[54] Vol. i. pp. 23, 27.
[55] I am at a loss to know what Muratori means by saying, “Son versi di dodici sillabe, ma computata la ragione de’ tempi, vengono ad essere uguali a gli endecasillabi.” p. 551. He could not have understood the metre, which is perfectly regular, and even harmonious, on the condition only, that no “ragione de’ tempi” except such as accentual pronunciation observes, shall be demanded. The first two lines will serve as a specimen:—
“O tu, qui servas armis ista mænia,
Noli dormire, moneo, sed vigila.”
This is like another strange observation of Muratori in the same dissertation, that, in the well-known lines of the emperor Adrian to his soul, “Animula vagula, blandula,” which could perplex no schoolboy, he cannot discover “un’esatta norma di metro;” and therefore takes them to be merely rhythmical.
French of eleventh century. 33. In the eleventh century, France still affords us but few extant writings. Several, indeed, can be shown to have once existed. The Romance language, comprehending the two divisions of Provençal and Northern French, by this time distinctly separate from each other, was now, say the authors of the Histoire Littéraire de la France, employed in poetry, romances, translations, and original works in different kinds of literature; sermons were preached in it, and the code, called the Assizes de Jerusalem, was drawn up under Godfrey of Bouillon in 1100.[56] Some part of this is doubtful, and especially the age of these laws. They do not mention those of William the Conqueror, recorded in French by Ingulfus. Doubts have been cast by a distinguished living critic on the age of this French code, and upon the authenticity of the History of Ingulfus itself; which he conceives, upon very plausible grounds, to be a forgery of Richard II.’s time: the language of the laws indeed appears to be very ancient, but not probably distinguishable at this day from the French of the twelfth century. It may be said, in general, that, except one or two translations from books of Scripture, very little now extant has been clearly referred to an earlier period.[57] Yet it is impossible to doubt that the language was much employed in poetry, and had been gradually ramifying itself by the shoots of invention and sentiment; since, at the close of this age, or in the next, we find a constellation of gay and brilliant versifiers, the Troubadours of southern France, and a corresponding class to the north of the Loire.
[56] Vol. vii. p. 107.
[57] Roquefort, Glossaire de la Langue Romane, p. 25, and État de la Poésie Française, p. 42, and 206, mentions several religious works in the royal library, and also a metrical romance in the British Museum, lately published in France on the fabulous voyage of Charlemagne to Constantinople. Raynouard has collected a few fragments in Provençal. But I must dissent from this excellent writer in referring the famous poem of the Vaudois, La Nobla Leyczon, to the year 1100. Choix des Poésies des Troubadours, vol. ii. p. cxxxvii. I have already observed, that the two lines which contain what he calls la date de l’an 1100, are so loosely expressed, as to include the whole ensuing century. (Hallam’s Middle Ages, iii. 467.) And I am now convinced that the poem is not much older than 1200. It seems probable that they reckoned 1100 years, on a loose computation, not from the Christian era, but from the time when the passage of Scripture to which these lines allude was written. The allusion may be to 1 Pet. i. 20. But it is clear that, at the time of the composition of this poem, not only the name of Vaudois had been imposed on those sectaries, but they had become subject to persecution. We know nothing of this till near the end of the century. This poem was probably written in the south of France, and carried afterwards to the Alpine valleys of Piedmont, from which it was brought to Geneva and England in the seventeenth century. La Nobla Leyczon is published at length by Raynouard. It consists of 479 lines, which seem to be rhythmical or aberrant Alexandrines; the rhymes uncertain in number, chiefly masculine. The poem censures the corruptions of the church, but contains little that would be considered heretical; which agrees with what contemporary historians relate of the original Waldenses. Any doubts as to the authenticity of this poem are totally unreasonable. M. Raynouard, an indisputably competent judge, observes, “Les personnes qui l’examineront avec attention jugeront que le manuscrit n’a pas été interpolé,” p. cxliii.
I will here reprint more accurately than before the two lines supposed to give the poem the date of 1100:—
“Ben ha mil et cent ancz compli entièrement,
Que fo scripta l’ora car sen al derier temps.”
Can M. Raynouard, or any one else, be warranted by this in saying, La date de l’an 1100, qu’on lit dans ce poème, merite toute confiance?
Metres of modern languages. 34. These early poets in the modern languages chiefly borrowed their forms of versification from the Latin. It is unnecessary to say, that metrical composition in that language, as in Greek, was an arrangement of verses corresponding by equal or equivalent feet; all syllables being presumed to fall under a known division of long and short, the former passing for strictly the double of the latter in quantity of time. By this law of pronunciation all verse was measured; and to this not only actors, who were assisted by an accompaniment, but the orators also endeavoured to conform. But the accented, or, if we choose rather to call them so, emphatic syllables, being regulated by a very different though uniform law, the uninstructed people, especially in the decline of Latinity, pronounced, as we now do, with little or no regard to the metrical quantity of syllables, but according to their accentual value. And this gave rise to the popular or rhythmical poetry of the lower empire; traces of which may be found in the second century, and even much earlier, but of which we have abundant proofs after the age of Constantine.[58] All metre, as Augustin says, was rhythm, but all rhythm was not metre: in rhythmical verse, neither the quantity of syllables, that is, the time allotted to each by metrical rule, nor even, in some degree, their number, was regarded, so long as a cadence was retained in which the ear could recognise a certain approach to uniformity. Much popular poetry, both religious and profane, and the public hymns of the church, were written in this manner; the distinction of long and short syllables, even while Latin remained a living tongue, was lost in speech, and required study to attain it. The accent or emphasis, both of which are probably, to a certain extent, connected with quantity and with each other, supplied its place; the accented syllable being, perhaps, generally lengthened in ordinary speech; though this is not the sole cause of length, for no want of emphasis or lowness of tone can render a syllable of many letters short. Thus we find two species of Latin verse: one metrical, which Prudentius, Fortunatus, and others aspired to write; the other rhythmical, somewhat licentious in number of syllables, and wholly accentual in its pronunciation. But this kind was founded on the former, and imitated the ancient syllabic arrangements. Thus the trochaic, or line, in which the stress falls on the uneven syllables, commonly alternating by eight and seven, a very popular metre from its spirited flow, was adopted in military songs, such as that already mentioned of the Italian soldiers in the ninth century. It was also common in religious chants. The line of eight syllables, or dimeter iambic, in which the cadence falls on the even places, was still more frequent in ecclesiastical verse. But these are the most ordinary forms of versification in the early French or Provençal, Spanish, and Italian languages. The line of eleven syllables, which became in time still more usual than the former, is nothing else than the ancient hendecasyllable; from which the French, in what they call masculine rhymes, and ourselves more generally, from a still greater deficiency of final vowels, have been forced to retrench the last syllable. The Alexandrine of twelve syllables might seem to be the trimeter iambic of the ancients. But Sanchez has very plausibly referred its origin to a form more usual in the dark ages, the pentameter; and shown it in some early Spanish poetry.[59] The Alexandrine, in the southern languages, had generally a feminine termination, that is, in a short vowel, thus becoming of thirteen syllables, the stress falling on the penultimate, as is the usual case in a Latin pentameter verse, accentually read in our present mode. The variation of syllables in these Alexandrines, which run from twelve to fourteen, is accounted for by the similar numerical variety in the pentameter.
[58] The well-known lines of Adrian to Florus, and his reply, “Ego nolo Florus esse,” &c., are accentual trochaics, but not wholly so; for the last line, Scythicas pati pruinas, requires the word pati to be sounded as an iambic. They are not the earliest instance extant of disregard to quantity, for Suetonius quotes some satirical lines on Julius Cæsar.
[59] The break in the middle of the Alexandrine, it will occur to every competent judge, has nothing analogous to it in the trimeter iambic, but exactly corresponds to the invariable law of the pentameter.
Origin of rhyme in Latin. 35. I have dwelt, perhaps tediously, on this subject, because vague notions of a derivation of modern metrical arrangements, even in the languages of Latin origin, from the Arabs or Scandinavians, have sometimes gained credit.[60] It has been imagined also that the peculiar characteristic of the new poetry, rhyme, was borrowed from the Saracens of Spain.[61] But the Latin language abounds so much in consonances, that those who have been accustomed to write verses in it well know the difficulty of avoiding them, as much as an ear formed on classical models demands; and as this gingle is certainly pleasing in itself, it is not wonderful that the less fastidious vulgar should adopt it in their rhythmical songs. It has been proved by Muratori, Gray, and Turner, beyond the possibility of doubt, that rhymed Latin verse was in use from the end of the fourth century.[62]