Archpoet

His existence has been elaborated upon the authorial superscription "{{lang|la|Archipoeta}}" appearing with the poems now ascribed to him in a small number of manuscripts.Adcock 1994: xxii; Jeep 2001: 21. 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,Adcock 1994: xx. his real identity has never been found and is most likely lost for good.

It has been suggested by W. H. T. Jackson and othersWhicher 1949: 102. that his nickname could be a play on his patron Rainald of Dassel's title of Archchancellor ({{lang|la|Archicancellarius}} in Latin), even if its exact origins are ultimately left open to speculation.Adcock 1994: xii. Moreover, it is not known how he came to earn the nickname or who bestowed it to him: whether as a mark of esteem from the audiences, other poets, Rainald himself; as a satirical jest on his patron's title; or as an ironical mock self-attribution.{{Citation needed|date=August 2010}} There has been report of at least two other "{{lang|la|clericus vagus}}", itinerant clerics, bearing the "{{lang|la|Archipoeta}}" pseudonym or title around that time: one Nicholas who briefly resided with the Cistercians at their abbey,Waddell 2000: 209. and Henry of Avranches (around 1250);Henshaw 1937: 195. yet both are distinct from the "{{lang|la|Archipoeta}}" of Barbarossa's reigning period (1155–1190).

File:King David and musicians from Olomouc Bible, folio 276R, color enhanced.jpg, who wrote in vernacular languages rather than Latin. (14th century)]]

The Archpoet's living circumstances have been surmised from the indicative content of his poems but mostly from the life of Rainald of Dassel.Adcock 1994: xii, xvii. Because he designates Rainald as Archbishop of Cologne,Keeping in line with the hypothesis that his nickname or pseudonym was inspired by the titles of his patron, it explains why he is sometimes referred to as the "Archpoet of Cologne"; for example, see Whicher 1949: 102–103 and Curtius 1990: 29. 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.Adcock 1994: xix. With the passing of his patron in 1167, no more is heard from the Archpoet.Jeep 2001: 22. Also, in poem X, Peter Dronke writes, "he counts himself among the {{lang|la|iuvenes}}: while technically a {{lang|la|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."Adcock 1994: xix. See poem X (CB 191), line 27.

Several indications concur as to establish that the Archpoet came from a place north of the Alps,The main evidence being his using the word "{{lang|la|transmontanos}}" (meaning "which lives or comes from beyond the mountains" in Latin) in line 14 of poem III, when it is made clear that he is writing from within Italy and thus south of the Alps. although no solid claim can be made as to which country,Adcock 1994: xxi–xxii. even though Germany has repeatedly and traditionally being taken as his birthplace.Harrington and Pucci 1997: 567. He refers to himself as "{{lang|la|ortus a militibus}}",See poem IV, line 70 (CB 220, line 10). of knightly birth, and, coming from such a high class, was most certainly well-educated in the liberal arts,Haskins 1971: 181; Harrington and Pucci 1997: 567; Adcock 1994: xix; Emmerson 2006: 44. theology and the classics.Adcock 1994: xii. 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.Jeep 2001: 21. See poem IV, lines 69–72 (CB 220, lines 9–12). 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.Haskins 1971: 181; Adcock 1994: xix.

It was probably then that he began working—possibly as a "{{lang|la|dictamen}}", a "master of the art of writing letters"—at the court of Rainald of Dassel, the bishop elector of Cologne and Archchancellor to Frederick Barbarossa, Holy Roman Emperor, about which he wrote, according to Ernst Robert Curtius, "[t]he most brilliant stanzas"Curtius 1990: 29. 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.Haskins 1971: 53, 181; Adcock 1994: xix; Jeep 2001: 21; Emmerson 2006: 44. 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.Waddell 2000: 172; Harrington and Pucci 1997: 567. As is the case with many medieval and/or anonymous authors, very little else can be said with certainty about his life.

File:Barbarossa trun.jpg, Holy Roman Emperor from 1155 to 1190. (14th century)]]

While it is still commonly assumed that the Archpoet was a follower of the Goliard tradition—writing student drinking songs, parodies critical of the Church and satires on the life of itinerant clergy in the Middle Ages—, the noted scholar Peter Dronke proposed a very different portrait in his 1968 book The Medieval Lyric:

{{cquote|[H]e was in fact a court poet, perhaps also a civil servant or minor diplomat, in the service of the Imperial Chancellor, and so almost certainly a member of the circle around Frederick Barbarossa himself. I am convinced that his leitmotif of the wayward, wretched vagabond-poet who is compelled to beg from his patron and his audience contains far less autobiography than literary craft... The Archpoet's picture of the vagabond-poet (whatever element of literal truth it may have contained) has been drawn for the sophisticated entertainment of that international set of diplomats and legislators, high-born scholars and prelates who surrounded the Emperor, whose {{lang|la|lingua franca}} was Latin, and among whom the Archpoet probably, by his birth and position, moved as an equal.Dronke 1968: 21–22.}}

This view of the Archpoet and his milieu, severely contrasting with that of the previous generations of researchers and writers such as J. A. Symonds and Helen Waddell, created a break in modern High Middle Ages scholarship about the Goliards and, in spite of not creating consensus within the academic community, has since been embraced by many scholars.See Jackson 1980: 2–3; Adcock 1994: xx; Godwin 2000: 191–192. Summarizing Dronke's view by using English writer Geoffrey Chaucer as an example of differentiation between actual (historical) self and poetic (fictional) persona, Jan Ziolkowski wrote that the Archpoet's shenanigans "may be little more than a stance struck by the poet to entertain his audience; the persona could be as far from the reality as that of Chaucer the character was from Chaucer the poet or man."Jeep 2001: 21–22. Dronke further argued that the Archpoet could well have been Hugh Primas's student in Orléans, getting acquainted through him with various rare Classical poets and also with his personal style (themes and techniques).Adcock 1994: xxi–xxii; Dronke 2007: 137.

The Archpoet is known to us today through ten Latin poems or {{lang|la|carmina}} (plural form of carmen, Latin equivalent of "song" or "chant") found in various manuscripts dating back to the 12th and 13th centuries. Listed here are the poems, identified, as is customary, by their incipit:

{{col-begin}}

{{col-break|width=50%}}

• I: "{{lang|la|Lingua balbus, hebes ingenio}}"
• II: "{{lang|la|Fama tuba dante sonum}}"
• III: "{{lang|la|Omnia tempus habent}}"
• IV: "{{lang|la|Archicancellarie, vir discrete mentis}}"
• V: "{{lang|la|Nocte quadam sabbati somno iam refectus}}"

{{col-break|width=50%}}

• VI: "{{lang|la|En habeo versus te precipiente reversus}}"
• VII: "{{lang|la|Archicancellarie, viris maior ceteris}}"
• VIII: "{{lang|la|Presul urbis Agripine}}"
• IX: "{{lang|la|Salve, mundi domine, Cesar noster, ave!}}"
• X: "{{lang|la|Estuans intrinsecus ira vehementi}}""{{lang|la|Aestuans intrinsecus}}" is also found as a variant to "{{lang|la|Estuans intrinsecus}}" since medieval manuscripts do not always use the same spelling for the same texts. ("Confession")

{{col-end}}

The works of the Archpoet have been found and preserved in the following manuscripts, among others:

• Univ. Bibl. Göttingen Codex philol. 170Adcock 1994: xxii, 129. (12th century): I-VII; first stanza of VIII.
• Brussels Bibliothèque Royale 2071{{Citation needed|date=August 2010}} (13th century): IX and X; stanzas 1–5 of VII.
• Codex Buranus: München Bayer. Staatsbibl. Clm 4660/4660aDronke 1984: 249. (13th century): X; 4 stanzas of IV.

The {{lang|la|Carmina Burana}} thus contains the 25-stanza "{{lang|la|Estuans intrinsecus}}" (X) under the reference number CB 191While CB 191 is sometimes presented as having 30 stanzas, the last 5 (often put under CB 191a) are believed not to be the Archpoet's own work. See Wolff 1995: 529. as well as 4 stanzas from "{{lang|la|Archicancellarie, vir discrete mentis}}" (IV) under CB 220,As with the other poem, CB 220a (or sometimes CB 221) is believed to be another anonymous author's work. See Wolff 1995: 533. Both the Bibliotheca Augustana's and David Stampe's (reproducing Bischoff's) versions display these poems of contested origin as 191a and 220a. starting with "{{lang|la|Sepe de miseria}}" in the collection.

File:1200, German. - 036 - Costumes of All Nations (1882).JPG

Despite being quite dissimilar from one another in terms of tone and intent, the ten poems are all "occasional"Jeep 2001: 21; Emmerson 2006: 44. 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.Sidwell 2002: 347. For example, the fourth poem, "{{lang|la|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.Waddell 2000: 167; Sidwell 2002: 347; Whicher 1949: 103.

The Archpoet's poems are known for appearing "intensely personal":Jackson 1976: 320. 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.Jeep 2001: 21; Whicher 1949: 102–103. 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.Adcock 1994: xiii–xv. Aside from their recognized technical merits,Whicher 1949: 103; Dronke 1980: 22, 39–40; Adcock 1994: xiii, xv. 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.Whicher 1949: 102–103; Adcock 1994: xiv; Jeep 2001: 21.

Described as "the prototype of the goliardic songs"Scheid 1910: 29. as well as "the masterpiece of the [Goliardic] school", the best known poem of the Archpoet is his tenth, "{{lang|la|Estuans intrinsecus}}", commonly called the Goliardic "Confession" (sometimes "{{lang|la|Confessio}}", "{{lang|la|Confessio Goliae}}" or "Confession of Golias"),Harrington and Pucci 1997: 567; both Symonds and Whicher used this last title in their respective books. a metrical composition of ironical tone wherein he confesses his love of women, gambling, and drinking. It is purported to have been written in Pavia around the year 1163 for his patron as a confession and defense of his sins after a rival of the Archpoet witnessed and subsequently reported his reprobate behavior.Fuhrmann 2000: 155. For example, the oft-cited twelfth stanzaThere are numerous and significant variants in the different versions of the Latin text depending on the source manuscripts and the editorial choices of scholars, as is often the case with the bulk of medieval literature. The one chosen here is in no way the sole, authoritative form. goes:

The parodic and satirical effect is mainly produced by the replacement of {{lang|la|peccatori}} ("sinner") by {{lang|la|potatori}} ("drunkard"), a reference to the Scripture: "{{lang|la|Deus propitius esto mihi peccatori.}}"^{[http://www.latinvulgate.com/verse.aspx?t=1&b=3&c=18 (Luke 18:13)]}Whicher 1949: 103. The poem relies heavily on ambiguity for its overall effect: on one hand, the narrator poses as a penitent dissolute, while on the other he is not being apologetic at all.{{Citation needed|date=October 2010}}

The "Confession" was very famous in the Archpoet's time: compared to his other poems, which are mostly found in only one manuscript, "{{lang|la|Estuans intrinsecus}}" has been copied in more than thirty, and it almost single-handedly accounts for his enduring appeal as the writer of one of the most popular medieval Latin poems."His 'confession', with its eloquent plea that the poet's inspiration is bound up with his freedom to live freely, to live dangerously, is perhaps the best-known poem in Medieval Latin." (Dronke 1968: 21) See also Morris 2004: 131.

File:Adriaen van Ostade 021.jpg, The Merry Peasant, 1630–1650)]]

• In her influential study The Wandering Scholars of the Middle Ages, Helen Waddell laudingly writes of the poem, stating that "Confessio Goliae is something more than the arch-type of a generation of vagabond scholars, or the greatest drinking song in the world: it is the first defiance by the artist of that society which it is his thankless business to amuse: the first cry from the House of the Potter, "Why hast thou made me thus?"."Waddell 2000: 169.
• 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".Marcuse 2007: 75.

==In popular culture==

• A section of the "Confession" supplies the text for the aria {{lang|la|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 {{lang|la|ordo vagorum}}, as one of the main characters, drawing heavily on the Archpoet's "Confession" for his portrayal.
• An old commercium song titled [https://web.archive.org/web/20100308082622/http://www.academic-corporations.org/songs/meumestpropositum.html "{{lang|la|Meum est propositum}}"] ({{YouTube|id=boZEOH1b74w}}) is composed from stanzas 12, 13, 15, 17, 19, and 18 of the "Confession".The song has been published in the German {{lang|de|Allgemeines Deutsches Kommersbuch}} (152nd edition, 1956, p. 381).
• 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 "{{lang|la|In Taberna Mori}}" ({{YouTube|id=DljGj821APU}}) which contains a fragment of the "Confession".
• The German darkwave band Helium Vola recorded versions of "{{lang|la|Fama tuba}}" (II) on their 2001 studio album Helium Vola (track 7, {{YouTube|id=2OlB_Pb-ucw|title="{{lang|la|Fama Tuba}}"}}), and of "{{lang|la|Estuans intrinsecus}}" (X) on their 2004 studio album Liod (track 10, {{YouTube|id=l05UUu23Xd8|title="{{lang|de|Vagantenbeichte}}"}}).[http://musicbrainz.org/artist/e0a1ff5e-3737-4569-b0e5-46079545fa20.html Artist page] on MusicBrainz.org.

{{Reflist|group="nb"|2}}

{{Reflist|26em}}

• {{cite book |editor1-last=Adcock |editor1-first=Fleur |editor1-link=Fleur Adcock |title=Hugh Primas and the Archpoet |url=https://books.google.com/books?id=rzt3cCwf8vgC |edition=1st |series=Cambridge Medieval Classics |volume=2 |year=1994 |publisher=Cambridge University Press |location=Cambridge |isbn=0-521-39546-1 |ref=Adcock}}
• {{cite book |editor1-first=John M. |editor1-last=Jeep |title=Medieval Germany: An Encyclopedia |chapter-url=https://books.google.com/books?id=0Sdo1gNF4D8C |edition=1st |series=Routledge Encyclopedias of the Middle Ages |date=January 2001 |publisher=Routledge/Taylor & Francis Group |location=New York |isbn=0-8240-7644-3 |pages=21–22 |chapter=Archpoet |ref=Jeep}}
• {{cite book |editor1-first=Karl Pomeroy |editor1-last=Harrington |others=Revised by Joseph Pucci |title=Medieval Latin |url=https://archive.org/details/medievallatinsec00harr |url-access=limited |edition=2nd |date=November 1997 |orig-date=1925 |publisher=The University of Chicago Press |location=Chicago & London |isbn=0-226-31713-7 |pages=[https://archive.org/details/medievallatinsec00harr/page/n294 566]–571 |chapter=The Archpoet: Confession |ref=Harrington}}
• {{cite book |editor1-first=Keith |editor1-last=Sidwell |title=Reading Medieval Latin |url=https://books.google.com/books?id=Ky_-G75VH80C |edition= Reprint of the 1st |year=2002 |orig-date=1995 |publisher=Cambridge University Press |location=Cambridge |isbn=0-521-44747-X |pages=347–352 |chapter=Section 20.4: The Archpoet (fl. 1160)|ref=Sidwell}}

• {{cite book |last1=Symonds |first1=J. A. |author-link1=John Addington Symonds |title=Wine, Women, and Song. Students' Songs of the Middle Ages |chapter-url=http://store.doverpublications.com/0486419134.html |access-date=August 8, 2010 |edition=Reprint of the 1907 |year=2002 |orig-date=1884 |publisher=Dover Publications |location=Mineola |isbn=0-486-41913-4 |pages=53–62 |chapter=Chapter V: The Confession of Golias |ref=Symonds |archive-url=https://web.archive.org/web/20101210084138/http://store.doverpublications.com/0486419134.html |archive-date=2010-12-10 |url-status=dead }} (Preview available on [https://books.google.com/books?id=jEousDZ-bIoC Google Books])
• {{cite book |editor1-first=Heinrich |editor1-last=Watenphul |editor2-first=Heinrich |editor2-last=Krefeld |title=Die Gedichte des Archipoeta |trans-title=The Poetry of the Archpoet |edition=1st |year=1958 |publisher=Carl Winter / Universitätsverlag |location=Heidelberg |language=de |ref=Watenphul}}
• {{cite book |last1=Whicher |first1=George Frisbie |title=The Goliard Poets: Medieval Latin Songs and Satires |year=1949 |publisher=New Directions |location=New York |ref=Whicher}}
• {{cite book |editor1-last=Wolff |editor1-first=Étienne |title=Carmina Burana |edition=1st |year=1995 |publisher=Imprimerie nationale Éditions, coll. La Salamandre |location=Paris |language=fr |isbn=2-7433-0000-0 |ref=Wolff}}

• {{cite journal |last1=Cairns |first1=Francis |year=1975 |title=The Archpoet's Confession |journal=Mittelateinisches Jahrbuch |volume=10 |pages=100–105 |ref=Cairns1}}
• {{cite journal |last1=Cairns |first1=Francis |year=1980 |title=The Archpoet's Confession: Sources, Interpretation and Historical Context |journal=Mittelateinisches Jahrbuch |volume=15 |pages=87–103 |ref=Cairns2}}
• {{cite journal |last1=Cairns |first1=Francis |year=1983 |title=The Archpoet's 'Jonah-Confession' (Poem II): Literary, Exegetical, and Historical Aspects |journal=Mittelateinisches Jahrbuch |volume=18 |pages=168–193 |ref=Cairns3}}
• {{cite book |last1=Dronke |first1=Peter |title=The Medieval Lyric |edition=1st |year=1968 |publisher=Hutchinson University Library |location=London |ref=Dronke7}}
• Re-edition: {{cite book |last1=Dronke |first1=Peter |author-mask=3 |title=The Medieval Lyric |edition=Reprint of 1996's 3rd |year=2002 |publisher=D. S. Brewer |location=Cambridge |isbn=0-85991-484-4 |ref=Dronke}} (Preview available on [https://books.google.com/books?id=yQQwSjZE96MC Google Books])
• {{cite book |last1=Dronke |first1=Peter |author-link1=Peter Dronke |editor1-first=W. T. H. |editor1-last=Jackson |title=The Interpretation of Medieval Lyric Poetry |edition=1st |year=1980 |publisher=Columbia University Press & Macmillan |location=New York & London |isbn=0-333-24816-3 |pages=22–43 |chapter=The Art of the Archpoet: A Reading of "Lingua Balbus" |language=la|ref=Dronke5}}
• {{cite journal |author=S. Westphal-Wihl |date=January 1982 |title=Reviewed Work: The Interpretation of Medieval Lyric Poetry |journal=The German Quarterly |volume=55 |issue=1 |pages=108–110 |doi=10.2307/405599 |jstor=405599}}
• {{cite book |last1=Dronke |first1=Peter |title=The Medieval Poet and His World |edition=1st |series=Raccolta di Studi e Testi |volume=164 |year=1984 |publisher=Edizioni di Storia e Letteratura |location=Rome |language=en, fr |ref=Dronke2}} (Preview available on [https://books.google.com/books?id=LUPQKFD1fuIC Google Books])
• {{cite book |last1=Dronke |first1=Peter |editor1-first=Peter |editor1-last=Godman |editor2-first=Oswyn |editor2-last=Murray |title=Latin Poetry and the Classical Tradition. Essays in Medieval and Renaissance Literature |edition=1st |year=1990 |publisher=Clarendon Press |location=Oxford |isbn=0-19-920174-9 |pages=57–72 |chapter=The Archpoet and the Classics |ref=Dronke4}}
• Re-edition: {{cite book |last1=Dronke |first1=Peter |author-mask=3 |title=Sources of Inspiration: Studies in Literary Transformations, 400–1500 |edition=1st |series=Raccolta di Studi e Testi |volume=196 |year=1997 |publisher=Edizioni di Storia e Letteratura |location=Rome |pages=83–100 |chapter=The Archpoet and the Classics |ref=Dronke3}} (Preview available on [https://books.google.com/books?id=zFnF1IDcUpUC Google Books])
• {{cite journal |author=Paul Pascal |date=1991 |title=Peter Godman, Oswyn Murray, Latin Poetry and the Classical Tradition: Essays in Medieval and Renaissance Literature |journal=Bryn Mawr Classical Review |url=http://bmcr.brynmawr.edu/1991/02.03.10.html |archive-url=https://web.archive.org/web/20100505020728/http://bmcr.brynmawr.edu/1991/02.03.10.html |archive-date=2010-05-05}}
• {{cite book |last1=Godman |first1=Peter |title=The Silent Masters: Latin Literature and Its Censors in the High Middle Ages |chapter-url=http://press.princeton.edu/titles/6840.html |access-date=August 6, 2010 |edition=1st |year=2000 |publisher=Princeton University Press |location=Princeton |isbn=0-691-00977-5 |pages=191–227 |chapter=Chapter VI: Archness |ref=Godman}} (Preview available on [https://books.google.com/books?id=XEFBoAnJcb4C Google Books])
• {{cite book |last1=Godman |first1=Peter |title=Paradoxes of Conscience in the High Middle Ages: Abelard, Heloise and the Archpoet |url=http://www.cambridge.org/catalogue/catalogue.asp?isbn=9780521519113 |access-date=August 6, 2010 |edition=1st |series=Cambridge Studies in Medieval Literature |volume=75 |year=2009 |publisher=Cambridge University Press |location=Cambridge |isbn=978-0-521-51911-3 |ref=Godman2}}
• {{cite book |last1=Godman |first1=Peter |title=The Archpoet and Medieval Culture |url=http://ukcatalogue.oup.com/product/9780198719229.do |access-date=November 23, 2015 |edition=1st |year=2014 |publisher=Oxford University Press |location=Oxford |isbn=978-0-19-871922-9 |ref=Godman3}} (Preview available on [https://books.google.com/books?id=Wp_HBAAAQBAJ Google Books])
• {{cite encyclopedia |editor1-last=Hardin |editor1-first=James |editor2-first=Hasty |editor2-last=Will |encyclopedia=Dictionary of Literary Biography: German Writers and Works of the Early Middle Ages: 800–1170 |title=The Archpoet |url=https://archive.org/details/germanwriterswor148hast/page/8 |access-date=24 May 2011 |edition=1st |date=December 1994 |publisher=Gale |volume=148 |isbn=978-0-8103-5709-9 |pages=[https://archive.org/details/germanwriterswor148hast/page/8 8–9] |ref=DLB }}
• {{cite book |last1=Haskins |first1=Charles Homer |author-link1=Charles Homer Haskins |title=The Renaissance of the Twelfth Century |year=1971 |orig-date=1927 |publisher=Harvard University Press |location=Cambridge & London |isbn=0-674-76075-1 |ref=Haskins|title-link=Renaissance of the 12th century }} (Preview available on [https://books.google.com/books?id=XOeCYCqdf0EC Google Books])
• {{cite journal |last=Heller |first=J. L. |date=April 1933 |title=A Note on the So-Called Confession of Golias |journal=Speculum |volume=8 |issue=2 |pages=257–258 |location=Cambridge |publisher=Medieval Academy of America |jstor=2846758 |ref=Heller |doi=10.2307/2846758|s2cid=163206890 }}
• {{cite book |last1=Jackson |first1=William Thomas Hobdell |editor1-first=Edward P. |editor1-last=Mahoney |title=Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller |edition=1st |year=1976 |publisher=Columbia University Press |location=New York |isbn=90-04-04378-0 |pages=320–338 |chapter=The Politics of a Poet: the Archipoeta as Revealed by his Imagery |language=la|ref=Jackson}} (Preview available on [https://books.google.com/books?id=Xc4UAAAAIAAJ Google Books])
• {{cite journal |author=Denys Hay |date=Spring 1978 |title=Reviewed Work: Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller |journal=Renaissance Quarterly |volume=31 |issue=1 |pages=50–53 |jstor=2860330}}
• {{cite book |last1=Jackson |first1=William Thomas Hobdell |editor1-first=W. T. H. |editor1-last=Jackson |title=The Interpretation of Medieval Lyric Poetry |edition=1st |year=1980 |publisher=Columbia University Press & Macmillan |location=New York & London |isbn=0-333-24816-3 |pages=1–21 |chapter=Introduction |ref=Jackson2}}
• {{cite book |last1=Miner |first1=Priscilla Ann |title=Tradition and originality in the extant poems of the Archpoet |year=1960 |publisher=University of California |location=Berkeley |ref=Miner}}
• {{cite journal |last=Pucci |first=Joseph |year=1989 |title=Job and Ovid in the Archpoet's Confession |journal=Classica et Mediaevalia |volume=40 |pages=235–250 |publisher=Museum Tusculanum Press |location=Copenhagen S |issn=0106-5815 |ref=Pucci}}
• {{cite book |last1=Sammel |first1=Rebecca E. |editor1-first=Beate |editor1-last=Müller |title=Parody: Dimensions and Perspectives |edition=1st |series=Rodopi Perspectives on Modern Literature |year=1997 |publisher=Rodopi |location=Amsterdam |isbn=90-420-0181-X |pages=169–190 |chapter=Carnival Confession: The Archpoet and Chaucer's Pardoner |ref=Sammel}} (Preview available on [https://books.google.com/books?id=D-IiMGznuKEC Google Books])
• {{cite book |last1=Shcheglov |first1=Yu (IUrii Konstantinovich) |last2=Zholkovsky (Zholkovskiī) |first2=A. (Aleksandr Konstantinovich) |chapter-url=http://benjamins.com/#catalog/books/llsee.18/main |title=Poetics of Expressiveness: A Theory and Application |series=Linguistic and Literary Studies in Eastern Europe |volume=18 |year=1987 |publisher=John Benjamins Publishing Company |location=Amsterdam |isbn=90-272-1522-7 |issn=0165-7712 |pages=255–304 |chapter=II. The Archpoet of Cologne's arch poetics: Deep and surface structures of his "Confession" in service of an ambivalent theme |ref=Shcheglov |doi=10.1075/llsee.18 }} (Preview available on [https://books.google.com/books?id=VLow5C4ImfoC Google Books])
• {{cite journal |last=Shurtleff |first=Steven |date=September 22, 1994 |title=The Archpoet as Poet, Persona, and Self: The Problem of Individuality in the Confession |journal=Philological Quarterly |volume=73 |issue= 4 |pages=373–384 |publisher=The University of Iowa, Department of English |location=Iowa City |issn=0031-7977 |oclc=1762267 |url=http://findarticles.com/p/articles/mi_hb3362/is_n4_v73/ai_n28650256/ |access-date=August 6, 2010 |ref=Shurtleff}}
• {{cite journal |last=Skinner |first=Marilyn B. |date=January 1973 |title=The Archpoet's use of the Jonah-figure |journal=Neophilologus |volume=57 |issue= 1 |pages=1–5 |issn=0028-2677 |doi=10.1007/BF01515779 |s2cid=162262306 |ref=Skinner}}
• {{cite book |last1=Waddell |first1=Helen |author-link1=Helen Waddell |title=The Wandering Scholars of the Middle Ages |url=http://www.press.umich.edu/titleDetailDesc.do?id=23708 |access-date=August 8, 2010 |edition=Third reprint of 1989's |series=Ann Arbor Paperbacks |volume=199 |year=1992 |orig-date=1927 |publisher=The University of Michigan Press |location=Ann Arbor |isbn=978-0-472-06412-0 |ref=Waddell2}} (Preview available on [https://books.google.com/books?id=FsR6cP09wQkC Google Books])
• Re-edition: {{cite book |last1=Waddell |first1=Helen |author-link1=Helen Waddell |author-mask=3 |title=The Wandering Scholars of the Middle Ages |edition=Reprint of 1936's 6th |year=2000 |orig-date=1927 |publisher=Dover Publications |location=Mineola |isbn=0-486-41436-1 |pages=161–176 |chapter=Chapter VII: The Archpoet |ref=Waddell|title-link=The Wandering Scholars }}

• {{cite book |last1=Curtius |first1=Ernst Robert |author-link1=Ernst Robert Curtius |others=Translated from the German by William R. Trask. With a New Afterword by Peter Godman |title=European Literature and the Middle Ages |url=http://press.princeton.edu/titles/404.html |access-date=August 6, 2010 |series=Bolligen Series |volume=36 |year=1990 |orig-date=1948 |publisher=Princeton University Press |location=Princeton |isbn=0-691-01899-5 |ref=Curtius |archive-date=July 24, 2010 |archive-url=https://web.archive.org/web/20100724074111/http://press.princeton.edu/titles/404.html |url-status=dead }}
• {{cite book |last1=Dronke |first1=Peter |title=Forms and Imaginings: From Antiquity to the Fifteenth Century |edition=1st |series=Raccolta di Studi e Testi |volume=243 | date=July 2007 |publisher=Edizioni di Storia e Letteratura |location=Rome |language=it |isbn=978-88-8498-371-8 |pages=129–144 |chapter=Le antologie liriche del Medioevo latino |ref=Dronke6}} (Preview available on [https://books.google.com/books?id=fRij78Blc2AC Google Books])
• {{cite book |editor1-first=Richard K. |editor1-last=Emmerson |others=Sandra Clayton-Emmerson, Associate Editor |title=Key Figures in Medieval Europe: An Encyclopedia |chapter-url=http://www.routledge.com/books/details/9780415973854/ |access-date=August 6, 2010 |edition=1st |series=Routledge Encyclopedias of the Middle Ages |year=2006 |publisher=Routledge/Taylor & Francis Group |location=New York |isbn=0-415-97385-6 |page=44 |chapter=Archpoet |ref=Emmerson}} (Preview available on [https://books.google.com/books?id=DqhHVb2zp7oC Google Books])
• {{cite book |last1=Fuhrmann |first1=Horst |title=Germany in the high Middle Ages c.1050–1200 |edition=Reprint of 1995's 3rd |series=Cambridge Medieval Textbooks |year=2001 |orig-date=1986 |publisher=Cambridge University Press |location=Cambridge |isbn=0-521-31980-3 |ref=Fuhrmann}} (Preview available on [https://books.google.com/books?id=Hlapxde55rAC Google Books])
• Godman, Peter (2014). The Archpoet and Medieval Culture. Oxford: Oxford University Press. {{ISBN|978-0198719229}}.
• {{cite book |last1=Godman |first1=Peter |title=Mediaeval Studies |volume=71 |year=2009 |publisher=Pontifical Institute of Mediaeval Studies |location=Toronto |pages=113–156 |chapter=The World of the Archpoet |ref=Godman3}}
• {{cite book |editor1-first=James |editor1-last=Hardin |editor2-first=Will |editor2-last=Hasty |title=German Writers and Works of the Early Middle Ages 800–1170 |chapter-url=http://www.gale.cengage.com/servlet/ItemDetailServlet?region=9&imprint=000&cf=p&titleCode=DLB&type=3&dc=null&dewey=null&id=007483 |access-date=August 8, 2010 |series=Dictionary of Literary Biography |volume=148 |date=December 1994 |publisher=Gale |isbn=0-8103-5709-7 |pages=[https://archive.org/details/germanwriterswor148hast/page/8 8–9] |chapter=The Archpoet |ref=DLP |url=https://archive.org/details/germanwriterswor148hast/page/8 }} ([http://www.bookrags.com/biography/the-archpoet-dlb/ Summary of the article] at BookRags.com)
• {{cite journal |last1=Henshaw |first1=Millett |date=November 1937 |title=Review: [untitled] |journal=Modern Philology |volume=35 |issue=2 |pages=195–197 |publisher=University of Chicago Press |jstor=434431 |ref=Henshaw|doi=10.1086/388299 }}
• {{cite CE1913|wstitle= Classical Latin Literature in the Church |volume= 9 |last= Lejay |first= Paul |ref=Lejay}}
• {{cite book |last1=Marcuse |first1=Herbert |author-link1=Herbert Marcuse |title=Art and Liberation |url=https://archive.org/details/artliberationcol00marc |url-access=limited |edition=1st |year=2007 |publisher=Routledge |location=Abingdon / New York |isbn=978-0-415-13783-6 |lccn=97154404 |pages=[https://archive.org/details/artliberationcol00marc/page/n77 71]–81 |chapter=The German Artist Novel: Introduction |ref=Marcuse}} (Preview available on [https://books.google.com/books?id=_1ODBDcOVkYC Google Books])
• {{cite book |last1=McDonald |first1=William C. |last2=Goebel |first2=Ulrich |title=German Medieval Literary Patronage from Charlemagne to Maximilian I |year=1973 |publisher=Rodopi |location=Amsterdam |ref=GMLP}}
• {{cite book |last1=Morris |first1=Colin |title=The Discovery of the Individual, 1050–1200 |edition=Fourth reprint of 1987's |series=Medieval Academy Reprints for Teaching |year=2004 |orig-date=1972 |publisher=University of Toronto Press |location=Toronto |isbn=0-8020-6665-8 |ref=Morris}}
• {{cite book |last1=Sayce |first1=Olive |title=Exemplary Comparison from Homer to Petrarch |chapter-url=http://www.urpress.com/store/viewItem.asp?idProduct=8620 |access-date=9 February 2012 |edition=1st |date=February 2008 |publisher=D. S. Brewer / Boydell Press |location=Cambridge |isbn=978-1-84384-099-2 |pages=84–140 (esp. section 113–115) |chapter=Latin Poets from Antiquity to the Middle Ages |ref=Sayce}} (Preview available on [https://archive.org/details/exemplarycompari0000sayc Internet Archive])
• {{cite CE1913|wstitle= Latin Literature in Christianity (Sixth to Twentieth Century) |volume= 9 |last= Scheid |first= Nikolaus|ref=Scheid}}

{{Wikisourcelang|la|Archipoeta|Archpoet}}

{{Wikiquote}}

{{Portal|Middle Ages|Literature|Poetry}}

• [http://people.bu.edu/bobl/archend.htm Transcription of the article "The Archpoet"] from the Dictionary of Literary Biography.
• J. A. Symonds' English translation of [http://www.fordham.edu/halsall/source/golias1.html "The Confession of Golias"] at the Internet Medieval Sourcebook.
• Helen Waddell's English translation of [http://www.thehypertexts.com/The%20Archpoet.htm "His Confession"] at TheHyperTexts.
• F. J. E. Raby's English translation of [https://web.archive.org/web/20110710235049/http://fetusveneris.com/?p=20 "{{lang|la|Aestuans intrinsecus}}"] posted on the FETUSVENERIS blog.
• {{Librivox author |id=1463}}
• {{in lang|la}} The [http://www.thelatinlibrary.com/archpoet.html ten known poems of the Archpoet] at The Latin Library.
• {{in lang|la}} The [http://www.hs-augsburg.de/~harsch/arc_intr.html Archpoet's page] at the Bibliotheca Augustana.
• {{in lang|la}} The Archpoet's [http://www.hs-augsburg.de/~harsch/Chronologia/Lspost13/CarminaBurana/bur_cpo1.html#191 "{{lang|la|Estuans intrinsecus}}"] (CB 191) in the {{lang|la|Carmina Burana}} at the Bibliotheca Augustana.
• {{in lang|la}} The Archpoet's [http://www.hs-augsburg.de/~harsch/Chronologia/Lspost13/CarminaBurana/bur_cpo2.html#220 "{{lang|la|Sepe de miseria}}"] (CB 220) in the {{lang|la|Carmina Burana}} at the Bibliotheca Augustana.
• {{in lang|la}} The Archpoet's [http://homepages.wmich.edu/~johnsorh/MedievalLatin/Texts/Arch.html "{{lang|la|Aestuans intrinsecus}}"] with some notes at Western Michigan University by Professor Rand Johnson.
• {{in lang|la}} The complete [http://www.ling.hawaii.edu/faculty/stampe/Oral-Lit/Latin/carmina-burana.htm {{lang|la|Carmina Burana}}] collection at (retired) University of Hawaii at Manoa Associate Professor David Stampe's website.
• {{in lang|la}} Recitation of {{YouTube|id=ADesCoswIfE|title=Archipoetae Confessio Vagantis}} by Claudia Sperlich.

{{Middle Ages}}

{{Carmina Burana}}

{{Authority control}}

{{DEFAULTSORT:Archpoet}}

Category:1130s births

Category:1160s deaths

Category:12th-century writers in Latin

Category:12th-century poets

Category:Goliardic poetry

Category:Medieval Latin-language poets

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Category:Anonymous poets