detailed study of plastic form in the bold spirit of the Goliardic
style.[16]

The particularity with which the personal charms of women are
described deserves attention. The portrait of Flora, to which I have
just alluded, might be cited as one of the best specimens. But the
slightest shades are discriminated, as in this touch:[17]--

"Labellulis
Castigate tumentibus."

One girl has long tawny tresses: _Caesaries subrubea_. Another is
praised for the masses of her dark hair: _Frons nimirum coronata,
supercilium nigrata_. Roses and lilies vie, of course, upon the cheeks
of all; and sometimes their sweetness surpasses the lily of the
valley. From time to time a touch of truer poetry occurs; as, for
instance[18]--

"O decora super ora
Belli Absalonis!"

Or take again the outburst of passion in this stanza, where both the
rhythm and the ponderous Latin words, together with the abrupt
transition from the third to the fourth line, express a fine
exaltation:[19]--

"Frons et gula, labra, mentum
Dant amoris alimentum;
Crines ejus adamavi,
Quoniam fuere flavi."