[556] On these songs in general, see Northall, 233; Martinengo-Cesaresco, 249; Cortet, 153; Tiersot, 191; Jeanroy, 88; Paris, J. des Savants (1891), 685, (1892), 155, 407.
[557] H. A. Wilson, Hist. of Magd. Coll. (1899), 50. Mr. Wilson discredits the tradition that the performance began as a mass for the obit of Henry VII. The hymn is printed in Dyer, 259; Ditchfield, 96. It has no relation to the summer festival, having been written in the seventeenth century by Thomas Smith and set by Benjamin Rogers as a grace. In other cases hymns have been attached to the village festivals. At Tissington the well-dressing,’ on Ascension Day includes a clerical procession in which ‘Rock of Ages’ and ‘A Living Stream’ are sung (Ditchfield, 187). A special ‘Rushbearers’ Hymn’ was written for the Grasmere Rushbearing in 1835, and a hymn for St. Oswald has been recently added (E. G. Fletcher, The Rushbearing, 13, 74).
[558] Dyer, 240, from Hertfordshire. There are many other versions; cf. Northall, 240.
[559] Kögel, i. 1. 32.
[560] Pertz, Leges, i. 68 ‘nullatenus ibi uuinileodos scribere vel mittere praesumat.’ Kögel, i. 1. 61: Goedeke, i. 11, quote other uses of the term from eighth-century glosses, e.g. ‘uuiniliod, cantilenas saeculares, psalmos vulgares, seculares, plebeios psalmos, cantica rustica et inepta.’ Winiliod is literally ‘love-song,’ from root wini (conn. with Venus). Kögel traces an earlier term O. H. G. winileih, A.-S. winelâc = hîleih. On the erotic motive in savage dances, cf. Grosse, 165, 172; Hirn, 229.
[561] Romania, vii. 61; Trad. Pop. i. 98. Mr. Swinburne has adapted the idea of this poem in A Match (Poems and Ballads, 1st Series, 116).
[562] Romania, ix. 568.
[563] K. Bartsch, Chrest. Prov. 111. A similar chanson is in G. Raynaud, Motets, i. 151, and another is described in the roman of Flamenca (ed. P. Meyer), 3244. It ends
‘E, si parla, qu’il li responda:
Nom sones mot, faitz vos en lai,