Archpoet Born circa 1130 Died circa 1165 Pen name Archipoeta Language Latin Genres Courtly poetry Literary movement Goliard Notable work(s) "Confession"
The Archpoet (c. 1130–c. 1165), or Archipoeta (in Latin and German), is the name given to a 12th century anonymous author of ten poems from medieval Latin literature, the most famous being his "Confession" found in the Carmina Burana manuscript (under CB 191). Along with Hugh Primas of Orléans (with whom he has sometimes been confused),[nb 1] he is cited as the best exemplar of Goliardic poetry and one of the stellar poets of the Latin Middle Ages.
Knowledge about him comes from his poems in manuscripts: his noble birth in an unspecified Western Europe region, his respectable and classical education, his association with Archchancellor Rainald of Dassel's court, and his poetic activity linked to it in content and purpose. As such, it has been recently speculated that the bibulous, extravagant personality emanating from the poems could be only serving as a façade despite their apparent autobiographical trend.
Identity and nickname
His existence has been elaborated upon the authorial superscription "Archipoeta" appearing with the poems now ascribed to him in a small number of manuscripts as well as the consistencies in usage and style among certain of the otherwise anonymous poems in the Carmina Burana collection. While some recent—and so far inconclusive—attempts have been made to identify the Archpoet as either one of two Rodulfuses from the Emperor Frederick Barbarossa's entourage, his real identity has never been found and is most likely lost for good.
It has been suggested by W. H. T. Jackson and others that his nickname could be a play on his patron Rainald of Dassel's title of Archchancellor (Archicancellarius in Latin), even if its exact origins are ultimately left open to speculation. Moreover, it is not known how he came to earn the nickname or who bestowed it to him: whether as a mark of esteem from the audiences, other poets, Rainald himself; as a satirical jest on his patron's title; or as an ironical mock self-attribution. There has been report of at least two other clerics as bearers of the "Archipoeta" pseudonym or title around that time: one Nicolaus in Bonn around 1219, and Henry of Avranches around 1250, yet both clearly distinct from the "Archipoeta" of Barbarossa's reigning period (1155–1190).
The Archpoet's living circumstances have been surmised from the indicative content of his poems but mostly from the life of Rainald of Dassel. Because he designates Rainald as Archbishop of Cologne,[nb 2] it shows that he must have been alive and active for at least some time between 1159 (when Rainald became archbishop) and 1167 (when he died); furthermore, all of his datable poems fall within 1162 and 1164. With the passing of his patron in 1167, no more is heard from the Archpoet. Also, in poem X, Peter Dronke writes, "he counts himself among the iuvenes: while technically a iuvinis can be any age between twenty-one and fifty, it would seem plausible to imagine the Archpoet as thirty or thirty-five at the time of this composition, and to set his birth not too far from 1130."
Several indications concur as to establish that the Archpoet came from a place north of the Alps,[nb 3] although no solid claim can be made as to which country, even though Germany has repeatedly and traditionally being taken as his birthplace. He refers to himself as "ortus a militibus", of knightly birth, and, coming from such a high class, was most certainly well-educated in the liberal arts, theology and the classics. In poem IV, he states that he chose the pursuit of poetry (as symbolized by the Roman poet Virgil) over a career in the military (as symbolized by the Trojan warrior Paris) like his birth permitted and disposed him to. It has been deduced from the same poem that he first traveled to Salerno in order to pursue medical studies but that due to ill health, he had to abandon this project.
It was probably then that he began working in the court of Rainald of Dassel, the bishop elector of Cologne and Archchancellor to Frederick Barbarossa, Holy Roman Emperor, about which he wrote, according to Ernst Robert Curtius, "[t]he most brilliant stanzas" among the many written about and/or for him during the 35 years of his reign. His references to Salerno, Vienna, and Cologne in his poems, as well as several details gleaned from the Archchancellor's court displacements, suggest that he did travel around northern Italy, Provence, Burgundy, Austria and Germany during his life. It is known that the Archpoet lived for some time—possibly the last years of his life—at the monastery of St. Martin in Cologne. As is the case with many medieval and/or anonymous authors, very little else can be said with certainty about his life.
Modern critical reassessment
While it is still commonly assumed that the Archpoet was a follower of the Goliard tradition—writing student drinking songs, parodies critical of the Church and satires on the life of itinerant clergy in the Middle Ages—, the noted scholar Peter Dronke proposed a very different portrait in his 1968 book The Medieval Lyric:
“ [H]e was in fact a court poet, perhaps also a civil servant or minor diplomat, in the service of the Imperial Chancellor, and so almost certainly a member of the circle around Frederick Barbarossa himself. I am convinced that his leitmotif of the wayward, wretched vagabond-poet who is compelled to beg from his patron and his audience contains far less autobiography than literary craft... The Archpoet's picture of the vagabond-poet (whatever element of literal truth it may have contained) has been drawn for the sophisticated entertainment of that international set of diplomats and legislators, high-born scholars and prelates who surrounded the Emperor, whose lingua franca was Latin, and among whom the Archpoet probably, by his birth and position, moved as an equal. ”
This view of the Archpoet and his milieu, severely contrasting with that of the previous generations of researchers and writers such as J. A. Symonds and Helen Waddell, created a break in modern High Middle Ages scholarship about the Goliards and, in spite of not creating consensus within the academic community, has since been approved and picked up by many scholars. Summarizing Dronke's view by using English writer Geoffrey Chaucer as an example of differentiation between actual (historical) self and poetic (fictional) persona, Jan Ziolkowski wrote that the Archpoet's shenanigans "may be little more than a stance struck by the poet to entertain his audience; the persona could be as far from the reality as that of Chaucer the character was from Chaucer the poet or man." Dronke further argued that the Archpoet could well have been Hugh Primas's student in Orléans, getting acquainted through him with various rare Classical poets and also with his personal style (themes and techniques).
The Archpoet is known to us today through ten Latin poems or carmina (plural form of carmen, Latin equivalent of "song" or "chant") found in various manuscripts dating back from the 12th and 13th centuries. Listed here are the poems, identified, as is customary, by their incipit:
The works of the Archpoet have been found and preserved in the following manuscripts:
- Univ. Bibl. Göttingen Codex philol. 170 (12th century): I-VII; first stanza of VIII.
- Brussels Bibliothèque Royale 2071 (13th century): IX and X; stanzas 1-5 of VII.
- Codex Buranus: München Bayer. Staatsbibl. Clm 4660/4660a (13th century): X; 4 stanzas of IV.
The Carmina Burana thus contains the 25-stanza "Estuans intrinsecus" (X) under the reference number CB 191[nb 5] as well as 4 stanzas from "Archicancellarie, vir discrete mentis" (IV) under CB 220,[nb 6] starting with "Sepe de miseria" in the collection.
Despite being quite dissimilar from one another in terms of tone and intent, the ten poems are all "occasional" in the sense that they have been written for a specific purpose under precise circumstances, whether to celebrate an event or respond to a request; in the Archpoet's case, concerning the court of his patron: eight of them are directed to Rainald of Dussel, while the two others are addressed to Frederick Barbarossa himself. For example, the fourth poem, "Archicancellarie, vir discrete mentis", was most probably written as a plaintive answer to what he felt was the unreasonable demand from Rainald that he write within one week an epic recounting the Emperor's campaign in Italy.
The Archpoet's poems are known for appearing "intensely personal": he features in almost all of them, and deals in an outspoken manner with intimate subjects such as his material (e.g. poverty, wandering) and spiritual (e.g. distress, anger, love) condition, his flawed and sinful nature, his wishes and aspirations. Many of his poems, whether panegyric or not, amount to very elaborate pleas to obtain food, drink, clothing, and money from his powerful patron. Yet far from falling into mere lyricism or honest confidence, they are often undermined by subtle sarcasm and disguised mockery, fitting with the persona the Archpoet seems to have created for himself as a free-spirited, vagabond hedonist, unrepentant in his propensity to overindulge and unblushing in the judgment of his self-worth. Aside from their recognized technical merits, the poems are imbued with a strong and pervading sense of humor manifested in the consummate use and manipulation of classical and biblical sources for parodic, sarcastic and ironic purposes.
Described as "the prototype of the goliardic songs" as well as "the masterpiece of the [Goliardic] school", the best known poem of the Archpoet is his tenth, "Estuans intrinsecus", commonly called the Goliardic "Confession" (sometimes "Confessio", "Confessio Goliae" or "Confession of Golias"), a metrical composition of ironical tone wherein he confesses his love of women, gambling, and drinking. It is purported to have been written in Pavia around the year 1163 for his patron as a confession and defense of his sins after a rival of the Archpoet witnessed and subsequently reported his reprobate behavior. For example, the oft-cited twelfth stanza[nb 7] goes:
Latin original English literal translation English metrical translation
Meum est propositum in taberna mori,
ut sint vina proxima morientis ori.
tunc cantabunt letius angelorum chori:
"Sit Deus propitius huic potatori."
My purpose is to die in a tavern,
and be wine close to my dying mouth.
Then will sing happily an angels' choir:
"May God be merciful toward this drinker."[nb 8]
I am resolved to die in a tavern,
so wine will be close to my dying mouth.
Will sing gaily the angels' choir then:
"May God be merciful to this drunkard."[nb 8]
The parodic and satirical effect is mainly produced by the replacement of peccatori ("sinner") by potatori ("drunkard"), a reference to the Scripture: "Deus propitius esto mihi peccatori."(Luke 18:13) The poem relies heavily on ambiguity for its overall effect: on one hand, the narrator poses as a penitent dissolute, while on the other he is not being apologetic at all.
The "Confession" was very famous in the Archpoet's time: compared to his other poems, which are mostly found in only one manuscript, "Estuans intrinsecus" has been copied in more than thirty, and it almost single-handedly accounts for his enduring appeal as the writer of one of the most popular medieval Latin poem.
Interpretation and appraisal
In her influential study The Wandering Scholars of the Middle Ages, Helen Waddell laudingly writes of the poem, stating that "Confessio Goliae is something more that the arch-type of a generation of vagabond scholars, or the greatest drinking song in the world: it is the first defiance by the artist of that society which it is his thankless business to amuse: the first cry from the House of the Potter, "Why hast thou made me thus?"."
Reading the medieval "Confession" with the perspective of a modern cultural critic, philosopher Herbert Marcuse wrote of the Archpoet's artistic posture and keen sense of his particular situation: "Archipoeta is perhaps the first artist with the artist's genuine awareness of himself, who comprehended and openly emphasized that his vagabond life and his opposition to the surrounding world were an artistic necessity... The splendid strophes of his vagabond's confession resonate with the elevated consciousness of the authentic lifestyle of the freelance artist".
In popular culture
- A section of the "Confession" supplies the text for the aria Estuans interius ira vehementi ("Burning with inner rage") that was set to music by Carl Orff in his 1935-1936 Carmina Burana cantata.
- John Myers Myers's 1949 novel Silverlock features Golias, the mythical patron saint of the Goliardic ordo vagorum, as one of the main characters, drawing heavily on the Archpoet's "Confession" for his portrayal.
- An old commercium song titled "Meum est propositum" is composed from stanzas 12, 13, 15, 17, 19, and 18 of the "Confession".[nb 9]
- The Archpoet is a character in Italian writer Umberto Eco's 2000 novel Baudolino.
- Mystics, Spirit, Voices, the 2000 debut album of the German musical project Lesiëm, features a song titled "In Taberna Mori" which contains a fragment of the "Confession".
- The German darkwave band Helium Vola recorded versions of "Fama tuba" (II) on their 2001 studio album Helium Vola (track 7, "Fama Tuba"), and of "Estuans intrinsecus" (X) on their 2004 studio album Liod (track 10, "Vagrantbeichte").
- ^ Various sources (for example, see Lejay 1913: 33) have erroneously taken "Archipoeta" to be an alias or pen name of Hugh of Orléans while in fact there are numerous indications establishing their being two different individuals. Peter Dronke goes even as far as to call the Archpoet Hugh's "brillante discepolo e successore" (Dronke 2007: 137), brilliant disciple and successor.
- ^ Keeping in line with the hypothesis that his nickname or pseudonym was inspired by the titles of his patron, it explains why he is sometimes referred to as the "Archpoet of Cologne"; for example, see Whicher 1949: 102-103 and Curtius 1990: 29.
- ^ The main evidence being his using the word "transmontanos" (meaning "which lives or comes from beyond the mountains" in Latin) in line 14 of poem III, when it is made clear that he is writing from within Italy and thus south of the Alps.
- ^ "Aestuans intrinsecus" is also found as a variant to "Estuans intrinsecus" since medieval manuscripts do not always use the same spelling for the same texts.
- ^ While CB 191 is sometimes presented as having 30 stanzas, the last 5 (often put under CB 191a) are believed not to be the Archpoet's own work. See Wolff 1995: 529.
- ^ As with the other poem, CB 220a (or sometimes CB 221) is believed to be another anonymous author's work. See Wolff 1995: 533. Both the Bibliotheca Augustana's and David Stampe's (reproducing Bischoff's) versions display these poems of contested origin as 191a and 220a.
- ^ There are numerous and significant variants in the different versions of the Latin text depending on the source manuscripts and the editorial choices of scholars, as is often the case with the bulk of medieval literature. The one chosen here is in no way the sole, authoritative form.
- ^ a b Note that both English translations have no official, authoritative sources; they are the free work of anonymous editors, and serve only as illustrations of the Latin original.
- ^ The song has been published in the German Allgemeines Deutsches Kommersbuch (152nd edition, 1956, p. 381).
- ^ Adcock 1994: xix; Waddell 2000: 295.
- ^ a b c Jeep 2001: 21.
- ^ Whicher 1949: 102; Haskins 1971: 179-181; Adcock 1994: ix; Harrington and Pucci 1997: 566.
- ^ a b c Sidwell 2002: 347.
- ^ a b Adcock 1994: xxii; Jeep 2001: 21.
- ^ a b See poem IV, line 70 (CB 220, line 10).
- ^ a b Adcock 1994: xxi-xxii.
- ^ a b Harrington and Pucci 1997: 567.
- ^ a b Haskins 1971: 181; Harrington and Pucci 1997: 567; Adcock 1994: xix; Emmerson 2006: 44.
- ^ a b Adcock 1994: xii.
- ^ a b Adcock 1994: xii, xvii.
- ^ a b c Jeep 2001: 21; Emmerson 2006: 44.
- ^ a b Dronke 1968: 21-22.
- ^ Adcock 1994: xx.
- ^ a b Jackson 1976: 320.
- ^ a b Whicher 1949: 102.
- ^ Adcock 1994: xii.
- ^ Henshaw 1937: 195.
- ^ Adcock 1994: xix.
- ^ Jeep 2001: 22.
- ^ Adcock 1994: xix. See poem X (CB 191), line 27.
- ^ Jeep 2001: 21. See poem IV, lines 69-72 (CB 220, lines 9-12).
- ^ a b Haskins 1971: 181; Adcock 1994: xix.
- ^ Curtius 1990: 29.
- ^ Haskins 1971: 53, 181; Adcock 1994: xix; Jeep 2001: 21; Emmerson 2006: 44.
- ^ Waddell 2000: 172; Harrington and Pucci 1997: 567.
- ^ See Jackson 1980: 2-3; Adcock 1994: xx; Godwin 2000: 191-192.
- ^ Jeep 2001: 21-22.
- ^ Adcock 1994: xxi-xxii; Dronke 2007: 137.
- ^ Adcock 1994: xxii, 129.
- ^ Dronke 1984: 249.
- ^ Waddell 2000: 167; Sidwell 2002: 347.
- ^ Adcock 1994: xiii-xv.
- ^ Dronke 1980: 22, 39-40; Adcock 1994: xiii, xv.
- ^ Adcock 1994: xiv; Jeep 2001: 21.
- ^ Scheid 1913: 29.
- ^ Harrington and Pucci 1997: 567; both Symonds and Whicher used this last title in their respective books.
- ^ Fuhrmann 2000: 155.
- ^ Harrington and Pucci 1997: 570.
- ^ "His 'confession', with its eloquent plea that the poet's inspiration is bound up with his freedom to live freely, to live dangerously, is perhaps the best-known poem in Medieval Latin." (Dronke 1968: 21) See also Morris 2004: 131.
- ^ Waddell 2000: 169.
- ^ Marcuse 2007: 75.
- ^ Artist page on MusicBrainz.org.
- Adcock, Fleur, ed (1994). Hugh Primas and the Archpoet. Cambridge Medieval Classics. 2 (1st ed.). Cambridge: Cambridge University Press. ISBN 0-521-39546-1. http://www.cambridge.org/catalogue/catalogue.asp?isbn=9780521395465. Retrieved on August 5, 2010. (Preview available on Google Books)
- Cairns, Francis (1975). "The Archpoet's Confession". Mittelateinisches Jahrbuch 10: 100–105.
- Cairns, Francis (1980). "The Archpoet's Confession: Sources, Interpretation and Historical Context". Mittelateinisches Jahrbuch 15: 87–103.
- Cairns, Francis (1983). "The Archpoet's 'Jonah-Confession' (Poem II): Literary, Exegetical, and Historical Aspects". Mittelateinisches Jahrbuch 18: 168–193.
- Dronke, Peter (1968). The Medieval Lyric (1st ed.). London: Hutchinson University Library.
- Dronke, Peter (1980). "The Art of the Archpoet: A Reading of "Lingua Balbus"". In Jackson, W. T. H.. The Interpretation of Medieval Lyric Poetry (1st ed.). New York & London: Columbia University Press & Macmillan. pp. 22–43. ISBN 0-333-24816-3. Lay summary (January 1982).
- Dronke, Peter (1984) (in English and French). The Medieval Poet and His World. Raccolta di Studi e Testi. 164 (1st ed.). Rome: Edizioni di Storia e Letteratura. (Preview available on Google Books)
- Dronke, Peter (1990). "The Archpoet and the Classics". In Godman, Peter; Murray, Oswyn. Latin Poetry and the Classical Tradition. Essays in Medieval and Renaissance Literature (1st ed.). Oxford: Clarendon Press. pp. 57–72. ISBN 0-19-920174-9. Lay summary (1991).
- Godman, Peter (2000). "Chapter VI: Archness". The Silent Masters: Latin Literature and Its Censors in the High Middle Ages (1st ed.). Princeton: Princeton University Press. pp. 191–227. ISBN 0-691-00977-5. http://press.princeton.edu/titles/6840.html. Retrieved on August 6, 2010. (Preview available on Google Books and Questia)
- Godman, Peter (2009). Paradoxes of Conscience in the High Middle Ages: Abelard, Heloise and the Archpoet. Cambridge Studies in Medieval Literature. 75 (1st ed.). Cambridge: Cambridge University Press. ISBN 978-0-521-51911-3. http://www.cambridge.org/catalogue/catalogue.asp?isbn=9780521519113. Retrieved on August 6, 2010.
- Hardin, James; Will, Hasty, eds (December 1994). "The Archpoet". Dictionary of Literary Biography: German Writers and Works of the Early Middle Ages: 800-1170. 148 (1st ed.). Gale. pp. 8–9. ISBN 9780810357099. http://people.bu.edu/bobl/archend.htm. Retrieved 24 May 2011.
- Haskins, Charles Homer (1971) . The Renaissance of the Twelfth Century. Cambridge & London: Harvard University Press. ISBN 0-674-76075-1. (Preview available on Google Books)
- Heller, J. L. (April 1933). "A Note on the So-Called Confession of Golias". Speculum (Cambridge: Medieval Academy of America) 8 (2): 257–258. JSTOR 2846758.
- Jackson, William Thomas Hobdell (1976). "The Politics of a Poet: the Archipoeta as Revealed by his Imagery". In Mahoney, Edward P.. Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller (1st ed.). New York: Columbia University Press. pp. 320–338. ISBN 90-04-04378-0. Lay summary (Spring 1978). (Preview available on Google Books)
- Jackson, William Thomas Hobdell (1980). "Introduction". In Jackson, W. T. H.. The Interpretation of Medieval Lyric Poetry (1st ed.). New York & London: Columbia University Press & Macmillan. pp. 1–21. ISBN 0-333-24816-3. Lay summary (January 1982).
- Miner, Priscilla Ann (1960). Tradition and originality in the extant poems of the Archpoet. Berkeley: University of California.
- Pucci, Joseph (1989). "Job and Ovid in the Archpoet's Confession". Classica et Mediaevalia (Copenhagen S: Museum Tusculanum Press) 40: 235–250. ISSN 0106-5815.
- Sammel, Rebecca E. (1997). "Carnival Confession: The Archpoet and Chaucer's Pardoner". In Müller, Beate. Parody: Dimensions and Perspectives. Rodopi Perspectives on Modern Literature (1st ed.). Amsterdam: Rodopi. pp. 169–190. ISBN 90-420-0181-X. (Preview available on Google Books)
- Skinner, Marilyn B. (January 1973). "The Archpoet's use of the Jonah-figure". Neophilologus 57 (1): 1–5. doi:10.1007/BF01515779. ISSN 0028-2677. http://www.springerlink.com/content/q6679v2247289267/. Retrieved on August 12, 2010.
- Shurtleff, Steven (September 22, 1994). "The Archpoet as Poet, Persona, and Self: The Problem of Individuality in the Confession". Philological Quarterly (Iowa City: The University of Iowa, Department of English) 73 (4): 373–384. ISSN 0031-7977. OCLC 1762267. http://findarticles.com/p/articles/mi_hb3362/is_n4_v73/ai_n28650256/. Retrieved on August 6, 2010.
- Waddell, Helen (1992) . The Wandering Scholars of the Middle Ages. Ann Arbor Paperbacks. 199 (Third reprint of 1989's ed.). Ann Arbor: The University of Michigan Press. ISBN 978-0-472-06412-0. http://www.press.umich.edu/titleDetailDesc.do?id=23708. Retrieved on August 8, 2010. (Preview available on Google Books)
- Curtius, Ernst Robert (1990) . European Literature and the Middle Ages. Bolligen Series. 36. Translated from the German by William R. Trask. With a New Afterword by Peter Godman. Princeton: Princeton University Press. ISBN 0-691-01899-5. http://press.princeton.edu/titles/404.html. Retrieved on August 6, 2010.
- Dronke, Peter (July 2007). "Le antologie liriche del Medioevo latino" (in Italian). Forms and Imaginings: From Antiquity to the Fifteenth Century. Raccolta di Studi e Testi. 243 (1st ed.). Rome: Edizioni di Storia e Letteratura. pp. 129–144. ISBN 978-88-8498-371-8. (Preview available on Google Books)
- Emmerson, Richard K., ed (2006). "Archpoet". Key Figures in Medieval Europe: An Encyclopedia. Routledge Encyclopedias of the Middle Ages. Sandra Clayton-Emmerson, Associate Editor (1st ed.). New York: Routledge/Taylor & Francis Group. p. 44. ISBN 0-415-97385-6. http://www.routledge.com/books/details/9780415973854/. Retrieved on August 6, 2010. (Preview available on Google Books)
- Fuhrmann, Horst (2001) . Germany in the high Middle Ages c.1050-1200. Cambridge Medieval Textbooks (Reprint of 1995's 3rd ed.). Cambridge: Cambridge University Press. ISBN 0-521-31980-3. (Preview available on Google Books)
- Godman, Peter (2009). "The World of the Archpoet". Mediaeval Studies. 71. Toronto: Pontifical Institute of Mediaeval Studies. pp. 113–156.
- Hardin, James; Hasty, Will, eds (December 1994). "The Archpoet". German Writers and Works of the Early Middle Ages 800-1170. Dictionary of Literary Biography. 148. Gale. pp. 8–9. ISBN 0-8103-5709-7. http://www.gale.cengage.com/servlet/ItemDetailServlet?region=9&imprint=000&cf=p&titleCode=DLB&type=3&dc=null&dewey=null&id=007483. Retrieved on August 8, 2010. (Summary of the article at BookRags.com)
- Harrington, Karl Pomeroy, ed (November 1997) . "The Archpoet: Confession". Medieval Latin. Revised by Joseph Pucci (2nd ed.). Chicago & London: The University of Chicago Press. pp. 566–571. ISBN 0-226-31713-7. (Preview available on Google Books)
- Henshaw, Millett (November 1937). "Review: [untitled]". Modern Philology (University of Chicago Press) 35 (2): 195–197. JSTOR 434431.
- Jeep, John M., ed (January 2001). "Archpoet". Medieval Germany: An Encyclopedia. Routledge Encyclopedias of the Middle Ages (1st ed.). New York: Routledge/Taylor & Francis Group. pp. 21–22. ISBN 0-8240-7644-3. http://www.routledge.com/books/details/9780824076443/. Retrieved on August 10, 2010. (Preview available on Google Books)
- Lejay, Paul (1913). "Classical Latin Literature in the Church". In Herbermann, Charles George. The Catholic Encyclopedia. 9 (2nd ed.). New York: The Encyclopedia Press. pp. 32–34. http://en.wikisource.org/wiki/Catholic_Encyclopedia_%281913%29/Classical_Latin_Literature_in_the_Church. Retrieved 23 May 2011.
- Marcuse, Herbert (2007). "The German Artist Novel: Introduction". Art and Liberation (1st ed.). Abingdon / New York: Routledge. pp. 71–81. ISBN 978-0-415-13783-6. LCCN 97154404. (Preview available on Google Books)
- McDonald, William C.; Goebel, Ulrich (1973). German Medieval Literary Patronage from Charlemagne to Maximilian I. Amsterdam: Rodopi.
- Morris, Colin (2004) . The Discovery of the Individual, 1050-1200. Medieval Academy Reprints for Teaching (Fourth reprint of 1987's ed.). Toronto: University of Toronto Press. ISBN 0-8020-6665-8.
- Scheid, Nicholas (1913). "Latin Literature in Christianity (Sixth to Twentieth Century)". In Herbermann, Charles George. The Catholic Encyclopedia. 9 (2nd ed.). New York: The Encyclopedia Press. pp. 26–32. http://en.wikisource.org/wiki/Catholic_Encyclopedia_%281913%29/Latin_Literature_in_Christianity_%28Sixth_to_Twentieth_Century%29. Retrieved 23 May 2011.
- Sidwell, Keith, ed (2002) . "Section 20.4: The Archpoet (fl. 1160)". Reading Medieval Latin (Reprint of the 1st ed.). Cambridge: Cambridge University Press. pp. 347–352. ISBN 0-521-44747-X. http://www.cambridge.org/catalogue/catalogue.asp?isbn=9780521447478. Retrieved on August 8, 2010. (Preview available on Google Books)
- Symonds, J. A. (2002) . "Chapter V: The Confession of Golias". Wine, Women, and Song. Students' Songs of the Middle Ages (Reprint of the 1907 ed.). Mineola: Dover Publications. pp. 53–62. ISBN 0-486-41913-4. http://store.doverpublications.com/0486419134.html. Retrieved on August 8, 2010. (Preview available on Google Books)
- Whicher, George Frisbie (1949). The Goliard Poets: Medieval Latin Songs and Satires. New York: New Directions.
- Wolff, Étienne, ed (1995) (in French). Carmina Burana (1st ed.). Paris: Imprimerie nationale Éditions, coll. La Salamandre. ISBN 2-7433-0000-0.
- Transcription of the article "The Archpoet" from the Dictionary of Literary Biography.
- J. A. Symonds' English translation of "The Confession of Golias" at the Internet Medieval Sourcebook.
- Helen Waddell's English translation of "His Confession" at TheHyperTexts.
- F. J. E. Raby's English translation of "Aestuans intrinsecus" posted on the FETUSVENERIS blog.
- (Latin) The ten known poems of the Archpoet at The Latin Library.
- (Latin) The Archpoet's page at the Bibliotheca Augustana.
- (Latin) The Archpoet's "Estuans intrinsecus" (CB 191) in the Carmina Burana at the Bibliotheca Augustana.
- (Latin) The Archpoet's "Sepe de miseria" (CB 220) in the Carmina Burana at the Bibliotheca Augustana.
- (Latin) The Archpoet's "Aestuans intrinsecus" with some notes at Western Michigan University by Professor Rand Johnson.
- (Latin) The complete Carmina Burana collection at (retired) University of Hawaii at Manoa Associate Professor David Stampe's website.
European Middle Ages Early Middle AgesMigration Period · Decline of the Western Roman Empire · Late Antiquity · Decline of Hellenistic religion · Christianization · Rise of Islam · First Bulgarian Empire · Frankish Empire · Bagratid Kingdom of Armenia · Kingdom of Croatia · Anglo-Saxon England · Viking Age · Carolingian Empire · Old Church Slavonic · Kievan Rus' · Growth of the Eastern Roman Empire High Middle Ages Late Middle Ages Culture See also
Wikimedia Foundation. 2010.
Look at other dictionaries:
Archpoet — (ca. 1130–ca. 1165) One of the best known of the 12th century Latin poets known collectively as “goliards” (because of their tongue in cheek devotion to a mythical patron of vagabonds named Golias) is known only by his title Archpoet. Like the … Encyclopedia of medieval literature
Baudolino — infobox Book | name = Baudolino title orig = translator = William Weaver image caption = Recent US paperback edition cover author = Umberto Eco cover artist = country = Italy language = Italian series = genre = Historical novel, Speculative… … Wikipedia
1994 in poetry — yearbox2 in?=in poetry in2?=in literature cp=19th century c=20th century cf=21st century yp1=1991 yp2=1992 yp3=1993 year=1994 ya1=1995 ya2=1996 ya3=1997 dp3=1960s dp2=1970s dp1=1980s d=1990s da=0 dn1=2000s dn2=2010s dn3=2020s|Events* Allen… … Wikipedia
Hugh Primas — of Orleans was a Latin lyric poet of the 12th century, a scholar from Orleans who was jokingly called Primas , the Primate , by his friends at the University of Paris. He was probably born in the 1090s and may have died about 1160. Along with his … Wikipedia
Carmina Burana — (pronounced|ˈkarmɪna buˈraːna), also known as the Burana Codex, is a manuscript collection, found in 1803 in the Bavarian monastery of Benediktbeuern, and now housed in the Bayerische Staatsbibliothek in Munich. The 119 leaves of the original… … Wikipedia
Goliard — The Goliards were a group of clergy who wrote bibulous, satirical Latin poetry in the twelfth and thirteenth centuries. They were mainly clerical students at the universities of France, Germany, Italy, and England who protested the growing… … Wikipedia
Medieval poetry — Because most of what we have was written down by clerics, much of extant medieval poetry is religious. The chief exception is the work of the troubadours and the minnesänger, whose primary innovation was the ideal of courtly love. Among the most… … Wikipedia
Fleur Adcock — Fleur Adcock, CNZM, OBE (born February 10, 1934 in New Zealand) is a poet and an editor of English and Northern Irish ancestry, who has lived much of her life in England. [ [http://www.contemporarywriters.com/authors/?p=auth161 Fleur Adcock ] ] [ … Wikipedia
Silverlock — infobox Book | name = Silverlock image caption = First edition cover author = John Myers Myers cover artist = country = United States language = English series = genre = Fantasy novel publisher = E. P. Dutton release date = 1949 media type =… … Wikipedia
Medieval Latin — Carmina Cantabrigiensia, Medieval Latin manuscript Spoken in Numerous small states Region … Wikipedia