Chapter 30

[Bb][A charter ... to appoint a king of the minstrels.] IntitledCarta Le Roy de ministraulx(in Latinhistrionesvid. Plott. p. 437.) A copy of this charter is printed inMonast.Anglic.i. 355, and in Blount'sLaw Diction.1717 (art. king).That this was a most respectable officer, both here and on the continent, will appear from the passages quoted below, and therefore it could only have been in modern times, when the proper meaning of the original termsministraulz, andhistrioneswas forgot, that he was called king of the fidlers; on which subject see below, note[Ee2].Concerning the king of the minstrels we have the following curious passages collected by Du Cange, Gloss. iv. 773:"Rex Ministellorum; supremus interministellos: de cujus munere, potestate in cæterosministellosagit Charta Henrici IV. Regis Angliæ inMonast. Anglicano, tom. i. p. 355. Charta originalis an. 1338. Je Robert Caveron Roy des Menestreuls du Royaume de France. Aliæ ann. 1357. & 1362. Copin de Brequin Roy des Menestres du Royaume de France. Computum de auxiliis pro redemptione Regis Johannis, ann. 1367. Pour une couronne d'argent qu'il donna le jour de la Tiphaine au roy des menestrels."Regestum Magnorum Dierum Trecensium an. 1296. Super quod Joannes dictus Charmillons Juglator, cui dominus Rex per suas literas tanquam Regem Juglatorum in civitate Trecensi Magisterium Juglatorum, quemadmodum suæ placeret voluntati, concesserat."Gloss.c. 1587.There is a very curious passage in Pasquier'sRecherches de laFrance, Paris, 1633, folio, liv. 7. ch. 5, p. 611, wherein he appears to be at a loss how to account for the title of Le Roy assumed by the old composers of metrical romances; in one of which the author expressly declares himself to have been a minstrel. The solution of the difficulty, that he had beenLe Roy des Menestrels, will be esteemed more probable than what Pasquier here advances; for I have never seen the title ofprincegiven to a minstrel, &c. scil.—"A nos vieux Poetes ... comme ... fust qu'ils eussent certain jeux de prix en leurs Poesies, ils ... honoroient du nome, tantot deroy, tantot de prince, celuy qui avoit le mieux faict comme nous voyons entre les archers, arbalestiers, & harquebusiers estre fait le semblable. Ainsi l'autheur du Roman d'Oger le Danois, s'appelle Roy."Icy endroict est cil Livre finezQui des enfans Oger est appellezOr vueille Diex qu'il soit parachevezEn tel maniere kestre n'en puist blamezLe Roy Adams (r. Adenes) ki il' est rimez."Et en celuy de Cleomades,"Ce Livre de CleomadesRimé-je le Roy AdenesMenestre au bon Duc Henry."Mot de Roy, qui seroit tres-mal approprié à un menestrier, si d'ailleurs on ne le rapportoit a un jeu du priz: Et de faict il semble que de nostre temps, il y en eust encores quelque remarques, en ce que le mot de jouingleur s'estant par succession de temps tourné en batelage nous avons veu en nostre jeunesse les Jouingleurs se trouver à certain jour tous les ans en la ville de Chauny en Picardie, pour faire monstre de leur mestrier devant le monde, à qui mieux. Et ce que j'en dis icy n'est pas pour vilipender ces anciens Rimeurs, ainsi pour monstrer qu'il n'y a chose si belle qui ne s'aneantisse avec le temps."We see here that in the time of Pasquier the poor minstrel was sunk into as low estimation in France, as he was then or afterwards in England: but by his apology for comparing the jouingleurs, who assembled to exercise their faculty, in his youth, to the ancient rimeurs, it is plain they exerted their skill in rhyme.As for kingAdenes, orAdenez(whose name in the first passage above is corruptly printedAdams), he is recorded in theBibliothèquedes Romans, Amst.1734, 12mo. vol. i. p. 232, to have composed the two romances in verse above-mentioned, and a third intitledLe Roman de Bertin: all three being preserved in a MS. written about 1270. HisBon Duc HenryI conceive to have been Henry Duke of Brabant.

That this was a most respectable officer, both here and on the continent, will appear from the passages quoted below, and therefore it could only have been in modern times, when the proper meaning of the original termsministraulz, andhistrioneswas forgot, that he was called king of the fidlers; on which subject see below, note[Ee2].

Concerning the king of the minstrels we have the following curious passages collected by Du Cange, Gloss. iv. 773:

"Rex Ministellorum; supremus interministellos: de cujus munere, potestate in cæterosministellosagit Charta Henrici IV. Regis Angliæ inMonast. Anglicano, tom. i. p. 355. Charta originalis an. 1338. Je Robert Caveron Roy des Menestreuls du Royaume de France. Aliæ ann. 1357. & 1362. Copin de Brequin Roy des Menestres du Royaume de France. Computum de auxiliis pro redemptione Regis Johannis, ann. 1367. Pour une couronne d'argent qu'il donna le jour de la Tiphaine au roy des menestrels.

"Regestum Magnorum Dierum Trecensium an. 1296. Super quod Joannes dictus Charmillons Juglator, cui dominus Rex per suas literas tanquam Regem Juglatorum in civitate Trecensi Magisterium Juglatorum, quemadmodum suæ placeret voluntati, concesserat."Gloss.c. 1587.

There is a very curious passage in Pasquier'sRecherches de laFrance, Paris, 1633, folio, liv. 7. ch. 5, p. 611, wherein he appears to be at a loss how to account for the title of Le Roy assumed by the old composers of metrical romances; in one of which the author expressly declares himself to have been a minstrel. The solution of the difficulty, that he had beenLe Roy des Menestrels, will be esteemed more probable than what Pasquier here advances; for I have never seen the title ofprincegiven to a minstrel, &c. scil.—"A nos vieux Poetes ... comme ... fust qu'ils eussent certain jeux de prix en leurs Poesies, ils ... honoroient du nome, tantot deroy, tantot de prince, celuy qui avoit le mieux faict comme nous voyons entre les archers, arbalestiers, & harquebusiers estre fait le semblable. Ainsi l'autheur du Roman d'Oger le Danois, s'appelle Roy.

"Icy endroict est cil Livre finezQui des enfans Oger est appellezOr vueille Diex qu'il soit parachevezEn tel maniere kestre n'en puist blamezLe Roy Adams (r. Adenes) ki il' est rimez.

"Et en celuy de Cleomades,

"Ce Livre de CleomadesRimé-je le Roy AdenesMenestre au bon Duc Henry.

"Mot de Roy, qui seroit tres-mal approprié à un menestrier, si d'ailleurs on ne le rapportoit a un jeu du priz: Et de faict il semble que de nostre temps, il y en eust encores quelque remarques, en ce que le mot de jouingleur s'estant par succession de temps tourné en batelage nous avons veu en nostre jeunesse les Jouingleurs se trouver à certain jour tous les ans en la ville de Chauny en Picardie, pour faire monstre de leur mestrier devant le monde, à qui mieux. Et ce que j'en dis icy n'est pas pour vilipender ces anciens Rimeurs, ainsi pour monstrer qu'il n'y a chose si belle qui ne s'aneantisse avec le temps."

We see here that in the time of Pasquier the poor minstrel was sunk into as low estimation in France, as he was then or afterwards in England: but by his apology for comparing the jouingleurs, who assembled to exercise their faculty, in his youth, to the ancient rimeurs, it is plain they exerted their skill in rhyme.

As for kingAdenes, orAdenez(whose name in the first passage above is corruptly printedAdams), he is recorded in theBibliothèquedes Romans, Amst.1734, 12mo. vol. i. p. 232, to have composed the two romances in verse above-mentioned, and a third intitledLe Roman de Bertin: all three being preserved in a MS. written about 1270. HisBon Duc HenryI conceive to have been Henry Duke of Brabant.

[Bb2][King of the minstrels, &c.] See Anstis'sRegister ofthe Order of the Garter, ii. p. 303, who tells us: "The President or Governour of the minstrels had the like denomination ofroyin France and Burgundy: and in England, John of Gaunt constituted such an officer by a patent; and long before his time payments were made by the crown, to [a] king of the minstrels by Edw. I. 'Regi Roberto Ministrallo scutifero ad arma commoranti ad vadia Regis anno 5to.' (Bibl. Cotton. Vespas.c. 16, f. 3), as likewise(Libro Garderob. 25, E. 1): 'Ministrallis in die nuptiarum comitissæ Holland filiæ Regis, Regi Pago, Johanni Vidulatori &c. Morello Regi, &c. Druetto Monthaut, and Jacketto de Scot. Regibus, cuilibet eorum xls.' Regi Pagio de Hollandia, &c. under Ed II. We likewise find other entries, 'Regi Roberto et aliis ministrallis facientibus menistrallias (ministralcias, qu.) suas coram Rege. (Bibl. Cotton.Nero.c. 8, p. 84 b.Comp. Garderob.) That king granted, 'Willielmo de Morlee dicto Roy de North, Ministrallo Regis, domos quæ fuerunt' Johannis le Boteler dicti Roy Brunhaud (Pat. de terr.forisfact.16. E. 3)." He adds below, (p. 304) a similar instance of arex juglatorum, and that the "king of the minstrels" at length was styled in Franceroy des violons, (Furitiere,Diction. Univers.) as with us "king of the fidlers," on which subject see below, note[Ee2].

[Bb3]The statute 4 Hen. IV. (1402) c. 27, runs in these terms: "Item, pur eschuir plusieurs diseases et mischiefs qont advenuz devaunt ces heures en la terre de Gales par plusieurs westours rymours, minstralx et autres vacabondes, ordeignez est et establiz qe nul westour, rymour ministral ne vacabond soit aucunement sustenuz en la terre de Gales pur faire kymorthas ou coillage sur la commune poeple illoeques." This is among the severe laws against the Welsh, passed during the resentment occasioned by the outrages committed under Owen Glendour; and as the Welsh bards had excited their countrymen to rebellion against the English government, it is not to be wondered that the act is conceived in terms of the utmost indignation and contempt against this class of men, who are described asrymours,ministralx, which are apparently here used as only synonymous terms to express the Welsh bards with the usual exuberance of our acts of parliament; for if theirministralxhad been mere musicians, they would not have required the vigilance of the English legislature to suppress them. It was their songs exciting their countrymen to insurrection which produced "les diseases & mischiefs en la terre de Gales."It is also submitted to the reader, whether the same application of the terms does not still more clearly appear in the commission issued in 1567, and printed in Evan Evans'sSpecimens of WelshPoetry, 1764, 4to. p. v. for bestowing the silver harp on "the chief of that faculty." For after setting forth "that vagrant and idle persons, naming themselvesminstrels,rythmers, andbards, had lately grown into such intolerable multitude within the Principality in North Wales, that not only gentlemen and others by their shameless disorders are oftentimes disquieted in their habitations, but also expertminstrelsandmusicians in tongue and cunyngethereby much discouraged, &c." and "hindred [of] livings and preferment," &c. it appoints a time and place, wherein all "persons thatintend to maintain their living by name or colour ofminstrels,rythmers, orbardswithin five shires of North Wales, shall appear to show their learnings accordingly," &c. And the commissioners are required to admit such as shall be found worthy, into and under the degrees heretofore in use, so that they may "use, exercise, and follow the sciences and faculties of their professions in such decent order as shall appertain to each of their degrees." And the rest are to return to some honest labour, &c. upon pain to be taken as sturdy and idle vagabonds, &c.

It is also submitted to the reader, whether the same application of the terms does not still more clearly appear in the commission issued in 1567, and printed in Evan Evans'sSpecimens of WelshPoetry, 1764, 4to. p. v. for bestowing the silver harp on "the chief of that faculty." For after setting forth "that vagrant and idle persons, naming themselvesminstrels,rythmers, andbards, had lately grown into such intolerable multitude within the Principality in North Wales, that not only gentlemen and others by their shameless disorders are oftentimes disquieted in their habitations, but also expertminstrelsandmusicians in tongue and cunyngethereby much discouraged, &c." and "hindred [of] livings and preferment," &c. it appoints a time and place, wherein all "persons thatintend to maintain their living by name or colour ofminstrels,rythmers, orbardswithin five shires of North Wales, shall appear to show their learnings accordingly," &c. And the commissioners are required to admit such as shall be found worthy, into and under the degrees heretofore in use, so that they may "use, exercise, and follow the sciences and faculties of their professions in such decent order as shall appertain to each of their degrees." And the rest are to return to some honest labour, &c. upon pain to be taken as sturdy and idle vagabonds, &c.

[Bb4]Holinshed translated this passage from Tho. de Elmham'sVita et Gesta Henrici V.scil.: "Soli Omnipotenti Deo se velle victoriam imputari ... in tantum, quod cantus de suo triumpho fieri, seu per Citharistas vel alios quoscunque cantari penitus prohibebat." (Edit. Hearnii, 1727, p. 72). As in his version Holinshed attributes the making, as well as singing ditties to minstrels, it is plain he knew that men of this profession had been accustomed to do both.

[Cc][The Houshold Book, &c.] See Section v."Of the noumbre of all my lords servaunts.""Item, Mynstrals in Houshold iii. viz. a taberet, a luyte, and a Rebecc." (The rebeck was a kind of fiddle with three strings)."Sect. XLIV. 3."Rewardes to his lordship's Servaunts, &c."Item, My lord usith ande accustomith to gyf yerly, when his lordschipp is at home, to his minstrallis that be daily in his houshold, as his tabret, lute, ande Rebeke, upon New Yeresday in the mornynge when they do play at my lordis chamber dour for his lordschip and my lady, xxs.viz. xiiis.ivd.for my lord; and vis.viiid.for my lady, if sche be at my lords fyndynge, and not at hir owen; And for playing at my lordis sone and heire's chamber doure, the lord Percy, iis.And for playinge at the chamber doures of my lords yonger sonnes, my yonge masters, after viiid.the pece for every of them.—xxiiis.iiiid."Sect. XLIV. 2."Rewards to be geven to strangers, as Players, Mynstralls, or any other, &c."Furst, my lorde usith and accustomyth to gif to the kings jugler; ... when they custome to come unto hym yerly, vis.viiid."Item, my lorde usith and accustomyth to gif yerely to thekings or queenes Bearwarde, if they have one, when they custom to come unto hym yerly, vis.viiid."Item, my lorde usith and accustomyth to gyfe yerly to every erles mynstrellis, when they custome to come to hym yerely, iiis.iiiid.And if they come to my lorde seldome, ones in ii or iii yeres, than vis.viiid."Item, my lorde usith and accustomedeth to gife yerely to an erls mynstralls, if he be his speciall lorde, friende, or kynsman, if they come yerely to his lordschip.... And, if they come to my 'lord' seldome, ones in ii or iii years...."* * * * *"Item, my lorde usith and accustomyth to gyf yerely a dookes or erlis trumpetts, if they come vi together to his lordschipp, viz. if they come yerly, vis.viiid.And, if they come but in ii or iii yeres, than xs.""Item, my lorde usith and accustometh to gife yerly, when his lordschip is at home, to gyf to the kyngs shawmes, when they com to my lorde yerely, xs."* * * * *I cannot conclude this note without observing that in this enumeration the family minstrels seem to have been musicians only, and yet both the earl's trumpets and the king's shawmes are evidently distinguished from the earl's minstrels, and the king's jugler. Now we find jugglers still coupled with pipers in Barklay'sEgloges, circ.1514. (Warton, ii. 254.)

[Cc][The Houshold Book, &c.] See Section v.

"Of the noumbre of all my lords servaunts."

"Item, Mynstrals in Houshold iii. viz. a taberet, a luyte, and a Rebecc." (The rebeck was a kind of fiddle with three strings).

"Sect. XLIV. 3.

"Rewardes to his lordship's Servaunts, &c.

"Item, My lord usith ande accustomith to gyf yerly, when his lordschipp is at home, to his minstrallis that be daily in his houshold, as his tabret, lute, ande Rebeke, upon New Yeresday in the mornynge when they do play at my lordis chamber dour for his lordschip and my lady, xxs.viz. xiiis.ivd.for my lord; and vis.viiid.for my lady, if sche be at my lords fyndynge, and not at hir owen; And for playing at my lordis sone and heire's chamber doure, the lord Percy, iis.And for playinge at the chamber doures of my lords yonger sonnes, my yonge masters, after viiid.the pece for every of them.—xxiiis.iiiid.

"Sect. XLIV. 2.

"Rewards to be geven to strangers, as Players, Mynstralls, or any other, &c.

"Furst, my lorde usith and accustomyth to gif to the kings jugler; ... when they custome to come unto hym yerly, vis.viiid.

"Item, my lorde usith and accustomyth to gif yerely to thekings or queenes Bearwarde, if they have one, when they custom to come unto hym yerly, vis.viiid.

"Item, my lorde usith and accustomyth to gyfe yerly to every erles mynstrellis, when they custome to come to hym yerely, iiis.iiiid.And if they come to my lorde seldome, ones in ii or iii yeres, than vis.viiid.

"Item, my lorde usith and accustomedeth to gife yerely to an erls mynstralls, if he be his speciall lorde, friende, or kynsman, if they come yerely to his lordschip.... And, if they come to my 'lord' seldome, ones in ii or iii years...."

* * * * *

"Item, my lorde usith and accustomyth to gyf yerely a dookes or erlis trumpetts, if they come vi together to his lordschipp, viz. if they come yerly, vis.viiid.And, if they come but in ii or iii yeres, than xs."

"Item, my lorde usith and accustometh to gife yerly, when his lordschip is at home, to gyf to the kyngs shawmes, when they com to my lorde yerely, xs."

* * * * *

I cannot conclude this note without observing that in this enumeration the family minstrels seem to have been musicians only, and yet both the earl's trumpets and the king's shawmes are evidently distinguished from the earl's minstrels, and the king's jugler. Now we find jugglers still coupled with pipers in Barklay'sEgloges, circ.1514. (Warton, ii. 254.)

[Cc2]The honours and rewards conferred on minstrels, &c. in the middle ages were excessive, as will be seen by many instances in these volumes; v. note[E],[F]&c. But more particularly with regard to English minstrels, &c. See T. Warton'sHist.of Eng. Poetry, i. p. 89-92, 116, &c., ii. 105, 106, 254, &c. Dr. Burney'sHist. of Music, ii. p. 316-319, 397-399, 427-428.On this head, it may be sufficient to add the following passage from theFleta, lib. ii. c. 23: "Officium Elemosinarij est ... Equos relictos, Robas, Pecuniam, et alia ad Elemosinam largiter recipere et fidelitur distribuere; debet etiam Regem super Elemosinæ largitione crebris summonitionibus stimulare & præcipue diebus sanctorum, et rogare ne Robas suas quæ magni sunt precij histrionibus, blanditoribus, adulatoribus, accusatoribus, vel menestrallis, sed ad Elemosinæ suæ incrementum jubeat largiri." Et in c. 72: "ministralli, vel adulatoris."

On this head, it may be sufficient to add the following passage from theFleta, lib. ii. c. 23: "Officium Elemosinarij est ... Equos relictos, Robas, Pecuniam, et alia ad Elemosinam largiter recipere et fidelitur distribuere; debet etiam Regem super Elemosinæ largitione crebris summonitionibus stimulare & præcipue diebus sanctorum, et rogare ne Robas suas quæ magni sunt precij histrionibus, blanditoribus, adulatoribus, accusatoribus, vel menestrallis, sed ad Elemosinæ suæ incrementum jubeat largiri." Et in c. 72: "ministralli, vel adulatoris."

[Dd][A species of men who did not sing, &c.] It appears from the passage of Erasmus here referred to, that there still existed in England of that species ofjongleursor minstrels, whom theFrench called by the peculiar name ofconteours, or reciters in prose. It is in hisEcclesiastes, where he is speaking of such preachers as imitated the tone of beggars or mountebanks: "Apud Anglos est simile genus hominum, quales apud Italos sunt circulatores [mountebanks] de quibus modo dictum est; qui irrumpunt in convivia magnatum, aut in Cauponas Vinarias; et argumentum aliquod, quod edidicerunt, recitant; puta mortem omnibus dominari, aut laudem matrimonii. Sed quoniam ea linguâ monosyllabis fere constat, quemadmodum Germanica; atque illi (sc. this peculiar species of reciters) studio vitant cantum, nobis (sc. Erasmus, who did not understand a word of English) latrare videntur verius quàm loqui."—Opera, tom. v. c. 958 (Jortin, vol. ii. p. 193). As Erasmus was correcting the vice of preachers, it was more to his point to bring an instance from the moral reciters of prose, than from chanters of rhime; though the latter would probably be more popular, and therefore more common.

[Ee]This character is supposed to have been suggested by descriptions of minstrels in the romance ofMorte Arthur; but none, it seems, have been found which come nearer to it than the following, which I shall produce, not only that the reader may judge of the resemblance, but to shew how nearly the idea of the minstrel character given in this essay corresponds with that of our old writers.Sir Lancelot, having been affronted by a threatening abusive letter which Mark, king of Cornwal, had sent to Queen Guenever, wherein he "spake shame by her and Sir Lancelot," is comforted by a knight, named Sir Dinadan, who tells him "I will make a lay for him, and when it is made, I shall make an harper to sing it before him. So anon he went and made it, and taught it an harper, that hyght Elyot; and when hee could it, hee taught it to many harpers. And so ... the harpers went straight unto Wales and Cornwaile to sing the lay ... which was the worst lay that ever harper sung with harpe, or with any other instrument. And [at a] great feast that king Marke made for joy of [a] victorie which hee had ... came Eliot the harper; ... and because he was a curious harper, men heard him sing the same lay that Sir Dinadan had made, the which spake the most vilanie by king Marke of his treason, that ever man heard. When the harper had sung his song to the end, king Marke was wonderous wroth with him, and said, Thou harper, how durst thou be so bold to sing this song before me? Sir, said Eliot, wit you wel I am a minstrell, and I must doe as I am commanded of these lords thatI bear thearmes of. And Sir king, wit you well that Sir Dinadan a knight of the Round Table made this song, and he made me to sing it before you. Thou saiest well, said king Marke, I charge thee thatthou hie thee fast out of my sight. So the harper departed, &c." (Part ii. c. 113, ed. 1634. See also part iii. c. 5.)

Sir Lancelot, having been affronted by a threatening abusive letter which Mark, king of Cornwal, had sent to Queen Guenever, wherein he "spake shame by her and Sir Lancelot," is comforted by a knight, named Sir Dinadan, who tells him "I will make a lay for him, and when it is made, I shall make an harper to sing it before him. So anon he went and made it, and taught it an harper, that hyght Elyot; and when hee could it, hee taught it to many harpers. And so ... the harpers went straight unto Wales and Cornwaile to sing the lay ... which was the worst lay that ever harper sung with harpe, or with any other instrument. And [at a] great feast that king Marke made for joy of [a] victorie which hee had ... came Eliot the harper; ... and because he was a curious harper, men heard him sing the same lay that Sir Dinadan had made, the which spake the most vilanie by king Marke of his treason, that ever man heard. When the harper had sung his song to the end, king Marke was wonderous wroth with him, and said, Thou harper, how durst thou be so bold to sing this song before me? Sir, said Eliot, wit you wel I am a minstrell, and I must doe as I am commanded of these lords thatI bear thearmes of. And Sir king, wit you well that Sir Dinadan a knight of the Round Table made this song, and he made me to sing it before you. Thou saiest well, said king Marke, I charge thee thatthou hie thee fast out of my sight. So the harper departed, &c." (Part ii. c. 113, ed. 1634. See also part iii. c. 5.)

[Ee2][This art seems to have put an end to the profession,&c.] Although I conceive that the character ceased to exist, yet the appellation might be continued, and applied to fidlers, or other common musicians: which will account for the mistakes of Sir Peter Leicester, or other modern writers. (See hisHistoricalAntiquities of Cheshire, 1673, p. 141.)In this sense it is used in an ordinance in the times of Cromwell (1656), wherein it is enacted that if any of the "persons commonly called fidlers or minstrels shall at any time be taken playing, fidling, and making music in any inn, ale-house, or tavern, or shall be taken proffering themselves, or desiring, or intreating any ... to hear them play or make music in any of the places aforesaid" they are to be "adjudged and declared to be rogues, vagabonds, and sturdy beggars."This will also account why John of Gaunt's king of the minstrels at length came to be called, likele roy des violonsin France (v. note[Bb2]), king of the fidlers. See the common ballad intitledThe Pedigree, Education, and Marriage of Robin-hoodwith Clorinda, queen of Tutbury Feast: which, though prefixed to the modern collection on that subject,[1132]seems of much later date than most of the others; for the writer appears to be totally ignorant of all the old traditions concerning this celebrated outlaw, and has given him a very elegant bride instead of his old noted Lemman, "Maid Marian:" who together with his chaplain "Frier Tuck," were his favourite companions, and probably on that account figured in the old morice dance, as may be seen by the engraving in Mr Steevens's and Mr. Malone's edition ofShakespeare: by whom she is mentioned, 1 Hen. IV. act iii. sc. 3. (See also Warton, i. 245, ii. 237.) Whereas from this ballad's concluding with an exhortation to "pray for the king," and "that he may get children,"&c. it is evidently posterior to the reign of Queen Elizabeth, and can scarce be older than the reign of K. Charles I. for K. James I. had no issue after his accession to the throne of England. It may even have been written since the Restoration, and only express the wishes of the nation for issue on the marriage of their favourite K. Charles II., on his marriage with the Infanta of Portugal. I think it is not found in the Pepys collection.

In this sense it is used in an ordinance in the times of Cromwell (1656), wherein it is enacted that if any of the "persons commonly called fidlers or minstrels shall at any time be taken playing, fidling, and making music in any inn, ale-house, or tavern, or shall be taken proffering themselves, or desiring, or intreating any ... to hear them play or make music in any of the places aforesaid" they are to be "adjudged and declared to be rogues, vagabonds, and sturdy beggars."

This will also account why John of Gaunt's king of the minstrels at length came to be called, likele roy des violonsin France (v. note[Bb2]), king of the fidlers. See the common ballad intitledThe Pedigree, Education, and Marriage of Robin-hoodwith Clorinda, queen of Tutbury Feast: which, though prefixed to the modern collection on that subject,[1132]seems of much later date than most of the others; for the writer appears to be totally ignorant of all the old traditions concerning this celebrated outlaw, and has given him a very elegant bride instead of his old noted Lemman, "Maid Marian:" who together with his chaplain "Frier Tuck," were his favourite companions, and probably on that account figured in the old morice dance, as may be seen by the engraving in Mr Steevens's and Mr. Malone's edition ofShakespeare: by whom she is mentioned, 1 Hen. IV. act iii. sc. 3. (See also Warton, i. 245, ii. 237.) Whereas from this ballad's concluding with an exhortation to "pray for the king," and "that he may get children,"&c. it is evidently posterior to the reign of Queen Elizabeth, and can scarce be older than the reign of K. Charles I. for K. James I. had no issue after his accession to the throne of England. It may even have been written since the Restoration, and only express the wishes of the nation for issue on the marriage of their favourite K. Charles II., on his marriage with the Infanta of Portugal. I think it is not found in the Pepys collection.

[Ff][Historical song or ballad.] The English word ballad is evidently from the Frenchbalade, as the latter is from the Italianballata; which the Crusca Dictionary defines,canzone che si cantaballando: "a song which is sung during a dance." So Dr. Burney (ii. 342,) who refers to a collection ofballette, published by Gastaldi, and printed at Antwerp in 1596 (iii. 226.)But the word appears to have had an earlier origin: for in the decline of the Roman empire, these trivial songs were calledballisteaandsaltatiunculæ.Ballisteum, Salmasius says, is properlyballistium, Gr. Βαλλιστεῖον. "ἀπὸ τοῦ Βαλλίζω ... Βαλλιστία saltatio ...Ballistiumigitur est quod vulgo vocamusballet; nam inde deducta vox nostra." Salmas.Not. inHist. Ang. Scriptores, iv. p. 349.In the life of the Emperor Aurelian by Fl. Vopiscus may be seen two of theseballistea, as sung by the boys skipping and dancing, on account of a great slaughter made by the emperor with his own hand in the Sarmatic war. The first is:"Mille, mille, mille decollavimus,Unus homo mille decollavimus,Mille vivat, qui mille occidit.Tantum vini habet nemoQuantum fudit sanguinis."The other was:"Mille Sarmatas, mille FrancosSemel & semel occidimus.Mille Persas quærimus."Salmasius (in loc.) shows that the trivial poets of that time were wont to form their metre of trochaic tetrametre catalectics, divided into distichs. (Ibid.p.350.) This becoming the metre of the hymns in the church service, to which the monks at length superadded rhyming terminations, was the origin of the common trochaic metre in the modern languages. This observation I owe to the learned author ofIrish Antiquities, 4to.

But the word appears to have had an earlier origin: for in the decline of the Roman empire, these trivial songs were calledballisteaandsaltatiunculæ.Ballisteum, Salmasius says, is properlyballistium, Gr. Βαλλιστεῖον. "ἀπὸ τοῦ Βαλλίζω ... Βαλλιστία saltatio ...Ballistiumigitur est quod vulgo vocamusballet; nam inde deducta vox nostra." Salmas.Not. inHist. Ang. Scriptores, iv. p. 349.

In the life of the Emperor Aurelian by Fl. Vopiscus may be seen two of theseballistea, as sung by the boys skipping and dancing, on account of a great slaughter made by the emperor with his own hand in the Sarmatic war. The first is:

"Mille, mille, mille decollavimus,Unus homo mille decollavimus,Mille vivat, qui mille occidit.Tantum vini habet nemoQuantum fudit sanguinis."

The other was:

"Mille Sarmatas, mille FrancosSemel & semel occidimus.Mille Persas quærimus."

Salmasius (in loc.) shows that the trivial poets of that time were wont to form their metre of trochaic tetrametre catalectics, divided into distichs. (Ibid.p.350.) This becoming the metre of the hymns in the church service, to which the monks at length superadded rhyming terminations, was the origin of the common trochaic metre in the modern languages. This observation I owe to the learned author ofIrish Antiquities, 4to.

[Ff2][Little Miscellanies named Garlands, &c.] In the Pepysian and other libraries are preserved a great number of thesein black letter, 12mo. under the following quaint and affected titles, viz.:1.A Crowne Garland of Goulden Roses gathered out of England'sRoyal Garden, &c., by Richard Johnson, 1612. [In the Bodleyan Library.] 2.The Golden Garland of Princely Delight.3.TheGarland of Good-will, by T. D., 1631. 4.The Royal Garland ofLove and Delight, by T. D. 5.The Garland of Delight, &c., by Tho. Delone. 6.The Garland of Love and Mirth, by Thomas Lanfier. 7.Cupid's Garland set round with Guilded Roses.8.TheGarland of Withered Roses, by Martin Parker, 1656. 9.TheShepherd's Garland of Love, Loyalty, &c.10.The Country Garland.11.The Golden Garland of Mirth and Merriment.12.TheLover's Garland.13.Neptune's fair Garland.14.England'sfair Garland.15.Robin Hood's Garland.16.The Maiden'sGarland.17.A Loyal Garland of Mirth and Pastime.18.ARoyal Garland of New Songs.19.The Jovial Garland, 8th edit. 1691, &c. &c. &c.This sort of petty publications had anciently the name of Penny Merriments: as little religious tracts of the same size were called Penny Godlinesses. In the Pepysian Library are multitudes of both kinds.

[Ff2][Little Miscellanies named Garlands, &c.] In the Pepysian and other libraries are preserved a great number of thesein black letter, 12mo. under the following quaint and affected titles, viz.:

1.A Crowne Garland of Goulden Roses gathered out of England'sRoyal Garden, &c., by Richard Johnson, 1612. [In the Bodleyan Library.] 2.The Golden Garland of Princely Delight.3.TheGarland of Good-will, by T. D., 1631. 4.The Royal Garland ofLove and Delight, by T. D. 5.The Garland of Delight, &c., by Tho. Delone. 6.The Garland of Love and Mirth, by Thomas Lanfier. 7.Cupid's Garland set round with Guilded Roses.8.TheGarland of Withered Roses, by Martin Parker, 1656. 9.TheShepherd's Garland of Love, Loyalty, &c.10.The Country Garland.11.The Golden Garland of Mirth and Merriment.12.TheLover's Garland.13.Neptune's fair Garland.14.England'sfair Garland.15.Robin Hood's Garland.16.The Maiden'sGarland.17.A Loyal Garland of Mirth and Pastime.18.ARoyal Garland of New Songs.19.The Jovial Garland, 8th edit. 1691, &c. &c. &c.

This sort of petty publications had anciently the name of Penny Merriments: as little religious tracts of the same size were called Penny Godlinesses. In the Pepysian Library are multitudes of both kinds.

[Gg][The term minstrel was not confined to a meer musician inthis country any more than on the Continent.] The discussion of the question, whether the term minstrel was applied in England to singers and composers of songs, &c. or confined to the performers on musical instruments, was properly reserved for this place, because much light hath already been thrown upon the subject in the preceding notes, to which it will be sufficient to refer the reader.That on the Continent the minstrel was understood not to be a meer musician but a singer of verses, hath been shown in notes[B],[C],[R],[Aa], &c.[1133]And that he was also a maker of them is evident from the passage in[C]p.386, where the most noted romances are said to be of the composition of these men. And in[Bb]p. 417, we have the titles of some of which a minstrel was the author, who has himself left his name upon record.The old English names for one of this profession were gleeman,[1134]jogeler,[1135]and latterly minstrel; not to mention harper, &c. In French he was calledjongleurorjugleur,menestrelormenestrier.[1136]The writers of the middle ages expressed the character in Latin by the wordsjoculator,mimus,histrio,ministrellus, &c. These terms, however modern critics may endeavour to distinguish and apply them to different classes, and although they may be sometimes mentioned as if they were distinct, I cannot find after a very strict research to have had any settled appropriate difference, but they appear to have been used indiscriminately by the oldest writers, especially in England, where the most general and comprehensive name was latterly minstrel, Lat.ministrellus, &c.Thusjoculator(Eng. jogeler, or juglar) is used as synonymous tocitharista(note[K]p.397), and tocantor(p.397), and to minstrel (vid.infra, p.425). We have also positive proof that the subject of his songs were gestes and romantic tales ([V2]note).Somimusis used as synonymous tojoculator([M]p.399). He was rewarded for his singing ([N]p.400) and he both sang, harped, and dealt in that sport[T2]which is elsewhere calledars joculatoria([M]ubi supra).Againhistriois also proved to have been a singer ([Z]p.412) and to have gained rewards by hisverba joculatoria([E]p.388). Andhistrionesis the term by which the Fr. wordministraulxis most frequently rendered into Latin ([W]p.410,[Bb]p.416, &c.)The fact therefore is sufficiently established that this order of men were in England, as well as on the Continent, singers: so that it only becomes a dispute about words, whether here under the more general name of minstrels, they are described as having sung.But in proof of this we have only to turn to so common a book as T. Warton'sHistory of Eng. Poetry: where we shall find extracted from records the following instances:—"Ex Registr. Priorat. S. Swithin Winton (sub anno 1374). In festo Alwyni Epi.... Et durante pietancia in Aula Conventus sex ministralli, cum quatuor citharisatoribus, faciebant ministralcias suas. Et post cenam, in magna camera arcuata dom. prioris cantabant idem Gestum in qua Camera suspendebatur, ut moris est, magnum dorsale Prioris habens picturas trium Regum Colein. Veniebant autem dicti joculatores a Castello domini Regis & ex familia Epi." (vol. ii. p. 174). Here the minstrels and harpers are expressly calledjoculatores, and as the harpers had musical instruments, the singing must have been by the minstrels, or by both conjointly.For that minstrels sang we have undeniable proof in the followingentry in the Accompt Roll of the Priory of Bicester, in Oxfordshire (under the year 1432). "Dat. Sexministrallis deBokynghamcantantibusin refectorio Martyrium Septem Domientium in festo Epiphanie, ivs." (vol. ii. p. 175).In like manner our old English writers abound with passages wherein the minstrel is represented as singing. To mention only a few:In the old romance ofEmaré(No. 15, vol. iii. appendix), which from the obsoleteness of the style, the nakedness of the story, the barrenness of incidents, and some other particulars, I should judge to be next in point of time toHornchild,we have:"I have herd menstrelles syng yn sawe."—Stanza 27.In a poem of Adam Davie (who flourished about 1312) we have this distich:—"Merry it is in halle to here the harpe,The Minstrelles synge, the jogelours carpe."T. Warton, i. p. 225.So William of Nassyngton (circ. 1480) as quoted by Mr. Tyrwhitt (Chaucer, iv. 319):—"I will make no vain carpingeOf dedes of armys ne of amoursAs dus Mynstrelles and Jestours [Gestours]That makys carpinge in many a placeOf Octaviane and Isembrase,And of many other Jestes [Gestes]And namely whan they come to festes."[1137]See also the description of the minstrel in note[Ee]fromMorteArthur, which appears to have been compiled about the time of this last writer. (See T. Warton, ii. 235).By proving that minstrels were singers of the old romantic songs and gestes, &c. we have in effect proved them to have been the makers at least of some of them. For the names of their authors being not preserved, to whom can we so probably ascribe the composition of many of these old popular rhimes, as to the men whodevoted all their time and talents to the recitation of them: especially as in the rhimes themselves minstrels are often represented as the makers or composers.Thus in the oldest of all,Hornchildhaving assumed the character of a harper or jogeler, is in consequence said (fo. 92). to have"made Rymenild [his mistress] a lay."In the old romance ofEmaré, we have this exhortation to minstrels, as composers, otherwise they could not have been at liberty to chuse their subjects (st. 2):—"Menstrelles that walken fer and wydeHer and ther in every a sydeIn mony a dyverse londeSholde ut her bygynnyngSpeke of that ryghtwes kyngThat made both see and sonde," &c.And in the old song or geste ofGuy and Colbronde(No. 4, vol. iii. appendix), the minstrel thus speaks of himself in the first person:"When meate and drinke is great plentyeThen lords and ladyes still wil beAnd sitt and solace lytheThen itt is time formeeto speakeOf keene knights and kempes greatSuch carping for to kythe."We have seen already that the Welsh bards, who were undoubtedly composers of the songs they chanted to the harp, could not be distinguished by our legislators from our own rimers, minstrels (vid. note[Bb3], p.418).And that the Provençaltroubadourof our King Richard, who is called by M. Favinejongleur, and by M. Fauchetmenestrel, is by the old English translator termed a rimer or minstrel, when he is mentioning the fact of his composing some verses (p. 359).And lastly, that Holinshed, translating the prohibition of K. Henry V., forbidding any songs to be composed on his victory, or to be sung by harpers or others, roundly gives it, he would not permit "any ditties to be made and sung by minstrels on his glorious victory," &c. (vid. p.370and note[Bb4]).Now that this order of men, at first called gleemen, then juglers, and afterwards more generally minstrels, existed here from the Conquest, who entertained their hearers with chanting to the harp or other instruments, songs and tales of chivalry, or as they werecalled, gests[1138]and romances in verse in the English language, is proved by the existence of the very compositions they so chanted, which are still preserved in great abundance, and exhibit a regular series from the time our language was almost Saxon, till after its improvements in the age of Chaucer, who enumerates many of them. And as the Norman French was in the time of this bard still the courtly language, it shows that the English was not thereby excluded from affording entertainment to our nobility, who are so often addressed therein by the title of lordings: and sometimes more positively "lords and ladies" (p. 427).And tho' many of these were translated from the French, others are evidently of English origin[1139]which appear in their turns to have afforded versions into that language; a sufficient proof of that intercommunity between the French and English minstrels, which hath been mentioned in a preceding page. Even the abundance of such translations into English being all adapted for popular recitation, sufficiently establishes the fact that the English minstrels had a great demand for such compositions, which they were glad to supply, whether from their own native stores or from other languages.We have seen above that thejoculator,mimus,histrio, whether these characters were the same, or had any real difference, were all called minstrels; as was also the harper,[1140]when the term implied a singer, if not a composer of songs, &c. By degrees the name of minstrel was extended to vocal and instrumental musicians of every kind: and as in the establishment of royal and noble houses, the latter would necessarily be most numerous, so we are not to wonder that the band of music (entered under the general name of minstrels) should consist of instrumental performers chiefly, if notaltogether; for as the composer or singer of heroic tales to the harp would necessarily be a solitary performer, we must not expect to find him in the band along with the trumpeters, fluters, &c.However, as we sometimes find mention of "Minstrels of Music:"[1141]so at other times we hear of "expert minstrels and musicians of tongue and cunning" (B b. iii. p. 418)[1142], meaning doubtless by the former singers, and probably by the latter phrase composers of songs. Even "minstrels music" seems to be applied to the species of verse used by minstrels in the passage quoted below.[1143]But although from the predominancy of instrumental music minstrelsy was at length chiefly to be understood in this sense, yet it was still applied to the poetry of minstrels so late as the time of Queen Elizabeth, as appears in the following extract from Puttenham'sArte of Eng. Poesie, p. 9, who, speaking of the first composers of Latin verses in ryme, says, "all that they wrote to the favour or prayse of princes, they did it in such manner of minstralsie; and thought themselves no small fooles, when they could make their verses go all in ryme."I shall conclude this subject with the following description of minstrelcy given by John Lidgate at the beginning of the fifteenth century, as it shows what a variety of entertainments were thencomprehended under this term, together with every kind of instrumental music then in use."Al maner Mynstralcye.That any man kan specifye.Ffor there were Rotys of Almayne,And eke of Arragon, and Spayne:Songes, Stampes, and eke Daunces;Divers plente of plesaunces:And many unkouth notys newOf swiche folke as lovid treue.[1144]And instrumentys that did excelle,Many moo than I kan telle.Harpys, Fythales, and eke RotysWell according to her [i.e.their] notys,Lutys, Ribibles, and Geternes,More for estatys, than tavernes:Orgay[n]s, Cytolis, Monacordys.—There were Trumpes, and Trumpettes,Lowde Shall[m]ys, and Doucettes."T. Warton, ii. 225, note[1144].

That on the Continent the minstrel was understood not to be a meer musician but a singer of verses, hath been shown in notes[B],[C],[R],[Aa], &c.[1133]And that he was also a maker of them is evident from the passage in[C]p.386, where the most noted romances are said to be of the composition of these men. And in[Bb]p. 417, we have the titles of some of which a minstrel was the author, who has himself left his name upon record.

The old English names for one of this profession were gleeman,[1134]jogeler,[1135]and latterly minstrel; not to mention harper, &c. In French he was calledjongleurorjugleur,menestrelormenestrier.[1136]The writers of the middle ages expressed the character in Latin by the wordsjoculator,mimus,histrio,ministrellus, &c. These terms, however modern critics may endeavour to distinguish and apply them to different classes, and although they may be sometimes mentioned as if they were distinct, I cannot find after a very strict research to have had any settled appropriate difference, but they appear to have been used indiscriminately by the oldest writers, especially in England, where the most general and comprehensive name was latterly minstrel, Lat.ministrellus, &c.

Thusjoculator(Eng. jogeler, or juglar) is used as synonymous tocitharista(note[K]p.397), and tocantor(p.397), and to minstrel (vid.infra, p.425). We have also positive proof that the subject of his songs were gestes and romantic tales ([V2]note).

Somimusis used as synonymous tojoculator([M]p.399). He was rewarded for his singing ([N]p.400) and he both sang, harped, and dealt in that sport[T2]which is elsewhere calledars joculatoria([M]ubi supra).

Againhistriois also proved to have been a singer ([Z]p.412) and to have gained rewards by hisverba joculatoria([E]p.388). Andhistrionesis the term by which the Fr. wordministraulxis most frequently rendered into Latin ([W]p.410,[Bb]p.416, &c.)

The fact therefore is sufficiently established that this order of men were in England, as well as on the Continent, singers: so that it only becomes a dispute about words, whether here under the more general name of minstrels, they are described as having sung.

But in proof of this we have only to turn to so common a book as T. Warton'sHistory of Eng. Poetry: where we shall find extracted from records the following instances:—

"Ex Registr. Priorat. S. Swithin Winton (sub anno 1374). In festo Alwyni Epi.... Et durante pietancia in Aula Conventus sex ministralli, cum quatuor citharisatoribus, faciebant ministralcias suas. Et post cenam, in magna camera arcuata dom. prioris cantabant idem Gestum in qua Camera suspendebatur, ut moris est, magnum dorsale Prioris habens picturas trium Regum Colein. Veniebant autem dicti joculatores a Castello domini Regis & ex familia Epi." (vol. ii. p. 174). Here the minstrels and harpers are expressly calledjoculatores, and as the harpers had musical instruments, the singing must have been by the minstrels, or by both conjointly.

For that minstrels sang we have undeniable proof in the followingentry in the Accompt Roll of the Priory of Bicester, in Oxfordshire (under the year 1432). "Dat. Sexministrallis deBokynghamcantantibusin refectorio Martyrium Septem Domientium in festo Epiphanie, ivs." (vol. ii. p. 175).

In like manner our old English writers abound with passages wherein the minstrel is represented as singing. To mention only a few:

In the old romance ofEmaré(No. 15, vol. iii. appendix), which from the obsoleteness of the style, the nakedness of the story, the barrenness of incidents, and some other particulars, I should judge to be next in point of time toHornchild,we have:

"I have herd menstrelles syng yn sawe."—Stanza 27.

In a poem of Adam Davie (who flourished about 1312) we have this distich:—

"Merry it is in halle to here the harpe,The Minstrelles synge, the jogelours carpe."

T. Warton, i. p. 225.

So William of Nassyngton (circ. 1480) as quoted by Mr. Tyrwhitt (Chaucer, iv. 319):—

"I will make no vain carpingeOf dedes of armys ne of amoursAs dus Mynstrelles and Jestours [Gestours]That makys carpinge in many a placeOf Octaviane and Isembrase,And of many other Jestes [Gestes]And namely whan they come to festes."[1137]

See also the description of the minstrel in note[Ee]fromMorteArthur, which appears to have been compiled about the time of this last writer. (See T. Warton, ii. 235).

By proving that minstrels were singers of the old romantic songs and gestes, &c. we have in effect proved them to have been the makers at least of some of them. For the names of their authors being not preserved, to whom can we so probably ascribe the composition of many of these old popular rhimes, as to the men whodevoted all their time and talents to the recitation of them: especially as in the rhimes themselves minstrels are often represented as the makers or composers.

Thus in the oldest of all,Hornchildhaving assumed the character of a harper or jogeler, is in consequence said (fo. 92). to have

"made Rymenild [his mistress] a lay."

In the old romance ofEmaré, we have this exhortation to minstrels, as composers, otherwise they could not have been at liberty to chuse their subjects (st. 2):—

"Menstrelles that walken fer and wydeHer and ther in every a sydeIn mony a dyverse londeSholde ut her bygynnyngSpeke of that ryghtwes kyngThat made both see and sonde," &c.

And in the old song or geste ofGuy and Colbronde(No. 4, vol. iii. appendix), the minstrel thus speaks of himself in the first person:

"When meate and drinke is great plentyeThen lords and ladyes still wil beAnd sitt and solace lytheThen itt is time formeeto speakeOf keene knights and kempes greatSuch carping for to kythe."

We have seen already that the Welsh bards, who were undoubtedly composers of the songs they chanted to the harp, could not be distinguished by our legislators from our own rimers, minstrels (vid. note[Bb3], p.418).

And that the Provençaltroubadourof our King Richard, who is called by M. Favinejongleur, and by M. Fauchetmenestrel, is by the old English translator termed a rimer or minstrel, when he is mentioning the fact of his composing some verses (p. 359).

And lastly, that Holinshed, translating the prohibition of K. Henry V., forbidding any songs to be composed on his victory, or to be sung by harpers or others, roundly gives it, he would not permit "any ditties to be made and sung by minstrels on his glorious victory," &c. (vid. p.370and note[Bb4]).

Now that this order of men, at first called gleemen, then juglers, and afterwards more generally minstrels, existed here from the Conquest, who entertained their hearers with chanting to the harp or other instruments, songs and tales of chivalry, or as they werecalled, gests[1138]and romances in verse in the English language, is proved by the existence of the very compositions they so chanted, which are still preserved in great abundance, and exhibit a regular series from the time our language was almost Saxon, till after its improvements in the age of Chaucer, who enumerates many of them. And as the Norman French was in the time of this bard still the courtly language, it shows that the English was not thereby excluded from affording entertainment to our nobility, who are so often addressed therein by the title of lordings: and sometimes more positively "lords and ladies" (p. 427).

And tho' many of these were translated from the French, others are evidently of English origin[1139]which appear in their turns to have afforded versions into that language; a sufficient proof of that intercommunity between the French and English minstrels, which hath been mentioned in a preceding page. Even the abundance of such translations into English being all adapted for popular recitation, sufficiently establishes the fact that the English minstrels had a great demand for such compositions, which they were glad to supply, whether from their own native stores or from other languages.

We have seen above that thejoculator,mimus,histrio, whether these characters were the same, or had any real difference, were all called minstrels; as was also the harper,[1140]when the term implied a singer, if not a composer of songs, &c. By degrees the name of minstrel was extended to vocal and instrumental musicians of every kind: and as in the establishment of royal and noble houses, the latter would necessarily be most numerous, so we are not to wonder that the band of music (entered under the general name of minstrels) should consist of instrumental performers chiefly, if notaltogether; for as the composer or singer of heroic tales to the harp would necessarily be a solitary performer, we must not expect to find him in the band along with the trumpeters, fluters, &c.

However, as we sometimes find mention of "Minstrels of Music:"[1141]so at other times we hear of "expert minstrels and musicians of tongue and cunning" (B b. iii. p. 418)[1142], meaning doubtless by the former singers, and probably by the latter phrase composers of songs. Even "minstrels music" seems to be applied to the species of verse used by minstrels in the passage quoted below.[1143]

But although from the predominancy of instrumental music minstrelsy was at length chiefly to be understood in this sense, yet it was still applied to the poetry of minstrels so late as the time of Queen Elizabeth, as appears in the following extract from Puttenham'sArte of Eng. Poesie, p. 9, who, speaking of the first composers of Latin verses in ryme, says, "all that they wrote to the favour or prayse of princes, they did it in such manner of minstralsie; and thought themselves no small fooles, when they could make their verses go all in ryme."

I shall conclude this subject with the following description of minstrelcy given by John Lidgate at the beginning of the fifteenth century, as it shows what a variety of entertainments were thencomprehended under this term, together with every kind of instrumental music then in use.

"Al maner Mynstralcye.That any man kan specifye.Ffor there were Rotys of Almayne,And eke of Arragon, and Spayne:Songes, Stampes, and eke Daunces;Divers plente of plesaunces:And many unkouth notys newOf swiche folke as lovid treue.[1144]And instrumentys that did excelle,Many moo than I kan telle.Harpys, Fythales, and eke RotysWell according to her [i.e.their] notys,Lutys, Ribibles, and Geternes,More for estatys, than tavernes:Orgay[n]s, Cytolis, Monacordys.—There were Trumpes, and Trumpettes,Lowde Shall[m]ys, and Doucettes."

T. Warton, ii. 225, note[1144].

☛ The foregoing essay on the ancient minstrels has been very much enlarged and improved since the first edition, with respect to the Anglo-Saxon minstrels, in consequence of some objections proposed by the reverend and learned Mr. Pegge, which the reader may find in the second volume of theArchæologia, printed by the Antiquarian Society: but which that gentleman has since retracted in the most liberal and candid manner in the third volume of theArchæologia, No. xxxiv. p. 310.And in consequence of similar objections respecting the English minstrels after the Conquest, the subsequent part hath been much enlarged, and additional light thrown upon the subject; which, to prevent cavil, hath been extended to minstrelsy in all its branches, as it was established in England, whether by natives or foreigners.

And in consequence of similar objections respecting the English minstrels after the Conquest, the subsequent part hath been much enlarged, and additional light thrown upon the subject; which, to prevent cavil, hath been extended to minstrelsy in all its branches, as it was established in England, whether by natives or foreigners.

[Ritson made a searching examination of this essay, and dissented from many of the propositions contained in it. His essay "On the Ancient English Minstrels" will be found in his collection ofAncient Songs and Ballads.]

FOOTNOTES:[1103]The Anglo-Saxon and primary English name for this character was Gleeman (see below, note[I], sect. 1), so that wherever the term minstrel is in these pages applied to it before the Conquest, it must be understood to be only by anticipation. Another early name for this profession in English was jogeler, or jocular, Lat.joculator. (See p.353, as also note[V2]and note[Q].) To prevent confusion, we have chiefly used the more general word minstrel, which (as the author of theObserv. on the Statuteshath suggested to the editor) might have been originally derived from a diminutive of the Lat.minister, scil.ministerellus,ministrellus.][1104]Ministers seems to be used for minstrels in the account of the Inthronization of Abp. Neville (An. 6, Edw. IV.). "Then all the Chaplyns must say grace, and the ministers do sing." Vid.LelandiCollectanea, by Hearne, vol. vi. p. 13.[1105]It has, however, been suggested to the editor by the learned and ingenious author ofIrish Antiquities, 4to. that the ancientmimiamong the Romans had their heads and beards shaven, as is shown by Salmasius in Notis adHist. August. Scriptores VI. Paris, 1622, fol. p. 385. So that this peculiarity had a classical origin, though it afterwards might make the minstrels sometimes pass for ecclesiastics, as appears from the instance given below. Dr. Burney tells us thathistrionesandmimiabounded in France in the time of Charlemagne (ii. 221), so that their profession was handed down in regular succession from the time of the Romans, and therewith some leading distinctions of their habit or appearance; yet with a change in their arts of pleasing, which latterly were most confined to singing and music.[1106]Yet in St. Mary's church at Beverley, one of the columns hath this inscription: "Thys Pillar made the Mynstrylls;" having its capital decorated with figures of five men in short coats; one of whom holds an instrument resembling a lute. See Sir J. Hawkins'Hist.ii. 298.[1107]Vid. infra, not.[Aa].[1108]Vid. Not.[B][K][Q].[1109]Vid. Note[N].[1110]The minstrels in France were received with great magnificence in the fourteenth century. Froissart describing a Christmas entertainment given by the Comte de Foix, tells us, that "there were many mynstrels, as well of hys own, as of straungers, and eache of them dyd their devoyre in their faculties. The same day the Erle of Foix gave to haraulds and minstrelles the som of fyve hundred frankes: and gave to the Duke of Tourayns mynstreles gownes of clothe of gold, furred with ermyne, valued at two hundred frankes." B. iii. c. 31. Eng. Trans. Lond. 1525. (Mr. C.)[1111]Et vid. Policraticon, cap. 8, &c.[1112]Vid. Nicolson'sEng. Hist. Lib.&c.[1113]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'sManuelde Peche,A.D.1303 (see Warton, i. 61), we have this,"——Gode men, ye shall lereWhen ye anyglemanhere."Fabyan (in his Chronicle, 1533, f. 32.) translating the passage from Geoffrey of Monmouth, quoted below in p.397note[K]rendersDeus Joculatorum, by God of Gleemen. (Warton'sHist.Eng. Poet., Diss. i.) Fabyan died in 1592.Dunbar, who lived in the same century, describing in one of his poems, intitled,The Dauncewhat passed in the infernal regions "amangis the Feyndis," says:"Na menstralls playit to thame, but dowt,For gle-men thaire wer haldin out,Be day and eke by nycht."See Poems from Bannatyne's MS. Edinb. 1770, 12mo. p. 30. Maitland's MS. at Cambridge reads hereglewe-men.[1114]To gleek is used in Shakespeare for "to make sport, to jest," &c.[1115]The preceding list of Anglo-Saxon words, so full and copious beyond any thing that ever yet appeared in print on this subject, was extracted from Mr. Lye's curiousAnglo-Saxon Lexicon, in MS. but the arrangement here is the Editor's own. It had however received the sanction of Mr. Lye's approbation, and would doubtless have been received into his printed copy, had he lived to publish it himself.It should also be observed, for the sake of future researches, that without the assistance of the old English interpretations given by Somner, in hisAnglo-Saxon Dictionary, the Editor of the book never could have discovered thatgleesignified minstrelsy, orgligmana minstrel.[1116]Neven,i.e.name.[1117]Geoffrey of Monmouth is probably here describing the appearance of thejoculatoresor minstrels, as it was in his own time. For they apparently derived this part of their dress, &c. from themimiof the ancient Romans, who had their heads and beards shaven (see above p.383note[1105]), as they likewise did the mimickry, and other arts of diverting, which they superadded to the composing and singing to the harp heroic songs, &c. which they inherited from their own progenitors the bards and scalds of the ancient Celtic and Gothic nations. The Longobardi had, like other northern people, brought these with them into Italy. For "in the year 774, when Charlemagne entered Italy and found his passage impeded, he was met by a minstrel of Lombardy, whose song promised him success and victory.ContigitjoculatoremexLongobardorumgente ad Carolum venire, etcantiunculam a se compositam,rotando in conspectu suorum, cantare." Tom. ii. p. 2.Chron.Monast.Noval. lib. iii. cap. x. p. 717. (T. Warton'sHist.vol. ii. Emend. of vol. i. p. 113.)[1118]Natus, 1030;scripsit, 1091;obit, 1109. Tanner.[1119]Obit, Anno1142. Tanner.[1120]See above, p.394. Both Ingulph. and Will. of Malmesb. had been very conversant among the Normans; who appear not to have had such prejudices against the minstrels as the Anglo-Saxons had.[1121]Thus Leoꝺ, the Saxon word for a poem, is properly a song, and its derivativeliedsignifies a ballad to this day in the German tongue. Andcantarewe have seen above is by Alfred himself rendered, Be heaꞃpan ꞅιnᵹan.[1122]The tabour or tabourin was a common instrument with the French minstrels, as it had also been with the Anglo-Saxon (vid.p. 393): thus in an ancient Fr. MS. in the Harl. collection (2253, 75), a minstrel is described as riding on horseback, and bearing his tabour."Entour son col porta sontabour,Depeynt de Or, e riche Açour."See also a passage in Menage'sDiction. Etym.(v.menestriers,) wheretaboursis used as synonymous tomenestriers.Another frequent instrument with them was the viele. This, I am told, is the name of an instrument at this day, which differs from a guitar, in that the player turns round a handle at the top of the instrument, and with his other hand, plays on some keys, that touch the chords, and produce the sound.See Dr. Burney's account of the vielle, vol. ii. p. 263, who thinks it the same with theroteor wheel. See p.270in the note."Il ot un Jougleor a Sens,Qui navoit pas sovent robe entiere;Sovent estoit sans saviele."—Fabliaux & Cont.ii. 184, 5.[1123]"Romanset Jutglar canta alt veux ... devant lo senyor Rey."—Chron.d'Aragon, apud Du Cange, iv. 771.[1124]It ought to have been observed in its proper place in No. 31, vol. iii. appendix, that Amys and Amylion were no otherwise "Brothers" than as being fast friends: as was suggested by the learned Dr. Samuel Pegge, who was so obliging as to favour the essayist formerly with a curious transcript of this poem accompanied with valuable illustrations, &c: and that it was his opinion that both the fragment of theLady Bellesentmentioned in the same No. 31, and also the mutilated tale No. 37, were only imperfect copies of the above romance ofAmys and Amylion, which contains the two lines quoted in No. 37.[1125]Whenever the wordRomanceoccurs in these metrical narratives, it hath been thought to afford decisive proof of a translation from theRomance, or French language. Accordingly it is so urged by T. Warton (i. 146, note), from two passages in the pr. copy ofSir Eglamour, viz., Sign. E. i."In Romaunce as we rede."Again in fol. ult."In Romaunce this cronycle is."But in the Cotton MS. of the original the first passage is:"As I herd a Clerke rede."And the other thus:"In Rome this Gest cronycled ys."So that I believe references to "the Romaunce," or the like, were often meer expletive phrases inserted by the oral reciters; one of whom, I conceive, had altered or corrupted the oldSyr Eglamourin the manner that the copy was printed.[1126]The harp (Lat.cithara) differed from the sautry, or psaltry (Lat.psalterium) in that the former was a stringed instrument, and the latter was mounted with wire: there was also some difference in the construction of the bellies, &c. SeeBartholomæus de proprietatibusrerum, as Englished by Trevisa and Batman, ed. 1584, in Sir J. Hawkins'sHist.vol ii. p. 285.[1127]Jogeler (Lat.joculator) was a very ancient name for a minstrel. Of what nature the performance of the joculator was, we may learn from the register of St. Swithin's Priory at Winchester (T. Warton, i. 69): "Et cantabat Joculator quidam nomine Herebertus Canticum Colbrondi, necnon Gestum Emme regine a judicio ignis liberate, in aula Prioris." His instrument was sometimes the fythele, or fiddle, Lat.fidicula: which occurs in the Anglo-Saxon lexicon. On this subject we have a curious passage from a MS. of theLives of the Saintsin metre, supposed to be earlier than the year 1200 (T. Warton'sHist.i. p. 17), viz.:"Christofre him served longeThe kynge loved melodye much of fithele and of songe:So that his Jogeler on a day beforen him gon to pleye faste,And in a tyme he nemped in his song the devil at laste."[1128]Le Compte.[1129]fait.[1130]Sornette, a gibe, a jest, or flouting[1131]Janglerie,babillage,raillerie.[1132]Of the 24 songs in what is now calledRobin Hood's Garland, many are so modern as not to be found in Pepys's collection completed only in 1700. In the folio MS. are ancient fragments of the following, viz.:Robin Hood and the Beggar,Robin Hoodand the Butcher,Robin Hood and Fryer Tucke,Robin Hood andthe Pindar,Robin Hood and Queen Catharine, in two parts,LittleJohn and the four Beggars, andRobine Hoode his Death. This last, which is very curious, has no resemblance to any that have been published; and the others are extremely different from the printed copies; but they unfortunately are in the beginning of the MS. where half of every leaf hath been torn away.[1133]That the French minstrel was a singer and composer; &c. appears from many passages translated by M. Le Grand, inFabliauxou Contes, &c.see tom. i. p. 37, 47, ii. 306, 313, &seqq.iii. 266, &c. Yet this writer, like other French critics, endeavours to reduce to distinct and separate classes the men of this profession under the precise names offablier,conteur,menetrier,menestrel, andjongleur(tom. i. pref. p. xcviii.) whereas his own tales confute all these nice distinctions, or prove at least that the title ofmenetrieror minstrel was applied to them all.[1134]See p.392.[1135]See p.409.[1136]See p.359, note[1051].[1137]The fondness of the English (even the most illiterate) to hear tales and rimes, is much dwelt on by Rob. de Brunne, in 1330 (Warton, i. p. 59, 65, 75). All rimes were then sung to the harp: evenTroilus and Cresseide, though almost as long as theÆneid, was to be "redde ... or else songe." l. ult. (Warton, i. 388).[1138]Gests at length came to signify adventures or incidents in general. So in a narrative of the journey into Scotland of Queen Margaret and her attendants, on her marriage with K. James IV. in 1503 (in appendix toLeland. Collect.iv. p. 265), we are promised an account "of their gestys and manners during the said voyage."[1139]The romance of Richard Cœur de Lion (No. 25) I should judge to be of English origin, from the names Wardrewe and Eldrede, &c. iii. appendix (sect. ii.). As is alsoEger and Grim(No. 12), wherein a knight is named Sir Gray Steel, and a lady who excells in surgery is called Loosepaine or Losepain; these surely are not derived from France.[1140]See the romance ofSir Isenbras(No. 14) sign. a."Harpers loved him in HallWith other Minstrels all."[1141]T. Warton, ii. 258, note (a) from Leland'sCollect.vol. iv. append. edit. 1774, p. 267.[1142]The curious author of theTour in Wales, 1773, 4to. p. 435, I find to have read these words, "in toune and contrey;" which I can scarce imagine to have been applicable to Wales at that time. Nor can I agree with him in the representation he has given (p. 367) concerning theCymmorthor meeting, wherein the bards exerted their powers to excite their countrymen to war; as if it were by a deduction of the particulars he enumerates, and, as it should seem, in the way of harangue, &c. After which, "the band of minstrels ... struck up; the harp, thecrwth, and the pipe filled the measures of enthusiasm, which the others had begun to inspire." Whereas it is well known that the bard chanted his enthusiastic effusions to the harp; and as for the term minstrel, it was not, I conceive, at all used by the Welsh; and in English it comprehended both the bard and the musician.[1143]"Your ordinarie rimers use very much their measures in the odde, as nine and eleven, and the sharpe accent upon the last sillable, which therefore makes him go ill favouredly and like a minstrels musicke." (Puttenham'sArte of Eng. Poesie, 1589, p. 59.) This must mean his vocal music, otherwise it appears not applicable to the subject.[1144]By this phrase I understand new tales or narrative rymes composed by the minstrels on the subject of true and faithful lovers, &c.

[1103]The Anglo-Saxon and primary English name for this character was Gleeman (see below, note[I], sect. 1), so that wherever the term minstrel is in these pages applied to it before the Conquest, it must be understood to be only by anticipation. Another early name for this profession in English was jogeler, or jocular, Lat.joculator. (See p.353, as also note[V2]and note[Q].) To prevent confusion, we have chiefly used the more general word minstrel, which (as the author of theObserv. on the Statuteshath suggested to the editor) might have been originally derived from a diminutive of the Lat.minister, scil.ministerellus,ministrellus.]

[1104]Ministers seems to be used for minstrels in the account of the Inthronization of Abp. Neville (An. 6, Edw. IV.). "Then all the Chaplyns must say grace, and the ministers do sing." Vid.LelandiCollectanea, by Hearne, vol. vi. p. 13.

[1105]It has, however, been suggested to the editor by the learned and ingenious author ofIrish Antiquities, 4to. that the ancientmimiamong the Romans had their heads and beards shaven, as is shown by Salmasius in Notis adHist. August. Scriptores VI. Paris, 1622, fol. p. 385. So that this peculiarity had a classical origin, though it afterwards might make the minstrels sometimes pass for ecclesiastics, as appears from the instance given below. Dr. Burney tells us thathistrionesandmimiabounded in France in the time of Charlemagne (ii. 221), so that their profession was handed down in regular succession from the time of the Romans, and therewith some leading distinctions of their habit or appearance; yet with a change in their arts of pleasing, which latterly were most confined to singing and music.

[1106]Yet in St. Mary's church at Beverley, one of the columns hath this inscription: "Thys Pillar made the Mynstrylls;" having its capital decorated with figures of five men in short coats; one of whom holds an instrument resembling a lute. See Sir J. Hawkins'Hist.ii. 298.

[1107]Vid. infra, not.[Aa].

[1108]Vid. Not.[B][K][Q].

[1109]Vid. Note[N].

[1110]The minstrels in France were received with great magnificence in the fourteenth century. Froissart describing a Christmas entertainment given by the Comte de Foix, tells us, that "there were many mynstrels, as well of hys own, as of straungers, and eache of them dyd their devoyre in their faculties. The same day the Erle of Foix gave to haraulds and minstrelles the som of fyve hundred frankes: and gave to the Duke of Tourayns mynstreles gownes of clothe of gold, furred with ermyne, valued at two hundred frankes." B. iii. c. 31. Eng. Trans. Lond. 1525. (Mr. C.)

[1111]Et vid. Policraticon, cap. 8, &c.

[1112]Vid. Nicolson'sEng. Hist. Lib.&c.

[1113]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'sManuelde Peche,A.D.1303 (see Warton, i. 61), we have this,"——Gode men, ye shall lereWhen ye anyglemanhere."Fabyan (in his Chronicle, 1533, f. 32.) translating the passage from Geoffrey of Monmouth, quoted below in p.397note[K]rendersDeus Joculatorum, by God of Gleemen. (Warton'sHist.Eng. Poet., Diss. i.) Fabyan died in 1592.Dunbar, who lived in the same century, describing in one of his poems, intitled,The Dauncewhat passed in the infernal regions "amangis the Feyndis," says:"Na menstralls playit to thame, but dowt,For gle-men thaire wer haldin out,Be day and eke by nycht."See Poems from Bannatyne's MS. Edinb. 1770, 12mo. p. 30. Maitland's MS. at Cambridge reads hereglewe-men.

[1113]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'sManuelde Peche,A.D.1303 (see Warton, i. 61), we have this,

"——Gode men, ye shall lereWhen ye anyglemanhere."

Fabyan (in his Chronicle, 1533, f. 32.) translating the passage from Geoffrey of Monmouth, quoted below in p.397note[K]rendersDeus Joculatorum, by God of Gleemen. (Warton'sHist.Eng. Poet., Diss. i.) Fabyan died in 1592.

Dunbar, who lived in the same century, describing in one of his poems, intitled,The Dauncewhat passed in the infernal regions "amangis the Feyndis," says:

"Na menstralls playit to thame, but dowt,For gle-men thaire wer haldin out,Be day and eke by nycht."

See Poems from Bannatyne's MS. Edinb. 1770, 12mo. p. 30. Maitland's MS. at Cambridge reads hereglewe-men.

[1114]To gleek is used in Shakespeare for "to make sport, to jest," &c.

[1115]The preceding list of Anglo-Saxon words, so full and copious beyond any thing that ever yet appeared in print on this subject, was extracted from Mr. Lye's curiousAnglo-Saxon Lexicon, in MS. but the arrangement here is the Editor's own. It had however received the sanction of Mr. Lye's approbation, and would doubtless have been received into his printed copy, had he lived to publish it himself.It should also be observed, for the sake of future researches, that without the assistance of the old English interpretations given by Somner, in hisAnglo-Saxon Dictionary, the Editor of the book never could have discovered thatgleesignified minstrelsy, orgligmana minstrel.

It should also be observed, for the sake of future researches, that without the assistance of the old English interpretations given by Somner, in hisAnglo-Saxon Dictionary, the Editor of the book never could have discovered thatgleesignified minstrelsy, orgligmana minstrel.

[1116]Neven,i.e.name.

[1117]Geoffrey of Monmouth is probably here describing the appearance of thejoculatoresor minstrels, as it was in his own time. For they apparently derived this part of their dress, &c. from themimiof the ancient Romans, who had their heads and beards shaven (see above p.383note[1105]), as they likewise did the mimickry, and other arts of diverting, which they superadded to the composing and singing to the harp heroic songs, &c. which they inherited from their own progenitors the bards and scalds of the ancient Celtic and Gothic nations. The Longobardi had, like other northern people, brought these with them into Italy. For "in the year 774, when Charlemagne entered Italy and found his passage impeded, he was met by a minstrel of Lombardy, whose song promised him success and victory.ContigitjoculatoremexLongobardorumgente ad Carolum venire, etcantiunculam a se compositam,rotando in conspectu suorum, cantare." Tom. ii. p. 2.Chron.Monast.Noval. lib. iii. cap. x. p. 717. (T. Warton'sHist.vol. ii. Emend. of vol. i. p. 113.)

[1118]Natus, 1030;scripsit, 1091;obit, 1109. Tanner.

[1119]Obit, Anno1142. Tanner.

[1120]See above, p.394. Both Ingulph. and Will. of Malmesb. had been very conversant among the Normans; who appear not to have had such prejudices against the minstrels as the Anglo-Saxons had.

[1121]Thus Leoꝺ, the Saxon word for a poem, is properly a song, and its derivativeliedsignifies a ballad to this day in the German tongue. Andcantarewe have seen above is by Alfred himself rendered, Be heaꞃpan ꞅιnᵹan.

[1122]The tabour or tabourin was a common instrument with the French minstrels, as it had also been with the Anglo-Saxon (vid.p. 393): thus in an ancient Fr. MS. in the Harl. collection (2253, 75), a minstrel is described as riding on horseback, and bearing his tabour."Entour son col porta sontabour,Depeynt de Or, e riche Açour."See also a passage in Menage'sDiction. Etym.(v.menestriers,) wheretaboursis used as synonymous tomenestriers.Another frequent instrument with them was the viele. This, I am told, is the name of an instrument at this day, which differs from a guitar, in that the player turns round a handle at the top of the instrument, and with his other hand, plays on some keys, that touch the chords, and produce the sound.See Dr. Burney's account of the vielle, vol. ii. p. 263, who thinks it the same with theroteor wheel. See p.270in the note."Il ot un Jougleor a Sens,Qui navoit pas sovent robe entiere;Sovent estoit sans saviele."—Fabliaux & Cont.ii. 184, 5.

"Entour son col porta sontabour,Depeynt de Or, e riche Açour."

See also a passage in Menage'sDiction. Etym.(v.menestriers,) wheretaboursis used as synonymous tomenestriers.

Another frequent instrument with them was the viele. This, I am told, is the name of an instrument at this day, which differs from a guitar, in that the player turns round a handle at the top of the instrument, and with his other hand, plays on some keys, that touch the chords, and produce the sound.

See Dr. Burney's account of the vielle, vol. ii. p. 263, who thinks it the same with theroteor wheel. See p.270in the note.

"Il ot un Jougleor a Sens,Qui navoit pas sovent robe entiere;Sovent estoit sans saviele."—Fabliaux & Cont.ii. 184, 5.

[1123]"Romanset Jutglar canta alt veux ... devant lo senyor Rey."—Chron.d'Aragon, apud Du Cange, iv. 771.

[1124]It ought to have been observed in its proper place in No. 31, vol. iii. appendix, that Amys and Amylion were no otherwise "Brothers" than as being fast friends: as was suggested by the learned Dr. Samuel Pegge, who was so obliging as to favour the essayist formerly with a curious transcript of this poem accompanied with valuable illustrations, &c: and that it was his opinion that both the fragment of theLady Bellesentmentioned in the same No. 31, and also the mutilated tale No. 37, were only imperfect copies of the above romance ofAmys and Amylion, which contains the two lines quoted in No. 37.

[1125]Whenever the wordRomanceoccurs in these metrical narratives, it hath been thought to afford decisive proof of a translation from theRomance, or French language. Accordingly it is so urged by T. Warton (i. 146, note), from two passages in the pr. copy ofSir Eglamour, viz., Sign. E. i."In Romaunce as we rede."Again in fol. ult."In Romaunce this cronycle is."But in the Cotton MS. of the original the first passage is:"As I herd a Clerke rede."And the other thus:"In Rome this Gest cronycled ys."So that I believe references to "the Romaunce," or the like, were often meer expletive phrases inserted by the oral reciters; one of whom, I conceive, had altered or corrupted the oldSyr Eglamourin the manner that the copy was printed.

"In Romaunce as we rede."

Again in fol. ult.

"In Romaunce this cronycle is."

But in the Cotton MS. of the original the first passage is:

"As I herd a Clerke rede."

And the other thus:

"In Rome this Gest cronycled ys."

So that I believe references to "the Romaunce," or the like, were often meer expletive phrases inserted by the oral reciters; one of whom, I conceive, had altered or corrupted the oldSyr Eglamourin the manner that the copy was printed.

[1126]The harp (Lat.cithara) differed from the sautry, or psaltry (Lat.psalterium) in that the former was a stringed instrument, and the latter was mounted with wire: there was also some difference in the construction of the bellies, &c. SeeBartholomæus de proprietatibusrerum, as Englished by Trevisa and Batman, ed. 1584, in Sir J. Hawkins'sHist.vol ii. p. 285.

[1127]Jogeler (Lat.joculator) was a very ancient name for a minstrel. Of what nature the performance of the joculator was, we may learn from the register of St. Swithin's Priory at Winchester (T. Warton, i. 69): "Et cantabat Joculator quidam nomine Herebertus Canticum Colbrondi, necnon Gestum Emme regine a judicio ignis liberate, in aula Prioris." His instrument was sometimes the fythele, or fiddle, Lat.fidicula: which occurs in the Anglo-Saxon lexicon. On this subject we have a curious passage from a MS. of theLives of the Saintsin metre, supposed to be earlier than the year 1200 (T. Warton'sHist.i. p. 17), viz.:"Christofre him served longeThe kynge loved melodye much of fithele and of songe:So that his Jogeler on a day beforen him gon to pleye faste,And in a tyme he nemped in his song the devil at laste."

"Christofre him served longeThe kynge loved melodye much of fithele and of songe:So that his Jogeler on a day beforen him gon to pleye faste,And in a tyme he nemped in his song the devil at laste."

[1128]Le Compte.

[1129]fait.

[1130]Sornette, a gibe, a jest, or flouting

[1131]Janglerie,babillage,raillerie.

[1132]Of the 24 songs in what is now calledRobin Hood's Garland, many are so modern as not to be found in Pepys's collection completed only in 1700. In the folio MS. are ancient fragments of the following, viz.:Robin Hood and the Beggar,Robin Hoodand the Butcher,Robin Hood and Fryer Tucke,Robin Hood andthe Pindar,Robin Hood and Queen Catharine, in two parts,LittleJohn and the four Beggars, andRobine Hoode his Death. This last, which is very curious, has no resemblance to any that have been published; and the others are extremely different from the printed copies; but they unfortunately are in the beginning of the MS. where half of every leaf hath been torn away.

[1133]That the French minstrel was a singer and composer; &c. appears from many passages translated by M. Le Grand, inFabliauxou Contes, &c.see tom. i. p. 37, 47, ii. 306, 313, &seqq.iii. 266, &c. Yet this writer, like other French critics, endeavours to reduce to distinct and separate classes the men of this profession under the precise names offablier,conteur,menetrier,menestrel, andjongleur(tom. i. pref. p. xcviii.) whereas his own tales confute all these nice distinctions, or prove at least that the title ofmenetrieror minstrel was applied to them all.

[1134]See p.392.

[1135]See p.409.

[1136]See p.359, note[1051].

[1137]The fondness of the English (even the most illiterate) to hear tales and rimes, is much dwelt on by Rob. de Brunne, in 1330 (Warton, i. p. 59, 65, 75). All rimes were then sung to the harp: evenTroilus and Cresseide, though almost as long as theÆneid, was to be "redde ... or else songe." l. ult. (Warton, i. 388).

[1138]Gests at length came to signify adventures or incidents in general. So in a narrative of the journey into Scotland of Queen Margaret and her attendants, on her marriage with K. James IV. in 1503 (in appendix toLeland. Collect.iv. p. 265), we are promised an account "of their gestys and manners during the said voyage."

[1139]The romance of Richard Cœur de Lion (No. 25) I should judge to be of English origin, from the names Wardrewe and Eldrede, &c. iii. appendix (sect. ii.). As is alsoEger and Grim(No. 12), wherein a knight is named Sir Gray Steel, and a lady who excells in surgery is called Loosepaine or Losepain; these surely are not derived from France.

[1140]See the romance ofSir Isenbras(No. 14) sign. a."Harpers loved him in HallWith other Minstrels all."

[1140]See the romance ofSir Isenbras(No. 14) sign. a.

"Harpers loved him in HallWith other Minstrels all."

[1141]T. Warton, ii. 258, note (a) from Leland'sCollect.vol. iv. append. edit. 1774, p. 267.

[1142]The curious author of theTour in Wales, 1773, 4to. p. 435, I find to have read these words, "in toune and contrey;" which I can scarce imagine to have been applicable to Wales at that time. Nor can I agree with him in the representation he has given (p. 367) concerning theCymmorthor meeting, wherein the bards exerted their powers to excite their countrymen to war; as if it were by a deduction of the particulars he enumerates, and, as it should seem, in the way of harangue, &c. After which, "the band of minstrels ... struck up; the harp, thecrwth, and the pipe filled the measures of enthusiasm, which the others had begun to inspire." Whereas it is well known that the bard chanted his enthusiastic effusions to the harp; and as for the term minstrel, it was not, I conceive, at all used by the Welsh; and in English it comprehended both the bard and the musician.

[1143]"Your ordinarie rimers use very much their measures in the odde, as nine and eleven, and the sharpe accent upon the last sillable, which therefore makes him go ill favouredly and like a minstrels musicke." (Puttenham'sArte of Eng. Poesie, 1589, p. 59.) This must mean his vocal music, otherwise it appears not applicable to the subject.

[1144]By this phrase I understand new tales or narrative rymes composed by the minstrels on the subject of true and faithful lovers, &c.

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