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Archpoet

January 05, 2023

This article is about the 12th century anonymous Latin poet. For the early Irish concept of "arch-poet", see Ollam.

The Archpoet (c. 1130 – c. 1165),[1] or Archipoeta (in Latin and German),[2] is the name given to an anonymous 12th-century author of ten medieval Latin poems, 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[3] and one of the stellar poets of the Latin Middle Ages.[4]

Archpoet
Bornc. 1130
Diedc. 1165
Pen nameArchipoeta
LanguageMedieval Latin
GenreCourtly poetry
Literary movementGoliard
Notable works"Confession"
A cellarer testing his wine. (13th century)

Knowledge about him comes essentially from his poems found in manuscripts:[5] his noble birth[6] in an unspecified region of Western Europe,[7][8] his respectable and classical education,[9][10] his association with Archchancellor Rainald of Dassel's court,[11] and his poetic activity linked to it in both content and purpose.[4][12] As such, it has been speculated that the bibulous, extravagant personality emanating from his work could be only serving as a façade despite its apparent autobiographical trend.[13]

Biography

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.[5] 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,[14] his real identity has never been found and is most likely lost for good.

It has been suggested by W. H. T. Jackson[15] and others[16] 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.[17] 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.[citation needed] There has been report of at least two other "clericus vagus", itinerant clerics, bearing the "Archipoeta" pseudonym or title around that time: one Nicholas who briefly resided with the Cistercians at their abbey,[18] and Henry of Avranches (around 1250);[19] yet both are distinct from the "Archipoeta" of Barbarossa's reigning period (1155–1190).

Conjectured life

 
The Archpoet flourished during the same time as many of the famous troubadours, who wrote in vernacular languages rather than Latin. (14th century)

The Archpoet's living circumstances have been surmised from the indicative content of his poems but mostly from the life of Rainald of Dassel.[11] 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.[20] With the passing of his patron in 1167, no more is heard from the Archpoet.[21] 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."[22]

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,[7] even though Germany has repeatedly and traditionally being taken as his birthplace.[8] He refers to himself as "ortus a militibus",[6] of knightly birth, and, coming from such a high class, was most certainly well-educated in the liberal arts,[9] theology[2] and the classics.[10] 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) as his birth permitted and disposed him to.[23] 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.[24]

It was probably then that he began working—possibly as a "dictamen", a "master of the art of writing letters"[16]—at the court of Rainald of Dassel, the bishop elector of Cologne and Archchancellor to Frederick Barbarossa, Holy Roman Emperor,[24] about which he wrote, according to Ernst Robert Curtius, "[t]he most brilliant stanzas"[25] 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.[26] 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.[27] 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

 
Frederick Barbarossa, Holy Roman Emperor from 1155 to 1190. (14th century)

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.[13]

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 embraced by many scholars.[28] 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."[29] Dronke further argued that the Archpoet could well have been Hugh Primas's student in Orléans,[nb 1] getting acquainted through him with various rare Classical poets and also with his personal style (themes and techniques).[30]

Works

Overview

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 to 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, among others:

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.

Presentation

 
The poems of the Archpoet were composed for a courtly audience. (Costumes of All Nations, 1882)

Despite being quite dissimilar from one another in terms of tone and intent, the ten poems are all "occasional"[12] 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 Dassel, while the two others are addressed to Frederick Barbarossa himself.[4] 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.[33]

The Archpoet's poems are known for appearing "intensely personal":[15] 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.[34] 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.[35] Aside from their recognized technical merits,[36] 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.[37]

"Confession"

Described as "the prototype of the goliardic songs"[38] as well as "the masterpiece of the [Goliardic] school",[16] 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"),[39] 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.[40] 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."[41]

My purpose is to die in a tavern,
so that wine might be close to my dying mouth.
Then a choir of angels will happily sing,
"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)[42] 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.[citation needed]

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,[12] and it almost single-handedly accounts for his enduring appeal as the writer of one of the most popular medieval Latin poems.[43]

Interpretation and appraisal

 
"Meum est propositum in taberna mori, ut sint vina proxima morientis ori." (Adriaen van Ostade, The Merry Peasant, 1630–1650)
  • 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 than 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?"."[44]
  • 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".[45]

In popular culture

Notes

  1. ^ a b 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.
  2. ^ 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.
  3. ^ 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.
  4. ^ "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.
  5. ^ 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.
  6. ^ 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.
  7. ^ 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.
  8. ^ 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.
  9. ^ The song has been published in the German Allgemeines Deutsches Kommersbuch (152nd edition, 1956, p. 381).

References

  1. ^ Adcock 1994: xix; Waddell 2000: 295.
  2. ^ a b Jeep 2001: 21.
  3. ^ Whicher 1949: 102; Haskins 1971: 179–181; Adcock 1994: ix; Harrington and Pucci 1997: 566.
  4. ^ a b c Sidwell 2002: 347.
  5. ^ a b Adcock 1994: xxii; Jeep 2001: 21.
  6. ^ a b See poem IV, line 70 (CB 220, line 10).
  7. ^ a b Adcock 1994: xxi–xxii.
  8. ^ a b Harrington and Pucci 1997: 567.
  9. ^ a b Haskins 1971: 181; Harrington and Pucci 1997: 567; Adcock 1994: xix; Emmerson 2006: 44.
  10. ^ a b Adcock 1994: xii.
  11. ^ a b Adcock 1994: xii, xvii.
  12. ^ a b c Jeep 2001: 21; Emmerson 2006: 44.
  13. ^ a b Dronke 1968: 21–22.
  14. ^ Adcock 1994: xx.
  15. ^ a b Jackson 1976: 320.
  16. ^ a b c Whicher 1949: 102.
  17. ^ Adcock 1994: xii.
  18. ^ Waddell 2000: 209.
  19. ^ Henshaw 1937: 195.
  20. ^ Adcock 1994: xix.
  21. ^ Jeep 2001: 22.
  22. ^ Adcock 1994: xix. See poem X (CB 191), line 27.
  23. ^ Jeep 2001: 21. See poem IV, lines 69–72 (CB 220, lines 9–12).
  24. ^ a b Haskins 1971: 181; Adcock 1994: xix.
  25. ^ Curtius 1990: 29.
  26. ^ Haskins 1971: 53, 181; Adcock 1994: xix; Jeep 2001: 21; Emmerson 2006: 44.
  27. ^ Waddell 2000: 172; Harrington and Pucci 1997: 567.
  28. ^ See Jackson 1980: 2–3; Adcock 1994: xx; Godwin 2000: 191–192.
  29. ^ Jeep 2001: 21–22.
  30. ^ Adcock 1994: xxi–xxii; Dronke 2007: 137.
  31. ^ Adcock 1994: xxii, 129.
  32. ^ Dronke 1984: 249.
  33. ^ Waddell 2000: 167; Sidwell 2002: 347; Whicher 1949: 103.
  34. ^ Jeep 2001: 21; Whicher 1949: 102–103.
  35. ^ Adcock 1994: xiii–xv.
  36. ^ Whicher 1949: 103; Dronke 1980: 22, 39–40; Adcock 1994: xiii, xv.
  37. ^ Whicher 1949: 102–103; Adcock 1994: xiv; Jeep 2001: 21.
  38. ^ Scheid 1913: 29.
  39. ^ Harrington and Pucci 1997: 567; both Symonds and Whicher used this last title in their respective books.
  40. ^ Fuhrmann 2000: 155.
  41. ^ Harrington and Pucci 1997: 570.
  42. ^ Whicher 1949: 103.
  43. ^ "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.
  44. ^ Waddell 2000: 169.
  45. ^ Marcuse 2007: 75.
  46. ^ Artist page on MusicBrainz.org.

Works cited

  • Adcock, Fleur, ed. (1994). Hugh Primas and the Archpoet. Cambridge Medieval Classics. Vol. 2 (1st ed.). Cambridge: Cambridge University Press. ISBN 0-521-39546-1.
  • 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.
  • Harrington, Karl Pomeroy, ed. (November 1997) [1925]. "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.
  • Sidwell, Keith, ed. (2002) [1995]. "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.

Further reading

Texts and translations

  • Symonds, J. A. (2002) [1884]. . 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. Archived from the original on 2010-12-10. Retrieved August 8, 2010. (Preview available on Google Books)
  • Watenphul, Heinrich; Krefeld, Heinrich, eds. (1958). Die Gedichte des Archipoeta [The Poetry of the Archpoet] (in German) (1st ed.). Heidelberg: Carl Winter / Universitätsverlag.
  • Whicher, George Frisbie (1949). The Goliard Poets: Medieval Latin Songs and Satires. New York: New Directions.
  • Wolff, Étienne, ed. (1995). Carmina Burana (in French) (1st ed.). Paris: Imprimerie nationale Éditions, coll. La Salamandre. ISBN 2-7433-0000-0.

Primary critical sources

  • 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.
    • Re-edition: ——— (2002). The Medieval Lyric (Reprint of 1996's 3rd ed.). Cambridge: D. S. Brewer. ISBN 0-85991-484-4. (Preview available on Google Books)
  • Dronke, Peter (1980). "The Art of the Archpoet: A Reading of "Lingua Balbus"". In Jackson, W. T. H. (ed.). The Interpretation of Medieval Lyric Poetry (in Latin) (1st ed.). New York & London: Columbia University Press & Macmillan. pp. 22–43. ISBN 0-333-24816-3.
    • S. Westphal-Wihl (January 1982). "Reviewed Work: The Interpretation of Medieval Lyric Poetry". The German Quarterly. 55 (1): 108–110. doi:10.2307/405599. JSTOR 405599.
  • Dronke, Peter (1984). The Medieval Poet and His World. Raccolta di Studi e Testi (in English and French). Vol. 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 (eds.). 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.
    • Re-edition: ——— (1997). "The Archpoet and the Classics". Sources of Inspiration: Studies in Literary Transformations, 400–1500. Raccolta di Studi e Testi. Vol. 196 (1st ed.). Rome: Edizioni di Storia e Letteratura. pp. 83–100. (Preview available on Google Books)
    • Paul Pascal (1991). . Bryn Mawr Classical Review. Archived from the original on 2010-05-05.
  • 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. Retrieved August 6, 2010. (Preview available on Google Books)
  • Godman, Peter (2009). Paradoxes of Conscience in the High Middle Ages: Abelard, Heloise and the Archpoet. Cambridge Studies in Medieval Literature. Vol. 75 (1st ed.). Cambridge: Cambridge University Press. ISBN 978-0-521-51911-3. Retrieved August 6, 2010.
  • Godman, Peter (2014). The Archpoet and Medieval Culture (1st ed.). Oxford: Oxford University Press. ISBN 978-0-19-871922-9. Retrieved November 23, 2015. (Preview available on Google Books)
  • Hardin, James; Will, Hasty, eds. (December 1994). "The Archpoet". Dictionary of Literary Biography: German Writers and Works of the Early Middle Ages: 800–1170. Vol. 148 (1st ed.). Gale. pp. 8–9. ISBN 978-0-8103-5709-9. Retrieved 24 May 2011.
  • Haskins, Charles Homer (1971) [1927]. 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. doi:10.2307/2846758. JSTOR 2846758. S2CID 163206890.
  • Jackson, William Thomas Hobdell (1976). "The Politics of a Poet: the Archipoeta as Revealed by his Imagery". In Mahoney, Edward P. (ed.). Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller (in Latin) (1st ed.). New York: Columbia University Press. pp. 320–338. ISBN 90-04-04378-0. (Preview available on Google Books)
    • Denys Hay (Spring 1978). "Reviewed Work: Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller". Renaissance Quarterly. 31 (1): 50–53. JSTOR 2860330.
  • Jackson, William Thomas Hobdell (1980). "Introduction". In Jackson, W. T. H. (ed.). The Interpretation of Medieval Lyric Poetry (1st ed.). New York & London: Columbia University Press & Macmillan. pp. 1–21. ISBN 0-333-24816-3.
  • 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 (ed.). 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)
  • Shcheglov, Yu (IUrii Konstantinovich); Zholkovsky (Zholkovskiī), A. (Aleksandr Konstantinovich) (1987). "II. The Archpoet of Cologne's arch poetics: Deep and surface structures of his "Confession" in service of an ambivalent theme". Poetics of Expressiveness: A Theory and Application. Linguistic and Literary Studies in Eastern Europe. Vol. 18. Amsterdam: John Benjamins Publishing Company. pp. 255–304. doi:10.1075/llsee.18. ISBN 90-272-1522-7. ISSN 0165-7712. (Preview available on Google Books)
  • 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. Retrieved August 6, 2010.
  • 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. S2CID 162262306.
  • Waddell, Helen (1992) [1927]. The Wandering Scholars of the Middle Ages. Ann Arbor Paperbacks. Vol. 199 (Third reprint of 1989's ed.). Ann Arbor: The University of Michigan Press. ISBN 978-0-472-06412-0. Retrieved August 8, 2010. (Preview available on Google Books)

Secondary critical sources

  • Curtius, Ernst Robert (1990) [1948]. . Bolligen Series. Vol. 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. Archived from the original on July 24, 2010. Retrieved August 6, 2010.
  • Dronke, Peter (July 2007). "Le antologie liriche del Medioevo latino". Forms and Imaginings: From Antiquity to the Fifteenth Century. Raccolta di Studi e Testi (in Italian). Vol. 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. Retrieved August 6, 2010. (Preview available on Google Books)
  • Fuhrmann, Horst (2001) [1986]. 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 (2014). The Archpoet and Medieval Culture. Oxford: Oxford University Press. ISBN 978-0198719229.
  • Godman, Peter (2009). "The World of the Archpoet". Mediaeval Studies. Vol. 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. Vol. 148. Gale. pp. 8–9. ISBN 0-8103-5709-7. Retrieved August 8, 2010. (Summary of the article at BookRags.com)
  • Henshaw, Millett (November 1937). "Review: [untitled]". Modern Philology. University of Chicago Press. 35 (2): 195–197. doi:10.1086/388299. JSTOR 434431.
  • Lejay, Paul (1913). "Classical Latin Literature in the Church". In Herbermann, Charles George (ed.). The Catholic Encyclopedia. Vol. 9 (2nd ed.). New York: The Encyclopedia Press. pp. 32–34. 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) [1972]. 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.
  • Sayce, Olive (February 2008). "Latin Poets from Antiquity to the Middle Ages". Exemplary Comparison from Homer to Petrarch (1st ed.). Cambridge: D. S. Brewer / Boydell Press. pp. 84–140 (esp. section 113–115). ISBN 978-1-84384-099-2. Retrieved 9 February 2012. (Preview available on Internet Archive)
  • Scheid, Nicholas (1913). "Latin Literature in Christianity (Sixth to Twentieth Century)". In Herbermann, Charles George (ed.). The Catholic Encyclopedia. Vol. 9 (2nd ed.). New York: The Encyclopedia Press. pp. 26–32. Retrieved 23 May 2011.

External links

 
Latin Wikisource has original text related to this article:
Archpoet
 
Wikiquote has quotations related to Archpoet.
  • 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 posted on the FETUSVENERIS blog.
  • Works by Archpoet at LibriVox (public domain audiobooks)  
  • (in Latin) The ten known poems of the Archpoet at IntraText.
  • (in Latin) The ten known poems of the Archpoet at The Latin Library.
  • (in Latin) The Archpoet's page at the Bibliotheca Augustana.
  • (in Latin) The Archpoet's "Estuans intrinsecus" (CB 191) in the Carmina Burana at the Bibliotheca Augustana.
  • (in Latin) The Archpoet's "Sepe de miseria" (CB 220) in the Carmina Burana at the Bibliotheca Augustana.
  • (in Latin) The Archpoet's "Aestuans intrinsecus" with some notes at Western Michigan University by Professor Rand Johnson.
  • (in Latin) The complete Carmina Burana collection at (retired) University of Hawaii at Manoa Associate Professor David Stampe's website.
  • (in Latin) Recitation of Archipoetae Confessio Vagantis on YouTube by Claudia Sperlich.

January 05, 2023
archpoet, this, article, about, 12th, century, anonymous, latin, poet, early, irish, concept, arch, poet, ollam, 1130, 1165, archipoeta, latin, german, name, given, anonymous, 12th, century, author, medieval, latin, poems, most, famous, being, confession, foun. This article is about the 12th century anonymous Latin poet For the early Irish concept of arch poet see Ollam The Archpoet c 1130 c 1165 1 or Archipoeta in Latin and German 2 is the name given to an anonymous 12th century author of ten medieval Latin poems the most famous being his Confession found in the Carmina Burana manuscript under CB 191 Along with Hugh Primas of Orleans with whom he has sometimes been confused nb 1 he is cited as the best exemplar of Goliardic poetry 3 and one of the stellar poets of the Latin Middle Ages 4 ArchpoetBornc 1130Diedc 1165Pen nameArchipoetaLanguageMedieval LatinGenreCourtly poetryLiterary movementGoliardNotable works Confession A cellarer testing his wine 13th century Knowledge about him comes essentially from his poems found in manuscripts 5 his noble birth 6 in an unspecified region of Western Europe 7 8 his respectable and classical education 9 10 his association with Archchancellor Rainald of Dassel s court 11 and his poetic activity linked to it in both content and purpose 4 12 As such it has been speculated that the bibulous extravagant personality emanating from his work could be only serving as a facade despite its apparent autobiographical trend 13 Contents 1 Biography 1 1 Identity and nickname 1 2 Conjectured life 1 3 Modern critical reassessment 2 Works 2 1 Overview 2 2 Presentation 2 3 Confession 3 Interpretation and appraisal 4 In popular culture 5 Notes 6 References 7 Works cited 8 Further reading 8 1 Texts and translations 8 2 Primary critical sources 8 3 Secondary critical sources 9 External linksBiography EditIdentity and nickname Edit His existence has been elaborated upon the authorial superscription Archipoeta appearing with the poems now ascribed to him in a small number of manuscripts 5 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 14 his real identity has never been found and is most likely lost for good It has been suggested by W H T Jackson 15 and others 16 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 17 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 citation needed There has been report of at least two other clericus vagus itinerant clerics bearing the Archipoeta pseudonym or title around that time one Nicholas who briefly resided with the Cistercians at their abbey 18 and Henry of Avranches around 1250 19 yet both are distinct from the Archipoeta of Barbarossa s reigning period 1155 1190 Conjectured life Edit The Archpoet flourished during the same time as many of the famous troubadours who wrote in vernacular languages rather than Latin 14th century The Archpoet s living circumstances have been surmised from the indicative content of his poems but mostly from the life of Rainald of Dassel 11 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 20 With the passing of his patron in 1167 no more is heard from the Archpoet 21 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 22 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 7 even though Germany has repeatedly and traditionally being taken as his birthplace 8 He refers to himself as ortus a militibus 6 of knightly birth and coming from such a high class was most certainly well educated in the liberal arts 9 theology 2 and the classics 10 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 as his birth permitted and disposed him to 23 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 24 It was probably then that he began working possibly as a dictamen a master of the art of writing letters 16 at the court of Rainald of Dassel the bishop elector of Cologne and Archchancellor to Frederick Barbarossa Holy Roman Emperor 24 about which he wrote according to Ernst Robert Curtius t he most brilliant stanzas 25 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 26 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 27 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 Edit Frederick Barbarossa Holy Roman Emperor from 1155 to 1190 14th century 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 13 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 embraced by many scholars 28 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 29 Dronke further argued that the Archpoet could well have been Hugh Primas s student in Orleans nb 1 getting acquainted through him with various rare Classical poets and also with his personal style themes and techniques 30 Works EditOverview Edit 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 to the 12th and 13th centuries Listed here are the poems identified as is customary by their incipit I Lingua balbus hebes ingenio II Fama tuba dante sonum III Omnia tempus habent IV Archicancellarie vir discrete mentis V Nocte quadam sabbati somno iam refectus VI En habeo versus te precipiente reversus VII Archicancellarie viris maior ceteris VIII Presul urbis Agripine IX Salve mundi domine Cesar noster ave X Estuans intrinsecus ira vehementi nb 4 Confession The works of the Archpoet have been found and preserved in the following manuscripts among others Univ Bibl Gottingen Codex philol 170 31 12th century I VII first stanza of VIII Brussels Bibliotheque Royale 2071 citation needed 13th century IX and X stanzas 1 5 of VII Codex Buranus Munchen Bayer Staatsbibl Clm 4660 4660a 32 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 Presentation Edit The poems of the Archpoet were composed for a courtly audience Costumes of All Nations 1882 Despite being quite dissimilar from one another in terms of tone and intent the ten poems are all occasional 12 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 Dassel while the two others are addressed to Frederick Barbarossa himself 4 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 33 The Archpoet s poems are known for appearing intensely personal 15 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 34 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 35 Aside from their recognized technical merits 36 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 37 Confession Edit Described as the prototype of the goliardic songs 38 as well as the masterpiece of the Goliardic school 16 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 39 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 40 For example the oft cited twelfth stanza nb 7 goes Latin original English literal translation English metrical translationMeum est propositum in taberna mori ut sint vina proxima morientis ori tunc cantabunt letius angelorum chori Sit Deus propitius huic potatori 41 My purpose is to die in a tavern so that wine might be close to my dying mouth Then a choir of angels will happily sing 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 42 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 citation needed 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 12 and it almost single handedly accounts for his enduring appeal as the writer of one of the most popular medieval Latin poems 43 Interpretation and appraisal Edit Meum est propositum in taberna mori ut sint vina proxima morientis ori Adriaen van Ostade The Merry Peasant 1630 1650 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 than 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 44 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 45 In popular culture EditA 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 Video on YouTube 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 Lesiem features a song titled In Taberna Mori Video on YouTube 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 on YouTube and of Estuans intrinsecus X on their 2004 studio album Liod track 10 Vagantenbeichte on YouTube 46 Notes Edit a b Various sources for example see Lejay 1913 33 have erroneously taken Archipoeta to be an alias or pen name of Hugh of Orleans 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 References Edit Adcock 1994 xix Waddell 2000 295 a b 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 c Whicher 1949 102 Adcock 1994 xii Waddell 2000 209 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 Whicher 1949 103 Jeep 2001 21 Whicher 1949 102 103 Adcock 1994 xiii xv Whicher 1949 103 Dronke 1980 22 39 40 Adcock 1994 xiii xv Whicher 1949 102 103 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 Whicher 1949 103 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 Works cited EditAdcock Fleur ed 1994 Hugh Primas and the Archpoet Cambridge Medieval Classics Vol 2 1st ed Cambridge Cambridge University Press ISBN 0 521 39546 1 Jeep John M ed January 2001 Archpoet Medieval Germany An Encyclopedia Routledge Encyclopedias of the Middle Ages 1st ed New York Routledge Taylor amp Francis Group pp 21 22 ISBN 0 8240 7644 3 Harrington Karl Pomeroy ed November 1997 1925 The Archpoet Confession Medieval Latin Revised by Joseph Pucci 2nd ed Chicago amp London The University of Chicago Press pp 566 571 ISBN 0 226 31713 7 Sidwell Keith ed 2002 1995 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 Further reading EditTexts and translations Edit Symonds J A 2002 1884 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 Archived from the original on 2010 12 10 Retrieved August 8 2010 Preview available on Google Books Watenphul Heinrich Krefeld Heinrich eds 1958 Die Gedichte des Archipoeta The Poetry of the Archpoet in German 1st ed Heidelberg Carl Winter Universitatsverlag Whicher George Frisbie 1949 The Goliard Poets Medieval Latin Songs and Satires New York New Directions Wolff Etienne ed 1995 Carmina Burana in French 1st ed Paris Imprimerie nationale Editions coll La Salamandre ISBN 2 7433 0000 0 Primary critical sources Edit 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 Re edition 2002 The Medieval Lyric Reprint of 1996 s 3rd ed Cambridge D S Brewer ISBN 0 85991 484 4 Preview available on Google Books Dronke Peter 1980 The Art of the Archpoet A Reading of Lingua Balbus In Jackson W T H ed The Interpretation of Medieval Lyric Poetry in Latin 1st ed New York amp London Columbia University Press amp Macmillan pp 22 43 ISBN 0 333 24816 3 S Westphal Wihl January 1982 Reviewed Work The Interpretation of Medieval Lyric Poetry The German Quarterly 55 1 108 110 doi 10 2307 405599 JSTOR 405599 Dronke Peter 1984 The Medieval Poet and His World Raccolta di Studi e Testi in English and French Vol 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 eds 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 Re edition 1997 The Archpoet and the Classics Sources of Inspiration Studies in Literary Transformations 400 1500 Raccolta di Studi e Testi Vol 196 1st ed Rome Edizioni di Storia e Letteratura pp 83 100 Preview available on Google Books Paul Pascal 1991 Peter Godman Oswyn Murray Latin Poetry and the Classical Tradition Essays in Medieval and Renaissance Literature Bryn Mawr Classical Review Archived from the original on 2010 05 05 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 Retrieved August 6 2010 Preview available on Google Books Godman Peter 2009 Paradoxes of Conscience in the High Middle Ages Abelard Heloise and the Archpoet Cambridge Studies in Medieval Literature Vol 75 1st ed Cambridge Cambridge University Press ISBN 978 0 521 51911 3 Retrieved August 6 2010 Godman Peter 2014 The Archpoet and Medieval Culture 1st ed Oxford Oxford University Press ISBN 978 0 19 871922 9 Retrieved November 23 2015 Preview available on Google Books Hardin James Will Hasty eds December 1994 The Archpoet Dictionary of Literary Biography German Writers and Works of the Early Middle Ages 800 1170 Vol 148 1st ed Gale pp 8 9 ISBN 978 0 8103 5709 9 Retrieved 24 May 2011 Haskins Charles Homer 1971 1927 The Renaissance of the Twelfth Century Cambridge amp 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 doi 10 2307 2846758 JSTOR 2846758 S2CID 163206890 Jackson William Thomas Hobdell 1976 The Politics of a Poet the Archipoeta as Revealed by his Imagery In Mahoney Edward P ed Philosophy and Humanism Renaissance Essays in Honor of Paul Oskar Kristeller in Latin 1st ed New York Columbia University Press pp 320 338 ISBN 90 04 04378 0 Preview available on Google Books Denys Hay Spring 1978 Reviewed Work Philosophy and Humanism Renaissance Essays in Honor of Paul Oskar Kristeller Renaissance Quarterly 31 1 50 53 JSTOR 2860330 Jackson William Thomas Hobdell 1980 Introduction In Jackson W T H ed The Interpretation of Medieval Lyric Poetry 1st ed New York amp London Columbia University Press amp Macmillan pp 1 21 ISBN 0 333 24816 3 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 Muller Beate ed 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 Shcheglov Yu IUrii Konstantinovich Zholkovsky Zholkovskii A Aleksandr Konstantinovich 1987 II The Archpoet of Cologne s arch poetics Deep and surface structures of his Confession in service of an ambivalent theme Poetics of Expressiveness A Theory and Application Linguistic and Literary Studies in Eastern Europe Vol 18 Amsterdam John Benjamins Publishing Company pp 255 304 doi 10 1075 llsee 18 ISBN 90 272 1522 7 ISSN 0165 7712 Preview available on Google Books 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 Retrieved August 6 2010 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 S2CID 162262306 Waddell Helen 1992 1927 The Wandering Scholars of the Middle Ages Ann Arbor Paperbacks Vol 199 Third reprint of 1989 s ed Ann Arbor The University of Michigan Press ISBN 978 0 472 06412 0 Retrieved August 8 2010 Preview available on Google Books Re edition 2000 1927 Chapter VII The Archpoet The Wandering Scholars of the Middle Ages Reprint of 1936 s 6th ed Mineola Dover Publications pp 161 176 ISBN 0 486 41436 1 Secondary critical sources Edit Curtius Ernst Robert 1990 1948 European Literature and the Middle Ages Bolligen Series Vol 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 Archived from the original on July 24 2010 Retrieved August 6 2010 Dronke Peter July 2007 Le antologie liriche del Medioevo latino Forms and Imaginings From Antiquity to the Fifteenth Century Raccolta di Studi e Testi in Italian Vol 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 amp Francis Group p 44 ISBN 0 415 97385 6 Retrieved August 6 2010 Preview available on Google Books Fuhrmann Horst 2001 1986 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 2014 The Archpoet and Medieval Culture Oxford Oxford University Press ISBN 978 0198719229 Godman Peter 2009 The World of the Archpoet Mediaeval Studies Vol 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 Vol 148 Gale pp 8 9 ISBN 0 8103 5709 7 Retrieved August 8 2010 Summary of the article at BookRags com Henshaw Millett November 1937 Review untitled Modern Philology University of Chicago Press 35 2 195 197 doi 10 1086 388299 JSTOR 434431 Lejay Paul 1913 Classical Latin Literature in the Church In Herbermann Charles George ed The Catholic Encyclopedia Vol 9 2nd ed New York The Encyclopedia Press pp 32 34 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 1972 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 Sayce Olive February 2008 Latin Poets from Antiquity to the Middle Ages Exemplary Comparison from Homer to Petrarch 1st ed Cambridge D S Brewer Boydell Press pp 84 140 esp section 113 115 ISBN 978 1 84384 099 2 Retrieved 9 February 2012 Preview available on Internet Archive Scheid Nicholas 1913 Latin Literature in Christianity Sixth to Twentieth Century In Herbermann Charles George ed The Catholic Encyclopedia Vol 9 2nd ed New York The Encyclopedia Press pp 26 32 Retrieved 23 May 2011 External links Edit Latin Wikisource has original text related to this article Archpoet Wikiquote has quotations related to Archpoet Middle Ages portal Literature portal Poetry portalTranscription 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 Works by Archpoet at LibriVox public domain audiobooks in Latin The ten known poems of the Archpoet at IntraText in Latin The ten known poems of the Archpoet at The Latin Library in Latin The Archpoet s page at the Bibliotheca Augustana in Latin The Archpoet s Estuans intrinsecus CB 191 in the Carmina Burana at the Bibliotheca Augustana in Latin The Archpoet s Sepe de miseria CB 220 in the Carmina Burana at the Bibliotheca Augustana in Latin The Archpoet s Aestuans intrinsecus with some notes at Western Michigan University by Professor Rand Johnson in Latin The complete Carmina Burana collection at retired University of Hawaii at Manoa Associate Professor David Stampe s website in Latin Recitation of Archipoetae Confessio Vagantis on YouTube by Claudia Sperlich Retrieved from https en wikipedia org w index php title Archpoet amp oldid 1123682779, wikipedia, wiki, book, books, library,

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