[280] In order that no reader may be surprised by the absence of discussion of the antique antecedents of the more particular genres of mediaeval poetry (Latin and Vernacular), I would emphasize the impossibility of entering upon such exhaustless topics. Probably the very general assumption will be correct in most cases, that genres of mediaeval poetry (e.g. the Conflicts or Débats in Latin and Old French) revert to antecedents sufficiently marked for identification, in the antique Latin (or Greek) poetry, or in the (extant or lost) productions of the “low” Latin period from the third century downward. An idea of the difficulty and range of such matters may be gained from Jeanroy, Les Origines de la poésie lyrique en France au moyen âge (Paris, 1889), and the admirable review of this work by Gaston Paris in the Journal des savants for 1891 and 1892 (four articles). Cf. also Batiouchkof in Romania, xx. (1891), pages 1 sqq. and 513 sqq.
[281] Cf. Taylor, Classical Heritage of the Middle Ages, chap. ix.
[282] There is much verse from noted men, Alcuin, Paulus Diaconus, Walafrid Strabo, Rabanus Maurus, Theodulphus. It is all to be found in the collection of Dümmler and Traube, Poetae Latini aevi Carolini (Mon. Germ. 1880-1896).
[283] It is amusing to find a poem by Walafrid Strabo turning up as a favourite among sixteenth-century humanists. The poem referred to, “De cultura hortorum” (Poet. Lat. aev. Car. ii. 335-350), is a poetic treatment of gardening, reminiscent of the Georgics, but not imitating their structure. It has many allusions to pagan mythology.
[284] Post, p. 193 sqq.
[285] Ante, Vol. I., p. 147.
[286] Ante, Chapter XI., III.
[287] The following leonine hexameters are attributed to Donizo:
“Chrysopolis dudum Graecorum dicitur usu,
Aurea sub lingua sonat haec Urbs esse Latina,
Scilicet Urbs Parma, quia grammatica manet alta,
Artes ac septem studiose sunt ibi lectae.”
Muratori, Antiquitates, iii. p. 912.
[288] William was a few years older than Donizo, and died about the year 1100. His hero is Robert Guiscard, and his poem closes with this bid for the favour of his son, Roger: