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Guillaume IX, Le Gap Et La Psychologie Évolutionniste

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Guillaume IX, Le Gap Et La Psychologie Évolutionniste Guillaume IX, le Gap et la Psychologie évolutionniste Si l’on s’accorde pour attribuer le titre de premier troubadour à Guillaume de Poitiers (1071-1126), septième comte de ce nom et neuvième duc d’Aquitaine, ce n’est pas seulement à cause de l’igno- rance où nous sommes de tout ce qui a pu le précéder; cela reflète aus- si l’exceptionnelle diversité de la mince œuvre qu’il nous a léguée, indice d’un tâtonnement typique des débuts. A une exception près, contestée d’ailleurs, les pièces conservées sont toutes désignées par l’appellation passe-partout vers (autre signe d’un art qui se cherche), et pourtant le prince-poète n’a jamais cessé d’explorer les diverses possibilités métriques et thématiques qu’offrait cette forme. Dès avant la fameuse étiquette «trovatore bifronte» dont Pio Rajna a doté Guillaume, Friedrich Diez, qui ne connaissait que neuf sur onze de ses poésies, avait partagé son œuvre en trois catégories en fonction de leur contenu sensuel (sinnlich), tendre (zärtlich) ou sérieux (ernst), réparti- tion reprise dans l’édition Jeanroy 1. Les recherches les plus récentes raffinent encore l’analyse, distinguant non moins de cinq «registres» (Bec), voire six groupes ou sous-groupes (Lafont) dans l’œuvre de notre poète 2. L’hétérogénéité de la production poétique de Guillaume, sur- tout son ‘bifrontisme’, l’écart entre ses poèmes ‘courtois’ et ‘non-cour- tois’, a toujours posé un problème pour les études occitanes, susci- tant de nombreuses tentatives d’explication, dont on ne peut citer que quelques-unes des plus saillantes. L’édition Jeanroy propose déjà 1 P. RAJNA, Guglielmo conte di Poitiers, trovatore bifronte, in Mélanges Alfred Jean- roy, Paris 1928, pp. 349-360; FR. DIEZ, Leben und Werke der Troubadours, éd. K. Bartsch, Leipzig 18822, p. 6; A. JEANROY, Les chansons de Guillaume IX, duc d’Aquitaine, Paris 1913, p. XVII. AU. RONCAGLIA, Antologia delle letterature medievali d’oc e d’oïl, Milano 1973, p. 271, voit dans Guillaume un poète «caso mai trifronte», à reconduire toutefois ad unum. 2 P. BEC, Le comte de Poitiers, premier troubadour: à l’aube d’un verbe et d’une éro- tique, Montpellier 2004, pp. 81-97; R. LAFONT, La source sur le chemin: aux origines occi- tanes de l’Europe littéraire, Paris 2002, pp. 67-71. Cultura Neolatina, LXXIII, 3-4 (2013), pp. 259-282 260 DON A. MONSON implicitement une explication par l’ordre de présentation des pièces, suggérant une progression chronologique qui partirait des frivolités grivoises de la jeunesse en passant par l’érotisme plus sérieux de la maturité pour aboutir avec Pos de chantar au repentir de la vieillesse. C’est un itinéraire semblable que retrace Reto Bezzola, mais en invo- quant l’influence de Robert d’Arbrissel; pour Jean-Charles Payen, le catalyseur de la conversion courtoise du duc serait plutôt son amour pour la vicomtesse de Châtellerault 3. Selon Peter Dronke, les poé- sies de Guillaume prétendues courtoises ne le seraient pas en vérité, mais plutôt des parodies d’un courant courtois préexistant, interpré- tation que reprend et développe Laura Kendrick 4. Maria Dumitrescu va jusqu’à nier, contre le témoignage des manuscrits, que les poèmes courtois soient de Guillaume, les attribuant plutôt à son contemporain, Eble II de Ventadorn 5. Un facteur souvent mentionné n’a pourtant pas assumé dans le débat tout le profil qu’il mérite: l’apparente disparité entre les publics auxquels s’adressent les deux volets de l’œuvre littéraire de notre poète. C’est cet aspect de la question que je propose de reprendre ici pour l’approfondir en faisant intervenir deux autres considérations. D’une part, je tâcherai de montrer que tous les poèmes non-courtois de Guillaume participent d’une manière ou d’une autre d’un seul et même genre alors en voie de constitution, le gap. D’autre part, le nouveau courant scientifique appelé ‘psychologie évolutionniste’ peut fournir une explication en profondeur du rapport entre public et registre poé- tique. Le premier quart du XIIe siècle, qui coïncide exactement avec la maturité et l’activité poétique de Guillaume, a vu ce bouleverse- ment de la vie sociale et culturelle des cours seigneuriales du Midi de la France connu sous le nom de ‘courtoisie’. Un aspect significa- tif de cette transformation semble être une nouvelle participation des 3 R.R. BEZZOLA, Les origines et la formation de la littérature courtoise en Occident (500-1200), 2 vols., Paris 1944-1963, II, pt. 2, pp. 268-316; J.-CH. PAYEN, Le prince d’Aqui- taine: essai sur Guillaume IX, son œuvre et son érotique, Paris 1980, p. 59. 4 P. DRONKE, Guillaume IX and Courtoisie, in «Romanische Forschungen», LXXIII (1961), pp. 327-338; repr. in ID., The Medieval Poet and his World, Roma 1984, pp. 237- 247; L. KENDRICK, The Game of Love: Troubadour Wordplay, Berkeley 1988, pp. 121-139. 5 M. DUMITRESCU, Eble II de Ventadorn et Guillaume IX d’Aquitaine, in «Cahiers de Civilisation Médiévale», XI (1986), pp. 379-412. I derivati occitani di *CLūDICARE e un passo di Peire d’Alvernhe I derivati occitani di *CLūDICARE costituiscono una famiglia les- sicale composta dal verbo clucar (clugar, cucar) e dall’aggettivo, deri- vato dal participio passato del verbo, cluc (cuc). Il significato, secon- do REW, FEW, e i dizionari dell’occitano antico 1, è “chiudere” (“schließen”), detto, in particolare, degli occhi. L’agg. cluc è infatti sempre accompagnato, nelle attestazioni medievali, dal sostantivo plu- rale olhs “occhi”. Queste le occorrenze nella lirica: Arnaut Daniel, BdT 29,1, v. 14 don non aic lo cor ni·ls oils clucs 2; Autore incerto (un Raimbaut?), BdT 389,9, v. 14 ni no veg can tenc olhs clucs 3; 1 Sigle bibliografiche: BdT = Bibliographie der Troubadours, von A. PILLET, ergänzt, weitergeführt und herausgegeben von H. CARSTENS, Halle (Saale) 1933; DECLC = J. CORO- MINES, Diccionari etimològic i complementari de la llengua catalana, Barcelona 1991; FEW = W. von WARTBURG, Franzosisches Etymologisches Wörterbuch, Tübingen 1948-1949 (rist. dei voll. I-II/i), Basel 1946-1950 (voll. II/ii-V), Basel 1969 ss. (vol. VI ss.); LR = Lexique roman ou Dictionnaire de la langue des troubadours, par F.J.M. RAYNOUARD, Heidelberg, s.d., rist. anastatica dell’ed. Paris 1836-1845; PD = E. LEVY, Petit dictionnaire provençal- français, 3a ed., Heidelberg 1961; REW = Romanisches Etymologisches Wörterbuch, von W. MEYER-LÜBKE, Heidelberg 1935; SW = E. LEVY, Provenzalisches Supplement-Wörterbuch, Leipzig 1894-1924; TdF = F. MISTRAL, Lou tresor dóu felibrige ou dictionnaire provençal- français, 3a ed. [con un supplemento di J. Ronjat], Barcelona 1968; TL = A. TOBLER – E. LOMMATZSCH, Altfranzösisches Wörterbuch, Berlin 1915-1932, poi Wiesbaden 1956-2002. 2 Così nelle edizioni Toja (Arnaut Daniel, Canzoni. Edizione critica, studio introdut- tivo, commento e traduzione a cura di G. TOJA. Prefazione di G. Contini, Firenze 1960, XIV) e Eusebi (Arnaut Daniel, Il sirventese e le canzoni, a cura di M. EUSEBI, Milano 1984, XIV, trad.: «per questo ho scelto lei per la quale non ho avuto né il cuore né gli occhi chiusi»); l’ed. Perugi (Le canzoni di Arnaut Daniel, edizione critica a cura di M. PERUGI, Milano - Na- poli 1978, XIV) ha oils clus («occhi chiusi»): -ucs, secondo T (contro clucs di a). 3 Sul problema attributivo cfr. il bilancio di F. GAMBINO, Osservazioni sulle attribu- zioni “inverosimili” nella tradizione manoscritta provenzale (I), in Le rayonnement de la ci- vilisation occitane à l’aube d’un nouveau millénaire, 6e Congrès International de l’Associa- tion Internationale d’Études Occitanes, 12-19 septembre 1999. Actes réunies et édités par G. Kremnitz – B. Czernilofsky – P. Cichon – R. Tanzmeister, Wien 2001, pp. 372-390, a Cultura Neolatina, LXXIII, 3-4 (2013), pp. 283-299 284 SERGIO VATTERONI Marcabruno, BdT 293,3, vv. 41-42 Neys l’ortolas ab lo clavier, / jos ab un vent s’en fuy huelhs cucs 4; Bertran de Lamanon, BdT 76,16, vv. 23-24 q’a lor dan va·l comps oilz uberz, / ez ill cluc al seu descadec 5; Sordello, BdT 437,21, v. 25 e qe volares hueilh cluc 6; Lantelm de l’Aguillo, BdT 284,1, vv. 15-16 Als enemics son sei hueilh cluc, / e contra·ls amics ve d’amdos 7; p. 379; per il testo critico del componimento, tramandato dal solo a, cfr. R. HARVEY, Pour une nouvelle édition de PC 389.9: “Ans qe l’haura bruna·s cal”, in Scène, évolution, sort de la langue et de la littérature d’oc, Actes du Septième Congrès International de l’Association Internationale d’Études Occitanes, Reggio Calabria - Messina, 7-13 juillet 2002, publiés par R. Castano, S. Guida et F. Latella, Roma 2003, I, pp. 407-417 (si noti che al v. 14 olhs clucs è correzione congetturale sopra sol duz del ms. unico). 4 AU. RONCAGLIA, Marcabruno: “Al departir del brau tempier”, in «Cultura Neolati- na», XIII (1953), pp. 5-33 (trad.: «Il giardiniere stesso [= Jois], insieme al custode [= Jo- vens], ad un soffiar di vento, giù fugge, ad occhi chiusi»); per l’interpretazione di «ad occhi chiusi» come “alla cieca” cfr. la nota di commento alle pp. 31-32. Cfr. anche Marcabru. A critical edition, by S. GAUNT, R. HARVEY and L. PATERSON, Cambridge 2000, III. 5 Cito dall’ed. procurata da S. ASPERTI, Sul sirventese “Qi qe s’esmai ni·s desconort” di Bertran d’Alamanon e su altri testi lirici ispirati dalle guerre di Provenza, in Cantarem d’aquestz trobadors. Studi occitanici in onore di Giuseppe Tavani, a cura di L. Rossi, Alessandria 1995, pp. 169-234, a p. 218 (trad.: «ché il conte si muove a lor danno a occhi bene aperti e loro ad occhi chiusi al suo abbattimento»).
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