Charles's consent to retire to Monte Cassino. He was of the Lombard race, like another favourite of Charles, Paulinus of Aquileia. From Spain, apparently, came Theodulphus, by descent a Goth, and reputed the most elegant Latin versifier of his time. Charles made him Bishop of Orleans. A little later, Einhart the Frank appears, who was to be the emperor's secretary and biographer. Likewise came certain sons of Erin, among them such a problematic poet as he who styled himself "Hibernicus Exul"—not the first or last of his line!
These belonged to the generation about the emperor. Belonging to the next generation, and for the most part pupils of the older men, were Abbot Smaragdus, grammarian and didactic writer; the German, Rabanus Maurus, Abbot of Fulda and, against his will, Archbishop of Mainz, an encyclopaedic excerpter and educator, primus praeceptor Germaniae; his pupil was Walafrid Strabo, the cleverest putter-together of the excerpt commentary, and a pleasing poet. In Lorraine at the same time flourished the Irishman, Sedulius Scotus, and in the West that ardent classical scholar, Servatus Lupus, Abbot of Ferrières, and Agobard, Bishop of Lyons, a man practical and hard-headed, with whom one may couple Claudius, Bishop of Turin, the opponent of relic-worship. One might also mention those theological controversialists, Radbertus Paschasius and Ratramnus, Hincmar, the great Archbishop of Rheims, and Gottschalk, the unhappy monk, ever recalcitrant; at the end John Scotus Eriugena should stand, the somewhat too intellectual Neo-Platonic Irishman, translator of Pseudo-Dionysius, and announcer of various rationalizing propositions for which men were to look on him askance.
There will be occasion to speak more particularly of a number of these men. They were all scholars, and interested in the maintenance of elementary Latin education as well as in theology. They wished to write good Latin, and sometimes tried for a classical standard, as Einhart did in his Vita Caroli. Few of them refrained from verse, for they were addicted to metrical compositions made of borrowed classic phrase and often of reflected classic sentiment, sometimes prettily composed, but usually insipid, and in the
