Wine, Women, and Song | Page 3

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 Carmina Burana 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.
Another important set of documents for the study of the subject are the three large works of Edelstand du M��ril 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 Commersbuch. Among these, one entitled Gaudeamus (Teubner, 2d edition, 1879) deserves honourable mention.
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.
In carrying out my plan, I shall confine myself principally, but not strictly, to the Carmina Burana. 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.
IV.
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 Confessions, and gifted with poetic inspiration in such hymns as the Dies Irae_ or the Stabat Mater_--rendered this new vehicle of literary utterance adequate to all the tasks imposed on it by piety and metaphysic. The language of the Confessions_ and the _Dies Irae 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. 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.
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 moduli--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 versus. Thus Walter of Lille, the author of a regular epic poem on Alexander, one of the best medieval writers of versus, celebrates his skill in the other department of popular poetry thus--
"Perstrepuit modulis Gallia tota meis."?(All France rang with my songs.)
We might compare the versus of the Middle Ages with the stiff sculptures on a Romanesque font, lifelessly reminiscent of decadent classical art; while the moduli, in their freshness, elasticity, and vigour of invention, resemble the floral scrolls, foliated cusps, and grotesque basreliefs of Gothic or Lombard architecture.
V.
Even in the half-light of what used to