86 "et visu dignas urbanitates et cæteras ineptias, trutinantibus buc"cis in medium eructare non erubescunt. Vidimus quondam "quosdam principes, qui VESTES diu excogitatas, et variis florum picturationibus artificiosè elaboratas, pro quibus forsan 20 "vel. 30 marcas argenti consumpserant, vix revolutis septem "diebus, HISTRIONIBUS, ministris diaboli, ad primam vocem dedisse, &c." 46 The curious reader may find a similar, though at the same time a more candid account, in that most excellent writer, Presid. FAUCHET: (Recueil de la Lang. Fr. p. 73.) who says that, like the ancient Greek Ada, "Nos Trouverres, ainsi que ceux la, prenans leur subject sur les faits des vaillans (qu'ils appelloyent "Geste, venant de Gesta Latin) alloyent par les cours rejouir "les Princes. . . Remportans des grandes recompences des sei'gneurs, qui bien souvent leur donnoyent jusques aux ROBES qu'ils avoyent vestues et lesquelles ces Jugleours ne failloyent "de porter aux autres cours, fin d'inviter les seigneurs a pareille "liberalité. Ce qui a duré si longuement, qu'il ME SOUVIENT AVOIR VEU Martin Baraton (ja viel Menestrier d'Orleans) le"quel aux festes et nopces batoit un tabourin d'argent, semé des "plaques aussi d'argent, gravees des armoiries de ceux a qui il "avoit appris a DANSER." -Here we see that a Minstrell sometimes performed the function of a Dancing-master. Fontenelle even gives us to understand, that these men were often rewarded with favours of a still higher kind. "Les prin"cesses & les plus grandes dames y joignoient souvent leurs "faveurs. Elles etoient fort foibles contre les beaux esprits." (Hist. du Théat.) We are not to wonder then that this profession should be followed by men of the first quality, particularly the younger sons and brothers of great houses. "Tel qui par les partages de fa famille n'avoit que la moitié ou le quart d'une "vieux chateaux bien seigneurial, alloit quelque temps courir le "monde en rimant, et revenoit acquerir le reste de Chateau." (Fontenelle Hist. du Théat.) We see then, that there was no improbable fiction in those ancient songs and romances, which are founded on the story of Minstrels being beloved by kings daughters, &c. and discovering themselves to be the sons of some foreign prince, &c. (F) (F) The honours and rewards lavished upon the Minstrels were not confined to the continent. Our own countryman Johannes Sarisburiensis (in the time of Henry II.) declaims no less than the Monks abroad, against the extravagant favour shewn to these men. "Non enim more nugatorum ejus seculi in HISTRI"ONES et MIMOs, et hujusmodi monstra hominum, ob famæ redemptionem et dilatationem nominis effunditis opes vestras," &c. [Epist. 247 *.] The Monks seem to grudge every act of munificence that was not applied to the benefit of themselves and their convents. They therefore bestow great applauses upon the Emperor Henry, who, at his marriage with Agnes of Poictou, in 1044, disappointed the poor Minstrels, and sent them away empty. "Infinitam Histri ་་ "onum et Joculatorum multitudinem sine cibo et muneribus vacuam et mærentem abire permisit." (Chronic. Virtziburg.) For which I doubt not but he was sufficiently stigmatized in the Songs and Ballads of those times. Vid. Du Cange, Gloss. tom. iv. p. 771, &c. (G)" The annals of the Anglo-Saxons are scanty and defec"tive."] Of the few histories now remaining that were written before the Norman Conquest, almost all are such short and naked sketches and abridgements, giving only a concise and general relation of the more remarkable events, that scarce any of the minute circumstantial particulars are to be found in them: nor do they hardly ever descend to a description of the customs, manners, or domestic œconomy of their countrymen. The SAXON CHRO NICLE, for instance, which is the best of them, and upon some accounts extremely valuable, is almost such an epitome as Lucius Florus and Eutropius have left us of the Roman history. As for ETHELWARD, his book is judged to be an imperfect translation of the Saxon Chronicle † ; and the Pseudo-Asser, or Chronicle of St. Neot, is a poor defective performance. How absurd would it be then to argue against the existence of customs or facts, from the silence of such scanty records as these! Whoever would carry his VOL. I. *Et vid. Policraticon, cap. 8, &c. e researches researches deep into that period of history, might safely plead the excuse of a learned writer, who had particularly studied the AnteNorman historians. "Conjecturis (licet nusquam verisimili fun“damento) aliquoties indulgemus . . . utpote ab Historicis jejune "nimis et indiligenter res nostras tractantibus coacti ... Nostri "... nudâ factorum commemoratione plerumque contenti, res fiqua omnia, sive ob ipsarum rerum, sive meliorum literarum, "sive Historicorum officii ignorantiam, fere intacta prætereunt." Vide plura in Præfat. ad Ælfr. Vitam à Spelman. Ox. 1678. fol. (H) "Minstrels and Harpers."] That the HARP (Cithara) was the common musical instrument of the Anglo-Saxons, might be inferred from the very word itself, which is not derived from the British, or any other Celtic language, but of genuine Gothic original, and current among every branch of that people: viz. Ang. Sax. Heappe, Heappa. Iceland. Harpa, Haurpa. Dan. and Belg. Harpe. Germ. Harpffe, Harpffa. Gal. Harpe, Span. Harpa. Ital. Arpa. [Vid. Jun. Etym.-Menage Etym. &c.] As also from this, that the word Heappe is constantly used, in the Anglo-Saxon versions, to express the Latin words Cithara, Lyra, and even Cymbalum: the word Psalmus itself being sometimes translated Heapp rang, HARP SONG. [Gloss. Jun. R. apud Lye Anglo-Sax. Lexic.] But the fact itself is positively proved by the express testimony of Bede, who tells us that it was usual at festival meetings for this instrument to be handed round, and each of the company to sing to it in his turn. See his Hist. Eccles. Anglor. Lib. 4. c. 24. where speaking of their sacred poet Cadmon, who lived in the times of the Heptarchy (ob. circ. 680) he says: Nihil unquam frivoli et supervacui poematis facere potuit; "sed ea tantummodo, quæ ad religionem pertinent, religiosam "ejus linguam decebant. Siquidem in habitu sæculari, usque ad "tempora provectioris ætatis constitutus, nil Carminum aliquando "didicerat. Unde nonnunquam in convivio, cùm esset lætitiæ "causa decretum ut omnes per ordinem CANTARE deberent, ille "ubi appropinquare sibi CITHARAM cernebat, surgebat à mediâ "cænâ, et egressus, ad suam domum repedabat." I shall I shall now subjoin king ALFRED's Own Anglo-Saxon translation of this passage, with a literal interlineary English version. "He..næfɲe noht leasunga. ne ideles leodes pypcean ne mihte. He...never no leasings, nor idle songs compose ne might; ac efne da an da de ro æferrnesse belumpon. ↑ his ða but lo! only those things which to religion [piety] belong, and his then æfertan tungan gedarenode ringan: Wæs he re man in pious tongue became to sing: He was the [a] man in peopold - hade gesered oð ða tide de he pæs of gelyfedre worldly [secular] state set to the time in which he was of an advanced ÿldo. & he næfre ænig leoß geleornode. † he forþon oft in age; and he never any song learned. And he therefore OFT in zebeonscipe donne dær pæs blirre invinga zedomed an entertainment, when there was for merriment-sake adjudged (or dehi ealle rceoldan ðurh endebyrdnesse be heaɲpan creed that they ALL should through their turns by [to the] HARP fingan. Bonne he gereah a heappan him nealacean. donne SING; when he saw the HARP him approach, anar he fon rceome fram dam rymle. 7 ham code to hir arose he FOR SHAME from the supper, and home yode [went] to his hure." house. Bed. Hist. Eccl. a Smith. Cantab. 1722. fol. p. 597. then In this version of Alfred's it is observable, (1) that he has expressed the Latin word cantare, by the Anglo-Saxon words "be heaɲpan ringan," SING TO THE HARP; as if they were synonymous, or as if his countrymen had no idea of singing unaccompanied with the Harp: (2) That when Bede simply says, surgebat a mediâ cœnâ; he assigns a motive, “ aɲar for steome," AROSE FOR SHAME: that is, either from an austerity of manners, or from his being deficient in an accomplishment, which so generally prevailed among his countrymen. (I) "The word GLEE, which peculiarly denoted their art, &c."] This word GLEE is derived from the Anglo-Saxon Gligg, [Gligg] Musica, Music, Minstrelsy (Somn). This is the common radix, whence arises such a variety of terms and phrases relating to the Minstrel Art, as affords the strongest internal proof, that this profession was extremely common and popular here be fore the Norman Conquest. Thus we have I. (1) Glip, [Gliw] Mimus, a MINSTREL. Gligman, gligmon, gliman, [Glee-man *] Histrio, Mimus Pantomimus; all common names in Middle Latinity for a MINSTREL and Somner accordingly renders the original by a Minstrel; a Player on a Timbrel or Taber. He adds, a Fidler; but although the Fythel or Fiddle was an ancient instrument, by which the Jogelar or Minstrel sometimes accompanied his song, (see Warton, i. 17) it is probable that Somner annexes here only a modern sense to the word, not having at all investigated the subject. Glumen, glugmen. [Glee-men]. Histriones, MINSTRELS. Hence Filzmanna yppe. Orchestra vel Pulpitus. The place where the Minstrels exhibited their performances. (2) But their most proper and expressive name was Cliphleoppiend. Musicus, a Minsstrel; and Gliphleoppienolica. Musicus, MUSICAL. * GLEEMAN continued to be the name given to a Minstrel both in England and Scotland almost as long as this order of men continued. In DE BRUNNE's metrical version of Bishop Grosthead's Manuel de Peche, A. D. 1303. (See Warton, i. 61), we have this, -Gode men, ye shall lere "When ye any GLEMAN here." FABYAN (in his Chronicle, 1533. f. 32.) translating the passage from Geoffrey of Monmouth, quoted below in pag. lxxiv. Note (K) renders Deus JOCULATORUM, by God of GLEEMEN. (Warton's Hist. Eng. Poet. Diss I.) Fabyan died in 1592. DUNBAR, who lived in the same century, describing, in one of his poems, intituled, "The Daunce", what passed in the infernal regions "amaugis the Feyndis" says "Na Menstralls playit to thame, but dowt, "Be day and eke by nycht." See Poems from Bannatyne's MS. Edinb. 1770, 12mo. pag. 30. Maitland's MS. at Cambridge reads here, GLEWE MEN. These |