1The names of some of the most famousimprovisatori, orCoblacaris, as they are called in Basque, have been preserved: Fernando Amezquetarra, in the Spanish Provinces; and Pierre TopetditEtchehun, and Bernard Mardo of Barcus, in the French Pays Basque.2An exception is occasionally made in the case of the “Satans,” as the part is almost too fatiguing for girls.3This little wand plays an important part of its own. In many of its uses it resembles the Caduceus of Mercury; a touch from it renders invisible, puts to death, or restores to life at the will of the Satanic possessor. It appears also as given to the hero in many of the “Legends;”cf.pp. 34, 35, above.4An account of the acting of Richard Sans Peur, at Larrau, in June 1864, is given inMacmillan’s Magazine, January, 1865.5Cf.Legends above, p. 151.6This MS. was kindly lent by M. J. Vinson, to whom we have been so often indebted.7Ercilla, the author of the “Araucana,” was however of Basque blood, and Basque names occur frequently among the poets and dramatists of Spain, especially in recent years.8The claim put forth in the “Revista Euskara,” p. 61, April, 1878, may be fully conceded:—”Si; éste es el carácter distintivo de la poesía euskara; su exquisita moralidad. Jamás se encuentra en ella nada que se parezca, ni á una apología del vicio, ni á una excusa del crimen.”9“Cancionero Vasco, acompañado de traducciones castellanas, juicios criticos,” etc., por José Manterola. San Sebastian. 1877–8. Serie I., 2, p. 39.10The reader will remark that there is really no authority for treating these words as proper names. This, however, is the universal interpretation among Basques.11Ibargüen’s words after quoting the song are: “Por este órden referidas yba este cantar contando toda esta historia que habemos dicho atrás en este capítulo de las guerras ceviles que en cinco años Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y aunque esta hereciat (historical song) tenga otros muy muchos versos rodados tan solamente dellos he tomado los diez e seis primeros, porque los demas estaban carcomidos, y los pongo aquí para el que fuere bascongado, contentándome con solo ellos ebitando largueza importuna de los demás, que el pergamino está muy roñoso e viejo,” cited in the “Cancionero Vasco,” 2, iii., pp. 4, 5.12Cf.Alexandre Dihinx in theImpartialde Bayonne, in 1873. These articles have been reprinted by M. J. Vinson inL’Avenirde Bayonne, May, 1878.13“The master of the house,” the usual respectful address to a Basque proprietor of any rank. His wife is “Etcheco Anderea,” “The mistress of the house.”14Altabiscar is the mountain on the East, Ibañeta that on the West of the supposed scene of conflict.15Of course it ought to be “vultures.” The Basque is distinctly “eagles;” an error which no Basque shepherd could have made.16The use of rocks “is confirmed by the Basque ballad of Altabiscar, in which, however, there is no allusion to the powerful inducement of booty.”17There are other examples of similar mystification in later Basque literature. “Les Échos du Pas de Roland,” par J. B. Dasconaguerre, Bayonne, 1868, professes on the title to be “traduit du Basque”; but the “Atheko-gaitzeko Oiharzunak” (the echoes of the bad door or pass), Bayonan, 1870, is really a translation from theFrench. To the Basques the name of Roland is unknown in connection with this beautiful ravine. M. Fr. Michel’s “Le Romancero du Pays Basque,” Didot, Paris, 1859, is scarcely less an embroidery on themes of which the ground only is Basque.18Cf.lorea, from the Latinflos flore.19An exact reprint of Echepare’s “Poems,” edited by M. Vinson, was published by Cazals, Bayonne, 1874.20The most curious fact to notice in these hymns is, how very soon after their death the Jesuit Fathers, Ignatius de Loyola and François de Xavier, were celebrated and addressed as saints in Basque verse.21This song is prettily translated in Miss Costello’s “Béarn and the Pyrénées,” London, 1844, where are also translations of some other Basque songs, the originals of which I have failed to trace.1.Borne on thy wings amidst the air,Sweet bird, where wilt thou go?For if thou wouldst to Spain repair,The ports are filled with snow.Wait, and we will fly together,When the Spring brings sunny weather.2.St. Joseph’s Hermitage is lone,Amidst the desert bare,And when we on our way are gone,Awhile we’ll rest us there;As we pursue our mountain track,Shall we not sigh as we look back?3.Go to my love, oh! gentle sigh,And near her chamber hover nigh;Glide to her heart, make that thy shrine,As she is fondly kept in mine.Then thou may’st tell her it is IWho sent thee to her, gentle sigh!22For the most recent theory on the Cagots, see “Les Parias de France et de l’Espagne,” par M. de Rochas (Hachette, Paris, 1876).23More often the Cagots’ ears were said to be either completely round or with very long lobes, or with the lobes adhering. We have found examples of all of these in the Basque country, but not confined or peculiar to the Cagots. A case like that described in the verse above we have never seen.24Michel, “Le Pays Basque,” p. 352.25Michel, “Le Pays Basque,” p. 414.26I owe the MS. of this song to the kindness of M. Achille Fouquier, author, sportsman, and artist.27A line has dropped out of the MS. here. We supply the probable meaning. The composer is one P. Mendibel, 1859.28Taken down by M. J. Vinson, February 21, 1874.Cf.“Proverbes du Pays de Béarn,” par V. Lespy (Montpellier, 1876), p. 84, for another song on “Little Peter” in Gascoun.29Cf.Fr. Michel, “Le Pays Basque,” p. 260. “Cancionero Vasco,” Series 2, iii., 82, etc.30From the MS. of M. A. Fouquier. This song took the prize at Urrugne, 1858.31The latest traveller in the Basque countries corroborates this. Major Campion writes, “I had no idea how fine were the old Basque songs, or, more correctly speaking, chants; some of them being perfectly charming.”—“On Foot in Spain,” by J. S. Campion, p. 73. (Chapman and Hall, 1879.)32These are to be obtained chez Ribaut, Pau, and the other booksellers at Biarritz and Pau.
1The names of some of the most famousimprovisatori, orCoblacaris, as they are called in Basque, have been preserved: Fernando Amezquetarra, in the Spanish Provinces; and Pierre TopetditEtchehun, and Bernard Mardo of Barcus, in the French Pays Basque.2An exception is occasionally made in the case of the “Satans,” as the part is almost too fatiguing for girls.3This little wand plays an important part of its own. In many of its uses it resembles the Caduceus of Mercury; a touch from it renders invisible, puts to death, or restores to life at the will of the Satanic possessor. It appears also as given to the hero in many of the “Legends;”cf.pp. 34, 35, above.4An account of the acting of Richard Sans Peur, at Larrau, in June 1864, is given inMacmillan’s Magazine, January, 1865.5Cf.Legends above, p. 151.6This MS. was kindly lent by M. J. Vinson, to whom we have been so often indebted.7Ercilla, the author of the “Araucana,” was however of Basque blood, and Basque names occur frequently among the poets and dramatists of Spain, especially in recent years.8The claim put forth in the “Revista Euskara,” p. 61, April, 1878, may be fully conceded:—”Si; éste es el carácter distintivo de la poesía euskara; su exquisita moralidad. Jamás se encuentra en ella nada que se parezca, ni á una apología del vicio, ni á una excusa del crimen.”9“Cancionero Vasco, acompañado de traducciones castellanas, juicios criticos,” etc., por José Manterola. San Sebastian. 1877–8. Serie I., 2, p. 39.10The reader will remark that there is really no authority for treating these words as proper names. This, however, is the universal interpretation among Basques.11Ibargüen’s words after quoting the song are: “Por este órden referidas yba este cantar contando toda esta historia que habemos dicho atrás en este capítulo de las guerras ceviles que en cinco años Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y aunque esta hereciat (historical song) tenga otros muy muchos versos rodados tan solamente dellos he tomado los diez e seis primeros, porque los demas estaban carcomidos, y los pongo aquí para el que fuere bascongado, contentándome con solo ellos ebitando largueza importuna de los demás, que el pergamino está muy roñoso e viejo,” cited in the “Cancionero Vasco,” 2, iii., pp. 4, 5.12Cf.Alexandre Dihinx in theImpartialde Bayonne, in 1873. These articles have been reprinted by M. J. Vinson inL’Avenirde Bayonne, May, 1878.13“The master of the house,” the usual respectful address to a Basque proprietor of any rank. His wife is “Etcheco Anderea,” “The mistress of the house.”14Altabiscar is the mountain on the East, Ibañeta that on the West of the supposed scene of conflict.15Of course it ought to be “vultures.” The Basque is distinctly “eagles;” an error which no Basque shepherd could have made.16The use of rocks “is confirmed by the Basque ballad of Altabiscar, in which, however, there is no allusion to the powerful inducement of booty.”17There are other examples of similar mystification in later Basque literature. “Les Échos du Pas de Roland,” par J. B. Dasconaguerre, Bayonne, 1868, professes on the title to be “traduit du Basque”; but the “Atheko-gaitzeko Oiharzunak” (the echoes of the bad door or pass), Bayonan, 1870, is really a translation from theFrench. To the Basques the name of Roland is unknown in connection with this beautiful ravine. M. Fr. Michel’s “Le Romancero du Pays Basque,” Didot, Paris, 1859, is scarcely less an embroidery on themes of which the ground only is Basque.18Cf.lorea, from the Latinflos flore.19An exact reprint of Echepare’s “Poems,” edited by M. Vinson, was published by Cazals, Bayonne, 1874.20The most curious fact to notice in these hymns is, how very soon after their death the Jesuit Fathers, Ignatius de Loyola and François de Xavier, were celebrated and addressed as saints in Basque verse.21This song is prettily translated in Miss Costello’s “Béarn and the Pyrénées,” London, 1844, where are also translations of some other Basque songs, the originals of which I have failed to trace.1.Borne on thy wings amidst the air,Sweet bird, where wilt thou go?For if thou wouldst to Spain repair,The ports are filled with snow.Wait, and we will fly together,When the Spring brings sunny weather.2.St. Joseph’s Hermitage is lone,Amidst the desert bare,And when we on our way are gone,Awhile we’ll rest us there;As we pursue our mountain track,Shall we not sigh as we look back?3.Go to my love, oh! gentle sigh,And near her chamber hover nigh;Glide to her heart, make that thy shrine,As she is fondly kept in mine.Then thou may’st tell her it is IWho sent thee to her, gentle sigh!22For the most recent theory on the Cagots, see “Les Parias de France et de l’Espagne,” par M. de Rochas (Hachette, Paris, 1876).23More often the Cagots’ ears were said to be either completely round or with very long lobes, or with the lobes adhering. We have found examples of all of these in the Basque country, but not confined or peculiar to the Cagots. A case like that described in the verse above we have never seen.24Michel, “Le Pays Basque,” p. 352.25Michel, “Le Pays Basque,” p. 414.26I owe the MS. of this song to the kindness of M. Achille Fouquier, author, sportsman, and artist.27A line has dropped out of the MS. here. We supply the probable meaning. The composer is one P. Mendibel, 1859.28Taken down by M. J. Vinson, February 21, 1874.Cf.“Proverbes du Pays de Béarn,” par V. Lespy (Montpellier, 1876), p. 84, for another song on “Little Peter” in Gascoun.29Cf.Fr. Michel, “Le Pays Basque,” p. 260. “Cancionero Vasco,” Series 2, iii., 82, etc.30From the MS. of M. A. Fouquier. This song took the prize at Urrugne, 1858.31The latest traveller in the Basque countries corroborates this. Major Campion writes, “I had no idea how fine were the old Basque songs, or, more correctly speaking, chants; some of them being perfectly charming.”—“On Foot in Spain,” by J. S. Campion, p. 73. (Chapman and Hall, 1879.)32These are to be obtained chez Ribaut, Pau, and the other booksellers at Biarritz and Pau.
1The names of some of the most famousimprovisatori, orCoblacaris, as they are called in Basque, have been preserved: Fernando Amezquetarra, in the Spanish Provinces; and Pierre TopetditEtchehun, and Bernard Mardo of Barcus, in the French Pays Basque.2An exception is occasionally made in the case of the “Satans,” as the part is almost too fatiguing for girls.3This little wand plays an important part of its own. In many of its uses it resembles the Caduceus of Mercury; a touch from it renders invisible, puts to death, or restores to life at the will of the Satanic possessor. It appears also as given to the hero in many of the “Legends;”cf.pp. 34, 35, above.4An account of the acting of Richard Sans Peur, at Larrau, in June 1864, is given inMacmillan’s Magazine, January, 1865.5Cf.Legends above, p. 151.6This MS. was kindly lent by M. J. Vinson, to whom we have been so often indebted.7Ercilla, the author of the “Araucana,” was however of Basque blood, and Basque names occur frequently among the poets and dramatists of Spain, especially in recent years.8The claim put forth in the “Revista Euskara,” p. 61, April, 1878, may be fully conceded:—”Si; éste es el carácter distintivo de la poesía euskara; su exquisita moralidad. Jamás se encuentra en ella nada que se parezca, ni á una apología del vicio, ni á una excusa del crimen.”9“Cancionero Vasco, acompañado de traducciones castellanas, juicios criticos,” etc., por José Manterola. San Sebastian. 1877–8. Serie I., 2, p. 39.10The reader will remark that there is really no authority for treating these words as proper names. This, however, is the universal interpretation among Basques.11Ibargüen’s words after quoting the song are: “Por este órden referidas yba este cantar contando toda esta historia que habemos dicho atrás en este capítulo de las guerras ceviles que en cinco años Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y aunque esta hereciat (historical song) tenga otros muy muchos versos rodados tan solamente dellos he tomado los diez e seis primeros, porque los demas estaban carcomidos, y los pongo aquí para el que fuere bascongado, contentándome con solo ellos ebitando largueza importuna de los demás, que el pergamino está muy roñoso e viejo,” cited in the “Cancionero Vasco,” 2, iii., pp. 4, 5.12Cf.Alexandre Dihinx in theImpartialde Bayonne, in 1873. These articles have been reprinted by M. J. Vinson inL’Avenirde Bayonne, May, 1878.13“The master of the house,” the usual respectful address to a Basque proprietor of any rank. His wife is “Etcheco Anderea,” “The mistress of the house.”14Altabiscar is the mountain on the East, Ibañeta that on the West of the supposed scene of conflict.15Of course it ought to be “vultures.” The Basque is distinctly “eagles;” an error which no Basque shepherd could have made.16The use of rocks “is confirmed by the Basque ballad of Altabiscar, in which, however, there is no allusion to the powerful inducement of booty.”17There are other examples of similar mystification in later Basque literature. “Les Échos du Pas de Roland,” par J. B. Dasconaguerre, Bayonne, 1868, professes on the title to be “traduit du Basque”; but the “Atheko-gaitzeko Oiharzunak” (the echoes of the bad door or pass), Bayonan, 1870, is really a translation from theFrench. To the Basques the name of Roland is unknown in connection with this beautiful ravine. M. Fr. Michel’s “Le Romancero du Pays Basque,” Didot, Paris, 1859, is scarcely less an embroidery on themes of which the ground only is Basque.18Cf.lorea, from the Latinflos flore.19An exact reprint of Echepare’s “Poems,” edited by M. Vinson, was published by Cazals, Bayonne, 1874.20The most curious fact to notice in these hymns is, how very soon after their death the Jesuit Fathers, Ignatius de Loyola and François de Xavier, were celebrated and addressed as saints in Basque verse.21This song is prettily translated in Miss Costello’s “Béarn and the Pyrénées,” London, 1844, where are also translations of some other Basque songs, the originals of which I have failed to trace.1.Borne on thy wings amidst the air,Sweet bird, where wilt thou go?For if thou wouldst to Spain repair,The ports are filled with snow.Wait, and we will fly together,When the Spring brings sunny weather.2.St. Joseph’s Hermitage is lone,Amidst the desert bare,And when we on our way are gone,Awhile we’ll rest us there;As we pursue our mountain track,Shall we not sigh as we look back?3.Go to my love, oh! gentle sigh,And near her chamber hover nigh;Glide to her heart, make that thy shrine,As she is fondly kept in mine.Then thou may’st tell her it is IWho sent thee to her, gentle sigh!22For the most recent theory on the Cagots, see “Les Parias de France et de l’Espagne,” par M. de Rochas (Hachette, Paris, 1876).23More often the Cagots’ ears were said to be either completely round or with very long lobes, or with the lobes adhering. We have found examples of all of these in the Basque country, but not confined or peculiar to the Cagots. A case like that described in the verse above we have never seen.24Michel, “Le Pays Basque,” p. 352.25Michel, “Le Pays Basque,” p. 414.26I owe the MS. of this song to the kindness of M. Achille Fouquier, author, sportsman, and artist.27A line has dropped out of the MS. here. We supply the probable meaning. The composer is one P. Mendibel, 1859.28Taken down by M. J. Vinson, February 21, 1874.Cf.“Proverbes du Pays de Béarn,” par V. Lespy (Montpellier, 1876), p. 84, for another song on “Little Peter” in Gascoun.29Cf.Fr. Michel, “Le Pays Basque,” p. 260. “Cancionero Vasco,” Series 2, iii., 82, etc.30From the MS. of M. A. Fouquier. This song took the prize at Urrugne, 1858.31The latest traveller in the Basque countries corroborates this. Major Campion writes, “I had no idea how fine were the old Basque songs, or, more correctly speaking, chants; some of them being perfectly charming.”—“On Foot in Spain,” by J. S. Campion, p. 73. (Chapman and Hall, 1879.)32These are to be obtained chez Ribaut, Pau, and the other booksellers at Biarritz and Pau.
1The names of some of the most famousimprovisatori, orCoblacaris, as they are called in Basque, have been preserved: Fernando Amezquetarra, in the Spanish Provinces; and Pierre TopetditEtchehun, and Bernard Mardo of Barcus, in the French Pays Basque.
2An exception is occasionally made in the case of the “Satans,” as the part is almost too fatiguing for girls.
3This little wand plays an important part of its own. In many of its uses it resembles the Caduceus of Mercury; a touch from it renders invisible, puts to death, or restores to life at the will of the Satanic possessor. It appears also as given to the hero in many of the “Legends;”cf.pp. 34, 35, above.
4An account of the acting of Richard Sans Peur, at Larrau, in June 1864, is given inMacmillan’s Magazine, January, 1865.
5Cf.Legends above, p. 151.
6This MS. was kindly lent by M. J. Vinson, to whom we have been so often indebted.
7Ercilla, the author of the “Araucana,” was however of Basque blood, and Basque names occur frequently among the poets and dramatists of Spain, especially in recent years.
8The claim put forth in the “Revista Euskara,” p. 61, April, 1878, may be fully conceded:—”Si; éste es el carácter distintivo de la poesía euskara; su exquisita moralidad. Jamás se encuentra en ella nada que se parezca, ni á una apología del vicio, ni á una excusa del crimen.”
9“Cancionero Vasco, acompañado de traducciones castellanas, juicios criticos,” etc., por José Manterola. San Sebastian. 1877–8. Serie I., 2, p. 39.
10The reader will remark that there is really no authority for treating these words as proper names. This, however, is the universal interpretation among Basques.
11Ibargüen’s words after quoting the song are: “Por este órden referidas yba este cantar contando toda esta historia que habemos dicho atrás en este capítulo de las guerras ceviles que en cinco años Octaviano Cesar Augusto hizo en esta Provincia Cantábrica, y aunque esta hereciat (historical song) tenga otros muy muchos versos rodados tan solamente dellos he tomado los diez e seis primeros, porque los demas estaban carcomidos, y los pongo aquí para el que fuere bascongado, contentándome con solo ellos ebitando largueza importuna de los demás, que el pergamino está muy roñoso e viejo,” cited in the “Cancionero Vasco,” 2, iii., pp. 4, 5.
12Cf.Alexandre Dihinx in theImpartialde Bayonne, in 1873. These articles have been reprinted by M. J. Vinson inL’Avenirde Bayonne, May, 1878.
13“The master of the house,” the usual respectful address to a Basque proprietor of any rank. His wife is “Etcheco Anderea,” “The mistress of the house.”
14Altabiscar is the mountain on the East, Ibañeta that on the West of the supposed scene of conflict.
15Of course it ought to be “vultures.” The Basque is distinctly “eagles;” an error which no Basque shepherd could have made.
16The use of rocks “is confirmed by the Basque ballad of Altabiscar, in which, however, there is no allusion to the powerful inducement of booty.”
17There are other examples of similar mystification in later Basque literature. “Les Échos du Pas de Roland,” par J. B. Dasconaguerre, Bayonne, 1868, professes on the title to be “traduit du Basque”; but the “Atheko-gaitzeko Oiharzunak” (the echoes of the bad door or pass), Bayonan, 1870, is really a translation from theFrench. To the Basques the name of Roland is unknown in connection with this beautiful ravine. M. Fr. Michel’s “Le Romancero du Pays Basque,” Didot, Paris, 1859, is scarcely less an embroidery on themes of which the ground only is Basque.
18Cf.lorea, from the Latinflos flore.
19An exact reprint of Echepare’s “Poems,” edited by M. Vinson, was published by Cazals, Bayonne, 1874.
20The most curious fact to notice in these hymns is, how very soon after their death the Jesuit Fathers, Ignatius de Loyola and François de Xavier, were celebrated and addressed as saints in Basque verse.
21This song is prettily translated in Miss Costello’s “Béarn and the Pyrénées,” London, 1844, where are also translations of some other Basque songs, the originals of which I have failed to trace.
1.Borne on thy wings amidst the air,Sweet bird, where wilt thou go?For if thou wouldst to Spain repair,The ports are filled with snow.Wait, and we will fly together,When the Spring brings sunny weather.
Borne on thy wings amidst the air,
Sweet bird, where wilt thou go?
For if thou wouldst to Spain repair,
The ports are filled with snow.
Wait, and we will fly together,
When the Spring brings sunny weather.
2.St. Joseph’s Hermitage is lone,Amidst the desert bare,And when we on our way are gone,Awhile we’ll rest us there;As we pursue our mountain track,Shall we not sigh as we look back?
St. Joseph’s Hermitage is lone,
Amidst the desert bare,
And when we on our way are gone,
Awhile we’ll rest us there;
As we pursue our mountain track,
Shall we not sigh as we look back?
3.Go to my love, oh! gentle sigh,And near her chamber hover nigh;Glide to her heart, make that thy shrine,As she is fondly kept in mine.Then thou may’st tell her it is IWho sent thee to her, gentle sigh!
Go to my love, oh! gentle sigh,
And near her chamber hover nigh;
Glide to her heart, make that thy shrine,
As she is fondly kept in mine.
Then thou may’st tell her it is I
Who sent thee to her, gentle sigh!
22For the most recent theory on the Cagots, see “Les Parias de France et de l’Espagne,” par M. de Rochas (Hachette, Paris, 1876).
23More often the Cagots’ ears were said to be either completely round or with very long lobes, or with the lobes adhering. We have found examples of all of these in the Basque country, but not confined or peculiar to the Cagots. A case like that described in the verse above we have never seen.
24Michel, “Le Pays Basque,” p. 352.
25Michel, “Le Pays Basque,” p. 414.
26I owe the MS. of this song to the kindness of M. Achille Fouquier, author, sportsman, and artist.
27A line has dropped out of the MS. here. We supply the probable meaning. The composer is one P. Mendibel, 1859.
28Taken down by M. J. Vinson, February 21, 1874.Cf.“Proverbes du Pays de Béarn,” par V. Lespy (Montpellier, 1876), p. 84, for another song on “Little Peter” in Gascoun.
29Cf.Fr. Michel, “Le Pays Basque,” p. 260. “Cancionero Vasco,” Series 2, iii., 82, etc.
30From the MS. of M. A. Fouquier. This song took the prize at Urrugne, 1858.
31The latest traveller in the Basque countries corroborates this. Major Campion writes, “I had no idea how fine were the old Basque songs, or, more correctly speaking, chants; some of them being perfectly charming.”—“On Foot in Spain,” by J. S. Campion, p. 73. (Chapman and Hall, 1879.)
32These are to be obtained chez Ribaut, Pau, and the other booksellers at Biarritz and Pau.