of good, and led to improvement.

[Sidenote: I.2. State of Literature in the time of Charlemagne.]

It is observable that both antient and modern civilizers of nations,
have called music to their aid; among these we may mention Charlemagne.
In his residence at Rome, he was delighted with the Gregorian chant.
After his return to Germany, he endeavoured to introduce it, both into
his French and German dominions. The former had a chant of their own;
they called it an improvement, but other nations considered it a
corruption of the Gregorian. Greatly against the wish of Charlemagne,
his Gallic subjects persisted in their attachment to their national
music; the merit of it was gravely debated before the Emperor; they
vehemently urged the superiority of their own strains. "Tell me," said
the Emperor, "which is purer, the fountain or the rivulet?" They
answered, "the former." "Return ye, then," (said the Emperor) "to St.
Gregory: he is the fountain, the rivulets are evidently corrupted." The
Emperor was obeyed, and the Gregorian chant was taught, both in France
and Germany, by Italian choristers. The Italian writers of the times
describe the difficulties which they experienced in forming the rough
and almost untuneable voices of their French and German pupils to the
softness of the Gregorian song. They appear to have succeeded better
with the Germans than the French. By these, their lessons were so soon
and so completely forgotten, after the decease of Charlemagne, that
Lewis the Debonnaire, his son, was obliged to request Pope Gregory IV.
to send him from Rome, a new supply of singers to instruct the people.

But music continued to prosper in Germany; it abounded in songs. Some
were amatory, (_münnelier_); some were satirical, (_cantica in
malitiam_); some heroic, (_cantica in honorem,_); some diabolical,