sory of the
Renaissance.

In spite of novelty, in spite of historical interest, in spite of a
certain literary charm, it is not an edifying product of medieval art
with which I have been dealing. When I look back upon my own work, and
formulate the impression left upon my mind by familiarity with the
songs I have translated, the doubt occurs whether some apology be not
required for having dragged these forth from antiquarian obscurity.

The truth is that there is very little that is elevated in the lyrics
of the Goliardi. They are almost wholly destitute of domestic piety,
of patriotism, of virtuous impulse, of heroic resolve. The greatness
of an epoch which throbbed with the enthusiasms of the Crusades, which
gave birth to a Francis and a Dominic, which witnessed the manly
resistance offered by the Lombard burghs to the Teutonic Emperor, the
formation of Northern France into a solid monarchy, and the victorious
struggle of the Papacy against the Empire, finds but rare expression
in this poetry. From the _Carmina Burana_ we cull one chant indeed on
Saladin, one spirited lament for Richard Coeur de Lion; but their
general tone is egotistic.

Even the satires, so remarkable for boldness, are directed against
those ecclesiastical abuses which touched the interests of the clerkly
classes--against simony, avarice, venality in the Roman Curia, against
the ambition of prelates and the effort to make princely benefices
hereditary, rather than against the real sins of the Church--her
wilful solidification of popular superstitions for the purposes of
self-aggrandisement, her cruel persecution of free thought, and her
deflection from the spirit of her Founder.

With regard to women, abundant examples have been adduced to
illustrate the sensual and unromantic spirit of these lettered lovers.
A note of undisguised materialism sounds throughout the large majority
of their erotic songs. Tenderness of feeling is rarely present. The
passion is one-sided, recognised as ephemeral, without a vista on the
sanctities of life in common with the beloved object. Notable
exceptions to the general rule are the lyrics I have printed above on
pp. 75-78. But it would have been easier to confirm the impression of
licentiousness than to multiply specimens of delicate sentiment, had I
chosen to ransack the whole stores of the _Carmina Burana_.

It is not necessary to censure their lack of so-called chivalrous
woman-worship. That artificial mood o