#gipsies

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Sommer

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Une fille naïve et passionnée, ignorante de tout, et enthousiaste de tout ; ne sachant pas encore la différence d’une femme à un homme, même en rêve : faites comme cela ; folle surtout de danse, de bruit, de grand air, une espèce de femme abeille ayant des ailes invisibles aux pieds, et vivant dans un tourbillon. Elle devait cette nature à la vie errante qu’elle avait toujours menée. Gringoire était parvenu à savoir que, tout enfant, elle avait parcouru l’Espagne et la Catalogne, jusqu’en Sicile ; il croyait même qu’elle avait été emmenée, par la caravane de zingari dont elle faisait partie, dans le royaume d’Alger, pays situé en Achaïe, laquelle Achaïe touche d’un coté à la petite Albanie et à la Grèce, de l’autre à la mère des Siciles, qui est le chemin de Constantinople. 

-Notre-Dame de Paris - Victor Hugo 

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Wandering Strangers

In the years 1408 and 1409, Timur Beg ravaged India, to make, as has already been observed, proselytes to the Mohammedan delusion, when he put hundreds of thousands of its inhabitants to the sword.  It is very rational to suppose, that numbers of those who had the happiness not to be overtaken by an army so dreadful, on account of the cruelties it perpetrated, should save their lives by flying from their native land, to become wandering strangers in another.  Now if we assert that the Gipsies were of the Suder cast of Asiatic Indians, and that they found their way from Hindostan into other and remote countries when Timur Beg spread around him terrors so dreadful, it is natural to ask, why did not some of the other casts of India accompany them?  This objection has no weight at all when we consider the hatred and contempt p. 20poured upon the Suder by all the other casts of India.  The Bramins, Tschechteries, and Beis, were as safe, though menaced with destruction by Timur Beg, as they would have been along with the Suder tribes, seeking a retreat from their enemy in lands where he would not be likely to follow them.  Besides, the other casts, from time immemorial, have looked on their country as especially given them of God; and they would as soon have suffered death, as leave it.  The Suders had not these prepossessions for their native soil.  They were a degraded people—a people looked on as the lowest of the human race; and, with an army seeking their destruction, they had every motive to leave, and none to stay in Hindostan.

It cannot be determined by what track the forefathers of the Gipsies found their way from Hindostan to the countries of Europe.  But it may be presumed that they passed over the southern Persian deserts of Sigiston, Makran and Kirman, along the Persian Gulph to the mouth of the Euphrates, thence to Bassora into the deserts of Arabia, and thence into Egypt by the Isthmus of Suez.

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Boiteau was  the first writer who definitely identified Tarot cards  with the Gipsies; “for him, however, the original Gipsy home was in India, and Egypt did not therefore enter into his calculation.”

The Illustrated Key to the Tarot: The Veil of Divination by L. W. De Laurence  Section 4 THE TAROT IN HISTORY

https://www.gutenberg.org/ebooks/43548

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A history of the Gipsies: with specimens of the Gipsy language. Ed., with preface, introduction, and notes, and a disquisition on the past, present and future of gipsydom, by James Simson.

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AuthorSimson, Walter.Related NamesSimson, James. Language(s)English PublishedNew York, J. Miller; 1878. Edition2d ed. SubjectsRomanies >  Romanies / Language Romanies Romanies >  Romanies / Language. Romanies. Physical Description575 p. 20 cm.

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In Rome the Carnival, more joyous, and even more fan- tastical than in Florence, was of a ruder character, and was occasionally rendered, through the influence of the Papal Government, the medium of the most fearful bigotry.* But the popular entertainment on these occasions was called " Le Zingaresche, " and consisted of comic dialogues, in which a gipsy, or a group of gipsies, engaged in a " fierce encounter of the wits," and told fortunes, revealed love- secrets, and exercised the craft of legerdemain with what skill they might. These dialogues gradually assumed a dramatic form, and were rather sung than spoken, to such accompaniment on the guitar as the ambulatory troop could procure. In the early part of the seventeenth century, an elegant innovation in the Carnival festivities of Rome was intro- duced by Quagliate, the composer, which is notable as the first secular musical drama, or opera, ever exhibited in that city, and as giving an idea of the higher festivities of the Carnival at the particular period when Salvator Rosa be- came one of its most brilliant ornaments. "My master Quagliate," says the quaint and amusing traveller Della Valle, "introduced a new species of music into the churches of Rome, not only in compositions for a single voice, but for two, three, four, and often more voices in choruses, ending with a numerous crowd of many choruses singing together, specimens of which may be seen in many of his motets that have been since printed; and the music of my car, or moveable, during the Carnival, com- posed by the same Quagliate in my own room, chiefly in the manner he found most agreeable to me, and performed in masks through the streets of Kome during the Carnival of 1606, was the first dramatic action or representation in music that had ever been heard in that city. Though no more than five voices or five instruments were employed, (the exact number which an ambulant car could contain,) yet these afforded great variety; as, besides the dialogue of * The particular Rioni, or quarters of Rome, were noted for giving, during the Carnival, mock exhibitions of the trials and executions of Jews. The stages on which these sanguinary scenes were enacted were drawn by oxen. The actors appeared to hang, strangle, or torture the unfortunate victims of Christian hatred after the manner of the Inquisition, for the edification of the faithful. These representations were called "Le Giu-