goliard

The text proceeds from long and stately verses with rich rhymes to short, staccato stanzas, from lines with many liturgical overtones to lines reminiscent of the goliards. Indeed the whole play reminds one of those medieval tapestries in which the combined wealth of colour, pattern, and movement creates a jewel-like impression.

But let me come back to Cape Goliard with what I've already offered to you and Tarn: It Was and Arise, Arise.

The addition of gula and other popular etymologies to the name was merely in response to the goliard's pose of affecting debauchery of various kinds.

Wilson (private printing, 1980), The Blossom or Billy the Kid, signed by director Robert Cordier, (Great Lakes Books, 1967), Love Lion Book (Four Seasons Foundation, 1966), Dark Brown, with cover illustration by Wallace Berman, (Cape Goliard, 1969), Untitled, with Bruce Conner, Dave Haselwood (1966).

The rest of the American songbook wouldn't be out of place in the repertoire of a medieval troubadour or goliard. We sing of falling in love and out of love.

The bilingual edition of Catullus published in 1969 by Grossman in the US and concurrently, in a handsome deluxe edition, by Cape Goliard in the UK, represented a labor of love that had occupied both Celia and Louis Zukofsky off and on for just under a decade.

Their earlier collaboration, Our Word: Guerilla poems from Latin America, had been published by Cape Goliard and Grossman in 1968 and marked the beginnings of awareness of Latin American literature in gringo consciousness.

goliard Medieval Latin goliardus, from Old French golias, gouliart gourmand, glutton, riotous liver, perhaps ultimately from a Germanic verb akin to Middle High German goln to shout, jest, behave unrestrainedly, Gothic goljanto greet; influenced in sense by association with Old French golethroat, gluttony

The avant-garde inclusions are clustered in two or three groups (although it shou ld be borne in mind that these "groups" are my sleight-of-hand; they should not be considered "movements"): (1) the poets who came to initial prominence in the 1960s, through publication by the pioneering Fulcrum and Goliard small presses (Roy Fisher, Gael Turnbull, Lee Harwood, Tom Raworth, and Tom Pickard); (2) the Cambridge group to which the absent J.H.

Ruiz derived his material from a wide range of literary and other sources, including the Bible, Spanish ecclesiastical treatises, Ovid and other ancient authors, the medieval goliard poets, fabliaux, various Arabic writings, and popular poetry and songs, impressing upon all these the cheerful cast of mind of a worldly, ribald, curiously learned priest.

At this point, he became the editor of one of the more enduringly interesting publishing ventures of the time: Tom Raworth's experimental Goliard Press teamed with the more staid Jonathan Cape publishers to produce Cape Editions, a series of small, handsome paperbacks of a rich variety of subjects, themes, and writers for the times: from the poetry of Neruda, to Olson's Mayan Letters, to Barthes, Levi-Strauss, to Malcom Lowry, to Francis Ponge, to Trakl, to Fidel Castro, to Adalbert Stifter.

Helen Waddell was to achieve literary fame as expositor of the world of the medieval goliards. Her books, The Wandering Scholars and the novel, Peter Abelard, were well received.

The poems were written in the twelfth and thirteenth centuries by students and clergy known as Goliards, who satirized and mocked the Catholic Church, mostly in Medieval Latin, but also in Middle High German and Provencal French.