The other was

"Mille Sarmatas, mille Francos

Semel et semel occidimus.
Mille Persas quærimus."

Salmasius (in loc.) shows that the trivial Poets of that time were wont to form their metre of Trochaic Tetrametre Catalectics, divided into Distichs. [Ibid p. 350.] This becoming the Metre of the Hymns in the Church Service, to which the Monks at length superadded riming terminations, was the origin of the common Trochaic Metre in the modern languages. This observation I owe to the learned author of Irish Antiquities, 4to.

(Ff2)" Little Miscellanies named Garlands," &c.] In the Pepysian and other libraries are preserved a great number of these in black letter, 12mo. under the following quaint and affected titles, viz.

1. A Crowne Garland of Goulden Roses gathered out of England's Royal Garden, &c. by Richard Johnson, 1612. [In the Bodleian Library.] 2. The Golden Garland of Princely Delight. 3. The Garland of Good-will, by T. D. 1631. 4. The Royal Garland of Love and Delight, by T. D. 5. The Garland of Delight, &c. by Tho. Delone. 6. The Garland of Love and Mirth, by Thomas Lanfier. 7. Cupid's Garland set round with Guilded Roses. 8. The Garland of Withered Roses, by Martin Parker, 1656. 9. The Shepherd's Garland of Love, Loyalty, &c. 10. The Country Garland. 11. The Golden Garland of Mirth and Merriment. 12. The Lover's Garland. 13. Neptune's fair Garland. 14. England's fair Garland. 15. Robin Hood's Garland. 16. The Maiden's Garland. 17. A Loyal Garland of Mirth and Pastime. 18. A Royal Garland of New Songs. 19. The Jovial Garland, 8th Edit. 1691. &c. &c. &c.

This sort of petty publications had anciently the name of "Penny-Merriments:" as little religious tracts of the same size were called "Penny Godlinesses." In the Pepysian Library, are multitudes of both kinds.

(G g) "The term Minstrel was not confined to a mere Musician in this country any more than on the Continent."] The discussion of the question, Whether the term Minstrel was applied in England to Singers and Composers of Songs, &c. or confined to the performers on musical instruments, was properly reserved for this place, because much light bath already been thrown upon the subject in the preceding Notes, to which it will be sufficient to refer the Reader.

That on the Continent the Minstrel was understood not to be a mere Musician, but a Singer of Verses, hath been shown in Notes (B) (C) (R) (A a) &c.* And that he was also a maker of them is evident from the passage in (C) p. xxiv. where the most noted Romances are said to be of the composition of these men. And in (B b) p. xxxvi. we have the Titles of

That the French Minstrel was a singer and composer, &c. appears from many passages translated by M. Le Grand, in "Fabliaux ou Contes," &c. see tom. i. p. 37, 47.-ii. 306, 813 et seqq.-iii. 266, &c. Yet this writer, like other French critics, endeavours to reduce to distinct and separate classes the men of this profession, under the precise names of Fablier, Conteur, Menetrier, Menestrel, and Jongleur (tom. i. pref. p. xcviii.), whereas his own Tales confute all these nice distinctions, or prove at least that the title of Menetrier or Minstrel was applied to them all.

some of which a Minstrel was the author, who has himself left his name upon record.

The old English names for one of this profession was Gleeman, Jogelert, and latterly Minstrel ; not to mention Harper, &c. In French he was called Jongleur or Jugleur, Menestrel or Menestriert. The writers of the middle ages expressed the character in Latin by the words Joculator, Mimus, Histrio, Ministrellas, &c. These terms, however modern critics may endeavour to distinguish, and apply them to different classes, and although they may be sometimes mentioned as if they were distinct, I cannot find after a very strict research to have had any settled appropriate difference, but they appear to have been used indiscriminately by the oldest writers, especially in England; where the most general and comprehensive name was latterly Minstrel, Lat. Ministrellas, &c.

Thus Joculator (Eng. Jogeler, or Juglar) is used as synonymous to Citharista Note (K. p. xxviii.) and to Cantor (p. xxix.) and to Minstrel (vid. infra p. xl.) We have also positive proof that the subjects of his songs were Gestes and Romantic Taies. (V 2) note.

So Mimus isused as synonymous to Joculator, (M) p. xxix. He was rewarded for his singing, (N) p. xxx. and he both sang, harped, and dealt in that sport (T2) which is elsewhere called Ars Joculatoria, (M) ubi supra.

Again Histrio is also proved to have been a singer, (Z) p. xxxiv. and to have gained rewards by his Verba Joculatoria, (E) p. xxiv. And Histriones is the term by which the French word Ministraula is most frequently rendered into Latin, (W) p. xxxiii. (B b) p. xxxvi. &c.

The fact therefore is sufficiently established that this order of men were in England, as well as on the Continent, Singers; so that it only becomes a dispute about words, whether here, under the more general name of Minstrels, they are described as having sung.

But in proof of this we have only to turn to so common a book as T. Warton's History of English Poetry; where we shall find extracted from Records the following instances.

Ex Registr. Priorat. S. Swithin Winton. (sub anno 1374.) "In festo Alwyni Epi.... Et durante pietancia in Aula Conventus sex Ministralli, cum quatuor Citharisatoribus, faciebant Ministralcias suas. Et post cenam, in magna camera arcuata Dom. Prioris cantabant idem Gestem in qua Camera suspendebatur, ut moris est, magnum dorsale Prioris habens picturas trium Regum Colein. Veniebant autem dicti Joculatores a Castello Domini Regis et ex familia Epi." (vol. ii. p. 174.) Here the Minstrels and Harpare expressly called Joculatores; and as the Harpers had Musical Instruments, the Singing must have been by the Minstrels, or by both conjointly.

ers

For that Minstrels sang we have undeniable proof in the following entry in the Accompt Roll of the Priory of Bicester, in Oxfordshire (under the year 1432). "Dat Sex Ministrallis de Bokyngham cantantibus in refectorio Martyrium Septem Dormientium in Fasto Epiphanie, iv. s." (Vol. ii. p. 175.) In like manner our old English writers abound with passages wherein the Minstrel is represented as singing. To mention only a few :

See page xxvii. + See page xxxiii.
See page xxxiii. Note.

In the old Romance of Emaré (Series the third, No. 15. p. 194) which from the obsoleteness of the style, the nakedness of the story, the barrenness of incidents, and some other particulars, I should judge to be next in point of time to Hornchild, we have

"I have herd Menstrelles syng yn sawe." Stanza 27. In a poem of Adam Davie (who flourished about 1312) we have this Distich,

"Merry it is in halle to here the harpe, The Minstrelles synge, the Jogelours carpe." T. Warton, i. p. 225. So William of Nassyngton (circ. 1480) as quoted by Mr. Tyrwhitt, (Chaucer, iv. 319.)

"I will make no vain carpinge
Of dedes of armys ne of amours

As dus Minstrelles and Jestours [Gestours]
That makys carpinge in many a place
Of Octaviane and Isembrase,

And of many other Jestes [Gestes]

And namely whan they come to festes*.

See also the Description of the Minstrel in note (E e) from Morte Arthur, which appears to have been compiled about the time of this last writer. (See T. Warton, ii. 235.)

By proving that Minstrels were Singers of the old Romantic Songs and Gestes, &c. we have in effect proved them to have been the makers at least of some of them. For the names of their Authors being not preserved, to whom can we so probably ascribe the composition of many of these old popular rhymes, as to the men who devoted all their time and talents to the recitation of them, especially as in the rhymes themselves Minstrels are often represented as the makers or composers?

Thus in the oldest of all, Horn-Child, having assumed the character of a Harper or Jogeler, is in consequence said (fo. 92.) to have

"made Rymenild [his mistress] a lay."

In the old Romance of Emaré, we have this exhortation to Minstrels, as composers, otherwise they could not have been at liberty to choose their subjects. (st. 2.)

"Menstrelles that walken fer and wyde
Her and ther in every a syde

In mony a dyverse londe
Sholde ut her bygynnyng
Speke of that rightwes kyng

That made both see and londe." &c.

And in the old Song or Geste of Guy and Colbronde (Series the third, No. 4. p. 193.) the Minstrel thus speaks of himself in the first person:

"When meate and drinke is great plentye
Then lords and ladyes still wil be

And sitt and solace lythe

Then itt is time for mee to speake
Of keene knights and kempes great

Such carping for to kythe."

We have seen already that the Welsh Bards, who were undoubtedly composers of the songs they

The fondness of the English (even the most illiterate) to hear tales and rimes, is much dwelt on by Rob. de Brunne, in 1330. (Warton, i. p. 59, 65, 75.) All rimes were then sung to the harp even Troilus and Cresscide, though almost as long as the Eneid, was to be "redde....or else songe.' L. ult. (Warton i. 388.)

chanted to the Harp, could not be distinguished by our legislators from our own Rimers, Minstrels. Vid. (B b 3) p. xliii.)

And that the Provençal Troubadour of our King Richard, who is called by M. Favine Jongleur, and by M. Fauchet Menestrel, is by the old English Translator termed a Rimer or Minstrel when he is mentioning the fact of his composing some verses, (p. xxxiii.)

And lastly, that Holinshed, translating the prohibition of King Henry V. forbidding any songs to be composed on his Victory, or to be sung by Harpers or others, roundly gives it, he would not permit "any ditties to be made and sung by Minstrels on his glorious Victory," &c. Vid. p. xliv. and note (B b 4).

Now that this order of men, at first called Gleemen, then Juglers, and afterwards more generally Minstrels, existed here from the Conquest, who entertained their hearers with chanting to the harp or other instruments, songs and tales of chivalry, or as they were called Gests and Romances in verse in the English Lauguage, is proved by the existence of the very compositions they so chanted, which are still preserved in great abundance; and exhibit a regular series from the time our language was almost Saxon, till after its improvements in the age of Chaucer, who enumerates many of them. And as the Norman French was in the time of this Bard still the courtly language, it shows that the English was not thereby excluded from affording entertainment to our nobility, who are so often addressed therein by the title of Lordings: and sometimes more positively "Lords and Ladies."

And though many of these were translated from the French, others are evidently of English origint, which appear in their turns to have afforded versions into that language; a sufficient proof of that intercommunity between the French and English Minstrels, which hath been mentioned in a preceding page. Even the abundance of such translations into English, being all adapted for popular recitation, sufficiently establishes the fact, that the English Minstrels had a great demand for such compositions, which they were glad to supply whether from their own native stores, or from other languages.

We have seen above that the Joculator, Mimus, Histrio, whether these characters were the same, or had any real difference, were all called Minstrels ; as was also the Harpert, when the term implied a singer, if not a composer, of songs, &c. By degrees the name of Minstrel was extended to vocal and instrumental musicians of every kind and as in the establishment of royal and noble houses, the latter would necessarily be most numerous, so we are not to wonder that the band of music (eutered under the

:

Gests at length came to signify adventures or incidents in general. So in a narrative of the journey into Scotland, of Queen Margaret and her attendants, on her marriage with King James IV. in 1503 [in Appendix to Leland. Collect. iv. p. 265,] we are promised an account "of their Gestys and manners during the said voyage."

↑ The romance of "Richard Cœur de Lion," (No. 25,) I should judge to be of English origin from the names Wardrewe and Eldrede, &c. vol. iii. p. 194, 195. As is also Eger and Grime (No. 12), wherein a knight is named Sir Gray Steel, and a lady who excels in surgery is called Loospaine or Lose-pain: these surely are not derived from France. See the romance of "Sir Isenbras" (vol. iii. No. 14, p. 194) sign. a.

Harpers loved him in Hall With other Minstrels all.

general name of Minstrels) should consist of instrumental performers chiefly, if not altogether: for, as the composer or singer of heroic tales to the harp would necessarily be a solitary performer, we must not expect to find him in the band along with the trumpeters, fluters, &c.

"

However, as we sometimes find mention of "Minstrels of Music :" so at other times we hear of expert Minstrels and Musicians of Tongue and Cunning," (B b 3) p. xxxviit, meaning doubtless by the former, singers, and probably by the latter phrase, composers, of songs. Even "Minstrels Music" seems to be applied to the species of verse used by Minstrels in the passage quoted below.

But although, from the predominancy of instrumental Music, Minstralsy was at length chiefly to be understood in this sense, yet it was still applied

• T. Warton, ii. 258, note (a) from Leland's Collect. (vol. iv. Append. edit. 1774, p. 267.)

The curious author of the "Tour in Wales, 1773," 4to. p. 435, I find to have read these words "in toune and contrey;" which I can scarce imagine to have been applicable to Wales at that time. Nor can I agree with him in the representation he has given (p. 367,) concerning the Cymmorth or meeting, wherein the Bards exerted their powers to excite their countrymen to war; as if it were by a deduction of the particulars he enumerates, and as it should seem in the way of harangue, &c. After which," the band of Minstrels.......struck up; the harp, the crwth, and the pipe filled the measures of enthusiasm, which the others had begun to inspire." Whereas it is well known, that the Bard chanted his enthusiastic effusions to the harp; and as for the term Minstrel, it was not, I conceive, at all used by the Welsh; and in English it comprehended both the bard and the musician.

"Your ordinarie rimers use very much their measures in the odde, as nine and eleven, and the sharpe accent upon the last sillable, which therefore makes him go ill favouredly and like a Minstrels musicke." (Puttenham's Arte of Eng. Poesie, 1589, p. 59). This must mean his vocal music, otherwise it appears not applicable to the subject.

to the Poetry of Minstrels so late as the time of Queen Elizabeth, as appears in the following extract from Puttenham's "Arte of Eng. Poesie," p. 9, who, speaking of the first composers of Latin verses in ryme, says, "all that they wrote to the favor or prayse of Princes, they did it in such manner of Minstralsie; and thought themselves no small fooles, when they could make their verses go all in ryme." I shall conclude this subject with the following description of Minstrelcy given by John Lidgate at the beginning of the 15th century, as it shows what a variety of entertainments were then comprehended under this term, together with every kind of instrumental Music then in use:

-" Al maner Mynstralcye,
That any man kan specifye.

Ffor there were Rotys of Almayne,
And eke of Arragon, and Spayne:
Songes, Stampes, and eke Daunces;
Divers plente of plesaunces :
And many unkouth notys new
Of swiche folke as lovid treue
And instrumentys that did excelle,
Many moo than I kan telle.
Harpys, Fythales, and eke Rotys
Well according to her [i. e. their] notys,
Lutys, Ribibles, and Geternes,
More for estatys, than tavernes :
Orgay [n] s, Cytolis, Monacordys.-
There were Trumpes, and Trumpettes,
Lowde Shall [m] ys, and Doucettes."

T. Warton, ii. 225, note (*).

By this phrase I understand, New Tales or Narrative Rymes composed by the Minstrels on the subject of true and faithful Lovers, &c.

ОР

THE fine heroic song of Chevy-Chase has ever been admired by competent judges. Those genuine strokes of nature and artless passion, which have endeared it to the most simple readers, have recommended it to the most refined; and it has equally been the an.usement of our childhood, and the favorite of our riper years.

Mr. Addison has given an excellent critique* on this very popular ballad, but is mistaken with regard to the antiquity of the common-received copy; for this, if one may judge from the style, cannot be older than the time of Elizabeth, and was probably written after the eulogium of Sir Philip Sydney: perhaps in consequence of it. I flatter myself, I have here recovered the genuine antique poem; the true original song, which appeared rude even in the time of Sir Philip, and caused him to lament that it was so evil apparelled in the rugged garb of antiquity.

This curiosity is printed, from an old manuscript, at the end of Hearne's preface to Gul. Newbrigiensis Hist. 1719, 8vo. vol i. To the MS. copy is subjoined the name of the author, Rychard Shealet ; whom Hearne had so little judgement as to suppose to be the same with a R. Sheale, who was living in 1588. But whoever examines the gradation of language and idiom in the folowing volumes, will be convinced that this is the production of an earlier poet. It is indeed expressly mentioned among some very ancient songs in an old book intituled, The Complaint of Scotland‡, (fol. 42), under the title of

the Huntis of Chevet, where the two following lines are also quoted:

The Perssee and the Mongumrye mette*,
That day, that day, that gentil day † :

which, though not quite the same as they stand in the ballad, yet differ not more than might be owing to the author's quoting from memory. Indeed, whoever considers the style and orthography of this old poem will not be inclined to place it lower than the time of Henry VI.: as on the other hand the mention of JAMES THE SCOTTISH KING,‡, with one or two anachronisms, forbids us to assign it an earlier date. King James I, who was prisoner in this kingdom at the death of his fathers, did not wear the crown of Scotland till the second year of our Henry VI.||, but before the end of that long reign a third James had mounted the throne¶. A succession of two or three Jameses, and the long detention of one of them in England, would render the name familiar to the English, and dispose a poet in those rude times to give it to any Scottish king he happened to men

t on.

So much for the date of this old ballad: with regard to its subject, although it has no countenance from history, there is room to think it had originally some foundation in fact. It was one of the Laws of the Marches frequently renewed between the two nations, that neither party should hunt in the other's borders, without leave from the proprietors or their