IV.

To return to the Anglo-Saxon word +Gligg+: notwithstanding the various secondary senses in which this word (as we have seen above) was so early applied; yet

The derivative _glee_ (though now chiefly used to express merriment and joy) long retained its first simple meaning, and is even applied by Chaucer to signify music and minstrelsy. (Vid. Jun. Etym.) E.g.

"For though that the best harper upon live Would on the best sounid jolly harpe That evir was, with all his fingers five Touch aie o string, or aie o warble harpe Were his nailes pointed nevir so sharpe It shoulde makin every wight to dull To heare is _glee_, and of his strokes full."

_Troyl. L._ ii.

Junius interprets _glees_ by _musica instrumenta_, in the following passages of Chaucer's third boke of Fame:--

"... Stoden ... the castell all aboutin Of all maner of _mynstrales_ And _jestours_ that tellen tales Both of wepyng and of game, And of all that longeth unto fame: There herde I play on a harpe That sowned both well and sharpe Hym Orpheus full craftily; And on this syde fast by Sate the harper Orion; And Eacides Chirion; And other harpers many one, And the Briton Glaskyrion."

After mentioning these, the great masters of the art, he proceeds:--

"And small harpers with her _glees_ Sat under them in divers sees." * * * * *

Again, a little below, the poet having enumerated the performers on all the different sorts of instruments, adds:--

"There sawe I syt in other sees Playing upon other sundry _glees_, Which that I cannot neven[1116] More than starres ben in heven," &c.

Upon the above lines I shall only make a few observations:

(1) That by jestours, I suppose we are to understand gestours; scil. the relaters of gests (Lat. _gesta_) or stories of adventures both comic and tragical; whether true or feigned; I am inclined to add, whether in prose or verse. (Compare the record below, in marginal note, subjoined to v. 2.) Of the stories in prose, I conceive we have specimens in that singular book the _Gesta Romanorum_, and this will account for its seemingly improper title. These were evidently what the French called _conteours_, or story-tellers, and to them we are probably indebted for the first prose romances of chivalry, which may be considered as specimens of their manner.

(2) That the "Briton Glaskeryon," whoever he was, is apparently the same person with our famous harper Glasgerion, of whom the reader will find a tragical ballad, in vol. iii. book 1, No. 7. In that song may be seen an instance of what was advanced above in note [E] of the dignity of the minstrel profession, or at least of the artifice with which the minstrels endeavoured to set off its importance.

Thus "a king's son is represented as appearing in the character of a harper or minstrel in the court of another king. He wears a collar (or gold chain) as a person of illustrious rank; rides on horseback, and is admitted to the embraces of a king's daughter."

The minstrels lost no opportunity of doing honour to their art.

(3) As for the word _glees_, it is to this day used in a musical sense, and applied to a peculiar piece of composition. Who has not seen the advertisements, proposing a reward to him who should produce the best catch, canon, or glee?

[K] [_Comes from the pen of Geoffrey of Monmouth._] Geoffrey's own words are: "Cum ergo alterius modi aditum [Baldulphus] non haberet, rasit capillos suos et barbam,[1117] cultumque joculatoris cum cythara fecit. Deinde intra castra deambulans, modulis quos in lyra componebat, sese cytharistam exhibebat." _Galf. Monum. Hist._ 4to. 1508, lib. vii. c. 1.--That _joculator_ signifies precisely a minstrel, appears not only from this passage, where it is used as a word of like import to _citharista_ or harper (which was the old English word for minstrel), but also from another passage of the same author, where it is applied as equivalent to _cantor_. See lib. i. cap. 22, where, speaking of an ancient (perhaps fabulous) British king, he says: "Hic omnes cantores quos præcedens ætas habuerat & in modulis & in omnibus musicisinstrumentis excedebat; ita ut Deus Joculatorum videretur." Whatever credit is due to Geoffrey as a relater of facts, he is certainly as good authority as any for the signification of words.

[L] [_Two remarkable facts._] Both these facts are recorded by William of Malmesbury; and the first of them, relating to Alfred, by Ingulphus also. Now Ingulphus (afterwards abbot of Croyland) was near forty years of age at the time of the Conquest,[1118] and consequently was as proper a judge of the Saxon manners, as if he had actually written his history before that event: he is therefore to be considered as an Anti-Norman writer; so that whether the fact concerning Alfred be true or not, we are assured from his testimony, that the _joculator_ or minstrel was a common character among the Anglo-Saxons. The same also may be inferred from the relation of William of Malmesbury, who outlived Ingulphus but thirty-three years.[1119] Both these writers had doubtless recourse to innumerable records and authentic memorials of the Anglo-Saxon times, which never descended down to us; their testimony therefore is too positive and full to be overturned by the mere silence of the two or three slight Anglo-Saxon epitomes, that are now remaining (vid. note [G]).

As for Asser Menevensis, who has given a somewhat more particular detail of Alfred's actions, and yet takes no notice of the following story; it will not be difficult to account for his silence, if we consider that he was a rigid monk, and that the minstrels, however acceptable to the laity, were never much respected by men of the more strict monastic profession, especially before the Norman Conquest, when they would be considered as brethren of the Pagan scalds.[1120] Asser therefore might not regard Alfred's skill in minstrelsy in a very favourable light; and might be induced to drop the circumstance related below, as reflecting in his opinion no great honour on his patron.

The learned editor of Alfred's life in Latin, after having examined the scene of action in person, and weighed all the circumstances of the event, determines from the whole collective evidence, that Alfred could never have gained the victory he did, if he had not with his own eyes previously seen the disposition of the enemy by such a stratagem as is here described. Vid. _Annot. in Ælfr. Mag. Vitam_, p. 33, Oxon. 1678. fol.

[M] [_Alfred ... assumed the dress and character of a minstrel]. Fingens se_ joculatorem, _assumpta cithara, &c. Ingulphi Hist._ p. 869.--_Sub specie mimi ... ut_ joculatoriæ _professor artis. Gul. Malmesb._ l. 2, c. 4, p. 43. That both _joculator_ and _mimus_ signify literally a minstrel, see proved in notes [B], [K], [N], [Q], &c. See also note [Gg].

Malmesbury adds, _Unius tantum fidelissimi fruebatur conscietitiâ_. As this confidant does not appear to have assumed the disguise of a minstrel himself, I conclude that he only appeared as the minstrel's attendant. Now that the minstrel had sometimes his servant or attendant to carry his harp, and even to sing to his music, we have many instances in the old metrical romances, and even some in this present collection. See vol. i. song vi., vol. iii. song vii., &c. Among the French and Provençal bards, the _trouverre_, or inventor, was generally attended with his singer, who sometimes also played on the harp, or other musical instrument. "Quelque fois durant le repas d'un prince on voyoit arriver un trouverre inconnu avec ses menestrels ou jongleours, et il leur faisoit chanter sur leurs harpes ou vielles les vers qu'il avoit composés. Ceux qui faisoient les sons _aussi_ bien qui les _mots_ etoient les plus estimés." _Fontenelle, Hist, du Theatr._

That Alfred excelled in music is positively asserted by Bale, who doubtless had it from some ancient MS. many of which subsisted in his time, that are now lost; as also by Sir J. Spelman, who we may conclude had good authority for this anecdote, as he is known to have compiled his life of Alfred from authentic materials collected by his learned father; this writer informs us that Alfred "provided himself of musitians, not common, or such as knew but the practick part, but men skilful in the art itself, whose skill and service he yet further improved with his own instruction." p. 199. This proves Alfred at least to have understood the theory of music; and how could this have been acquired without practising on some instrument? Which, we have seen above, note [H], was so extremely common with the Anglo-Saxons, even in much ruder times, that Alfred himself plainly tells us, it was _shameful_ to be ignorant of it. And this commonness might be one reason, why Asser did not think it of consequence enough to be particularly mentioned in his short life of that great monarch. This rigid monk may also have esteemed it a slight and frivolous accomplishment savouring only of worldly vanity. He has however

## particularly recorded Alfred's fondness for the oral Anglo-Saxon poems

and songs. (_Saxonica poemata die nocteque ... audiens ... memoriter_ _retinebat_, p. 16. _Carmina Saxonica memoriter discere_, &c. p. 43, and _ib._) Now the poems learnt by rote, among all ancient unpolished nations, are ever songs chanted by the reciter, and accompanied with instrumental melody.[1121]

[N] _With his harp in his hand, and dressed like a minstrel._ Assumptâ manu citharâ ... professus _mimum_, qui hujusmodi arte stipem quotidianam mercaretur ... Jussus abire pretium cantus accepit. _Malmesb._ l. 2, c. 6. We see here that which was rewarded was (not any mimicry or tricks, but) his _singing (cantus)_; this proves beyond dispute, what was the nature of the entertainment Aulaff afforded them. Perhaps it is needless by this time to prove to the reader, that _mimus_ in middle latinity signifies a minstrel, and _mimia_, minstrelsy, or the minstrel-art. Should he doubt it, let him cast his eye over the two following extracts from Du Cange.

"_Mimus_: Musicus qui instrumentis musicis canit. Leges Palatinæ Jacobi II. Reg. Majoric. In domibus principum, ut tradit antiquitas _mimi_ seu joculatores licitè possunt esse. Nam illorum officiam tribuit lutitiam ... Quapropter volumus et ordinamus, quod in nostra curia mimi debeant esse quinque, quorum duo sint tubicinatores, et tertius sit tabelerius (i. e. a player on the tabor.)[1122] Lit. remiss. ann. 1374. Ad mimos cornicitantes, seu bucinantes accesserunt."

Mimia, Ludus Mimicus, Instrumentum (potius, Ars Joculatoria). Ann. 1482.... "Mimia & cantu victum acquiro."

Du Cange, _Gloss._ tom. iv. 1762. Supp. c. 1225.

[O] [_To have been a Dane._] The northern historians produce such instances of the great respect shewn to the Danish scalds in the courts of our Anglo-Saxon kings, on account of their musical and poetic talents (notwithstanding they were of so hateful a nation), that, if a similar order of men had not existed here before, we cannot doubt but the profession would have been taken up by such of the natives as had a genius for poetry and music.

"Extant Rhythmi hoc ipso (Islandico) idiomate Angliæ, Hyberniæque Regibus oblati & liberaliter compensati, &c. Itaque hinc colligi potest linguam Danicam in aulis vicinorum regum, principumque familiarem fuisse, non secus ac hodie in aulis principum peregrina idiomata in deliciis haberi cernimus. Imprimis Vita Egilli Skallagrimii id invicto argumento adstruit. Quippe qui interrogatus ab Adalsteino, Angliæ rege, quomodo manus Eirici Blodoxii, Northumbriæ regis, postquam in ejus potestatem venerat, evasisset, cujus filium propinquosque occiderat, ... rei statim ordinem metro, nunc satis obscuro, exposuit, nequaquam ita narraturus non intelligenti."--Vid. _plura apud Torfæi Præfat. ad_ _Orcad. Hist._ fol.

This same Egill was no less distinguished for his valour and skill as a soldier, than for his poetic and singing talents as a scald; and he was such a favourite with our king Athelstan that he at one time presented him with "duobus annulis & scriniis duobus bene magnis argento repletis.... Quinetiam hoc addidit, ut Egillus quidvis præterea a se petens, obtineret; bona mobilia, sive immobilia, præbendam vel præfecturas. Egillus porro regiam munificentiam gratus excipiens, Carmen Encomiasticon, à se, linguâ Norvegicâ, (quæ tum his regnis communis), compostum, regi dicat; ac pro eo, duas Marcas auri puri (pondus Marcæ ... 8 uncias æquabat) honorarii loco retulit."--_Arngr. Jon. Rer. Islandic._ lib. 2, p. 129.

See more of Egill, in _The Five Pieces of Runic Poetry_, p. 45, whose poem, there translated, is the most ancient piece all in rhime, that is, I conceive, now to be found in any European language, except Latin. See Egill's Islandic original, printed at the end of the English version in the said _Five Pieces_, &c.

[P] [_If the Saxons had not been accustomed to have minstrels of_ _their own ... and to shew favour and respect to the Danish scalds._] If this had not been the case, we may be assured, at least, that the stories given in the text could never have been recorded by writers who lived so near the Anglo-Saxon times as Malmesbury and Ingulphus, who, though they might be deceived as to particular facts, could not be so as to the general manners and customs, which prevailed so near their own times among their ancestors.

[Q] [_"In Doomesday Book" &c.] Extract. ex Libro Domesday_: et vid. Anstis, _Ord. Gart._ ii. 304.

"GLOWECESTERSCIRE.

Fol. 162. col. 1. _Berdic Jocu lator Regis habet_ iii. _villas, et ibi_ v. _car. nil redd._"

That _joculator_ is properly a minstrel might be inferred from the two foregoing passages of Geoffery of Monmouth (v. Note [K]), where the word is used as equivalent to _citharista_ in one place, and to _cantor_ in the other: this union forms the precise idea of the character.

But more positive proofs have already offered, _vid. supra_, pp. 385, 399. See also p. 409 _note_ Du Cange's _Gloss._, vol. iii. c. 1543: "Jogulator pro Joculator.--_Consilium Masil._ an. 1381. Nullus Ministreys, seu Jogulator, audeat pinsare vel sonare instrumentum cujuscumque generis," &c. &c.

As the minstrel was termed in French _jongleur_ and _jugleur_; so he was called in Spanish _jutglar_ and _juglar_. "Tenemos canciones y versos para recitar muy antiguos y memorias ciertas de los Juglares, que assistian en los banquetes, como los que pinta Homero."--_Prolog. a las Comed. de Cervantes_, 1749, 4to.

"El anno 1328, en las siestas de la Coronacion del Rey, Don Alonso el IV. de Aragon, ...[1123] el Juglar Ramaset cantò una Villanesca de la Composicion del ... infante (Don Pedro): y otro Juglar, llamado Novellet, recitò y representò en voz y sin cantar mas de 600 versos, que hizo el Infante en el metro, que llamaban Rima vulgar."--_Ibid._

"Los Trobadores inventaron la Gaya Ciencia ... estos Trobadores, eran casi todos de la primera Nobleza. Es verdad, que ya entonces se havian entrometido entre las diversiones Cortesanos, los Contadores, los Cantores, los Juglares, los Truanes, y los Bufones."--_Ibid._

In England the king's juglar continued to have an establishment in the royal household down to the reign of Henry VIII. (vid. Note [Cc]). But in what sense the title was there applied does not appear. In Barklay's _Egloges_, written circ. 1514, jugglers and pipers are mentioned together. _Egl._ iv. (vid. T. Warton's Hist. ii. 254).

[R] [_A valliant warrior, named Taillefer, &c._] See Du Cange, who produces this as an instance, "Quod Ministellorum munus interdum præstabant milites probatissimi. Le Roman De Vacce, _MS._

"'Quant il virent Normanz venir Mout veissiez Engleiz fremir.... Taillefer qui mout bien chantoit, Sur un cheval, qui tost alloit, Devant euls aloit chantant De Kallemaigne & de Roullant, Et d'Olivier de Vassaux, Qui mourruent en Rainschevaux.'

"Qui quidem Taillefer a Gulielmo obtinuit ut primus in hostes irrueret, inter quos fortiter dimicando occubuit."--_Gloss._ tom. iv. 769, 770, 771.

"Les anciennes chroniques nous apprennent, qu'en premier rang de l' Armée Normande, un ecuyer nommé Taillefer, monté sur un cheval armé, chanta la Chanson De Roland, qui fut si long tems dans les bouches des François, sans qu'il soit resté le moindre fragment. Le Taillefer après avoir entonné le chanson que les soldats repetoient, se jetta le premier parmi les Anglois, et fut tué."--Voltaire, _Add. Hist. Univ._ p. 69.

The reader will see an attempt to restore the _Chanson de Roland_, with musical notes, in Dr. Burney's _Hist._ ii. p. 276. See more concerning the Song of Roland, vol. iii. appendix, sect. ii. note M.

[S] [_An eminent French writer, &c._] "M. l'Eveque de la Ravaliere, qui avoit fait beaucoup de recherches sur nos anciennes Chansons, pretend que c'est à la Normandie que nous devons nos premiers Chansonniers, non à la Provence, et qu'il y avoit parmi nous des Chansons en langue vulgaire avant celles des Provençaus, mais posterieurement au Regne de Philippe I. ou à l'an 1100."--v. _Revolutions de la Langue Françoise, à la suite des Poesies du Roi de Navarre._ "Ce seroit une antériorité de plus d'un demi siécle à l'époque des premiers Troubadours, que leur historien Jean de Nostredame fixe à l'an 1162, &c."--_Pref. a l'Anthologie Franç._ 8vo. 1765.

This subject hath been since taken up and prosecuted at length in the Prefaces, &c. to M. Le Grand's _Fabliaux ou Contes du XII. & du XIII. Siécle_, Paris, 1788, 5 tom. 12mo. who seems pretty clearly to have established the priority and superior excellence of the old rimeurs of the north of France, over the troubadours of Provence, &c.

[S2] [_Their own native gleemen or minstrels must be allowed to exist._] Of this we have proof positive in the old metrical romance of _Horn-Child_, (vol. iii. appendix), which, although from the mention of Sarazens, &c. it must have been written at least after the first Crusade in 1096, yet from its Anglo-Saxon language or idiom, can scarce be dated later than within a century after the Conquest. This, as appears from its very exordium, was intended to be sung to a popular audience, whether it was composed by, or for, a gleeman, or minstrel. But it carries all the internal marks of being the production of such a composer. It appears of genuine English growth, for after a careful examination, I cannot discover any allusion to French or Norman customs, manners, composition or phraseology: no quotation "As the Romance sayth:" not a name or local reference which was likely to occur to a French rimeur. The proper names are all of northern extraction. Child Horn is the son of Allof (_i.e._ Olaf or Olave), king of Sudenne (I suppose Sweden), by his queen Godylde, or Godylt. Athulf and Fykenyld are the names of subjects. Eylmer or Aylmere is king of Westnesse (a part of Ireland), Rymenyld is his daughter; as Erminyld is of another king Thurstan; whose sons are Athyld and Beryld. Athelbrus is steward of K. Aylmer, &c. &c. All these savour only of a northern origin, and the whole piece is exactly such a performance as one would expect from a gleeman or minstrel of the north of England, who had derived his art and his ideas from his scaldic predecessors there. So that this probably is the original, from which was translated the old French fragment of _Dan Horn_, in the Harleyan MS. 527, mentioned by Tyrwhitt (Chaucer iv. 68), and by T. Warton (Hist. i. 38), whose extract from _Horn-Child_ is extremely incorrect.

Compare the stile of Child-Horn with the Anglo-Saxon specimens in short verses and rhime, which are assigned to the century succeeding the Conquest, in Hickes's _Thesaurus_, tom. i. cap. 24, pp. 224 and 231.

[T] [_The different production of the sedentary composer and the_ _rambling minstrel._] Among the old metrical romances, a very few are addressed to readers, or mention reading: these appear to have been composed by writers at their desk, and exhibit marks of more elaborate structure and invention. Such is _Eglamour of Artas_ (No. 20, vol. iii. appendix), of which I find in a MS. copy in the Cotton Library, A. 2, folio 3, the II. Fitte thus concludes:

"... thus ferr have I red."

Such is _Ipomydon_ (No. 23, iii. appendix), of which one of the divisions (Sign. E. ii. b. in pr. copy) ends thus:

"Let hym go, God him spede Tyll efte-soone we of him reed (_i.e._ read)"

So in _Amys and Amylion_[1124] (No. 31. iii. appendix) in sta. 3d. we have

"In Geste as we rede,"

and similar phrases occur in stanzas 34, 125, 140, 196, &c.

These are all studied compositions, in which the story is invented with more skill and ingenuity, and the style and colouring are of superior cast, to such as can with sufficient probability be attributed to the minstrels themselves.

Of this class I conceive the romance of _Horn Child_ (mentioned in the last note, [S2], and in No. 1, vol. iii. appendix), which, from the naked unadorned simplicity of the story, I would attribute to such an origin.

But more evidently is such the _Squire of Lowe Degree_ (No. 24, iii. appendix), in which is no reference to any French original, nothing like the phrase which so frequently occurs in others, "As the Romance sayth,"[1125] or the like. And it is just such a rambling performance, as one would expect from an itinerant bard. And

Such also is _A lytell Geste of Robyn Hode, &c._ in eight fyttes, of which are extant two editions, 4to. in black letter, described more fully in this volume, book i. No. 8. This is not only of undoubted English growth, but, from the constant satire aimed at abbots and their convents, &c. could not possibly have been composed by any monk in his cell.

Other instances might be produced; but especially of the former kind is _Syr Launfal_ (No. 11, iii. appendix), the 121st st. of which has

"In Romances as we rede."

This is one of the best invented stories of that kind, and I believe the only one in which is inserted the name of the author.

[T2] _Royer or Raherus, the king's minstrel._ He is recorded by Leland under both these names, in his _Collectanea_, scil. vol. i. p. 61.

"Hospitale S. Bartholomæi in West-Smithfelde in London." Royer Mimus Regis fundator."

"Hosp. Sti. Barthol. Londini. Raherus Mimus Regis H. 1. primus fundator, an. 1102, 3. H. 1. qui fundavit etiam Priorat. Sti. Barthol."--_Ibid._ p. 99.

That _mimus_ is properly a minstrel in the sense affixed to the word in this essay, one extract from the accounts (Lat. _computis_) of the priory of Maxtock near Coventry, in 1441, will sufficiently show, scil.: "Dat. Sex. Mimis Dni. Clynton cantantibus, citharisantibus, ludentibus, &c. iiii. s." (T. Warton, ii. 106, note q.) The same year the prior gave to a _doctor prædicans_ for a sermon preached to them only 6_d._

In the _Monasticon_, tom. ii. p. 166, 167, is a curious history of the founder of this priory, and the cause of its erection: which seems exactly such a composition as one of those which were manufactured by Dr. Stone, the famous legend-maker, in 1380; (see T. Warton's curious account of him, in vol. ii. p. 190, note), who required no materials to assist him in composing his narratives, &c. For in this legend are no

## particulars given of the founder, but a recital of miraculous visions

exciting him to this pious work, of its having been before revealed to K. Edward the Confessor, and predicted by three Grecians, &c. Even his minstrel profession is not mentioned, whether from ignorance or design, as the profession was perhaps falling into discredit when this legend was written. There is only a general indistinct account that he frequented royal and noble houses, where he ingratiated himself _suavitate joculari_. (This last is the only word that seems to have any appropriated meaning.) This will account for the indistinct, incoherent account given by Stow: "Rahere, a pleasant-witted gentleman, and therefore in his time called the King's Minstrel."--_Survey of Lond._ ed. 1598, p. 308.

[U] [_In the early times every harper was expected to sing._] See on this subject K. Alfred's version of Cædman, above in note [H] p. 391.

So in _Horn-Child_, K. Allof orders his steward Athelbrus to

"--teche him of harpe and of song."

In the _Squire of Lowe Degree_ the king offers to his daughter,

"Ye shall have harpe, sautry,[1126] and song."

And Chaucer, in his description of the limitour or mendicant friar, speaks of harping as inseparable from singing (i. p. 11, ver. 268):--

"--in his harping, whan that he hadde songe."

[U2] [_At the most accomplished, &c._] See Hoveden, p. 103, in the following passage, which had erroneously been applied to K. Richard himself, till Mr. Tyrwhitt ("Chaucer," iv. p. 62) shewed it to belong to his Chancellor: "Hic ad augmentum et famam sui nominis, emendicata carmina, et rhythmos adulatorios comparabat; et de regno Francorum Cantores et Joculatores muneribus allexerat, ut de illo canerent in plateis: et jam dicebatur ubique, quod non erat talis in orbe." For other particulars relating to this chancellor, see T. Warton's _Hist._ vol. ii. addit. to p. 113 of vol. i.

[U3] [_Both the Norman and English languages would be heard at the houses of the great._] A remarkable proof of this is that the most diligent inquirers after ancient English rhimes find the earliest they can discover in the mouths of the Norman nobles, such as that of Robert, Earl of Leicester, and his Flemings in 1173, temp. Hen. II. (little more than a century after the Conquest), recorded by Lambarde in his _Dictionary of England_, p. 36:

"Hoppe Wyliken, hoppe Wyliken Ingland is thine and myne," &c.

and that noted boast of Hugh Bigot, Earl of Norfolk, in the same reign of K. Henry II. vid. _Camdeni Britannia_ (art. Suffolk), 1607, folio

"Were I in my castle of Bungey Vpon the riuer of Waueney I would ne care for the king of Cockeney."

Indeed, many of our old metrical romances, whether originally English, or translated from the French to be sung to an English audience, are addressed to persons of high rank, as appears from their beginning thus: "Listen, Lordings," and the like. These were prior to the time of Chaucer, as appears from vol. iii. appendix (sect. ii.). And yet to his time our Norman nobles are supposed to have adhered to their French language.

[V] [_That intercommunity, &c. between the French and English_ _Minstrels, &c._] This might, perhaps, in a great measure be re-referred even to the Norman Conquest, when the victors brought with them all their original opinions and fables; which could not fail to be adopted by the English minstrels and others who solicited their favour. This interchange, &c. between the minstrels of the two nations would be afterwards promoted by the great intercourse produced among all the nations of Christendom in the general crusades, and by that spirit of chivalry which led knights, and their attendants the heralds, and minstrels, &c. to ramble about continually from one court to another in order to be present at solemn turnaments, and other feats of arms.

[V2] [_Is not the only instance, &c._] The constant admission granted to minstrels was so established a privilege, that it became a ready expedient to writers of fiction. Thus, in the old romance of _Horn-Child_, the Princess Rymenyld being confined in an inaccessible castle, the prince, her lover, and some assistant knights with concealed arms assume the minstrel character, and approaching the castle with their "gleyinge" or minstrelsy, are heard by the lord of it, who being informed they were "harpeirs, jogelers, and fythelers,"[1127] has them admitted, when

"Horn sette him abenche (_i.e._ on a bench). Is (_i.e._ his) harpe he gan clenche He made Rymenild a lay."

This sets the princess a weeping and leads to the catastrophe, for he immediately advances to "the Borde" or table, kills the ravisher, and releases the lady.

[V3] [... _Assumed the dress and character of a harper, &c._] We have this curious _historiette_ in the records of Lacock Nunnery in Wiltshire, which had been founded by this Countess of Salisbury. See Vincent's _Discovery of Errors in Brookes Catalogue of Nobility_, &c. folio, pp. 445-6, &c. Take the following extract, and see Dugdale's _Baron_, i. p. 175.

"Ela uxor Gullielmi Longespee primi, nata fuit apud Ambresbiriam, patre et matre Normannis.

"Pater itaque ejus defectus senio migravit ad Christum, A.D. 1196. Mater ejus ante biennium obiit.... Interea Domina charissima clam per cognatos adducta fuit in Normanniam, & ibidem sub tutâ et arctâ custodiâ nutrita. Eodem tempore in Anglia fuit quidam miles nomine Gulielmus Talbot, qui induit se habitum Peregrini (_Anglicè_, a Pilgrim) in Normanniam transfretavit & moratus per duos annos, huc atque illuc vagans, ad explorandam dominam Elam Sarum. Et illâ inventâ, exuit habitum Peregrini, & induit se quasi Cytharisator & curiam ubi morabatur intravit. Et ut erat homo Jocosus, in Gestis Antiquorum valde peritus, ibidem gratanter fuit acceptus quasi familiaris. Et quando tempus aptum invenit, in Angliam repatriavit, habens secum istam venerabilem dominam Elam & hæredem Comitatus Sarum; & eam Regi Richardo præsentavit. Ac ille lætissime eam suscepit, & Fratri suo Guillelmo Longespee maritavit....

A.D. 1226 Dominus Guill. Longespee primus nonas Martii obiit. Ela vero uxor ejus et 7 annis supervixit.... Una die Duo monasteria fundavit primo mane xvi Kal. Maii. A.D. 1232. apud Lacock, in quo sanctæ degunt Canonissæ.... Et Henton post nonam, anno vero ætatis suæ, xlv. &c."

[W] For the preceding account Dugdale refers to _Monast. Angl._ i. (r. ii.) p. 185, but gives it as enlarged by D. Powel, in his _Hist._ _of Cambria_, p. 196, who is known to have followed ancient Welsh MSS. The words in the Monasticon are: "Qui accersitis Sutoribus Cestriæ et Histrionibus, festinanter cum exercitu suo venit domino suo facere succursum. Walenses vero videntes multitudinem magnam venientem, relictâ obsidione fugerunt.... Et propter hoc dedit comes antedictus.... Constabulario dominationem Sutorum et Histrionum. Constabularius vero retinuit sibi et hæredibus suis dominationem Sutorum: et Histrionum dedit vero Seneschallo." So the passage should apparently be pointed; but either _et_ or _vero_ seems redundant.

We shall see below in note [Z] the proper import of the word _histriones_; but it is very remarkable that this is not the word used in the grant of the constable De Lacy to Dutton, but "magisterium omnium _leccatorum_ et _meretricium_ totius Cestreshire, sicut liberius illum (_sic_) magisterium teneo de comite" (_vid._ Blount's _Ancient Tenures_, p. 156). Now, as under this grant the heirs of Dutton confessedly held for many ages a _magisterial_ jurisdiction over all the minstrels and musicians of that county, and as it could not be conveyed by the word _meretrices_, the natural inference is, that the minstrels were expressed by the term _leccatores_. It is true, Du Cange compiling his Glossary could only find in the writers he consulted this word used in the abusive sense, often applied to every synonyme of the sportive and dissolute minstrel, viz. _Scurra_, _vaniloquus_, _parasitus_, _epulo_, &c. (This I conceive to be the proper arrangement of these explanations, which only express the character given to the minstrel elsewhere: see Du Cange, _passim_, and notes, [C], [E], [F], [I], iii. 2, &c.) But he quotes an ancient MS. in French metre, wherein the leccour (Lat. _leccator_) and the minstrel are joined together, as receiving from Charlemagne a grant of the territory of Provence, and from whom the Provençal troubadours were derived, &c. See the passage above in note [C] p. 387.

The exception in favour of the family of Dutton is thus expressed in the statute, Anno 39, Eliz. chap. iv. entitled, "An Act for punishment of Rogues, Vagabonds, and Sturdy Beggars."

"§ II.... All fencers, bearwards, common players of enterludes, and minstrels, wandering abroad (other than players of enterludes belonging to any baron of this realm, or any other honourable personage of greater degree, to be authorised to play under the hand and seal of arms of such baron or personage): all juglers, tinkers, pedlers, &c.... shall be adjudged and deemed rogues, vagabonds, and sturdy beggars, &c.

"§ X. Provided always that this act, or any thing therein contained, or any authority thereby given, shall not in any wise extend to disinherit, prejudice, or hinder John Dutton of Dutton, in the county of Chester, Esquire, his heirs or assigns, for, touching or concerning any liberty, preheminence, authority, jurisdiction, or inheritance, which the said John Dutton now lawfully useth, or hath, or lawfully may or ought to use within the county-palatine of Chester, and the county of the city of Chester, or either of them, by reason of any ancient charters of any kings of this land, or by reason of any prescription, usage, or title whatsoever."

The same clauses are renewed in the last act on this subject, passed in the present reign of George III.

[X] [_Edward I ... at the knighting of his son, &c._] See _Nic. Triveti Annales_, Oxon. 1719, 8vo. p. 342.

"In festo Pentecostes Rex filium suum armis militaribus cinxit, & cum eo Comites Warenniæ & Arundeliæ, aliosque, quorum numerus ducentos & quadraginta dicitur excessisse. Eodem die cum sedisset Rex in mensa, novis militibus circumdatus, ingressa Ministrellorum Multitudo, portantium multiplici ornatu amictum, ut milites præcipue novos invitarent, & inducerent, ad vovendum factum armorum aliquod coram signo."

[Y] [_By an express regulation, &c._] See in Hearne's _Append. ad Lelandi Collectan._ vol. vi. p. 36. "A Dietarie, Writtes published after the Ordinance of Earles and Barons, Anno Dom. 1315."

"Edward by the grace of God, &c. to sheriffes, &c., greetyng. Forasmuch as ... many idle persons, under colour of mynstrelsie, and going in messages, and other faigned busines, have ben and yet be receaved in other mens houses to meate and drynke, and be not therwith contented yf they be not largely consydered with gyftes of the Lordes of the houses, &c.... We wyllyng to restrayne such outrageous enterprises and idlenes, &c. have ordeyned ... that to the houses of prelates, earles, and barons, none resort to meate and drynke, unless he be a mynstrel, and of these minstrels that there come none except it be three or four minstrels of honour at the most in one day, unlesse he be desired of the Lorde of the house. And to the houses of meaner men that none come unlesse he be desired, and that such as shall come so, holde themselves contented with meate and drynke, and with such curtesie as the maister of the house wyl shewe unto them of his owne good wyll, without their askyng of any thyng. And yf any one do agaynst this ordinaunce, at the firste tyme he to lose his minstrelsie, and at the second tyme to forsweare his craft, and never to be receaved for a minstrell in any house.... Yeven at Langley the vi. day of August, in the ix yere of our reigne."

These abuses arose again to as great a height as ever in little more than a century after; in consequence, I suppose, of the licentiousness that crept in during the civil wars of York and Lancaster. This appears from the charter, 9 E. IV. referred to in p. xlv. "Ex querulosâ insinuatione ... Ministrallorum nostrorum accepimus qualiter nonnulli rudes agricolæ & artifices diversarum misterarum regni nostri Angliæ, finxerunt se fore ministrallos, quorum aliqui liberatam nostram eis minime datam portarent, seipsos etiam fingentes esse minstrallos nostros proprios, cujus quidem liberatæ ac dictæ artis sive occupationis ministrallorum colore, in diversis partibus regni nostri prædicti grandes pecuniarum exactiones de ligeis nostris deceptive colligunt, &c."

Abuses of this kind prevailed much later in Wales, as appears from the famous commission issued out in 9 Eliz. (1567) for bestowing the silver harp on the best minstrel, rythmer, or bard, in the principality of North Wales: of which a fuller account will be given below in note [Bb3].

[Z] [_It is thus related by Stow._] See his Survey of London, &c. fol. 1633, p. 521 (Acc. of Westm. Hall). Stow had this passage from Walsingham's _Hist. Ang._ ... "Intravit quædam mulier ornata histrionali habitu, equum bonum insidens histrionaliter phaleratum, quæ mensas more histrionum circuivit; & tandem ad Regis mensam per gradus ascendit, & quandam literam coram rege posuit, & retracto fræno (salutatis ubique discumbentibus) prout venerat ita recessit," &c. _Anglic. Norm. Script._ &c. Franc. 1603, fol. p. 109.

It may be observed here, that minstrels and others often rode on horseback up to the royal table, when the kings were feasting in their great halls. See in this vol. book I, No. 6.

The answer of the porters (when they were afterwards blamed for admitting her) also deserves attention. "Non esse moris domus regiæ histriones ab ingressu quomodolibet prohibere, &c." Walsingh.

That Stow rightly translated the Latin word _histrio_ here by _minstrel_, meaning a musician that sung, and whose subjects were stories of chivalry, admits of easy proof; for in the _Gesta Romanorum_, chap. cxi. Mercury is represented as coming to Argus in the character of a minstrel; when he "incepit, more _histrionico_ fabulas dicere, et plerumque cantare." (T. Warton, iii. p. li.) And Muratori cites a passage, in an old Italian chronicle, wherein mention is made of a stage erected at Milan: "Super quo _histriones_ _cantibant_, sicut modo cantatur de Rolando et Oliverio." _Antich._ _Ital._ ii. p. 6. (_Observ. on the Statutes_, 4th edit. p. 362.)

See also [E] p. 388. [F] p. 389.

[Aa] [_There should seem to have been women of this profession._] This may be inferred from the variety of names appropriated to them in the Middle Ages, viz. Anglo-Sax. +Glip-meden+ (Glee-maiden), &c. +glypiendemaden, glypbydenestra+. (vid. supra, p. 393.) Fr. _jengleresse_, Med. Lat. _joculatrix_, _ministralissa_, _foemina ministerialis_, &c. (vid. Du Cange, _Gloss. & Suppl._)

See what is said in p. 371 concerning the "sisters of the fraternity of minstrels;" see also a passage quoted by Dr. Burney (ii. 315) from Muratori, of the chorus of women singing thro' the streets accompanied with musical instruments in 1268.

Had the female described by Walsingham been a _tombestere_, or dancing-woman (see Tyrwhitt's _Chaucer_, iv. 307, and v. Gloss.) that historian would probably have used the word _saltatrix_ (see T. Warton, i. 240, note M.)

These _saltatrices_ were prohibited from exhibiting in churches and church-yards along with _joculatores_, _histriones_, with whom they were sometimes classed, especially by the rigid ecclesiastics, who censured, in the severest terms, all these sportive characters (vid. T. Warton _in loco citato_, and vide _supra_ not. E, F, &c.).

And here I would observe, that although Fauchet and other subsequent writers affect to arrange the several members of the minstrel profession under the different classes of _troverres_ (or _troubadours_), _chanterres_, _conteours_, and _jugleurs_, &c. (vid. p. 385) as if they were distinct and separate orders of men, clearly distinguished from each other by these appropriate terms, we find no sufficient grounds for this in the oldest writers; but the general names in Latin, _histrio_, _mimus_, _joculator_, _ministrallus_, &c. in French, _menestrier_, _menestrel_, _jongleur_, _jugleur_, &c. and in English, _jogeleur_, _jugler_, _minstrels_, and the like, seem to be given them indiscriminately. And one or other of these names seem to have been sometimes applied to every species of men, whose business it was to entertain or divert (_joculari_) whether with poesy, singing, music, or gesticulation, singly, or with a mixture of all these. Yet as all men of this sort were considered as belonging to one class, order or community (many of the above arts being sometimes exercised by the same person), they had all of them doubtless the same privileges, and it equally throws light upon the general history of the profession to shew what favour or encouragement was given, at any particular period of time, to any one branch of it. I have not therefore thought it needful to inquire whether, in the various passages quoted in these pages, the word minstrel, &c. is always to be understood in its exact and proper meaning of a singer to the harp, &c.

That men of very different arts and talents were included under the common name of minstrels, &c. appears from a variety of authorities. Thus we have _menestrels de trompes_ and _menestrels de bouche_ in the suppl. to Du Cange, c. 1227, and it appears still more evident from an old French rhymer, whom I shall quote at large:

"Le Quens[1128] manda les _Menestrels_; Et si a fet[1129] crier entre els, Qui la meillor truffe[1130] sauroit Dire, ne faire, qu'il auroit Sa robe d'escarlate nueve. L'uns Menestrels à l'autre reuve Fere son mestier, tel qu'il sot, Li uns fet l'yvre, l'autre sot; Li uns chante, li autre note; Et li autres dit la riote; Et li autres la jenglerie;[1131] Cil qui sevent de jonglerie Vielent par devant le Conte; Aucuns ja qui fabliaus conte Il i ot dit mainte risée," &c.

_Fabliaux et Contes_, 12mo. tom. ii. p. 161.

And what species of entertainment was afforded by the ancient _juggleurs_ we learn from the following citation from an old romance, written in 1230:

"Quand les tables ostees furent C'il _juggleurs_ in pies esturent S'ont vielles, et harpes prisees Chansons, sons, vers, et reprises Et _gestes_ chantè nos ont."

Sir J. Hawkins, ii. 44, from _Andr. du Chene_. See also Tyrwhitt's _Chaucer_, iv. p. 299.

All the before mentioned sports went by the general name of _ministralcia ministellorum ludicra_, &c.--_Charta an._ 1377, _apud_ Rymer, vii. p. 160. "Peracto autem prandio, ascendebat D. Rex in cameram suam cum Prælatis Magnatibus & Proceribus prædictis: & deinceps Magnates, Milites & Domini, aliique Generosi diem illum, usque ad tempus coenæ, in tripudiis, coreis & solempnibus Ministralciis, præ gaudio solempnitatis illius continuarunt." (Du Cange, _Gloss._ 773.) This was at the coronation of K. Richard II.

It was common for the minstrels to dance, as well as to harp and sing (see above, note [E], p. 389); thus in the old Romance of _Tirante el Blanco_, Val. 1511, the 14th cap. lib. 2, begins thus: "Despues qui las Mesas fueron alçadas vinieron los Ministriles; y delante del rey, y de la Reyna dançaron un rato: y despues truxeron colacion."

They also probably, among their other feats, played tricks of slight of hand, hence the word jugler came to signify a performer of legerdemain; and it was sometimes used in this sense (to which it is now appropriated) even so early as the time of Chaucer, who in his _Squire's Tale_, (ii. 108) speaks of the horse of brass, as:

"----like An apparence ymade by som magike, As _Jogelours_ plaien at thise festes grete."

See also the _Frere's Tale_, i. p. 279, v. 7049.

[Aa2] [_Females playing on the harp._] Thus in the old romance of "Syr Degore (or Degree," No. 22, iii. appendix) we have (Sign. D. i.):

"The lady, that was so faire and bright, Upon her bed she sate down ryght; She harped notes swete and fine. (Her mayds filled a piece of wine.) And Syr Degore, sate him downe, For to hear the harpes sowne."

The 4th line being omitted in the pr. copy, is supplied from the folio MS.

In the _Squyr of lowe Degree_ (No. 24, iii. appendix) the king says to his daughter (Sign. D. i.):

"Ye were wont to harpe and syng, And be the meryest in chamber comyng."

In the _Carle of Carlisle_, (No. 10. iii. appendix) we have the following passage (folio MS. p. 451, v. 217).

"Downe came a lady faire and free, And sett her on the Carles knee: One whiles shee harped another whiles song, Both of paramours and louinge amonge."

And in the Romance of _Eger and Grime_ (No. 12, iii. appendix), we have (_ibid._ p. 127, col. 2) in part i. v. 263:

"The ladye fayre of hew and hyde Shee sate downe by the bed side Shee laid a souter (psaltry) vpon her knee Theron shee plaid full lovesomelye. ... And her 2 maydens sweetlye sange."

A similar passage occurs in part iv, v. 129 (p. 136.)--But these instances are sufficient.

[Bb] [_A charter ... to appoint a king of the minstrels._] Intitled _Carta Le Roy de ministraulx_ (in Latin _histriones_ vid. Plott. p. 437.) A copy of this charter is printed in _Monast. Anglic._ i. 355, and in Blount's _Law 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 terms _ministraulz_, and _histriones_ was 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 inter _ministellos_: de cujus munere, potestate in cæteros _ministellos_ agit Charta Henrici IV. Regis Angliæ in _Monast. 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's _Recherches de la_ _France_, 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 been _Le Roy des Menestrels_, will be esteemed more probable than what Pasquier here advances; for I have never seen the title of _prince_ given 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 de roy, 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 finez Qui des enfans Oger est appellez Or vueille Diex qu'il soit parachevez En tel maniere kestre n'en puist blamez Le Roy Adams (r. Adenes) ki il' est rimez.

"Et en celuy de Cleomades,

"Ce Livre de Cleomades Rimé-je le Roy Adenes Menestre 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 king _Adenes_, or _Adenez_ (whose name in the first passage above is corruptly printed _Adams_), he is recorded in the _Bibliothèque des Romans, Amst._ 1734, 12mo. vol. i. p. 232, to have composed the two romances in verse above-mentioned, and a third intitled _Le Roman de Bertin_: all three being preserved in a MS. written about 1270. His _Bon Duc Henry_ I conceive to have been Henry Duke of Brabant.

[Bb2] [_King of the minstrels, &c._] See Anstis's _Register of the Order of the Garter_, ii. p. 303, who tells us: "The President or Governour of the minstrels had the like denomination of _roy_ in 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 a _rex juglatorum_, and that the "king of the minstrels" at length was styled in France _roy 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 as _rymours_, _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 their _ministralx_ had 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's _Specimens of Welsh Poetry_, 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 themselves _minstrels_, _rythmers_, and _bards_, 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 expert _minstrels_ and _musicians in tongue and cunynge_ thereby much discouraged, &c." and "hindred [of] livings and preferment," &c. it appoints a time and place, wherein all "persons that intend to maintain their living by name or colour of _minstrels_, _rythmers_, or _bards_ within 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's _Vita 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, xx_s._ viz. xiii_s._ iv_d._ for my lord; and vi_s._ viii_d._ 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, ii_s._ And for playinge at the chamber doures of my lords yonger sonnes, my yonge masters, after viii_d._ the pece for every of them.--xxiii_s._ iiii_d._

"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, vi_s._ viii_d._

"Item, my lorde usith and accustomyth to gif yerely to the kings or queenes Bearwarde, if they have one, when they custom to come unto hym yerly, vi_s._ viii_d._

"Item, my lorde usith and accustomyth to gyfe yerly to every erles mynstrellis, when they custome to come to hym yerely, iii_s._ iiii_d._ And if they come to my lorde seldome, ones in ii or iii yeres, than vi_s._ viii_d._

"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, vi_s._ viii_d._ And, if they come but in ii or iii yeres, than x_s._"

"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, x_s._"

* * * * *

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's _Egloges, 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's _Hist. of Eng. Poetry_, i. p. 89-92, 116, &c., ii. 105, 106, 254, &c. Dr. Burney's _Hist. of Music_, ii. p. 316-319, 397-399, 427-428.

On this head, it may be sufficient to add the following passage from the _Fleta_, 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 of _jongleurs_ or minstrels, whom the French called by the peculiar name of _conteours_, or reciters in prose. It is in his _Ecclesiastes_, 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 of _Morte 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 that _I bear the armes 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 that thou 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 his _Historical Antiquities 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, like _le roy des violons_ in France (v. note [Bb2]), king of the fidlers. See the common ballad intitled _The Pedigree, Education, and Marriage of Robin-hood with 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 of _Shakespeare_: 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 French _balade_, as the latter is from the Italian _ballata_; which the Crusca Dictionary defines, _canzone che si canta_ _ballando_: "a song which is sung during a dance." So Dr. Burney (ii. 342,) who refers to a collection of _ballette_, 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 called _ballistea_ and _saltatiunculæ_. _Ballisteum_, Salmasius says, is properly _ballistium_, Gr. #Ballisteion#. "#apo tou Ballizô# ... #Ballistia# saltatio ... _Ballistium_ igitur est quod vulgo vocamus _ballet_; nam inde deducta vox nostra." Salmas. _Not. in_ Hist. Ang. Scriptores, iv. p. 349.

In the life of the Emperor Aurelian by Fl. Vopiscus may be seen two of these _ballistea_, 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 nemo Quantum fudit sanguinis."

The other was:

"Mille Sarmatas, mille Francos Semel & 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 of _Irish Antiquities_, 4to.

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

1. _A Crowne Garland of Goulden Roses gathered out of England's Royal Garden, &c._, by Richard Johnson, 1612. [In the Bodleyan Library.] 2. _The Golden Garland of Princely Delight._ 3. _The Garland of Good-will_, by T. D., 1631. 4. _The Royal Garland of Love 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. _The Garland of Withered Roses_, by Martin Parker, 1656. 9. _The Shepherd's Garland of Love, Loyalty, &c._ 10. _The Country Garland._ 11. _The Golden Garland of Mirth and Merriment._ 12. _The Lover's Garland._ 13. _Neptune's fair Garland._ 14. _England's fair Garland._ 15. _Robin Hood's Garland._ 16. _The Maiden's Garland._ 17. _A Loyal Garland of Mirth and Pastime._ 18. _A Royal 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 in_ _this 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 called _jongleur_ or _jugleur_, _menestrel_ or _menestrier_.[1136] The writers of the middle ages expressed the character in Latin by the words _joculator_, _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.

Thus _joculator_ (Eng. jogeler, or juglar) is used as synonymous to _citharista_ (note [K] p. 397), and to _cantor_ (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).

So _mimus_ is used as synonymous to _joculator_ ([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 called _ars joculatoria_ ([M] _ubi supra_).

Again _histrio_ is also proved to have been a singer ([Z] p. 412) and to have gained rewards by his _verba joculatoria_ ([E] p. 388). And _histriones_ is the term by which the Fr. word _ministraulx_ is 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's _History 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 called _joculatores_, 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 following entry in the Accompt Roll of the Priory of Bicester, in Oxfordshire (under the year 1432). "_Dat. Sex_ ministrallis de _Bokyngham_ cantantibus _in 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 of _Emaré_ (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 to _Hornchild,_ 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 carpinge Of dedes of armys ne of amours As dus Mynstrelles and Jestours [Gestours] That makys carpinge in many a place Of 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] from _Morte_ _Arthur_, 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 who devoted 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, _Hornchild_ having 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 of _Emaré_, 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 wyde Her and ther in every a syde In mony a dyverse londe Sholde ut her bygynnyng Speke of that ryghtwes kyng That made both see and sonde," &c.

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

"When meate and drinke is great plentye Then lords and ladyes still wil be And sitt and solace lythe Then itt is time for _mee_ to speake Of keene knights and kempes great Such 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 Provençal _troubadour_ of our King Richard, who is called by M. Favine _jongleur_, and by M. Fauchet _menestrel_, 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. 370 and 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 were called, 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 the _joculator_, _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 not altogether; 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's _Arte 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 then comprehended 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 new Of swiche folke as lovid treue.[1144] And instrumentys that did excelle, Many moo than I kan telle. Harpys, Fythales, and eke Rotys Well 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 the _Archæologia_, printed by the Antiquarian Society: but which that gentleman has since retracted in the most liberal and candid manner in the third volume of the _Archæologia_, 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.

* * * * *

[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 of _Ancient 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 the _Observ. on the Statutes_ hath 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. _Lelandi_ _Collectanea_, by Hearne, vol. vi. p. 13.

[1105] It has, however, been suggested to the editor by the learned and ingenious author of _Irish Antiquities_, 4to. that the ancient _mimi_ among the Romans had their heads and beards shaven, as is shown by Salmasius in Notis ad _Hist. 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 that _histriones_ and _mimi_ abounded 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's _Eng. 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's _Manuel de Peche_, A.D. 1303 (see Warton, i. 61), we have this,

"----Gode men, ye shall lere When ye any _gleman_ here."

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

Dunbar, who lived in the same century, describing in one of his poems, intitled, _The Daunce_ what 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 here _glewe-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 curious _Anglo-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 his _Anglo-Saxon Dictionary_, the Editor of the book never could have discovered that _glee_ signified minstrelsy, or _gligman_ a minstrel.

[1116] Neven, _i.e._ name.

[1117] Geoffrey of Monmouth is probably here describing the appearance of the _joculatores_ or minstrels, as it was in his own time. For they apparently derived this part of their dress, &c. from the _mimi_ of the ancient Romans, who had their heads and beards shaven (see above p. 383 note [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. _Contigit_ joculatorem _ex_ Longobardorum _gente ad Carolum venire, et_ cantiunculam a se compositam, _rotando in conspectu suorum, cantare_." Tom. ii. p. 2. _Chron. Monast._ Noval. lib. iii. cap. x. p. 717. (T. Warton's _Hist._ vol. ii. Emend. of vol. i. p. 113.)

[1118] _Natus_, 1030; _scripsit_, 1091; _obit_, 1109. Tanner.

[1119] _Obit, Anno_ 1142. 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 +Leod+, the Saxon word for a poem, is properly a song, and its derivative _lied_ signifies a ballad to this day in the German tongue. And _cantare_ we have seen above is by Alfred himself rendered, +Be hearpan singan.+

[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 son _tabour_, Depeynt de Or, e riche Açour."

See also a passage in Menage's _Diction. Etym._ (v. _menestriers_,) where _tabours_ is used as synonymous to _menestriers_.

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 the _rote_ or wheel. See p. 270 in the note.

"Il ot un Jougleor a Sens, Qui navoit pas sovent robe entiere; Sovent estoit sans sa _viele_."--_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 the _Lady Bellesent_ mentioned in the same No. 31, and also the mutilated tale No. 37, were only imperfect copies of the above romance of _Amys and Amylion_, which contains the two lines quoted in No. 37.

[1125] Whenever the word _Romance_ occurs in these metrical narratives, it hath been thought to afford decisive proof of a translation from the _Romance_, or French language. Accordingly it is so urged by T. Warton (i. 146, note), from two passages in the pr. copy of _Sir 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 old _Syr Eglamour_ in 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. See _Bartholomæus de proprietatibus_ _rerum_, as Englished by Trevisa and Batman, ed. 1584, in Sir J. Hawkins's _Hist._ 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 the _Lives of the Saints_ in metre, supposed to be earlier than the year 1200 (T. Warton's _Hist._ i. p. 17), viz.:

"Christofre him served longe The 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 called _Robin 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 Hood and the Butcher_, _Robin Hood and Fryer Tucke_, _Robin Hood and the Pindar_, _Robin Hood and Queen Catharine_, in two parts, _Little John and the four Beggars_, and _Robine 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, in _Fabliaux ou 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 of _fablier_, _conteur_, _menetrier_, _menestrel_, and _jongleur_ (tom. i. pref. p. xcviii.) whereas his own tales confute all these nice distinctions, or prove at least that the title of _menetrier_ or 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: even _Troilus and Cresseide_, though almost as long as the _Æneid_, 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 to _Leland. Collect._ iv. p. 265), we are promised an account "of their gestys and manners during the said voyage."

[1139] The romance of Richard Coeur 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 also _Eger 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 of _Sir Isenbras_ (No. 14) sign. a.

"Harpers loved him in Hall With other Minstrels all."

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

[1142] The curious author of the _Tour 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 the _Cymmorth_ or 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, the _crwth_, 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's _Arte 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.

APPENDIX II.

ON THE ORIGIN OF THE ENGLISH STAGE, &c.