[540]. Ortoli, p. 248.
[541]. Manquait de tenue, M., pp. 24 f.
[542]. See Marcaggi, pp. 157, 231, for a vocératrice célèbre. “La vocératrice marche toujours à la tête des pleureuses,”—in going to the funeral.
[543]. Such is No. X. in Marcaggi, a “vocero sung by a woman in the square of Canonica in the midst of a great crowd of women, priests, doctors, and magistrates come from neighbour villages.”
[544]. A child who does this, and makes a vocero, declares that he will bind the kerchief about his neck whenever he feels moved to laugh,—a grim bit which throws into the shade that “child on the nourice’s knee” of English ballads, who vows revenge if he shall live to be man.
[545]. On the vendetta in Italy during the renaissance, see Burckhardt, Cult. d. Ren.,⁶ II. 179 ff.
[546]. J. K. Bladé, Dissertation sur les Chants Historiques des Basques, Paris, 1866, pp. 6 ff.; Borrow, The Bible in Spain, 1843, II. 394; F. Michel, Le Pays Basque, 1857, pp. 277 f.
[547]. “They have not utterly disappeared from my country,” says Bladé, Poésies Populaires de la Gascogne, introduction to Vol. I. p. xi; and he prints a collection of them, pp. 212-231.
[548]. This is Bladé’s French rendering, pp. 212 ff. Beaurepaire, work quoted, pp. 24 f., says these cries are no longer heard in Normandy.
[549]. “The men, old and young, take no part,” Bladé, I. xiii.