Carmina Burana: os goliardos e suas críticas contra o sistema social e clerical, por meio da música e da poesia nos séculos XII E XIII

Abstract

This research is an analysis of the manuscript Carmina Burana, written by a group of wandering poets called goliards. The goliards were students, intellectual clerics, who lived mainly in the universities of Paris between the 12th and 13th centuries, and who wrote their poems in Latin. Due to the content of the poems they were mostly anonymous poets. This research was composed of two chapters, where in the first we present our source and who were these poets, as what was written about the goliards. In the second, we have the analysis of their poems, aiming to deepen the knowledge about the goliards as a group, as well as the motivation of the criticism aimed at the clergy. Because of the satirical content of their poems, they were persecuted by the Church. Due to the criticism towards the clergy, they suffered several punishments through councils, until they disappeared in the middle of the 13th century. However, it is worth emphasising that the criticisms made by the goliards were not directed at the whole Church, but only at some clerics. This group of intellectuals had no interest in changing anything in the existing order, neither did they wanted to foment a revolution. They were not even a homogeneous group, in fact, there were poets who extended from clerics and professors, as well as poor students. Therefore, we observe that the goliards wrote what they lived, and exposed the mistakes made by those who did not follow the rules that they were demanding to be followed by the students, the teachers and even the population. But the goliards did not write only criticism of society, they also wrote poems that spoke of love, of games and other things that were part of the daily life of these students, who liked to sing and have fun. They were intellectuals, who wrote for other intellectuals.The manuscript Carmina Burana is part of the German national treasure and became best known when it was used by Carl Orff in his scenic cantata composed in medieval Latin in the 20th century.