[125] Cf. Brandl, op. cit., p. 981 f.
[126] It is generally thought that all these sentences refer to the king.
[127] Cf. Brandl, loc. cit.
[128] K. Müller, Fragmenta Historicorum Graecorum, IV p. 92. ἐπιγενομένης δὲ ἑσπέρας δᾷδες ἀνηφθήσαν, δύο δὲ ἀντικρὺ τοῦ Ἀττήλα παρελθόντες βάρβαροι ᾄσματα πεποιημένα ἔλεγον, νίκας αὐτοῦ καὶ τὰς κατὰ πόλεμον ᾄδοντες ἀρετάς· ἐς οὓς οἱ τῆς εὐωχίας ἀπέβλεπον, καὶ οἱ μὲν ἥδοντο τοῖς ποιήμασιν, οἱ δὲ τῶν πολέμων ἀναμιμνησκόμενοι διηγείροντο τοῖς φρονήμασιν, ἄλλοι δὲ ἐχώρουν ἐς δάκρυα, ὧν ὑπὸ τοῦ χρόνου ἠσθένει τὸ σῶμα καὶ ἡσυχάζειν ὁ θυμὸς ἠναγκάζετο.
[129] The performers who followed are said to have used Gothic, Hunnish and Latin.
[130] Freely translated by Hodgkin, Italy and her Invaders, Vol. II, p. 363. That the songs were in the national language appears from the phrases Germanica uerba (v. 4), barbaricis abacta plectris ... Thalia (v. 9 f.).
[131] Romanusque lyra plaudat tibi barbarus harpa.
[132] v. 67 f.
nos tibi uersiculos, dent barbara carmina leudos:
sic uariante tropo laus sonet una uiro.
The word leudos is generally interpreted as in the next passage (Ang.-Sax. leoð); but is it not possible that here it is an error for leudes (N. pl.)?