[14] On this subject, see my "History of Domestic Manners and Sentiments," p. 65. The dancing bear appears to have been a favourite performer among the Germans at a very early period.
[15] Per totam noctem cantabantur hic nefaria et a cantatoribus saltabatur. Augustini Serm. 311, part v.
[16] Noctes pervigiles cum ebrietate, scurrilitate, vel canticis. See the Capitulary in Labbei Concil., vol. v.
[17] Ut populi.....saltationibus et turpibus invigilant canticis.
The Teutonic and Scandinavian nations had no doubt their popular festivals, in which mirth and frolic bore sway, though we know little about them; but there were circumstances in their domestic manners which implied a necessity for amusement. After the comparatively early meal, the hall of the primitive Teuton was the scene--especially in the darker months of winter--of long sittings over the festive board, in which there was much drinking and much talking, and, as we all know, such talking could not preserve long a very serious tone. From Bede's account of the poet Cædmon, we learn that it was the practice of the Anglo-Saxons in the seventh century, at their entertainments, for all those present to sing in their turns, each accompanying himself with a musical instrument. From the sequel of the story we are led to suppose that these songs were extemporary effusions, probably mythic legends, stories of personal adventure, praise of themselves, or vituperation of their enemies. In the chieftain's household there appears to have been usually some individual who acted the part of the satirist, or, as we should perhaps now say, the comedian. Hunferth appears as holding some such position in Beowulf; in the later romances, Sir Kay held a similar position at the court of king Arthur. At a still later period, the place of these heroes was occupied by the court fool. The Roman _mimus_ must have been a welcome addition to the entertainments of the Teutonic hall, and there is every reason to think that he was cordially received. The performances of the hall were soon delegated from the guests to such hired actors, and we have representations of them in the illuminations of Anglo-Saxon manuscripts.[18] Among the earliest amusements of the Anglo-Saxon table were riddles, which in every form present some of the features of the comic, and are capable of being made the source of much laughter. The saintly Aldhelm condescended to write such riddles in Latin verse, which were, of course, intended for the tables of the clergy. In primitive society, verse was the ordinary form of conveying ideas. A large portion of the celebrated collection of Anglo-Saxon poetry known as the "Exeter Book," consists of riddles, and this taste for riddles has continued to exist down to our own times. But other forms of entertainment, if they did not already exist, were soon introduced. In a curious Latin poem, older than the twelfth century, of which fragments only are preserved, and have been published under the title of "Ruodlieb," and which appears to have been a translation of a much earlier German romance, we have a curious description of the post-prandial entertainments after the dinner of a great Teutonic chieftain, or king. In the first place there was a grand distribution of rich presents, and then were shown strange animals, and among the rest tame bears. These bears stood upon their hind legs, and performed some of the offices of a man; and when the minstrels (_mimi_) came in, and played upon their musical instruments, these animals danced to the music, and performed all sorts of strange tricks.