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 Harper, 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 (entered under the 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:'2 so at other times we hear of expert Minstrels and Musicians of Tongue and Cunning' (Bb. 3. p. lxxxiv.3) 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, Minstrelsy was at length chiefly to be understood in this sense, yet it was still applied 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 rhyme, 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 rhyme.' I shall conclude this subject with the following description of Minstrelsy 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. Ffor there were Rotys of Almayne, 1 See the Romance of Sir Isenbras (No. 14.) sign. a. 'Harpers loved him in Hall With other Minstrels all.' T. Warton. II. 258. note (a) from Leland's Collect. (Vol. 4.) 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 comprehends 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 rs not applicable to the subject. Songes, stampes, and eke Daunces; T. Warton. II. 225. Note (*). 1 By this phrase I understand, New Tales or Narrative Rhymes composed by the Minstrels on the subject of True and faithful Lovers, &c. THE END OF THE NOTES ON THE ESSAY. The foregoing Essay on the Ancient Minstrels, has been very much enlarged and improved since the first Edition, with respect to the Anglo-Saxon Minstrels, in consequence of some Objections proposed by the reverend and learned Mr. Pegge, which the Reader may find in the second Volume of the Archæologia, printed by the Antiquarian Society: but which that Gentleman has since retracted in the most liberal and candid manner in the Third Volume of the Archæologia. No. xxxiv. p. 310. And in consequence of similar Objections respecting the English Minstrels after the Conquest, the subsequent part hath been much enlarged, and additional light thrown upon the subject: which, to prevent cavil, hath been extended to Minstrelsy in all its branches, as it was established in England, whether by natives, or foreigners. I never heard the old song of Percie and Douglas, that I found not my heart moved more than with a trumpet: and yet [it] is sung but by some blinde crowder, with no rougher voice, than rude style; which beeing so evill apparelled in the dust and cobweb of that uncivill age, what would it work, trimmed in the gorgeous eloquence of Pindare! SIR PHILIP SIDNEY'S DEFENCE OF POETRY. II. The Battle of Otterbourne Illustration of the Names in the foregoing Ballads II. The Jew's Daughter, a Scottish Ballad VIII. Robin Hood and Guy of Gisborne IX. An Elegy on Henry Fourth Earl of Northumberland, by Skelton, X. The Tower of Doctrine, by Stephen Hawes XI. The Child of Elle XII. Edom [Adam] o' Gordon, a Scottish Ballad BOOK II. (Containing Ballads that illustrate Shakespeare.) PAGE 1 14 27 29 31 46 48 60 61 63 75 84 87 94 Essay on the Origin of the English Stage 102 I. Adam Bell, Clym of the Clough, and William of Cloudesly XII. The Passionate Shepherd to his Love, by Marlow 158 162 167 167 169 177 XVII. The Frolicksome Duke, or the Tinker's Good Fortune 193 197 VIII. The Farewell to Love, from Beaumont and Fletcher 249 XI. The Character of a Happy Wife, by Sir R. Wotton 255 256 XV. Bryan and Pereene, a West-Indian Ballad, by Dr Grainger 264 267 272 The Glossary. 277 |