Carmina Burana

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Illumination in the Codex Buranus : The Wheel of Fortune (Rota Fortunae ) . Text next to the picture on the book page:
left - regnabo ('I will rule')
above - regno ('I rule')
right - regnavi ('I have ruled')
below - sum sine regno ('I am without rule')

Carmina Burana ( Latin for Beurer songs or songs from Benediktbeuern ) is the name of an anthology of 254 Middle Latin , rarely Middle High German , Old French or Provencal song and drama texts that was found in the library of the Benediktbeuern monastery in 1803 .

The texts were written in the 11th and 12th centuries (some not until the 13th century) by mostly anonymous poets. The Carmina Burana apply in addition to the older Cambridge Songs as the most important collection of Vagantendichtung .

The collection

The handwriting and its creation

The Carmina Burana have survived in a single manuscript , which was written around 1230 by two different scribes in an early Gothic minuscule on 119 sheets of parchment . Some poems were added in the 14th century on free sheets and another layer of parchment with a slightly different cut in an appendix. The manuscript sheets were bound to a small folio volume, the so-called Codex Buranus , in the late Middle Ages . As a result, the text got partly disordered, and part was probably lost. The manuscript contains eight miniatures : The Wheel of Fortuna, actually an illustration for the songs CB 14–18, which appeared as a frontispiece due to the errors in the binding ; a fantastic forest, a pair of lovers, scenes from the story of Dido and Aeneas , a drinking scene and three game scenes: dice , throwing table and chess are played .

Illumination in the Codex Buranus : The forest

Older research took it for granted that the manuscript originated at its place of discovery in Benediktbeuern. Today it is agreed that from the dialect of the Middle High German stanzas it must be concluded that the handwriting originated in the Bavarian language area, and from the characteristics of the writing typical for Italy that this happened on its southern edge. There are two hypotheses for the exact place of origin: One calls the bishop's court of Seckau in Styria ; suggests that a bishop Heinrich, who officiated there from 1232 to 1243, is mentioned as provost of Maria Saal in Carinthia in CB 6 * of the appendix and is therefore a possible client; that the marchiones ('Steiermärker') in CB 219.3 are mentioned first, ahead of Bavaria, Saxony and Austrians, indicates a spatial proximity; The accumulation of hymns to Catherine of Alexandria (CB 12 * and 19 * - 22 *) also fit the Seckau veneration of these saints. According to the other hypothesis, Neustift Abbey near Brixen in South Tyrol is the place of origin. This is supported by their open-mindedness, which is typical for a monastery of Augustinian Canons , the language peculiarities of the two scribes, whose mother tongue was not German, the mention of Briciavvia (= Brixen) in CB 95 and the beginning of a version of the Tyrolean corner song (CB 203a). The question has not yet been decided. There are also no sources on how the manuscript got to Benediktbeuern. The Germanist Fritz Peter Knapp suspects that this happened around 1350, when the Bavarian Wittelsbachers were enfeoffed with Tyrol and thus Benediktbeuern and Neustift had bailiffs from the same family.

The topics

The Carmina Burana are divided into four groups:

  1. 55 moral and mocking songs (CB 1–55)
  2. Love songs - the largest group with 131 examples (CB 56–186)
  3. 40 drinking and play songs (CB 187–226)
  4. two longer sacred plays (CB 227 and 228)

This thematic structure is not strictly adhered to: CB 122-134, which actually belong to the group of love songs, are lamentations , a satire and two didactic poems about animal names. It is considered likely that there was originally a group with sacred songs, but they are lost. The appendix contains 21 mixed songs, some of which are of spiritual content, a prose prayer to Saint Erasmus and four other spiritual games, some of which have only survived in fragments . Within each of these groups, the Carmina Burana are arranged according to thematic criteria, e.g. B. Turning away from the world (CB 24–31), crusade songs (CB 46–52) or processing of ancient materials (CB 97–102), in addition to which there are also formal-metric classification criteria.

Other frequently recurring topics are criticism of simony and greed for money in the church, which quickly spread with the advent of the money economy in the 12th century (CB 1–11, 39, 41–45), lamentations (so-called Planctus ), e.g. B. about the ups and downs of human fate (CB 14-18) or about death (CB 122-131), the hymnically celebrated return of spring (CB 132, 135, 137, 138, 161, etc.), the - sometimes violent - seduction of a shepherdess by a knight , student or cleric (the so-called Pastourelle , CB 79, 90, 157–158) and the description of love as military service (CB 60, 62 and 166), a topos that was known from Ovid's elegies of love . This poet and especially his erotic elegies are received, imitated or exaggerated in the Carmina Burana: This is shown in a very frank and sometimes drastic representation of sexual acts . In CB 76, for example, the lyrical ego boasts an almost ten-hour act of love with the goddess of love Venus personally (sternens eam lectulo / fere decem horis) . Homosexuality , which, following ancient models, is not alien to clerical poetry of the Middle Ages , is completely absent in the Carmina Burana.

Illumination in the Codex Buranus : Wurfzabel player

The numerous descriptions of an almost paradisiacal well-being (CB 195–207, 211, 217, 219), for which even the authority of the ancient philosopher Epicurus is claimed (CB 211), are also typical . CB 219 describes e.g. B. the ordo vagorum , the "order of the vagabonds", to which people from all countries and clerics of various ranks are invited - the presbyter cum sua matrona is also allowed to come, the " pastor with his wife", whom he actually does not have due to celibacy may. The parodistic rules of the order command late waking up, plenty of food and drink, and regular dice games. They are described in such detail that older research actually believed in the real existence of such an order of idlers and gourmets. In this pronounced this-sidedness and freedom from moral and class-related ties, there is "a feeling for the world and life that stands in stark contrast to the medieval world of firmly established orders". A utopian alternative world can be seen here, which the literary scholar Christine Kasper classifies in the prehistory of the European idea of ​​the land of milk and honey. This can be found for the first time at about the same time in an old French Fabliau , in which the country "Cocania" is described; and in CB 222 an abbas Cucaniensis is mentioned, an " abbot of Kukanien" who presides over a group of dice players.

Not only religious rules, but also other sacred types of text are parodied in the Carmina Burana: The confession provides the form for the so-called vagante confession of the Archipoeta , probably the most famous piece of the Carmina Burana (CB 191): the poet confesses everything to his patron Rainald von Dassel what his court says badly about him, but in the course of the text the confession becomes a “justification, even more: the demand for the right to live a life according to one's own law”. CB 215 is a mass that is not about Father, Son and Holy Spirit , but about Decius , the spirit of the dice game often quoted in the Carmina Burana: Fraus vobis! - Tibi leccatori! - "deceit be with you - also with you, you lecher!" Also the Gospel is above the jokes the poet unsure: CB 44 is the Sanctum gospel secundum Marcas argenti - "the holy gospel according to the marks of silver " - instead of the Mark the Evangelist .

The problem of how these blasphemous or sensuous, sometimes crude and obscene songs, to which the Carmina Burana owes their fame, to the serious secular or spiritual texts of the collection, is solved differently in research. Older research saw no contradiction in this at all; the coexistence of coarse fun and high moral seriousness showed a holistic “will to live” of the “full-blooded people” of the Middle Ages full of life. The philologist Helga Schüppert emphasizes that these texts are by no means blasphemous, they merely convey secular content in Christian forms, the Christian faith is not affected. Fritz Peter Knapp, on the other hand, is convinced that the blasphemous and indecent chants should be read as satires because of their " hyperbolic and caricaturing character": They are an example of the "medieval custom of mixing in counterexamples of the reprehensible moral ideals for demonstration purposes".

The forms

“In Buranus , there is an abundance of strictly regulated forms, the two-syllable rhyme unfolds with such purity, certainty and resourcefulness that it often goes as far as sophistication. If you want, you can also take this lust for the ears as a sign of secularization , [...] "

That is the verdict of Josef Eberle , one of the editors and translators of Carmina Burana. Their lyrical dimensions vary greatly, but a large part of the Carmina Burana is written in the vagante stanza. This consists of four vagant lines , eight-part trochaic verses in paired rhymes . Other accentuating measures are the corpse originating from the church chant and the sequence , which is based on the repetition of certain melody parts. Many Carmina also have individual, sometimes highly complex rhythms and rhyme schemes. In addition to the accentuating meters, there are also regularly quantifying meters , similar to those used in Ovid or Horace . In the Carmina Burana, however , hexameters and pentameters often have a caesura rhyme that was not known in ancient poetry (so-called Leonine verse ). In some songs (e.g. CB 65, 71 or 110) accenting parts are mixed with quantifying parts.

In the drinking songs in particular, there are refrains that are identified by the abbreviation “refl.” (For the old French “refloit”). These refrains sometimes contain the vernacular parts, but their function has not yet been clarified: In addition to the thesis that women who were unable to study and thus also know Latin in the Middle Ages should have the opportunity to sing along, it is assumed that the German refrains from German original songs z. B. came from Walther von der Vogelweide , whose stanzas were translated into Latin as a kind of translation exercise in the cathedral or monastery school in the place of origin; a third thesis is that the - well-known - German refrain indicated the melody so that the singers could also have sung the Latin stanzas.

The different forms also serve as a structuring principle over large areas: The first group of love songs (CB 56–73) consists of sequences and corpses, the second of stanzas (CB 74–99). It is also evident that the song groups are often accompanied by sentences in non- singable, quantifying measures - as a “moral framework”, so to speak, for the lively songs. CB 18 e.g. B. is a rather dry collection of proverbs and quotes about the unpredictability of Fortuna and completes the group of singable songs on the same topic. The length of the songs varies greatly. Like CB 192, the shortest consist of just two elegiac distiches , the longest - CB 92, in which two young women argue about whether knights or clerics are better lovers - measures 79 vagant stanzas.

In 40 songs, the Codex Buranus also contains notations of the melodies in the form of lineless neumes , which only roughly reproduce the melodic progression. For thirteen of the neumed songs, however, the original medieval melodies can also be reconstructed through parallel transmission in other manuscripts.

the authors

Little or nothing is known about the authors. Only a few Carmina can be assigned to individual authors, such as Hugo von Orléans († around 1160), the poet known as Archipoeta († after 1165), the French Walter von Châtillon († 1201), the Breton Petrus von Blois († 1203) . Some of the German appendix stanzas have been passed down with other names of the authors and can thus be assigned to the German minstrels Dietmar von Aist († after 1170), Heinrich von Morungen († 1222), Walther von der Vogelweide († 1228) and Neidhart († around 1240) . The only poems handed down by name are those of the so-called Marner , a Swabian traveling poet, and can be found in the appendix. Several poems also come from ancient poets, such as Ovid, Horace, Iuvenal or Ausonius . For two thirds of the Carmina, however, there is no parallel tradition. These anonymous texts seem to come to a large extent from goliards or vagantes (from Latin: vagari , “to roam”), students of theology or clerics who travel back and forth between the various medieval universities and who have not yet found or lost benefices had. They often had to beg or scorch their livelihoods - one of the reasons that a good part of the moral songs are devoted to condemning too little generosity (e.g. CB 3, 9, 11, and 19-21). The authors show a broad knowledge of ancient mythology , which they make extensive use of in metonymies and allegories and which they easily combine with quotes from the Bible : In CB 194, for example, Lyaeus , an ancient epithet of the wine god Dionysus , is casually closed next to the wedding Cana mentions, in which Jesus of Nazareth is said to have turned water into wine ( Jn 2 : 1–12  EU ).

The broad, classical education of the authors and their elegance in versing and dealing with the Latin language show that they were in truth not run-down traveling students, but at most nurtured memories of busy student and traveling years: “Elderly gentlemen, clergy, lawyers, medical professionals , ... but above all the teachers of the Latin language ”. Often the adventurous journeys of the traveling scholars were just a myth and a literary topos, from which one cannot directly infer the reality of medieval life. The manuscript is therefore by no means to be understood as a songbook for traveling students, but as a collection of various poetic texts for the delight of theologically and classically educated people.

This academic-clerical milieu of most of the authors of the Carmina Burana marks the difference to the courtly-chivalrous minnesang , the early form of which the Middle High German love songs in the collection appear. Even the concept of love , love that is increased or sublimated to an ethical value, which was upheld by the vernacular lay nobility culture of minstrels and troubadours , does not appear in the Carmina Burana. For the former or still traveling clergy, love - which is thought to be physical - is not a social or ethical value, not a meaning in life , but simply a natural necessity in view of the protagonists' youth.

Rediscovery and edition history

Benediktbeuern Monastery

The Benediktbeurer manuscript was unknown for a long time. It lay undiscovered and probably secreted in the library of the Benediktbeuern monastery . When the monastery was abolished in the course of secularization in 1803 , it was discovered by the librarian Johann Christoph von Aretin , who had to transfer the holdings there to the Bavarian State Library in Munich , where the Codex Buranus is today (shelf number: clm 4660 / 4660a). At first Aretin took the codex against all conservation considerations as a travel reading and soon wrote to a friend that he was pleased to have discovered "a collection of poetic and prosaic satyrs, mostly against the papal chair ". The first excerpts, including all Middle High German texts, were published by Aretin's colleague Bernhard Joseph Docen in 1806, and Jacob Grimm submitted additional parts in 1844. It was not until 1847, over forty years after Aretin's discovery, that Johann Andreas Schmeller published the first complete edition of the Carmina Burana. The misleading title comes from him, because the songs and dramas collected in the Codex Buranus do not come from Benediktbeuern. Schmeller arranged the mixed up locations for the first time and tried to break them down according to " Scherz " and " Ernst ", but this did not prevail in the following. The arrangement that is still common today was restored in the first text-critical edition of Carmina Burana, which Alfons Hilka and Otto Schumann presented from 1930. It is based on the preliminary work of the Munich philologist Wilhelm Meyer , who found some missing pages of the Codex Buranus in old book covers . He was able to emend several corrupted text passages from parallel traditions .

The Carmina Burana became known to a wider audience through editions aimed at corporate students . In 1876, Hermann Hagen presented a selection that was intended to complement every Kommers book . The selection that Rudolf Peiper published in 1879 under the title “Gaudeamus!” Was aimed at the same audience. In 1879 the Munich poet Ludwig Laistner published it under the title Golias. Medieval student songs a first translation of some Carmina Burana . Laistner had not only translated the 27 songs of his selection, making an effort to translate the tone and meter of the originals into the German of his time, but also commented, edited and re-composed several missing Latin verses himself. This version was reissued until the 1960s and has only recently been replaced by newer translations.

reception

19th and early 20th centuries

The songs collected in the Codex Buranus were very popular in educated circles throughout medieval Europe. This is shown by the discovery of two wooden sticks in Bergen , Norway , on which verses from carmina 71 and 88 are carved in runic script . At the beginning of the modern era they were increasingly forgotten until the manuscript was rediscovered and published in the 19th century. But even then, the Carmina Burana was known almost exclusively in intellectual circles for a long time: On the one hand, among corporate students who included some songs in their Kommersbuch: in the Allgemeine Deutsche Kommersbuch there is, for example, CB 143, the drinking song Ecce gratum et optatum for a song composed in 1895 Melody by Philipp Gretscher . On the other hand, the Carmina Burana were popular with nationally minded scholars, because with their seemingly unaffected vitality and their cheerful anti-clericalism, a national romantic image of the Middle Ages could be supported.

Orff's Carmina Burana

Portrait of Carl Orff as an aquatint etching

That changed in 1937, when the scenic cantata Carmina Burana in the opera to Frankfurt premiered. The composer Carl Orff came across the Latin text in the Schmeller edition in 1935 and processed 24 of the songs into a choral work . It is divided into an introductory part with the self-formulated title Fortuna Imperatrix Mundi (Fortuna, ruler of the world), which contains CB 17 and 16, and three main parts:

  • Primo vere and Ûf dem anger with the Latin spring songs CB 138, 136, 143 and 149 and several Middle High German pieces: Maria Magdalena's song from the Passion Play CB 16 *, CB 167a, 174a and 145a
  • In taberna , the Vaganten's feeding and drinking songs with CB 191, 130, 222 and 196
  • Cour d'amours and Blanziflor et Helena with the love songs CB 87, 118, 177, 180, 183, 174, 70, 179 and 77. A repetition of the opening choir O fortuna , which will become one of the most popular pieces of serious music of the 20th century should round off the work.

Recordings in the present

Since then, the Carmina Burana has been repeatedly re-recorded by various music groups. Some ensembles that feel committed to historical performance practice tried to reconstruct the original melodies from the traditional new notations, such as Clemencic Consort , Bärengässlin , Ensemble Unicorn / Ensemble Oni Wytars (under the direction of Michael Posch and Marco Ambrosini , 1997) or Boston Camerata (directed by Joel Cohen, 1996).

Numerous pop and rock musicians, often from the field of medieval music, presented interpretations of individual songs from the Carmina Burana, either based on Orff's implementation or as their own composition. Examples are Ougenweide (1976), Ray Manzarek (1983), Therion (2000), In Extremo (2001), Helium Vola (2004) and Corvus Corax with their Cantus Buranus albums (2005 and 2008).

literature

Text and melody output as well as translations

  • Carmina Burana. Facsimile edition of the manuscripts Clm 4660 and Clm 4660a, ed. by Bernhard Bischoff . Prestel, Munich 1967.
  • Carmina Burana. Using the preliminary work of Wilhelm Meyer's crit. Ed. v. Alfons Hilka and Otto Schumann , completed by Bernhard Bischoff. Winter, Heidelberg 1930–1970.
  • Carmina Burana. The songs of the Benediktbeurer manuscript. Complete edition of the original text based on the critical edition by Alfons Hilka and Otto Schumann completed by Bernhard Bischoff. Translation of the Latin texts by Carl Fischer and the Middle High German texts by Hugo Kuhn . Comments and epilogue by Günter Bernt. Artemis, Zurich 1974; dtv, Munich 1979, ISBN 3-423-02063-6 .
  • Carmina Burana. Texts and translations. With the miniatures from the manuscript and an essay by Peter and Dorothee Diemer, ed. by Benedikt Konrad Vollmann . Deutscher Klassiker-Verlag, Frankfurt am Main 1987 (= Library of the Middle Ages, Volume 13); as paperback 2011, ISBN 978-3-618-68049-9 .
  • Carmina Burana. Songs from Benediktbeuren. Complete bilingual edition. Translation from Latin by Matthias Hackemann, from Middle High German by Ulrike Brandt-Schwarze, with a glossary by Matthias Hackemann. Anaconda, Cologne 2006, ISBN 3-86647-030-4 .
  • Psalterium Profanum. Secular poems of the Latin Middle Ages , Latin and German, ed. u. trans. by Josef Eberle. Manesse, Zurich 1962.
  • René Clemencic, Michael Korth: Carmina Burana. Complete edition of the medieval melodies with the corresponding texts. Heimeran, Munich 1979, ISBN 3-7765-0274-6 .

Secondary literature

  • Edward Dickinson Blodgett, Roy Arthur Swanson: The Love Songs of the Carmina Burana , Garland, New York 1987.
  • Johann Drumbl : Studies on the Codex Buranus. In: Aevum: rassegna di scienze storiche, linguistiche e filologiche . 77, 2003, pp. 323-356.
  • Fritz Peter Knapp: The literature of the early and high Middle Ages in the dioceses of Passau, Salzburg, Brixen and Trient from the beginnings to 1273 (= Herbert Zemann (Hrsg.): History of literature in Austria from the beginnings to the present , vol. 1 ). Academic Printing and Publishing Company, Graz 1994.
  • Walther Lipphardt: On the origin of the Carmina Burana . In: Egon Kühebacher (Ed.): Literature and fine arts in the Tyrolean Middle Ages , Innsbruck 1982, pp. 209–223.
  • Max Manitius : History of Latin Literature in the Middle Ages, Volume Three : From the outbreak of the church dispute to the end of the 12th century , CH Beck, Munich 1931.
  • Dietz-Rüdiger Moser: vagabonds or vagabonds? Notes on the poets of Carmina Burana and their literary works. In: Ursula Brunold-Bigler, Hermann Bausinger (Ed.): Listening, Saying, Reading, Learning. Building blocks for a history of communicative culture. Festschrift for Rudolf Schenda for his 65th birthday . Peter Lang, Bern n.d., pp. 513-532.
  • Olive Sayce: Plurilingualim in the Carmina Burana. A Study of the Linguistic and Literary Influence on the Codex. Kümmerle, Göttingen 1992.
  • Georg Steer: Carmina Burana in South Tyrol. On the origin of the clm 4660. In: Zeitschrift für deutsches Altertum 112 (1983), pp. 1–37.
  • Burghart Wachinger : German and Latin love songs. To the German stanzas of Carmina Burana. In: Hans Fromm (Ed.): The German Minnesang. Essays on his research , vol. 2 (= ways of research 608). Wissenschaftliche Buchgesellschaft, Darmstadt 1985, pp. 275-308.
  • Tristan E. Franklinos, Henry Hope (Ed.): Revisiting the Codex Buranus: Contents, Contexts, Composition , Woodbridge 2020. [1]

Web links

Commons : Carmina Burana  - collection of images, videos and audio files

Individual evidence

  1. ↑ Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition, ed. u. trans. v. Carl Fischer and Hugo Kuhn. dtv, Munich 1991; if, on the other hand, z. B. CB 211 and 211a each count as two songs, one comes to a total of 315 texts in the collection, including Dieter Schaller , Volker Mertens, Joachim M. Plotzek et al .: Carmina Burana . In: Lexicon of the Middle Ages (LexMA). Volume 2, Artemis & Winkler, Munich / Zurich 1983, ISBN 3-7608-8902-6 , Sp. 1513-1517.
  2. ↑ Peter and Dorothe Diemer: The Carmina Burana . In: Benedikt Konrad Vollmann (Ed.): Carmina Burana. Text and translation . Deutscher Klassiker Verlag, Frankfurt am Main 1987, p. 898
  3. ↑ a b c d e f g Dieter Schaller , Volker Mertens, Joachim M. Plotzek et al .: Carmina Burana . In: Lexicon of the Middle Ages (LexMA). Volume 2, Artemis & Winkler, Munich / Zurich 1983, ISBN 3-7608-8902-6 , Sp. 1513-1517.
  4. ↑ Max Manitius: History of Latin Literature of the Middle Ages, Vol. 3: From the outbreak of the church dispute to the end of the 12th century (= Handbook of Classical Studies , newly edited by Walter Otto, Abt. IX, Part 2, Vol. 3). CH Beck, Munich 1931, p. 966.
  5. ↑ Walter Bischoff (ed.): Carmina Burana I / 3. Heidelberg 1970, p. XII; Walther Lipphardt: On the origin of the Carmina Burana . In: Egon Kühebacher (Hrsg.): Literature and fine arts in the Tyrolean Middle Ages , Innsbruck 1982, pp. 209–223.
  6. ^ Georg Steer: Carmina Burana in South Tyrol. About the origin of the clm 4660 . In: Zeitschrift für deutsches Altertum 112 (1983), pp. 1–37; Olive Sayce: Plurilingualim in the Carmina Burana. A Study of the Linguistic and Literary Influence on the Codex . Kümmerle, Göttingen, 1992; Fritz Peter Knapp: The literature of the early and high Middle Ages in the dioceses of Passau, Salzburg, Brixen and Trient from the beginnings to 1273 (= Herbert Zemann (Hrsg.): History of literature in Austria from the beginnings to the present, vol. 1 ). Akademische Druck- und Verlagsanstalt, Graz 1994, p. 410 f.
  7. ↑ Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition . Ed. U. trans. v. Carl Fischer and Hugo Kuhn. dtv, Munich 1991, p. 838.
  8. ↑ a b c Fritz Peter Knapp: The literature of the early and high Middle Ages in the dioceses of Passau, Salzburg, Brixen and Trient from the beginnings to 1273 (= Herbert Zemann (Ed.): History of literature in Austria from the beginnings to the present , Vol. 1). Akademische Druck- und Verlagsanstalt, Graz 1994, p. 410.
  9. ↑ Peter and Dorothe Diemer: The Carmina Burana . Deutscher Klassiker-Verlag, Frankfurt a. M. 1987, p. 898; Burghart Wachinger doubts this assumption: love songs from the late 12th to the early 16th century . In: Walter Haug (Ed.): Middle Ages and Early Modern Times. Transitions, upheavals and new approaches (= Fortuna vitrea, vol. 16). Tübingen 1999, p. 10 f.
  10. ^ Hermann Unger: De Ovidiana in carminibus Buranis quae dicuntur imitatione . Strasbourg 1914.
  11. ↑ Fritz Peter Knapp: The literature of the early and high Middle Ages in the dioceses of Passau, Salzburg, Brixen and Trient from the beginnings to 1273 (= Herbert Zemann (Hrsg.): History of literature in Austria from the beginnings to the present, vol. 1). Akademische Druck- und Verlagsanstalt, Graz 1994, p. 416.
  12. ^ Evidence from Helga Schüppert: Church criticism in the Latin poetry of the 12th and 13th centuries . Wilhelm Fink, Munich 1972, p. 185.
  13. ^ Rainer Nickel : Carmina Burana . In: Wilhelm Höhn and Norbert Zink (eds.): Handbook for Latin teaching. Secondary level II . Diesterweg, Frankfurt am Main 1979, p. 342
  14. ↑ Christine Kasper: The land of milk and honey moves into the city. From land of plenty to paradise for social parasites . In: Yearbook of the Oswald von Wolkenstein Society 7 (1992/93), pp. 255–291.
  15. ↑ Thomas Cramer: The genius and the physics. To 'Estuans intrinsecus' of the Archipoeta . In: Silvia Bovenschen, Winfried Frey et al. (Ed.): The text that has become strange. Festschrift for Helmut Brackert . Walter de Gruyter, Berlin, New York 1997, pp. 1-10 (the quotation p. 2).
  16. ↑ Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition. 5th edition, dtv, Munich 1991, p. 629.
  17. ↑ Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition. 5th edition, dtv, Munich 1991, p. 117.
  18. ↑ So 1923 Paul Lehmann: The Latin Vagantendichtung , today accessible in: Middle Latin poetry. Selected contributions to their research , ed. v. Karl Langosch (= Paths of Research 149), Wissenschaftliche Buchgesellschaft, Darmstadt 1969, p. 406.
  19. ^ Helga Schüppert: Church criticism in Latin poetry of the 12th and 13th centuries . Wilhelm Fink, Munich 1972, p. 196 f.
  20. ↑ cit. after Joachim Schickel, Carmina Burana, in: Kindlers Literatur Lexikon . Kindler, Zurich 1964, p. 1794.
  21. ↑ For a discussion of the function of multilingualism in the Carmina Burana see Ulrich Müller: Multilingualism and language mixing as a poetic technique. Barabarolexis in the Carmina Burana . In: Wolfgang Pöckl (Ed.): European multilingualism. Festschrift for the 70th birthday of Mario Wandruszka . Tübingen 1981, pp. 87-104; Olive Sayce: Plurilingualism in the Carmina Burana. A Study of the Linguistic and Literary Influence on the Codex . Kümmerle, Göttingen, 1992, pp. 21-24 and p. 192.
  22. ^ René Clemencic, Michael Korth: Carmina Burana. Complete edition of the medieval melodies with the corresponding texts. Heimeran, Munich 1979
  23. ↑ Eberhard Brost: Afterword . In: Carmina Burana. Songs of the Vaganten, Latin and German after Ludwig Laistner . Lambert Schneider, Heidelberg 1964, p. 213.
  24. ^ Stephanie Irrgang: Peregrinatio Academica. Migrations and careers of scholars from the universities of Rostock, Greifswald, Trier and Mainz in the 15th century . Franz Steiner, Wiesbaden 2002, p. 10 fuö.
  25. ^ Udo Kühne: German and Latin as languages ​​of poetry in the "Carmina Burana" . In: PBB 122 (2000), p. 61
  26. ↑ Munich, Staatsbibl., Clm 4660 in the manuscript census
  27. ↑ Also on the following s. Franz X. Scheuerer: On the philological work of JA Schmeller and its scientific reception. A study on the history of science in German studies . de Gruyter, Berlin and New York 1995, p. 64
  28. ↑ cit. after Joachim Schickel: Carmina Burana . In: Kindlers Literature Lexicon . Kindler, Zurich 1964, p. 1794.
  29. ↑ Bernhard Joseph Docen: Miszellaneen for the history of German literature , Vol. 2, 1807, pp. 189-208
  30. ↑ Jacob Grimm: Poems of the Middle Ages on King Friedrich I the Staufer and from his as well as the next period . In philological and historical treatises of the Royal Academy of Sciences in Berlin. From 1843 , Berlin 1845, pp. 143-254
  31. ↑ Carmina Burana. Latin and German songs and poems from a manuscript of the XIII. Century from Benedictbeuern on the k. Library of Munich , ed. by JAS [ie Johann Andreas Schmeller]. In: Library of the literary association in Stuttgart XVI, 1, Stuttgart 1847
  32. ↑ Eberhard Brost: Afterword . In: Carmina Burana. Songs of the Vaganten, Latin and German after Ludwig Laistner . Lambert Schneider, Heidelberg 1964, p. 200.
  33. ↑ Carmina Burana. Using the preliminary work of Wilhelm Meyers Kritisch ed. v. Alfons Hilka and Otto Schumann, 2 volumes. Heidelberg 1930.
  34. ↑ Fragmenta Burana , ed. v. Wilhelm Meyer. In: Festschrift to celebrate the hundred and fifty years of existence of the Royal Society of Sciences in Göttingen , phil.-hist. Klasse, Berlin 1901, pp. 1–190.
  35. ↑ Carmina clericorum. Student songs of the Middle Ages. Edidit domus quaedam vetus [ie Hermann Hagen]. Supplement to every Commers book , Henninger, Heilbronn 1876
  36. ↑ Gaudeamus! Carmina vagorum selecta in usum laetitiae , Teubner, Leipzig 1877
  37. ↑ Ludwig Laistner: Golias. Student songs of the Middle Ages. From the Latin . Spemann, Stuttgart 1879.
  38. ↑ Psalterium Profanum. Secular poems of the Latin Middle Ages, Latin and German , ed. u. trans. by Josef Eberle. Manesse, Zurich 1962. Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition, ed. u. trans. v. Carl Fischer and Hugo Kuhn. Artemis-Verlag Vienna / Munich 1974. Carmina Burana. Latin - German , ed. and, trans. by Günter Bernt. Reclam-Verlag, Ditzingen 1992
  39. ↑ Carmina Burana. The songs of the Benediktbeurer manuscript. Bilingual edition. dtv, Munich 1991, p. 861
  40. ^ Clemencic Consort
This version was added to the list of articles worth reading on November 8, 2008 .