MystTerra - В кабаке (In Taberna)

Band: MystTerra Album: Orbis Terrarum (The Earth's Circle) Genre: Ethno / Folk / Industrial Country: Russia Year: 2013 Pre-order: http://eng.soundage.org/shop/goods.php?razdel=soundage&type=cd&ptype=162&id=3010 Websites: http://www.myspace.com/mystterra --------------------------------------- About "Carmina Burana" --------------------------------------- The largest collection of Goliardic poetry to date is the Benedictbeuern Manuscript, also known as the Codex Buranus, or modernly as Carmina Burana. The manuscript, instead of being an individual book, was actually a collection of at least three different collections of poetry, and was discovered at the Benedictine Monastary in Upper Bavaria in the early 19th century. The manuscript, filled with immoral and sacriligous thought "...seems to have lived in a kind of stowaway existence, hidden to save it from the censor's gall..." (Waddell, MLL, pg. 330-31). At the time, such text would have been destroyed, but fortunately for us, some clever monks had the foresight to hide the illegal manuscripts, where they remained forgotten until two hundred years ago. Based on the evidence found, the collection is thought to have been written near the end of the thirteenth century, probably in the Bavarian region. The monastery of Benedictbeuern itself can be found today in Germany, the state of Bavaria, region of Oberbayern, in the Bad Tölz district. During the thirteenth century, this area was part of the Holy Roman Empire. Inside of the Carmina Burana, there are more than two-hundred poems and songs, including approximately forty-three that are meant to be sung (Waddell, MLL, pg. 331), "...but the melodies -- have unfortunately been lost..." (Zeydel, pg. 34). - --------------------------------------------------- "In Taberna" from Carmina Burana --------------------------------------------------- The drinking songs specifically are what makes the Carmina Burana legendary, and describes the spirit of the goliards most closely. "...nowhere does the spirit of vagabondage emerge more patently than in the songs of the tavern..." (Zeydel, pg. 19). These songs not only embody the rebellious nature of the vagabonds, in their urge to practice hedonism against the will of the church, but they also give the authors a chance to mock the very same church. "...Bacchus, the 'lofty deity', is addressed with all the reverance due an omnipotent god..." (Zeydel, pg. 83). Even the last line of In Taberna, "...et cum iustis non scribantur..." (may their names not be written in the book the just), this is a verbatim quote from common clerical prayers, and is used in this reference to blasphemy those beliefs. In Taberna was a drinking song, meant to put into words what everyone was feeling and experiencing while they were at the bar drinking. The sin of gambling was very often associated with drinking, so they two activities were often placed together in the eyes of the vagabonds. "...hand in hand with the bibulousness of the tavern goes worship of another god, Decius, the deity of gambling..." (Zeydel, pg. 19). The worship of ancient and forsaken gods was a slap in the face of the Catholic Church, treating their sanctity as something to laugh at and emulate. "...gods like Bacchus and Decius celebrated as though they were truly divine..." (Zeydel, pg. 25). The poetic form of In Taberna appears to be iambic quadrameter, lines containing eight syllables, with the odd-numbered syllables being accented over the even-numbered. The poem contains fifty-six lines, which are divided into seven verses of eight lines each, with each verse following an A-A-B-B-C-C-D-D pattern. The third and fourth verses are counting off drinks to different groups, and verses five and six follow a simple formula of describing different people drinking. These verses start to sound repetitious when read as a regular poem, but if you were actually reciting names of people and groups around you, it would make the performance nice and personal. More info here: http://www.thebluefool.com/society/artsci/IT_Report.pdf - - -