Wine, Women, and Song | Page 7

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.
In the first place, Giraldus attributes the satiric poems 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.[13] 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 bona fide 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 nom de guerre instead of?stigmatising him openly in person.
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.
But what, it may be asked, if Walter of Lille, without 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.
FOOTNOTES:
[Footnote 6: See the drinking song printed in Walter Mapes, p. xlv., and Carm. Bur., pp. 198, 179.]
[Footnote 7: Carm. Bur., p. 249, note. There is a variation in the parody printed by Wright, Rel. Antiq., ii.]
[Footnote 8: See A.P. von B?rnstein's little volume, _Ubi sunt qui ante nos_, p. 46.]
[Footnote 9: See especially the songs Ordo Noster_ and Nos Vagabunduli_, translated below in Section xiii.]
[Footnote 10: See Wright's introduction to Walter Mapes.]
[Footnote 11: Ibid.]
[Footnote 12: Ibid.]
[Footnote 13: See Müldner, Die zehn Gedichte des Walther von Lille. 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.]
VIII.
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.
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 reason to believe that the Goliardi haunted abbeys and amused the leisure of ecclesiastical lords.
The personality of the writer disappears in nearly all the _Carmina Vagorum_. 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 Proven?al 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