DESCANT_UPON_SLEEP_AND_LOVE"></a>A DESCANT UPON SLEEP AND LOVE.</h2> + +<h3>No. 27.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">When the lamp of Cynthia late<br /></span> +<span class="i0">Rises in her silver state,<br /></span> +<span class="i0">Through her brother's roseate light,<br /></span> +<span class="i0">Blushing on the brows of night;<br /></span> +<span class="i0">Then the pure ethereal air<br /></span> +<span class="i0">Breathes with zephyr blowing fair;<br /></span> +<span class="i0">Clouds and vapours disappear.<br /></span> +<span class="i0">As with chords of lute or lyre,<br /></span> +<span class="i0">Soothed the spirits now respire,<br /></span> +<span class="i0">And the heart revives again<br /></span> +<span class="i0">Which once more for love is fain.<br /></span> +<span class="i0">But the orient evening star<br /></span> +<span class="i0">Sheds with influence kindlier far<br /></span> +<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span><span class="i0">Dews of sweet sleep on the eye<br /></span> +<span class="i0">Of o'er-tired mortality.<br /></span> +</div><div class="stanza"> +<span class="i0">Oh, how blessed to take and keep<br /></span> +<span class="i0">Is the antidote of sleep!<br /></span> +<span class="i0">Sleep that lulls the storms of care<br /></span> +<span class="i0">And of sorrow unaware,<br /></span> +<span class="i0">Creeping through the closed doors<br /></span> +<span class="i0">Of the eyes, and through the pores<br /></span> +<span class="i0">Breathing bliss so pure and rare<br /></span> +<span class="i0">That with love it may compare.<br /></span> +</div><div class="stanza"> +<span class="i0">Then the god of dreams doth bring<br /></span> +<span class="i0">To the mind some restful thing,<br /></span> +<span class="i0">Breezes soft that rippling blow<br /></span> +<span class="i0">O'er ripe cornfields row by row,<br /></span> +<span class="i0">Murmuring rivers round whose brim<br /></span> +<span class="i0">Silvery sands the swallows skim,<br /></span> +<span class="i0">Or the drowsy circling sound<br /></span> +<span class="i0">Of old mill-wheels going round,<br /></span> +<span class="i0">Which with music steal the mind<br /></span> +<span class="i0">And the eyes in slumber bind.<br /></span> +</div><div class="stanza"> +<span class="i0">When the deeds of love are done<br /></span> +<span class="i0">Which bland Venus had begun,<br /></span> +<span class="i0">Languor steals with pleasant strain<br /></span> +<span class="i0">Through the chambers of the brain,<br /></span> +<span class="i0">Eyes 'neath eyelids gently tired<br /></span> +<span class="i0">Swim and seek the rest desired.<br /></span> +<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span><span class="i0">How deliriously at last<br /></span> +<span class="i0">Into slumber love hath passed!<br /></span> +<span class="i0">But how sweeter yet the way<br /></span> +<span class="i0">Which leads love again to play!<br /></span> +</div><div class="stanza"> +<span class="i0">From the soothed limbs upward spread<br /></span> +<span class="i0">Glides a mist divinely shed,<br /></span> +<span class="i0">Which invades the heart and head:<br /></span> +<span class="i0">Drowsily it veils the eyes,<br /></span> +<span class="i0">Bending toward sleep's paradise,<br /></span> +<span class="i0">And with curling vapour round<br /></span> +<span class="i0">Fills the lids, the senses swound,<br /></span> +<span class="i0">Till the visual ray is bound<br /></span> +<span class="i0">By those ministers which make<br /></span> +<span class="i0">Life renewed in man awake.<br /></span> +</div><div class="stanza"> +<span class="i0">Underneath the leafy shade<br /></span> +<span class="i0">Of a tree in quiet laid,<br /></span> +<span class="i0">While the nightingale complains<br /></span> +<span class="i0">Singing of her ancient pains,<br /></span> +<span class="i0">Sweet it is still hours to pass,<br /></span> +<span class="i0">But far sweeter on the grass<br /></span> +<span class="i0">With a buxom maid to play<br /></span> +<span class="i0">All a summer's holiday.<br /></span> +<span class="i0">When the scent of herb and flower<br /></span> +<span class="i0">Breathes upon the silent hour,<br /></span> +<span class="i0">When the rose with leaf and bloom<br /></span> +<span class="i0">Spreads a couch of pure perfume,<br /></span> +<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span><span class="i0">Then the grateful boon of sleep<br /></span> +<span class="i0">Falls with satisfaction deep,<br /></span> +<span class="i0">Showering dews our eyes above,<br /></span> +<span class="i0">Tired with honeyed strife of love.<br /></span> +</div><div class="stanza"> +<span class="i0">In how many moods the mind<br /></span> +<span class="i0">Of poor lovers, weak and blind,<br /></span> +<span class="i0">Wavers like the wavering wind!<br /></span> +<span class="i0">As a ship in darkness lost,<br /></span> +<span class="i0">Without anchor tempest-tossed,<br /></span> +<span class="i0">So with hope and fear imbued<br /></span> +<span class="i0">It roams in great incertitude<br /></span> +<span class="i0">Love's tempestuous ocean-flood.<br /></span> +</div></div> + +<p>A portion of this descant finds an echo in another lyric of the +<i>Carmina Burana</i>:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"With young leaves the wood is new;<br /></span> +<span class="i2">Now the nightingale is singing;<br /></span> +<span class="i0">And field-flowers of every hue<br /></span> +<span class="i2">On the sward their bloom are flinging.<br /></span> +<span class="i0">Sweet it is to brush the dew<br /></span> +<span class="i2">From wild lawns and woody places!<br /></span> +<span class="i0">Sweeter yet to wreathe the rose<br /></span> +<span class="i2">With the lily's virgin graces;<br /></span> +<span class="i0">But the sweetest sweet man knows,<br /></span> +<span class="i2">Is to woo a girl's embraces."<br /></span> +</div></div> + +<p>The most highly wrought of descriptive poems in this species is the +<i>Dispute of Flora and Phyllis</i>, which occurs both in the <i>Carmina +Burana</i> and in the English MSS.<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span> edited by Wright. The motive of the +composition is as follows:—Two girls wake in the early morning, and +go out to walk together through the fields. Each of them is in love; +but Phyllis loves a soldier, Flora loves a scholar. They interchange +confidences, the one contending with the other for the superiority of +her own sweetheart.</p> + +<p>Having said so much, I will present the first part of the poem in the +English version I have made.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FLORA_AND_PHYLLIS" id="FLORA_AND_PHYLLIS"></a>FLORA AND PHYLLIS.</h2> + +<h2>PART I.</h2> +<h3>No. 28.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">In the spring-time, when the skies<br /></span> +<span class="i2">Cast off winter's mourning,<br /></span> +<span class="i0">And bright flowers of every hue<br /></span> +<span class="i2">Earth's lap are adorning,<br /></span> +<span class="i0">At the hour when Lucifer<br /></span> +<span class="i2">Gives the stars their warning,<br /></span> +<span class="i0">Phyllis woke, and Flora too,<br /></span> +<span class="i2">In the early morning.<br /></span> +</div><div class="stanza"> +<span class="i0">Both the girls were fain to go<br /></span> +<span class="i2">Forth in sunny weather,<br /></span> +<span class="i0">For love-laden bosoms throw<br /></span> +<span class="i2">Sleep off like a feather;<br /></span> +<span class="i0">Then with measured steps and slow<br /></span> +<span class="i2">To the fields together<br /></span> +<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span><span class="i0">Went they, seeking pastime new<br /></span> +<span class="i2">'Mid the flowers and heather.<br /></span> +</div><div class="stanza"> +<span class="i0">Both were virgins, both, I ween,<br /></span> +<span class="i2">Were by birth princesses;<br /></span> +<span class="i0">Phyllis let her locks flow free,<br /></span> +<span class="i2">Flora trained her tresses.<br /></span> +<span class="i0">Not like girls they went, but like<br /></span> +<span class="i2">Heavenly holinesses;<br /></span> +<span class="i0">And their faces shone like dawn<br /></span> +<span class="i2">'Neath the day's caresses.<br /></span> +</div><div class="stanza"> +<span class="i0">Equal beauty, equal birth,<br /></span> +<span class="i2">These fair maidens mated;<br /></span> +<span class="i0">Youthful were the years of both,<br /></span> +<span class="i2">And their minds elated;<br /></span> +<span class="i0">Yet they were a pair unpaired,<br /></span> +<span class="i2">Mates by strife unmated;<br /></span> +<span class="i0">For one loved a clerk, and one<br /></span> +<span class="i2">For a knight was fated.<br /></span> +</div><div class="stanza"> +<span class="i0">Naught there was of difference<br /></span> +<span class="i2">'Twixt them to the seeing,<br /></span> +<span class="i0">All alike, within without,<br /></span> +<span class="i2">Seemed in them agreeing;<br /></span> +<span class="i0">With one garb, one cast of mind,<br /></span> +<span class="i2">And one mode of being,<br /></span> +<span class="i0">Only that they could not love<br /></span> +<span class="i2">Save with disagreeing.<br /></span> +<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span></div><div class="stanza"> +<span class="i0">In the tree-tops overhead<br /></span> +<span class="i2">A spring breeze was blowing,<br /></span> +<span class="i0">And the meadow lawns around<br /></span> +<span class="i2">With green grass were growing;<br /></span> +<span class="i0">Through the grass a rivulet<br /></span> +<span class="i2">From the hill was flowing,<br /></span> +<span class="i0">Lively, with a pleasant sound<br /></span> +<span class="i2">Garrulously going.<br /></span> +</div><div class="stanza"> +<span class="i0">That the girls might suffer less<br /></span> +<span class="i2">From the noon resplendent,<br /></span> +<span class="i0">Near the stream a spreading pine<br /></span> +<span class="i2">Rose with stem ascendant;<br /></span> +<span class="i0">Crowned with boughs and leaves aloft,<br /></span> +<span class="i2">O'er the fields impendent;<br /></span> +<span class="i0">From all heat on every hand<br /></span> +<span class="i2">Airily defendent.<br /></span> +</div><div class="stanza"> +<span class="i0">On the sward the maidens sat,<br /></span> +<span class="i2">Naught that seat surpasses;<br /></span> +<span class="i0">Phyllis near the rivulet,<br /></span> +<span class="i2">Flora 'mid the grasses;<br /></span> +<span class="i0">Each into the chamber sweet<br /></span> +<span class="i2">Of her own soul passes,<br /></span> +<span class="i0">Love divides their thoughts, and wounds<br /></span> +<span class="i2">With his shafts the lasses.<br /></span> +</div><div class="stanza"> +<span class="i0">Love within the breast of each,<br /></span> +<span class="i2">Hidden, unsuspected,<br /></span> +<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span><span class="i0">Lurks and draws forth sighs of grief<br /></span> +<span class="i2">From their hearts dejected:<br /></span> +<span class="i0">Soon their ruddy cheeks grow pale,<br /></span> +<span class="i2">Conscious, love-affected;<br /></span> +<span class="i0">Yet their passion tells no tale,<br /></span> +<span class="i2">By soft shame protected.<br /></span> +</div><div class="stanza"> +<span class="i0">Phyllis now doth overhear<br /></span> +<span class="i2">Flora softly sighing:<br /></span> +<span class="i0">Flora with like luck detects<br /></span> +<span class="i2">Sigh to sigh replying.<br /></span> +<span class="i0">Thus the girls exchange the game,<br /></span> +<span class="i2">Each with other vying;<br /></span> +<span class="i0">Till the truth leaps out at length,<br /></span> +<span class="i2">Plain beyond denying.<br /></span> +</div><div class="stanza"> +<span class="i0">Long this interchange did last<br /></span> +<span class="i2">Of mute conversation;<br /></span> +<span class="i0">All of love-sighs fond and fast<br /></span> +<span class="i2">Was that dissertation.<br /></span> +<span class="i0">Love was in their minds, and Love<br /></span> +<span class="i2">Made their lips his station;<br /></span> +<span class="i0">Phyllis then, while Flora smiled,<br /></span> +<span class="i2">Opened her oration.<br /></span> +</div><div class="stanza"> +<span class="i0">"Soldier brave, my love!" she said,<br /></span> +<span class="i2">"Where is now my Paris?<br /></span> +<span class="i0">Fights he in the field, or where<br /></span> +<span class="i2">In the wide word tarries?<br /></span> +<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span><span class="i0">Oh, the soldier's life, I swear,<br /></span> +<span class="i2">All life's glory carries;<br /></span> +<span class="i0">Only valour clothed in arms<br /></span> +<span class="i2">With Dame Venus marries!"<br /></span> +</div></div> + +<p>Phyllis thus opens the question whether a soldier or a scholar be the +fitter for love. Flora responds, and for some time they conduct the +dispute in true scholastic fashion. Being unable to settle it between +themselves, they resolve to seek out Love himself, and to refer the +matter to his judgment. One girl mounts a mule, the other a horse; and +these are no ordinary animals, for Neptune reared one beast as a +present to Venus, Vulcan forged the metal-work of bit and saddle, +Minerva embroidered the trappings, and so forth. After a short journey +they reach the Garden of Love, which is described with a truly +luxuriant wealth of imagery. It resembles some of the earlier +Renaissance pictures, especially one of great excellence by a German +artist which I once saw in a dealer's shop at Venice, and which ought +now to grace a public gallery.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FLORA_AND_PHYLLIS_1" id="FLORA_AND_PHYLLIS_1"></a>FLORA AND PHYLLIS.</h2> + +<h2>PART II.</h2> +<h3>No. 29.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">On their steeds the ladies ride,<br /></span> +<span class="i2">Two fair girls and slender;<br /></span> +<span class="i0">Modest are their eyes and mild,<br /></span> +<span class="i2">And their cheeks are tender.<br /></span> +<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span><span class="i0">Thus young lilies break the sheath,<br /></span> +<span class="i2">Budding roses render<br /></span> +<span class="i0">Blushes, and twinned pairs of stars<br /></span> +<span class="i2">Climb the heavens with splendour.<br /></span> +</div><div class="stanza"> +<span class="i0">Toward Love's Paradise they fare,<br /></span> +<span class="i2">Such, I ween, their will is;<br /></span> +<span class="i0">While the strife between the pair<br /></span> +<span class="i2">Turns their cheeks to lilies;<br /></span> +<span class="i0">Phyllis Flora flouts, and fair<br /></span> +<span class="i2">Flora flouteth Phyllis;<br /></span> +<span class="i0">Flora's hand a hawk doth bear,<br /></span> +<span class="i2">And a goshawk Phyllis.<br /></span> +</div><div class="stanza"> +<span class="i0">After a short space they came<br /></span> +<span class="i2">Where a grove was growing;<br /></span> +<span class="i0">At the entrance of the same<br /></span> +<span class="i2">Rills with murmur flowing;<br /></span> +<span class="i0">There the wind with myrrh and spice<br /></span> +<span class="i2">Redolent was blowing,<br /></span> +<span class="i0">Sounds of timbrel, harp, and lyre<br /></span> +<span class="i2">Through the branches going.<br /></span> +</div><div class="stanza"> +<span class="i0">All the music man could make<br /></span> +<span class="i2">There they heard in plenty;<br /></span> +<span class="i0">Timbrel, psaltery, lyre, and lute,<br /></span> +<span class="i2">Harp and viol dainty;<br /></span> +<span class="i0">Voices that in part-song meet<br /></span> +<span class="i2">Choiring forte, lente;<br /></span> +<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span><span class="i0">Sounds the diatesseron,<br /></span> +<span class="i2">Sounds the diapente.<br /></span> +</div><div class="stanza"> +<span class="i0">All the tongues of all the birds<br /></span> +<span class="i2">With full cry were singing;<br /></span> +<span class="i0">There the blackbird's melody<br /></span> +<span class="i2">Sweet and true was ringing;<br /></span> +<span class="i0">Wood-dove, lark, and thrush on high<br /></span> +<span class="i2">Jocund anthems flinging,<br /></span> +<span class="i0">With the nightingale, who still<br /></span> +<span class="i2">To her grief was clinging.<br /></span> +</div><div class="stanza"> +<span class="i0">When the girls drew nigh the grove,<br /></span> +<span class="i2">Some fear came upon them;<br /></span> +<span class="i0">Further as they fared, the charm<br /></span> +<span class="i2">Of the pleasance won them;<br /></span> +<span class="i0">All the birds so sweetly sang<br /></span> +<span class="i2">That a spell was on them,<br /></span> +<span class="i0">And their bosoms warmed with love<br /></span> +<span class="i2">At the welcome shown them.<br /></span> +</div><div class="stanza"> +<span class="i0">Man would be immortal if<br /></span> +<span class="i2">He could there be dwelling:<br /></span> +<span class="i0">Every branch on every tree<br /></span> +<span class="i2">With ripe fruit is swelling;<br /></span> +<span class="i0">All the ways with nard and myrrh<br /></span> +<span class="i2">And with spice are smelling:<br /></span> +<span class="i0">How divine the Master is<br /></span> +<span class="i2">All the house is telling.<br /></span> +<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></div><div class="stanza"> +<span class="i0">Blithesome bands arrest their gaze,<br /></span> +<span class="i2">Youths and maidens dancing;<br /></span> +<span class="i0">Bodies beauteous as the stars,<br /></span> +<span class="i2">Eyes with heaven's light glancing<br /></span> +<span class="i0">And the bosoms of the girls,<br /></span> +<span class="i2">At the sight entrancing,<br /></span> +<span class="i0">Leap to view such marvels new,<br /></span> +<span class="i2">Joy with joy enhancing!<br /></span> +</div><div class="stanza"> +<span class="i0">They their horses check, and light,<br /></span> +<span class="i2">Moved with sudden pleasure;<br /></span> +<span class="i0">Half forget what brought them here,<br /></span> +<span class="i2">Thralled by love and leisure;<br /></span> +<span class="i0">Till once more the nightingale<br /></span> +<span class="i2">Tuned her thrilling measure;<br /></span> +<span class="i0">At that cry each girl again<br /></span> +<span class="i2">Hugs her hidden treasure.<br /></span> +</div><div class="stanza"> +<span class="i0">Round the middle of the grove<br /></span> +<span class="i2">Was a place enchanted,<br /></span> +<span class="i0">Which the god for his own rites<br /></span> +<span class="i2">Specially had planted;<br /></span> +<span class="i0">Fauns and nymphs and satyrs here<br /></span> +<span class="i2">Flowery alleys haunted,<br /></span> +<span class="i0">And before the face of Love<br /></span> +<span class="i2">Played and leaped and chaunted.<br /></span> +</div><div class="stanza"> +<span class="i0">In their hands they carry thyme,<br /></span> +<span class="i2">Crowns of fragrant roses;<br /></span> +<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span><span class="i0">Bacchus leads the choir divine<br /></span> +<span class="i2">And the dance composes;<br /></span> +<span class="i0">Nymphs and fauns with feet in tune<br /></span> +<span class="i2">Interchange their posies;<br /></span> +<span class="i0">But Silenus trips and reels<br /></span> +<span class="i2">When the chorus closes.<br /></span> +</div><div class="stanza"> +<span class="i0">On an ass the elder borne<br /></span> +<span class="i2">All the mad crew guideth;<br /></span> +<span class="i0">Mirth and laughter at the view<br /></span> +<span class="i2">Through Love's glad heart glideth.<br /></span> +<span class="i0">"Io!" shouts the eld; that sound<br /></span> +<span class="i2">In his throat subsideth,<br /></span> +<span class="i0">For his voice in wine is drowned,<br /></span> +<span class="i2">And his old age chideth.<br /></span> +</div><div class="stanza"> +<span class="i0">'Mid these pleasant sights appears<br /></span> +<span class="i2">Love, the young joy-giver;<br /></span> +<span class="i0">Bright as stars his eyes, and wings<br /></span> +<span class="i2">On his shoulders shiver;<br /></span> +<span class="i0">In his left hand is the bow,<br /></span> +<span class="i2">At his side the quiver;<br /></span> +<span class="i0">From his state the world may know<br /></span> +<span class="i2">He is lord for ever.<br /></span> +</div><div class="stanza"> +<span class="i0">Leans the boy upon a staff<br /></span> +<span class="i2">Intertwined with flowers,<br /></span> +<span class="i0">Scent of nectar from his hair<br /></span> +<span class="i2">Breathes around the bowers;<br /></span> +<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span><span class="i0">Hand in hand before him kneel<br /></span> +<span class="i2">Three celestial Hours,<br /></span> +<span class="i0">Graces who Love's goblet fill<br /></span> +<span class="i2">From immortal showers.<br /></span> +</div></div> + +<p>It would surely be superfluous to point out the fluent elegance of +this poem, or to dwell farther upon the astonishing fact that anything +so purely Renaissance in tone should have been produced in the twelfth +century.</p> + +<p>Cupid, as was natural, settles the dispute of the two girls by +deciding that scholars are more suitable for love than soldiers.</p> + +<p>This would be the place to introduce another long descriptive poem, if +the nature of its theme rendered it fit for translation. It relates +the visit of a student to what he calls the <i>Templum Veneris</i>; in +other words, to the house of a courtesan. Her attendants are sirens; +and the whole poem, dealing with a vulgar incident, is conducted in +this mock-heroic strain.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> <i>Carmina Burana</i>, p. 138.</p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></p> +<h2><a name="XVII" id="XVII"></a>XVII.</h2> + + +<p>We pass now to love-poems of a more purely personal kind. One of +these, which is too long for translation and in some respects +ill-suited to a modern taste, forms the proper transition from the +descriptive to the lyrical section. It starts with phrases culled from +hymns to the Virgin:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Si linguis angelicis<br /></span> +<span class="i0">Loquar et humanis."<br /></span> +</div><div class="stanza"> +<span class="i0">"Ave formosissima,<br /></span> +<span class="i0">Gemma pretiosa;<br /></span> +<span class="i0">Ave decus virginum,<br /></span> +<span class="i0">Virgo gloriosa!"<br /></span> +</div></div> + +<p>These waifs and strays of religious diction are curiously blent with +romantic and classical allusions. The girl is addressed in the same +breath as—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Blanziflor et Helena,<br /></span> +<span class="i0">Venus generosa."<br /></span> +</div></div> + +<p>Toward the close of the poem, the lover, who at length has reached the +object of his heart's desire, breaks into this paean of victorious +passion:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"What more? Around the maiden's neck<br /></span> +<span class="i2">My arms I flung with yearning;<br /></span> +<span class="i0">Upon her lips I gave and took<br /></span> +<span class="i2">A thousand kisses burning:<br /></span> +<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span><span class="i0">Again and yet again I cried,<br /></span> +<span class="i2">With whispered vows and sighing,<br /></span> +<span class="i0">This, this alone, sure, sure it was<br /></span> +<span class="i2">For which my heart was dying!<br /></span> +</div><div class="stanza"> +<span class="i0">"Who is the man that does not know<br /></span> +<span class="i2">The sweets that followed after?<br /></span> +<span class="i0">My former pains, my sobs and woe,<br /></span> +<span class="i2">Were changed for love and laughter:<br /></span> +<span class="i0">The joys of Paradise were ours<br /></span> +<span class="i2">In overflowing measure;<br /></span> +<span class="i0">We tasted every shape of bliss<br /></span> +<span class="i2">And every form of pleasure."<br /></span> +</div></div> + +<p>The next piece which I shall quote differs in some important respects +from the general style adopted by the Goliardi in their love-poetry. +It is written in rhyming or leonine hexameters, and is remarkable for +its quaint play on names, conceived and executed in a truly medieval +taste.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FLOS_FLORAE" id="FLOS_FLORAE"></a>FLOS FLORAE.</h2> + +<h3>No. 30.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Take thou this rose, O Rose! the loves in the rose repose:<br /></span> +<span class="i0">I with love of the rose am caught at the winter's close:<br /></span> +<span class="i0">Take thou this flower, my flower, and cherish it in thy bower:<br /></span> +<span class="i0">Thou in thy beauty's power shalt lovelier blow each hour:<br /></span> +<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span><span class="i0">Gaze at the rose, and smile, my rose, in mine eyes the while:<br /></span> +<span class="i0">To thee the roses belong, thy voice is the nightingale's song:<br /></span> +<span class="i0">Give thou the rose a kiss, it blushes like thy mouth's bliss:<br /></span> +<span class="i0">Flowers in a picture seem not flowers, but flowers in a dream:<br /></span> +<span class="i0">Who paints the rose's bloom, paints not the rose's perfume.<br /></span> +</div></div> + +<p>In complete contrast to this conceited and euphuistic style of +composition stands a slight snatch of rustic melody, consisting of +little but reiteration and refrain.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_BIRDS_SONG_OF_LOVE" id="A_BIRDS_SONG_OF_LOVE"></a>A BIRD'S SONG OF LOVE.</h2> + +<h3>No. 31.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Come to me, come, O come!<br /></span> +<span class="i0">Let me not die, but come!<br /></span> +<span class="i5">Hyria hysria nazaza<br /> +</span> +<span class="i7">Trillirivos.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Fair is thy face, O fair!<br /></span> +<span class="i0">Fair thine eyes, O how fair!<br /></span> +<span class="i5">Hyria hysria nazaza<br /> +</span> +<span class="i7">Trillirivos.<br /> +</span> +<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span></div><div class="stanza"> +<span class="i0">Fair is thy flowing hair!<br /></span> +<span class="i0">O fair, O fair, how fair!<br /></span> +<span class="i5">Hyria hysria nazaza<br /> +</span> +<span class="i7">Trillirivos.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Redder than rose art thou,<br /></span> +<span class="i0">Whiter than lily thou!<br /></span> +<span class="i5">Hyria hysria nazaza<br /> +</span> +<span class="i7">Trillirivos.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Fairer than all, I vow,<br /></span> +<span class="i0">Ever my pride art thou!<br /></span> +<span class="i5">Hyria hysria nazaza<br /> +</span> +<span class="i7">Trillirivos.<br /> +</span> +</div></div> + +<p>The following displays an almost classical intensity of voluptuous +passion, and belongs in all probability to a period later than the +<i>Carmina Burana</i>. I have ventured, in translating it, to borrow the +structure of a song which occurs in Fletcher's <i>Rollo</i> (act v. scene +2), the first stanza of which is also found in Shakespeare's <i>Measure +for Measure</i> (act iv. scene 1), and to insert one or two phrases from +Fletcher's version. Whether the composer of that song had ever met +with the Latin lyric to Lydia can scarcely form the subject of +critical conjecture. Yet there is a faint evanescent resemblance +between the two poems.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></p> +<h2><a name="TO_LYDIA" id="TO_LYDIA"></a>TO LYDIA.</h2> + +<h3>No. 32.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Lydia bright, thou girl more white<br /></span> +<span class="i2">Than the milk of morning new,<br /></span> +<span class="i0">Or young lilies in the light!<br /></span> +<span class="i2">Matched with thy rose-whiteness, hue<br /></span> +<span class="i0">Of red rose or white rose pales,<br /></span> +<span class="i0">And the polished ivory fails,<br /></span> +<span class="i8">Ivory fails.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Spread, O spread, my girl, thy hair,<br /></span> +<span class="i2">Amber-hued and heavenly bright,<br /></span> +<span class="i0">As fine gold or golden air!<br /></span> +<span class="i2">Show, O show thy throat so white,<br /></span> +<span class="i0">Throat and neck that marble fine<br /></span> +<span class="i0">Over thy white breasts incline,<br /></span> +<span class="i8">Breasts incline.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Lift, O lift thine eyes that are<br /></span> +<span class="i2">Underneath those eyelids dark,<br /></span> +<span class="i0">Lustrous as the evening star<br /></span> +<span class="i2">'Neath the dark heaven's purple arc!<br /></span> +<span class="i0">Bare, O bare thy cheeks of rose,<br /></span> +<span class="i0">Dyed with Tyrian red that glows,<br /></span> +<span class="i8">Red that glows.<br /> +</span> +<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span></div><div class="stanza"> +<span class="i0">Give, O give those lips of love<br /></span> +<span class="i2">That the coral boughs eclipse;<br /></span> +<span class="i0">Give sweet kisses, dove by dove,<br /></span> +<span class="i2">Soft descending on my lips.<br /></span> +<span class="i0">See my soul how forth she flies!<br /></span> +<span class="i0">'Neath each kiss my pierced heart dies,<br /></span> +<span class="i8">Pierced heart dies.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Wherefore dost thou draw my life,<br /></span> +<span class="i2">Drain my heart's blood with thy kiss?<br /></span> +<span class="i0">Scarce can I endure the strife<br /></span> +<span class="i2">Of this ecstasy of bliss!<br /></span> +<span class="i0">Set, O set my poor heart free,<br /></span> +<span class="i0">Bound in icy chains by thee,<br /></span> +<span class="i8">Chains by thee.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Hide, O hide those hills of snow,<br /></span> +<span class="i2">Twinned upon thy breast that rise,<br /></span> +<span class="i0">Where the virgin fountains flow<br /></span> +<span class="i2">With fresh milk of Paradise!<br /></span> +<span class="i0">Thy bare bosom breathes of myrrh,<br /></span> +<span class="i0">From thy whole self pleasures stir,<br /></span> +<span class="i8">Pleasures stir.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Hide, O hide those paps that tire<br /></span> +<span class="i2">Sense and spirit with excess<br /></span> +<span class="i0">Of snow-whiteness and desire<br /></span> +<span class="i2">Of thy breast's deliciousness!<br /></span> +<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span><span class="i0">See'st thou, cruel, how I swoon?<br /></span> +<span class="i0">Leav'st thou me half lost so soon?<br /></span> +<span class="i8">Lost so soon?<br /> +</span> +</div></div> + +<p>In rendering this lyric to Lydia, I have restored the fifth stanza, +only one line of which,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Quid mihi sugis vivum sanguinem,"<br /></span> +</div></div> + +<p>remains in the original. This I did because it seemed necessary to +effect the transition from the stanzas beginning <i>Pande, puella, +pande</i>, to those beginning <i>Conde papillas, conde</i>.</p> + +<p>Among these more direct outpourings of personal passion, place may be +found for a delicate little <i>Poem of Privacy</i>, which forms part of the +<i>Carmina Burana</i>. Unfortunately, the text of this slight piece is very +defective in the MS., and has had to be conjecturally restored in +several places.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_POEM_OF_PRIVACY" id="A_POEM_OF_PRIVACY"></a>A POEM OF PRIVACY.</h2> + +<h3>No. 33.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">When a young man, passion-laden,<br /></span> +<span class="i0">In a chamber meets a maiden,<br /></span> +<span class="i2">Then felicitous communion,<br /></span> +<span class="i0">By love's strain between the twain,<br /></span> +<span class="i2">Grows from forth their union;<br /></span> +<span class="i0">For the game, it hath no name,<br /></span> +<span class="i0">Of lips, arms, and hidden charms.<br /></span> +<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></div></div> + +<p>Nor can I here forbear from inserting another <i>Poem of Privacy</i>, +bolder in its openness of speech, more glowing in its warmth of +colouring. If excuse should be pleaded or the translation and +reproduction of this distinctly Pagan ditty, it must be found in the +singularity of its motive, which is as unmedieval as could be desired +by the bitterest detractor of medieval sentiment. We seem, while +reading it, to have before our eyes the Venetian picture of a Venus, +while the almost prosaic particularity of description illustrates what +I have said above about the detailed realism of the Goliardic style.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="FLORA" id="FLORA"></a>FLORA.</h2> + +<h3>No. 34.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Rudely blows the winter blast,<br /></span> +<span class="i0">Withered leaves are falling fast,<br /></span> +<span class="i0">Cold hath hushed the birds at last.<br /></span> +<span class="i2">While the heavens were warm and glowing,<br /></span> +<span class="i3">Nature's offspring loved in May;<br /> +</span> +<span class="i2">But man's heart no debt is owing<br /></span> +<span class="i3">To such change of month or day<br /> +</span> +<span class="i3">As the dumb brute-beasts obey.<br /> +</span> +<span class="i0">Oh, the joys of this possessing!<br /></span> +<span class="i0">How unspeakable the blessing<br /></span> +<span class="i2">That my Flora yields to-day!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Labour long I did not rue,<br /></span> +<span class="i0">Ere I won my wages due,<br /></span> +<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span><span class="i0">And the prize I played for drew.<br /></span> +<span class="i2">Flora with her brows of laughter,<br /></span> +<span class="i3">Gazing on me, breathing bliss,<br /> +</span> +<span class="i2">Draws my yearning spirit after,<br /></span> +<span class="i3">Sucks my soul forth in a kiss:<br /> +</span> +<span class="i3">Where's the pastime matched with this?<br /> +</span> +<span class="i0">Oh, the joys of this possessing!<br /></span> +<span class="i0">How unspeakable the blessing<br /></span> +<span class="i2">Of my Flora's loveliness!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Truly mine is no harsh doom,<br /></span> +<span class="i0">While in this secluded room<br /></span> +<span class="i0">Venus lights for me the gloom!<br /></span> +<span class="i2">Flora faultless as a blossom<br /></span> +<span class="i3">Bares her smooth limbs for mine eyes;<br /> +</span> +<span class="i2">Softly shines her virgin bosom,<br /></span> +<span class="i3">And the breasts that gently rise<br /> +</span> +<span class="i3">Like the hills of Paradise.<br /> +</span> +<span class="i0">Oh, the joys of this possessing!<br /></span> +<span class="i0">How unspeakable the blessing<br /></span> +<span class="i2">When my Flora is the prize!<br /> +</span> +</div><div class="stanza"> +<span class="i0">From her tender breasts decline,<br /></span> +<span class="i0">In a gradual curving line,<br /></span> +<span class="i0">Flanks like swansdown white and fine.<br /></span> +<span class="i2">On her skin the touch discerneth<br /></span> +<span class="i3">Naught of rough; 'tis soft as snow:<br /> +</span> +<span class="i2">'Neath the waist her belly turneth<br /></span> +<span class="i3">Unto fulness, where below<br /> +</span> +<span class="i3">In Love's garden lilies blow.<br /> +</span> +<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span><span class="i0">Oh, the joys of this possessing!<br /></span> +<span class="i0">How unspeakable the blessing!<br /></span> +<span class="i2">Sweetest sweets from Flora flow!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Ah! should Jove but find my fair,<br /></span> +<span class="i0">He would fall in love, I swear,<br /></span> +<span class="i0">And to his old tricks repair:<br /></span> +<span class="i2">In a cloud of gold descending<br /></span> +<span class="i3">As on Danae's brazen tower,<br /> +</span> +<span class="i2">Or the sturdy bull's back bending,<br /></span> +<span class="i3">Or would veil his godhood's power<br /> +</span> +<span class="i3">In a swan's form for one hour.<br /> +</span> +<span class="i0">Oh, the joys of this possessing!<br /></span> +<span class="i0">How unspeakable the blessing!<br /></span> +<span class="i2">How divine my Flora's flower!<br /> +</span> +</div></div> + +<p>A third "poem of privacy" may be employed to temper this too fervid +mood. I conceive it to be meant for the monologue of a lover in the +presence of his sweetheart, and to express the varying lights and +shades of his emotion.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LOVERS_MONOLOGUE" id="THE_LOVERS_MONOLOGUE"></a>THE LOVER'S MONOLOGUE.</h2> + +<h3>No. 35.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Love rules everything that is:<br /></span> +<span class="i0">Love doth change hearts in a kiss:<br /></span> +<span class="i0">Love seeks devious ways of bliss:<br /></span> +<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span><span class="i3">Love than honey sweeter,<br /> +</span> +<span class="i3">Love than gall more bitter.<br /> +</span> +<span class="i0">Blind Love hath no modesties.<br /></span> +<span class="i2">Love is lukewarm, fiery, cold;<br /></span> +<span class="i2">Love is timid, overbold;<br /></span> +<span class="i2">Loyal, treacherous, manifold.<br /></span> +</div><div class="stanza"> +<span class="i0">Present time is fit for play:<br /></span> +<span class="i0">Let Love find his mate to-day:<br /></span> +<span class="i0">Hark, the birds, how sweet their lay!<br /></span> +<span class="i3">Love rules young men wholly;<br /> +</span> +<span class="i3">Love lures maidens solely.<br /> +</span> +<span class="i0">Woe to old folk! sad are they.<br /></span> +<span class="i2">Sweetest woman ever seen,<br /></span> +<span class="i2">Fairest, dearest, is my queen;<br /></span> +<span class="i2">And alas! my chiefest teen.<br /></span> +</div><div class="stanza"> +<span class="i0">Let an old man, chill and drear,<br /></span> +<span class="i0">Never come thy bosom near;<br /></span> +<span class="i0">Oft he sleeps with sorry cheer,<br /></span> +<span class="i3">Too cold to delight thee:<br /> +</span> +<span class="i3">Naught could less invite thee.<br /> +</span> +<span class="i0">Youth with youth must mate, my dear.<br /></span> +<span class="i2">Blest the union I desire;<br /></span> +<span class="i2">Naught I know and naught require,<br /></span> +<span class="i2">Better than to be thy squire.<br /></span> +</div><div class="stanza"> +<span class="i0">Love flies all the world around:<br /></span> +<span class="i0">Love in wanton wiles is wound:<br /></span> +<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span><span class="i0">Therefore youth and maid are bound<br /></span> +<span class="i3">In Love's fetters duly.<br /> +</span> +<span class="i3">She is joyless truly<br /> +</span> +<span class="i0">Who no lover yet hath found!<br /></span> +<span class="i2">All the night in grief and smart<br /></span> +<span class="i2">She must languish, wear her heart;<br /></span> +<span class="i2">Bitter is that woman's part.<br /></span> +</div><div class="stanza"> +<span class="i0">Love is simple, Love is sly;<br /></span> +<span class="i0">Love is pale, of ruddy dye:<br /></span> +<span class="i0">Love is all things, low and high:<br /></span> +<span class="i3">Love is serviceable,<br /> +</span> +<span class="i3">Constant and unstable:<br /> +</span> +<span class="i0">Love obeys Art's empery.<br /></span> +<span class="i2">In this closed room Love takes flight,<br /></span> +<span class="i2">In the silence of the night,<br /></span> +<span class="i2">Love made captive, conquered quite.<br /></span> +</div></div> + +<p>The next is singularly, quaintly musical in the original, but for +various reasons I have not been able to adhere exactly to its form. I +imagine that it is the work of the same poet who composed the longer +piece which I shall give immediately after. Both are addressed to +Caecilia; I have used the name Phyllis in my version.<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_INVITATION_TO_LOVE" id="THE_INVITATION_TO_LOVE"></a>THE INVITATION TO LOVE.</h2> + +<h3>No. 36.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">List, my girl, with words I woo;<br /></span> +<span class="i0">Lay not wanton hands on you:<br /></span> +<span class="i0">Sit before you, in your face<br /></span> +<span class="i0">Gazing, ah! and seeking grace:<br /></span> +<span class="i0">Fix mine eyes, nor let them rove<br /></span> +<span class="i0">From the mark where shafts of love<br /></span> +<span class="i5">Their flight wing.<br /> +</span> +<span class="i0">Try, my girl, O try what bliss<br /></span> +<span class="i0">Young men render when they kiss!<br /></span> +<span class="i0">Youth is alway sturdy, straight;<br /></span> +<span class="i0">Old age totters in its gait.<br /></span> +<span class="i0">These delights of love we bring<br /></span> +<span class="i0">Have the suppleness of spring,<br /></span> +<span class="i0">Softness, sweetness, wantoning;<br /></span> +<span class="i0">Clasp, my Phyllis, in their ring<br /></span> +<span class="i0">Sweeter sweets than poets sing,<br /></span> +<span class="i5">Anything and everything!<br /> +</span> +</div><div class="stanza"> +<span class="i0">After daytime's heat from heaven<br /></span> +<span class="i0">Dews on thirsty fields are given;<br /></span> +<span class="i0">After verdant leaf and stem<br /></span> +<span class="i0">Shoots the white flower's diadem;<br /></span> +<span class="i0">After the white flower's bloom<br /></span> +<span class="i0">To the night their faint perfume<br /></span> +<span class="i5">Lilies fling.<br /> +</span> +<span class="i0">Try, my girl, etc., <i>da capo</i>.<br /></span> +<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></div></div> + +<p>The poem, <i>Ludo cum Caecilia</i>, which comes next in order, is one of +the most perfect specimens of Goliardic writing. To render its fluent, +languid, and yet airy grace, in any language but the Latin, is, I +think, impossible. Who could have imagined that the subtlety, the +refinement, almost the perversity of feeling expressed in it, should +have been proper to a student of the twelfth century? The poem is +spoiled toward its close by astrological and grammatical conceits; and +the text is corrupt. That part I have omitted, together with some +stanzas which offend a modern taste.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="PHYLLIS" id="PHYLLIS"></a>PHYLLIS.</h2> + +<h3>No. 37.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Think no evil, have no fear,<br /></span> +<span class="i2">If I play with Phyllis;<br /></span> +<span class="i0">I am but the guardian dear<br /></span> +<span class="i2">Of her girlhood's lilies,<br /></span> +<span class="i0">Lest too soon her bloom should swoon<br /></span> +<span class="i2">Like spring's daffodillies.<br /></span> +</div><div class="stanza"> +<span class="i0">All I care for is to play,<br /></span> +<span class="i2">Gaze upon my treasure,<br /></span> +<span class="i0">Now and then to touch her hand,<br /></span> +<span class="i2">Kiss in modest measure;<br /></span> +<span class="i0">But the fifth act of love's game,<br /></span> +<span class="i2">Dream not of that pleasure!<br /></span> +<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></div><div class="stanza"> +<span class="i0">For to touch the bloom of youth<br /></span> +<span class="i2">Spoils its frail complexion;<br /></span> +<span class="i0">Let the young grape gently grow<br /></span> +<span class="i2">Till it reach perfection;<br /></span> +<span class="i0">Hope within my heart doth glow<br /></span> +<span class="i2">Of the girl's affection.<br /></span> +</div><div class="stanza"> +<span class="i0">Sweet above all sweets that are<br /></span> +<span class="i2">'Tis to play with Phyllis;<br /></span> +<span class="i0">For her thoughts are white as snow,<br /></span> +<span class="i2">In her heart no ill is;<br /></span> +<span class="i0">And the kisses that she gives<br /></span> +<span class="i2">Sweeter are than lilies.<br /></span> +</div><div class="stanza"> +<span class="i0">Love leads after him the gods<br /></span> +<span class="i2">Bound in pliant traces;<br /></span> +<span class="i0">Harsh and stubborn hearts he bends,<br /></span> +<span class="i2">Breaks with blows of maces;<br /></span> +<span class="i0">Nay, the unicorn is tamed<br /></span> +<span class="i2">By a girl's embraces.<br /></span> +</div><div class="stanza"> +<span class="i0">Love leads after him the gods,<br /></span> +<span class="i2">Jupiter with Juno;<br /></span> +<span class="i0">To his waxen measure treads<br /></span> +<span class="i2">Masterful Neptune O!<br /></span> +<span class="i0">Pluto stern to souls below<br /></span> +<span class="i2">Melts to this one tune O!<br /></span> +</div><div class="stanza"> +<span class="i0">Whatsoe'er the rest may do,<br /></span> +<span class="i2">Let us then be playing:<br /></span> +<span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span><span class="i0">Take the pastime that is due<br /></span> +<span class="i2">While we're yet a-Maying;<br /></span> +<span class="i0">I am young and young are you;<br /></span> +<span class="i2">'Tis the time for playing.<br /></span> +</div></div> + +<p>Up to this time, the happiness of love returned and satisfied has been +portrayed. The following lyric exhibits a lover pining at a distance, +soothing his soul with song, and indulging in visions of happiness +beyond his grasp εἰδώλοις κάλλευς κῶφα χλιαινόμενος, as Meleager phrased it on a similar +occasion.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="LOVE_LONGINGS" id="LOVE_LONGINGS"></a>LOVE LONGINGS.</h2> + +<h3>No. 38.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">With song I seek my fate to cheer,<br /></span> +<span class="i0">As doth the swan when death draws near;<br /></span> +<span class="i0">Youth's roses from my cheeks retire,<br /></span> +<span class="i0">My heart is worn with fond desire.<br /></span> +<span class="i2">Since care and woe increase and grow, while<br /></span> +<span class="i4">light burns low,<br /> +</span> +<span class="i6">Poor wretch I die!<br /> +</span> +<span class="i2">Heigho! I die, poor wretch I die!<br /></span> +<span class="i0">Constrained to love, unloved; such luck have I!<br /></span> +</div><div class="stanza"> +<span class="i0">If she could love me whom I love,<br /></span> +<span class="i0">I would not then exchange with Jove:<br /></span> +<span class="i0">Ah! might I clasp her once, and drain<br /></span> +<span class="i0">Her lips as thirsty flowers drink rain!<br /></span> +<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span><span class="i2">With death to meet, his welcome greet, from<br /></span> +<span class="i4">life retreat,<br /> +</span> +<span class="i6">I were full fain!<br /> +</span> +<span class="i2">Heigho! full fain, I were full fain,<br /></span> +<span class="i0">Could I such joy, such wealth of pleasure gain!<br /></span> +</div><div class="stanza"> +<span class="i0">When I bethought me of her breast,<br /></span> +<span class="i0">Those hills of snow my fancy pressed;<br /></span> +<span class="i0">Longing to touch them with my hand,<br /></span> +<span class="i0">Love's laws I then did understand.<br /></span> +<span class="i2">Rose of the south, blooms on her mouth; I felt<br /></span> +<span class="i4">love's drouth<br /> +</span> +<span class="i6">That mouth to kiss!<br /> +</span> +<span class="i2">Heigho! to kiss, that mouth to kiss!<br /></span> +<span class="i0">Lost in day-dreams and vain desires of bliss.<br /></span> +</div></div> + +<p>The next is the indignant repudiation by a lover of the calumny that +he has proved unfaithful to his mistress. The strongly marked double +rhymes of the original add peculiar vehemence to his protestations; +while the abundance of cheap mythological allusions is emphatically +Goliardic.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LOVERS_VOW" id="THE_LOVERS_VOW"></a>THE LOVER'S VOW.</h2> + +<h3>No. 39.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">False the tongue and foul with slander,<br /></span> +<span class="i0">Poisonous treacherous tongue of pander,<br /></span> +<span class="i0">Tongue the hangman's knife should sever,<br /></span> +<span class="i0">Tongue in flames to burn for ever;<br /></span> +<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span></div><div class="stanza"> +<span class="i0">Which hath called me a deceiver,<br /></span> +<span class="i0">Faithless lover, quick to leave her,<br /></span> +<span class="i0">Whom I love, and leave her slighted,<br /></span> +<span class="i0">For another, unrequited!<br /></span> +</div><div class="stanza"> +<span class="i0">Hear, ye Muses nine! nay, rather,<br /></span> +<span class="i0">Jove, of gods and men the father!<br /></span> +<span class="i0">Who for Danae and Europa<br /></span> +<span class="i0">Changed thy shape, thou bold eloper!<br /></span> +</div><div class="stanza"> +<span class="i0">Hear me, god! ye gods all, hear me!<br /></span> +<span class="i0">Such a sin came never near me.<br /></span> +<span class="i0">Hear, thou god! and gods all, hear ye!<br /></span> +<span class="i0">Thus I sinned not, as I fear ye.<br /></span> +</div><div class="stanza"> +<span class="i0">I by Mars vow, by Apollo,<br /></span> +<span class="i0">Both of whom Love's learning follow;<br /></span> +<span class="i0">Yea, by Cupid too, the terror<br /></span> +<span class="i0">Of whose bow forbids all error!<br /></span> +</div><div class="stanza"> +<span class="i0">By thy bow I vow and quiver,<br /></span> +<span class="i0">By the shafts thou dost deliver,<br /></span> +<span class="i0">Without fraud, in honour duly<br /></span> +<span class="i0">To observe my troth-plight truly.<br /></span> +</div><div class="stanza"> +<span class="i0">I will keep the troth I plighted,<br /></span> +<span class="i0">And the reason shall be cited:<br /></span> +<span class="i0">'Tis that 'mid the girls no maiden<br /></span> +<span class="i0">Ever met I more love-laden.<br /></span> +<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></div><div class="stanza"> +<span class="i0">'Mid the girls thou art beholden<br /></span> +<span class="i0">Like a pearl in setting golden;<br /></span> +<span class="i0">Yea, thy shoulder, neck, and bosom<br /></span> +<span class="i0">Bear of beauty's self the blossom.<br /></span> +</div><div class="stanza"> +<span class="i0">Oh, her throat, lips, forehead, nourish<br /></span> +<span class="i0">Love, with food that makes him flourish!<br /></span> +<span class="i0">And her curls, I did adore them—<br /></span> +<span class="i0">They were blonde with heaven's light o'er them.<br /></span> +</div><div class="stanza"> +<span class="i0">Therefore, till, for Nature's scorning,<br /></span> +<span class="i0">Toil is rest and midnight morning,<br /></span> +<span class="i0">Till no trees in woods are growing,<br /></span> +<span class="i0">Till fire turns to water flowing;<br /></span> +</div><div class="stanza"> +<span class="i0">Till seas have no ships to sail them,<br /></span> +<span class="i0">Till the Parthians' arrows fail them,<br /></span> +<span class="i0">I, my girl, will love thee ever,<br /></span> +<span class="i0">Unbetrayed, betray thee never!<br /></span> +</div></div> + +<p>In the following poem a lover bids adieu for ever to an unworthy +woman, who has betrayed him. This is a remarkable specimen of the +songs written for a complicated melody. The first eight lines seem set +to one tune; in the next four that tune is slightly accelerated, and a +double rhyme is substituted for a single one in the tenth and twelfth +verses. The five concluding lines go to a different kind of melody, +and express in each stanza a changed mood of feeling.<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> + +<p>I have tried in this instance to adopt the plaster-cast method of +translation, as described above,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> and have even endeavoured to +obtain the dragging effect of the first eight lines of each strophe, +which are composed neither of exact accentual dactyls nor yet of exact +accentual anapaests, but offer a good example of that laxity of rhythm +permitted in this prosody for music.</p> + +<p>Comparison with the original will show that I was not copying Byron's +<i>When we Two Parted</i>; yet the resemblance between that song and the +tone which my translation has naturally assumed from the Latin, is +certainly noticeable. That Byron could have seen the piece before he +wrote his own lines in question is almost impossible, for this portion +of the <i>Carmina Burana</i> had not, so far as I am aware, been edited +before the year 1847. The coincidence of metrical form, so far as it +extends, only establishes the spontaneity of emotion which, in the +case of the medieval and the modern poet, found a similar rhythm for +the utterance of similar feeling.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Page<a href="#Page_38"> 38.</a></p> +</div> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="FAREWELL_TO_THE_FAITHLESS" id="FAREWELL_TO_THE_FAITHLESS"></a>FAREWELL TO THE FAITHLESS.</h2> + +<h3>No. 40.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">A mortal anguish<br /></span> +<span class="i2">How often woundeth me;<br /></span> +<span class="i0">Grieving I languish,<br /></span> +<span class="i2">Weighed down with misery;<br /></span> +<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span></div><div class="stanza"> +<span class="i0">Hearing the mournful<br /></span> +<span class="i2">Tale of thy fault and fall<br /></span> +<span class="i0">Blown by Fame's scornful<br /></span> +<span class="i2">Trump to the ears of all!<br /></span> +</div><div class="stanza"> +<span class="i0">Envious rumour<br /></span> +<span class="i2">Late or soon will slay thee:<br /></span> +<span class="i0">Love with less humour,<br /></span> +<span class="i2">Lest thy love betray thee.<br /></span> +</div><div class="stanza"> +<span class="i0">Whate'er thou dost, do secretly,<br /></span> +<span class="i0">Far from Fame's curiosity;<br /></span> +<span class="i0">Love in the dark delights to be,<br /></span> +<span class="i0">His sports are wiles and witchery,<br /></span> +<span class="i2">With laugh of lovers greeting.<br /></span> +</div><div class="stanza"> +<span class="i0">Thou wert not slighted,<br /></span> +<span class="i2">Stained in thine honour, when<br /></span> +<span class="i0">We were united,<br /></span> +<span class="i2">Lovers unknown to men;<br /></span> +<span class="i0">But when thy passion<br /></span> +<span class="i2">Grew like thy bosom cold,<br /></span> +<span class="i0">None had compassion,<br /></span> +<span class="i2">Then was thy story told.<br /></span> +</div><div class="stanza"> +<span class="i0">Fame, who rejoiceth<br /></span> +<span class="i2">New amours to utter,<br /></span> +<span class="i0">Now thy shame voiceth,<br /></span> +<span class="i2">Wide her pinions flutter.<br /></span> +<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span></div><div class="stanza"> +<span class="i0">The palace home of modesty<br /></span> +<span class="i0">Is made a haunt for harlotry;<br /></span> +<span class="i0">The virgin lily you may see<br /></span> +<span class="i0">Defiled by fingers lewd and free,<br /></span> +<span class="i2">With vile embraces meeting.<br /></span> +</div><div class="stanza"> +<span class="i0">I mourn the tender<br /></span> +<span class="i2">Flower of the youth of thee,<br /></span> +<span class="i0">Brighter in splendour<br /></span> +<span class="i2">Than evening's star can be.<br /></span> +<span class="i0">Pure were thy kisses,<br /></span> +<span class="i2">Dove-like thy smile;<br /></span> +<span class="i0">As the snake hisses<br /></span> +<span class="i2">Now is thy guile.<br /></span> +</div><div class="stanza"> +<span class="i0">Lovers who pray thee<br /></span> +<span class="i2">From thy door are scattered;<br /></span> +<span class="i0">Lovers who pay thee<br /></span> +<span class="i2">In thy bed are flattered.<br /></span> +</div><div class="stanza"> +<span class="i0">Thou bidst them from thy presence flee<br /></span> +<span class="i0">From whom thou canst not take thy fee;<br /></span> +<span class="i0">Blind, halt, and lame thy suitors be;<br /></span> +<span class="i0">Illustrious men with subtlety<br /></span> +<span class="i2">And poisonous honey cheating.<br /></span> +</div></div> + +<p>I may add that a long soliloquy printed in <i>Carmina Burana</i>, pp. +119-121, should be compared with the foregoing lyric. It has a similar +motive, though the lover in this case expresses his willingness for +reconciliation.<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span> One part of its expostulation with the faithless +woman is beautiful in its simplicity:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Amaveram prae caeteris<br /></span> +<span class="i0">Te, sed amici veteris<br /></span> +<span class="i0">Es jam oblita! Superis<br /></span> +<span class="i0">Vel inferis<br /></span> +<span class="i0">Ream te criminamur."<br /></span> +</div></div> + +<p>I will close this section with the lament written for a medieval +Gretchen whose fault has been discovered, and whose lover has been +forced to leave the country. Its bare realism contrasts with the +lyrical exuberance of the preceding specimens.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="GRETCHEN" id="GRETCHEN"></a>GRETCHEN.</h2> + +<h3>No. 41.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Up to this time, well-away!<br /></span> +<span class="i0">I concealed the truth from day,<br /></span> +<span class="i2">Went on loving skilfully.<br /></span> +<span class="i0">Now my fault at length is clear:<br /></span> +<span class="i0">That the hour of need is near,<br /></span> +<span class="i2">From my shape all eyes can see.<br /></span> +<span class="i0">So my mother gives me blows,<br /></span> +<span class="i0">So my father curses throws;<br /></span> +<span class="i2">They both treat me savagely.<br /></span> +<span class="i0">In the house alone I sit,<br /></span> +<span class="i0">Dare not walk about the street,<br /></span> +<span class="i2">Nor at play in public be.<br /></span> +<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></div><div class="stanza"> +<span class="i0">If I walk about the street,<br /></span> +<span class="i0">Every one I chance to meet<br /></span> +<span class="i2">Scans me like a prodigy:<br /></span> +<span class="i0">When they see the load I bear,<br /></span> +<span class="i0">All the neighbours nudge and stare,<br /></span> +<span class="i2">Gaping while I hasten by;<br /></span> +<span class="i0">With their elbows nudge, and so<br /></span> +<span class="i0">With their finger point, as though<br /></span> +<span class="i2">I were some monstrosity;<br /></span> +<span class="i0">Me with nods and winks they spurn,<br /></span> +<span class="i0">Judge me fit in flames to burn<br /></span> +<span class="i2">For one lapse from honesty.<br /></span> +</div><div class="stanza"> +<span class="i0">Why this tedious tale prolong?<br /></span> +<span class="i0">Short, I am become a song,<br /></span> +<span class="i2">In all mouths a mockery.<br /></span> +<span class="i0">By this am I done to death,<br /></span> +<span class="i0">Sorrow kills me, chokes my breath,<br /></span> +<span class="i2">Ever weep I bitterly.<br /></span> +<span class="i0">One thing makes me still more grieve,<br /></span> +<span class="i0">That my friend his home must leave<br /></span> +<span class="i2">For the same cause instantly;<br /></span> +<span class="i0">Therefore is my sadness so<br /></span> +<span class="i0">Multiplied, weighed down with woe,<br /></span> +<span class="i2">For he too will part from me.<br /></span> +</div></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p> +<h2>XVIII.</h2> + + +<p>A separate section should be assigned to poems of exile. They are not +very numerous, but are interesting in connection with the wandering +life of their vagrant authors. The first has all the dreamy pathos +felt by a young German leaving his beloved home in some valley of the +Suabian or Thuringian hills.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="ADIEU_TO_THE_VALLEY" id="ADIEU_TO_THE_VALLEY"></a>ADIEU TO THE VALLEY.</h2> + +<h3>No. 42.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Oh, of love twin-brother anguish!<br /></span> +<span class="i0">In thy pangs I faint and languish,<br /></span> +<span class="i2">Cannot find relief from thee!<br /></span> +<span class="i0">Nay, no marvel! I must grieve her,<br /></span> +<span class="i0">Wander forth in exile, leave her,<br /></span> +<span class="i2">Who hath gained the heart of me;<br /></span> +<span class="i0">Who of loveliness so rare is<br /></span> +<span class="i0">That for her sake Trojan Paris<br /></span> +<span class="i2">Would have left his Helenë.<br /></span> +</div><div class="stanza"> +<span class="i0">Smile, thou valley, sweetest, fairest,<br /></span> +<span class="i0">Wreathed with roses of the rarest,<br /></span> +<span class="i2">Flower of all the vales that be!<br /></span> +<span class="i0">Vale of vales, all vales excelling,<br /></span> +<span class="i0">Sun and moon thy praise are telling,<br /></span> +<span class="i2">With the song-birds' melody;<br /></span> +<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span><span class="i0">Nightingales thy praise are singing,<br /></span> +<span class="i0">O thou soothing solace-bringing<br /></span> +<span class="i2">To the soul's despondency!<br /></span> +</div></div> + +<p>The second was probably intended to be sung at a drinking-party by a +student taking leave of his companions. It is love that forces him to +quit their society and to break with his studies. The long rhyming +lines, followed by a sharp drop at the close of each stanza upon a +short disjointed phrase, seem to indicate discouragement and +melancholy.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LOVERS_PARTING" id="THE_LOVERS_PARTING"></a>THE LOVER'S PARTING.</h2> + +<h3>No. 43.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Sweet native soil, farewell! dear country of my birth!<br /></span> +<span class="i0">Fair chamber of the loves! glad home of joy and mirth!<br /></span> +<span class="i0">To-morrow or to-day I leave you, o'er the earth<br /></span> +<span class="i0">To wander struck with love, to pine with rage and dearth<br /></span> +<span class="i14">In exile!<br /> +</span> +</div><div class="stanza"> +<span class="i0">Farewell, sweet land, and ye, my comrades dear, adieu!<br /></span> +<span class="i0">To whom with kindly heart I have been ever true;<br /></span> +<span class="i0">The studies that we loved I may no more pursue;<br /></span> +<span class="i0">Weep then for me, who part as though I died to you,<br /></span> +<span class="i14">Love-laden!<br /> +</span> +</div><div class="stanza"> +<span class="i0">As many as the flowers that Hybla's valley cover,<br /></span> +<span class="i0">As many as the leaves that on Dodona hover,<br /></span> +<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span><span class="i0">As many as the fish that sail the wide seas over,<br /></span> +<span class="i0">So many are the pangs that pain a faithful lover,<br /></span> +<span class="i14">For ever!<br /> +</span> +</div><div class="stanza"> +<span class="i0">With the new fire of love my wounded bosom burns;<br /></span> +<span class="i0">Love knows not any ruth, all tender pity spurns;<br /></span> +<span class="i0">How true the proverb speaks that saith to him that yearns,<br /></span> +<span class="i0">"Where love is there is pain; thy pleasure love returns<br /></span> +<span class="i14">With anguish!"<br /> +</span> +</div><div class="stanza"> +<span class="i0">Ah, sorrow! ah, how sad the wages of our bliss!<br /></span> +<span class="i0">In lovers' hearts the flame's too hot for happiness;<br /></span> +<span class="i0">For Venus still doth send new sighs and new distress<br /></span> +<span class="i0">When once the enamoured soul is taken with excess<br /></span> +<span class="i14">Of sweetness!<br /> +</span> +</div></div> + +<p>The third introduces us to a little episode of medieval private life +which must have been frequent enough. It consists of a debate between +a father and his son upon the question whether the young man should +enter into a monastic brotherhood. The youth is lying on a sickbed, +and thinks that he is already at the point of death. It will be +noticed that he is only diverted from his project by the mention of a +student friend (indicated, as usual, by an N), whom he would never be +able to see again if he assumed the cowl. I suspect, however, that the +poem has not been transmitted to us entire.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p> +<h2><a name="IN_ARTICULO_MORTIS" id="IN_ARTICULO_MORTIS"></a>IN ARTICULO MORTIS.</h2> + +<h3>No. 44.</h3> +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Oh, my father! help, I pray!<br /></span> +<span class="i0">Death is near my soul to-day;<br /></span> +<span class="i0">With your blessing let me be<br /></span> +<span class="i0">Made a monk right speedily!<br /></span> +</div><div class="stanza"> +<span class="i0">See the foe my life invade!<br /></span> +<span class="i0">Haste, oh haste, to give me aid!<br /></span> +<span class="i0">Bring me comfort and heart's ease,<br /></span> +<span class="i0">Strengthen me in this disease!<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Oh, my best-belovèd son,<br /></span> +<span class="i0">What is this thou wouldst have done?<br /></span> +<span class="i0">Weigh it well in heart and brain:<br /></span> +<span class="i0">Do not leave me here in pain.<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Father, this thy loving care<br /></span> +<span class="i0">Makes me weep full sore, I swear;<br /></span> +<span class="i0">For you will be childless when<br /></span> +<span class="i0">I have joined those holy men.<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Therefore make a little stay,<br /></span> +<span class="i0">Put it off till the third day;<br /></span> +<span class="i0">It may be your danger is<br /></span> +<span class="i0">Not unto the death, I wis.<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Such the anguish that I feel<br /></span> +<span class="i0">Through my inmost entrails steal,<br /></span> +<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span><span class="i0">That I bide in doubt lest death<br /></span> +<span class="i0">Ere to-morrow end my breath.<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Those strict rules that monks observe,<br /></span> +<span class="i0">Well I know them! They must serve<br /></span> +<span class="i0">Heaven by fasting every day,<br /></span> +<span class="i0">And by keeping watch alway.<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Who for God watch through the night<br /></span> +<span class="i0">Shall receive a crown of light;<br /></span> +<span class="i0">Who for heaven's sake hungers, he<br /></span> +<span class="i0">Shall be fed abundantly.<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Hard and coarse the food they eat,<br /></span> +<span class="i0">Beans and pottage-herbs their meat;<br /></span> +<span class="i0">After such a banquet, think,<br /></span> +<span class="i0">Water is their only drink!<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">What's the good of feasts, or bright<br /></span> +<span class="i0">Cups of Bacchus, when, in spite<br /></span> +<span class="i0">Of all comforts, at the last<br /></span> +<span class="i0">This poor flesh to worms is cast?<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Well, then, let thy parent's moan<br /></span> +<span class="i0">Move thee in thy soul, my son!<br /></span> +<span class="i0">Mourning for thee made a monk,<br /></span> +<span class="i0">Dead-alive in darkness sunk.<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">They who father, mother love,<br /></span> +<span class="i0">And their God neglect, will prove<br /></span> +<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span><span class="i0">That they are in error found<br /></span> +<span class="i0">When the judgment trump shall sound.<br /></span> +</div></div> + +<p><i>Father</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Logic! would thou ne'er hadst been<br /></span> +<span class="i0">Known on earth for mortal teen!<br /></span> +<span class="i0">Many a clerk thou mak'st to roam<br /></span> +<span class="i0">Wretched, exiled from his home.—<br /></span> +</div><div class="stanza"> +<span class="i0">Never more thine eyes, my son,<br /></span> +<span class="i0">Shall behold thy darling one,<br /></span> +<span class="i0">Him, that little clerk so fair,<br /></span> +<span class="i0">N., thy friend beyond compare!<br /></span> +</div></div> + +<p><i>Son</i>.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">Oh, alas! unhappy me!<br /></span> +<span class="i0">What to do I cannot see;<br /></span> +<span class="i0">Wandering lost in exile so,<br /></span> +<span class="i0">Without guide or light I go!—<br /></span> +</div><div class="stanza"> +<span class="i0">Dry your tears, my father dear,<br /></span> +<span class="i0">Haply there is better cheer;<br /></span> +<span class="i0">Now my mind on change is set,<br /></span> +<span class="i0">I'll not be a monk, not yet.<br /></span> +<span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></div></div> + + + +<hr style="width: 65%;" /> +<h2>XIX.</h2> + + +<p>The order adopted in this essay brings us now to drinking-songs. Next +to spring and love, our students set their affections principally on +the tavern and the winebowl. In the poems on the Order we have seen +how large a space in their vagrant lives was occupied by the tavern +and its jovial company of topers and gamesters. It was there that—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Some are gaming, some are drinking,<br /></span> +<span class="i0">Some are living without thinking;<br /></span> +<span class="i0">And of those who make the racket,<br /></span> +<span class="i0">Some are stripped of coat and jacket;<br /></span> +<span class="i0">Some get clothes of finer feather,<br /></span> +<span class="i0">Some are cleaned out altogether;<br /></span> +<span class="i0">No one there dreads death's invasion,<br /></span> +<span class="i0">But all drink in emulation."<br /></span> +</div></div> + +<p>The song from which I have extracted this stanza contains a parody of +S. Thomas Aquinas' hymn on the Eucharist.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> To translate it seemed +to me impossible; but I will cite the following stanza, which may be +compared with stanzas ix. and x. of <i>Lauda Sion</i>:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Bibit hera, bibit herus,<br /></span> +<span class="i0">Bibit miles, bibit clerus,<br /></span> +<span class="i0">Bibit ille, bibit illa,<br /></span> +<span class="i0">Bibit servus cum ancilla,<br /></span> +<span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span><span class="i0">Bibit velox, bibit piger,<br /></span> +<span class="i0">Bibit albus, bibit niger,<br /></span> +<span class="i0">Bibit constans, bibit vagus,<br /></span> +<span class="i0">Bibit rudis, bibit magus."<br /></span> +</div></div> + +<p>Several of the best anacreontics of the period are even more +distinctly parodies. The following panegyric of wine, for example, is +modelled upon a hymn to the Virgin:—</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> <i>In Taberna, Carm. Bur</i>., p. 235.</p></div> +</div> + + +<hr style="width: 65%;" /> +<h2><a name="A_SEQUENCE_IN_PRAISE_OF_WINE" id="A_SEQUENCE_IN_PRAISE_OF_WINE"></a>A SEQUENCE IN PRAISE OF WINE.</h2> + +<h3>No. 45.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Wine the good and bland, thou blessing<br /></span> +<span class="i0">Of the good, the bad's distressing,<br /></span> +<span class="i0">Sweet of taste by all confessing,<br /></span> +<span class="i2">Hail, thou world's felicity!<br /></span> +<span class="i0">Hail thy hue, life's gloom dispelling;<br /></span> +<span class="i0">Hail thy taste, all tastes excelling;<br /></span> +<span class="i0">By thy power, in this thy dwelling<br /></span> +<span class="i2">Deign to make us drunk with thee!<br /></span> +</div><div class="stanza"> +<span class="i0">Oh, how blest for bounteous uses<br /></span> +<span class="i0">Is the birth of pure vine-juices!<br /></span> +<span class="i0">Safe's the table which produces<br /></span> +<span class="i2">Wine in goodly quality.<br /></span> +<span class="i0">Oh, in colour how auspicious!<br /></span> +<span class="i0">Oh, in odour how delicious!<br /></span> +<span class="i0">In the mouth how sweet, propitious<br /></span> +<span class="i2">To the tongue enthralled by thee!<br /></span> +<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span></div><div class="stanza"> +<span class="i0">Blest the man who first thee planted,<br /></span> +<span class="i0">Called thee by thy name enchanted!<br /></span> +<span class="i0">He whose cups have ne'er been scanted<br /></span> +<span class="i2">Dreads no danger that may be.<br /></span> +<span class="i0">Blest the belly where thou bidest!<br /></span> +<span class="i0">Blest the tongue where thou residest!<br /></span> +<span class="i0">Blest the mouth through which thou glidest,<br /></span> +<span class="i2">And the lips thrice blest by thee!<br /></span> +</div><div class="stanza"> +<span class="i0">Therefore let wine's praise be sounded,<br /></span> +<span class="i0">Healths to topers all propounded;<br /></span> +<span class="i0">We shall never be confounded,<br /></span> +<span class="i2">Toping for eternity!<br /></span> +<span class="i0">Pray we: here be thou still flowing,<br /></span> +<span class="i0">Plenty on our board bestowing,<br /></span> +<span class="i0">While with jocund voice we're showing<br /></span> +<span class="i2">How we serve thee—Jubilee!<br /></span> +</div></div> + +<p>Another, regarding the date of which I have no information, is an +imitation of a well-known <i>Christmas Carol</i>.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="A_CAROL_OF_WINE" id="A_CAROL_OF_WINE"></a>A CAROL OF WINE.</h2> + +<h3>No. 46.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">In dulci jubilo<br /></span> +<span class="i0">Sing we, make merry so!<br /></span> +<span class="i2">Since our heart's pleasure<br /></span> +<span class="i0">Latet in poculo,<br /></span> +<span class="i2">Drawn from the cask, good measure.<br /></span> +<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span><span class="i0">Pro hoc convivio,<br /></span> +<span class="i2">Nunc, nunc bibito!<br /></span> +</div><div class="stanza"> +<span class="i0">O crater parvule!<br /></span> +<span class="i0">How my soul yearns for thee!<br /></span> +<span class="i2">Make me now merry,<br /></span> +<span class="i0">O potus optime,<br /></span> +<span class="i2">Claret or hock or sherry!<br /></span> +<span class="i0">Et vos concinite:<br /></span> +<span class="i2">Vivant socii!<br /></span> +</div><div class="stanza"> +<span class="i0">O vini caritas!<br /></span> +<span class="i0">O Bacchi lenitas!<br /></span> +<span class="i2">We've drained our purses<br /></span> +<span class="i0">Per multa pocula:<br /></span> +<span class="i2">Yet hope we for new mercies,<br /></span> +<span class="i0">Nummoram gaudia:<br /></span> +<span class="i2">Would that we had them, ah!<br /></span> +</div><div class="stanza"> +<span class="i0">Ubi sunt gaudia? where,<br /></span> +<span class="i0">If that they be not there?<br /></span> +<span class="i2">There the lads are singing<br /></span> +<span class="i0">Selecta cantica:<br /></span> +<span class="i2">There are glasses ringing<br /></span> +<span class="i0">In villae curia;<br /></span> +<span class="i2">Oh, would that we were there!<br /></span> +</div></div> + +<p><i>In Dulci Jubilo</i> yields an example of mixed Latin and German. This is +the case too with a comparatively ancient drinking-song quoted by +Geiger in his <i>Renaissance und Humanismus</i>, p. 414. It may be +<span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span> +mentioned that the word <i>Bursae</i>, for <i>Burschen</i>, occurs in stanza v. +This word, to indicate a student, can also be found in <i>Carm. Bur.</i>, +p. 236, where we are introduced to scholars drinking yellow Rhine wine +out of glasses of a pale pink colour—already in the twelfth century!</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_STUDENTS_WINE-BOUT" id="THE_STUDENTS_WINE-BOUT"></a>THE STUDENTS' WINE-BOUT.</h2> + +<h3>No. 47.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Ho, all ye jovial brotherhood,<br /></span> +<span class="i2">Quos sitis vexat plurima,<br /></span> +<span class="i0">I know a host whose wits are good,<br /></span> +<span class="i2">Quod vina spectat optima.<br /></span> +</div><div class="stanza"> +<span class="i0">His wine he blends not with the juice<br /></span> +<span class="i2">E puteo qui sumitur;<br /></span> +<span class="i0">Each kind its virtue doth produce<br /></span> +<span class="i2">E botris ut exprimitur.<br /></span> +</div><div class="stanza"> +<span class="i0">Host, bring us forth good wine and strong,<br /></span> +<span class="i2">In cella quod est optimum!<br /></span> +<span class="i0">We brethren will our sport prolong<br /></span> +<span class="i2">Ad noctis usque terminum.<br /></span> +</div><div class="stanza"> +<span class="i0">Whoso to snarl or bite is fain,<br /></span> +<span class="i2">Ut canes decet rabidos,<br /></span> +<span class="i0">Outside our circle may remain,<br /></span> +<span class="i2">Ad porcos eat sordidos,<br /></span> +<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span></div><div class="stanza"> +<span class="i0">Hurrah! my lads, we'll merry make!<br /></span> +<span class="i2">Levate sursum pocula!<br /></span> +<span class="i0">God's blessing on all wine we take,<br /></span> +<span class="i2">In sempiterna saecula!<br /></span> +</div></div> + +<p>Two lyrics of distinguished excellence, which still hold their place +in the <i>Commersbuch</i>, cannot claim certain antiquity in their present +form. They are not included in the <i>Carmina Burana</i>; yet their style +is so characteristic of the Archipoeta, that I believe we may credit +him with at least a share in their composition. The first starts with +an allusion to the Horatian <i>tempus edax rerum</i>.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="TIMES_A-FLYING" id="TIMES_A-FLYING"></a>TIME'S A-FLYING.</h2> + +<h3>No. 48.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Laurel-crowned Horatius,<br /></span> +<span class="i2">True, how true thy saying!<br /></span> +<span class="i0">Swift as wind flies over us<br /></span> +<span class="i2">Time, devouring, slaying.<br /></span> +<span class="i0">Where are, oh! those goblets full<br /></span> +<span class="i2">Of wine honey-laden,<br /></span> +<span class="i0">Strifes and loves and bountiful<br /></span> +<span class="i2">Lips of ruddy maiden?<br /></span> +</div><div class="stanza"> +<span class="i0">Grows the young grape tenderly,<br /></span> +<span class="i2">And the maid is growing;<br /></span> +<span class="i0">But the thirsty poet, see,<br /></span> +<span class="i2">Years on him are snowing!<br /></span> +<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span><span class="i0">What's the use on hoary curls<br /></span> +<span class="i2">Of the bays undying.<br /></span> +<span class="i0">If we may not kiss the girls,<br /></span> +<span class="i2">Drink while time's a-flying?<br /></span> +</div></div> + +<p>The second consists of a truly brilliant development of the theme +which our Herrick condensed into one splendid phrase—"There's no lust +like to poetry!"</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THERES_NO_LUST_LIKE_TO_POETRY" id="THERES_NO_LUST_LIKE_TO_POETRY"></a>THERE'S NO LUST LIKE TO POETRY.</h2> + +<h3>No. 49.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Sweet in goodly fellowship<br /></span> +<span class="i2">Tastes red wine and rare O!<br /></span> +<span class="i0">But to kiss a girl's ripe lip<br /></span> +<span class="i2">Is a gift more fair O!<br /></span> +<span class="i0">Yet a gift more sweet, more fine,<br /></span> +<span class="i2">Is the lyre of Maro!<br /></span> +<span class="i0">While these three good gifts were mine,<br /></span> +<span class="i2">I'd not change with Pharaoh.<br /></span> +</div><div class="stanza"> +<span class="i0">Bacchus wakes within my breast<br /></span> +<span class="i2">Love and love's desire,<br /></span> +<span class="i0">Venus comes and stirs the blessed<br /></span> +<span class="i2">Rage of Phoebus' fire;<br /></span> +<span class="i0">Deathless honour is our due<br /></span> +<span class="i2">From the laurelled sire:<br /></span> +<span class="i0">Woe should I turn traitor to<br /></span> +<span class="i2">Wine and love and lyre!<br /></span> +<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></div><div class="stanza"> +<span class="i0">Should a tyrant rise and say,<br /></span> +<span class="i2">"Give up wine!" I'd do it;<br /></span> +<span class="i0">"Love no girls!" I would obey,<br /></span> +<span class="i2">Though my heart should rue it.<br /></span> +<span class="i0">"Dash thy lyre!" suppose he saith,<br /></span> +<span class="i2">Naught should bring me to it;<br /></span> +<span class="i0">"Yield thy lyre or die!" my breath,<br /></span> +<span class="i2">Dying, should thrill through it!<br /></span> +</div></div> + +<p>A lyric of the elder period in praise of wine and love, which forcibly +illustrates the contempt felt by the student class for the unlettered +laity and boors, shall be inserted here. It seems to demand a tune.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="WINE_AND_VENUS" id="WINE_AND_VENUS"></a>WINE AND VENUS.</h2> + +<h3>No. 50.</h3> +<div class="poem"><div class="stanza"> +<span class="i4">Ho, comrades mine!<br /> +</span> +<span class="i5">What is your pleasure?<br /></span> +<span class="i4">What business fine<br /> +</span> +<span class="i5">Or mirthful measure?<br /> +</span> +<span class="i0">Lo, Venus toward our crew advancing,<br /></span> +<span class="i0">A choir of Dryads round her dancing!<br /></span> +</div><div class="stanza"> +<span class="i4">Good fellows you!<br /> +</span> +<span class="i5">The time is jolly!<br /> +</span> +<span class="i4">Earth springs anew,<br /> +</span> +<span class="i5">Bans melancholy;<br /> +</span> +<span class="i0">Bid long farewell to winter weather!<br /></span> +<span class="i0">Let lads and maids be blithe together.<br /></span> +<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span></div><div class="stanza"> +<span class="i4">Dame Venus spurns<br /> +</span> +<span class="i5">Her brother Ocean;<br /> +</span> +<span class="i4">To Bacchus turns;<br /> +</span> +<span class="i5">No colder potion<br /> +</span> +<span class="i0">Deserves her godhead's approbation;<br /></span> +<span class="i0">On sober souls she pours damnation.<br /></span> +</div><div class="stanza"> +<span class="i4">Let then this band,<br /> +</span> +<span class="i5">Imbued with learning,<br /> +</span> +<span class="i4">By Venus stand,<br /> +</span> +<span class="i5">Her wages earning!<br /> +</span> +<span class="i0">Laymen we spurn from our alliance,<br /></span> +<span class="i0">Like brutes to art deaf, dumb to science.<br /></span> +</div><div class="stanza"> +<span class="i4">Two gods alone<br /> +</span> +<span class="i5">We serve and mate with;<br /> +</span> +<span class="i4">One law we own,<br /> +</span> +<span class="i5">Nor hold debate with:<br /> +</span> +<span class="i0">Who lives the goodly student fashion<br /></span> +<span class="i0">Must love and win love back with passion!<br /></span> +</div></div> + +<p>Among drinking-songs of the best period in this literature may be +reckoned two disputations between water and wine. In the one, Thetis +defends herself against Lyaeus, and the poet assists in vision at +their contest. The scene is appropriately laid in the third sphere, +the pleasant heaven of Venus. The other, which on the whole appears to +me preferable, and which I have therefore chosen for translation, +begins and ends with the sound axiom that water<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span> and wine ought never +to be mixed. It is manifest that the poet reserves the honour of the +day for wine, though his arguments are fair to both sides. The final +point, which breaks the case of water down and determines her utter +confusion, is curious, since it shows that people in the Middle Ages +were fully alive to the perils of sewage-contaminated wells.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_CONTEST_OF_WINE_AND_WATER" id="THE_CONTEST_OF_WINE_AND_WATER"></a>THE CONTEST OF WINE AND WATER.</h2> + +<h3>No. 51.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Laying truth bare, stripped of fable,<br /></span> +<span class="i0">Briefly as I may be able,<br /></span> +<span class="i2">With good reasons manifold,<br /></span> +<span class="i0">I will tell why man should never<br /></span> +<span class="i0">Copulate, but rather sever,<br /></span> +<span class="i2">Things that strife and hatred hold.<br /></span> +</div><div class="stanza"> +<span class="i0">When one cup in fell confusion<br /></span> +<span class="i0">Wine with water blends, the fusion,<br /></span> +<span class="i2">Call it by what name you will,<br /></span> +<span class="i0">Is no blessing, nor deserveth<br /></span> +<span class="i0">Any praise, but rather serveth<br /></span> +<span class="i2">For the emblem of all ill.<br /></span> +</div><div class="stanza"> +<span class="i0">Wine perceives the water present,<br /></span> +<span class="i0">And with pain exclaims, "What peasant<br /></span> +<span class="i2">Dared to mingle thee with me?<br /></span> +<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span><span class="i0">Rise, go forth, get out, and leave me!<br /></span> +<span class="i0">In the same place, here to grieve me,<br /></span> +<span class="i2">Thou hast no just claim to be.<br /></span> +</div><div class="stanza"> +<span class="i0">"Vile and shameless in thy going,<br /></span> +<span class="i0">Into cracks thou still art flowing,<br /></span> +<span class="i2">That in foul holes thou mayst lie;<br /></span> +<span class="i0">O'er the earth thou ought'st to wander,<br /></span> +<span class="i0">On the earth thy liquor squander,<br /></span> +<span class="i2">And at length in anguish die.<br /></span> +</div><div class="stanza"> +<span class="i0">"How canst thou adorn a table?<br /></span> +<span class="i0">No one sings or tells a fable<br /></span> +<span class="i2">In thy presence dull and drear;<br /></span> +<span class="i0">But the guest who erst was jolly,<br /></span> +<span class="i0">Laughing, joking, bent on folly,<br /></span> +<span class="i2">Silent sits when thou art near.<br /></span> +</div><div class="stanza"> +<span class="i0">"Should one drink of thee to fulness,<br /></span> +<span class="i0">Sound before, he takes an illness;<br /></span> +<span class="i2">All his bowels thou dost stir;<br /></span> +<span class="i0">Booms the belly, wind ariseth,<br /></span> +<span class="i0">Which, enclosed and pent, surpriseth<br /></span> +<span class="i2">With a thousand sighs the ear.<br /></span> +</div><div class="stanza"> +<span class="i0">"When the stomach's so inflated,<br /></span> +<span class="i0">Blasts are then ejaculated<br /></span> +<span class="i2">From both draughts with divers sound;<br /></span> +<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span><span class="i0">And that organ thus affected,<br /></span> +<span class="i0">All the air is soon infected<br /></span> +<span class="i2">By the poison breathed around."<br /></span> +</div><div class="stanza"> +<span class="i0">Water thus wine's home-thrust warded:<br /></span> +<span class="i0">"All thy life is foul and sordid,<br /></span> +<span class="i2">Sunk in misery, steeped in vice;<br /></span> +<span class="i0">Those who drink thee lose their morals,<br /></span> +<span class="i0">Waste their time in sloth and quarrels,<br /></span> +<span class="i2">Rolling down sin's precipice.<br /></span> +</div><div class="stanza"> +<span class="i0">"Thou dost teach man's tongue to stutter;<br /></span> +<span class="i0">He goes reeling in the gutter<br /></span> +<span class="i2">Who hath deigned to kiss thy lips;<br /></span> +<span class="i0">Hears men speak without discerning,<br /></span> +<span class="i0">Sees a hundred tapers burning<br /></span> +<span class="i2">When there are but two poor dips.<br /></span> +</div><div class="stanza"> +<span class="i0">"He who feels for thee soul's hunger<br /></span> +<span class="i0">Is a murderer or whoremonger,<br /></span> +<span class="i2">Davus Geta Birria;<br /></span> +<span class="i0">Such are they whom thou dost nourish;<br /></span> +<span class="i0">With thy fame and name they flourish<br /></span> +<span class="i2">In the tavern's disarray.<br /></span> +</div><div class="stanza"> +<span class="i0">"Thou by reason of thy badness<br /></span> +<span class="i0">Art confined in prison sadness,<br /></span> +<span class="i2">Cramped and small thy dwellings are:<br /></span> +<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span><span class="i0">I am great the whole world over,<br /></span> +<span class="i0">Spread myself abroad and cover<br /></span> +<span class="i2">Every part of earth afar.<br /></span> +</div><div class="stanza"> +<span class="i0">"Drink I yield to palates burning;<br /></span> +<span class="i0">They who for soul's health are yearning,<br /></span> +<span class="i2">Need the aid that I have given;<br /></span> +<span class="i0">Since all pilgrims, at their praying,<br /></span> +<span class="i0">Far or near, I am conveying<br /></span> +<span class="i2">To the palaces of heaven."<br /></span> +</div><div class="stanza"> +<span class="i0">Wine replied: "What thou hast vaunted<br /></span> +<span class="i0">Proves thee full of fraud; for granted<br /></span> +<span class="i2">That thou earnest ships o'er sea,<br /></span> +<span class="i0">Yet thou then dost swell and riot;<br /></span> +<span class="i0">Till they wreck thou hast no quiet;<br /></span> +<span class="i2">Thus they are deceived through thee.<br /></span> +</div><div class="stanza"> +<span class="i0">"He whose strength is insufficient<br /></span> +<span class="i0">Thee to slake with heat efficient,<br /></span> +<span class="i2">Sunk in mortal peril lies:<br /></span> +<span class="i0">Trusting thee the poor wretch waneth,<br /></span> +<span class="i0">And through thee at length attaineth<br /></span> +<span class="i2">To the joys of Paradise.<br /></span> +</div><div class="stanza"> +<span class="i0">"I'm a god, as that true poet<br /></span> +<span class="i0">Naso testifies; men owe it<br /></span> +<span class="i2">Unto me that they are sage;<br /></span> +<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span><span class="i0">When they do not drink, professors<br /></span> +<span class="i0">Lose their wits and lack assessors<br /></span> +<span class="i2">Round about the lecture-stage.<br /></span> +</div><div class="stanza"> +<span class="i0">"'Tis impossible to sever<br /></span> +<span class="i0">Truth from falsehood if you never<br /></span> +<span class="i2">Learn to drink my juices neat.<br /></span> +<span class="i0">Thanks to me, dumb speak, deaf listen,<br /></span> +<span class="i0">Blind folk see, the senses glisten,<br /></span> +<span class="i2">And the lame man finds his feet.<br /></span> +</div><div class="stanza"> +<span class="i0">"Eld through me to youth returneth,<br /></span> +<span class="i0">While thine influence o'erturneth<br /></span> +<span class="i2">All a young man's lustihead;<br /></span> +<span class="i0">By my force the world is laden<br /></span> +<span class="i0">With new births, but boy or maiden<br /></span> +<span class="i2">Through thy help was never bred."<br /></span> +</div><div class="stanza"> +<span class="i0">Water saith: "A god thou! Just men<br /></span> +<span class="i0">By thy craft become unjust men,<br /></span> +<span class="i2">Bad, worse, worst, degenerous!<br /></span> +<span class="i0">Thanks to thee, their words half uttered<br /></span> +<span class="i0">Through the drunken lips are stuttered,<br /></span> +<span class="i2">And thy sage is Didymus.<br /></span> +</div><div class="stanza"> +<span class="i0">"I will speak the truth out wholly:<br /></span> +<span class="i0">Earth bears fruit by my gift solely,<br /></span> +<span class="i2">And the meadows bloom in May;<br /></span> +<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span><span class="i0">When it rains not, herbs and grasses<br /></span> +<span class="i0">Dry with drought, spring's beauty passes,<br /></span> +<span class="i2">Flowers and lilies fade away.<br /></span> +</div><div class="stanza"> +<span class="i0">"Lo, thy crooked mother pining,<br /></span> +<span class="i0">On her boughs the grapes declining,<br /></span> +<span class="i2">Barren through the dearth of rain;<br /></span> +<span class="i0">Mark her tendrils lean and sterile<br /></span> +<span class="i0">O'er the parched earth at their peril<br /></span> +<span class="i2">Bent in unavailing pain!<br /></span> +</div><div class="stanza"> +<span class="i0">"Famine through all lands prevaileth,<br /></span> +<span class="i0">Terror-struck the people waileth,<br /></span> +<span class="i2">When I choose to keep away;<br /></span> +<span class="i0">Christians kneel to Christ to gain me,<br /></span> +<span class="i0">Jews and Pagans to obtain me<br /></span> +<span class="i2">Ceaseless vows and offerings pay."<br /></span> +</div><div class="stanza"> +<span class="i0">Wine saith: "To the deaf thou'rt singing,<br /></span> +<span class="i0">Those vain self-laudations flinging!<br /></span> +<span class="i2">Otherwhere thou hast been shown!<br /></span> +<span class="i0">Patent 'tis to all the races<br /></span> +<span class="i0">How impure and foul thy place is;<br /></span> +<span class="i2">We believe what we have known!<br /></span> +</div><div class="stanza"> +<span class="i0">"Thou of things the scum and rotten<br /></span> +<span class="i0">Sewer, where ordures best forgotten<br /></span> +<span class="i2">And unmentioned still descend!<br /></span> +<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span><span class="i0">Filth and garbage, stench and poison.<br /></span> +<span class="i0">Thou dost bear in fetid foison!<br /></span> +<span class="i2">Here I stop lest words offend."<br /></span> +</div><div class="stanza"> +<span class="i0">Water rose, the foe invaded,<br /></span> +<span class="i0">In her own defence upbraided<br /></span> +<span class="i2">Wine for his invective base:<br /></span> +<span class="i0">"Now at last we've drawn the curtain!<br /></span> +<span class="i0">Who, what god thou art is certain<br /></span> +<span class="i2">From thy oracle's disgrace.<br /></span> +</div><div class="stanza"> +<span class="i0">"This thine impudent oration<br /></span> +<span class="i0">Hurts not me; 'tis desecration<br /></span> +<span class="i2">To a god, and fouls his tongue!<br /></span> +<span class="i0">At the utmost at nine paces<br /></span> +<span class="i0">Can I suffer filthy places,<br /></span> +<span class="i2">Fling far from me dirt and dung!"<br /></span> +</div><div class="stanza"> +<span class="i0">Wine saith: "This repudiation<br /></span> +<span class="i0">Of my well-weighed imputation<br /></span> +<span class="i2">Doth not clear thyself of crime!<br /></span> +<span class="i0">Many a man and oft who swallowed<br /></span> +<span class="i0">Thine infected potion, followed<br /></span> +<span class="i2">After death in one day's time."<br /></span> +</div><div class="stanza"> +<span class="i0">Hearing this, in stupefaction<br /></span> +<span class="i0">Water stood; no words, no action,<br /></span> +<span class="i2">Now restrained her sobs of woe.<br /></span> +<span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span><span class="i0">Wine exclaims, "Why art thou dumb then?<br /></span> +<span class="i0">Without answer? Is it come then<br /></span> +<span class="i2">To thy complete overthrow?"<br /></span> +</div><div class="stanza"> +<span class="i0">I who heard the whole contention<br /></span> +<span class="i0">Now declare my song's intention,<br /></span> +<span class="i2">And to all the world proclaim:<br /></span> +<span class="i0">They who mix these things shall ever<br /></span> +<span class="i0">Henceforth be accursed, and never<br /></span> +<span class="i2">In Christ's kingdom portion claim.<br /></span> +</div></div> + +<p>The same precept, "Keep wine and water apart," is conveyed at the +close of a lyric distinguished in other respects for the brutal +passion of its drunken fervour. I have not succeeded in catching the +rollicking swing of the original verse; and I may observe that the +last two stanzas seem to form a separate song, although their metre is +the same as that of the first four.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="BACCHIC_FRENZY" id="BACCHIC_FRENZY"></a>BACCHIC FRENZY.</h2> + +<h3>No. 52.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Topers in and out of season!<br /></span> +<span class="i0">'Tis not thirst but better reason<br /></span> +<span class="i2">Bids you tope on steadily!—<br /></span> +<span class="i2">Pass the wine-cup, let it be<br /></span> +<span class="i2">Filled and filled for bout on bout<br /></span> +<span class="i6">Never sleep!<br /> +</span> +<span class="i2">Racy jest and song flash out!<br /></span> +<span class="i6">Spirits leap!<br /> +</span> +<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span></div><div class="stanza"> +<span class="i0">Those who cannot drink their rations,<br /></span> +<span class="i0">Go, begone from these ovations!<br /></span> +<span class="i2">Here's no place for bashful boys;<br /></span> +<span class="i2">Like the plague, they spoil our joys.—<br /></span> +<span class="i2">Bashful eyes bring rustic cheer<br /></span> +<span class="i6">When we're drunk,<br /> +</span> +<span class="i2">And a blush betrays a drear<br /></span> +<span class="i6">Want of spunk.<br /> +</span> +</div><div class="stanza"> +<span class="i0">If there's here a fellow lurking<br /></span> +<span class="i0">Who his proper share is shirking,<br /></span> +<span class="i2">Let the door to him be shown,<br /></span> +<span class="i2">From our crew we'll have him thrown;—<br /></span> +<span class="i2">He's more desolate than death,<br /></span> +<span class="i6">Mixed with us;<br /> +</span> +<span class="i2">Let him go and end his breath!<br /></span> +<span class="i6">Better thus!<br /> +</span> +</div><div class="stanza"> +<span class="i0">When your heart is set on drinking,<br /></span> +<span class="i0">Drink on without stay or thinking,<br /></span> +<span class="i2">Till you cannot stand up straight,<br /></span> +<span class="i2">Nor one word articulate!—<br /></span> +<span class="i2">But herewith I pledge to you<br /></span> +<span class="i6">This fair health:<br /> +</span> +<span class="i2">May the glass no mischief do,<br /></span> +<span class="i6">Bring you wealth!<br /> +</span> +<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span></div><div class="stanza"> +<span class="i0">Wed not you the god and goddess,<br /></span> +<span class="i0">For the god doth scorn the goddess;<br /></span> +<span class="i2">He whose name is Liber, he<br /></span> +<span class="i2">Glories in his liberty.<br /></span> +<span class="i2">All her virtue in the cup<br /></span> +<span class="i6">Runs to waste,<br /> +</span> +<span class="i2">And wine wedded yieldeth up<br /></span> +<span class="i6">Strength and taste.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Since she is the queen of ocean,<br /></span> +<span class="i0">Goddess she may claim devotion;<br /></span> +<span class="i2">But she is no mate to kiss<br /></span> +<span class="i2">His superior holiness.<br /></span> +<span class="i2">Bacchus never deigned to be<br /></span> +<span class="i6">Watered, he!<br /> +</span> +<span class="i2">Liber never bore to be<br /></span> +<span class="i6">Christened, he!<br /> +</span> +</div></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p> +<h2>XX.</h2> + + +<p>Closely allied to drinking-songs are some comic ditties which may have +been sung at wine-parties. Of these I have thought it worth while to +present a few specimens, though their medieval bluntness of humour +does not render them particularly entertaining to a modern reader.</p> + +<p>The first I have chosen is <i>The Lament of the Roast Swan</i>. It must be +remembered that this bird was esteemed a delicacy in the Middle Ages, +and also that pepper was highly prized for its rarity. This gives a +certain point to the allusion in the third stanza.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_LAMENT_OF_THE_ROAST_SWAN" id="THE_LAMENT_OF_THE_ROAST_SWAN"></a>THE LAMENT OF THE ROAST SWAN.</h2> + +<h3>No. 53.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Time was my wings were my delight,<br /></span> +<span class="i0">Time was I made a lovely sight;<br /></span> +<span class="i0">'Twas when I was a swan snow-white.<br /></span> +<span class="i4">Woe's me! I vow,<br /> +</span> +<span class="i4">Black am I now,<br /> +</span> +<span class="i4">Burned up, back, beak, and brow!<br /> +</span> +</div><div class="stanza"> +<span class="i0">The baster turns me on the spit,<br /></span> +<span class="i0">The fire I've felt the force of it,<br /></span> +<span class="i0">The carver carves me bit by bit.<br /></span> +<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span><span class="i0">I'd rather in the water float<br /></span> +<span class="i0">Under the bare heavens like a boat,<br /></span> +<span class="i0">Than have this pepper down my throat.<br /></span> +</div><div class="stanza"> +<span class="i0">Whiter I was than wool or snow,<br /></span> +<span class="i0">Fairer than any bird I know;<br /></span> +<span class="i0">Now am I blacker than a crow.<br /></span> +</div><div class="stanza"> +<span class="i0">Now in the gravy-dish I lie,<br /></span> +<span class="i0">I cannot swim, I cannot fly,<br /></span> +<span class="i0">Nothing but gnashing teeth I spy.<br /></span> +<span class="i5">Woe's me! I vow, &c.<br /> +</span> +</div></div> + +<p>The next is <i>The Last Will of the Dying Ass</i>. There is not much to be +said for the wit of this piece.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_WILL_OF_THE_DYING_ASS" id="THE_WILL_OF_THE_DYING_ASS"></a>THE WILL OF THE DYING ASS.</h2> + +<h3>No. 54.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">While a boor, as poets tell,<br /></span> +<span class="i0">Whacked his patient ass too well,<br /></span> +<span class="i0">On the ground half dead it fell.<br /></span> +<span class="i6">La sol fa,<br /> +</span> +<span class="i0">On the ground half dead it fell,<br /></span> +<span class="i4">La sol fa mi re ut.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Then with gesture sad and low,<br /></span> +<span class="i0">Streaming eyes and words of woe,<br /></span> +<span class="i0">He at length addressed it so:<br /></span> +<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span><span class="i0">"Had I known, my gentle ass,<br /></span> +<span class="i0">Thou from me so soon wouldst pass,<br /></span> +<span class="i0">I'd have swaddled thee, alas!<br /></span> +</div><div class="stanza"> +<span class="i0">"Made for thee a tunic meet,<br /></span> +<span class="i0">Shirt and undershirt complete,<br /></span> +<span class="i0">Breeches, drawers of linen sweet.<br /></span> +</div><div class="stanza"> +<span class="i0">"Rise awhile, for pity's sake,<br /></span> +<span class="i0">That ere life your limbs forsake<br /></span> +<span class="i0">You your legacies may make!"<br /></span> +</div><div class="stanza"> +<span class="i0">Soon the ass stood up, and thus,<br /></span> +<span class="i0">With a weak voice dolorous,<br /></span> +<span class="i0">His last will proclaimed for us:<br /></span> +</div><div class="stanza"> +<span class="i0">"To the magistrates my head,<br /></span> +<span class="i0">Eyes to constables," he said,<br /></span> +<span class="i0">"Ears to judges, when I'm dead;<br /></span> +</div><div class="stanza"> +<span class="i0">"To old men my teeth shall fall,<br /></span> +<span class="i0">Lips to wanton wooers all,<br /></span> +<span class="i0">And my tongue to wives that brawl.<br /></span> +</div><div class="stanza"> +<span class="i0">"Let my feet the bailiffs win,<br /></span> +<span class="i0">Nostrils the tobacco-men,<br /></span> +<span class="i0">And fat canons take my skin.<br /></span> +</div><div class="stanza"> +<span class="i0">"Voice to singing boys I give,<br /></span> +<span class="i0">Throat to topers, may they live!<br /></span> +<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span><span class="i0">**** to students amative.<br /></span> +</div><div class="stanza"> +<span class="i0">"*** on shepherds I bestow,<br /></span> +<span class="i0">Thistles on divines, and lo!<br /></span> +<span class="i0">To the law my shade shall go.<br /></span> +</div><div class="stanza"> +<span class="i0">"Elders have my tardy pace,<br /></span> +<span class="i0">Boys my rude and rustic grace,<br /></span> +<span class="i0">Monks my simple open face."<br /></span> +</div><div class="stanza"> +<span class="i0">He who saith this testament<br /></span> +<span class="i0">Will not hold, let him be shent;<br /></span> +<span class="i0">He's an ass by all consent.<br /></span> +<span class="i6">La sol fa,<br /> +</span> +<span class="i0">He's an ass by all consent,<br /></span> +<span class="i4">La sol fa mi re ut.<br /> +</span> +</div></div> + +<p>As a third specimen I select a little bit of mixed prose and verse +from the <i>Carmina Burana</i>, which is curious from its allusion to the +Land of Cockaigne. Goliardic literature, it may be parenthetically +observed, has some strong pieces of prose comedy and satire. Of these, +the <i>Mass of Topers</i> and <i>Mass of Gamesters</i>, the <i>Gospel according to +Marks</i>, and the description of a fat monk's daily life deserve +quotation.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> They are for the most part, however, too profane to +bear translation.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + + +<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Wright's <i>Rel. Ant.</i>, ii.; <i>Carm. Bur.</i>, pp. 248 and +22; Wright's <i>Mapes</i>, p. xl.</p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span></p> +<h2><a name="THE_ABBOT_OF_COCKAIGNE" id="THE_ABBOT_OF_COCKAIGNE"></a>THE ABBOT OF COCKAIGNE.</h2> + +<h3>No. 55.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">I am the Abbot of Cockaigne,<br /></span> +<span class="i0">And this is my counsel with topers;<br /></span> +<span class="i0">And in the sect of Decius (gamesters) this is my will;<br /></span> +<span class="i0">And whoso shall seek me in taverns before noon;<br /></span> +<span class="i0">After evensong shall he go forth naked,<br /></span> +<span class="i0">And thus, stripped of raiment, shall lament him:<br /></span> +<span class="i6">Wafna! wafna!<br /> +</span> +<span class="i3">O Fate most foul, what hast thou done?<br /> +</span> +<span class="i3">The joys of man beneath the sun<br /> +</span> +<span class="i3">Thou hast stolen, every one!<br /> +</span> +</div></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></p> +<h2>XXI.</h2> + + +<p>The transition from these trivial and slightly interesting comic songs +to poems of a serious import, which played so important a part in +Goliardic literature, must of necessity be abrupt. It forms no part of +my present purpose to exhibit the Wandering Students in their capacity +as satirists. That belongs more properly to a study of the earlier +Reformation than to such an inquiry as I have undertaken in this +treatise. Satires, especially medieval satires, are apt, besides, to +lose their force and value in translation. I have therefore confined +myself to five specimens, more or less closely connected with the +subjects handled in this study.</p> + +<p>The first has the interest of containing some ideas which Villon +preserved in his ballad of the men of old time.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="DEATH_TAKES_ALL" id="DEATH_TAKES_ALL"></a>DEATH TAKES ALL.</h2> + +<h3>No. 56.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Hear, O thou earth, hear, thou encircling sea,<br /></span> +<span class="i0">Yea, all that live beneath the sun, hear ye<br /></span> +<span class="i0">How of this world the bravery and the glory<br /></span> +<span class="i0">Are but vain forms and shadows transitory,<br /></span> +<span class="i0">Even as all things 'neath Time's empire show<br /></span> +<span class="i0">By their short durance and swift overthrow!<br /></span> +<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span><span class="i2">Nothing avails the dignity of kings,<br /></span> +<span class="i0">Naught, naught avail the strength and stuff of things;<br /></span> +<span class="i0">The wisdom of the arts no succour brings;<br /></span> +<span class="i0">Genus and species help not at death's hour,<br /></span> +<span class="i0">No man was saved by gold in that dread stour;<br /></span> +<span class="i0">The substance of things fadeth as a flower,<br /></span> +<span class="i0">As ice 'neath sunshine melts into a shower.<br /></span> +<span class="i2">Where is Plato, where is Porphyrius?<br /></span> +<span class="i0">Where is Tullius, where is Virgilius?<br /></span> +<span class="i0">Where is Thales, where is Empedocles,<br /></span> +<span class="i0">Or illustrious Aristoteles?<br /></span> +<span class="i0">Where's Alexander, peerless of might?<br /></span> +<span class="i0">Where is Hector, Troy's stoutest knight?<br /></span> +<span class="i0">Where is King David, learning's light?<br /></span> +<span class="i0">Solomon where, that wisest wight?<br /></span> +<span class="i0">Where is Helen, and Paris rose-bright?<br /></span> +<span class="i2">They have fallen to the bottom, as a stone rolls:<br /></span> +<span class="i0">Who knows if rest be granted to their souls?<br /></span> +<span class="i2">But Thou, O God, of faithful men the Lord,<br /></span> +<span class="i0">To us Thy favour evermore afford<br /></span> +<span class="i0">When on the wicked judgment shall be poured!<br /></span> +</div></div> + +<p>The second marks the passage from those feelings of youth and +spring-time which have been copiously illustrated in Sections +xiv.-xvii., to emotions befitting later manhood and life's autumn.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> +<h2><a name="AUTUMN_YEARS" id="AUTUMN_YEARS"></a>AUTUMN YEARS.</h2> + +<h3>No. 57.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">While life's April blossom blew,<br /></span> +<span class="i0">What I willed I then might do,<br /></span> +<span class="i0">Lust and law seemed comrades true.<br /></span> +<span class="i4">As I listed, unresisted,<br /> +</span> +<span class="i0">Hither, thither, could I play,<br /></span> +<span class="i0">And my wanton flesh obey.<br /></span> +</div><div class="stanza"> +<span class="i0">When life's autumn days decline,<br /></span> +<span class="i0">Thus to live, a libertine,<br /></span> +<span class="i0">Fancy-free as thoughts incline,<br /></span> +<span class="i4">Manhood's older age and colder<br /> +</span> +<span class="i0">Now forbids; removes, destroys<br /></span> +<span class="i0">All those ways of wonted joys.<br /></span> +</div><div class="stanza"> +<span class="i0">Age with admonition wise<br /></span> +<span class="i0">Thus doth counsel and advise,<br /></span> +<span class="i0">While her voice within me cries:<br /></span> +<span class="i4">"For repenting and relenting<br /> +</span> +<span class="i0">There is room; forgiveness falls<br /></span> +<span class="i0">On all contrite prodigals!"<br /></span> +</div><div class="stanza"> +<span class="i0">I will seek a better mind;<br /></span> +<span class="i0">Change, correct, and leave behind<br /></span> +<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span><span class="i0">What I did with purpose blind:<br /></span> +<span class="i4">From vice sever, with endeavour<br /> +</span> +<span class="i0">Yield my soul to serious things,<br /></span> +<span class="i0">Seek the joy that virtue brings.<br /></span> +</div></div> + +<p>The third would find a more appropriate place in a hymn-book than in a +collection of <i>Carmina Vagorum</i>. It is, however, written in a lyrical +style so closely allied to the secular songs of the <i>Carmina Burana</i> +(where it occurs) that I have thought it well to quote its grimly +medieval condemnation of human life.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="VANITAS_VANITATUM" id="VANITAS_VANITATUM"></a>VANITAS VANITATUM.</h2> + +<h3>No. 58.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">This vile world<br /></span> +<span class="i0">In madness hurled<br /></span> +<span class="i3">Offers but false shadows;<br /> +</span> +<span class="i0">Joys that wane<br /></span> +<span class="i0">And waste like vain<br /></span> +<span class="i3">Lilies of the meadows.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Worldly wealth,<br /></span> +<span class="i0">Youth, strength, and health,<br /></span> +<span class="i3">Cramp the soul's endeavour;<br /> +</span> +<span class="i0">Drive it down<br /></span> +<span class="i0">In hell to drown,<br /></span> +<span class="i3">Hell that burns for ever.<br /> +</span> +<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span></div><div class="stanza"> +<span class="i0">What we see,<br /></span> +<span class="i0">And what let be,<br /></span> +<span class="i3">While on earth we tarry,<br /> +</span> +<span class="i0">We shall cast<br /></span> +<span class="i0">Like leaves at last<br /></span> +<span class="i3">Which the sere oaks carry.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Carnal life,<br /></span> +<span class="i0">Man's law of strife,<br /></span> +<span class="i3">Hath but brief existence;<br /> +</span> +<span class="i0">Passes, fades,<br /></span> +<span class="i0">Like wavering shades<br /></span> +<span class="i3">Without real subsistence.<br /> +</span> +</div><div class="stanza"> +<span class="i0">Therefore bind,<br /></span> +<span class="i0">Tread down and grind<br /></span> +<span class="i3">Fleshly lusts that blight us;<br /> +</span> +<span class="i0">So heaven's bliss<br /></span> +<span class="i0">'Mid saints that kiss<br /></span> +<span class="i3">Shall for aye delight us.<br /> +</span> +</div></div> + +<p>The fourth, in like manner, would have but little to do with a +Commersbuch, were it not for the fact that the most widely famous +modern student-song of Germany has borrowed two passages from its +serious and tragic rhythm. Close inspection of <i>Gaudeamus Igitur</i> +shows that the metrical structure of that song is based on the +principle of quoting one of its long lines and rhyming to it.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span></p> +<h2><a name="ON_CONTEMPT_FOR_THE_WORLD" id="ON_CONTEMPT_FOR_THE_WORLD"></a>ON CONTEMPT FOR THE WORLD.</h2> + +<h3>No. 59.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">"De contemptu mundi:" this is the theme I've taken:<br /></span> +<span class="i0">Time it is from sleep to rise, from death's torpor waken:<br /></span> +<span class="i0">Gather virtue's grain and leave tares of sin forsaken.<br /></span> +<span class="i2">Rise up, rise, be vigilant; trim your lamp, be ready.<br /></span> +</div><div class="stanza"> +<span class="i0">Brief is life, and brevity briefly shall be ended:<br /></span> +<span class="i0">Death comes quick, fears no man, none hath his dart suspended:<br /></span> +<span class="i0">Death kills all, to no man's prayer hath he condescended.<br /></span> +<span class="i2">Rise up, rise, be vigilant; trim your lamp, be ready.<br /></span> +</div><div class="stanza"> +<span class="i0">Where are they who in this world, ere we kept, were keeping?<br /></span> +<span class="i0">Come unto the churchyard, thou! see where they are sleeping!<br /></span> +<span class="i0">Dust and ashes are they, worms in their flesh are creeping.<br /></span> +<span class="i2">Rise up, rise, be vigilant; trim your lamp, be ready.<br /></span> +</div><div class="stanza"> +<span class="i0">Into life each man is born with great teen and trouble:<br /></span> +<span class="i0">All through life he drags along; toil on toil is double:<br /></span> +<span class="i0">When life's done, the pangs of death take him, break the bubble.<br /></span> +<span class="i2">Rise up, rise, be vigilant; trim your lamp, be ready.<br /></span> +<span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></div><div class="stanza"> +<span class="i0">If from sin thou hast been turned, born a new man wholly,<br /></span> +<span class="i0">Changed thy life to better things, childlike, simple, holy;<br /></span> +<span class="i0">Thus into God's realm shalt thou enter with the lowly.<br /></span> +<span class="i2">Rise up, rise, be vigilant; trim your lamp, be ready.<br /></span> +</div></div> + +<p>Having alluded to <i>Gaudeamus Igitur</i>, I shall close my translations +with a version of it into English. The dependence of this lyric upon +the rhythm and substance of the poem on <i>Contempt for the World</i>, +which I have already indicated, is perhaps the reason why it is sung +by German students after the funeral of a comrade. The Office for the +Dead sounding in their ears, occasions the startling <i>igitur</i> with +which it opens; and their mind reverts to solemn phrases in the midst +of masculine determination to enjoy the present while it is yet +theirs.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="GAUDEAMUS_IGITUR" id="GAUDEAMUS_IGITUR"></a>GAUDEAMUS IGITUR.</h2> + +<h3>No. 60.</h3> +<div class="poem"><div class="stanza"> +<span class="i0">Let us live then and be glad<br /></span> +<span class="i2">While young life's before us!<br /></span> +<span class="i4">After youthful pastime had,<br /> +</span> +<span class="i4">After old age hard and sad,<br /> +</span> +<span class="i2">Earth will slumber o'er us.<br /></span> +</div><div class="stanza"> +<span class="i0">Where are they who in this world,<br /></span> +<span class="i2">Ere we kept, were keeping?<br /></span> +<span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span><span class="i4">Go ye to the gods above;<br /> +</span> +<span class="i4">Go to hell; inquire thereof:<br /> +</span> +<span class="i2">They are not; they're sleeping.<br /></span> +</div><div class="stanza"> +<span class="i0">Brief is life, and brevity<br /></span> +<span class="i2">Briefly shall be ended:<br /></span> +<span class="i4">Death comes like a whirlwind strong,<br /> +</span> +<span class="i4">Bears us with his blast along;<br /> +</span> +<span class="i2">None shall be defended.<br /></span> +</div><div class="stanza"> +<span class="i0">Live this university,<br /></span> +<span class="i2">Men that learning nourish;<br /></span> +<span class="i4">Live each member of the same,<br /> +</span> +<span class="i4">Long live all that bear its name;<br /> +</span> +<span class="i2">Let them ever flourish!<br /></span> +</div><div class="stanza"> +<span class="i0">Live the commonwealth also,<br /></span> +<span class="i2">And the men that guide it!<br /></span> +<span class="i4">Live our town in strength and health,<br /> +</span> +<span class="i4">Founders, patrons, by whose wealth<br /> +</span> +<span class="i2">We are here provided!<br /></span> +</div><div class="stanza"> +<span class="i0">Live all girls! A health to you,<br /></span> +<span class="i2">Melting maids and beauteous!<br /></span> +<span class="i4">Live the wives and women too,<br /> +</span> +<span class="i4">Gentle, loving, tender, true,<br /> +</span> +<span class="i2">Good, industrious, duteous!<br /></span> +<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span></div><div class="stanza"> +<span class="i0">Perish cares that pule and pine!<br /></span> +<span class="i2">Perish envious blamers!<br /></span> +<span class="i4">Die the Devil, thine and mine!<br /> +</span> +<span class="i4">Die the starch-necked Philistine!<br /> +</span> +<span class="i2">Scoffers and defamers!<br /></span> +</div></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span></p> +<h2>XXII.</h2> + + +<p>I have now fulfilled the purpose which I had in view when I began this +study of the <i>Carmina Vagorum</i>, and have reproduced in English verse +what seemed to me the most characteristic specimens of that +literature, in so far as it may be considered precursory of the +Renaissance.</p> + +<p>In spite of novelty, in spite of historical interest, in spite of a +certain literary charm, it is not an edifying product of medieval art +with which I have been dealing. When I look back upon my own work, and +formulate the impression left upon my mind by familiarity with the +songs I have translated, the doubt occurs whether some apology be not +required for having dragged these forth from antiquarian obscurity.</p> + +<p>The truth is that there is very little that is elevated in the lyrics +of the Goliardi. They are almost wholly destitute of domestic piety, +of patriotism, of virtuous impulse, of heroic resolve. The greatness +of an epoch which throbbed with the enthusiasms of the Crusades, which +gave birth to a Francis and a Dominic, which witnessed the manly +resistance offered by the Lombard burghs to the Teutonic Emperor, the +formation of Northern France into a solid monarchy, and the victorious +struggle of the Papacy against the Empire, finds but rare expression +in this poetry. From the <i>Carmina Burana</i> we cull one chant indeed on +Saladin, one spirited lament for Richard Coeur de Lion; but their +general tone is egotistic.</p> + +<p>Even the satires, so remarkable for boldness, are directed<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> against +those ecclesiastical abuses which touched the interests of the clerkly +classes—against simony, avarice, venality in the Roman Curia, against +the ambition of prelates and the effort to make princely benefices +hereditary, rather than against the real sins of the Church—her +wilful solidification of popular superstitions for the purposes of +self-aggrandisement, her cruel persecution of free thought, and her +deflection from the spirit of her Founder.</p> + +<p>With regard to women, abundant examples have been adduced to +illustrate the sensual and unromantic spirit of these lettered lovers. +A note of undisguised materialism sounds throughout the large majority +of their erotic songs. Tenderness of feeling is rarely present. The +passion is one-sided, recognised as ephemeral, without a vista on the +sanctities of life in common with the beloved object. Notable +exceptions to the general rule are the lyrics I have printed above on +pp. 75-78. But it would have been easier to confirm the impression of +licentiousness than to multiply specimens of delicate sentiment, had I +chosen to ransack the whole stores of the <i>Carmina Burana</i>.</p> + +<p>It is not necessary to censure their lack of so-called chivalrous +woman-worship. That artificial mood of emotion, though glorified by +the literary art of greatest poets, has something pitiably unreal, +incurably morbid, in its mysticism. But, putting this aside, we are +still bound to notice the absence of that far more human self-devotion +of man to woman which forms a con<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span>spicuous element in the Arthurian +romances. The love of Tristram for Iseult, of Lancelot for Guinevere, +of Beaumains for his lady, is alien to the Goliardic conception of +intersexual relations. Nowhere do we find a trace of Arthur's vow +imposed upon his knights: "never to do outrage,... and alway to do +ladies, damosels, and gentlewomen succour upon pain of death." This +manly respect for women, which was, if not precisely the purest, yet +certainly the most fruitful social impulse of the Middle Ages, +receives no expression in the <i>Carmina Vagorum</i>.</p> + +<p>The reason is not far to seek. The Clerici were a class debarred from +domesticity, devoted in theory to celibacy, in practice incapable of +marriage. They were not so much unsocial or anti-social as +extra-social; and while they gave a loose rein to their appetites, +they respected none of those ties, anticipated none of those home +pleasures, which consecrate the animal desires in everyday existence +as we know it. One of their most popular poems is a brutal monastic +diatribe on matrimony, fouler in its stupid abuse of women, more +unmanly in its sordid imputations, than any satire which emanated from +the corruption of Imperial Rome.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> The cynicism of this exhortation +against marriage forms a proper supplement to the other kind of +cynicism which emerges in the lyrics of triumphant seducers and light +lovers.</p> + +<p>But why then have I taken the trouble to translate <span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span>these songs, and +to present them in such profusion to a modern audience? It is because, +after making all allowances for their want of great or noble feeling, +due to the peculiar medium from which they sprang, they are in many +ways realistically beautiful and in a strict sense true to vulgar +human nature. They are the spontaneous expression of careless, wanton, +unreflective youth. And all this they were, too, in an age which we +are apt to regard as incapable of these very qualities.</p> + +<p>The defects I have been at pains to indicate render the Goliardic +poems remarkable as documents for the right understanding of the +brilliant Renaissance epoch which was destined to close the Middle +Ages. To the best of them we may with certainty assign the +seventy-five years between 1150 and 1225. In that period, so fruitful +of great efforts and of great results in the fields of politics and +thought and literature, efforts and results foredoomed to partial +frustration and to perverse misapplication—in that potent space of +time, so varied in its intellectual and social manifestations, so +pregnant with good and evil, so rapid in mutations, so indeterminate +between advance and retrogression—this Goliardic poetry stands +alone. It occupies a position of unique and isolated, if limited, +interest; because it was no outcome of feudalism or ecclesiasticism; +because it has no tincture of chivalrous or mystic piety; because it +implies no metaphysical determination; because it is pagan in the +sense of being natural; because it is devoid of allegory, and, +finally, because it is emphatically humanistic.<span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span></p> + +<p>In these respects it detaches itself from the artistic and literary +phenomena of the century which gave it birth. In these respects it +anticipates the real eventual Renaissance.</p> + +<p>There are, indeed, points of contact between the Students' Songs and +other products of the Middle Ages. Scholastic quibblings upon words; +reiterated commonplaces about spring; the brutal contempt for +villeins; the frequent employment of hymn-rhythms and preoccupation +with liturgical phrases—these show that the Wandering Scholars were +creatures of their age. But the qualities which this lyrical +literature shares with that of the court, the temple, or the schools +are mainly superficial; whereas the vital inspiration, the specific +flavour, which render it noteworthy, are distinct and self-evolved. It +is a premature, an unconscious effort made by a limited class to +achieve <i>per saltum</i> what was slowly and laboriously wrought out by +whole nations in the fifteenth and sixteenth centuries. Too +precocious, too complete within too narrow limits, it was doomed to +sterility. Not the least singular fact about it is that though the +<i>Carmina Vagorum</i> continued to be appreciated, they were neither +imitated nor developed to any definite extent after the period which I +have indicated. They fell still-born upon the unreceptive soil of +European culture at that epoch. Yet they foreshadowed the mental and +moral attitude which Europe was destined to assume when Italy through +humanism gave its tone to the Renaissance.</p> + +<p>The Renaissance, in Italy as elsewhere, had far more<span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span> serious aims and +enthusiasms in the direction of science, refined self-culture, +discoveries, analysis of man and nature, than have always been +ascribed to it. The men of that epoch did more hard work for the +world, conferred more sterling benefits on their posterity, than those +who study it chiefly from the point of view of art are ready to admit. +But the mental atmosphere in which those heroes lived and wrought was +one of carelessness with regard to moral duties and religious +aspirations, of exuberant delight in pleasure as an object of +existence. The glorification of the body and the senses, the +repudiation of an ascetic tyranny which had long in theory imposed +impossible abstentions on the carnal man, was a marked feature in +their conception of the world; and connected with this was a return in +no merely superficial spirit to the antique paganism of Greece and +Rome.</p> + +<p>These characteristics of the Renaissance we find already outlined with +surprising definiteness, and at the same time with an almost childlike +naïveté, a careless, mirth-provoking nonchalance, in the <i>Carmina +Vagorum</i>. They remind us of the Italian lyrics which Lorenzo de' +Medici and Poliziano wrote for the Florentine populace; and though in +form and artistic intention they differ from the Latin verse of that +period, their view of life is not dissimilar to that of a Pontano or a +Beccadelli.</p> + +<p>Some folk may regard the things I have presented to their view as ugly +or insignificant, because they lack the higher qualities of sentiment; +others may over-value them for precisely the same reason. They seem to +me note<span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span>worthy as the first unmistakable sign of a change in modern +Europe which was inevitable and predestined, as the first literary +effort to restore the moral attitude of antiquity which had been +displaced by medieval Christianity. I also feel the special relation +which they bear to English poetry of the Etizabethan age—a relation +that has facilitated their conversion into our language.</p> + +<p>That Wandering Students of the twelfth century should have transcended +the limitations of their age; that they should have absorbed so many +elements of life into their scheme of natural enjoyment as the artists +and scholars of the fifteenth; that they should have theorised their +appetites and impulses with Valla, have produced masterpieces of +poetry to rival Ariosto's, or criticisms of society in the style of +Rabelais, was not to be expected. What their lyrics prove by +anticipation is the sincerity of the so-called paganism of the +Renaissance. When we read them, we perceive that that quality was +substantially independent of the classical revival; though the +influences of antique literature were eagerly seized upon as useful +means for strengthening and giving tone to an already potent revolt of +nature against hypocritical and palsy-stricken forms of spiritual +despotism.</p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> <i>Golias de Conjuge non ducenda</i>, Wright's <i>Mapes</i>, p. +77.</p></div> +</div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p> +<h2>APPENDIX.</h2> + +<h3>NOTE ON THE "ORDO VAGORUM" AND THE "ARCHIPOETA."</h3> +<p><i><b>See Section vii. pp. <a href="#Page_16">16-23</a>, above.</b></i></p> + + +<p>It seems desirable that I should enlarge upon some topics which I +treated somewhat summarily in Section vii. I assumed that the +Wandering Scholars regarded themselves as a kind of Guild or Order; +and for this assumption the Songs Nos. 1, 2, 3, translated in Section +xiii. are a sufficient warrant. Yet the case might be considerably +strengthened. In the <i>Sequentia falsi evangelii secundum marcam +argenti</i><a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> we read of the <i>Gens Lusorum</i> or Tribe of Gamesters, +which corresponds to the <i>Secta Decii</i>,<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> the <i>Ordo Vagorum</i>, and +the <i>Familia Goliae</i>. Again, in Wright's <i>Walter Mapes</i><a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> there is +an epistle written from England by one Richardus Goliardus to <i>Omnibus +in Gallia Goliae discipulis</i>, introducing a friend, asking for +information <i>ordo vester qualis est</i>, and giving for the reason of +this request <i>ne magis in ordine indiscrete vivam</i>. He addresses his +French comrades as <i>pueri Goliae</i>, and winds up with good wishes for +the <i>socios sanctae confratriae</i>. Proofs might be multiplied <span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span>that the +Wandering Students in Germany also regarded themselves as a +confraternity, with special rules and ordinances. Of this, the curious +parody of an episcopal letter, issued in 1209 by <i>Surianus, Praesul et +Archiprimas</i>, to the <i>vagi clerici</i> of Austria, Styria, Bavaria, and +Moravia is a notable example.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></p> + +<p>I have treated Golias as the eponymous hero of this tribe, the chief +of this confraternity. But it ought to be said that the name Golias +occurs principally in English MSS., where the Goliardic poems are +ascribed to <i>Golias Episcopus.</i> Elsewhere the same personage is spoken +of as <i>Primas</i>, which is a title of dignity applying to a prelate with +jurisdiction superior even to that of an archbishop. Grimm<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> quotes +this phrase from a German chronicle: <i>Primas vagus multos versus +edidit magistrates</i>. In the <i>Sequentia falsi evangelii</i><a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> we find +twice repeated <i>Primas autem qui dicitur vilissimus</i>. The Venetian +codex from which Grimm drew some of his texts<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> attributes the +<i>Dispute of Thetis and Lyaeus</i> and the <i>Advice against Matrimony</i>, +both of which passed in England under the name of Golias and +afterwards of Walter Map, to <i>Primas Presbyter</i>.</p> + +<p>With regard to this Primas, it is important to mention that Fra +Salimbene in his Chronicle<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> gives a succinct account of him under +the date 1233. It runs as follows: <i>Fuit his temporibus Primas +canonicus eoloniensis, magnus trutannus et magnus trufator, et maximus +versificator et velox, qui, si dedisset cor suum ad diligendum Deum, +magnus in litteratura divina fuisset, et utilis valde</i> <span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span><i>Ecclesiae +Dei. Cujus Apocalypsim, quam fecerat, vidi, et alia scripta plura</i>. +After this passage follow some anecdotes, with quotations of verses +extemporised by Primas, and lastly the whole of the Confession, +translated by me at p. 55 above. Thus Salimbene, who was almost a +contemporary author, attributes to Primas two of the most important +poems which passed in England under the name of Golias, while the +Venetian MS. ascribes two others of the same class to Primas +Presbyter. It is also very noteworthy that Salimbene expressly calls +this Primas a Canon of Cologne.</p> + +<p>That this poet, whoever he was, had attained to celebrity in Italy (as +well as in Germany) under the title of Primas, appears also from the +following passage of a treatise by Thomas of Capua<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> on the Art of +Writing: <i>Dictaminum vero tria sunt genera auctoribus diffinita, +prosaicum scilicet, metricum et rithmicum; prosaicum ut Cassiodori, +metricum ut Virgilii, rithmicum ut Primatis</i>. Boccaccio was in all +probability referring to the same Primas in the tale he told about +<i>Primasso</i>,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> who is described as a man of European reputation, and +a great and rapid versifier. It is curious that just as Giraldus seems +to have accepted <i>Golias</i> as the real name of this poet,<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> so Fra +Salimbene, Thomas of Capua, and Boccaccio appear to use <i>Primas</i> as a +Christian name.</p> + +<p>The matter becomes still more complicated when we find, as we do, some +of the same poems attributed in France to Walter of Lille, in England +to Walter Map, and further current under yet another title of dignity, +that of <i>Archipoeta</i>.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p> +<p><span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span></p> + +<p>We can hardly avoid the conclusion that by Golias Episcopus, Primas, +and Archipoeta one and the same person, occupying a prominent post in +the Order, was denoted. He was the head of the Goliardic family, the +Primate of the Wandering Students' Order, the Archpoet of these +lettered minstrels. The rare excellence of the compositions ascribed +to him caused them to be spread abroad, multiplied, and imitated in +such fashion that it is now impossible to feel any certainty about the +personality which underlay these titles.</p> + +<p>Though we seem frequently upon the point of touching the real man, he +constantly eludes our grasp. Who he was, whether he was one or many, +remains a mystery. Whether the poems which bear one or other of his +changing titles were really the work of a single writer, is also a +matter for fruitless conjecture. We may take it for granted that he +was not Walter Map; for Map was not a Canon of Cologne, not a follower +of Reinald von Dassel, not a mark for the severe scorn of Giraldus. +Similar reasoning renders it more than improbable that the Golias of +Giraldus, the Primas of Salimbene, and the petitioner to Reinald +should have been Walter of Lille.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p> + +<p>At the same time it is singular that the name of Walter should twice +occur in Goliardic poems of a good period. One of these is the famous +and beautiful lament:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Versa est in luctum—eithara Waltheri."<br /></span> +</div></div> + +<p>This exists in the MS. of the <i>Carmina Burana</i>, but not in the Paris +MS. of Walter's poems edited by Müldner.<span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span></p> + +<p>It contains allusions to the poet's ejection from his place in the +Church—a misfortune which actually befell Walter of Lille. Grimm has +printed another poem, <i>Saepe de miseria,</i> in which the name of Walter +occurs.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> It is introduced thus:</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Hoc Gualtherus sub-prior<br /></span> +<span class="i2">Jubet in decretis."<br /></span> +</div></div> + +<p>Are we to infer from the designation <i>Sub-prior</i> that the Walter of +this poem held a post in the Order inferior to that of the Primas?</p> + +<p>It is of importance in this connection to bear in mind that five of +the poems attributed in English MSS. to Golias and Walter Map, namely, +<i>Missus sum in vineam</i>, <i>Multiformis hominum</i>, <i>Fallax est et +mobilis</i>, <i>A tauro torrida</i>, <i>Heliconis rivulo</i>, <i>Tanto viro +locuturi</i>, among which is the famous Apocalypse ascribed by Salimbene +to Primas, are given to Walter of Lille in the Paris MS. edited by +Müldner.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> They are distinguished by a marked unity of style; and +what is also significant, a lyric in this Paris MS., <i>Dum Gualterus +aegrotaret</i>, introduces the poet's name in the same way as the <i>Versa +est in luctum</i> of the <i>Carmina Burana</i>. Therefore, without identifying +Walter of Lille with the Primas, Archipoeta, and Golias, we must allow +that his place in Goliardic literature is very considerable. But I am +inclined to think that the weight of evidence favours chiefly the +ascription of serious and satiric pieces to his pen. It is probable +that the Archipoeta, the follower of Reinald von Dassel, the man who +composed the most vigorous <span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span>Goliardic poem we possess, and gave the +impulse of his genius to that style of writing, was not the Walter of +the <i>Versa est in luctum</i> or of <i>Dum Gualterus aegrotaret</i>. That +Walter must have been somewhat his junior; and it is not unreasonable +to assume that he was Walter of Lille, who may perhaps be further +identified with the <i>Gualtherus sub-prior</i> of the poem on the author's +poverty. This Walter's Latin designation, <i>Gualtherus de Insula</i>, +helps, as I have observed above,<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> to explain the attribution of the +Goliardic poems in general to Walter Map by English scribes of the +fifteenth century.</p> + +<p>After all, it is safer to indulge in no constructive speculations +where the matter of inquiry is both vague and meagre. One thing +appears tolerably manifest; that many hands of very various dexterity +contributed to form the whole body of songs which we call Goliardic. +It is also clear that the Clerici Vagi considered themselves a +confraternity, and that they burlesqued the institutions of a +religious order, pretending to honour and obey a primate or bishop, to +whom the nickname of Golias was given at the period in which they +flourished most. Viewed in his literary capacity, this chief was +further designated as the Archpoet. Of his personality we know as +little as we do of that of Homer.<span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span></p> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Grimm's <i>Gedichte des Mittelalters</i>, p. 232.</p></div> + +<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> <i>Carm. Bur.</i>, p. 254.</p></div> + +<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Page <a href="#Page_69">69.</a></p> +</div> + +<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Giesebrecht in <i>Allg. Monatschrift</i>. Jan. 1853. p. 35.</p></div> + +<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Op. cit., p. 182.</p></div> + +<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Ib., p. 232.</p></div> + +<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Ib., pp. 238, 239.</p></div> + +<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Published at Parma, 1857.</p></div> + +<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> See Novati, <i>Carmina Medii Aevi</i>, p. 8, note.</p></div> + +<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> <i>Decameron</i>, i, 7.</p></div> + +<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> See above, p. <a href="#Page_21">21.</a></p> +</div> + +<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Grimm, op. cit., p. 189 et seq.</p></div> + +<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> Giesebrecht identifies Walter of Lille with the +Archipoeta. But he seems to be unacquainted with Salimbene's +Chronicle, and I agree with Hubatsch that he has not made out his +point.</p></div> + +<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> Op. cit., p. 235, also in <i>Carm. Bur.</i>, p. 74.</p></div> + +<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Hannover, 1859.</p></div> + +<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Page<a href="#Page_23"> 23.</a></p> +</div> +</div> + + +<hr style="width: 65%;" /> +<h2>BOOKS ON GOLIARDIC LITERATURE.</h2> + +<p> +Carmina Burana. Stuttgart. 1847.<br /> +<br /> +Thomas Wright. The Latin Poems commonly attributed to Walter Mapes. Camden Society. 1841.<br /> +<span style="margin-left: 1em;">—— Anecdota Literaria. London. 1844.</span><br /> +<span style="margin-left: 1em;">—— Early Mysteries, etc. London. 1844.</span><br /> +<br /> +Edelstand du Méril. Poésies Populaires Latines Antérieures au Douzième Siècle. Paris. 1843.<br /> +<span style="margin-left: 1em;">—— Poésies Populaires Latines du Moyen Age. Paris. 1847.</span><br /> +<span style="margin-left: 1em;">—— Poésies Inédites du Moyen Age. Paris. 1854.</span><br /> +<br /> +Jacob Grimm. Gedichte des Mittelalters auf König Friedrich I., den Staufer. Berlin. 1843.<br /> +<br /> +H. Hagen. Carmina Medii Aevi Max. Part. Inedita. Bern. 1877.<br /> +<br /> +F. Novati. Carmina Medii Aevi. Firenze. 1883.<br /> +<br /> +Mone. Anzeiger, vii.<br /> +<br /> +W. Müldener. Die Zehn Gedichte von Walther von Lille. Hannover. 1859,<br /> +<br /> +Champollion-Figeac. Hilarii Versus et Ludi. Paris. 1838.<br /> +<br /> +Gaudeamus. Leipzig. 1879.<br /> +<br /> +Carmina Clericorum. Heilbronn. 1880.<br /> +<br /> +A.P. Von Bärnstein. Carmina Burana Selecta. 1880.<br /> +<span style="margin-left: 1em;">—— Ubi sunt qui ante nos? Würtzburg. 1881.</span><br /> +<br /> +Giesebrecht. Die Vaganten. Allg. Monatscrift für W. und K. 1853.<br /> +<br /> +O. Hubatsch. Die Lateinischen Vagantenlieder. Görlitz. 1870.<br /> +<br /> +A. Bartoli. I Precursori del Rinascimento, Firenze. 1876.<br /> +<br /> +Allgemeines Deutsches Commersbuch.<br /> +<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>TABLE OF SONGS TRANSLATED IN THIS VOLUME.</h2> + + +<p>N.B.—In order to facilitate the comparison between my translations +and the originals, I have made the following table. The first column +gives the number of the song and the second the page in this book; the +third column gives the beginning of each song in English; the fourth +gives the beginning of each song in Latin. The references in the fifth +column are to the little anthology called <i>Gaudeamus</i> (Leipzig, +Teubner, 1879); those in the sixth column are to the printed edition +of the Benedictbeuern Codex, which goes by the title of <i>Carmina +Burana</i> (Stuttgart, auf Kosten das Literarischen Vereins, Hering & Co. +printers, 1847).</p> + + + + +<table summary=""> + +<tr><td ></td><td >No.</td><td >Page.</td> + <td class="td1" > English. </td> + <td class="td1" > Latin.</td><td >Gaud.</td> + <td >Car.<br /> + Bur.</td> +</tr> + + +<tr><td ></td><td > </td><td > </td> + <td > </td> + <td > </td><td class="tocpg">Page</td> + <td class="tocpg">Page</td></tr> +<tr><td ></td><td class="tocpg" > 1</td><td class="tocpg"> <a href="#Page_42">42</a></td> + <td class="td1" > <a href="#ON_THE_ORDER_OF_WANDERING_STUDENTS">At the mandate </a></td> + <td class="td1" > Cum in orbem</td><td class="tocpg"> 3</td> + <td class="tocpg"> 251</td></tr> +<tr><td ></td><td class="tocpg" > 2</td><td class="tocpg"> <a href="#Page_47">47</a></td> + <td class="td1" > <a href="#ON_THE_DECAY_OF_THE_ORDER">Once, it was </a></td> + <td class="td1" > Olim nostrum</td><td class="tocpg"> 6</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg"> 3</td><td class="tocpg"> <a href="#Page_50">50</a></td> + <td > <a href="#A_WANDERING_STUDENTS_PETITION">I a wandering</a> </td> + <td > Exul ego </td><td class="tocpg"> 178</td> + <td class="tocpg"> 50</td></tr> +<tr><td ></td><td class="tocpg"> 4</td><td class="tocpg"> <a href="#Page_52">52</a></td> + <td > <a href="#A_SONG_OF_THE_OPEN_ROAD">We in our</a> </td> + <td > Nos vagabunduli </td><td class="tocpg"> 195</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg"> 5</td><td class="tocpg"> <a href="#Page_55">55</a></td> + <td > <a href="#THE_CONFESSION_OF_GOLIAS">Boiling in my </a></td> + <td > Aestuans </td><td class="tocpg"> 34</td> + <td class="tocpg"> 67</td></tr> +<tr><td ></td><td class="tocpg"> 6</td><td class="tocpg"> <a href="#Page_63">63</a></td> + <td > <a href="#WELCOME_TO_SPRING">Spring is coming</a></td> + <td > Ver redit </td><td class="tocpg"> 88</td> + <td class="tocpg"> 178</td></tr> +<tr><td ></td><td class="tocpg"> 7</td><td class="tocpg"> <a href="#Page_64">64</a></td> + <td > <a href="#THE_LOVER_AND_THE_NIGHTINGALE">These hours of </a></td> + <td > Tempus est </td><td class="tocpg"> 100</td> + <td class="tocpg"> 211</td></tr> +<tr><td ></td><td class="tocpg"> 8</td><td class="tocpg"> <a href="#Page_66">66</a></td> + <td > <a href="#THE_INVITATION_TO_YOUTH">Take your pleasure </a></td> + <td > Congaudentes</td><td class="tocpg"> 90</td> + <td class="tocpg"> 166</td></tr> +<tr><td ></td><td class="tocpg"> 9</td><td class="tocpg"> <a href="#Page_67">67</a></td> + <td > <a href="#THE_EXAMPLE_OF_THE_ROSE">Winter's untruth</a></td> + <td > Vetus error </td><td class="tocpg"> 86</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">10</td><td class="tocpg"> <a href="#Page_68">68</a></td> + <td > <a href="#THE_VOW_TO_CUPID">Winter, now </a></td> + <td > Cedit hiems </td><td class="tocpg"> 85</td> + <td class="tocpg"> 177</td></tr> +<tr><td ></td><td class="tocpg">11</td><td class="tocpg"> <a href="#Page_69">69</a></td> + <td > <a href="#A-MAYING">Now the fields </a></td> + <td > Jam jam virent</td><td class="tocpg"> 89</td> + <td class="tocpg"> 184</td></tr> +<tr><td ></td><td class="tocpg">12</td><td class="tocpg"> <a href="#Page_70">70</a></td> + <td > <a href="#THE_RETURN_OF_SPRING">Spring returns </a></td> + <td > Ecce gratum </td><td class="tocpg"> 84</td> + <td class="tocpg"> 83</td></tr> +<tr><td ></td><td class="tocpg">13</td><td class="tocpg"> <a href="#Page_71">71</a></td> + <td > <a href="#THE_SWEETNESS_OF_THE_SPRING">Vernal hours </a></td> + <td > Vernum tempus</td><td class="tocpg"> 81</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">14</td><td class="tocpg"> <a href="#Page_72">72</a></td> + <td > <a href="#THE_SUIT_TO_PHYLLIS">Hail thou </a></td> + <td > Salve ver </td><td class="tocpg"> ..</td> + <td class="tocpg"> 193</td></tr> +<tr><td ></td><td class="tocpg">15</td><td class="tocpg"> <a href="#Page_74">74</a></td> + <td > <a href="#MODEST_LOVE">Summer sweet </a></td> + <td > Dum aestas </td><td class="tocpg"> 97</td> + <td class="tocpg"> 196</td></tr> +<tr><td ></td><td class="tocpg">16</td><td class="tocpg"> <a href="#Page_75">75</a></td> + <td > <a href="#THE_SERENADE_TO_FLOWER-O-THE-THORN">The blithe young year</a></td> + <td > Anni novi </td><td class="tocpg"> ..</td> + <td class="tocpg"> 145</td></tr> +<tr><td ></td><td class="tocpg">17</td><td class="tocpg"> <a href="#Page_76">76</a></td> + <td > <a href="#THE_LOVE-LETTER_IN_SPRING">Now the sun </a></td> + <td > Omnia sol </td><td class="tocpg"> 109</td> + <td class="tocpg"> 177</td></tr> +<tr><td ></td><td class="tocpg">18</td><td class="tocpg"> <a href="#Page_77">77</a></td> + <td > <a href="#A_SPRING_DITTY">In the spring </a></td> + <td > Veris dulcis</td><td class="tocpg"> ..</td> + <td class="tocpg"> 195</td></tr> +<tr><td ></td><td class="tocpg">19</td><td class="tocpg"> <a href="#Page_78">78</a></td> + <td > <a href="#LOVE-DOUBTS">With so sweet </a></td> + <td > De pollicito</td><td class="tocpg"> 103</td> + <td class="tocpg"> 206</td></tr> +<tr><td ></td><td class="tocpg">20</td><td class="tocpg"> <a href="#Page_79">79</a></td> + + <td > <a href="#THE_VILLAGE_DANCE">Wide the lime-tree </a></td> + <td > Late pandit </td><td class="tocpg"> ..</td> + <td class="tocpg"> 185</td></tr> +<tr><td ></td><td class="tocpg">21</td><td class="tocpg"> <a href="#Page_80">80</a></td> + <td > <a href="#LOVE_AMONG_THE_MAIDENS">Yonder choir of </a></td> + <td > Ecce chorus </td><td class="tocpg"> ..</td> + <td class="tocpg"> 118</td></tr> +<tr><td ></td><td class="tocpg">22</td><td class="tocpg"> <a href="#Page_82">82</a></td> + <td > <a href="#AT_THE_VILLAGE_DANCE">Meadows bloom </a></td> + <td > Virent prata</td><td class="tocpg"> 98</td> + <td class="tocpg"> 189</td></tr> +<tr><td ></td><td class="tocpg">23</td><td class="tocpg"> <a href="#Page_84">84</a></td> + <td > <a href="#INVITATION_TO_THE_DANCE">Cast aside </a></td> + <td > Omittamus studia</td><td class="tocpg"> 82</td> + <td class="tocpg"> 137</td></tr> +<tr><td ></td><td class="tocpg">24</td><td class="tocpg"> <a href="#Page_87">87</a></td> + <td > <a href="#A_PASTORAL">There went out </a></td> + <td > Exiit diluculo </td><td class="tocpg"> 120</td> + <td class="tocpg"> 155</td></tr> +<tr><td ></td><td class="tocpg">25</td><td class="tocpg"> <a href="#Page_87">87</a></td> + <td > <a href="#THE_MULBERRY-GATHERER">In the summer's </a></td> + <td > Aestivali sub</td><td class="tocpg"> 125</td> + <td class="tocpg"> 145</td></tr> +<tr><td ></td><td class="tocpg">26</td><td class="tocpg"> <a href="#Page_89">89</a></td> + <td > <a href="#THE_WOOING">All the woods </a></td> + <td > Florent omnes</td><td class="tocpg"> 93</td> + <td class="tocpg"> 182</td></tr> +<tr><td ></td><td class="tocpg">27</td><td class="tocpg"> <a href="#Page_91">91</a></td> + <td > <a href="#A_DESCANT_UPON_SLEEP_AND_LOVE">When the lamp </a></td> + <td > Dum Dianae </td><td class="tocpg"> ..</td> + <td class="tocpg"> 124</td></tr> +<tr><td ></td><td class="tocpg">28</td><td class="tocpg"> <a href="#Page_95">95</a></td> + <td > <a href="#FLORA_AND_PHYLLIS">In the spring-time</a> </td> + <td > Anni parte </td><td class="tocpg"> ..</td> + <td class="tocpg"> 155</td></tr> +<tr><td ></td><td class="tocpg">29</td><td class="tocpg"> <a href="#Page_99">99</a></td> + <td > <a href="#FLORA_AND_PHYLLIS_1">On their steeds </a></td> + <td > Equitabant </td><td class="tocpg"> ..</td> + <td class="tocpg"> 162</td></tr> +<tr><td ></td><td class="tocpg">30</td><td class="tocpg"><a href="#Page_106">106</a></td> + <td ><a href="#FLOS_FLORAE"> Take thou </a></td> + <td > Suscipe Flos</td><td class="tocpg"> ..</td> + <td class="tocpg"> 217</td></tr> +<tr><td ></td><td class="tocpg">31</td><td class="tocpg"><a href="#Page_107">107</a></td> + <td > <a href="#A_BIRDS_SONG_OF_LOVE">Come to me </a></td> + <td > Veni veni </td><td class="tocpg"> 102</td> + <td class="tocpg"> 208</td></tr> +<tr><td ></td><td class="tocpg">32</td><td class="tocpg"><a href="#Page_109">109</a></td> + <td > <a href="#TO_LYDIA">Lydia bright </a></td> + <td > Lydia bella </td><td class="tocpg"> 96</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">33</td><td class="tocpg"><a href="#Page_111">111</a></td> + <td > <a href="#A_POEM_OF_PRIVACY">When a young man</a></td> + <td > Si puer cum </td><td class="tocpg"> 116</td> + <td class="tocpg"> 215</td></tr> +<tr><td ></td><td class="tocpg">34</td><td class="tocpg"><a href="#Page_112">112</a></td> + <td > <a href="#FLORA">Rudely blows </a></td> + <td > Saevit aurae</td><td class="tocpg"> ..</td> + <td class="tocpg"> 148</td></tr> +<tr><td ></td><td class="tocpg">35</td><td class="tocpg"><a href="#Page_114">114</a></td> + <td > <a href="#THE_LOVERS_MONOLOGUE">Love rules</a> </td> + <td > Amor tenet </td><td class="tocpg"> 91</td> + <td class="tocpg"> 150</td></tr> +<tr><td ></td><td class="tocpg">36</td><td class="tocpg"><a href="#Page_117">117</a></td> + <td > <a href="#THE_INVITATION_TO_LOVE">List, my girl </a></td> + <td > Non contrecto</td><td class="tocpg"> 118</td> + <td class="tocpg"> 150</td></tr> +<tr><td ></td><td class="tocpg">37</td><td class="tocpg"><a href="#Page_118">118</a></td> + <td > <a href="#PHYLLIS">Think no evil </a></td> + <td > Ludo cum </td><td class="tocpg"> 104</td> + <td class="tocpg"> 151</td></tr> +<tr><td ></td><td class="tocpg">38</td><td class="tocpg"><a href="#Page_120">120</a></td> + <td > <a href="#LOVE_LONGINGS">With song I </a></td> + <td > Sic mea fata</td><td class="tocpg"> 117</td> + <td class="tocpg"> 229</td></tr> +<tr><td ></td><td class="tocpg">39</td><td class="tocpg"><a href="#Page_121">121</a></td> + <td > <a href="#THE_LOVERS_VOW">False the tongue</a></td> + <td > Lingua mendax</td><td class="tocpg"> 111</td> + <td class="tocpg"> 230</td></tr> +<tr><td ></td><td class="tocpg">40</td><td class="tocpg"><a href="#Page_124">124</a></td> + <td > <a href="#FAREWELL_TO_THE_FAITHLESS">A mortal anguish</a></td> + <td > Humor letalis</td><td class="tocpg"> 114</td> + <td class="tocpg"> 169</td></tr> +<tr><td ></td><td class="tocpg">41</td><td class="tocpg"><a href="#Page_127">127</a></td> + <td > <a href="#GRETCHEN">Up to this time </a></td> + <td > Huc usque </td><td class="tocpg"> 119</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">42</td><td class="tocpg"><a href="#Page_129">129</a></td> + <td > <a href="#ADIEU_TO_THE_VALLEY">Oh, of love </a></td> + <td > O comes </td><td class="tocpg"> ..</td> + <td class="tocpg"> 225</td></tr> +<tr><td ></td><td class="tocpg">43</td><td class="tocpg"><a href="#Page_130">130</a></td> + <td > <a href="#THE_LOVERS_PARTING">Sweet native </a></td> + <td > Dulce solum </td><td class="tocpg"> 110</td> + <td class="tocpg"> 168</td></tr> +<tr><td ></td><td class="tocpg">44</td><td class="tocpg"><a href="#Page_132">132</a></td> + <td > <a href="#IN_ARTICULO_MORTIS">Oh, my father </a></td> + <td > Hecs pater </td><td class="tocpg"> 175</td> + <td class="tocpg"> 172</td></tr> +<tr><td class="tocpg"></td><td class="tocpg">45</td><td class="tocpg"><a href="#Page_136">136</a></td> + <td > <a href="#A_SEQUENCE_IN_PRAISE_OF_WINE">Wine the good </a></td> + <td > Vinum bonum </td><td class="tocpg"> 17</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">46</td><td class="tocpg"><a href="#Page_137">137</a></td> + <td > <a href="#A_CAROL_OF_WINE">In dulci jubilo </a></td> + <td > In dulci jubilo </td><td class="tocpg"> 201</td> + <td class="tocpg"> ..</td></tr> +<tr><td ><a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></td><td class="tocpg">47</td><td class="tocpg"><a href="#Page_139">139</a></td> + <td > <a href="#THE_STUDENTS_WINE-BOUT">Ho all ye</a></td> + <td > ....</td><td class="tocpg"> ..</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">48</td><td class="tocpg"><a href="#Page_140">140</a></td> + <td > <a href="#TIMES_A-FLYING">Laurel-crowned </a></td> + <td > Lauriger Horatius</td><td class="tocpg"> 74</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">49</td><td class="tocpg"><a href="#Page_141">141</a></td> + <td > <a href="#THERES_NO_LUST_LIKE_TO_POETRY">Sweet in</a> </td> + <td > Dulce cum </td><td class="tocpg"> 74</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">50</td><td class="tocpg"><a href="#Page_142">142</a></td> + <td > <a href="#WINE_AND_VENUS">Ho! comrades </a></td> + <td > O consacii </td><td class="tocpg"> 87</td> + <td class="tocpg"> 198</td></tr> +<tr><td ></td><td class="tocpg">51</td><td class="tocpg"><a href="#Page_144">144</a></td> + <td > <a href="#THE_CONTEST_OF_WINE_AND_WATER">Laying truth bare</a></td> + <td > Denudata </td><td class="tocpg"> 57</td> + <td class="tocpg"> 232</td></tr> +<tr><td ></td><td class="tocpg">52</td><td class="tocpg"><a href="#Page_151">151</a></td> + <td > <a href="#BACCHIC_FRENZY">Topers in and </a></td> + <td > Potatores </td><td class="tocpg"> 27</td> + <td class="tocpg"> 240</td></tr> +<tr><td ></td><td class="tocpg">53</td><td class="tocpg"><a href="#Page_154">154</a></td> + <td > <a href="#THE_LAMENT_OF_THE_ROAST_SWAN">Time was </a></td> + <td > Olim latus </td><td class="tocpg"> 188</td> + <td class="tocpg"> 173</td></tr> +<tr><td ></td><td class="tocpg">54</td><td class="tocpg"><a href="#Page_155">155</a></td> + <td > <a href="#THE_WILL_OF_THE_DYING_ASS">While a boor </a></td> + <td > Rusticus dum</td><td class="tocpg"> 189</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">55</td><td class="tocpg"><a href="#Page_158">158</a></td> + <td > <a href="#THE_ABBOT_OF_COCKAIGNE">I am the Abbot </a></td> + <td > Ego sum Abbas</td><td class="tocpg"> 73</td> + <td class="tocpg"> 254</td></tr> +<tr><td ><a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></td><td class="tocpg">56</td><td class="tocpg"><a href="#Page_159">159</a></td> + <td > <a href="#DEATH_TAKES_ALL">Hear, O thou</a></td> + <td > Audi Tellus</td><td class="tocpg"> ..</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">57</td><td class="tocpg"><a href="#Page_161">161</a></td> + <td > <a href="#AUTUMN_YEARS">While life's </a></td> + <td > Dum juventus</td><td class="tocpg"> 135</td> + <td class="tocpg"> 8</td></tr> +<tr><td ></td><td class="tocpg">58</td><td class="tocpg"><a href="#Page_162">162</a></td> + <td > <a href="#VANITAS_VANITATUM">This vile world </a></td> + <td > Iste mundus </td><td class="tocpg"> ..</td> + <td class="tocpg"> 5</td></tr> +<tr><td ></td><td class="tocpg">59</td><td class="tocpg"><a href="#Page_164">164</a></td> + <td > <a href="#ON_CONTEMPT_FOR_THE_WORLD">De contemptu </a></td> + <td > Scribere proposni</td><td class="tocpg"> 129</td> + <td class="tocpg"> ..</td></tr> +<tr><td ></td><td class="tocpg">60</td><td class="tocpg"><a href="#Page_165">165</a></td> + <td > <a href="#GAUDEAMUS_IGITUR">Let us live then</a></td> + <td > Gaudeamus igitur</td><td class="tocpg"> 1</td> + <td class="tocpg"> ..</td></tr> +</table> +<p> </p> +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> The original of this song will be found in Geiger, +<i>Humanismus und Renaissance</i>, p. 414.</p></div> + +<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> The original will be found in Moll, <i>Hymnarium</i>, p. +138.</p></div> + +</div> + + + + + + + +<pre> 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