Chapter II

_Places where the Dance of Death was sculptured or depicted.--Usually
accompanied by verses describing the several characters.--Other
Metrical Compositions on the Dance._

The subject immediately before us was very often represented, not only on the walls, but in the windows of many churches, in the cloisters of monasteries, and even on bridges, especially in Germany and Switzerland. It was sometimes painted on church screens, and occasionally sculptured on them, as well as upon the fronts of domestic dwellings. It occurs in many of the manuscript and illuminated service books of the middle ages, and frequent allusions to it are found in other manuscripts, but very rarely in a perfect state, as to the number of subjects.

Most of the representations of the Dance of Death were accompanied by descriptive or moral verses in different languages. Those which were added to the paintings of this subject in Germany appear to have differed very materially, and it is not now possible to ascertain which among them is the oldest. Those in the Basle painting are inserted in the editions published and engraved by Mathew Merian, but they had already occurred in the Decennalia humanae peregrinationis of Gaspar Landismann in 1584. Some Latin verses were published by Melchior Goldasti at the end of his edition of the Speculum omnium statuum, a celebrated moral work by Roderic, Bishop of Zamora, 1613, 4to. He most probably copied them from one of the early editions of the Danse Macabre, but without any comment whatever, the above title page professing that they are added on account of the similarity of the subject.

A Provencal poet, called _Marcabres_ or _Marcabrus_, has been placed among the versifiers, but none of his works bear the least similitude to the subject; and, moreover, the language itself is an objection. The English metrical translation will be noticed hereafter. Whether any of the paintings were accompanied by descriptive verses that might be considered as anterior to those ascribed to the supposed Macaber, cannot now be ascertained.

There are likewise some Latin verses in imitation of those above-mentioned, which, as well as the author of them, do not seem to have been noticed by any biographical or poetical writer. They occur at the end of a Latin play, intitled Susanna, Antverp. apud Michaelem Hillenium, MDXXXIII. As the volume is extremely rare, and the verses intimately connected with the present subject, it has been thought worth while to reprint them. After an elegy on the vanity and shortness of human life, and a Sapphic ode on the remembrance of Death, they follow under this title, "Plausus luctificae mortis ad modum dialogi extemporaliter ab Eusebio Candido lusus. Ad quem quique mortales invitantur omnes, cujuscujus sint conditionis: quibusque singulis Mors ipsa respondet."

Luctificae mortis plausum bene cernite cuncti.
Dum res laeta, mori et viventes discite, namque
Omnes ex aequo tandem huc properare necessum.

Hic inducitur adolescens quaerens, et mors vel philosophus respondens.

Vita quid est hominis? Fumus super aream missus.
Vita quid est hominis? Via mortis, dura laborum
Colluvies, vita est hominis via longa doloris
Perpetui. Vita quid est hominis? cruciatus et error,
Vita quid est hominis? vestitus gramine multo,
Floribus et variis campus, quem parva pruina
Expoliat, sic vitam hominum mors impia tollit.
Quamlibet illa alacris, vegeta, aut opulenta ne felix,
Icta cadit modica crede aegritudine mortis.
Et quamvis superes auro vel murice Croesum,
Longaevum aut annis vivendo Nestora vincas,
Omnia mors aequat, vitae meta ultima mors est.

IMPERATOR.

Quid fers? Induperator ego, et moderamina rerum
Gesto manu, domuit mors impia sceptra potentum.

REX RHOMANUS.

Quid fers? en ego Rhomulidum rex. Mors manet omnes.

PAPA.

En ego Pontificum primus, signansque resignans.
Et coelos oraque locos. Mors te manet ergo.

CARDINALIS.

Cardineo fulgens ego honore, et Episcopus ecce
Mors manet ecce omnes, Phrygeus quos pileus ornat.

EPISCOPUS.

Insula splendidior vestit mea, tempora latum
Possideo imperium, multi mea jura tremiscunt.
Me dicant fraudis docti, producere lites.
Experti, aucupium docti nummorum, et averni
Causidici, rixatores, rabulaeque forenses.
Hos ego respicio, nihil attendens animarum,
Ecclesiae mihi commissae populive salutem
Sed satis est duros loculo infarcisse labores
Agricolum, et magnis placuisse heroibus orbis.
Non tamen effugies mortis mala spicula durae.

ECCLESIAE PRAELATUS.

Ecclesiae praelatus ego multis venerandus
Muneribus sacris, proventibus officiorum.
Comptior est vestis, popina frequentior aede
Sacra, et psalmorum cantus mihi rarior ipso
Talorum crepitu, Veneris quoque voce sonora.
Morte cades, annos speras ubi vivere plures.

CANONICUS.

En ego melotam gesto. Mors saeva propinquat.

PASTOR.

En parochus quoque pastor ego, mihi dulce falernum
Notius aede sacra: scortum mihi charius ipsa
Est animae cura populi. Mors te manet ergo.

ABBAS.

En abbas venio, Veneris quoque ventris amicus.
Coenobii rara est mihi cura, frequentior aula
Magnorum heroum. Chorea saltabis eadem.

PRIOR.

En prior, ornatus longa et splendente cuculla,
Falce cades mortis. Mors aufert nomina honoris.

PATER VESTALIUM.

Nympharum pater ecce ego sum ventrosior, offis
Pinguibus emacerans corpus. Mors te manet ipsa.

VESTALIS NYMPHA.

En monialis ego, Vestae servire parata.
Non te Vesta potest mortis subducere castris.

LEGATUS.

Legatus venio culparum vincla resolvemus
Omnia pro auro, abiens coelum vendo, infera claudo
Et quicquid patres sanxerunt, munere solvo
Juribus a mortis non te legatio solvet.

DOMINUS DOCTOR.

Quid fers? Ecce sophus, divina humanaque jura
Calleo, et a populo doctor Rabbique salutor,
Te manet expectans mors ultima linea rerum.

MEDICUS.

En ego sum medicus, vitam producere gnarus,
Venis lustratis morborum nomina dico,
Non poteris durae mortis vitare sagittas.

ASTRONOMUS.

En ego stellarum motus et sydera novi,
Et fati genus omne scio praedicere coeli.
Non potis es mortis durae praescire sagittas.

CURTISANUS.

En me Rhoma potens multis suffarsit onustum
Muneribus sacris, proventibus, officiisque
Non potes his mortis fugiens evadere tela.

ADVOCATUS.

Causarum patronus ego, producere doctus
Lites, et loculos lingua vacuare loquaci
Non te lingua loquax mortis subducet ab ictu.

JUDEX.

Justitiae judex quia sum, sub plebe salutor.
Vertice me nudo populus veneratur adorans.
Auri sacra fames pervertere saepe coegit
Justitiam. Mors te manet aequans omnia falce.

PRAETOR.

Praetor ego populi, me praetor nemo quid audet.
Accensor causis, per me stant omnia, namque
Et dono et adimo vitam, cum rebus honorem.
Munere conspecto, quod iniquum est jure triumphat
Emitto corvos, censura damno columbas.
Hinc metuendus ero superis ereboque profundo.
Te manet expectans Erebus Plutoque cruentus.

CONSUL.

Polleo consiliis, Consul dicorque salutor.
Munere conspecto, quid iniquum est consulo rectum
Quod rectum est flecto, nihil est quod nesciat auri
Sacra fames, hinc ditor et undique fio opulentus
Sed eris aeternum miser et mors impia tollet.

CAUSIDICUS.

Causidicus ego sum, causas narrare peritus,
Accior in causas, sed spes ubi fulserit auri
Ad fraudes docta solers utor bene lingua.
Muto, commuto, jura inflecto atque reflecto.
Et nihil est quod non astu pervincere possim.
Mors aequa expectat properans te fulmine diro.
Nec poteris astu mortis praevertere tela.

SCABINUS.

Ecce Scabinus ego, scabo bursas, prorogo causas.
Senatorque vocor, vulgus me poplite curvo,
Muneribusque datis veneratur, fronte retecta.
Nil mortem meditor loculos quando impleo nummis
Et dito haeredes nummis, vi, fraude receptis,
Justitiam nummis, pro sanguine, munere, vendo.
Quod rectum est curvo, quod curvum est munere rectum
Efficio, per me prorsus stant omnia jura.
Non poteris durae mortis transire sagittas.

LUDIMAGISTER.

En ego pervigili cura externoque labore.
Excolui juvenum ingenia, et praecepta Minervae
Tradens consenui, cathedraeque piget sine fructu.
Quid dabitur fructus, tanti quae dona laboris?
Omnia mors aequans, vitae ultima meta laboris.

MILES AURATUS.

Miles ego auratus, fulgenti murice et auro
Splendidus in populo. Mors te manet omnia perdens.

MILES ARMATUS.

Miles ego armatus, qui bella ferocia gessi.
Nullius occursum expavi, quam durus et audax.
Ergo immunis ero. Mors te intrepida ipsa necabit.

MERCATOR.

En ego mercator dives, maria omnia lustro
Et terras, ut res crescant. Mors te metet ipsa.

FUCKARDUS.

En ego fuckardus, loculos gesto aeris onustos,
Omnia per mundum coemens, vendo atque revendo.
Heroes me solicitant, atque aera requirunt.
Haud est me lato quisquam modo ditior orbe.
Mortis ego jura et frameas nihil ergo tremisco
Morte cades, mors te rebus spoliabit opimis.

QUAESTOR.

Quaestor ego, loculos suffersi arcasque capaces
Est mihi praenitidis fundata pecunia villis.
Hac dives redimam durae discrimina mortis
Te mors praeripiet nullo exorabilis auro.

NAUCLERUS.

En ego nauclerus spaciosa per aequora vectus,
Non timui maris aut venti discrimina mille.
Cymba tamen mortis capiet te quaeque vorantis.

AGRICOLA.

Agricola en ego sum, praeduro saepe labore,
Et vigili exhaustus cura, sudore perenni,
Victum praetenuem quaerens, sine fraude doloque
Omnia pertentans, miseram ut traducere possim
Vitam, nec mundo me est infelicior alter.
Mors tamen eduri fiet tibi meta laboris.

ORATOR.

Heroum interpres venio, fraudisque peritus,
Bellorum strepitus compono, et bella reduco,
Meque petunt reges, populus miratur adorans.
Nulla abiget fraudi lingueve peritia mortem.

PRINCEPS BELLI.

Fulmen ego belli, reges et regna subegi,
Victor ego ex omni praeduro quamlibet ecce
Marte fui, vitae hinc timeo discrimina nulla.
Te mors confodiet cauda Trigonis aquosi,
Atque eris exanimis moriens uno ictu homo bulla.

DIVES.

Sum rerum felix, foecunda est prolis et uxor,
Plena domus, laetum pecus, et cellaria plena
Nil igitur metuo. Quid ais? Mors te impia tollet.

PAUPER.

Iro ego pauperior, Codroque tenuior omni,
Despicior cunctis, nemo est qui sublevet heu heu.
Hinc parcet veniens mors: nam nihil auferet a me,
Non sic evades, ditem cum paupere tollit.

FOENERATOR.

Ut loculi intument auro, vi, fraude, doloque,
Foenore nunc quaestum facio, furtoque rapinaque,
Ut proles ditem, passim dicarque beatus,
Per fas perque nefas corradens omnia quaero.
Mors veniens furtim praedabitur, omnia tollens.

ADOLESCENS.

Sum juvenis, forma spectabilis, indole gaudens
Maturusque aevi, nullus praestantior alter,
Moribus egregiis populo laudatus ab omni.
Pallida, difformis mors auferet omnia raptim.

PUELLA.

Ecce puellarum pulcherrima, mortis iniquae
Spicula nil meditor, juvenilibus et fruor annis,
Meque proci expectant compti, facieque venusti.
Stulta, quid in vana spe jactas? Mors metet omnes
Difformes, pulchrosque simul cum paupere dices.

NUNCIUS.

Nuncius ecce ego sum, qui nuncia perfero pernix
Sed retrospectans post terga, papae audio quidnam?
Me tuba terrificans mortis vocat. Heu moriendum est.

PERORATIO.

Mortales igitur memores modo vivite laeti
Instar venturi furis, discrimine nullo
Cunctos rapturi passim ditesque inopesque.
Stultus et insipiens vita qui sperat in ista,
Instar quae fumi perit et cito desinit esse.
Fac igitur tota virtuti incumbito mente,
Quae nescit mortem, sed scandit ad ardua coeli.
Quo nos a fatis ducat rex Juppiter, Amen.

Plaudite nunc, animum cuncti retinete faventes.

FINIS.

Antwerpiae apud Michaelem Hillenium M.D.XXXIIII. Mense Maio.

A very early allusion to the Dance of Death occurs in a Latin poem, that seems to have been composed in the twelfth century by our celebrated countryman Walter de Mapes, as it is found among other pieces that carry with them strong marks of his authorship. It is intitled "Lamentacio et deploracio pro Morte et consilium de vivente Deo."[37] In its construction there is a striking resemblance to the common metrical stanzas that accompany the Macaber Dance. Many characters, commencing with that of the Pope, are introduced, all of whom bewail the uncontrolable influence of Death. This is a specimen of the work, extracted from two manuscripts:

Cum mortem meditor nescit mihi causa doloris,
Nam cunctis horis mors venit ecce cito.
Pauperis et regis communis lex moriendi,
Dat causam flendi si bene scripta leges.
Gustato pomo missus transit sine morte
Heu missa sorte labitur omnis homo.

Vado mori Papa qui jussu regna | Vado mori, Rex sum, quod honor,
subegi | quod gloria regum,
Mors mihi regna tulit eccine vado | Est via mors hominis regia vado
mori. | mori.

Then follow similar stanzas, for presul, miles, monachus, legista, jurista, doctor, logicus, medicus, cantor, sapiens, dives, cultor, burgensis, nauta, pincerna, pauper.

In Sanchez's collection of Spanish poetry before the year 1400,[38] mention is made of a Rabbi Santo as a good poet, who lived about 1360. He was a Jew, and surgeon to Don Pedro. His real name seems to have been Mose, but he calls himself Don Santo Judio de Carrion. This person is said to have written a moral poem, called "Danza General." It commences thus:

"_Dise la Muerte._

"Yo so la muerte cierta a todas criaturas,
Que son y seran en el mundo durante:
Demando y digo O ame! porque curas
De vida tan breve en punto passante?" &c.

He then introduces a preacher, who announces Death to all persons, and advises them to be prepared by good works to enter his Dance, which is calculated for all degrees of mankind.

"Primaramente llama a su danza a dos doncellas,
A esta mi danza trax de presente,
Estas dos donzellas que vades fermosas:
Ellas vinieron de muy malamente
A oir mes canciones que son dolorosas,
Mas non les valdran flores nin rosas,
Nin las composturas que poner salian:
De mi, si pudiesen parterra querrian,
Mas non proveda ser, que son mis esposas."

It may, however, be doubted whether the Jew Santo was the author of this Dance of Death, as it is by no means improbable that it may have been a subsequent work added to the manuscript referred to by Sanchez.

In 1675, Maitre Jacques Jacques, a canon of the cathedral of Ambrun, published a singular work, intitled "Le faut mourir et les excuses inutiles que l'on apporte a cette necessite. Le tout en vers burlesques." Rouen, 1675, 12mo. It is written much in the style of Scarron and some other similar poets of the time. It commences with a humorous description given by Death of his proceedings with various persons in every part of the globe, which is followed by several dialogues between Death and the following characters: 1. The Pope. 2. A young lady betrothed. 3. A galley slave. 4. Guillot, who has lost his wife. 5. Don Diego Dalmazere, a Spanish hidalgo. 6. A king. 7. The young widow of a citizen. 8. A citizen. 9. A decrepit rich man. 10. A canon. 11. A blind man. 12. A poor peasant. 13. Tourmente, a poor soldier in the hospital. 14. A criminal in prison. 15. A nun. 16. A physician. 17. An apothecary. 18. A lame beggar. 19. A rich usurer. 20. A merchant. 21. A rich merchant. As the book is uncommon, the following specimen is given from the scene between Death and the young betrothed girl:

LA MORT.

A vous la belle demoiselle,
Je vous apporte une nouvelle,
Qui certes vous surprendra fort.
C'est qu'il faut penser a la mort,
Tout vistement plies bagage,
Car il faut faire ce voyage.

LA DEMOISELLE.

Qu'entends-je? Tout mon sens se perd,
Helas! vous me prener sans verd;
C'est tout a fait hors de raison
Mourir dedans une saison
Que je ne dois songer qu'a rire,
Je suis contrainte de vous dire,
Que tres injuste est vostre choix,
Parce que mourir je ne dois,
N'estant qu'en ma quinzieme annee,
Voyez quelque vielle echinee,
Qui n'ait en bouche point de dent;
Vous l'obligerez grandement
De l'envoyer a l'autre monde,
Puis qu'ici toujours elle gronde;
Vous la prendrez tout a propos,
Et laissez moi dans le repos,
Moi qui suis toute poupinette,
Dans l'embonpoint et joliette,
Qui n'aime qu'a me rejouir,
De grace laissez moi jouir, &c.