[119] See Bartoli, Storia della Letteratura Italiana, 1878, i, 262, note, also his I Precursori del Renascimento, 1877, p. 37. In this section and in the next chapter I am indebted for various clues to the Rev. John Owen’s Skeptics of the Italian Renaissance. As to the Goliards generally, see that work, pp. 38–45; Bartoli, Storia, cap. viii; Milman, Latin Christianity, bk. xiv, ch. iv; and Gebhart, Les Origines de la Renaissance en Italie, 1879, pp. 125–26. The name Goliard came from the type-name Golias, used by many satirists. [↑]
[120] Bartoli, Storia, i, 271–79. Cp. Schlegel’s note to Mosheim, Reid’s ed. p. 332, following Ratherius; and Gebhart, as cited. Milman (4th ed. ix, 189) credits the Goliards with “a profound respect for sacred things, and freedom of invective against sacred persons.” This shows an imperfect knowledge of much of their work. [↑]
[121] C. Lenient, La Satire en France au moyen âge, 1859, pp. 38–39. [↑]
[122] Owen, as cited, pp. 43, 45; Bartoli, Storia, i, 293. [↑]
[123] Disparagement of the serf is a commonplace of medieval literature. Langlois, La Vie en France au moyen âge, 1908, p. 169, and note; Lanson, Hist. de la litt. française, p. 96. At this point the semi-aristocratic jongleurs and the writers of bourgeois bias, such as some of the contributors to Reynard the Fox, coincided. The Renart stories are at once anti-aristocratic, anti-clerical, and anti-demotic. [↑]
[124] C. Lenient, La Satire en France, p. 115. Lenient cites from Erasmus’s letters (Sept. 1, 1528) a story of a German burned alive in his time for venting the same idea. [↑]
[125] Langlois, as cited, pp. 30–68. [↑]
[126] Cp. Langlois, pp. 107, 129, 263, etc. C. Lenient, as cited, p. 115. [↑]
[127] Rev. Joseph Berington, Literary History of the Middle Ages, ed. 1846, p. 229. Cp. Owen, p. 43. [↑]