[90] The most remarkable collection of these early farces, sotties, and moralities yet known, was found accidentally in 1845, and is now in the British Museum. These were all edited in Paris as the first three volumes of a work in ten, entitled “Ancien Théatre François, ou Collection des Ouvrages dramatiques les plus remarquable depuis les Mystères jusqu’à Corneille, publié ... par M. Viollet le Duc,” 12mo., Paris, 1854. It is right to state that these three volumes were edited, not by M. Viollet le Duc, but by a scholar better known for his learning in the older French literature, M. Anatole de Montaiglon.
[91] This is the date fixed by Meaume, in his excellent work on Callot, entitled “Recherches sur la Vie et les Ouvrages de Jacques Callot,” 2 tom. 8vo., 1860.
[92] Meaume appears to be doubtful of the meaning of this word; a friend has pointed out to me the correction. It was the title of a song, so called because the burden was an imitation of the crowing of a cock, the singer mimicking also the action of the bird. When Bacchus, in Redi’s “Bacco in Toscana,” is beginning to feel the exhilarating effects of his critical investigation of the Tuscan wines, he calls upon Ariadne to sing to him “sulla mandola la Cucurucù,” “on the mandola the Cucurucu.” A note fully explains the word as we have stated it—“Canzone cosi detta, perchè in esse si replica molte volte la voce del gallo; e cantandola si fanno atti e moti simili a quegli di esso gallo.”
[93] The materials for the history of Della Bella and his works, will be found in a carefully compiled volume, by C. A. Jombert, entitled, “Essai d’un Catalogue de l’Oeuvre d’Etienne de la Bella.” 8vo., Paris, 1772.
[94] “Pasquillorum Tomi duo.” Eleutheropoli, MDXLIIII.
[95] Pasquil and Pasquin became, during the latter part of the sixteenth and the whole of the seventeenth centuries, a well-known name in French and English literature. In English popular literature he was turned into a jester, and a book was published in 1604 under the title “Pasquil’s Jests; with the Merriments of Mother Bunch. Wittie, pleasant, and delightfull.”
[96] The great authority on the history of Macaronic literature is my excellent friend Monsieur Octave Delepierre, and I will simply refer the reader to his two valuable publications, “Macaronéana, ou Mélanges de Littérature Macaronique des differents Peuples de l’Europe,” 8vo., Paris, 1852; and “Macaronéana,” 4to., 1863; the latter printed for the Philobiblon Club.
[97] This style differs entirely from the macaronic. It consists merely in using the words of the Latin language with the forms and construction of the vulgar tongue, as illustrated by the directions of the professor who, lecturing in the schools, was interrupted by the entrance of a dog, and shouted out to the doorkeeper, Verte canem ex, meaning thereby that he should “turn the dog out.” It was perhaps from this, or some similar occurrence, that this barbarous Latin gained the name of dog-Latin. The French call it Latin de cuisine.
[98] A cheap and convenient edition of the “Cymbalum Mundi,” edited by the Bibliophile Jacob (Paul Lacroix), was published in Paris in 1841. I may here state that similar editions of the principal French satirists of the sixteenth century have been printed during the last twenty-five years.
[99] i.e., was drunk.