Cambridge Songs

The Cambridge Songs (Carmina Cantabrigiensia) are a collection of Goliardic medieval Latin poems found on ten leaves (ff. 432–41) of the Codex Cantabrigiensis (C, MS Gg. 5.35), now at the Cambridge University Library. The songs as they survive are copies made shortly before or after the Norman Conquest (1066). They may have been collected by an English scholar while travelling on the continent sometime after the last datable song (1039), and brought back with him to the church of Saint Augustine at Canterbury, where they were copied and where the Codex was long kept. The original manuscript was possibly lost in a fire that struck Saint Augustine's in 1168. The dialect of the few vernacular portions found in some of the songs is in the North Rheno-Franconian dialect of Old High German, suggesting that the Goliard or Goliards who composed them came from the north or middle Rhineland, probably the area between Trier, Cologne, and Xanten. It has been suggested that some of the songs originated in France or Italy. While most of the Cambridge Songs survive only in the Cambridge manuscript, a few are duplicated in a manuscript, W, from Wolfenbüttel.

The Cambridge Songs were long thought to be forty-nine in number, but a missing folio that contained twenty-seven more was discovered in Frankfurt and returned to the University Library in 1982. All these songs were copied in the same hand. Seven songs in a different hand, but occurring in the same Codex (after the first forty-nine) have since been identified as probably part of the collection. The total number of Cambridge Songs is now considered to be eighty-three. Some of the verses are neumed and it is assumed that the entire collection was to be sung. Four of the original forty-nine are called modi (melodies, namely sequences). The purpose of the collection has also eluded scholars. It was probably either a book of instruction on Latin verse, a songbook for wandering minstrels (the clerici vagabundi: vagabond clerics), or an anthology for private enjoyment. Classicist Keith Sidwell maintains that their purpose could have been "the repertoire of an entertainer who catered for the imperial court."

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