Mottram describes the London Cape Goliard
edition of The Last Words of Dutch Schultz as a cinematic text beginning with "four full-page images of a man shot in a street, the original movie shot sequence reduced to a minimum graphic immediacy of violence.
90, on the comparison with the goliards
'die zu gleicher Zeit bezeugt sind', with reference to Faral, Les Jongleurs, pp.
The international background of goliardic songs and paraliturgical compositions also warns us of the futility of trying to pronounce Latin according to habits of a particular time and place, be it Fleury, Dublin, or Trier; or the Beauvais in the mid-twelfth century: the Latin of the goliards
knew no national boundaries and Ralph, an Englishman, was a pupil of Abelard, Breton born of Poitevin stock.
Furthermore, any analysis of the roundel's seventeen decimas and final quatrain rapidly reveals that there is not a single reference to any identifiable aspect of India and that the composition abounds in topoi of the most general and banal kind with which social types had been lampooned and lambasted from at least the time of the Goliards
Far from being an aberration, the goliards
were the driving force of Latin rhythmic poetry, sacred and profane.
But it is a life of the mind tempered with the human touch, a foretaste of the European goliards
to come: the charm of these scholars lies in 'the blend of massive dignity with a sort of childlike directness in living.
Such associations extend the Arlecchino's links backward to medieval extempore players and goliards
in Italy and France, while they illuminate commedia's continuing development during the mid sixteenth century in carnival, rustic farces, and dialect theater with lured types.
This book is about the tavern and its associated thematics in a group of twelfth- and thirteenth-century `comico-realist' texts, not just in the well-known Arras dramas of Le Jeu de saint Nicolas, Courtois d'Arras, and Le Jeu de la feuillee but also in a selection of fabliaux, in the poetry of the Goliards
, and in Rutebeuf's poems of misfortune, the only work specifically excluded being the Roman de Renart.
Significantly, there is no mention of the goliards
either in this article or in the index to the book.
In the Sorbonne the students held debates in Latin; there were even goliards