The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.
§ 1. Characteristics of Folk-poetry
I
With the exception of two notable anthologies of love lyrics and religious poems, these songs were not committed to writing until the fifteenth and early sixteenth centuries. The inference is not to be drawn, however, that they were mainly the product of the late Transition period, since, evidently, they had been preserved in oral form for a considerable time. This is proved by the existence of different versions of the same song, by allusions to historical events earlier than the fifteenth century, by elements of folk-song embedded in the songs, by the essential likeness of the love lyrics and religious poems to those in the two thirteenth century collections, and by the fact that certain songs are of types which were popular in France in the thirteenth and fourteenth centuries, and were probably brought to England at the time of their vogue at home. The songs can therefore be regarded as more or less representative of the whole Middle English period.
Of the folk-song element, a word may well be said at the outset, for, though no pure folk-songs have survived, the communal verse has left its impress upon these collections.
The universal characteristics of folk-poetry are, as to substance, repetitions, interjections and refrains; and, as to form, a verse accommodated to the dance. Frequent also is the call to the dance, question and answer and rustic interchange of satire. Though no one song illustrates all of these characteristics, they are all to be found in the songs taken collectively.
The refrain is so generally employed that a song without it is the exception. In the majority of cases, it is a sentence in Latin or English, which has more or less relation to the theme of the song, as the refrain:
Another common form of the amoebean verse is question and answer. This is beautifully illustrated by a song of the early fourteenth century, a stray leaf of which has, fortunately, been preserved. The song is arranged in recitative, but, relieved of these repetitions, is as follows:
A poem in which “the song of a swaying mass is clearly to be heard” is the familiar repetitionary lyric:
Many an ecclesiastical denunciation testifies to the prevalence of this communal singing in medieval England; but so much more potent are custom and cult than authority that women, dressed in the borrowed costumes of men, continued to dance and sing in wild chorus within the very churchyards, in unwitting homage to the old heathen deities.
Some of the song-collections are anthologies taken from the popular songs of the minstrel, the spiritual hymns of the monk and the polite verse of the court; others are purely the rèpertoire of minstrels; and still others are limited to polite verse.
Of the latter, fortunately, there is preserved the very song-book that was owned by king Henry VIII, containing the lyrics of love and good comradeship that he composed when a young man; and there are, in addition, the books which were in part compiled, and in part composed, by the authorised musicians of the courts of Henry VII and Henry VIII. These have preserved types of chivalric verse based upon French models, as well as songs in honour of the royal family, and songs composed for the revels and pageants which were a brilliant feature of the court life in the early decades of the sixteenth century.