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  • noun

Words related to goliard

a wandering scholar in medieval Europe

References in periodicals archive ?
It shows that whatever names they used, the goliardic poets were generally not down-at-heel vagrants, but tended to be situated well up the ecclesiastical or courtly social ladder.
Walsh ("'Golias' and Goliardic Poetry," Medium Aevum 52 [1983]: 1-9), Goliath is trea ted as a type of the devil as opposed to David, the type of Christ.
Both Abelard and his pupil Hilary are described as fat, which was probably far from the truth, and many of the sexual and drunken exploits celebrated in the goliardic repertory were doubtless fictional bravado.
The latter tale is a revocation of goliardic exuberance in the past set against a spiritually besmirched present.
The original eyewimess report of this first recorded violation of Petrarch's tomb was originally made by the early seventeenth-century Paduan scholar Giacomo Filippo Tomasini who was much more solicitous of Petrarch's memory than today's Paduan tomb-raiders [unless the whole matter of the reopening of the tomb is, as one suspects (hopes) a goliardic hoax].
Perhaps he imitates the goliardic motif of the clerici vagantes in this sonnet (Waddell, 177-191); the twelfth-century Latin poets frequently used their positions as impoverished outsiders to castigate vice and the corruption of social and political institutions.
7) I have further suggested that similar intertextualizing arrangements are found among the lyrics of other manuscripts -- for instance, the Latin and English contrafacta of the Middle English `Cuckoo song' (`Sumer is icumen in') and its Latin Easter services counterpart, which are transcribed together and set to the same tune in London, British Library, MS Harley 978; and the pseudo-Ovidian `De vetula' juxtaposed to the Goliardic lyrics in London, British Library, MS Arundel 384.
8) In unpublished papers: on the `Cuckoo song'/`Easter song', to the International Neo-Latin Society's Triennial Conference in St Andrews (1982); on the `De vetula' and Goliardic lyrics, to the `Manuscripta' Medieval Conference at St Louis University in October 1983.
On the contrary, accentual harmony and clash were much the same in goliardic lyric and conductus - not surprisingly, since much of the former was either sung or couched in the rhythms of song, and much of the latter was indeed goliardic.
He begins with a reading of a goliardic comedy in Latin, Ugolino Pisani's Philogenia, in which the title character is seduced, betrayed, exploited by friends of the seducer, and married off to a doltish peasant with the connivance of a corrupt friar and two whores.
Of these models, a few are liturgical, and although a proportion ultimately stems from secular music, the overwhelming majority of its known sources is goliardic.
In turning her hand to the translation of all the known poems of the two most famous Goliardic poets of the twelfth century, those referred to as Hugh Primas and the Archpoet, Fleur Adcock brings to bear the experience she gained from her earlier collection of translation of medieval Latin lyric, The Virgin and the Nightingale: Medieval Latin Poems (Newcastle upon Tyne, 1983).
The most distinctive of the Archpoet's verse-forms is the so-called Goliardic verse, a thirteen-syllable line marked by a strong caesura after the seventh syllable and arranged in four-line rhyming stanzas, as in his most famous poem, Aestuans intrinserus ira vehementi, the only one of his to be included among the Carmina Burana.