Another example is the _Modus florum_ of approximately the same period, a song about a king who promised his daughter to whoever could tell such a lie as to force the king to call him a liar. It opens as follows: “Mendosam quam cantilenam ago, puerulis commendatam dabo, quo modulos per mendaces risum auditoribus ingentem ferant. Liberalis et decora cuidam regi erat nata quam sub lege hujusmodi procis opponit quaerendam.” * * * *[324] Here the rhyme still is rude and the rhythm irregular. The following dirge, written thirty or forty years later on the death of the German emperor, Henry II., shows improvement: “Lamentemur nostra, Socii, peccata, amentemur et ploremus! Quare tacemus? Pro iniquitate corruimus late; scimus coeli hinc offensum regem immensum. Heinrico requiem, rex Christe, dona perennem.”[325] We may pass on into the twelfth century, still following the traces of that development of popular verse which paralleled the evolution of the Sequence. We first note some catchy rhymes of a German student setting out for Paris in quest of learning and intellectual novelty: “Hospita in Gallia nunc me vocant studia. Vadam ergo; flens a tergo socios relinquo. Plangite discipuli, lugubris discidii tempore propinquo. Vale, dulcis patria, suavis Suevorum Suevia! Salve dilecta Francia, philosophorum curia! Suscipe discipulum in te peregrinum, Quem post dierum circulum remittes Socratinum.”[326]