12 ғасыр латын жыршысы - "Архипоэт" туралы деректер

Anonymous 12th century Latin poet

The Archpoet ( 1130 – c. 1165), or Archipoeta (in Latin and German), 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), he is cited as the best exemplar of Goliardic poetry and one of the stellar poets of the Latin Middle Ages. 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 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 "clericus vagus", itinerant clerics, bearing the "Archipoeta" pseudonym or title around that time: one Nicholas who briefly resided with the Cistercians at their abbey, and Henry of Avranches (around 1250); yet both are 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, 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 iuvenis 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, 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 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. 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—possibly as a "[[Ars dictaminis", a "master of the art of writing letters" 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.

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 Dassel, 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.

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?"." 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".

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". 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, ), and of "Estuans intrinsecus" (X) on their 2004 studio album Liod (track 10, ).