in a neighbouring monastery, and advise one of its studious youths to turn from such:
"Si, Transmunde, mihi credis, amice,
His uti studiis desine tandem;
Fac cures monachi scire professum,
Ut vere sapiens esse puteris."[1]
Eleventh-century Italian "versificatores" were interested in a variety of things. Some of them gave the story of a saint's or bishop's life, or were occupied with an ecclesiastic theme. Others sang the fierce struggle between rival cities, or some victory over Saracens, or made an idyl of very human love with mythological appurtenances. The verse-forms either followed the antique metres or were accentual deflections from them with the new added element of rhyme; the ways of expression copied antique phrase and simile, except when the matter and sentiment of the poem compelled another choice. In that case the Latin becomes freer, more mediaeval, ruder, if one will; and still antique turns of expression and bits of sentences show how naturally it came to these men to construct their verses out of ancient phrases. Yet borrowed phrases and the constraint of metre impeded spontaneity, and these feeble versifiers could hardly create in modes of the antique. A fresher spirit breathes in certain anonymous poems, which have broken with metre, while they give voice to sentiments quite after the feeling of the old Italian paganism. In one of these, from Ivrea, the poet meets a nymph by the banks of the Po, and in leonine elegiacs bespeaks her love, with all the paraphernalia of antique reference, assuring her that his verse shall make her immortal, a perfectly pagan sentiment—or affectation:
"Sum sum sum vates, musarum servo penates,
Subpeditante Clio queque futura scio.
Me minus extollo, quamvis mihi cedit Apollo,
Invidet et cedit, scire Minerva dedit.
Laude mea vivit mihi se dare queque cupivit,
Immortalis erit, ni mea Musa perit."[2]
