Comparison with the original will show that I was not copying Byron's _When we Two Parted_; yet the resemblance between that song and the tone which my translation has naturally assumed from the Latin, is certainly noticeable. That Byron could have seen the piece before he wrote his own lines in question is almost impossible, for this portion of the _Carmina Burana_ had not, so far as I am aware, been edited before the year 1847. The coincidence of metrical form, so far as it extends, only establishes the spontaneity of emotion which, in the case of the medieval and the modern poet, found a similar rhythm for the utterance of similar feeling. FOOTNOTES: [Footnote 32: Page 38.] FAREWELL TO THE FAITHLESS. No. 40. A mortal anguish How often woundeth me; Grieving I languish, Weighed down with misery; Hearing the mournful Tale of thy fault and fall Blown by Fame's scornful Trump to the ears of all! Envious rumour Late or soon will slay thee: Love with less humour, Lest thy love betray thee. Whate'er thou dost, do secretly, Far from Fame's curiosity; Love in the dark delights to be, His sports are wiles and witchery, With laugh of lovers greeting. Thou wert not slighted, Stained in thine honour, when We were united, Lovers unknown to men; But when thy passion Grew like thy bosom cold, None had compassion, Then was thy story told. Fame, who rejoiceth New amours to utter, Now thy shame voiceth, Wide her pinions flutter. The palace home of modesty Is made a haunt for harlotry; The virgin lily you may see Defiled by fingers lewd and free, With vile embraces meeting. I mourn the tender Flower of the youth of thee, Brighter in splendour Than evening's star can be. Pure were thy kisses, Dove-like thy smile; As the snake hisses Now is thy guile. Lovers who pray thee From thy door are scattered; Lovers who pay thee In thy bed are flattered. Thou bidst them from thy presence flee From whom thou canst not take thy fee; Blind, halt, and lame thy suitors be; Illustrious men with subtlety And poisonous honey cheating. I may add that a long soliloquy printed in _Carmina Burana_, pp. 119-121, should be compared with the foregoing lyric. It has a similar motive, though the lover in this case expresses his willingness for reconciliation. One part of its expostulation with the faithless woman is beautiful in its simplicity:-- "Amaveram prae caeteris Te, sed amici veteris Es jam oblita! Superis Vel inferis Ream te criminamur." I will close this section with the lament written for a medieval Gretchen whose fault has been discovered, and whose lover has been forced to leave the country. Its bare realism contrasts with the lyrical exuberance of the preceding specimens. GRETCHEN.