GRAND ORGAN, WITH BELLOWS, AND DOUBLE KEYBOARD.
(From a Drawing in a Ninth Century Psalter illustrating Psalm CL.)
The term minstrel, or, in Norman-French, ministraulx, came into use in England soon after the Conquest, at which time it is believed that the class of minstrels and jesters grew much more numerous. The general language of France in the ninth century was the langue d'Oc, which closely resembled the dialects of the Catalonian. The language of the north, or langue d'Oil, varied but little from it. At this period the flowing accents of the southern tongue were wedded to music by minstrels, who were called troubadours in the southern provinces, and trouveres in the north.
HARP OF THE NINTH CENTURY.
(From MS. of St. Blaise.)
These poets became known throughout Europe for their songs of love and war, in which they celebrated the beauty of women and the achievements of the brave. The minstrels enjoyed many privileges, and travelled from place to place, in time of war as well as of peace, in perfect safety. Their persons were held sacred, and they were received wherever they went with the warmest welcome and hospitality.
In England the professors of the minstrel's art were of various classes, which were distinguished by the several names of singers, relaters of heroic actions, jesters, balancers, jugglers, and story-tellers. At this period every great baron kept a jester as a part of his household establishment.
The word jester, in its original sense, did not necessarily mean joker, or buffoon, but teller of tales, which might be of a kind to excite either laughter or pity. The jesters, however, were usually employed at feasts and in the hours of conviviality, and they found the tales of merriment so much more popular at such times, that it is probable the more serious part of their vocation fell into disuse. In later times the jesters and japers became mere merry-andrews, whose business it was to excite mirth by jokes and ludicrous gesticulations.