Poetry of the Vagants. Poetry of the Vagants as a source for reconstructing the history of everyday life in the Middle Ages The era and forms of existence of the Vagants

Medieval literature- a phenomenon that almost no one is interested in. It is not studied in schools, but it is as rich and varied as the literature of later times. In the Middle Ages, there were such genres as chivalric romance, elegant poems of troubadours who sang love for a beautiful lady, or heroic epic. There were sagas that retold folk legends and myths. There was a sharp-tongued urban literature that gave rise to fables and anecdotes.

And there were also poems by the vagants - sometimes daring and cheeky, sometimes simply cheerful, and sometimes melancholy. In these poems, the authors sang of free life and its delights, ridiculed greed and hypocrisy. The most famous of their works is the drinking song Gaudeamus, which over time turned into a student anthem.

Let's start the story about this layer of medieval culture with brief description what vagantes are and the meaning of the word by which they were called.

Vagabond Scientists

Translated from Latin, “vagant” means “vagrant.” The first vagantas were representatives of the clergy: priests without a parish and monks without a monastery. Later, wandering students began to be called this. Having neither a profession nor a roof over their heads, such students traveled in large groups throughout Europe. They moved from to study the sciences they needed.

Vagants are not only students, but also poets. Being literate, educated people who knew Latin well, they stood out clearly against the background of the ignorance that reigned everywhere in the Middle Ages.

The Church did not like the Vagants, since they often ridiculed it in their poems. The priests threatened the poets with afterlife punishments and called them blasphemers and debauchees. The neutral, or even positive, connotation of the word “vagants” did not suit them, and so they came up with another nickname - goliards (from Goliath - Satan, or gula - a huge throat, which meant drunkards and loudmouths).

However, the poets managed to change even this name in their favor. They stated that the biblical Goliath was not Satan, but a giant whom David defeated. What is “vagant” in this case? Descendant of Goliath. He is powerful, like Goliath, and like him, a glutton and a master of writing poetry (some authors attributed precisely such qualities to Goliath).

How European universities were structured

The sciences were not divided into humanities and natural sciences. There was science “in general” and scientists “in general”. But the specialization of universities was narrower than it is now. For example, in Bologna they studied law, in the Sorbonne - theology, in Salerno - medicine. What was there left for a knowledge-hungry student who dreamed of studying both medicine and law to do? Just go to the university he needed - and go on his own, because there was no public transport then.

The task was made easier by the fact that all of Europe had international language- Latin. All literate people were obliged to know it. Ordinary European languages ​​were then looked upon with slight contempt, as the rude languages ​​of the common people. But thanks to Latin, a student from Swabia and a student from England easily understood each other and could, in difficult times, share both clothes and a crust of bread with each other.

How did the vagantes live?

Such a vagabond life was not uncommon, especially in the 11th-13th centuries. Then many left their homes and went to conquer Palestine from the “infidel Saracens” or became pilgrims to venerate Christian shrines. So a vagant is a pilgrim, only from science.

Vagrants have always traveled big companies- It would be more difficult for them to survive alone. In such an environment, almost fraternal relationships developed, based on mutual assistance and selfless help.

As a rule, student vagabonds lived poorly, had no roof over their heads and could not have a satisfying lunch. When they reached the desired goal - the university, many years of hard cramming began. At the end of the training, those few who survived it faced an exam - a twelve-hour debate with twenty different professors. But the vagantes did not like to sit quietly and cram. They faithfully served Bacchus - the god of wine - and glorified the joys of life - drinking, taverns, grain (dice). For many students, the learning process never ends, stretching out throughout their lives.

The common people did not like the vagants, because they believed that these violent types were nothing but trouble. They were not always allowed to spend the night, and sometimes they were driven away from the house, fearing that they would steal something from their property.

Table poems

Vagants of definitions like “drunkard” or “tramp” were not afraid, but, on the contrary, were proud of them. Among their poems there are many cheerful, riotous ones, glorifying wine, Bacchus, drinking, and gambling. The most famous work of this kind is “The Most Drunken Liturgy.” This is a parody of a church mass. In it, poetic hymns alternate with prayers written in prose.

Anti-clerical satire

“The Most Drunken Liturgy” is also an example of anti-clerical satire. Vagant poetry often ridiculed the church and priests, especially the Pope and other high clergy. In their poems, the vagantes condemned their greed, cruelty, depravity and hypocrisy. There was even a parody of the Gospel called “The Gospel of the Mark of Silver.”

About love and life

The Vagantes composed many poems on love and philosophical themes. Love in their view is far from sublime romance, from the glorification of “the most beautiful lady in the world.” Women in such poetry are one of the joys of life, like wine, and most beautiful of all is carnal love.

Vagantes are philosophers, but of a special kind. On the one hand, their philosophy was close to the Epicurean: avoid suffering, enjoy life. On the other hand, their poetry often sounds a gloomy note: life is frail, life is full of vices, fate is merciless...

Here is an excerpt from the most famous poem of the Vagants on a philosophical topic:

O Fortune,

Your face is lunar

Eternally changing:

Arrives

The day is not saved.

Then you're evil

That's good

Whimsical will;

And nobles,

And insignificant

You change the share. (Translation by M. Gasparov)

In 1936, it was set to music by the German composer Carl Orff. The cantata “Carmina Burana” began and ended with this powerful, dramatic number. "O Fortuna" is one of the most popular pieces of music in history, featured in films, television shows and even commercials. Every person has heard it at least once in their life.

But what is this strange name - “Carmina Burana”?

"Carmina Burana"

In 1803, a 13th-century manuscript containing more than three hundred poems was found in a Bavarian monastery. It was called Carmina Burana ("Buran Songs"). This manuscript is the largest and most famous collection of Vagant poetry. It is divided into four parts: satirical songs, love lyrics, drinking songs, and theatrical performances. There is a section “Additions”, which contains everything that is not included in the previous ones - for example, songs on German(the main language of the collection is Latin).

The beginning of the manuscript, which also contained church hymns, has been lost.

In addition to "O Fortuna", there are other works from the Carmina Burana collection that have become popular. For example, the drinking song In Taberna (“In the Tavern”), which was covered by many folk and rock musicians. Another famous poem is Hospita in Gallia (“On the French Side”), freely translated by Lev Ginzburg as “Farewell to Swabia.” In 1976, David Tukhmanov took it for the album “On the Wave of My Memory” and set it to music. The result was the song “From the Vagants,” performed by Igor Ivanov.

"Gaudeamus"

The famous song Gaudeamus was not always the student anthem. This drinking song of the vagants appeared around the 13th century. Its homeland is considered to be either the University of Heidelberg in Germany. For several centuries, no one wrote down “Gaudeamus”; the text of the song was transmitted orally. It was first printed in 1776. Five years later, in 1781, the writer Kindleben creatively processed the text of “Gaudeamus”, giving it the form in which it exists to this day.

"Gaudeamus" is a work in which there is little solemnity. On the contrary, it is typical of the lyrics of the vagants. This song encourages you to have fun before life, which is so short and fleeting, ends.

Famous vagantes

Most of the poems in collections such as Carmina Burana and the lesser-known Cambridge Manuscript were written anonymously. But still, the names of several vagant poets have been preserved through the centuries and have survived to this day.

The most famous vagantes are the Primate of Orleans (Hugo), Archipita of Cologne and Walter of Chatillon.

Little is known about the life of the Primate of Orléans - he lived in the 11th century, studied in Orléans, and the word "primate" in Latin means "elder". He wrote his poems in an emphatically rude, common language, described the life of a tramp and beggar, and talked about walking through brothels.

Archipiita is a pseudonym meaning "great poet". The author's real name is unknown. Only a few poems from his work have survived - for example, “On the French Side”, and also “Confession”.

The work of Walter of Chatillon, who lived in the 12th century, is diverse - these include love poems, and anti-church satire, and the poem “Alexandride”, which tells about Alexander the Great. After him, several dozen poems remained. They can be found in collections such as the Carmina Burana or the St. Omer Manuscript.

The journey of the two Johns to Dover was long and difficult. But they became friends. It seemed to them that they had known each other their entire lives. Both had no parents. And now the whole world was the youth’s home, and freedom was their mother. Everything appeared on the roads of Europe more people wandering in search of knowledge. Interest in science expanded. A new urban culture was taking shape, reflecting the freedom-loving ideas of the time, the struggle against the dominance of the church, and the critical attitude of the townspeople towards the feudal order. Vagantes have always been in the thick of the cultural life of cities. Their daring poems and songs sounded in squares and streets, calling for justice: From the monarch himself

Until the homeless goal -

That's why we are people

Everyone is worthy of will.

Compassion and warmth

For a purpose that is not in vain,

And so that there is life in the world

Truly beautiful! In the 12th century. There were more and more traveling students every year. They were full of hope. Almost each of them managed, after receiving an education, to eventually find their place in life. They became teachers, scribes, notaries, and sometimes achieved a higher position in society. However, in fifty to a hundred years, many vagantas who studied at the universities of Paris, Bologna, Oxford, and Salamanca will no longer be able to find work according to their calling. learned people there will be more places than society can offer them. But the Vagants will not give up, but will further strengthen their brotherhood - an alliance that arose freely, not requiring recognition by the authorities, uniting educated people connected by spiritual kinship and a common destiny. They will call it the "Order of Vagants". The poetic "Charter of the Order of Vagants", although written in a humorous form, has a deep content. It proclaims the equality and brotherhood of all people, regardless of their origin, ranks and rank: It will now be established

Our Union of Vagants

For people of all tribes,

Titles and talents...

"Every a kind person,-

It is said in the Charter, -

German, Turkish or Greek,

You have the right to become a vagant."

Who is ready for his neighbor?

Take off your shirt

Take our brotherly call,

Hurry to us without fear!

Everyone is welcome, everyone is equal,

Joining us in brotherhood,

Regardless of ranks,

Titles, wealth,

Our faith is not in the psalms!

We praise the Lord

Those who are in grief and tears

We won't leave our brother.

Do you recognize Christ,

It doesn't matter to us

If only the soul were pure,

The heart is not for sale. These verses sound a protest against the class and religious institutions of feudal society, a call for the unity of people.

I only found this

( Goethe. Faust. Translation by B. Pasternak).

Vagants, goliards, clerics, scholars, minnesingers...

Go out into the free world!
To hell with the dusty rubbish books!
Our homeland is a tavern,
We need a beer - God's temple!

The word “vagant” (vagantes) literally translated from Latin means “wandering”. In the Middle Ages, it was initially (during the Early Middle Ages) applied to priests without a parish, to monks who left the monastery, later, during the Mature Middle Ages, it began to be attributed to numerous scholars and students traveling in search of knowledge from university to university, from city to city. In the 12th and 13th 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 teaching position, service in the office or a church parish. However, not all students successfully completed their studies; there could be different reasons, including the following:

Not for vain vanity,
Not for fun -
Because of bitter poverty
I quit my studies.
("Beggar Student")

Genre dispute inspired in the lyrics of the vagants by a specific university practice. The traditional form of university classes was lectures (from the Latin lectio - reading). In a medieval university, a lecture was really a reading: the professor put some handwritten book on the subject on the lectern, read it and gave interpretations. The debate was the antithesis of the lecture: two professors occupied two departments located at opposite ends of the audience and conducted a scientific debate, the students who gathered for the debate represented the interests of both scientists. For example, the students of Pierre Abelard traveled after him throughout Europe and, naturally, took part in the debates that their mentor led with the scholastics, supporters of realism, i.e. philosophers who adhere to the concept according to which universals, ideas, “names of names” constitute the essence of reality, while Abelard argued that universals do not contain the essence of the phenomena themselves.

The practice of training future teachers in content should have remained within the framework Christian theology, but in form it differed significantly from the service. This very form, as a by-product of priestly training, turned into another spiritual practice - the practice of a free search for truth based on scientific disciplines (grammar, logic and mathematics), which were not yet called disciplines (until the 19th century), as well as special teaching methods (lectures and disputes). And if a lecture still has similarities with a sermon, then a debate bears little resemblance to it.

Disputes did not always remain within the bounds of decency and often ended in a brawl. The vagantas sought to convey the dramatic intensity of the dispute in the appropriate genre of lyrics. Vagantes depict a dispute between two halves of the soul (“Books and Love”), or a debate dedicated to the problem of choosing a knight or a poet-vagant (“Flora and Philida”). The source of the dispute is Ovid's poem about a beauty who prefers a warrior to a poet. In the vagant's poem, the dispute is resolved by appealing to Cupid, who convincingly proves the advantage of the vagant over the knight:

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

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

Who, tell me, is in the taverns?
now rules
having fun, but at the same time
makes friends with a book
and, in accordance with nature,
Isn't he talking in vain?
So, the knight is a student
clearly superior!

Convinced our maidens
these arguments.
Sounded from all sides
there's applause.
The motley banners fluttered,
the ribbons were full of colors.
So let it throughout all ages
students are famous!

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

As another by-product of university education, fiction and lyric poetry- a type of spiritual practice that involves the sophistication and ingenuity of the mind. Known to antiquity, but not needed by theology, it was revived in the poetry of the Vagants.

With full or incomplete university education, vagantes stood out from the urban lower class by belonging to the intellectual elite, even if they managed to graduate from a lower faculty and master only the “seven liberal arts” (trivium - grammar, rhetoric and dialectics, quadrium - arithmetic, geometry, astronomy and music). The vagantes, despite their miserable lifestyle, the inconstancy and randomness of their earnings, possessed that completeness of freedom that no other member of medieval society, not even the king himself or the Pope, possessed. The Vagantes 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.

The lyrics of the vagants can rightfully be considered as a component element clerical (spiritual, in the sense of belonging to the clergy) literature for a number of reasons.

· some of the vagant poets were clergy or monks (Walter of Chatillon)

· most universities and monastic schools were controlled by the church, not by secular authorities

· the language of the Vagants’ poetry was classical church Latin

· parodying the genres of church eloquence or church rituals (confession, liturgy), the vagantes were still in the attraction of church literature; while parodying it, they continued to belong to it.

The vagantes made their living by tutoring, drafting legal documents, legal or medical consultations, but most importantly (which is especially valuable for historians and literature connoisseurs) by composing Latin poetry for occasional patrons of the arts. 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 vagans stands out for its spiritual freedom and independence. Therefore, despite her wanderings and poverty, she looks attractive.

The vagantes themselves called themselves “goliards” (according to various etymologies this means “devil’s servants” or “gluttons”) and traced their origins to the first reveler and poet on earth, Goliath. According to another version, “goliard” comes from the Latin gula (throat) - i.e. vaganta - “bawlers”, “those who like to pawn by the collar.” By analogy with the knightly and monastic orders, the vagantes established their “Order of Vagantes,” which is reflected in the following poem:

“Hey,” came a bright call,
the fun has begun!
Pop, forget about the book of hours!
Get out of your cell, monk!
The professor himself, like a student,
ran out of class
feeling the sacred heat
sweet hour.

Will now be established
our union of vagants
for people of all tribes,
titles and talents.
It's all whether you're a brave man or a coward,
idiot or genius -
accepted into the union
no limits.

"Every good person"
the charter says,
German, Turkish or Greek
has the right to become a vagrant.”
Do you recognize Christ, -
it doesn't matter to us
If only the soul were pure,
the heart is not for sale.

Everyone is welcome, everyone is equal,
joining us in brotherhood,
regardless of rank,
titles, wealth.
Our faith is not in the psalms!
We praise the Lord
that in grief and in tears
We won't leave our brother.

Who is ready for his 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 our own faith here,
here are your tablets!

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

Thus, any cheerful and kind person could become a member of the Order of Vagants, regardless of religion, occupation, age, nationality and wealth, 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, those in need .

The creativity of the vagants is mostly anonymous, their poems are scattered among monastic manuscripts. The most significant manuscripts are the “Cambridge Manuscript” and “Carmina Burana” (“Songs of Beiren” - from the name of the Benedict Beiren monastery, where this 13th century manuscript was found).

The “Buran Songs” are collected in a 13th-century manuscript that includes 200 works of vagantes, mostly in Latin, although there are several works in German, and there are also bilingual poems. This manuscript was discovered in 1803 and published in 1847. From it, as the most complete collection of Vagant poetry, one can get an idea of ​​the themes, issues, genre composition and innovation of the Vagant lyrics.

The position of the vagrants was highest degree fragile: on the one hand, Latin and learning 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 defines two sources of Vagant poetry: 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 scholarship of the Vagants; and on the other hand, belonging to the democratic urban strata in position and way of life brings the creativity of the vagants closer to urban literature. Stoneflies and women's complaints, i.e., genres of folk poetry, are translated into Latin.

The duality of the position of vagrants in social system of the Middle Ages also influenced the genre diversity of their lyrics. The legacy of the vagants connects the book tradition with folklore and urban tradition, which leads to the emergence of new literary genres and opens the way for artistic experimentation. The collision of ancient and biblical motifs and images with folk ones, combined with a topical satirical intonation, leads to the flourishing of the genre of parody, with the techniques of bilingualism, paradox and oxymoron. Reminiscence, association, and allusion begin to play a special role in the lyrics of vagants, and this stimulates the reader to co-creation.

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 moves from the work to the author’s idea. 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” of the Archipit of Cologne, which caused many imitations in the poetry of the vagants), church rituals (“The Most Drunken Liturgy”) or the texts themselves Holy Scripture(“Gospel of the Mark of Silver”). The Vagantes denounced the lies and hypocrisy of the monks, calling to live according to the laws of nature, ridiculing asceticism and pacification of the flesh. The genre of medieval vision ("Goliard's Apocalypse") was also parodied by vagantes. The story about the universal catastrophe ends with a smile:

Oh, what I saw, what I learned!.. Judges
our cases were dealt with by villains
Our world - oh, hunger! oh, pestilence!
They pronounced the death sentence.

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

Angels of God in identical cloaks
they gave me poppy seeds to taste,
I was plunged into oblivion later
and gave me some kind of drink.

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

An incredible misfortune awaits us!..
But for some reason I say indistinctly:
to know, having crossed the line of existence,
I've tasted too much strong 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 complaints 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 vagants are imbued with a sense of confidence in the correctness of the chosen path, since within the brotherhood of the vagants a utopia of independence, natural and spiritual freedom is being created. The complaint “Beggar Student” ends with an ironic passage:

To Mercy Abbot
calls on the flock,
and his homeless brother
chilly, languishing.

Give, holy father,
me my cassock,
and then I finally
I'll stop freezing.

And for your darling
I'll light a candle
God bless you
I found a place.

Sometimes a vagant complaint is a paraphrase of the traditional complaint of a girl complaining about an unsuccessful marriage or separation from her beloved. In Latin poetry, the intonation of the girl’s complaints was picked up in the nun’s complaints about monastic seclusion, about her deceived lover (“The Nun’s Complaint,” “The Girl’s Complaint,” “The Nun”). The woman's complaint depicts a hopeless picture, and the vagant's complaint ends with some ironic generalization, revealing the discovery of hope. For example, “Conversation with a 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 from the owner:

I answer the cloak:
“Where can I find money?
Poverty is a big hindrance
in purchasing fur.
How should I deal with you?
since I can't buy
even a simple lining?..
Let me put on a patch!”

Love lyrics of vagants ( pastoral genre) has a distinctly earthly, carnal character. Vagants, proclaiming the emancipation of the flesh and freedom of morals, create provocative 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 resorting to the technique of bilingualism:

I was a modest girl
Virgo dum florebam,
Tender, friendly, sweet,
Omnibus placebam.
I once went to the meadow
Flores adunare,
Yes my friend wanted me
Ibi deflorare.

The comic effect was especially acute due to the discrepancy between the church language and the low subject it described.

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

A special place in the lyrics of the vagants is occupied by the genre of the poetic short story - the ballad. The tradition of turning to this genre began in the Cambridge manuscript. The originality of the Vagant ballad is that it is a retelling of an ancient myth, most often about Orpheus, Diana, as well as Troy and Aeneas and Dido. The learned Latin ballad thus continued the tradition that had developed in late Latin poetry during the period of crisis and the fall of the Roman Empire.

The poems of the vagants are mostly anonymous. Therefore, restoring the names of at least those individual creators who set the tone and led imitators is a big scientific problem. Hugon (Primate) of Orléans is the first famous poet-vagant. The poems that have reached us were written between 1130-1140, and the poet died in 1160. Based on the Primate's poems, one can reconstruct his wanderings from Paris to Reims, then to Sens and Amiens, his circle of acquaintances, and even reconstruct 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 is expelled from there because of a noble deed (the poet stands up for a patient). Primus's poetry is autobiographical, distinguished by attention to detail and accuracy in its reproduction.

Archipit is the nickname of the poet. His real name is unknown; he called himself “the poet of poets.” By his own admission, he comes from a knightly family (“I come from a family of knights // became literate,” writes Archipit to the “Message to Archchancellor Reginald, Archbishop of Cologne”) and became a schoolchild out of love for science and art. The archipitet does not miss the opportunity to show off his erudition in poetry and demonstrate his knowledge of classical ancient authors and the Holy Scriptures. German by origin, he feels more at ease in Italy, although with his usual ease he turns to his patron, the Archbishop of Cologne, to issue benefits “from a Trans-Alpine to a Trans-Alpine.” In fact, information has been confirmed about only five years from the life of Archipitus 1161-1165, at the same time 10 poems that have come down to us were written. The role model and genre standard was “Confession” by Archipiity of Cologne. Choosing the genre of church eloquence as a basis, Arhipiit conducts a dialogue with the genre canon, actually refuting it - instead of repentance for sins, in his “Confession” Arhipiit affirms the correctness and attractiveness of his chosen way of life:

For me poetry is wine!
I drink in one breath!
I'm as untalented as a blockhead
if your throat is dry.
I can't compose
on an empty belly.
But Ovid himself
I seem to be under a cloud.

The “Sermon of the Archbishop of Cologne” is based on the same principle of refuting the canon. We find the traditional motif of wanderings for vagants in the poem “The Request of the Archipite upon Returning from Salerno”:

Hello! A word of hello
to you from a vagabond poet.
You've probably all heard
about the famous Salerno.
From ancient times to now
study medicine there
from the greatest scientists,
to heal the doomed...
“How could I, Lord God,
Should I become a doctor too?
And I began to study,
I'm glad to have a new hobby...
But it turned out: science
more bitter than the pain of death,
and I moped immensely
in that famous Salerno.
I decided to get away from there,
but I was overcome by a cold
so that's four weeks
I was lying in bed
and, absorbing the mixture,
glorified his professorship.

University of Salerno In the 11th-13th centuries it was famous for its medical school, the president of which was the famous physician John of Milan. The most “advanced” Arab doctors revealed their secrets to the Italians, and patients flocked from all over the world. Salerno received a second name - the city of Hippocrates. Holy Roman Emperor Frederick I Barbarossa (1152-1190) prohibited practicing medicine without a license from the Salerno School. The heyday of the school continued until the 13th century, then medical authority passed to the Medical School in Montpellier, France.

Some patients managed to survive despite the healing methods of that time.

Conclusion: Practice built on false knowledge will be, at best, meaningless, and at worst, harmful and dangerous. Each stage in cognition is associated with the emergence of new types of practice; cognition determines practice, and at the same time depends on it.

Ignorance and false knowledge are dangerous!

The appearance of the Vagants in the arena of a medieval city in the 11th century is closely connected with several social phenomena that appeared at that time. First of all, the structure of universities is changing. Universities were removed from the authority of local secular and spiritual authorities; for example, in Paris, the head of the university was considered the chancellor of the cathedral Notre Dame of Paris, but his power was only nominal. The university consisted of the lowest, most populous faculty of the seven noble arts and three higher faculties - theological, medical and law; their organization resembled a medieval scientific 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 (supported by the presence of fraternities and colleges of various kinds) firmly united this ragtag people into a single learned class. If the vagantes early Middle Ages wandered through monasteries and bishoprics alone, each at his own risk, now on any high road the vaganta recognized the vagant as a comrade in fate. “Schools learn the noble arts in Paris, the ancient classics in Orleans, judicial codes in Bologna, medical poultices in Salervo, demonology in Toledo, and good morals nowhere,” writes the monk Gelinand in the 12th century. In addition to receiving an education, all representatives of this class sought to occupy a good, money-earning job.

The itinerant lifestyle of students did not seem deviant against the backdrop of the developing era crusades. When the entire population Western Europe captured the idea of ​​liberating the Holy Sepulcher and others Christian shrines Palestine. The Pope blessed those who were going to take part in the campaign and promised absolution to everyone. In cities and villages everywhere there were people willing to go to fight in Palestine. In addition to volunteer soldiers, the roads of Europe were filled with a variety of wandering people, against the background of which at first the vagrants did not stand out very much.

Since medieval education necessarily included a religious component, students were a priori required to belong to the clerical class. Since the 12th century is also the century of a grandiose church dispute around theories and classics, that is, ancient writers. School education began with antiquities and models; “theories” were the goal to which it, education, led. In history, this dispute was not the first and not the last. The stronghold of the “theorists” was Paris, the stronghold of the classics was Orleans. Victory ultimately went to the “new” ones. The “Summas” of Thomas Aquinas turned out to be more necessary for the era than Ovidianism. The vagrants in this struggle were with the vanquished, with the classics, and therefore their century turned out to be bright, but short-lived.

The wandering poet could not avoid conflicts with the official Catholic Church. The morality and discipline of these wandering clerics were often extremely low, and real clerics were also mixed with imaginary ones - simple vagabonds, for whom it was advantageous to pose as clergy in order to avoid tax duties, trial and punishment. The Church tried to condemn such phenomena. In the monastic regulations they are mentioned exclusively in a negative light:

“Dressed as monks, they wander everywhere, spreading their corrupt pretense, bypassing entire provinces, not sent anywhere, not sent anywhere, not assigned anywhere, not settled anywhere... And they all beg, they all extort - either for their costly poverty , or for his feigned fictitious holiness..." // Isidor's charter

Moreover, the Isidore Rule lists six kinds of monks: three kinds of true monks - community-based Cenobites, anchorite hermits and hermit Eremites - and three kinds of imaginary monks - false Cenobites, false anchorites and, finally, "circumcellions" ("wandering around the cells") , about whom it is said: “dressed up as monks, they wander everywhere, spreading their corrupt pretense, bypassing entire provinces, not sent anywhere, not sent anywhere, not assigned anywhere, not settling anywhere. Some of them invent the unprecedented and pass off their words as God’s; some sell the relics of martyrs (only martyrs?); others praise the miraculousness of their clothes and caps, while others walk around unshorn, believing that there is less holiness in the tonsure than in the robes, so that, looking at them, one might think that these are the ancient Samuel, Elijah and others, about whom it is said in the Scripture; others assume a rank that they never had; others invent that they have parents and relatives in these places, to whom they are sent; and they all beg, they all extort - either for their costly poverty, or for their feigned holiness. In the 7th century, the Chalons Cathedral condemned wandering clergy singing “low and shameful songs.”

“At the same time, one should not think that vagant atrocities were committed only on highways and in taverns. Oddly enough, the generally accepted church holidays. The Church understood well that all severity needs a temporary release, and under New Year, at a time of general popular fun, she organized a holiday for her junior ranks: novices, schoolchildren, singers, etc. The place of unification of these church children was, first of all, the church choir under the direction of the regent.”

With their entire lifestyle, the vagantes undermined the people's respect for the clergy. TO beginning of XIII V. The church paid increasingly close attention to the vagants: deprived them of their clergy titles, handed them over to the authorities, that is, sent them to the gallows. And, in general, there was a reason for it. In this regard, wandering students are trying to unite into a kind of homeless monastic order. Although this attempt was not crowned with success by the vagantas, the vagantas wrote a program, “The Order of Goliard”, the Charter of a kind of vagabond brotherhood of epicurean scientists. Here are snippets of it poetic text translated by Lev Ginzburg:

“Hey,” came a bright call, “

the fun has begun!

Pop, forget about the Book of Hours!

Get out of your cell, monk!

The professor himself, like a student,

ran out of class

feeling the sacred heat

sweet hour.

Will be established today

our union of vagants

for people of all tribes,

titles and talents.

It's all whether you're a brave man or a coward,

idiot or genius -

accepted into the union

no limits."

The imaginary brotherhood of vagants was tolerant and multinational. Although, according to popular belief, it included only Germans, French, Italians and English, Vagant sources speak of a wider composition of the brotherhood. In the above charter you can find the lines

"Every good person"

it is stated in the Charter, -

German, Turkish or Greek,

has the right to become a vagrant.”

An important aspect of the existence of vagantes in medieval society is their close proximity to troubadours. The poetry of the troubadours arose simultaneously with the poetry of the vagantes and lived with it in undeniable mutual influence. The poetry of the northern French trouvères, in essence, was also the work of Latin clerics, but they switched to serving the new-language knightly public; the poetry of the German minnesingers relied heavily on the sensual lyricism of the vagants in its evolution from an elegant courtly to a rough rural style. Although, it is not entirely correct to build such a series: the troubadours and minnesingers were professional poets, and when speaking about their poetry, literary historians mean the poetry created by them as authors. The definition of “Vagant poetry” denotes literary works that were born among the Vagants, tell about their lives, express their views and philosophy. If almost all of the troubadours are known to us by name, then, on the contrary, we hardly know the names of the troubadours, except for only a few. Here they are.

The earliest and most famous of the Vagant names is Tugon (Hugo), nicknamed Primate (that is, Elder) of Orleans. He was born around 1093, died around 1160.

“Lies and malice rule the world.

Conscience is strangled, truth is poisoned,

the law is dead, honor is killed,

indecent deeds are countless.

Locked, doors closed

kindness, love and faith.

Wisdom teaches today:

steal and deceive!

A friend in need abandons a friend,

the spouse lies to the spouse,

and brother trades with brother.

This is what debauchery reigns!

"Get out, darling, onto the path,

I'll trip you up" -

the prude grins,

holding a knife in his bosom.

What a time!

No order, no peace,

and the Lord's Son is with us

crucified again - for the umpteenth time!”

Another poet-vagant XII, Walter of Chatillon, studied at the University of Paris and Reims with Stephen of Beauvais (Stephane de Garland). In 1166 he moved to England, where he served in the office of the English king Henry II Plantagenet; joined a scientific circle that included Archbishop Thomas Becket and John of Salisbury. In 1170 he moved to France, where he taught in Chatillon-on-Marne.

Walter's main work is an epic poem in 10 books "Alexandride" (late 1170s) about the life and deeds of Alexander the Great, mainly based on the material of Curtius Rufus. In accordance with the anti-inflammatory ideas of the time about high poetry, “Alexandride” is written in hexameters. It was a huge success, just like his vagant poems, although his lifestyle was not at all typical for vagants.

I intend to expose the lies of the wolf nature:

often, treating us with honey, they feed us with bile,

often a copper heart is covered with gold,

The race of the donkey puts on the skin of a lion.

With a dove-like appearance, a spirit in discord is wolfish:

lips swim in honey, but the mind is full of bile.

What resembles honey is not always sweet:

often the meanness is hidden under the satin skin.

Evil intentions are hidden by gentle speech,

the dirt of the heart is painted with snow-white ointment.

When the pain strikes the head, it spreads throughout the body;

The root has dried up and the branches have time to dry up.// Denunciation of Rome

Chapter III

Archipiita Cologne

The name, Arhipiita, represents a well-known pseudonym, perhaps ironic, but perhaps also a consequence of real recognition of poetic merit. The word Archipyit comes from the ancient Greek - poet of poets. The real name of this poet is unknown. It is not possible to isolate him from either the documents or the author’s works. M Gasparov suggests that Arkhipiita was German by origin, but this is only a scientific hypothesis.

Some circumstances of his life can be gleaned from the works of poets. In his poems, Archipiita speaks of his knightly origins and service with Rainald von Dassel of Cologne and Chancellor Friedrich Barbarossa, and mentions Salerno, where he may have studied at the university. It is generally accepted that he is a more secular person than other vagantes.

Ten poems by Archipit, written between 1159 and 1165, have survived to this day. All of Archipit's poems are addressed to Reinald (Reginald) von Dassel.

"Arch Chancellor,

glorious husband of advice,

Enlightened by the truth

divine light,

Whose soul is high

dressed with firmness,

You're too much

want from a poet.

Listen, exalted one,

timid prayers,

Give it to the one asking

you are a blessing

And don't force me

having heeded the command,

Bend under a heavy burden

weak knees."

The most famous poem, “Confession...”, was most likely written in 1163. It is believed that it continues the tradition of confession established by Augustine, although it is permeated with satirical and hedonistic motifs characteristic of Vagant poetry.

"With a feeling of burning shame

I, whose sin is immeasurable,

your repentance

intends to announce.

I was young, I was stupid,

I was gullible

in worldly pleasures

often immoderate.

A man needs a home

like a solid stone,

and fate carried me,

that the stream is flowing,

I was attracted by a wandering spirit,

free spirit vicious,

drove like a hurricane

single leaf<...>

I'm feeling sad

I hated it forever

but he preferred

joy and freedom

and Venus was ready

give your life for the sake of

because for me

girls - sweeter than honey!»

This work was highly appreciated by Jacob Grimm, who noted the incomparable “freedom and euphony of language, the boundless power of rhyme.” Archipyita’s poems were translated into Russian by O. Rumer, L. Ginzburg and M. Gasparov.

Conclusion

There is still no consensus among historians and literary scholars about who should be called vagantes and how to define their community.

Currently, poets of a special literary direction of medieval European poetry are called vagantas. Their poetry is placed on a par with the poetry of the troubadours - Old Provençal knightly poets and the poetry of the Minnesingers - German poets who belonged to both the knightly and burgher classes. But still, the entire scientific community recognizes their originality.

Bibliography.

1. Carmina Burana, hrsg. v. Schmeller (Bibliothek des liter. Vereins in Stuttgart, B. 16) Du Méril, Poésies populaires. M. 2009

II. Literature

1. “Dictionary of Antiquity” (German: Lexikon der Antike) Leipzig Bibliographical Institute. Translation by M. Progress. 2002

2. Foreign literature Middle Ages. M. 1974

3. History of world literature: In 8 volumes M. T. 3 1994.

4. Literary encyclopedia: In 11 volumes - M. 1929-1939. T. 4

5. Materova E. V. Poetry of vagants: genesis and genres M. 2007

6. Purishev B.I. Reader on Western European literature of the 17th century L.1940; 2nd ed. 1949

M. L. Gasparov, Poetry of Vagants M. 1975

Lyrics of the vagants in translations by Lev Ginzburg. M., 1970.

M. L. Gasparov, Poetry of Vagants M. 1975

History of world literature: In 8 volumes T. 3 M. 1983-1994.

Lyrics of the vagants in translations by Lev Ginzburg. M., 1970.

M. L. Gasparov, Poetry of Vagants M. 1975

GOLIARD - from lat. gula, "throat", from which the word guliart, "glutton", could be derived in one 12th-century document. a person with this nickname is mentioned. But in addition, it was associated with the name of the biblical giant Goliath. The self-name of the Vagants, possibly taken from Sedulius Scott's phrase "Goliath's tribe".

Foreign literature of the Middle Ages. M. 1974, pp. 40-42.

Vagant poetry, its themes, ideas, meaning

The first examples of lyric and journalistic poetry appeared in the 12th century in Latin.

The creators of this unique poetry were declassed, mostly itinerant clergy, who had become detached from the spiritual environment in which they had been raised and were imbued with the free rebellious spirit of the urban poor.

Since the 12th century in France, Italy, Germany, England, this trend has intensified significantly due to the growth of schools and universities, with an increase in the number of Latin scholars. These students, most of them poor, wandered around the country during vacations, living on handouts that they received for singing their Latin songs. Since the 12th century they call themselves vagantes or goliards. They themselves mocked the second name from the name of the biblical pagan giant Goliath.

The work of the vagants is close in nature to folk poetry, from which it draws many motifs and images, but due to the education of the authors, the strong influence of ancient Roman poetry is noticeable in it. Among the Vagants one often encounters the names of pagan gods, description techniques borrowed from Virgil, and an understanding of love taken entirely from Ovid.

The poetry of the Vagants consists mainly of satirical songs and glorification of the joys of life. Vagants mercilessly denounce hypocrisy, deceit, greed, etc. They denounce the depravity and selfishness of bishops, rich prelates, as well as the parasitism and hypocrisy of monks. The vagantes contrast all this with carefree fun, intoxication with the joys of life, and the cult of Bacchus and Venus. Love in the songs of vagants always has an openly sensual character. Its subject is almost never a married woman; usually a girl, sometimes also a courtesan.

A tavern, a game of dice, love for a beauty, songs, jokes, wine - this is the ideal life of a vagante. Nothing disgusts him more than stinginess, seriousness, and an ascetic mood. The poetry of the vagants has found a well-known reflection in world literature. The quoted poem was translated into German by Bürger and suggested to Goethe his “Drinking Song.”

At one time, poetry influenced the lyrics of the troubadours and minnesingers. In the middle of the 13th century, spiritual and secular authorities began to take harsh measures against the “excesses” of wandering clerics, whose poetry finally died out in the 14th century.

1) Who are the vagantes?

Time of existence – XII-XIII centuries. Vagant is a placeless clergyman wandering along the roads of Europe. Actually, their name comes from the Latin verb vagari - to wander. Vagants were also called goliards.

It is difficult to judge the nationality of the vagants, but in general they were in many European countries - you can name Germany, England, France, Italy and Spain (in short, wherever there were universities: they studied there first, and then went to wander, not having received places, because in Europe at that time there was a glut of literate people).

The names of the vagants are also little known, because they did not strive for personal authorship, although the author’s self-awareness had already developed. But we managed to identify some - these are Primate Hugon of Orleans, Archipiita of Cologne and Walter of Chatillon (I will talk about them separately, because I don’t know which point they belong to). Why did they write anonymously? In terms of authorship, Latin vagant poetry presents a contrast with its contemporary - the Provascal poetry of the troubadours, in which the poems are firmly assigned to the names of the authors (but you're lying, my friend - N.K.), and legends are formed around these names. The poetry of the troubadours is aristocratic, each singer is proud of his name and his place, if not among other nobles, then among other singers, he feels the distance between himself and his fellow rival very keenly and tries to put his creative stamp on each poem. The poetry of the vagants, on the contrary, is plebeian. There is a lot of spiritual aristocracy in it, but there is no social aristocracy and individualism in it: all the vagantes are, firstly, clergy who remember that all mortals are equal before God, and secondly, poor people who feel much better about the community of their schoolboy position and education than the difference in their personal tastes and merits.

2) The traditional nature of their poetry.

3) Main recurring themes, plot situations and images. I'm combining these two questions because I don't know how to separate them.

Vagant poetry has two roots - one in antiquity, the other in Christianity. The main themes are the glorification of wine and carnal love and a satirical denunciation of the clergy.

As for the first topic, this is nothing more than a tribute to literary tradition: even if the vagant did not drink, he wrote poems in honor of Bacchus. Well, he also glorified love, paying his debt to tradition.

Many of the accusatory and satirical poems of the Vagants, if retold in prose, will turn out to be an ordinary variation of a medieval sermon on the theme of corruption of morals, equipped with reminiscences from ancient satirists (Horace, Juvenal, Persia). But through tradition, the denunciation of the clergy reflected the real state of affairs. It must be said that the love and bacchanalian themes of the vagants are never mixed, because they go back to different literary traditions.

Other themes: religious (various hymns to the saints, “Man’s Debate with Death”, drama “The Passion Play”), political (call for a crusade, lament for Richard the Lionheart), based on plots folk tales, ancient stories.

Vagant parodies.

Parody played a very important role in the culture of the Middle Ages. Any topic, any plot had a parody. But parody did not lead to discrediting the objects being parodied, but to a comic doubling of the world. The Vagantes parodied everything - starting with themselves and ending with the Gospels and divine services (“The Most Drunken Liturgy”).

Primate of Orleans (1130s-40s). The most down-to-earth and most individual poems. He writes about the gifts he begs for, or about the hardships that await him at every turn. The only one of the vagants who portrays his beloved not as a conventional beauty, but as a city harlot.

Archipiita of Cologne (60s). It is steep and finely chopped, which is why Arhipiita is nicknamed “the poet of poets.” Light and brilliant poems. The primate is always aimed at specific praise or blasphemy, A., on the contrary, willingly generalizes everything, but then still reduces everything to the most specific begging. He begs a lot, but accepts alms as something deserved. A bunch of reminiscences from the Bible and ancient poets. Naib. famous poem - “Confession”. Walter of Chatillon – 70-80s. He had the most orderly life, he almost never wandered, there was always some warm place. The most educated, so there are even more reminiscences. There are almost no begging poems, but there are satirical ones, where he denounces the clergy. The main subject of his denunciation is rich prelates, simony (trading in church positions) and nepotism (distributing the same positions according to kinship).