5 Erat in ejus animo pietas eximia, Et oppressis impendebat multa beneficia. 6 Auro per eum virginum tollitur infamia, Atque patris earumdem levatur inopia. 7 Quidam nautae navigantes, Et contra fluctuum saevitiam luctantes, Navi pene dissoluta, Jam de vita desperantes, In tanto positi periculo, clamantes Voce dicunt omnes una: 8 ‘O beate Nicolae, Nos ad maris portum trahe De mortis angustia. Trahe nos ad portum maris, Tu qui tot auxiliaris, Pietatis gratia.’ 9 Dum clamarent, nec incassum, ‘Ecce’ quidam dicens, ‘assum Ad vestra praesidia.’ Statim aura datur grata Et tempestas fit sedata: Quieverunt maria. 10 Nos, qui sumus in hoc mundo, Vitiorum in profundo Jam passi naufragia, Gloriose Nicolae Ad salutis portum trahe, Ubi pax et gloria. 11 Illam nobis unctionem Impetres ad Dominum, Prece pia, Qua sanavit laesionem Multorum peccaminum In Maria. 12 Hujus festum celebrantes gaudeant per saecula, Et coronet eos Christus post vitae curricula!”[322] The foregoing examples of religious poetry may be supplemented by illustrations of the parallel evolution of more profane if not more popular verse. Any priority in time, as between the two, should lie with the former; though it may be the truer view to find a general synchronism in the secular and religious phases of lyric growth. But priority of originality and creativeness certainly belongs to that line of lyric evolution which sprang from religious sentiments and emotions. For the vagrant clerkly poet of the Court, the roadside, and the inn, used the forms of verse fashioned by the religious muse in the cloister and the school. Thus the development of secular Latin verse presents a derivative parallel to the essentially primary evolution of the Sequence or the hymn. It was in Germany that the composition of Sequences was most zealously cultivated during the century following Notker’s death; and it was in Germany that the Sequence, in its earlier forms, exerted most palpable influence upon popular songs.[323] In these so-called Modi (_Modus_ == song), as in the Sequence, rhythmical compositions may be seen progressing in the direction of regular rhythm, rhyme, and strophic form. As in the Sequences, the tune moulded the words, which in turn influenced the melody. The following is from the _Modus Ottinc_, a popular song composed about the year 1000 in honour of a victory of Otto III. over the Hungarians: “His incensi bella fremunt, arma poscunt, hostes vocant, signa secuntur, tubis canunt. Clamor passim oritur et milibus centum Theutones inmiscentur. Pauci cedunt, plures cadunt, Francus instat, Parthus fugit; vulgus exangue undis obstat; Licus rubens sanguine Danubio cladem Parthicam ostendebat.”