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Boettcher: Phase-aware candidate selection for time-of- ight depth map denoising. Applied Optics Vol. Immense pains have been spent upon the jongleur. It has been asserted, and it is not improbable, that during the palmiest days—say the eleventh and twelfth centuries—of the chansons a special order of the jongleur or minstrel hierarchy concerned itself with them,—it is at least certain that [Pg 52] the phrase chanter de geste occurs several times in a manner, and with a context, which seem to justify its being regarded as a special term of art.
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And the authors at least present their heroes as deliberately expecting that they will be sung about, and fearing the chance of a dishonourable mention; a fact which, though we must not base any calculations upon it as to the actual sentiments of Roland or Ogier, Raoul or Huon, is a fact in itself. And it is also a fact that in the fabliaux and other light verse of the time we find jongleurs presented as boasting of the particular chansons they can sing.
They were not all of one sex, and we hear of jongleresses and chanteresses , such as Adeline who figures in the history of the Norman Conquest, Aiglantine who sang before the Duke of Burgundy, Gracieuse d'Espagne, and so forth—pretty names, as even M. Gautier, who is inclined to be suspicious of them, admits.
These suspicions, it is fair to say, were felt at the time.
Damien J. Carter
Don Jayme of Aragon forbade noble ladies to kiss jongleresses or share bed and board with them; while the Church, which never loved the jongleur much, decided that the duty of a wife to follow her husband ceased if he took to jongling, which was a vita turpis et inhonesta. Further, the pains above referred to, bestowed by scholars of all sorts, from Percy downwards, have discovered or guessed at the clothes which the jongleur and his [Pg 53] mate wore, and the instruments with which they accompanied their songs.
It is more germane to our purpose to know, as we do in one instance on positive testimony, the principles easily to be guessed, by the way on which the introduction of names into these poems were arranged. It appears, on the authority of the historian of Guisnes and Ardres, that Arnold the Old, Count of Ardres, would actually have had his name in the Chanson d'Antioche had he not refused a pair of scarlet boots or breeches to the poet or performer thereof.
Nor is it more surprising to find, on the still more indisputable authority of passages in the chansons themselves, that the jongleur would stop singing at an interesting point to make a collection, and would even sometimes explicitly protest against the contribution of too small coins— poitevines , mailles , and the like. It is impossible not to regard with a mixture of respect and pity the labour which has been spent on collecting details of the kind whereof, in the last paragraph or two, a few examples have been given.
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