The sentiment of love is so important in the songs of the Wandering
Students, that it may not be superfluous at this point to cull a few
emphatic phrases which illustrate the core of their emotion, and to
present these in the original Latin.
I may first observe to what a large extent the ideas of spring and of
female society were connected at that epoch. Winter was a dreary
period, during which a man bore his fate and suffered. He emerged from
it into sunshine, brightened by the intercourse with women, which was
then made possible. This is how the winter is described:[15]--
"In omni loco congruo
Sermonis oblectatio
Cum sexu femineo
Evanuit omni modo."
Of the true love-songs, only one refers expressly to the winter
season. That, however, is the lyric upon Flora, which contains a
detailed study of plastic form in the bold spirit of the Goliardic
style.[16]
The particularity with which the personal charms of women are
described deserves attention. The portrait of Flora, to which I have
just alluded, might be cited as one of the best specimens. But the
slightest shades are discriminated, as in this touch:[17]--
"Labellulis
Castigate tumentibus."
One girl has long tawny tresses: _Caesaries subrubea_. Another is
praised for the masses of her dark hair: _Frons nimirum coronata,
supercilium nigrata_. Roses and lilies vie, of course, upon the cheeks
of all; and sometimes their sweetness surpasses the lily of the
valley. From time to time a touch of truer poetry occurs; as, for
instance[18]--
"O decora super ora
Belli Absalonis!"
Or take again the outburst of passion in this stanza, where both the
rhythm and the ponderous Latin words, together with the abrupt
transition from the third to the fourth line, express a fine
exaltation:[19]--
"Frons et gula, labra, mentum
Dant amoris alimentum;
Crines ejus adamavi,
Quoniam fuere flavi."
The same kind of enthusiasm is more elaborately worked out in the
following comparisons:[20]--
"Matutini sideris
Jubar praeis,
Et lilium
Rosaque periere:
Micat ebur dentium
Per labium,
Ut Sirium
Credat quis enitere."
As might be expected, such lovers were not satisfied with
contemplative pleasures:[21]--
"Visu, colloquio,
Contactu, basio,
Frui virgo dederat;
Sed aberat
Linea posterior
Et melior amori,
Quam nisi transiero,
De cetero
Sunt quae dantur alia
Materia furori."
The conclusion of this song, which, taken in its integrity, deserves
to be regarded as typical of what is pagan in this erotic literature,
may be studied in the Appendix to _Carmina Burana_.
Occasionally the lover's desire touches a higher point of
spirituality:[22]--
"Non tactu sanabor labiorum,
Nisi cor unum fiat duorum
Et idem velle. Vale, flos florum!"
Occasionally, the sensuous fervour assumes a passionate
intensity:[23]--
"Nocte cum ea si dormiero,
Si sua labra semel suxero,
Mortem subire, placenter obire, vitamque finire,
Libens potero."
Very rarely there is a strong desire expressed for fidelity, as in a
beautiful lyric of absence, which I hope to give translated in full in
my 17th Section.
But the end to be attained is always such as is summed up in these
brief words placed upon a girl's lips:[24]--
"Dulcissime,
Totam tibi subdo me."