thirty dates of Corneille's plays 'une dizaine de fausses,' and he quotes (as I do) M. Marty-Laveaux. As since the beginning, years ago, of my Cornelian studies, I have constantly used that excellent edition, though, now as always, reserving my own judgment on points of opinion, I verified M. Scherer's appeal with some alarm at first, and more amusement afterwards. The eminent critic of the 4
The remarks on M. Scherer in this preface (and I need hardly say still more those which occur in the body of the book with reference to a few others of his criticisms) were written long before his fatal illness, and had been sent finally to press some time before the announcement of his death. I had at first thought of endeavouring to suppress those which could be recalled. But it seemed to me on reflection that the best compliment to the memory of a man who was himself nothing if not uncompromising, and towards whom, whether alive or dead, I am not conscious of having entertained any ill-feeling, would be to print them exactly as they stood, with the brief addition that I have not known a critic more acute within his range, or more honest according to what he saw, than M. Edmond Scherer. (March 20, 1889.)
5
'Fama bonorum operum, quia praevalebat non tantum in Teutonica sed in Romana lingua, Lotharii regis ad aures usque perveniente,' says his life. The chronicler Sigebert confirms the statement that he was made bishop 'quod Romanam non minus quam Teutonicam calleret linguam.'
6
The Latin form of the song is given by Helgaire, Bishop of Meaux, who wrote a life of St. Faron, his predecessor, towards the end of the ninth century. Helgaire uses the words 'juxta rusticitatem,' 'carmen rusticum;' and
7
'Si vulgari id est romana lingua loqueretur omnium aliarum putares inscium.'
8
The Reichenau Glossary is at Carlsruhe. It was published in 1863 by Holtzmann. The Cassel Glossary, which came from Fulda, was published in the last century (1729).
9
Ordered by the Councils of Tours, Rheims, and Arles (813-851).
10
In the Library at Valenciennes.
11
12
The subject of the Cantilenae is discussed at great length by M. Léon Gautier,
13
These, which are for the most part very vague and not very early, will be found fully quoted and discussed in Gautier, l. c.
14
Published by Hoffmann von Fallersleben (1837).
15
This word (= arranger or putter-in-order) is familiar in Homeric discussion, and therefore seems appropriate. M. Gaston Paris speaks with apparent confidence of the pre-existing
16
The older and in this case more usual form.
17
18
19
Wace (Roman de Rou, iii. 8038 Andresen) speaks of the Norman Taillefer as singing at Hastings 'De Karlemaigne et de Rollant.' It has been sought, but perhaps fancifully, to identify this song with the existing
20
'Ci falt la geste que Turoldus declinet.' The sense of the word
21
22
This series is given, sometimes in whole, sometimes in extracts, by Dr. Jonckbloet,
23
Ed. P. Paris. Paris, 1848.
24
Ed. Boca. Valenciennes, 1841.
25
Ed. Schéler. Brussels, 1877.
26
Ed. Barrois. Paris, 1842.
27
There exists a Provençal version of it, evidently translated from the French. The most convenient edition is that of Kroeber and Servois, Paris, 1860. There is an English fourteenth-century version published by Mr. Herrtage for the Early English Text Society, 1879.
28
Published partially by MM. P. Paris and E. du Méril and by Herr Stengel.
29
Ed. Le Glay. Paris, 1840.
30
Ed. Michel. Paris, 1856.
31
Ed. La Grange. Paris, 1864.
32
Ed. Guessard. Paris, 1866.
33
Ed. Guessard et Grandmaison. Paris, 1860.
34
Ed. Michelant. Stuttgart, 1862.
35
Ed. Michel. Paris, 1839.
36
Ed. Schéler. Brussels, 1874.
37
Ed. Pey. Paris, 1859.
38
Ed. Tarbé. Rheims, 1850.
39
Ed. Michel. London, 1836.
40
It is very commonly said that this feature is confined to the later Chansons. This is scarcely the fact, unless by 'later' we are to understand all except
41
The Turoldus of
42
