"In taberna quando sumus" (English: "When we are in the tavern") is a medieval Latin Goliardic poem, part of the collection known as the Carmina Burana , written between the 12th and early 13th centuries. [1] It was set to music in 1935/36 by German composer Carl Orff as part of his Carmina Burana which premiered at Frankfurt Opera on 8 June 1937. Within Orff's Carmina Burana, this drinking song is the 14th movement in section 2, In Taberna. The poem is largely in trochaic tetrameter.
In taberna quando sumus,
non curamus quid sit humus,
sed ad ludum properamus,
cui semper insudamus.
Quid agatur in taberna
ubi nummus est pincerna,
hoc est opus ut queratur,
si quid loquar, audiatur.
Quidam ludunt, quidam bibunt,
quidam indiscrete vivunt.
Sed in ludo qui morantur,
ex his quidam denudantur
quidam ibi vestiuntur,
quidam saccis induuntur.
Ibi nullus timet mortem
sed pro Baccho mittunt sortem:
Primo pro nummata vini,
ex hac bibunt libertini;
semel bibunt pro captivis,
post hec bibunt ter pro vivis,
quater pro Christianis cunctis
quinquies pro fidelibus defunctis,
sexies pro sororibus vanis,
septies pro militibus silvanis.
Octies pro fratribus perversis,
nonies pro monachis dispersis,
decies pro navigantibus
undecies pro discordantibus,
duodecies pro penitentibus,
tredecies pro iter agentibus.
Tam pro papa quam pro rege
bibunt omnes sine lege.
Bibit hera, bibit herus,
bibit miles, bibit clerus,
bibit ille, bibit illa,
bibit servus cum ancilla,
bibit velox, bibit piger,
bibit albus, bibit niger,
bibit constans, bibit vagus,
bibit rudis, bibit magus.
Bibit pauper et egrotus,
bibit exul et ignotus,
bibit puer, bibit canus,
bibit presul et decanus,
bibit soror, bibit frater,
bibit anus, bibit mater,
bibit ista, bibit ille,
bibunt centum, bibunt mille.
Parum sexcente nummate
durant, cum immoderate
bibunt omnes sine meta.
Quamvis bibant mente leta,
sic nos rodunt omnes gentes
et sic erimus egentes.
Qui nos rodunt confundantur
et cum iustis non scribantur. [2]
Io! (9×)
When we are in the tavern,
we do not think how we will go to dust,
but we hurry to gamble,
which always makes us sweat.
What happens in the tavern,
where money is host,
you may well ask,
and hear what I say.
Some gamble, some drink,
some behave loosely.
But of those who gamble,
some are stripped bare,
some win their clothes here,
some are dressed in sacks.
Here no-one fears death,
but they throw the dice in the name of Bacchus.
First of all it is to the wine-merchant
the libertines drink,
one for the prisoners,
three for the living,
four for all Christians,
five for the faithful dead,
six for the loose sisters,
seven for the footpads in the wood,
Eight for the errant brethren,
nine for the dispersed monks,
ten for the seamen,
eleven for the squabblers,
twelve for the penitent,
thirteen for the wayfarers.
To the Pope as to the king
they all drink without restraint.
The mistress drinks, the master drinks,
the soldier drinks, the priest drinks,
the man drinks, the woman drinks,
the servant drinks with the maid,
the swift man drinks, the lazy man drinks,
the white man drinks, the black man drinks,
the settled man drinks, the wanderer drinks,
the stupid man drinks, the wise man drinks,
The poor man drinks, the sick man drinks,
the exile drinks, and the stranger,
the boy drinks, the old man drinks,
the bishop drinks, and the deacon,
the sister drinks, the brother drinks,
the old lady drinks, the mother drinks,
that woman drinks, that man drinks,
a hundred drink, a thousand drink.
Six hundred pennies would hardly
suffice, if everyone
drinks immoderately and immeasurably.
However much they cheerfully drink
we are the ones whom everyone scolds,
and thus we are destitute.
May those who slander us be cursed
and may their names not be written in the book of the righteous. [2]
Io! (9×)
The lyrics used by Orff show a change in the last stanza where the original parum durant centum sex nummate / ubi ipsi immoderate is changed to parum sexcente nummate / durant, cum immoderate. The musical arrangement also adds the exclamation io! at the end, repeated nine times. [3]
Carmina Burana is a manuscript of 254 poems and dramatic texts mostly from the 11th or 12th century, although some are from the 13th century. The pieces are mostly bawdy, irreverent, and satirical. They were written principally in Medieval Latin, a few in Middle High German and old Arpitan. Some are macaronic, a mixture of Latin and German or French vernacular.
The Archpoet, or Archipoeta, is the name given to an anonymous 12th-century author of ten medieval Latin poems, the most famous being his "Confession" found in the Carmina Burana manuscript. Along with Hugh Primas of Orléans, he is cited as the best exemplar of Goliardic poetry and one of the stellar poets of the Latin Middle Ages.
In term logic, the square of opposition is a diagram representing the relations between the four basic categorical propositions. The origin of the square can be traced back to Aristotle's tractate On Interpretation and its distinction between two oppositions: contradiction and contrariety. However, Aristotle did not draw any diagram; this was done several centuries later by Apuleius and Boethius.
Honorificabilitudinitatibus is the dative and ablative plural of the medieval Latin word honōrificābilitūdinitās, which can be translated as "the state of being able to achieve honours". It is mentioned by the character Costard in Act V, Scene I of William Shakespeare's Love's Labour's Lost.
The name Cumania originated as the Latin exonym for the Cuman–Kipchak confederation, which was a tribal confederation in the western part of the Eurasian Steppe, between the 10th and 13th centuries. The confederation was dominated by two Turkic nomadic tribes: the Cumans and the Kipchaks. Cumania was known in Islamic sources as Dasht-e Qebchaq, which means "Steppe of the Kipchaks"; or "Kipchak Plains", in Persian and al-Qumāniyīn in Arabic. Russian sources have referred to Cumania as the "Polovtsian Steppe", or the "Polovtsian Plain".
This article is an informal outline of the grammar of Interlingua, an international auxiliary language first publicized by IALA. It follows the usage of the original grammar text, which is accepted today but regarded as conservative.
Latin obscenity is the profane, indecent, or impolite vocabulary of Latin, and its uses. Words deemed obscene were described as obsc(a)ena, or improba. Documented obscenities occurred rarely in classical Latin literature, limited to certain types of writing such as epigrams, but they are commonly used in the graffiti written on the walls of Pompeii and Herculaneum. Among the documents of interest in this area is a letter written by Cicero in 45 BC to a friend called Paetus, in which he alludes to a number of obscene words without actually naming them.
Ingelmarius was a Norman knight of humble origins who served Roger I, the count of Sicily. In reward for his good service to Roger, Ingelmarius was given the hand of the widow of Roger's nephew Serlo II of Hauteville, the lady Altruda of Boiano. In addition to giving Ingelmarius control of the vast conquests and rights of Altruda's first husband, the marriage also raised Ingelmarius up socially into the nobility.
Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis. It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" and start with "O Fortuna".
Contemporary Latin is the form of the Literary Latin used since the end of the 19th century. Various kinds of contemporary Latin can be distinguished, including the use of Neo-Latin words in taxonomy and in science generally, and the fuller ecclesiastical use in the Catholic Church – but Living or Spoken Latin is the primary subject of this article.
The Latin numerals are the words used to denote numbers within the Latin language. They are essentially based on their Proto-Indo-European ancestors, and the Latin cardinal numbers are largely sustained in the Romance languages. In Antiquity and during the Middle Ages they were usually represented by Roman numerals in writing.
Prophetiae Sibyllarum are a series of twelve motets by the Franco-Flemish composer Orlande de Lassus. The works are known for their extremely chromatic idiom.
The main Latin tenses can be divided into two groups: the present system, consisting of the present, future, and imperfect; and the perfect system, consisting of the perfect, future perfect, and pluperfect.
A temporal clause is an adverbial clause of time, that is to say, a clause which informs the reader about the time when the action of main verb of the sentence occurred. So in a sentence such as "after I had said this, he went out", the first clause is a temporal clause. The name comes from the Latin word tempus, genitive temporis, 'time".
Brevis brevians, also known as iambic shortening or correptio iambica, is a metrical feature of early Latin verse, especially Plautus and Terence, in which a pair of syllables which are theoretically short + long can be scanned as a pair of short syllables. The plural is breves breviantes.
Latin Wikisource has original text related to this article: In taberna quando sumus | Authors |  | |
|---|---|---|
| Poems and songs | ||
| Carl Orff | ||
| Related | ||
