Khatkina N. V

Vaganty vaganty

(from Lat. vagantes - wandering) (goliards), in medieval Western Europe, wandering beggar students, lower clerics, schoolchildren - performers of parodic, love, drinking songs. XII-XIII centuries - the heyday of the free-thinking, anti-ascetic anti-church literature of the Vagants, mainly songs. Persecuted by the official church.

VAGANTS

VAGANTS (from Latin vagantes - wandering), the creators of Latin-language poetry, which flourished in the Western European "high" Middle Ages (late 11th - early 13th centuries), when schools multiply in the medieval cities that are on the rise, the first universities arise and the first European history is the situation of an excess of educated people. Vagants are clerics who did not have a permanent parish and wandered from one episcopal residence to another, schoolchildren and students who wandered from city to city in search of knowledge and the best teachers, fugitive monks: they are united by involvement in the Latin-speaking culture and existence "on the sidelines" of society. The self-name of the vagants is goliards (goliard, a possible translation of “glutton”, “wine drinker”; from Latin gula - throat, arbitrarily erected to the name of their mythical progenitor - poet-glutton Goliard, who was identified with Goliath (cm. GOLIATH (in the Bible)) due to the consonance of the two names).
The poetry of the Vagants is an organic part of medieval clerical literature and culture. At the same time, it is closely connected with the medieval folk culture of laughter, the highest manifestation of which was carnival festivities. Like a carnival, the poetry of the Vagantes creates, next to the world of cruel everyday life, general regulation and asceticism, a special “second” laughter world, which is a twisted mirror likeness of the first one turned inside out (cf. the concept of M. M. Bakhtin (cm. Bakhtin Mikhail Mikhailovich)). In the poems of the Vagants (for example, in The Order of Goliards), their brotherhood itself is described as a kind of “order”, living according to a charter that parodies the charters of traditional monastic life.
The meters and stanzas of spiritual hymns are used by vagants to praise a carefree dissolute life, a fun pastime in a tavern playing cards and dice, to sing the virtues and charms of lovers - girls of easy virtue, to expose the greed and hypocrisy of high-ranking churchmen. Ridiculing these and other vices of individual churchmen and even the clergy as a whole (debauchery, simony (cm. SIMONY), ignorance, malice), vagantas, ultimately, strive to cleanse the world of sin. Like a carnival, the poetry of the Vagants is not aimed at destruction, but at the final affirmation of the existing world order and Christian ethics.
In addition to the church poetic tradition, the sources of the lyrics of the Vagantes are the newly discovered in the 11-12 centuries. Roman poetry, above all, the lyrics of the "singer of love" Ovid (cm. Ovid)(the so-called “Ovidian revival”) and folk ritual poetry (hence the prevalence of “spring songs”, the debate genre, in the poetry of the vagants). A special place in the poetic heritage of the Vagants is occupied by "beggars" - poems in which poets, threatening to be exposed, beg for blessings from the powerful of the world.
Vaganta poetry was preserved in manuscript collections of the 13th-14th centuries. Among them, the most voluminous (contains about 250 works) is Carmina Burana, the manuscript of which was discovered in 1803 in one of the monasteries near the southern German city of Berena (in the Latin voicing of Beurana). Most of the vagant lyrics are anonymous. The names of several vagant poets have been established. The most significant of them: the Parisian schoolboy Hugon, nicknamed "Primas d'Orleans" (c. 1093-c. 1160), the author of the famous poem about the tattered cloak donated to him by the greedy prelate, Archipiita of Cologne (created in the 1160s), author one of the most famous vagant works - "Confessions" (Archipiita - a knight by birth, who became a cleric for the love of science and the court poet of Frederick Barbarossa (cm. FREDERICK I Barbarossa)), Walter of Châtillon (c. 1135-1200), the most educated and least marginalized of the Vagant poets, perhaps having taught at the cathedral school or had a place in the court of Henry II (cm. HEINRICH II Saint); in addition to many diatribe-moralistic poems in the vagant spirit, he wrote the "learned" Latin poem "Alexandreida".

encyclopedic Dictionary. 2009 .

See what "vagant" is in other dictionaries:

- (from clerici vagantes), otherwise goliards, probably from the Provencal gualiador "joker", "hoaxer", or related to the French. gaillard "small" (young man) medieval (XI-XIV centuries) ap. European corporation of "stray people", ... ... Literary Encyclopedia

- (lat. vagantes, from vagari to wander). From the 12th century this was the name of the wandering singers who, in Latin verse, sang of love, wine, and other pleasures of life. Their name. also goliards, named after the alleged Bishop Golias, the founder of the society ... ... Dictionary of foreign words of the Russian language

- (also called goliards) wandering clerics, wandering students and scholars in Germany, France, England and Northern Italy in the 11th-13th centuries. The Vagantes composed free-thinking verses in Latin directed against the papacy and the clergy. Besides… … Historical dictionary

- (from lat. vagantes stray) (goliards) in the medieval Zap. Europe, wandering beggar students, lower clerics, schoolchildren performers of parody, love, drinking songs. 12th-13th centuries the heyday of free-thinking, anti-ascetic, anti-church ... ... Big Encyclopedic Dictionary

- (lat. vagantes - wandering) - in medieval Western Europe, wandering students, representatives of the lower clergy, schoolchildren. XII-XIII centuries - the flourishing of free-thinking, anti-ascetic, anti-church literature of the Vagants, mainly songs. ... ... Encyclopedia of cultural studies

- "Wheel of Fortune". Miniature from the handwritten collection Carmina Burana. This term has other meanings, see Vagants (meanings). Vaganta (from ... Wikipedia

I (= vagabonds; clerici vagantes, or vagi) were the names given by ancient canon law to clerics who, having received ordination, at the same time did not receive a fixed position and, as a result, wandered in search of work. The laws… … Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

Vagants- (from Latin wago - to wander) - clerici wagantes or vagi according to ancient. canonical law. It often happened that clerics who received ordination remained without a place for a long time. Then they then entered the service for a certain remuneration to ... ... Complete Orthodox Theological Encyclopedic Dictionary

vagants- () wandering clerics, wandering students and schoolchildren in Germany, France, England and Northern Italy in the XI-XIII centuries. The Vagantes composed free-thinking verses in Latin directed against the papacy and the clergy. In addition to satirical poems ... ... Encyclopedic Dictionary "World History"

- (lat. vagantes stray) cf. century. wandering poets and singers in the countries of the West. Europe; preim. demoted priests, half-educated seminarians. They performed (in Latin) with parody songs on the church. hymns, ridiculed hypocrisy ... ... Music Encyclopedia

Books

Selected works. About poets, Gasparov Mikhail Leonovich, The main part of the book is essays on the work of Greek and Latin poets: such as Pindar, Catullus, Virgil, Horace, Ovid, Avsonius, fabulists, epigrammatists, medieval vagants, etc. ... Category: Literary criticism and criticism Publisher: Karamzin,

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Poetry of the Vagants

The word "vagant" (vagantes) in literal translation from Latin means "wandering". In the Middle Ages, it was originally applied to priests without a parish, to monks who left the monastery, later, in addition to the above groups of wanderers, it began to be attributed to numerous schoolchildren and students wandering in search of knowledge from university to university, from city to city. In XII - XIII centuries the number of such wanderers on the roads of Europe increased dramatically, as it became increasingly difficult for graduates of universities and cathedral schools to find a place for themselves. Not all students successfully completed their studies, the reasons could be different, including the following:

Not for vain vanity,

Not for entertainment

Because of bitter poverty

I gave up teaching.

("The Beggar Student")

But with a complete or incomplete university education, the vagants stood out from the urban lower classes, among which they existed, by their belonging to the intellectual elite, even if they managed to graduate only from the artistic faculty and master only the “seven liberal arts” (trivium - grammar, rhetoric and dialectics, quadrium - arithmetic, geometry, astronomy and music). The Vagants, despite their beggarly lifestyle, inconstancy and random earnings, possessed that fullness of freedom that no other member of medieval society, even the king himself or the Pope, possessed. The Vagants were absolutely independent in their beliefs and their expression in creativity. And free-thinking, supported by university education and erudition, led to the most unexpected and wonderful artistic results.

V.P. Darkevich, a cultural historian, researcher of medieval folk culture and literature, classifies the vagantes as “juggler clerics”, developing his idea as follows: “Invectives against priests devoted to secular entertainment did not give the desired effect. Moreover, sometimes representatives of the lower clergy themselves acted as actors. The jugglers' companions and "competitors" were often clerics and wandering vagant scholars (goliards), who preferred the difficult vagrancy to the harsh discipline of the monasteries. Parodies of bad ministers of the church, "singing songs at a feast" and "engaging in shameful buffoonery", can be found in marginalia.

The lyrics of the Vagantes can be identified as part of the areal carnival culture of the Middle Ages, and, in a carnivally inverted, “wrong” interpretation, not only confessors and monks deviating from the canons of religion and church vows appear, not only the church and its rites (“All the most drunken liturgy”), not only the genres of church eloquence (“Confession of the Archbishop of Cologne”, “Sermon of the Archbishop of Cologne”, “Testament”), but also the texts of Holy Scripture themselves (“The Gospel of the Silver Mark”, “Apocalypse of the Goliard”). It is hardly possible to consider the Vagants as atheists, overthrowers of church dogmas or supporters of church reforms; rather, the parodic beginning in the lyrics of the Vagants, which brings them closer to the carnival folk culture, should be emphasized. It is this parodic “reversal”, aimed at revealing inconsistencies with the truth or revealing the comic aspects of this or that phenomenon of both secular and ecclesiastical life, that is characteristic of the Latin poems of the Vagantes, which parody both clerical and chivalric literature. vagant folk culture genre

Genreoriginalitypoetryvagants

The duality of the position of the vagantes in the social system of the Middle Ages also influenced the genre diversity of their lyrics. The heritage of the Vagants connects the book tradition with the folklore and urban, which leads to the emergence of new literary genres and opens the way for artistic experimentation. The clash of ancient and biblical motifs and images with folk, combined with topical satirical intonation, leads to the flourishing of the genre of parody, with the techniques of bilingualism, paradox and oxymoron. Reminiscence, association, allusion begin to play a special role in the lyrics of the Vagantes, and this stimulates the reader to co-create. The reader deciphers the figurative code of the poem, as if unfolding the process of creation in reverse order: the author moves from the idea to the work, and the reader - from the work to the author's intention.

genrecomplaints recreates pictures of the life of nomadic students. But, even complaining about fate, the vagantes do not lose optimism (“Farewell to Swabia”) or the opportunity to smile (“Conversation with a Cloak” by the Primate of Orleans). The complaints of the Vagantes are imbued with a sense of confidence in the correctness of the chosen path, since within the brotherhood of the Vagantes a utopia of independence, natural and spiritual freedom is being created. The already cited complaint, "The Beggar Student," ends with an ironic passage:

To the mercy of the abbot

calls the flock,

and his homeless brother

chill, languish.

Give, holy father,

me my cassock

and then I finally

I will stop being cold.

And for your soul

I will light a candle

God bless you in paradise

found a place.

genredispute inspired in the lyrics of the Vagants by a specific university practice. Lectures were the traditional form of university studies. In a medieval university, a lecture was really a reading: a professor would put some handwritten book on the subject on the pulpit, read it and give interpretations. The debate was the antipode of the lecture: two professors occupied two chairs installed at opposite ends of the auditorium and had a scientific dispute, the students who gathered for the debate represented the interests of both of them. Disputes by no means always remained within the boundaries of decency and often ended in a brawl. The dramatic intensity of the dispute and sought to convey the vagants in the appropriate genre of lyrics. Vagantes depict a dispute between two halves of the soul ("Books and Love"), or a debate on the issue of preference for a knight or a vagant poet ("Flora and Philida").

Love lyrics of vagants ( genrepastorals) has an emphatically earthly, carnal character. Vagants, proclaiming the emancipation of the flesh, freedom of morals, create defiant poems, hoping to shock the public (“I was a modest girl ...”, “The Virtuous Shepherdess”). The concept of natural simple human joys, the justification of natural human aspirations in the love lyrics of the Vagants anticipated the ethics and aesthetics of the Renaissance. Vagants create a comic effect by referring to the technique of bilingualism.

Another way to create a comic effect is an oxymoron: in the poem “The Virtuous Shepherdess”, the content and title are correlated according to this principle. Although, on the other hand, the behavior of the shepherdess corresponds to the law of nature declared by the Vagantes, her behavior is natural, corresponds to the laws of nature, and therefore is virtuous.

A special place in the lyrics of the Vagantes is occupied by the genre of the poetic novel - ballads. The tradition of referring to this genre has developed in the Cambridge manuscript. The originality of the ballad of the Vagantes lies in the fact that it is a retelling of an ancient myth, most often about Orpheus, Diana, and also about Troy and about Aeneas and Dido. The learned Latin ballad thus continued the tradition that had already developed in late Latin poetry during the crisis and fall of the Roman Empire.

Poems of the Vagants for the most part anonymous. “Therefore, to restore the names of at least those individual creators who set the tone and led imitators is a big scientific problem. At the beginning of the XX century. V. Meyer managed to single out the verses of the Primate of Orleans, M. Manitius - the verses of the Archipiite of Cologne, a little later K. Strecker - the verses of Walter of Chatillon and his echoes, - points out M. L. Gasparov. It is these three poets that are traditionally distinguished by researchers as classical poets, who formed the main trends and genre system in the poetry of the Vagantes.

Hugon (Primas) of Orleans is the first famous vagant poet. The poems that have come down to us were written between 1130-1140, and the poet died in 1160. Based on the poems of Primus, one can restore his wanderings from Paris to Reims, then to Sens and Amiens, his circle of acquaintances and even recreate his biography: the poet wanders a lot in his youth , in his old age, his patrons leave him, he finds shelter in a hospital, but from there he is expelled because of a noble deed (the poet stands up for the patient). Primus' poetry is autobiographical, distinguished by attention to detail and accuracy in their reproduction.

Arkhipiita is the nickname of the poet. His real name is unknown, he called himself "poet of poets". By his own admission, he comes from a knightly family (“I came from a family of knights / / I came out as a literate,” writes the Archipiit to the “Message to the Archchancellor Reginald, Archbishop of Cologne”) and went to school out of love for science and art. An archipite does not miss an opportunity to show off his erudition in poetry, to demonstrate his knowledge of classical ancient authors and Holy Scripture. A German by birth, he feels more at ease in Italy, although with his usual ease he turns to his patron, the Archbishop of Cologne, for the issuance of benefits "from the Alpian to the Alpian." In fact, information was confirmed only about five years from the life of Arkhipiyt 1161-1165, at the same time 10 poems that have come down to us were written. The Confession of the Archipee of Cologne became a role model and genre standard. Choosing the genre of ecclesiastical eloquence as the basis, the Archipion conducts a dialogue with the genre canon, in fact refuting it.

Walter of Chatillon (second half of the 12th century), strictly speaking, was not a vagant: he did not know poverty and wanderings, he became famous as a learned Latin poet, having created a poem from 10 books of "Alexandrite" about Alexander the Great. Walter enjoyed the patronage of Henry II Plantagenet, served in his office, was a member of the scientific circle of Thomas Beckett. After the death of Thomas, he fled to the Continent, receiving first a pulpit at Châtillon and then a canonship at Amiens as a reward for the "Alexandrite". Walter said that all of Europe sings his songs, but he did not mean "Alexandrite", but those poems that he wrote "to divert the soul." However, Walter averted his soul not in lyrical outpourings and autobiographical confessions, but in satirical poems, directed primarily against the abuses of the church and the hypocrisy of the clergy. Walter was especially famous for the poem "The Rebuke of Rome."

During the XIII century. vagant poetry was popular, but by the end of the XIY century. she's already been forgotten. M. L. Gasparov identifies several reasons for the fading of the tradition of developing the lyrics of the Vagantes, but it is important that by the beginning of the intensive Renaissance movement in Europe, the poetry of the Vagantes was no longer remembered. Nevertheless, the satirical poems of the Vagantes, as well as their religious and philosophical free-thinking, as well as attention to a separate human destiny, taken in the specifics of life circumstances, considered in development, the autobiography of the lyrics of the three leading Vagant poets, expressed in different ways, but equally inherent in all three, to a large extent acted as one of the prerequisites for the development of the Renaissance in Europe.

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MINISTRY OF EDUCATION AND SCIENCE OF RUSSIA

STATE EDUCATIONAL INSTITUTION

HIGHER PROFESSIONAL EDUCATION

"RUSSIAN STATE HUMANITARIAN UNIVERSITY"

(RGGU)

HISTORICAL AND PHILOLOGICAL INSTITUTE

Vlasova Elizaveta Mikhailovna

The Specificity of the Poetry of the Vagantes of the 12th Century in the Works of the Archipite of Cologne

Work on the history of the Western European Middle Ages and early modern times.

2nd year students of the 112th group

Moscow 2012

Introduction 3

Historiography 4

The specifics of the themes of vagant poetry

Chapter II. 9

Vagant as a member of the 12th century society

Chapter III 13

Archipyita of Cologne

Conclusion 14

Doing.

The dictionary of antiquity of the Leipzig Bibliographic Institute explains the term vaganta from the Latin word vagari, which translates as to wander. These are the so-called wandering scholars (clerici vagantes) of the 11th - 13th centuries.

Often, the concept of “Vagants” also includes many socially heterogeneous and indefinite groups, such as French jugglers (jongleur, jogleor - from the Latin joculator - “joker”), German spielmans (Spilman), English minstrels (minstral - from the Latin ministerialis - "servant").

Lev Gizburg, analyzing this problem in the preface to the collection of lyrics by the Vagants, cites Martin Lepelman's book “Heaven and Hell of Wanderers. Poetry of the great vagants of all times and peoples. This book, along with the vagantes proper, includes texts by Celtic bards and German skalds, Slavic harp players, as well as Homer, Anacreon, Archilochus, Walther von der Vogelweide, Francois Villon, Cervantes, Saadi, Varlin, Arthur Rimbaud and Ringelnatz. Lepelman believes that the main features of the poetry of "nomadic schoolchildren" are "childish naivety and musicality" and a craving for wandering, which arose primarily from "a feeling of oppressive tightness that makes the fetters of settled life unbearable", from a feeling of "boundless contempt for all the restrictions and canons of everyday order" .

However, it is customary to use this term to refer to priests who did not have their own parishes, monks who left their monasteries. Such displaced clerics, forced to wander from city to city, from monastery to monastery, wrote a lot and often had the fame of wandering poets. They used in their work mainly the Latin language, although in their way of life they differed little from folk singers and storytellers, they were alienated from the folk language.

Although the first vagants in the 10th-11th centuries were clerics who lived outside their parish or did not occupy a specific church position at all; over time, the vagantas nevertheless began to replenish with school student associations that moved from one university to another. Only later - already in the era of the weakening of the actual poetry of the vagantes - did representatives of other classes, in particular, the urban ones, begin to join this group.

The era of the decline of the Vagant culture falls at the end of the 13th century, it is generally accepted that there were three reasons for this. The first exclusively quantitative reason is that by the end of the century, under the influence of church repressions, that excess of literate people, which was characteristic of the revival of the 12th century, disappears. The second problem is considered that vagantism could not stand the competition with its spiritual rival - monasticism. In 1209 and 1216, orders of Franciscans and Dominicans appeared on medieval roads - monks without monasteries. They behave much more decently than the vagants and speak not in Latin, but in their native languages, as a result of which they practically take away the flock from the vagants, and with it their livelihood. The third reason is also largely based on the adherence of the Vagantes to the Latin language. In another sphere of their activity, namely, poetic vagance, troubadours, trouvers, minnesingers write in the listeners' native dialect.

Historiography

It is generally accepted that Romantics discovered the poetry of the Vagantes for a wide range of readers, but it cannot be said that this discovery was immediately accepted by society. The famous collection Carmina Burana was discovered as early as 1803, and it was not published until 1847. And this despite the fact that in 1803, as you know, German romanticism was already in bloom and the cult of the Middle Ages had long ceased to be a novelty.

The reasons for such slowness in the study of this particular layer of the text are not very clear. Mikhail Leonovich Gasparov, in his article “The Poetry of the Vagants”, forms the opinion that for the view of the Middle Ages that has developed in modern times, the vagants were too unusual and did not fit into the logical idea of medieval culture, as a gloomy-ascetic culture and compared to a bright and cheerful and the world of antiquity addressed to the individual. "The poetry of the Vagantes - the Latin verses of clerics, scourging Rome, glorifying wine and not at all platonic love - did not fit into the framework of such a picture."[i] By the 40-50s of the XIX century. refers to the bulk of the publications of Vagant poetry: I. Schmeller in Germany, E. Du Meril in France, T. Wright in England.

For our country, the discovery of the creativity of vagantes occurred only in the 20th century. At the beginning of the 20th century, OA Dobiash-Rozhdestvenskaya published two articles devoted to the poetry of the Vagants. Her works use verses in Latin rather than translations. In combination with a rather narrow specialization, these publications do not have a strong effect on the general reader.

Also known are the pre-war lectures at Moscow State University and Moscow State Pedagogical University by N. P. Gratsiansky, from which some parts have been preserved. Their most noticeable features are the noticed analogies of the poetry of the Vagantes with the Gospel, borrowing from there.

But nevertheless, the lyrics of the Vagantes gained considerable fame with the appearance in 1970 of a collection of translations by Lev Ginzburg, these translations are considered the best to this day.

The second most famous translator of the lyrics of the Vagantes is M.L. Ginzburg published his introductory article and translations in the collection "Literary Monuments" in 1975.

Less well-known classical works devoted to the social stratum of the vagants belong to Purishchev B.I. “Reader on Western European Literature of the 17th Century”, the fundamental idea of which is the positing of the Vagants as the founders of Renaissance humanism and V. B. Muravyov, who expressed in his article several ideas that largely determined this direction in the study of history and literature. First, he tied the vagrancy of the Vagantes to the general insanity (disease) that swept Europe and thus led to the Crusades. Secondly, he sees in their poetry the opposition of the vagants of the anti-popular church.

In conclusion, it can be said that despite the fact that there are not very many studies on the topic of wandering clerics as a cultural phenomenon, the appearance of such dissertations as “Vagant Poetry: Genesis and Genres” by Materova E.V. in 2007 shows a growing interest in this phenomenon.

Chapter I

The specifics of the themes of vagant poetry

The language of the Vagants is free from the classical style, the verse is not book metrical, but generally accessible rhythmic, sometimes forming into complex stanzas, following the example of folk songs, their construction is extremely heterogeneous.

The style and themes of Vagant poetry are extremely diverse. For the past 150 years there has been a persistent myth that only booze, women and the endowment of the church make up the entire list of motifs in this poetry.

Wine and the charms of a wild life do not occupy much space in the Vagant lyrics, although they appear in it.

“Come out into the free world!
To hell with dusty books trash!
Our homeland is a tavern.
We pub - God's temple.
Spending the night with a glass
it's not a sin to get drunk in the smoke.
Virtue for old people
recklessness - young!
Life will rush away like water.
Death will not give respite.
Will never return
spring days"

It is worth noting that even in this passage there is a place not only for the glorification of the tavern, but also for the existential horror of death, the eternal fear of old age, and as a result, disappointment in the Christian faith, which promises the righteous after death heavenly places.

On the contrary, in this poetic layer there are religious verses.

"A man in a sinful fall
God gave hope for salvation:
Virgin Mother in miraculous birth
She showed us the face of revelation. ”/Archipiita Cologne

It is also believed that in the mass of Latin hymns and poetic pious meditations, a sufficient share belongs to itinerant students, but it is almost impossible to single them out. The collection "Carmina Burana" even contains several large religious dramas - Christmas, Easter. And many diatribe-satiric poems, transcribed into prose, are variations of a parish sermon against the decline of morals.

A significant place in the poetic heritage of the Vagantes is occupied by plot verses and songs, often about Troy, Dido, Apollonius of Tyre, snatching and developing separate, most striking moments, and not smoothly following the original plot. Apparently, this is evidence of the calculation of the vagants for an educated public.

Many plots of the love lyrics of the Vagantes are also borrowed from ancient poetry, especially from Ovid, for example, the poem “The Debate of Phyllida and Flora” attributed to a certain Ruricius, about who, a cleric or a knight, is more worthy of love, goes back to Ovid’s complaints about a beauty who prefers a warrior to a poet.

The strength of the Venusian laws and the laws of love The first was known and expressed by my learned clergyman; The knight only for the cleric became the singer of Dione, And in your own lyre there are clerical chimes.

The love lyrics of the Vagants also inherit a lot from folk lyrics. This is often expressed in the form of a work. The screensavers of vagant love songs go back to folk springflies: the departure of winter, the arrival of spring, the awakening of nature and love, flowers. This is followed by a description of the omnipotence and torment of love, a description of the appearance of a beauty, a description of the struggle and mastery. In such vagant songs, especially in the description of love and beauty, there are numerous echoes with the poetry of the troubadours.

But the very nature of love is different: the cult of the Platonic service of the troubadours is almost absent here.

The social satire of the Vagantes against Rome was written across Europe and remembered even during the Reformation. Largely because of their immersion in the material, since the vagants themselves were part of the exposed system. The Vagantes even use elements of religious literature in their satire - its main forms: vision, hymn, sequence liturgy ("Missa gulonis") and the Gospel ("Evangelium secundum Marcam argentis"). Scourge of the morals of the clergy, the vagant feels himself a part of this clergy, for only it preserves the high Latin culture. To all other estates, the vagant is condescending. He condemns the knights as rude ignoramuses: both the debates of Flora and Phyllida, and the similar debate of the "Remirmont Cathedral" end with the verdict that the cleric is more worthy of love than the knight.

We also find in the Vagant collections, for example, satire with responses to political modernity - a call for a crusade or a lament for Richard the Lionheart. This poetry, addressed to the masses, was often overshadowed by the fact that the Vaganta despised the peasants almost as zealously as the state and the official church:

“Lord, you, who sowed great discord between clerics and peasants, let us live by the labors of their hands and enjoy their wives and their daughters and their death.”// Igretskaya Mass

The tragedy of the vagant ideology is that the vagant, although a beggar, feels like an aristocrat of the spirit and seeks only enlightened connoisseurs.

Poetry of the Vagants

The word "vagantes" comes from the Latin expression "clerici vagantes" - "wandering clerics". These wanderers in the Middle Ages (XI-XIV centuries) in Western Europe composed and also performed songs and, although much less often, prose works.

In the broad sense of the word, the concept of "vagant" can be combined with French jugglers (from the French "joker"), German spielmans, English minstrels (from the English "servant") and some others.

However, usually the word "vagantes" is used in a narrower sense to refer to itinerant poets who wrote mainly in Latin, which was the international class language of the clergy.

The first vagants were precisely the clergy (church ministers) who lived outside their parish or did not occupy a specific church position at all. Later, the free tribe of the Vagants began to be replenished by school and student associations, which often moved from one university to another. Brotherhoods of wandering students reveled in free life, and earned their living by begging for alms, and did not disdain even petty theft. The times were harsh, people in isolated cities and remote villages were happy with any entertainment, and the vagantes could get bread, or even a glass of good wine for their jokes and farce antics.

In the era of the decline of the poetry of the Vagantes, representatives of other classes, in particular the urban ones, began to join this community.

The social affiliation of this creative group is very important: it is this group that determines both the forms and the content of poetry. In their lyrical and moralizing (didactic) poetry, the Vagantes are closely connected with the learned and ecclesiastical Latin poetry of the Carolingian era, and through it, indirectly, with the Latin poetry of early Christianity and the ancient world. For the love lyrics of the Vagantes, the importance of Ovid is especially great - they studied poetry from his "Science of Love" and other works.

The influence of ancient poetry is reflected in the lyrics of the Vagantes by the presence of mythological characters: Fortune, Venus, Cupid, Cupid, nymphs and satyrs. Yes, the names of heroes are often also borrowed from mythology: Phyllida, Corinna, Flora.

The concept of love and the image of the beloved are significantly different from those typical for courtly lyrics, which are dedicated to the reverent service to the Beautiful Lady. The lyrics of the Vagants are imbued with the earthly joy of carnal pleasure. Poems of religious content are interspersed with frivolous parody-satiric, playful, drinking, round dance songs, as well as rather obscene songs of wandering students and monks about various "sinful joys".

The chanting of the joy of communicating with a frivolous woman, a kind and compliant girlfriend, is combined with the worship of Bacchus. We can say that in most works the motive of love is inseparable from the theme of wine and drunkenness. Often there is a description of a naked female body - not without juicy details and risky jokes. comic echo learned poetry is the inclination of the Vagantes to forms of dialogical discussion of the casuistry of love.

Tavern life

The people drink, male and female,
urban and rural,
Fools and wise men drink
Spenders and misers drink
Eunuchs drink, and revelers drink,
Peacekeepers and warriors
The poor and the rich
Patients and doctors.
The vagabonds drink, the nobles drink,
People of all skin tones
Servants drink and gentlemen
Villages drink and cities.
Drinks without a mustache, drinks with a mustache,
Bald drinks and hairy,
The student drinks, and the dean drinks,
The dwarf drinks and the giant!
A nun and a whore drink
A hundred year old woman drinks
Drinks a hundred-year-old grandfather, -
In a word, drinks the whole wide world!
We will drink everything without a trace.
Hops are bitter, but sweet to drink.
Sweet bitter drink!
Bitter lenten life...

The Vagants use elements of religious literature in their satire in a very peculiar way: they parody its main forms (vision, hymn, etc.). Disrespect for sacred texts comes to parodying the liturgy and the gospel.

From the genre of drinking songs of the Vagantes, numerous student songs subsequently developed, including the famous anthem “Gaudeamus igitur”.

Over time, the perception of this anthem has changed: from a wild song, Gau-deamus has become the embodiment of the connection between generations of young and mature scientists, it is sung by both freshmen and gray-haired academicians.

Although the songs of the Vagantes were performed in the manner of church hymns, in terms of their content they had nothing in common with them. François Rabelais quite rightly remarked: "They smell more like wine than oil." At the same time, something dreary and bitter was felt in the songs of the Vagantes, the sadness of a homeless wanderer, which was overcome by male fun.

The works themselves, sounded in Latin, were designed for educated people, able to appreciate the virtuosity of verse and literary theme. The lyrics of the Vagantes reveal an excellent knowledge of ancient literature, poetry, and mythology. It is dominated by a literary game, conventionality, shocking (deliberate indignation) of the public.

Educated and well-read, the Vagants draw strength from the source of ancient poetry - and in this they are the harbingers of the Renaissance. The work of the Vagantes is mostly anonymous, but some authors are still known: Gauthier from Lille (Walter of Châtillon), Primate of Orleans (early 12th century), a certain German Vagant, known by the nickname Arkhipiit (second half of the 12th century), and a few others.

The freedom-loving vagantas were persecuted by church and state throughout their wandering lives.

In the XVI century. they, approaching wandering professional jugglers, are completely identified in the minds of the layman with the so-called rabble.

One of the most famous collections of Vagant art is "Carmina Burana" ("Carmina Vigapa"). The name translated from Latin means "Bernese Songs". That was the name of the manuscript of the 13th century, found at the beginning of the 19th century. in one of the monasteries of the Bavarian Alps (published in 1847). The fame of the collection was brought by a magnificent cantata by the German composer Carl Orff, first performed in 1937.

Theme 7

POETRY OF THE VAGANTS

Come out to the wild world!
To hell with dusty books trash!
Our homeland is a tavern,
We beer - God's temple!

Unknown Latin poet of the 13th century

PLAN

1. Lyrics of the Vagants as part of the clerical literature of the Mature Middle Ages. Social and intellectual portrait of vagants. Manuscripts representing the lyrics of the Vagants.

2. Genre originality vagant poetry:

a) a parody
b) dispute;
c) complaint;
d) ballad;
e) pastoral.

3. Creativity of the leading vagan poets:

a) Primate of Orleans;
b) the Archipee of Cologne;
c) Walter of Chatillon.

4. Traditions of lyric poetry of the Vagantes and literature of the Renaissance.

PREPARATION MATERIALS

1. The word "vagant" (vagantes) in literal translation from Latin means "wandering". In the Middle Ages, it was originally (during the Early Middle Ages) applied to priests without a parish, to monks who left the monastery, later, during the Mature Middle Ages, in addition to the above groups of wanderers, it began to be attributed to numerous schoolchildren and students wandering in search of knowledge from university to university , from city to city. In the twelfth and thirteenth centuries, the number of such wanderers on the roads of Europe increased sharply, as it became increasingly difficult for graduates of universities and cathedral schools to find a place for themselves: a teacher's chair, service in the office or church parish. However, not all students successfully completed their studies, the reasons could be different, including the following:

Not for vain vanity,
Not for entertainment
Because of bitter poverty
I gave up teaching.
("The Beggar Student")

It is legitimate to consider the lyrics of the Vagantes as an integral element of clerical literature for a number of reasons. Firstly, because some of the Vagant poets were clergy or monks (Walter of Châtillon), secondly, because most of the universities and monastic schools were controlled by the church and not by secular authorities, thirdly, also because the language of poetry Vagantes was classical church Latin, fourthly, parodying the genres of church eloquence or church rituals (confession, liturgy), the vagants were still attracted to church literature, parodying it, they continued to belong to it.

V.P. Darkevich, a cultural historian, researcher of medieval folk culture and literature, classifies the Vagantes as “juggler clerics”, developing his thought as follows: “Invectives against priests devoted to secular entertainment did not give the desired effect. Moreover, sometimes representatives of the lower clergy themselves acted as actors. Scientific culture not only opposed the popular one. In the decision of the Salzburg Cathedral (1310) we read: “The immodest ministers of the church, in their positions indulging in the trade of a juggler, goliard or buffon and practicing for a year with these shameful games, if they do not repent, will, at least after the third warning, deprived of all spiritual privileges." The companions and "competitors" of the jugglers were often jobless clerics and wandering vagant scholars (goliards), who preferred the difficult vagrancy to the harsh discipline of the monasteries. Parodies of bad ministers of the church, “singing songs at a feast” and “engaging in shameful buffoonery”, are found in marginalia. In the Flemish Book of Hours, a portly monk plays with a distaff-bow on blowing bellows, and a barefoot woman, tucking her hem and spreading her arms to the sides, began to dance. Fur as an erotic symbol attached special meaning scene. The merry brother brings to mind the "quick Carmelite" Hubert from the Canterbury Tales:

He's in the hood for his girlfriends
He kept packs of pins, threads, lace.
He was amorous, talkative and carefree.
He knew how to sing and strum on the company,
No one sang those songs more cheerfully.
He was plump in body, whiter than lilies.

In one of the old French fablios, the abbess of the monastery, seduced by the priest, after leaving the holy monastery, becomes a juggler.

In other drawings we see a grotesque cleric - a tightrope walker with a cymbal on a cane, hybrid musicians in monastic vestments. A monk and a nun with a lute are the main characters in Bosch's painting "Ship of Fools".

The Russian clergy also sneered at the "worldly blasphemers". In Novgorod, on the estate of the church hierarch (Troitsky excavation site), fragments of a whistle were found (80s of the 13th century). In the teaching of the Moscow Metropolitan Daniel (XVI century) it is said: “Now the essence is not from the sacred, even these are the presbyters and deacons, subdeacons, and readers, and singers, mocking, play the harp, domra, smyk.” In the eyes of Archpriest Avvakum, the Nikonian bishops appear as buffoons or pagans.” 68

The lyrics of the Vagantes can be identified as part of the carnival-carnival culture of the Middle Ages, and, in the carnival-inverted, “wrong” interpretation, not only confessors and monks who deviate from religion and church vows appear, not only the church and its rites (“The All-Drunken Liturgy”), not only the genres of church eloquence (“Confession of the Archbishop of Cologne”, “Sermon of the Archbishop of Cologne”, “Testament”), but also the texts of Holy Scripture themselves (“The Gospel of the Silver Mark”, “Apocalypse of the Goliard”). It is hardly possible to consider vagants as atheists, overthrowers of church dogmas or supporters of church reforms, rather, the parodic beginning in the lyric of vagants should be emphasized, bringing them closer to the carnival folk culture, which for a short period of time turns the structure of society upside down, presents the image of the world inside out. In the semiotic concept of carnival, developed by M. M. Bakhtin, the defining principle is inversion, aimed at overturning binary oppositions, the result of which is “taking life out of the usual rut” and the formation of “life inside out”, “the world in reverse”, which is why the jester and the poor elected carnival king. Highlighting carnival-comic forms of laughter, M. M. Bakhtin pointed out, among other things, "verbal laughter (including parodic) works of various kinds: oral and written, in Latin and in folk languages" . 69 It is precisely this parodic “reversal”, aimed at revealing inconsistencies with the truth or revealing the comic aspects of this or that phenomenon of both secular and church life, that is characteristic of the Latin poems of the Vagantes, parodying both clerical and chivalric literature, however, one fundamental reservation is necessary: The carnival of the Vagants knew no time limits, their parodic attitude to various aspects of church life and literary genres had the character of a constant: what the carnival “turned” for the duration of the carnival, the Vagantes “turned over” always and everywhere, making parody the main ontological and aesthetic principle.

2. The lyrics of the Vagantes, of course, occupies a special place in the history of literature of the Mature Middle Ages. Classical Latin was the language of the wandering schoolchildren's lyrics. M. L. Gasparov in the article “Latin Literature of the XI-XIII centuries” subdivides the array of works in Latin into two sections: “Clerical genres” and “Secular genres”, referring to the latter the early works of vagant clerics, or pre-vagant poetry: “Alexandreida ” and the Latin poems of Walter of Châtillon and the poems from the Cambridge Manuscript, which the researcher identifies as pre-vagant. 70

The vagantes earned their living by tutoring, drafting legal documents, legal or medical consultations, but most importantly (which is especially valuable for historians and connoisseurs of literature) - writing Latin poems for random patrons. This medieval bohemia was distinguished by freedom of behavior and morals, which seriously worried the clergy. Against the backdrop of a strictly hierarchical medieval society, the life of the Vagants is distinguished by spiritual freedom and independence. Therefore, despite the wanderings and poverty, she looks attractive. The vagantes themselves called themselves "goliards" (according to various etymologies, this means "damn servants" or "gluttons") and traced their origin to the first reveler and poet Goliath on earth. According to another version, "goliard" comes from the Latin gula (pharynx) - i.e., vaganta - "gorolopans", "lovers to lay behind the collar." M. L. Gasparov points out that the term “goliard” came from council resolutions directed against the riot and immorality of the vagants: “... In the same cathedral resolutions, a term appears that has become very widespread: “wandering schoolchildren, that is, goliards”, “violent clerics, especially those who call themselves goliards, etc. Like the poetry of the Vagantes, this name has two sources - folk and scholarly. The Romance languages had the word gula, "pharynx", from which the word guliart, "glutton" could come, in one document of the 12th century. a person with that nickname is mentioned. But in addition, it was associated with the name of the biblical giant Goliath, who was killed by David; this name was a common curse in the Middle Ages, it was applied to both Abelard and Arnold of Brescia. The fight between David and Goliath was interpreted allegorically as a confrontation between Christ and Satan; therefore, the expression "Goliath's children", "Goliath's retinue", etc., common in manuscripts of the 13th century, simply means "devil's servants". Be that as it may, the word "goliard" very soon became contaminated with associations associated with both etymologies, and spread throughout Romance-speaking Europe; in Germany (for example, in the Buransky collection) it is not common. Thus, it was an abusive synonym for the word "vagant" - nothing more. 71 The myth of the poet and reveler Goliath as the first vagant arises in England, where there were no wandering scholars, and stories about the way of life and customs were brought by students who had visited the continent. It was impossible for the pious clerics to even imagine the horrors they told about, and a flowery myth appeared, explaining the origin of the vagantes from the poet, reveler and great sinner Goliath.

By analogy with knightly and monastic orders, the Vagantes asserted their "Order of the Vagantes", which is reflected in the following poem:

"Hey," a bright call rang out,
the fun has begun!
Pop, forget the clock!
Away, monk, from the cell!
The professor himself, like a schoolboy,
ran out of class
feeling the sacred heat
sweet hour.

Will now be established
our vagant union
for people of all tribes,
titles and talents.
Everything - whether you are brave or a coward,
idiot or genius
accepted into the union
no limits.

Every good person
stated in the statute,
German, Turk or Greek
have the right to become a vagant."
Do you acknowledge Christ?
it doesn't matter to us
if only the soul was pure,
the heart is not for sale.

All are welcome, all are equal
joining us in brotherhood,
regardless of rank
titles, wealth.
Our faith is not in the psalms!
We praise the Lord
those in grief and tears
let's not leave a brother.

Who is ready for the neighbor
take off your shirt
accept our brotherly call,
Hurry to us without fear!
Our free family
enemy of the priest's trash.
We have faith here,
here - their tablets!

Mercy is our law
for the blind and the sighted,
for noble people and
wandering jesters,
for the crippled and for orphans,
those on a rainy day
drives from the gate with a stick
Christ-loving pop...

Thus, any cheerful and kind person, regardless of religion, occupation, age, nationality and wealth, could become a member of the order of the Vagantes, and the only commandment of the members of the order was the law - to show mercy to each other and to all the orphans, the poor, who are in need .

The last cultural refuge of the Vagantes was Latin and university education, only with their scholarship they stood out from the city's lower classes, the milieu of jugglers and shpilmans. The language of the poetry of the Vagantes is therefore classical Latin. The work of the Vagants is mostly anonymous, their poems are scattered among monastic manuscripts. The most significant manuscripts are the "Cambridge Manuscript" and "Carmina Burana" ("Beiren Songs" - from the name of the Benedict Beiren monastery, where this 13th-century manuscript was found).

The poems contained in the Cambridge manuscript are called by M. L. Gasparov "pre-vagant". This manuscript is from the 11th century. includes 50 poems, the earliest of which dates back to 948, and the latest to 1039. The anthology includes poems of various content, which the compiler grouped thematically: the manuscript opens with religious verses, then court poems follow, then poetic short stories and anecdotes (for example, "Snow Child"), and then poems about love and spring. M. L. Gasparov notes: “The main innovation in the content of the Cambridge Songs is the love theme. In the former fragments of monastic secular poetry known to us, it was still completely absent. Here she appears for the first time, and not without resistance: several poems of the Cambridge manuscript were carefully erased by one of her medieval readers (it is clear from fragments of words that these were precisely love poems; one stanza was also affected in the above-quoted "Invitation to a Friend"). The source of this theme is, of course, folk poetry, and, moreover, women's poetry: almost all European peoples have love songs - the property of girls and women first of all. 72 It should be noted that already in the Cambridge manuscript there are bilingual poems on court themes, in which lines in Latin and German alternate. Representatives of pre-Vagant poetry, the Latin poets of the Early Middle Ages were mainly clerics (priests without a parish, monks who left monasteries). The composition of the vagantes is updated during the period of the Mature Middle Ages: they are joined by wandering scholars, mostly students of cathedral schools or universities who have completed or not completed their education, they retained involvement in the clergy, but were different in terms of awareness of their social status, considering themselves an intellectual elite worthy of taking a highly paid job. place in society. At the same time, the content of the poetry of the Vagantes also changes. Wandering poets were more educated than the learned clerics of the Early Middle Ages, but they were not distinguished by good manners. “Schoolers learn the noble arts in Paris, the ancient classics in Orleans, judicial codes in Bologna, medical poultices in Salerno, demonology in Toledo, and good morals nowhere,” wrote a cleric of the 13th century about vagantes. 73 The poems of the Vagantes of the Mature Middle Ages are known mainly from a collection from the Benedict-Beiren Monastery in Germany, from the collection Carmina Burana. These poems are known under the name "Buransky songs".

The Buran Songs are collected in a manuscript of the 13th century, which includes 200 works by the Vagantes, mostly in Latin, although there are also several works in German, and there are also bilingual poems. This manuscript was discovered in 1803 and published in 1847. Actually, it is from it, as the most complete collection of the poetry of the Vagants (although many inaccuracies and errors were made in the correspondence of the texts, at the direction of M. L. Gasparov 74), one can get an idea of topics, problems, genre composition and innovation of the lyrics of the Vagants.

The position of the Vagantes was extremely precarious: on the one hand, Latin and scholarship introduced them to the spiritual and cultural elite of the Middle Ages, on the other hand, they stood very low on the hierarchical ladder of medieval society. This duality determines two sources of the poetry of the Vagantes: Latin translations from Ovid and Aristotle, an appeal to Pythagoras as the highest authority (“Apocalypse of Goliard”), masterful versification and erudition, originating from the Latin learning of the Vagantes; and on the other hand, belonging to the democratic urban strata in terms of position and way of life brings the work of the Vagants closer to urban literature. Freckles, women's complaints, that is, genres of folk poetry, are translated into Latin.

3. The duality of the position of the vagantes in the social system of the Middle Ages also influenced the genre diversity of their lyrics. The heritage of the Vagants connects the book tradition with the folklore and urban, which leads to the emergence of new literary genres and opens the way for artistic experimentation. The clash of ancient and biblical motifs and images with folk, combined with topical satirical intonation, leads to the flourishing of the genre of parody, with the techniques of bilingualism, paradox and oxymoron. Reminiscence, association, allusion begin to play a special role in the lyrics of the Vagantes, and this stimulates the reader to co-create. The reader deciphers the figurative code of the poem, as if unfolding the process of creation in reverse order: the author moves from the idea to the work, and the reader - from the work to the author's intention. The objects of parodies of the Vagants are knightly lyrics (“If only I were the king of kings ...”), but most often - the genres of church eloquence (“Confession” by the Archbishop of Cologne, which caused many imitations in the poetry of the Vagantes), church rites (“The most drunken liturgy”) or the texts of Holy Scripture themselves ("The Gospel of the Silver Mark"). The Vagants denounced the lies and hypocrisy of the monks, urging them to live according to the laws of nature, ridiculing asceticism and pacification of the flesh. They also parodied the genre of medieval vision (“Apocalypse of Goliard”). The story of the universal catastrophe ends with a smile:

Oh, what I saw, what I learned!
our cases were sorted out by villainous
Our world - oh, hunger! oh sea!
they were sentenced to death.

No one can escape punishment!
I almost fainted myself
but I have this terrible news
suddenly aroused the desire to eat.

Angels of God in identical cloaks
gave me poppy seeds to taste,
then I was dipped into oblivion
and gave them some drink.

Then I fell to the ground, so that later
tell you about the coming disaster to us,
and prepared a long speech,
to warn you, sinners!

Unbelievable misfortune awaits us! ..
But for some reason I say indistinctly:
to know, having crossed the line of being,
tasted too strong a drink!

The satirical poems of the Vagants contained criticism of the clergy from within, which led to some isolation of the Vagants in the urban environment, the Vagants were both outcasts and spiritual aristocrats.

Genre of complaint recreates pictures of the life of nomadic students. But, even complaining about fate, the vagantes do not lose optimism (“Farewell to Swabia”) or the opportunity to smile (“Conversation with a Cloak” by the Primate of Orleans). The complaints of the Vagantes are imbued with a sense of confidence in the correctness of the chosen path, since within the brotherhood of the Vagantes a utopia of independence, natural and spiritual freedom is being created. The already cited complaint "The Beggar Student" ends with an ironic passage:

To the mercy of the abbot
calls the flock,
and his homeless brother
chill, languish.

Give, holy father,
me my cassock
and then I finally
I will stop being cold.

And for your soul
I will light a candle
God bless you in paradise
found a place.

Sometimes the vagant complaint is a paraphrase of the traditional complaint of a girl complaining about an unsuccessful marriage or separation from a sweetheart. In Latin poetry, intonations of the girl's complaints were picked up in the nun's complaints about her monastic seclusion, about her deceived lover (“Complaint of a nun”, “Complaint of a girl”, “Nun”). The woman's complaint paints a hopeless picture, and the vagant's complaint ends with some ironic generalization that reveals the finding of hope. For example, the “Conversation with the Cloak” by the Primate of Orleans, which is conducted between the two halves of the poet’s soul: desperate and looking for a way out, ends with the following remark of the owner:

I reply crying:
“Where can I find money?
Poverty is a big hindrance
in the purchase of fur.
How should I deal with you
if i can't buy
even a simple lining?..
Let me make a patch!”

Dispute genre inspired in the lyrics of the Vagants by a specific university practice. The traditional form of university studies was lectures (from Latin lectio - reading). In a medieval university, a lecture was really a reading: a professor would put some handwritten book on the subject on the pulpit, read it and give interpretations. The debate was the antipode of the lecture: two professors occupied two chairs installed at opposite ends of the auditorium and had a scientific dispute, the students who gathered for the debate represented the interests of both of them. For example, the students of Pierre Abelard followed him all over Europe and naturally took part in the disputes that their mentor led with scholastics, supporters of realism, i.e. philosophers who adhere to the concept that universals, ideas, "names of names" constitute the essence reality, while Abelard argued that universals do not contain the essence of the phenomena themselves. Disputes by no means always remained within the boundaries of decency and often ended in a brawl. The dramatic intensity of the dispute and sought to convey the vagants in the appropriate genre of lyrics. Vagantes depict a dispute between two halves of the soul ("Books and Love"), or a debate on the issue of preference for a knight or a vagant poet ("Flora and Philida"). The source of the dispute is a poem by Ovid about a beauty who prefers a warrior to a poet. In the vagant's poem, the dispute is resolved by turning to Cupid, who convincingly proves the superiority of the vagant over the knight:

Beauties are waiting for us
exact answer:
who is more worthy of love
affection and greetings -
formidable knight that sword
conquered half the world
or homeless son
university?

Well, here's my answer to you,
dear children:
according to the laws of nature
gotta live in the world
the flesh and spirit do not exhaust,
dieting,
to helpless longing
don't get caught in the net.

Who, tell me, in the taverns
is now in charge
having fun, but
makes friends with a book
and, in harmony with nature,
in vain does not kolobrodit?
So the knight's student
clearly superior!

Convinced our girls
these arguments.
Scattered from all sides
applause here.
The motley banners soared,
the ribbons streaked.
So let in all ages
students are famous!

The dispute, thus, is transferred to the philosophical plane and is resolved in favor of the poet, who lives according to the laws of nature.

Love lyrics of vagants ( pastoral genre) has an emphatically earthly, carnal character. Vagants, proclaiming the emancipation of the flesh, freedom of morals, create defiant poems, hoping to shock the public (“I was a modest girl ...”, “The Virtuous Shepherdess”). The concept of natural simple human joys, the justification of natural human aspirations in the love lyrics of the Vagants anticipated the ethics and aesthetics of the Renaissance. Vagantas create a comic effect by referring to the bilingual technique:

I was a humble girl
Virgo dum florebam,
Gentle, friendly, sweet,
Omnibus placebam.
I somehow went to the meadow
flores adunare,
Yes, he wanted me friendly
Ibi deflorare.

The comic effect turned out to be especially sharp due to the inconsistency of the church language with the low subject that it described.

A special place in the lyrics of the Vagantes is occupied by the genre of the poetic novel - the ballad. The tradition of referring to this genre has developed in the Cambridge manuscript. The originality of the ballad of the Vagantes lies in the fact that it is a retelling of an ancient myth, most often about Orpheus, Diana, and also about Troy and about Aeneas and Dido. The learned Latin ballad thus continued the tradition that had already developed in late Latin poetry during the crisis and fall of the Roman Empire.

4. The poems of the Vagants are mostly anonymous. “Therefore, to restore the names of at least those individual creators who set the tone and led imitators is a big scientific problem. At the beginning of the XX century. V. Meyer managed to single out the verses of the Primate of Orleans, M. Manitius - the verses of the Archipiite of Cologne, a little later K. Strecker - the verses of Walter of Chatillon and his echoes, ”M. L. Gasparov points out. 75 It is these three poets that are traditionally singled out by researchers as classical poets who formed the main trends and genre system in the poetry of the Vagantes. M. L. Gasparov himself adds to this list several names of poets of the 13th century: Philip of Greve, Chancellor of Notre Dame Cathedral, Peter Korbelsky, Archbishop of Sens, against whose will the "Donkey Sequence" was sounded in his cathedral, after which the archbishop was declared its author , Guidon of Bazos, companion of Philip Augustus in the III Crusade, Peter of Blois, adviser to Henry II Plantagenet, who in his youth was fond of "trinkets and Venus hymns."

Arkhipiita is the nickname of the poet. His real name is unknown, he called himself "poet of poets". By his own admission, he comes from a knightly family (“I came from a family of knights / / I came out as a literate,” writes the Archipiit to the “Message to the Archchancellor Reginald, Archbishop of Cologne”) and went to school out of love for science and art. An archipite does not miss an opportunity to show off his erudition in poetry, to demonstrate his knowledge of classical ancient authors and Holy Scripture. A German by birth, he feels more at ease in Italy, although with his usual ease he turns to his patron, the Archbishop of Cologne, for the issuance of benefits "from the Alpian to the Alpian." In fact, information about only five years from the life of Archipyit 1161-1165 was confirmed, at the same time 10 poems that have come down to us were written. The Confession of the Archipee of Cologne became a role model and genre standard. Choosing the genre of ecclesiastical eloquence as the basis, the Arihipiite conducts a dialogue with the genre canon, actually refuting it - instead of repentance for sins in his "Confession", the Archipiite affirms the correctness and attractiveness of the way of life he has chosen:

For me, poetry is wine!
I drink with one spirit!
I'm mediocre as a chump
if the throat is dry.
I can't compose
on an empty belly.
But Ovid himself
I seem under the fly.

According to the same principle of refutation of the canon, the “Sermon of the Archbishop of Cologne” is built. The motive of wanderings, traditional for the Vagantes, is found in the poem “Request of the Archipite upon his return from Salerno”:

Hello! hello word
to you from a vagabond poet.
All of you have probably heard
about the famous Salerno.
From ancient times to the present
study medicine there
with the greatest scientists
to heal the doomed...
“How could I, Lord God,
become a doctor too?
And I began to study
new hobby...
But it turned out: science
worse than death torment
and I freaked out immensely
in that famous Salerno.
I decided to get out of there
but the cold prevailed
so four weeks
i lay in bed
and, absorbing the potion,
praised his professorship.

The intonation of Arkhipiit is completely different from that of Gougon: the verses of Arihipiit are devoid of tragedy, gloomy irony; An archipite, even begging, rather demands what is absolutely deserved than asks. Poetic creativity for Arkhipiit is a way of expressing one's own unique individuality, affirming the correctness of the chosen path. The archipian in poetry knows no doubts, even confessing his love for Bacchus, Phoebus and Venus, however, with the usual reference for the vagant to the all-justifying laws of nature (“Just what, tell me, / / People are to blame, // If the flame of love // Their hearts embraced).

Walter of Chatillon (second half of the 12th century), strictly speaking, was not a vagant: he did not know poverty and wanderings, he became famous as a learned Latin poet, creating a poem from 10 books "Alexandreida" about Alexander the Great. Walter enjoyed the patronage of Henry II Plantagenet, served in his office, was a member of the scientific circle of Thomas Beckett. After the death of Thomas, he fled to the Continent, receiving first a pulpit at Châtillon and then a canonship at Amiens as a reward for the "Alexandreida". Walter said that all of Europe sings his songs, but he did not mean "Alexandreida", but those poems that he wrote "to divert the soul." However, Walter averted his soul not in lyrical outpourings and autobiographical confessions, but in satirical poems, directed primarily against the abuses of the church and the hypocrisy of the clergy. Walter was especially famous for the poem "The Rebuke of Rome."

During the XIII century. vagant poetry was popular, but by the end of the XIY century. she's already been forgotten. M. L. Gasparov identifies several reasons for the fading of the tradition of developing the lyrics of the Vagantes 76 , but it is important that by the beginning of the intensive Renaissance movement in Europe, the poetry of the Vagantes was no longer remembered. Nevertheless, the satirical poems of the Vagantes, as well as their religious and philosophical free-thinking, as well as attention to a separate human destiny, taken in the specifics of life circumstances, considered in development, the autobiography of the lyrics of the three leading Vagant poets, expressed in different ways, but equally inherent in all three, to a large extent acted as one of the prerequisites for the development of the Renaissance in Europe.

TERMINOLOGICAL DEVICE

OXYMORON- (literally - witty-stupid) connection of the incompatible, for example, “The Living Corpse”, “The Poor Rich Man”.

PARODY- sharpening, bringing to the point of absurdity the leading artistic techniques on which the originality of a particular genre, or the work of a particular writer, is based.

BILINGUALISM- implementation of bilingual speech within one text.

READING THEORY- the concept of co-creation of the reader and the author, the participation of the reader in the creative process, which unfolds in the reverse order: from the work to the meaning.

SATIRE- a set of artistic, primarily comic, techniques aimed at exposing social evils. The satirical effect is born from the incompatibility of the social ideal and reality, the norm and the existing state of affairs in reality.

ALLUSION- a technique consisting in correlating a phenomenon described or occurring in reality with a stable concept or phrase of a literary, mythological or historical order.

PARADOX- opinion, judgment, statement, sharply at odds with the generally accepted, contradicting, sometimes only at first glance, common sense.

WORKS OF ART:

1. Vagants. Wheel of Fortune. - M., 1998. 2. Lyrics of the Vagants. Translated by L. Ginzburg. - M., 1970. 3. Poetry of the Vagants. - M, 1975. 4. Poetry of troubadours. The Poetry of the Minnesingers. Poetry of the Vagants. - M., 1974.

EDUCATIONAL LITERATURE

Main:

1. Gasparov M. L. . Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. (The work is also posted on the site: http://svr-lit.niv.ru/ 2. Darkevich V.P. Jugglers //Darkevich V.P. Folk culture of the Middle Ages. - M., 1988. 3. Purishev B.I. Lyrical poetry of the Middle Ages // Poetry of the troubadours. Poetry of the Minnesingers. Poetry of the vagants. - M., 1974. 4. Raspopin V. N. Poetry of the vagants. // Raspopin V. N. European Middle Ages. Lectures on the history of foreign literature // The work is posted on the website: "Middle Ages and Renaissance": http://svr-lit.niv.ru/

Additional:

1. Zadornova VL. Perception and interpretation of the artistic text M., 1974. 2. Repina L.P. Education, schools, universities // Medieval Europe through the eyes of contemporaries and historians / Ed. ed. A. L. Yastrebitskaya. - At 5 o'clock - Part II. European world of the X-XY centuries. - M., 1995. S. 359-362. 3. Rutenburg V. I. Universities of Italian communes // Urban culture. Middle Ages and early modern times. - L., 1986. S. 43-52. 4. Chernets L. V. “How our word will respond ...” - M., 1995.

WORK WITH SOURCES:

Exercise 1.

Read an excerpt from M. L. Gasparov's article "Poetry of the Vagants" and answer the questions:

1. How did medieval universities arise, how do they differ from cathedral schools?
2. What, according to the researcher, are the reasons for the appearance of vagantes in Europe during the Mature Middle Ages?
3. What does the dispute between "classics" and "theorists" mean in university science? Whose side were the Vagants on, and for what reason?

The revival of cultural life in the XII century. at once affected the organization of the education system both among students and among students. XII-XIII centuries - the time of the birth of universities in Europe. Universities were not at all direct descendants of cathedral schools. Firstly, the mass of young people who flocked to study in new centers of education was much more crowded and more colorful than a century earlier - where students from all over Europe converged, they required completely different forms of organization than in cathedral schools that collected students at best from several surrounding archbishoprics. Secondly, this mass of young people was much more choosy than a century earlier; it was not the walls of the school that attracted her, but the personality of the teacher, and when the famous Abelard left the Cathedral of Notre Dame and began to lecture here and there in the outskirts of Paris, then no less students crowded around him than once in the cathedral school. But both teachers and students were usually strangers, people without rights; in order to protect their right to existence, they had to unite in a corporation and ask the pope for the privilege of their rights, which he willingly granted. Such corporations of teachers-masters and schoolchildren were the first European universities: in the XII century. this is how the oldest among them, Paris and Bologna, developed in the 13th century. they were followed by Oxford, Cambridge, Toulouse, Salamanca and a number of others. Universities were thus removed from the power of local secular and even spiritual authorities: in Paris, the Chancellor of Notre Dame Cathedral was considered the head of the university, but his power was nominal. The university consisted of the lowest, most populous faculty of the seven noble arts and three higher faculties - theological, medical and legal; their organization resembled a medieval-style academic workshop, in which schoolchildren were students, bachelors were apprentices, and masters of the seven arts and doctors of three sciences were masters. Such a corporate organization (reinforced by the presence of communities and collegiums of various kinds) tightly rallied these rabble people into a single learned class. If the vagants of the early Middle Ages wandered through the monasteries and bishoprics alone, each at their own risk, now on any high road the vagant recognized the vaganta as a comrade in fate and purpose.

The goal of all these young students was the same - to take a good place, where their knowledge would bring a proper income. The previous generation did it without much difficulty; when there were few educated clerics in Europe, and the need for them was great, then any literate monk or priest could be sure that, if desired, he would find a haven in life - in a parish, in a monastic or cathedral school, in a scriptorium, in office of some secular feudal lord. The new generation, which entered school and life with such cheerful hopes, suddenly encountered completely unforeseen difficulties. The old, cathedral schools and new universities noted the needs of the time so responsively, their audiences became so crowded and from their walls year after year so many young and energetic learned clerics came out that a critical milestone was soon reached; society no longer found where to attach these people. We must not forget that educated clerics for the first time also had to face the competition of educated laymen: several generations ago, a literate layman was something almost unheard of in Europe, and now, by the 13th century, both a literate knight and a literate merchant gradually became if not common, then not rare. This is how the first overproduction of intellectual laborers serving the ruling class took place in Europe; for the first time they had to feel like outcasts who had fallen out of the social system, who had not found a place for themselves in life.

Having completed their education in the cathedral school and having found neither a parish, nor a teacher, nor a place in the office, the young clerics could only wander from place to place and live on alms from abbots, bishops, and secular lords, paying for it with Latin doxology. The general situation of the XII century. contributed to such a wandering life: after the Crusades and the revival of trade, the roads of Europe for the first time became relatively safe from robberies and accessible for movement. In addition, the spiritual title of the Vagantes was not without benefit to them: thanks to him, they were beyond the jurisdiction of secular courts and felt safe, if not from beatings, then at least from the gallows. They managed to find hospitables: the emerging habit of secular “nobility” taught even secular lords to appreciate the flattering Latin lyre, and even more so it is not necessary to talk about spiritual lords: it was not for nothing that the strict Absalom of St. Victor pathetically complained that the bishops “chambers are resounding with songs about the exploits of Hercules , tables are cracking with food, and bedrooms with obscene fun ".

Such a way of life determined not only the characters, but also the scientific tastes of the Vagantes. The fact is that the scientific world of the XII century. in no way was unanimous in his scholarship: before him were fragments of a beautiful, but destroyed ancient culture, from which it was necessary to build a not so beautiful (at first glance), but an integral and harmonious system of a new culture. And, as always, mind and feeling fought in the builders: some reproached others for amused by the useless trinkets of ancient poets, others reproached the former for drying up and destroying the living beauty of art with their systems. This went down in history as a "dispute between artes and auctores" - "theories" and "classics". The "classics", that is, the ancient writers, were the models from which school teaching began, the "theories" were the goal to which it led, and neither could do without the other. This dispute in the history of culture was not the first and not the last time: in antiquity it was called the dispute of "analogues and anomalists", and in the era of classicism the dispute of "ancient and new". In the XII-XIII centuries. the stronghold of the "theorists" was Paris, the stronghold of the "classics" - Orleans, and the French poet of the middle of the XIII century. Henry of Andelius described their struggle in a long allegorical poem, The Battle of the Seven Arts. As always in history, the final victory remained with the “new”: the Parisian “Sums” of Thomas Aquinas, summing up the entire medieval culture without exception, were more necessary for the era than the Ovidian exercises of the Orleans and their students scattered throughout Europe. The Vagants in this battle were not with the victors, but with the vanquished, not with the "theoreticians", but with the "classics". Cause and effect intersected here: on the one hand, the "theorists" - theologians and jurists - found teaching and clerical jobs more easily and were less likely to find themselves on the main roads, and, on the other hand, those who found themselves on the main roads and looked for hospitable patrons. , needed more to buy their attention in the classical rhetoric of poetic panegyrics than in the sophisticated dialectic of "theories".

Footnotes and notes in the above excerpt:

17. N. Rashdall. The universities of Europe in the Middle Ages, v. 1-3, ed. 3. London-Oxford, 1942. 18. N. Sussmilch. Die lateinisclie Vagantenpoesie des 12. und 13. Jahrhunderts als Kulturerscheinung. Leipzig, 1917; H. Waddell. The wandering scholars. London, 1927; O. Dobiache-Rojdestvensky. Les poesies des goliards. Paris. 1931; M. Bechthum. Beweggrunde und Bedeutung des Vagantentums in der lateinischen Kirche des Mitlalalters. Jena, 1941 (not available to us); J. Le Goff. Les inlelectuels au Moyen Åge. Paris, 1957. 19. "Notices et extraits de quelques MSS. de la Bibliothèque Nationale", ed. J. B. Haureau, v. IV. Paris, 1892. p. 3

M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. (The work is also posted on the site "Middle Ages and Renaissance": http://svr-lit.niv.ru/).

Task 2.

Read the article from the “Megaencyclopedia of Cyril and Methodius” “Vaganta” and think about which provisions in the article you agree with and which ones you object to. What would you add to the information given in the article?

VAGANTS (from Lat. vagantes - wandering), the creators of Latin-language poetry, which flourished in the Western European "high" Middle Ages (late 11th - early 13th centuries), when schools multiply in the medieval cities that are on the rise, the first universities arise and the first in history develops Europe is a situation of excess educated people. Vagants are clerics who did not have a permanent parish and wandered from one episcopal residence to another, schoolchildren and students who wandered from city to city in search of knowledge and the best teachers, fugitive monks: they are united by involvement in the Latin-speaking culture and existence "on the sidelines" of society. The self-name of the vagants is goliards (goliard, a possible translation of “glutton”, “wine drinker”; from Latin gula - throat, arbitrarily erected to the name of their mythical progenitor - poet-glutton Goliard, who was identified with Goliath due to the consonance of two names).

Vagant poetry is an organic part of medieval clerical literature and culture. At the same time, it is closely connected with the medieval folk culture of laughter, the highest manifestation of which was carnival festivities. Like a carnival, the poetry of the Vagantes creates, next to the world of cruel everyday life, universal regulation and asceticism, a special “second” laughter world, which is a twisted-mirror likeness of the first turned inside out (cf. the concept of M. M. Bakhtin). In the poems of the Vagants (for example, in The Order of Goliards), their brotherhood itself is described as a kind of “order”, living according to a charter that parodies the charters of traditional monastic life.

The meters and stanzas of spiritual hymns are used by vagants to praise a carefree, dissolute life, a fun pastime in a tavern playing cards and dice, to sing the virtues and charms of their beloved - girls of easy virtue, to expose the greed and hypocrisy of high-ranking churchmen. Ridiculing these and other vices of individual churchmen and even the clergy as a whole (debauchery, simony, ignorance, malice), the vagantes ultimately strive to cleanse the world of sin. Like a carnival, the poetry of the Vagants is not aimed at destruction, but at the final affirmation of the existing world order and Christian ethics.

The article is posted on the website “Cyril and Methodius. 1998-2010”: www/megabook.ru/Article.asp?Aid=618820.

Task 3.

Read an excerpt from an article by S. B. Sorochan “Medieval scholar: strokes for a portrait” and think:

1. How to explain the support of the autonomy of the university from the secular authorities on the part of the Pope?
2. Turning to the lyrics of the Vagantes, think about whether the church managed to achieve its goal - to exercise control over education?
3. What nations and communities are discussed in the article? What role did they play in the organization of university life?

One of essential funds subordination of the universities to their power, the papal curia considered support for their autonomy. This policy clearly shows the desire of the Church to preserve the independence of higher education from the interference of secular authorities, to isolate it from the rest of the world with "gilded chains" - numerous privileges in order to strengthen its influence in it. The popes looked for and used any excuse to belittle the influence of the royal power with the help of universities. This is especially evident in the following, almost classical case.

Once, at Shrovetide in 1229, Parisian students, having quarreled with the owner of a wine cellar in the town of Saint-Marseille and beaten by their neighbors, smashed this and other cellars to pieces and beat many inhabitants of the town. The Prior of the Abbey of St. Marcellus and the Bishop of Paris complained to the Queen Regent Blanca of Castile, who ruled from the king's infancy. She quite rightly ordered that the prevost did his duty - he arrested the students. He, having a good idea of who he would have to deal with, taking an impressive detachment of city guards, moved to the hilly left bank of the Seine, to the Latin Quarter, all dotted with houses that stood at random, as if scattered by the wind. Under their roofs, the so-called "swifts" nested - schoolchildren who rented separate housing for themselves here. Taken by surprise in the streets, the students defended themselves as best they could. But the preponderance turned out to be on the side of the valiant forces of the prevost, and the schoolchildren had to give a chirp, seeking salvation in the gardens and quarries surrounding Paris. The bruises and bumps were innumerable. Worse, there were many wounded, maimed and even several killed, among whom were members of all "nations", while Picardy alone was guilty of the St. Marseille rampage, everyone knew. The university demanded satisfaction within a month for violating its privileges, otherwise threatening to close for six years. However, the queen did not betray the faithful, ingenuous servant - the prevost, and the university was closed: the masters and students dispersed throughout France, some went to Oxford. It is noteworthy that everyone blamed the queen for such a misfortune for the country, which brought "damage to the Church and state and shame to the French crown." It was then that Pope Gregory IX intervened. He insisted that Blanca of Castile give satisfaction to the university and approve all the privileges, and he himself released the masters from the oath they had taken for six years not to return to Paris.

S. B. Sorochan Medieval schoolboy: touches to the portrait // Universities. universities. Popular science magazine, 2001 No. 3-4. (In the electronic version, the issues of the journal are posted on the website: universitates.univer.kharkov.ua/arhiv/).

QUESTIONS FOR SELF-CHECKING

1. How does the poetry of the Vagants stand out from the general array of literature of the Mature Middle Ages?

2. Thanks to what artistic techniques in the lyrics of the Vagantes is a satirical effect achieved? (To answer the question, analyze the specific poems of the Vagants.)

Notes.

68. Darkevich V.P. Jugglers //Darkevich V.P. Folk culture of the Middle Ages. - M., 1988. //gumer.info

69. Bakhtin M. M. Creativity of Francois Rabelais and folk culture of the Middle Ages and the Renaissance. - M., 1995. S. 7.

70. M. L. Gasaparov. Latin literature of the XI-XIII centuries // History of world literature in 9 volumes - M., 1983-1994. T. 2. S. 499-512.

71. M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. S. 414.

72. M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. S. 415.

73. Patrologia latina", v. 212, p. 603. // In the article by M. L. Gasparov. Poetry of the vagants // Poetry of the vagants - M., 1975. S. 412-514. S. 414.

74. M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. S. 438.

75. M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. S. 480.

76. M. L. Gasparov. Poetry of the Vagants // Poetry of the Vagants - M., 1975. S. 412-514. S. 510.