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Aspects of the Poetic Treatment of Love and Female ASPECTS OF THE POETIC TREATMENT OF LOVE AND FEMALE FIGURES IN THE WORKS OF THE TROUBADOUR MARCABRU Ruth Elizabeth Harvey Thesis submitted for the degree of PhD Royal Holloway College, University of London. ProQuest Number: 10097572 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097572 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT Since the poems of Marcahru contain criticisms of twelfth-century- aristocratic society, an attempt has been made initially to determine, as far as this is possible, his place in and relationship to that society. Marcabru's representation of female figures is considered in the light of the contrast he establishes between true and false love, itself an aspect of an ideological and poetic conflict with contemporary troubadours concerning the nature of love and its expression in lyric poetry. This theme of the dichotomy of love pervades Marcabru's works. The means by which it finds expression are explored through consideration of the vocabulary, images and sources on which the troubadour draws in order to convey approbation of fin'amors and condemnation of false love. Several of the studies focus on individual poems (PC 293, 31; 44; 25; 26; 15), of particular interest for the striking and detailed depictions of love and women which they contain: in analysing these songs in detail, reference is made to other songs where these elucidate particular ideas or images, and consideration is given to elements deriving from learned Christian orthodoxy and especially its misogynist tradition. Examination of apparently unorthodox uses of courtly terminology and lyric common­ places suggests that these also are employed by Marcabru to convey his consistently radical view. Dejeanne's edition of Marcabru's works has been taken as a basis for this investigation, and attention is also paid to proposed correc­ tions to this edition, recent partial re-editions and to the manuscript readings. In all cases account has been taken of previous interpretatio­ ns and of the development of critical opinion concerning Marcabru's works. These studies are intended to complement existing work by attempting to elucidate the conception of love of this complex and influential troubadour through an investigation of his treatment of a number of representative female figures. 11 TABLE OF CONTENTS Page Numbers Title page Abstract .......................................................... ii Table of Contents ......... iii Declaration of Published Material............ iv List of Abbreviations ........... v Chapter 1 Introduction ............. 1 Critical background .......... 1 'Ni anc no'n saup hom qui'l fo': Marcabru and his society .. 6 Notes to Chapter 1 19 Chapter 11 Marcabru's Conception of Love ..... 35 Notes to Chapter 11 57 Chapter 111 The Dialectic of Love ................. 71 Notes to Chapter 111 92 Chapter IV Obscenity and Marcabru's Moralising Style ........... 105 Notes to Chapter IV ..... 129 Chapter V The Harlot and the Chimera ......... 142 Notes to Chapter V.. .... 174 Chapter VI Cortesia and the Example of Eleanor of Aquitaine ..... 182 Notes to Chapter VI ..... 201 Chapter Vll The Satirical Use of a Courtly Expression: Si Dons .. 211 Notes to Chapter Vll ............ 224 Chapter Vlll The Estornel Songs .................................. 228 Notes to Chapter Vlll .................. 267 Conclusion ...................... 280 Appendix .............................................. 285 Part 1: The Dating of Marcabru's Songs........... 285 Part 11: Marcabru's Patrons and his Connections with Spain. 303 Notes to Appendix... ........................ 313 Bibliography ............................ 327 1 11 DECLARATION OF PUBLISHED MATERIAL Versions of Chapters V and VII were published as articles in Readihg Medieval Studies, 10 (1984), pp»39-78, and Modern Language Review, 78 (1983), pp.24-33, respectively. IV LIST OF ABBREVIATIONS Dictionaries and reference works: Anglade Joseph Anglade, Grammaire de'1'ànciên'pfôvéftçâl (Paris, 1921 : repr. 1969)» Coromines Joan Coromines, Diccionari'etymologic i'comple- mentari de la llengua catalana, 5 vols to date (Barcelona, 1980— )• Du Cange C. Du Cange, Glossarium mediae et infimae latin- itatis, New edition, 10 vols (Niort, 1883-87)• Godefroy F. Godefroy, Dictionnaire de l'ancienne langue française et de tous ses dialectes du IX® au XV® siècle, 10 vols, (Paris, 1881-1902). GRLMA Grundriss der romanischen Literaturen des Mittelalters, herausgegehen von Hans Robert Jauss and Erich Kohler, - Vol.VI: La Littérature didactique, allégorique et satirique, tome I (Heidelberg, 1968). - Vol.II: Les Genres Lyriques, tome I.B: La Lyrique occitane, fascs.4 and 5 (Heidelberg, 1980 and 1979)» Mistral Frédéric Mistral, Trésor dou Felibrige, 2 vols (Aix-en-Provence, 1878). PD Emil Levy, Petit dictionnaire Provençal-Français, 5th edition (Heidelberg, 1971)» PL J.P. Migne, Patrologiae cursus completus: series latina, 221 vols (Paris, 1844-64)» Rayn, F. Raynouard, Lexique roman, 6 vols (Paris, 1836-44). REW W. Meyer-Lübke, Romanisches etymologisches Wbrterbuch, 3rd edition (Heidelberg, 1935)» S¥B Emil Levy, Provenzalisches Supplement-Wbrterbuch, 8 vols (Leipzig, 1894-1924). Periodicals : AdM Afiûàlès ' dû ' Midi M ArChivTM 'RômâniCùm CCM Cahiers'de Civilisation Médiévale CN Cültura Neolâtina EC L*Esprit Créateur FS French Studies MA Le Moyen Âge MLN Modern Language Notes MLR M o d e m Language Review MR Medioevo Romanzo Medieval Studies 1 Neophilologus NM Neuphilologische Mitteilungen PMLA Papers of the Modern Language Association of America R Romania RF Romanische Forschungen RLr Revue des Langues romanes Romance Notes Romance Philology SLF Studi di Letteratura Francese . SM Studi Medievali SMV Studi Mediolatini e Volgari SP Studies in Philology ZF5L Zeitschrift fur franzosische Sprache und Literatur ZRP Zeitschrift ïiîr romanische Philologie VI CHAPTER I INTRODUCTION Critical Background Marcabru belongs to the second generation of troubadours whose works have survived.^ Compared to the number of poems by his contempo­ raries preserved by the manuscripts, Marcabru's corpus of songs is relatively large and this, together with the fact that the fourteenth- century manuscript R introduces the collection of his songs by the phrase 'Aissi comensa les so de Marcabru que fo lo premier trobador que fos', can be seen as an indication that subsequent generations thought of Marcabru as a figure of considerable literary stature.^ Several 'firsts' have been attributed to Marcabru in that the earliest examples of what later criticism came to describe as 'genres' of lyric poetry are found among his works. He is credited with having composed the earliest extant pastorela (XXX) and tenso (Vl). He left few love-songs,^ and most of his compositions may be classed as SifVentes, expressions of criticism of a social, political and moral n a t u r e . 4 The only complete edition of the texts of Marcabru's songs so far to have appeared is that by Dejeanne but, as Jeanroy pointed out in the preface, this was never intended to be a definitive critical edition: Dejeanne's aim in 1909 'était seulement de fournir aux travailleurs futurs des matériaux bien ordonnés, sur lesquels ils pussent exercer leur ingéniosité* (p.ix). Since then, work on the texts and their interpreta­ tions has been almost continuous. Corrections to Dejeanne's edition were published by Bertoni, Pillet, Lewent and Spitzer,^ and almost every scholar who has published work concerning the troubadour Marcabru has proposed re-readings, textual emendations, re-translations and new interpretations of passages of his songs.^ Several re-editions of individual songs have been p u b l i s h e d , ^ notably by Aurelio Roncaglia who in 1953 announced his intention of producing a new critical edition of Marcabru's works.® This proliferation of critical literature can be understood as indicative not only of the scholarly interest which Marcabru's songs continue to generate, but also of the degree of their complexity. Several factors are responsible for this state of affairs. The manuscript tradition presents numerous difficulties: several songs are preserved, in different forms, in as many as eight manuscripts (Poems XVII and XVIII, for example), while nine of Marcabru's poems are ûfticà.^ Marcabru's innovative and idiosyncratic use of language also poses problems for lexicographers and philologists. Aurelio Roncaglia has drawn attention to Marcabru's use of 'inflessioni ironiche e parodistiche, che non sempre è facile cogliere', and to the fact that the troubadour employs words drawn from an enormous variety of fields: religious, courtly, scholastic, popular, proverbial and others, and he notes that Marcabru does not shrink from creating derivative forms and compounds, 'di qui la presenza nei suoi testi d'un gran numéro di voci ... qualificabili come hapax'.^^ He emphasizes, moreover, the need to situate 'il linguaggio poetico di Marcabruno nella tradizione del simbolismo moralistico-religioso elaborate ... sopprattutto
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