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This Dissertation Has Been 62-789 M Icrofilm Ed Exactly As Received This dissertation has been 62-789 microfilmed exactly as received MACEDONIA, John Anthony, 1920- MOTIF-INDEX OF THE BIOGRAPHIES OF THE TROUBADOURS. The Ohio State University, Ph.D., 1961 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan MOTIF-INDEX OF THE BIOGRAPHIES OF THE TROUBADOURS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy1 in the Graduate School of The Ohio State University By John Anthony Macedonia, B # A, * $ $ * if $ The Ohio State University 1961 Approved by lvx ser Department of Romance Languages CONTENTS Introduction 1 General Synopsis Of The Index 10 The Vidas And Razos 15 I Ademar Lo Negre 15 II Aimeric De Belenoi 15 III Aimeric De Peguillan 16 IV Aimeric De Sarlat 19 V Albertet Cailla 20 VI Albertet (De Sestaro) 20 VII Albert Marques 21 VIII Almuc De Castelnou Et Isout De Capio 21 IX Amfos D*Aragon 22 X Arnaut Daniel 23 XI Arnaut De Maroill 25 XII Azalais De Porcairagues 29 XIII Berenguier De Palazol 29 XIV Bernart De Ventadorn 30 XV Bertolome Zorzi 37 ii iii XVI Bertran D'Alamano 39 XVII Bertran De Born Jj-0 XVIII Bertran De Born Lo Fills 70 XIX Bertran Del Pojet 73 XX Blacasset 73 XXI Blacatz 7b XXII Cadonet ?b XXIII Castelloza (NA) 76 XXIV Cercamon 77 XXV Lo Corns De Peiteus 77 XXVI Lo Corns De Rodes 78 XXVII La Comtessa De Dia 79 XXVIII Dalfi D'Alvergne 80 XXIX Daude De Pradas 87 XXX Elias De Barjols 87 XXXI Elias Cairol 88 XXXII Elias Fonsalda 90 XXXIII Ferrari Do Ferrara 90 XXXIV Folquet De Marseilla 92 XXXV Folquet De Romans 99 XXXVI G-arin D'Apclaier 100 iv XXXVXI Garin Lo Brun 100 XXXVIII Gaucelm Faidit 101 XXXIX Gausbert Amiel 113 XL Gausbert De Poicibot lH* XLI Gauceran De Saint Leidier 116 XLXI Gui De Cavaillo 117 XLI 11 Gui D'Uisel 118 XUV Guillem Ademar 12ifr XLV Guillem Augier Novella 12^ XLVI Guillem De Balaun 125 XLVII Guillem Del Baus 13^ XLVIII Guillem De Bcrguodan 136 XLIX Guillem De Cabestaing 137 L Guillem Figueira 15^ LI Guillem llagret 155 LII Guillem De Montaignagol 156 LIII Guillem Rainol D'At 157 LIV Guillem De Saint Leidier 157 LV Guillem De La Tor 162 LVI Gui raudo Lo Ro s 163 LVII Guiraut De Borneill 161* V LVIII Guiraut De Calanso 171 LIX Guiraut Do Salaignac 171 LX Jaufre Rudel De Qlaja 172 LXI Jordan Qonel 173 LXIX Lanfranc Cicala 173 LXIII Lombarda (NA) 176 LXIV JIarcabru I77 LXV Maria De Ventadorn 179 LXVI Honge De Montaudon 180 LXVII Peire D'Alvergne I83 LXVIII Peire De Barjac 18U LXIX Poire Bremon Lo Tort 185 LXX Poire Do Bussicnac 186 LXXI Poiro Cardenal 186 LXXII Peire Guillen De Toloza 188 LXXIII Peire De Maensac 188 LXXIV Poire De La Ilula I89 LXXV Peire Raimon De Tolosa 190 LXXVI Poire Robies igi LXXVII Peire De Valoira 193 LXXVTII Peire Vidal 193 vi LXXIX Peirol 20** LXXX Perdigo 20 6 LXXXI Pistoleta 209 LXXXXI Pons D© Capdoill 210 JLXXXXIX Raimbaut D*Aurenga 21** LXXXIV Raimbaut De Vaqueiras 216 LXXXV Raimon De Durfort E Turc Malec 227 LXXXVI Raimon Jordan, Vescoms De Saint Antoni 228 LXXXVII Raimon De Iliraval 231 LXXXVXXX Raimon Do Las Salas, De Marseilla 2**9 LXXXIX Rainaut Et Jaufre De Pon 250 XC Richart De Berbezill 250 XCI Ricau De Tarascon 255 XCII Sail D1Escola 255 XCIII Savaric De Malloo 256 XCIV Sordel 260 XCV Tibors (NA) 263 XCVI Tomier E Palazi 26** vii XCVXI Uc De La Bacalaria 265 XCVXII Uc Brunet 266 XCIX Uc De Mataplana 267 C Uc Do Pena 267 Cl Uc De Saint Circ 268 Index Of The Motifs 27^+ Conclusion 318 Autobiography 3^1 INTRODUCTION The biographies of the Troubadours are, in reality, compositions of three different kinds t the Vidas. the Razos, and a combination of the two. These prose forms range from the briefest vague sketches of just several lines to relatively extensive histories of between one and two hundred lines. Of these three genres, it is the Vidas which are biographies in the most literal sense. They usually contain information regarding the poet's origins, his social position, his adventures, and, almost always, a critical evaluation of his work. The Razos. on the other hand, are ordinarily intended to clarify some one composition of the poet in question and they very often include tales of his amorous intrigues. The third genre consists of a novelized combination of the two preceding forms, a mixture that might well be con­ sidered a brief ancestor of modern biographical and his­ torical novels. Further discussion of the critical evalu­ ation found in them and of some of the novelistic aspects of the genres is embodied in the conclusion that follows the indexes proper. The biographies, whose origins are to be found in an oral tradition, were not written down until the thirteenth and fourteenth centuries. This was finally done by the Italians who are directly responsible for the bulk of the anthologies of works of the Troubadours that have come down to us from the Middle Ages. The Vidas and the Razos were born of the needs of the Joglars who performed the compositions of the Troubadours. As these Joglars moved away from the Troubadours in both time and space, the rapport between the poets whose works were being per­ formed and the audiences of the Joglars became more and more tenuous. Thus, the Joglars found themselves com­ pelled to relate the authors and their compositions to the time and place of their performances, to compensate for the fame of the poets and of their lyrics which might long since have died. The Vidas served to introduce the Troubadour to the audience while the Razos usually pre­ sented the background that might have been responsible for the composition of the work about to be sung. The biographies served the same purposes in written form that they had filled in the oral performances from which they sprang. They are included in the manuscripts that contain collections of the lyrics of the Troubadours of Provence and of Italy. The Vidas appear as a prefatory note, introducing the poet whose anthology follows. The Razos are ordinarily seen where synopses might be expected, just ahead of the compositions for which they serve to set the stage. Some of the later manuscripts illustrate the importance and the wide acceptance of the Vidas and of the Razos. In them, the copyist, instead of placing the Vidas at the beginning of the anthology and the Razos immediately proceding the poems to which they were re­ lated, grouped them both into a collection of their ov/n, clearly indicating that the biographies held an appre­ ciable interest for their audionces that was remoto from their original purpose. This grouping of Vidas and Razos is a point of prime importance for the student of the development of novelistic techniques. Such an emphasis, placed on one of the most valued bodies of Provencal prose that we have inherited from the Middle Ages, points to what is an undeniable and important forerunner of modern biographical and historical novels. The purpose of the present Motif-Indox of the Biog­ raphies of the Troubadours is to offer a reference source that will quickly load one to the substance from which tho authors wove thoir biographies. In order to accom­ plish this objective, the standard classification system of Stith Thompson was adopted. Because Professor Thomp­ son’s system is standard and because it is becoming more and more universally employed for the analytical study of traditional genres of all kinds, it will allow the present study the maximum utility for the largest number of po­ tential users. To achieve these goals of easy reference and maximum utility, we have exercised great care in the selection of the base on which all of the classifications were to rest. 4 The interpretation to be applied to the word "motif" was the major problem to be solved before this Motif-Index could get under way. Our choice was made with a full real­ ization of the complexities to which a consideration of "themes", "motifs", "leitmotifs", and "topoi" could very easily lead. Xn fact, because of this awareness, we en­ deavored to clear away all externally imposed and confusing criteria. It was Professor Thompson’s own use of the word "motif" that offered the simplest and most applicable solution to the problem. For him, a "motif" is, essen­ tially, any element that contributes to the structure of a traditional genre. Therefore, for us, a "motif" became anything that contributed to the structure of the Vidas and Razos. The difficulties encountered in the interpretation and analysis of the biographies wore as numerous as they were unexpected. Many were due to the special nature of the genre, to the fact that it has a language and a termi­ nology all its own. Since those problems are entirely irrelevant from the reader’s point of view, he will not be burdened with a discussion of them here. However, a word about the methods of resolution applied to the prob­ lems would not be inappropriate. The general approach was, first, to seek clarification of the questionable texts by studying all the variants that BoutiSre and Schutz provide in their Biographies Des Troubadours which served as the primary text source for this entire study. Second, since the Ohio State University Library has excel­ lent Provencal holdings, it was our practice to consult the editions, the periodical literature, and the chresto- mathies which have been readily available.
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