[288] Adam Davie (†1312):
‘Merry it is in halle to here the harpe,
The minstrelles synge, the jogelours carpe.’
[289] John of Salisbury, Polycraticus, i. 8 ‘Quorum adeo error invaluit, ut a praeclaris domibus non arceantur, etiam illi qui obscenis partibus corporis oculis omnium eam ingerunt turpitudinem, quam erubescat videre vel cynicus. Quodque magis mirere, nec tunc eiiciuntur, quando tumultuantes inferius crebro sonitu aerem foedant, et turpiter inclusum turpius produnt’; Adam of Bremen (M. G. H.), iii. 38 ‘Pantomimi, qui obscoenis corporis motibus oblectare vulgus solent.’ Raine, Hist. Papers from Northern Registers (R. S.), 398, prints a letter of Archbishop Zouche of York on the indecent behaviour of some clerks of the bishop of Durham in York Minster on Feb. 6, 1349, ‘subtus imaginem crucifixi ventositates per posteriora dorsi cum foedo strepitu more ribaldorum emittere fecerunt pluries ac turpiter et sonore.’
[290] Gautier, ii. 69; Lavoix, La Musique au Siècle de Saint-Louis, i. 315; cf. Appendix C.
[291] W. Mapes, de Nugis Curialium (Camden Soc.), dist. v. prol., ‘Caesar Lucani, Aeneas Maronis, multis vivunt in laudibus, plurimum suis meritis et non minimum vigilantia poetarum; nobis divinam Karolorum et Pepinorum nobilitatem vulgaribus rithmis sola mimorum concelebrat nugacitas.’
[292] Lavoix, ii. 295.
[293] Ibid. ii. 344. The Paris MS. (B. N. f. fr. 2168) of Aucassin et Nicolete preserves the musical notation of the verse sections. Only three musical phrases, with very slight variations, are used. Two of these were probably repeated, alternately or at the singer’s fancy, throughout the tirade; the third provided a cadence for the closing line (Bourdillon, Aucassin et Nicolette (1897), 157).
[294] Chaucer, House of Fame, 1197:
‘Of alle maner of minstrales,