75 



" toniccB fcriptui-K (rythmica: poefeos) autorem faciunt, eadem fide po- 

 " terant et Alexandrum Magnum Graece, et Julium Casfarem Latiue 

 " nobis architeftari." 



Befide the rhimes of Otfrid, of which fomething has already been 

 faid, this bard's tranflation of the gofpels in Teutonic rhimes is yet 

 preferved in the monallery of St. Amand. Its antiquity, I apprehend, 

 is its beft recommendation, notwithflanding the pompoufnefs of its title, 

 " Otfredi Evangeliorum liber : Veterum Germanorum grammaticce poefeos, 

 Theologiiz praclarum monuiiientum." 



We have Ikewife a monk of this order flourilhing about the fame 

 period, in an iLmMn, or triumphal ode, the original of whofc good old 

 Teutonic rhimes is ftill to be feen in that monallery. 



" Sunt qui," fays Pafchius, " vel ab initio verfuum, vel ab initio et 

 fine fimul, vel denique in medio eonan rythmis accumulandis operam na- 

 vant, quam ultimam rationem inire Zefio pras ceteris vifum eft." Thus, 

 it feems, this German excelled in the accumulated rhime, carrying that 

 fpecies of harmony to an extent which none of his countrymen had 

 done. 



Like their neighbours, the Germans had alfo their macaronic poetry, 

 originally broached by the Italians, who borrowed it of Lucretius, 



" Nigra ^sA.xpoo; eft," &c. Lucret. L. 4. 



But from what I have feen of the German Macaronic, fuch antiquated 

 rudenefs as this, 



" Gens fine capita mag fe'mm Rath gejchaffeii, 



« Imperium vacat capite, fo hant fe'm hopt die Pfaffen," 



could give little pleafure to the academy. I fliall therefore haften to 



The Belgic poetry ; on which I fliall be as ftiort as poffible. Pafchius 

 fliews that the Belgians being a branch of the fame tree with the Germans, 



K 2 • derive 



I 



