Tolerant though he was of the traditions of his people, the profane songs of love and satire, sometimes indecent, which were sung about the churches, became subjects of his censure; and no doubt the trouble they caused was but one indication of the growing antagonism between Christian and non-Christian, the intolerance of the later Middle Ages. Already Charles’ son, Ludwig the Pious, looked with disfavor upon the heathen epics. As time went on and clerical influence broadened, the personalities of Pagan tradition became associated with the spirit of evil; Dame Venus had now become the she-devil, the seductress of pious knights.[70] This again gave rise to new ideas, traditions, and superstitions; the mystic and the supernatural caught hold of the people’s fancy and were reflected in their poetry and song. Among the earliest epics, of which the verses are extant, are fragments such as the song on the victory of Clothar II over the Saxons in 622 A. D. Helgaire, a historian of the ninth century, tells us that, 'thanks to its rustic character, it ran from lip to lip; when it was sung the women provided the chorus by clapping their hands.’ Its Latin text is said to be merely a translation of a popular version, which would antedate the earliest known vernacular song by over two centuries. Of a more advanced type is the Song of Roland, that famous chronicle of the death of the Count of Brittany in the Pass of Roncesvalles, during Charlemagne’s return from the conquest of the Spanish march. Its musical notation was lost, but it was sung as late as 1356 at the battle of Poitiers. Though this great epic consists of no less than four thousand verses, Tiersot points out that its hero had long been celebrated in innumerable short lyrics, easy to remember, which all the people sang. Many were the epics describing the valiant deeds of Charlemagne himself, and posterity deified him as the hero of heroes in numerous strains that are lost to us. But one of which the music has been deciphered, though with varying results, is the _Planctus Karoli_, a _complainte_ on the death of the great emperor (813 A. D.).[71] Then there is the quaint vernacular song in praise of King Ludwig III, celebrating his victory over the Normans (832 A. D.): '_Einen Kuning weiz ich Heisset Herr Ludwig Der gerne Gott dienet Weil er ihms lohnet_,’ etc. ('A king I know, named Lord Ludwig, who serves God gladly, for he rewards him,’ etc.)