'Awake! Draws nigh the break of day, I hear upon the hawthorn spray A bonny little nightingale. Her song resounds through hill and dale. The night descends the Western sky, And from the East the dawn draws nigh. With red ardor the flush of day Breaks through the cloud banks, dull and gray.’[83] A. v. E. FOOTNOTES: [69] 'Renaissance in Italy,’ Vol. II. [70] The legend of Tannhäuser, perpetuated in Wagner’s opera, is an example of this superstition. [71] _Complainte_ was the generic name for the narrative form of song; the later _chansons de geste_, the legend of the Passion and of the Saints, early romances and the _ballades_ of the peasants all belonged to this genus. [72] Julien Tiersot: _L’histoire de la chanson populaire en France_. [73] Karl Bücher: _Arbeit und Rhythmus_. [74] The 'cow-horn tune’ of Salzburg (fourteenth century) suggests that the arpeggio manner may have been derived from the horn itself, which was the most common instrument in the pastoral regions of the Tyrol and Switzerland. [75] Jules Combarieu: _Histoire de la musique_. [76] Fr. Diez: _Die Poesie der Troubadours_. [77] The Middle-Age hurdy-gurdy. [78] B. at Arras, _ca._ 1230; d. in Naples in 1287. His father was a well-to-do burgher, who destined him for holy orders and sent him to the Abbey of Vauxcelles. But his falling in love with a certain _demoiselle_ Marie changed the course of his career. However, he separated from her in 1263, and retired again as a clerical to Douai. In 1282 he entered the service of Duke Robert II of Artois and accompanied him in his expedition to Sicily, where he wrote some of his most important works for the entertainment of the French court. _Le geu de Robin et Marion_ was preceded by other pieces, including _Le geu de la feuillée_ (1262), but they were of a frivolous and even licentious character. [79] Ed. de Coussemaker: _Œuvres complètes du Trouvères Adam de la Hâle_. [80] The terms _Tanzwise_ and _Tanzliet_ are attached to not a few songs of Minnesingers, notably to those of Ulrich von Lichtenstein and Reinmar der Fiedler. [81] The _Blume_ was sometimes applied to the first syllable of a song when it was probably intended to prepare the mood, but produced a rather ludicrous effect. Even Hans Sachs begins his song _Drey frummer König Juda_ with a _Blume_ of ten notes, all on the word _drey_. [82] R. Genée: _Hans Sachs und seine Zeit_. [83] From the English translation of _Die Meistersinger von Nürnberg_, by Frederick Corder. CHAPTER VIII THE RISE OF THE NETHERLAND SCHOOLS