As japers and janglers, Judas chyldren,
Fayneth them fantasies, and fooles them maketh. [593]
It was a very common and a very favourite amusement, so late as the sixteenth century, to hear the recital of verses and moral speeches, learned for that purpose, by a set of men who obtained their livelihood thereby, and who, without ceremony, intruded themselves, not only into taverns and other places of public resort, but also into the houses of the nobility.
XIII.—FURTHER ILLUSTRATION OF THEIR PRACTICES.
The different talents of the minstrels are sarcastically described by an ancient French poet; [594] who, supposing a company of them assembled in the hall of an opulent nobleman, says, the count caused it to be made known to them, that he would give his best new scarlet robe to the minstrel who should occasion the most merriment, either by ridiculous words or by actions, la meillor truffe—dire ne faire. This proposal occasioned them to strive with each other; some of them imitated the imbecility of drunkards, others the actions of fools, some sang, others piped, li autre note, which properly signifies the pricking, or writing of musical notes, but it is also applied to the playing upon pipes and other musical instruments by note; some talked nonsense, and some made scurrilous jests; those who understood the juggler's art played upon the vielle, cil qui sevent la jouglerie vielant; and here it may be noted, that the vielle seems to have been an instrument of music chiefly used by the jugglers; others of them depended on the narration of quaint fables, which were productive of much laughter. So far the poet; and, if his statement be not very distant from the truth, we shall not wonder at the outcry of our moral and religious writers against such a mean and mercenary set of men, who were ready at command to prostitute their abilities to the worst of purposes, and encourage the growth of immorality and dissipation; the charge indeed is heavy, but I fear it will be found to stand upon a strong and permanent foundation.
XIV.—PATRONAGE, PRIVILEGES, AND EXCESSES OF THE MINSTRELS.
There is great reason to conclude that the professors of music were more generally encouraged, and of course more numerous in this country, subsequent to the Norman conquest, than they had been under the government of the Saxons. We are told, that the courts of princes swarmed with poets and minstrels. The earls also and great barons, who in their castles emulated the pomp and state of royalty, had their poets and minstrels: they formed part of their household establishment; and, exclusive of their wages, were provided with board, lodging, and clothing by their patrons, and frequently travelled with them when they went from home.
These minstrels, as well as those belonging to the court, were permitted to perform in the rich monasteries, and in the mansions of the nobility, which they frequently visited in large parties, and especially upon occasions of festivity. They entered the castles without the least ceremony, rarely waiting for any previous invitation, and there exhibited their performances for the entertainment of the lord of the mansion and his guests. They were, it seems, admitted without any difficulty, and handsomely rewarded for the exertion of their talents.
It was no uncommon thing with the itinerant minstrels to find admission into the houses of the opulent. The Saxon and the Danish gleemen followed the armies in the time of war, and had access to both the camps without the least molestation. The popular story of king Alfred, recorded by William of Malmsbury and other writers, may be mentioned in proof of this assertion. He, it is said, assumed the character of a gleeman, sub specie mimi—ut joculatoriæ professor artis, [595] and entered the Danish camp, where he made such observations as were of infinite service. To this we may add the authority of Ingulphus, whose words are, singens se joculatorem, assumpta cithara, &c. [596] This stratagem was afterwards repeated by Anlaff, or Aulaff, the Dane, who was equally successful. He assumed, says the historian, professionem mimi, the profession of the mimic, "who by this species of art makes a daily gain;" and then adds, "being commanded to depart, he took with him the reward for his song." [597]