[37] Utuntur notarii domini pape, 928. Fierville, in the study mentioned above, note 2, finds: (1) stilus gallicus seu Aurelianensis, based on stress (i.e., rhythmic), (2) stilus Tullianus, based on quantities, (3) stilus romane curie. See below, Chapter VIII, B and C. [38] Primo dierum, AH 51: 24. [39] As in Matthew; see note 12 above. [40] The references are to the pages of Mari’s _Trattati_. One of John’s own poems (AH 50: 554) ends each stanza with a hexameter taken from Vergil, Ovid, or Lucan. [41] As a document also it is interesting both for its examples and, if the text may be trusted, for some of its terms: “a rithmo qui constat ex duabus _percussionibus_” (35); “in prosis que cantantur in ecclesia” (42, the regular twelfth-century use, as for the hymns of Adam of St. Victor); “frequenter contigit in gallicis consonantiis” (59); “sed in toto ymnario quo nos utimur nonnisi tres diversitates metri autentice sunt” (60). [42] For the common derivation of the _colores_ from the _Rhetorica ad Herennium_ see the valuable tables in F 52-54. [43] F presents many interesting correspondences, with indications for further study. [44] See above, Chapter V, footnote 31. [45] Part of the interesting collection of Fulbert’s verse in PL 141 is printed as prose. [46] The ignoring of the quantity of an unstressed syllable appears in such rimes as _chórīs_ with _salvatórĭs_, _vītā_ with _levítă_. Every dissyllable stresses the penult (Alexander de Villedieu, _Doctrinale_, 2299); and the disregard of quantity is even more marked in calling it indifferently a spondee. See below, Chapter VIII, note 44. [47] Called also Bernard of Morlaix or Morlas. The poem, some 3000 lines, is of 1140. It is printed in Wright’s _Anglo-Latin Satirical Poets and Epigrammatists of the Twelfth Century_, vol. II, London, 1872 (Rolls Series). A considerable portion, including the familiar parts, is in Harrington’s _Medieval Latin_, Boston, 1925, pages 315-322. Bernard’s rime is no less insistent in his _Mariale_, AH 50: 426. [48] The modern revival of these parts is due largely to John Mason Neale. His _Rhythm of Bernard de Morlaix, monk of Cluny, on the celestial country_ gives verse renderings beginning: “The world is very evil,” “Brief life is here our portion,” “There Jesus shall embrace us,” “For thee O dear, dear country,” “Jerusalem the golden,” with the corresponding Latin text (first ed. 1858; seventh, 1865). _Britt_ (170-173) quotes large portions. [49] As in the musical setting of Horatio Parker. [50] For an introduction to the Goliardic poetry see the article _Goliard_ in Encyclopedia Britannica, with its bibliography. [51] See the _Hymnum dicat turba fratrum_ above, page 120; the seven Advent antiphons (_O Sapientia_, etc.) known as the seven O’s, and _symbolism_ in the index. [52] Lapis, petra, fundamentum, silex, etc., and further, mel de petra, oleum de saxo, etc.