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Cercamon I. Lo plaing comenz iradamen d’un vers don hai lo cor dolen; ir’ e dolor e marrimen ai, car vei abaissar Joven: 5 malvestatz puej’ e Jois dissen despois muric lo Peitavis. II. Remazut son li prez e·il lau qi solon issir de Peitau; ai! com lo plaino li Barrau; 10 peza·m s’a longas sai estau. Segners, lo baro q’ieu mentau metet, si·us platz, em paradis! III. Del comte de Peitieu mi plaing, q’era de Proeza compaing; 15 despos Pretz e Donars soffraing, peza·m s’a lonjas sai remaing. Segners, d’efern lo faitz estraing, qe molt per fon genta sa fis. IV. Glorios Dieus, a vos me clam, 20 car mi toletz aqels qu’ieu am; aissi com vos formetz Adam, lo defendetz del fel liam del foc d’efern, qe non l’aflam, q’aqest segles nos escharnis. V. 25 Aqest segle teing per enic, qe·l paubre non aten ni·l ric. Ai! con s’en van tuit mei amic, e sai remanem tuit mendic. Pero sai ben q’al ver afic 30 seran li mal dals bos devis. VI. Gasco cortes, nominatiu, perdut avez lo segnoriu: fer vos deu esser et esqiu, don Jovenz se clama chaitiu, 35 qar un non troba on s’aiziu, mas qan N’Anfos, q’a joi conquis. VII. Plagnen lo Norman e Franceis e deu lo be plagner lo reis, cui laisset la terra e·l creis; 40 pos aitan grant honor li creis, mal estara si non pareis chivauche sobre Serrazis. VIII. Aqil n’an joia, cui que pez, de Limozi e d’Engolmes, 45 si el visqes ni Deu plagues, el los agra dese conqes; estort en son, car Dieus lo pres, e·l dols n’es intratz en Aunis. IX. Lo plaingz es de bona razo, 50 qe Cercamonz tramet N’Eblo. Ai! com lo plaigno li Gasco, cil d’Epaina e d’Arago. Saint Jacme, membre·us del baro, qe denant vos jai pelegris. Italian translation I. Comincio tristemente il compianto per mezzo di un vers che mi fa il cuore dolente; provo dolore e pena e tristezza, perché vedo la Gioventù in declino: l’Iniquità cresce e la Gioia diminuisce ora che il Pittavino è morto. II. Sono finiti gli onori e le lodi che venivano dal Poitou; ahimè! come lo piangono quelli di Bar; mi pesa di restare qui (più) a lungo. Signore, per favore, accogli in Paradiso il nobile che commemoro! III. Piango il conte di Poitiers, che era compagno di Prodezza; ora che Merito e Larghezza sono venuti meno, mi angoscia di restare qui (più) a lungo. Signore, tienilo fuori dall’inferno, perché la sua fine è stata particolarmente nobile. IV. Dio glorioso, mi appello a Te, perché mi privi di colui che amo; così come hai creato Adamo, preservalo dalla schiavitù crudele del fuoco dell’inferno, affinché non lo bruci, perché questo mondo ci porta fuori strada. V. Considero questo mondo ingiusto, perché è indifferente al povero e al ricco. Ahimè! tutti i miei amici se ne vanno, e noi restiamo tutti qui come mendicanti. Però so bene che nel Giudizio i malvagi saranno separati dai buoni. VI. Guasconi, che avete fama di essere cortesi, avete perso la giurisdizione sulle vostre terre: dev’essere difficile e penoso per voi, e per questo la Gioventù si dice sventurata, perché non trova nessuno che la accolga, tranne il signor Alfonso, che ha conquistato la gioia. VII. Lo piangono i Normanni e i Francesi, e certamente devono piangerlo il re [Luigi VI] e la sua progenie [il futuro Luigi VII] al quale egli [Guglielmo X] ha lasciato la terra; poiché egli gli amplia così tanto il suo grande dominio, sarà biasimato se non lo si vede cavalcare contro i Saraceni. VIII. Per quanto tutti siano rattristati, quelli del Limosino e dell’Angoumois sono contenti; se fosse rimasto in vita, a Dio piacendo, li avrebbe sconfitti subito. L’hanno scampata perché Dio se l’è preso, e il lutto è entrato nell’Aunis. IX. Il compianto che Cercamon invia a Messer Eblo ha un tema nobile. Ahimè! Come lo piangono i Guasconi, quelli di Spagna e d’Aragona! San Giacomo, ricordati del nobile che giace pellegrino davanti a te. Text: Tortoreto 1981. – Rialto 1.ix.2015. Ms.: a1 369 (Sercamonz). Critical editions: Jean-Marie-Lucien Dejeanne, «Le troubadour Cercamon», Annales du Midi, 17, 1905, pp. 27-62, p. 55; Alfred Jeanroy, Les poésies du troubadour Cercamon, Paris, 1922, p. 19; Valeria Tortoreto, Il trovatore Cercamon, Modena, 1981, p. 182; George Wolf and Roy Rosenstein, The Poetry of Cercamon and Jaufre Rudel, London, 1983, p. 32; Luciano Rossi, Cercamon: oeuvre poétique, Paris, 2009, p. 170. Other editions: Giulio Bertoni, «Rime provenzali inedite», Studj di filología romanza, 8, 1901, p. 425 (diplomatic edition); Raymond T. Hill and Thomas G. Bergin, Anthology of the Provençal Troubadours, New Haven, 1941, p. 13 (2nd edition 1973, p. 29); Galileo Gentile, Antichi testi provenzali, Genova, 1947, p. 88; Francesco Piccolo, Primavera e fiore della lirica provenzale, Firenze, 1948, p. 12; Martín de Riquer, La lírica de los trovadores: antología comentada, Barcelona, 1948, p. 90; Los trovadores: historia literaria y textos, 3 voll., Barcelona, 1975, vol. I, p. 233. Versification: a8 a8 a8 a8 a8 b8 (Frank 17:2); a: -en, -au, -anh, -am, -ic, -iu, -eis, -es, -o; b: -is; 9 coblas singulars. Richard the Lionheart’s song Ja nus hons pris ne diroit sa raison (RS 1891 = BdT 420.2) has the same rhyme- scheme and the ‘b’ rhyme in -is, with line lengths of 10 and 6: see Charmaine Lee’s edition on www.warwick.ac.uk/crusadelyrics/texts/of/rs1891. Notes: The planh was composed in honour of Duke William X of Aquitaine, VIII Count of Poitou, who died suddenly on 9 April 1137 during a journey to Santiago de Compostela. His death was followed in July by the wedding of his daughter Eleanor of Aquitaine to the future Louis VII, whom William had designated as his heir. A few days later Louis’ effective rule of France began, and through his marriage he temporarily extended the Capetian lands to the Pyrenees. William had been patron to the troubadours Cercamon, Marcabru and a certain Guillelmi with whom Cercamon exchanged a tenso (BdT 112.1, see Ruth Harvey and Linda Paterson, The Troubadour Tensos and Partimens: A Critical Edition, 3 voll., Cambridge, 2010, vol. I, p. 246). Both planh and tenso bear witness to the anxieties provoked by the loss of a patron and the change of regime. – Line 9: the identity of the Barrau is uncertain: see Tortoreto’s note on p. 187. – Line 11: Tortoreto ‘il nobile di cui faccio menzione’, but see PD ‘vanter, célébrer’ and SW, V, 202, 2 ‘rühmend nennen, verkünden, preisen, rühmen’. – Line 18: Tortoreto ‘erano soliti varcare i confini del’. – Line 32: Dejeanne ‘vous avez perdu la suprématie’, Tortoreto ‘avete perso il Signore’, but see Marcabru, BdT 293.22, 55-57 Mas Franssa Peitau e Beiriu / aclin’a un sol seignoriu, / veign’a Dieu sai son fieu servir! (‘Since France subjects Poitou and Berry to a single jurisdiction, let him come here to God to earn his fief!’; Simon Gaunt, Ruth Harvey and Linda Paterson, Marcabru: a Critical Edition, Woodbridge, 2000, p. 312 and the note on p. 318). – Line 36: n’Anfos may refer to King Alfonso VIII of Castile and León, or else Count Alfons Jordan of Toulouse: see Tortoreto’s note on p. 192. – Lines 37-42: we take lo reis in v. 38 to refer to Louis VI and the creis in 39 to his son and heir, the future Louis VII: ‘Normans and French mourn for him (the dead William X), and the king (Louis VI) and his offspring (the future Louis VII) to whom he (William X) left the land certainly ought to mourn for him (William X); since he (William X) enlarges his (the future Louis VII’s) great domain so much for him, it will not look well if he (the future Louis VII) is not seen to ride against the Saracens. – Dejeanne (also Jeanroy) corrects to honors (v. 40) which he takes as the subject of creis: ‘Puisque son domaine s’accroît si grandement’. Rossi retains honor but translates as Dejeanne. Tortoreto ‘poiché tanto grande feudo gli accresce’ («honor del ms. va inteso come accusativo retto da creis nel senso attivo di “accrescere”»), though she does not spell out who is the subject of creis. As Marcabru in BdT 293.22, Cercamon is saying that at a time when there is a window of opportunity for everyone to join together to fight the Saracens in Spain, the new lord has to crusade there if he is any good – if only because he is now heir to earlier crusaders like William IX, his new subjects, ‘Gascons’, are repopulating lands reconquered from Moors, and his new lands have been involved in the crusades before (see Ruth Harvey, «À propos de la date de la première “chanson de croisade”: Emperaire, per mi mezeis de Marcabru (PC 292.22)», Cahiers de civilisation médiévale, 42, 1999, pp. 55-60). – Lines 43-44: Rossi (pp. 209-210) suggests that Limosi refers to to Viscount Aimar III of Limoges, who had been taken prisoner two years earlier by Eble II, and Engolmes to William Taillefer, son of Count Vulgrin of Angoulême. – Line 49: Aunis (in the present-day Poitou-Charente region) was part of the Poitevin domains: see Jane Martindale, «Cavalaria et orgueill», in Christopher Harper-Bill and Ruth Harvey, The Ideals and Practice of Medieval Knighthood.
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    RICE UNIVERSITY L'ELEMENT LATIN DANS LA POESIE DES TROUBADOURS: UNE SOURCE DE LA TRADITION COURTOISE? par MARIJN SCHOLTEN KAPLAN A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS APPROVED, THESIS COMMITTEE Deborah Nelson, Professor of French, Chair Madeleine Alcover, Professor of French Katherine Drew, Professor of History Houston, Texas March, 1991 3 1272 00658 7073 ABSTRACT L'Elément latin dans la poésie des troubadours: une source de la tradition courtoise? par Marijn Scholten Kaplan La tradition courtoise commence par les troubadours. Malgré la grande originalité de leur poésie et de la fin' amors qu'ils y décrivent, des traces d'une influence latine sont présentes. Les premiers troubadours venaient du Limousin et du Poitou où ils ont été éduqués dans des centres religieux comme Saint-Martial. De leur éducation religieuse, ils ont repris la musique de la liturgie pour leurs chansons (le la¬ tin médiéval liturgique). La lecture des auteurs classiques et surtout d'Ovide a ajouté d'autres éléments à la poésie troubadouresque comme des motifs de l'amour et l'amour comme un art qu'on peut ap¬ prendre (le latin classique). Des genres déjà présents dans la poésie latine médiéva¬ le ont été imités par les troubadours et ils se sont servis aussi de la rhétorique médiévale (le latin médiéval sécu¬ lier ) . Table de matière Préface 4 aux troubadours: I.Introduction-situation chronologique et géographique 6 -étymologie de leur nom 9 -les protecteurs 10 -la poésie: les genres 13 -la fin'amors 15 -fin'amors contre amour courtois 18 du latin classique 21 -conclusion 43 II.Influences du latin médiéval A.
  • Marcabru, Prophet of Fin'amors

    Marcabru, Prophet of Fin'amors

    { 71-18,060 NELSON, Deborah Hubbard, 1940- MARCABRU, PROPHET OF FIN'AMORS. The Ohio State University, Ph.D., 1970 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED MARCABRU, PROPHET OF FIN*AMORS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Deborah Hubbard Nelson, B. S., M. A. ****** The Ohio State University 1970 Approved by Department of Romance Languages ACKNOWLEDGMENTS I wish to express my deepest gratitude to my adviser, Dr. Eleanor Bulatkin, for her encouragement, her suggestions, and her patience throughout the course of my study. I would also like to thank Dr. and Mrs. Ernst Schorrig for their assistance in translating into English some of the articles in German. i i VITA July 19, 1940 ............................... Born—Springfield, Ohio 1960 ................................................. B. S., Wittenberg University, Springfield, Ohio 1960-1961 ........................................ University of Grenoble, Grenoble, France 1961-1964 ........................................ Teaching Assistant, Department of Romance Languages, The Ohio State University, Columbus, Ohio 1964 ................................................ M. A., The Ohio State University, Columbus, Ohio 1964-1967 ........................................ Lecturer, Department of Romance Languages, The Ohio State University, Columbus, Ohio 1968-1970