"Hoc Gualtherus sub-prior Jubet in decretis."

Are we to infer from the designation Sub-prior that the Walter of this poem held a post in the Order inferior to that of the Primas?

It is of importance in this connection to bear in mind that five of the poems attributed in English MSS. to Golias and Walter Map, namely, Missus sum in vineam, Multiformis hominum, Fallax est et mobilis, A tauro torrida, Heliconis rivulo, Tanto viro locuturi, among which is the famous Apocalypse ascribed by Salimbene to Primas, are given to Walter of Lille in the Paris MS. edited by Mueldner.[50] They are distinguished by a marked unity of style; and what is also significant, a lyric in this Paris MS., Dum Gualterus aegrotaret, introduces the poet's name in the same way as the Versa est in luctum of the Carmina Burana. Therefore, without identifying Walter of Lille with the Primas, Archipoeta, and Golias, we must allow that his place in Goliardic literature is very considerable. But I am inclined to think that the weight of evidence favours chiefly the ascription of serious and satiric pieces to his pen. It is probable that the Archipoeta, the follower of Reinald von Dassel, the man who composed the most vigorous Goliardic poem we possess, and gave the impulse of his genius to that style of writing, was not the Walter of the Versa est in luctum or of Dum Gualterus aegrotaret. That Walter must have been somewhat his junior; and it is not unreasonable to assume that he was Walter of Lille, who may perhaps be further identified with the Gualtherus sub-prior of the poem on the author's poverty. This Walter's Latin designation, Gualtherus de Insula, helps, as I have observed above,[51] to explain the attribution of the Goliardic poems in general to Walter Map by English scribes of the fifteenth century.

After all, it is safer to indulge in no constructive speculations where the matter of inquiry is both vague and meagre. One thing appears tolerably manifest; that many hands of very various dexterity contributed to form the whole body of songs which we call Goliardic. It is also clear that the Clerici Vagi considered themselves a confraternity, and that they burlesqued the institutions of a religious order, pretending to honour and obey a primate or bishop, to whom the nickname of Golias was given at the period in which they flourished most. Viewed in his literary capacity, this chief was further designated as the Archpoet. Of his personality we know as little as we do of that of Homer.

FOOTNOTES:

[Footnote 36: Grimm's Gedichte des Mittelalters, p. 232.]

[Footnote 37: Carm. Bur., p. 254.]

[Footnote 38: Page 69.]

[Footnote 39: Giesebrecht in Allg. Monatschrift. Jan. 1853. p. 35.]

[Footnote 40: Op. cit., p. 182.]

[Footnote 41: Ib., p. 232.]

[Footnote 42: Ib., pp. 238, 239.]

[Footnote 43: Published at Parma, 1857.]

[Footnote 44: See Novati, Carmina Medii Aevi, p. 8, note.]

[Footnote 45: Decameron, i, 7.]

[Footnote 46: See above, p. 21.]

[Footnote 47: Grimm, op. cit., p. 189 et seq.]

[Footnote 48: Giesebrecht identifies Walter of Lille with the Archipoeta. But he seems to be unacquainted with Salimbene's Chronicle, and I agree with Hubatsch that he has not made out his point.]

[Footnote 49: Op. cit., p. 235, also in Carm. Bur., p. 74.]

[Footnote 50: Hannover, 1859.]

[Footnote 51: Page 23.]



BOOKS ON GOLIARDIC LITERATURE.

Carmina Burana. Stuttgart. 1847.

Thomas Wright. The Latin Poems commonly attributed to Walter Mapes. Camden Society. 1841. —— Anecdota Literaria. London. 1844. —— Early Mysteries, etc. London. 1844.

Edelstand du Meril. Poesies Populaires Latines Anterieures au Douzieme Siecle. Paris. 1843. —— Poesies Populaires Latines du Moyen Age. Paris. 1847. —— Poesies Inedites du Moyen Age. Paris. 1854.

Jacob Grimm. Gedichte des Mittelalters auf Koenig Friedrich I., den Staufer. Berlin. 1843.

H. Hagen. Carmina Medii Aevi Max. Part. Inedita. Bern. 1877.

F. Novati. Carmina Medii Aevi. Firenze. 1883.

Mone. Anzeiger, vii.

W. Mueldener. Die Zehn Gedichte von Walther von Lille. Hannover. 1859,

Champollion-Figeac. Hilarii Versus et Ludi. Paris. 1838.

Gaudeamus. Leipzig. 1879.

Carmina Clericorum. Heilbronn. 1880.

A.P. Von Baernstein. Carmina Burana Selecta. 1880. —— Ubi sunt qui ante nos? Wuertzburg. 1881.

Giesebrecht. Die Vaganten. Allg. Monatscrift fuer W. und K. 1853.

O. Hubatsch. Die Lateinischen Vagantenlieder. Goerlitz. 1870.

A. Bartoli. I Precursori del Rinascimento, Firenze. 1876.

Allgemeines Deutsches Commersbuch.



TABLE OF SONGS TRANSLATED IN THIS VOLUME.

N.B.—In order to facilitate the comparison between my translations and the originals, I have made the following table. The first column gives the number of the song and the second the page in this book; the third column gives the beginning of each song in English; the fourth gives the beginning of each song in Latin. The references in the fifth column are to the little anthology called Gaudeamus (Leipzig, Teubner, 1879); those in the sixth column are to the printed edition of the Benedictbeuern Codex, which goes by the title of Carmina Burana (Stuttgart, auf Kosten das Literarischen Vereins, Hering & Co. printers, 1847).

+ -+ No. Page. English. Latin. Gaud. Car. Bur. + -+ -+ + + -+ -+ Page Page 1 42 At the mandate Cum in orbem 3 251 2 47 Once, it was Olim nostrum 6 .. 3 50 I a wandering Exul ego 178 50 4 52 We in our Nos vagabunduli 195 .. 5 55 Boiling in my Aestuans 34 67 6 63 Spring is coming Ver redit 88 178 7 64 These hours of Tempus est 100 211 8 66 Take your pleasure Congaudentes 90 166 9 67 Winter's untruth Vetus error 86 .. 10 68 Winter, now Cedit hiems 85 177 11 69 Now the fields Jam jam virent 89 184 12 70 Spring returns Ecce gratum 84 83 13 71 Vernal hours Vernum tempus 81 .. 14 72 Hail thou Salve ver .. 193 15 74 Summer sweet Dum aestas 97 196 16 75 The blithe young year Anni novi .. 145 17 76 Now the sun Omnia sol 109 177 18 77 In the spring Veris dulcis .. 195 19 78 With so sweet De pollicito 103 206 20 79 Wide the lime-tree Late pandit .. 185 21 80 Yonder choir of Ecce chorus .. 118 22 82 Meadows bloom Virent prata 98 189 23 84 Cast aside Omittamus studia 82 137 24 87 There went out Exiit diluculo 120 155 25 87 In the summer's Aestivali sub 125 145 26 89 All the woods Florent omnes 93 182 27 91 When the lamp Dum Dianae .. 124 28 95 In the spring-time Anni parte .. 155 29 99 On their steeds Equitabant .. 162 30 106 Take thou Suscipe Flos .. 217 31 107 Come to me Veni veni 102 208 32 109 Lydia bright Lydia bella 96 .. 33 111 When a young man Si puer cum 116 215 34 112 Rudely blows Saevit aurae .. 148 35 114 Love rules Amor tenet 91 150 36 117 List, my girl Non contrecto 118 150 37 118 Think no evil Ludo cum 104 151 38 120 With song I Sic mea fata 117 229 39 121 False the tongue Lingua mendax 111 230 40 124 A mortal anguish Humor letalis 114 169 41 127 Up to this time Huc usque 119 .. 42 129 Oh, of love O comes .. 225 43 130 Sweet native Dulce solum 110 168 44 132 Oh, my father Hecs pater 175 172 45 136 Wine the good Vinum bonum 17 .. 46 137 In dulci jubilo In dulci jubilo 201 .. [52] 47 139 Ho all ye .... .. .. 48 140 Laurel-crowned Lauriger Horatius 74 .. 49 141 Sweet in Dulce cum 74 .. 50 142 Ho! comrades O consacii 87 198 51 144 Laying truth bare Denudata 57 232 52 151 Topers in and Potatores 27 240 53 154 Time was Olim latus 188 173 54 155 While a boor Rusticus dum 189 .. 55 158 I am the Abbot Ego sum Abbas 73 254 [53] 56 159 Hear, O thou Audi Tellus .. .. 57 161 While life's Dum juventus 135 8 58 162 This vile world Iste mundus .. 5 59 164 De contemptu Scribere proposni 129 .. 60 165 Let us live then Gaudeamus igitur 1 .. + -+

FOOTNOTES:

[Footnote 52: The original of this song will be found in Geiger, Humanismus und Renaissance, p. 414.]

[Footnote 53: The original will be found in Moll, Hymnarium, p. 138.]

THE END