[527]. Vulgares poetæ.
[528]. History of English Rhythms, Bk. iii. chap. vi. (p. 472, ed. Skeat). He also speaks of “discrepancies” in the different copies: but Keil’s apparatus gives no important variants in the MSS.
[529]. For the understanding reader there is perhaps no subdivision of literature more constantly delectable and refreshing than the Latin hymns of the sixth-thirteenth centuries on the one hand, and on the other the lighter work contained in such collections as the Carmina Burana, Edélestand du Méril’s three issues of Poésies Populaires Latines, Wright’s Poems of Walter Mapes, &c.
[530]. Cf. the ferocious, but vigorous, lampoon on Catherine of Montpensier and Jacques Clément, entitled Prosa Cleri Parisiensis ad ducem de Mena (Anciennes Poésies Françaises, vol. ii. Bibl. Elzévirienne: Paris, 1855).
[531]. V. Bartsch, Grundriss zur Gesch. der Prov. Lit., p. 65 sq., on Faidit’s Donat, Ramon Vidal’s Rasos de Trobar, &c.
[532]. Reliquiæ Antiquæ, by T. Wright & J. O. Halliwell, 2 vols., London, 1845.
P. Leyser, Historia Poetarum et Poematum Medii Ævi, Halle, 1721.
G. Mari, I Trattate Medievali di Ritmica Latina, Milan, 1899.
[533]. First given in Reliquiæ Antiquæ, i. 30-32. The others (except the Labyrinthus) are in Mari only.
[534]. Or Laborintus. The adoption of an “Eberhard of Bethune” as the author is not universally granted, nor the dating at 1212. But the exact authorship is not of the slightest importance to us, and the exact date not of much. The whole poem is printed by Leyser, p. 795 sq.