Chapter I above, and consult the index to this volume.

[37] Utuntur notarii domini pape, 928. Fierville, in the study mentioned above, note 2, finds: (1) stilus gallicus seu Aurelianensis, based on stress (i.e., rhythmic), (2) stilus Tullianus, based on quantities, (3) stilus romane curie. See below, Chapter VIII, B and C.

[38] Primo dierum, AH 51: 24.

[39] As in Matthew; see note 12 above.

[40] The references are to the pages of Mari’s _Trattati_. One of John’s own poems (AH 50: 554) ends each stanza with a hexameter taken from Vergil, Ovid, or Lucan.

[41] As a document also it is interesting both for its examples and, if the text may be trusted, for some of its terms: “a rithmo qui constat ex duabus _percussionibus_” (35); “in prosis que cantantur in ecclesia” (42, the regular twelfth-century use, as for the hymns of Adam of St. Victor); “frequenter contigit in gallicis consonantiis” (59); “sed in toto ymnario quo nos utimur nonnisi tres diversitates metri autentice sunt” (60).

[42] For the common derivation of the _colores_ from the _Rhetorica ad Herennium_ see the valuable tables in F 52-54.

[43] F presents many interesting correspondences, with indications for further study.

[44] See above, Chapter V, footnote 31.

[45] Part of the interesting collection of Fulbert’s verse in PL 141 is printed as prose.

[46] The ignoring of the quantity of an unstressed syllable appears in such rimes as _chórīs_ with _salvatórĭs_, _vītā_ with _levítă_. Every dissyllable stresses the penult (Alexander de Villedieu, _Doctrinale_, 2299); and the disregard of quantity is even more marked in calling it indifferently a spondee. See below, Chapter VIII, note 44.

[47] Called also Bernard of Morlaix or Morlas. The poem, some 3000 lines, is of 1140. It is printed in Wright’s _Anglo-Latin Satirical Poets and Epigrammatists of the Twelfth Century_, vol. II, London, 1872 (Rolls Series). A considerable portion, including the familiar parts, is in Harrington’s _Medieval Latin_, Boston, 1925, pages 315-322. Bernard’s rime is no less insistent in his _Mariale_, AH 50: 426.

[48] The modern revival of these parts is due largely to John Mason Neale. His _Rhythm of Bernard de Morlaix, monk of Cluny, on the celestial country_ gives verse renderings beginning: “The world is very evil,” “Brief life is here our portion,” “There Jesus shall embrace us,” “For thee O dear, dear country,” “Jerusalem the golden,” with the corresponding Latin text (first ed. 1858; seventh, 1865). _Britt_ (170-173) quotes large portions.

[49] As in the musical setting of Horatio Parker.

[50] For an introduction to the Goliardic poetry see the article _Goliard_ in Encyclopedia Britannica, with its bibliography.

[51] See the _Hymnum dicat turba fratrum_ above, page 120; the seven Advent antiphons (_O Sapientia_, etc.) known as the seven O’s, and _symbolism_ in the index.

[52] Lapis, petra, fundamentum, silex, etc., and further, mel de petra, oleum de saxo, etc.

[53] This is one of the suggestions that Adam seems to have taken from Hugh of the same community.

Adam’s most frequently recurring symbols are grouped conveniently in relation to medieval habit by Misset-Aubry, pages 56-110.

[54] The doctrine of transubstantiation was promulgated by Innocent III at the Fourth Lateran Council in 1215; the feast of Corpus Christi, by Urban IV in 1264, for the Thursday after Trinity Sunday. The proper hymns were written by St. Thomas Aquinas: _Lauda, Sion_ for the sequence of the Mass; _Pange, lingua_ (containing _Tantum ergo_), _Sacris sollemniis_, _Verbum supernum_ (containing _O salutaris_), for the office; _Adoro te devote_, for adoration. See AH 50: 583-591; _Britt_, pages 173-192.

[55] ARP 123, 124.