[797]. Child, I. 403: printed after the sixth stanza, and so till the eleventh, when the chorus is slightly changed to suit the story, and kept so to the end. For the strophic refrain or chorus and its popularity in Old French, see Schipper, I. 328.
[798]. Child, I. 209, 214.
[799]. Ibid., I. 126 ff., in F., O. See H.
[800]. Studies in the English Ballad Refrain, with a Collection of Ballad and Early Song Refrains. Thesis presented by John Henry Boynton in candidacy for the degree of Doctor of Philosophy in English, May 1, 1897. In 3 vols., Ms., Harvard University Library. The material is excellently put together; but the genetic and historical elements are not sufficiently brought out. The comparative work is good, and as a study of actual refrains this dissertation is of distinct value. The burden-stem is discussed in section V., pp. 184 ff.
[801]. Chronik, ed. Dahlmann, I. 176 f. See also II. 559 ff.
[802]. Chappell quoted by Child, Ballads, I. 7. “I must avow myself,” says Professor Child, “to be very much in the dark as to the exact relation of stem and burden.” See also Ballads, II. 204, first note.
[803]. This technical side of the case is discussed by Valentin, Studien über die schwedischen Volksmelodien, pp. 9 f.
[804]. Les Origines de la Poésie Lyrique en France au Moyen Age, Paris, 1889, pp. 102 ff. (see note 2, p. 111), and 387 ff. On the etymology of refrain, see pp. 103 f.
[805]. Ibid., p. 113. Jeanroy will not accept the view of Wackernagel and Bartsch that the refrains preserved in old French lyric poetry are actual “popular” songs, or fragments of them; but he willingly accepts the theory that all refrains were once of a communal kind. These, he thinks, are hopelessly lost. See pp. 115 ff. A few older refrains can be found in foreign lyric which imitated the French; pp. 177 ff.
[806]. Ibid., p. 396, note 1. Or, as in old Portuguese song, copied from the popular manner, one part of the dancers sang one verse, and another part, like strophe and antistrophe, repeated the verse with a slight change, usually in the final word which rimes with the other final word. The connection of this with the contrasto of lover and sweetheart, imitated in the dance, of debate, flyting, tenso, and the like, would lead too far afield. See p. 207, and below, p. [325].