4 i2 POPULAR SONGS. 



Un jour a sa priere 

 Son pore la trouva : 

 ' Catherine, o ma fillo, 

 Catherine, que fais-tu la?' 

 Ai'e Maria, &c. 



' J'adore, j'adore, mon pere, 

 Le bon Dieu que voila. 

 C'est le Dieu de ma mere : 

 Votre Dieu n'est pas la.' 

 Ave Maria, &c." 



. The legends relating to the Virgin form a class apart, and are many of 

 them .endowed with special charms. Several narratives of the Middle Ages 

 were devoted to celebrating her mercy and the influence which she possessed, 

 because of her motherhood, over God himself. There is a Perigord song 

 brought to light by Count de Mellet, which in modem French runs 



" Une ame est morte cette nuit : 

 Elle est morte sans confession. 

 Personne ne la va Toir, 

 Excepte la Sainte Vierge. 

 I,e Demon est a 1'entour : 

 ' Tenez, tenez, mon fils Jesus, 

 Accordez-moi le pardon de cette pauvre ame.' 

 ' Comment voulez-vous que je lui pardonne ': 

 Jamais elle ne m'a demande de pardon.' 

 ' Mais si bien a moi, mon fils Jesus ; 

 Elle m'a bien demande pardon.' 

 ' Eh Wen ! ma mere, vous le voulez P 

 Dans le moment meme je lui pardonne.' " 



The popular domestic songs are infinite both in regard to numbers and 

 variety, and they appealed the most directly to the heart of the people. 

 Conjugal and maternal love inspired most of these songs, in which are 

 depicted with singular fidelity the joys and sorrows of home, and in which 

 the business of life is shown in its varying shades. These songs are a mixture 

 of epigram and elegy, of the open expression of the tendcrest feelings of the 

 human heart and of the wildest fancies, and they depict the different grada- 

 tions of the social scale. These domestic songs may be subdivided into many 

 categories : the songs of the soldier and of the sailor, of the shepherd and 

 of the labourer, of the fisherman and of the hunter; the songs of indoor 

 workmen, such as the weavers, the shoemakers, the spinners, the smiths, and 



