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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 75-26,543

ARTIS, Ann«Marie Jos^Jie, 1925- THE CHANSONS OT THIBAUT, COUNT OF CHAMPAGNE, KING OF NAVAPRÇ. CVOUMES I AND II).

The C M o State University, Ph.D., 1975 MÜSÎC

Xerox University Miorofiims, Ann Arbor, Michigan 481 oe

'Copyright by Anne-Marie Josephe Artis 1975

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE CHANSONS OF THIBAUT, COUNT OF CHAMPAGNE,

KING OF NAVARRE

Volume I

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Anne-Marie Josephe Artis, M.A.

*****

The Ohio State University

1975

Reading Committee: Approved By

Prof. Herbert S. Livingston

Prof. Norman Phelps

Prof. Richard Hoppin Adviser' Department of Music PREFACE

Thibaut de Champagne was one of the most famous and most prolific trouvères in the first half of the thirteenth century. But, refined and successful as his poetry was, it could not compete with the new develop­ ments of the fourteenth century, and, like all twelfth- and thirteenth-century lyrics, Thibaut's chansons were temporarily forgotten.

It was not until the sixteenth century that

Estienne Pasquier mentioned Thibaut's poetry and pub­ lished some passages of his poems.^ In the same century,

Claude Fauchet devoted a chapter to Thibaut in his study of the origin of the French language and poetry. Fauchet 2 included passages from ten chansons. Not until the eighteenth century (1742) was a complete edition of

Thibaut's chansons published by Levesque de la Ravaliere.^

According to WallenskOld, the edition was defective in

^Estienne Pasquier, Recherches de la France. I, VIII (Paris, 1560), Chapter V. 2 Claude Fauchet, Recueil de l'origine de la langue et poésie françoise. II (Paris, n.d.). Chapter XV. ^Levesque de la Ravalière, Les poésies du roy de Navarre. II (Paris, 1742), 305-17.

11 many ways, but it had the advantage of giving the melo­ dies of nine chansons.^ In the nineteenth century,

Thibaut's chansons were the object of several studies.

Among the works published. Prosper Tarbe's Chansons de

Thibaut IV. comte de Champagne et de Brie was the most scholarly.^ It served as a basis for later studies on

Thibaut, including those of WallenskOld and Paulin Paris, who in the Histoire littéraire de la France gives a detailed analysis of the trouvère's poetry.^ At the beginning of the twentieth century a few chansons were published individually. In collaboration with literary scholars, Pierre Aubry published the music for Thibaut's 7 8 only lai, and his chansons de croisade. The jeux- partis appeared without music in Recueil général de

Teux-partis.4 .- 9

WallenskOld's study, published in 1925, is now the definitive work on Thibaut's poetry. The text of

^Chansons I, VI, XV, XVI, XXIX, XLVI, LII, LVI, LIX. ^Prosper Tarbé, Chansons de Thibaut IV, comte de Champagne et de Brie (Reims, 1851). ^Paulin Paris, Histoire littéraire de la France XXIII (Paris, 1856), 765-804. ^Alfred Qeanroy and Pierre Aubry, Lais et descorts français du XlIIeme siecle (Paris, 1901). ®Joseph Bedier and Pierre Aubry, Les chansons de croisade (Paris, 1909). ^Alfred Langfors, Recueil général de jeux-partis (Paris, 1910).

iii each chanson is provided with complete critical notes and historical comments. In addition, the work contains a

short biography of Thibaut and a detailed explanation of

the relationship of the manuscripts according to philo­

logical evidence.

The object of this dissertation is the study and

analysis of the music of Thibaut's chansons and its rela­

tion to the texts. The first volume begins with a short biography of Thibaut, followed in Chapter II by a discus­

sion of the manuscripts in which his chansons are preserved.

Chapter III deals with types and forms of the poems and

the way Thibaut treats them in his chansons. Chapter IV discusses the forms of Thibaut's melodies and Chapter V

their musical style with special emphasis on their rela­

tionship with the chants of the Church and Thibaut's

techniques of relating and contrasting phrases within a melody. Chapter VI deals with oral and written tradi­

tions in medieval music and with contraposita and contra-

facta connected with Thibaut's chansons and jeux-partis.

Chapter VII is concerned with modality and Thibaut's use

of modes and deviations from them. The rhythm in

trouvère melodies, the different ways it has been inter­

preted by scholars, and the rhythm of the poetic line

Alfred WallenskOld, Les chansons du roi de Navarre. Edition critique. Société des Anciens Textes français (Paris, 1925).

iv are dealt with in Chapter VIII. The poetic and musical structures of Thibaut's religious lai are the subject of Chapter IX.

In general, the musical examples are from the

Mt manuscript except when the melody was not copied or when the Mt version contains obvious scribal errors.

In these cases, the version of manuscript K is used.

Volume II contains the lai and the fifty-eight chanson melodies that have been preserved. These melo­ dies are arranged in the order of WallenskOld's edition and are given with the first stanza of the chanson text.

The complete central melodies appear first on the page.

Only the variants in different manuscripts are noted underneath, except when the text has been given another melody (contrapositum).

The writer is grateful to the members of the read­ ing committee; she thanks them for the valuable sugges­ tions and careful examination of this dissertation. She especially thanks Professor Hans A. Keller, of the Depart­ ment of Romance Languages and Literatures, for his advice in the Old French and Old Occitan languages, and

Professor Richard H. Hoppin, of Music History, for his guidance and thorough criticism. VITA

January 30, 1925 .... Born - Pompey, M-Melle, France

1942-1950 ...... University of Nancy, School of Music, Nancy, France

1943-1945 ...... Teaching Assistant, Solfeggio, University of Nancy, Nancy, France

1956-1961 ...... Instructor, University of Maryland (Overseas Program), Department of Romance Languages, Heidelberg, Germany

1967 ...... M.A., School of Music, The Ohio State University, Columbus, Ohio

1970-1972 ...... Teaching Assistant, School of Music, The Ohio State University, Columbus, Ohio

FIELDS OF STUDY

Music History: Professors Richard H. Hoppin and Herberst S. Livingston

History of Music Theory: Professors Norman F. Phelps and B. William Poland

VI TABLE OF CONTENTS

Page PREFACE ...... ii

VITA ...... vi

LIST OF T A B L E S ...... xi

Chapter

I. THIBAUT DE CHAMPAGNE ...... 1

Biography ...... 1

II. M A N U S C R I P T S ...... 13

Manuscripts Containing Thibaut's Melodies...... 14 Chansonnier du roi de Navarre .... 15 Manuscrit du Roi ...... 19 Manuscripts of the Arsenal Group . . 20 Manuscript Filiation...... 24 Contents of the Manuscripts ...... 25 Text Variants ...... 27 Musical Variants...... 29

III. THIBAUT OF CHAMPAGNE COURTLY POET .... 33

Courtly Love ...... 33 Thibaut's Poetry...... 35 Poetic Types...... 36 Love S o n g ...... 36 J e u - p a r t i ...... 41 The Tenso or Débat...... 45 Pastourelle ...... 49 Chanson de Croisade ...... 52 Religious Songs ...... 56 Serventois...... 56 Songs to the Virgin ...... 57

Vll Page Poetic Form...... 59 Length of the Stanza ...... 60 Stanza Structure ...... 61 Types of Stanzas ...... 62 R h y m e s ...... 67

IV. MUSICAL FORMS...... 73

Chanson F o r m ...... 74 Second Section or Cauda of tne Chanson F o r m ...... 81 Variants in the Cauda of Chanson F o r m ...... 81 Rounded Chanson Form ...... 81 Phrase Repetitions Within the Cauda. ^...... 82 Chanson à refrain...... 86 Chanson with Refrains...... 91 Vers Form or Through-Composed M e l o d i e s ...... 95 Normal vers F o r m ...... 98 Vers Form with Repeated Phrases. . . 100

V. MELODIC STYLE...... 104

Neumatic and Syllabic Styles ..... 105 Number of Ligatures in the Phrase. . 110 Neumatic Melodies...... 113 Highly Neumatic Melodies...... 114 Syllabic Melodies...... 114 Intervals...... 115 Ambitus...... 122 Intervals and Ranges as Elements of C o n t r a s t ...... 125 Type of Phrase Structure ...... 128 Recitative-like Structure...... 132 F o r m u l a s ...... 134 Summary. ^ '...... 141

Vlll Page VI. ORAL AND WRITTEN MELODIC TRADITION . . 144

V a r i a n t s ...... 146 Different Kinds of Variants. . . . 148 Scribal Errors ...... 150 Contraposita ...... 159 Range of Phrases...... 164 Debats, Jeux-Partis, and Contrafacta 168 Jeux-Partis in which Thibaur Starts the Debate...... 169 Jeux-Partis in Which Partners Wrote Melodies ...... 174 Contrafacta XL, XLII, and XLIV . . . 176

VII...... TONALITY ...... 190

Modal System ...... 191 Deviations Found in Gregorian C h a n t s ...... 193 Modes in Thibaut's Chansons...... 195 Melodies with Modal Deviations . . 199

VIII. MUSICAL RHYTHM IN THIBAUT'S MELODIES . 205

Modal System ...... 206 Measured Notation...... 210 Partial Use of Mensural Notation . 216 Unmeasured Notation...... 217

IX. THIBAUT'S RELIGIOUS LAI...... 225

Poetic Structure of the Lai ...... 228 Musical Analysis of the Lai ...... 235 C o n c l u s i o n ...... 252

X. CONCLUSION...... 256

APPENDIX

A ..... ; ...... 261

B ...... 276

IX Page BIBLIOGRAPHY ...... 289

MANUSCRIPT SOURCES ...... 297

VOLUME II

TRANSCRIPTION OF THE MELODIES...... 300 LIST OF TABLES

Table Page 1. Manuscript Sources of Thibaut's Melodies ...... 16

2. WallenskOld's Classification of the Fourteen Manuscripts ...... 26

3. Different Lengths of Stanzas in Thibaut's Poems...... 61

4. Dragonetti's List of Isometric Stanzas in 574 Poems ...... 63

5. Isometric Stanzas in Thibaut's Poems . . . .64

6. Musical Scheme of Melodies in Chanson F o r m ...... 76

7. Number of Melodies with and without V a r i a t i o n s ...... 77

8. Musical Scheme of Melodies in Vers Form. . 97

9. Number of Phrases Containing Ligatures . . 112

10. Number and Percentage of Phrases with Ligatures...... 113

11. Ligatures in a Neumatic Melody (Ch. XXII). 113

12. Ligatures in a "Highly Neumatic" Melody (Ch. XIV)...... '. 114

13. Ligatures in a Syllabic Melody (Ch. LVII). 115

14. Number of Intervals in Twenty-Seven Songs. 116

15. Number and Percentage Intervals in Table 1 4 ...... 117

XX Table Page 16. Number and Percentage of Seconds in Six S o n g s ...... 118

17. Number and Percentage of Thirds in Five Songs ...... 119

18. Number and Percentage of Unisons in Five Songs...... 120

19. Number and Percentage of Intervals in Twenty-Seven Songs...... 121

20. Range of Phrases in Twenty-Seven Chansons...... 123

21. Number and Percentage of Phrases within the Different Ranges...... 125

22. Contraposita...... 162

23. Range of Contraposita ...... 164

24. Phrase Ranges of Contraposita in R and V. 165

25. Phrase Range of Contraposita in A . . . . 166

26. Jeux-Partis, Debats, and Contrafacts. . . 170

27. Range and Modality in Thibaut's Melodies. 196

Xll CHAPTER I

THIBAUT DE CHAMPAGNE

Biography

Because of his rank and his close connections with prominent figures in the political life of thirteenth- century France, Thibaut de Champagne is certainly the trouvère whose biography is the best known. Historians have made detailed studies of his life and the political events in which he participated.^ Only Thibaut's most important activities need be described here, therefore, with emphasis on his relationship with Queen Blanche-of

Castile, who (according to tradition) was the inspiring

"lady" of his chansons.

Thibaut IV, Count of Champagne and of Brie, was the direct lineage of the Counts of Champagne and the

House of Blois. His grandfather, Henri the Liberal, son of Thibaut the Great of Blois, had married Marié, the daughter of Louis VII and Eleanor of Aquitaine. Henry

1 Elie Berger, Histoire de Blanche de Castille, Reine de France (Paris, 1895). Ernest Lavisse, Histoire de France (Paris, 1901), Vol. Ill, Part II. Charles Petit-Dutaillis, Etude sur la vie et le règne de Louis VIII (Paris, 1894). and Marie had two sons: Henry (born in 1166) and Thibaut

(born in 1179). The former succeeded his father with the name of Henry II, participated in the Third Crusade, and died in 1197 at Acre. From his marriage with Isabella of

Jerusalem, Henry II had three daughters: Marie, Alix, and

Philippina.

Before leaving for the Holy Land in May 1190,

Henry II made his vassals recognize his younger brother

Thibaut as Count of Champagne, in case he should not return. Thus, Thibaut was proclaimed Count of Champagne with the name of Thibaut III. In 1199 he married Blanche

of Navarre, daughter of Sancho VI and sister of Sancho VII

the Strong, reigning King of Navarre. On the verge of

leaving Franco as the leader of the Fourth Crusade,

Thibaut III suddenly died on May 24, 1201. A few days

later, probably on May 30, his wife gave birth to a child who was to be the trouvère Thibaut IV.

Thibaut was born in a family in which the cult of

the lady was almost a tradition. His grandmother Marie of

Champagne, wife of Henry the Liberal and daughter of

Eleanor of Aquitaine, was one of the outstanding literary

patrons of her day. Poetry had been encouraged and culti­

vated for half a century at the Court of Champagne when

Thibaut was born in 1201, three years after the death of

Marie (1198). The culture and patronage of Henri the

Liberal and his Countess were well known, and many scholars, writers, and poets lived at the Court or were

associated with it. In the long list of authors who wrote for the Court, Chrétien de Troyes is, perhaps, the most important. In his work Lancelot he shows that he was in direct communication with Marie by the statement:

"since the lady of Champagne wants me to write a romance. 2 ' ..." Chrétien was very influential in twelfth-century

literature as one of the great innovators of Arthurian

romances. Likewise, trouvère Gace Brûlé was at the Court

at one time and wrote at least one song at Marie's request:

"The Countess of Brie ordered me to sing." Gace is among

the first trouvères who began the tradition of the courtly

lyric in the North of France. Also connected with Cham­

pagne was Andreas Capellanus, who wrote Tractatus de

Amore. He spent some time at the Court of Marie and, like

Chrétien, enjoyed her patronage. John of Salisbury was

in communication with Count Henry and visited the Court;

Conon de Béthune, Gauthier d'Arras, and many others were,

in one way or another, connected with Champagne. It can

be said that, because of her education, her direct

collaboration with poets, her influence and advanced ideas,

Marie contributed to the introduction of courtly poetry

Chrétien de Troyes, Le chevalier de la charrette (Lancelot) translated by Jean Frappier (Paris. 1962), p. 19. "Puisque ma dame de Champagne a pour vouloir que j'entrepenne un conte en français. ..." 4

and the doctrine of courtly love into the North of 3 France.

Little is known about Thibaut's youth except that he spent a few years (1209-1214) at the Court of Philip '

Augustus. In July 1214 he was at the Battle of Bouvines,

and the same year he took an oath of homage to the king

Philip Augustus. After Philip's death in 1223, Thibaut

continued as a loyal vassal to Louis VIII and his wife,

Blanche of Castile. At about twenty-five years of age,

however, Thibaut began to exhibit an inconstancy that

became characteristic. In September 1226,at the siege of

Avignon, he suddenly deserted the royal army and went

back to Champagne without the king's permission. A few

months later, on November 8, 1226, Louis VIII died at

Montpensier, Auvergne, a victim of an epidemic of dysen­

tery. Following this event, the most scandalous gossip

circulated about Thibaut. In a contemporary chronicle,

Roger of Wendover accused him of having poisoned the king 4 because of his love for Queen Blanche of Castile.

Thibaut's presence in Champagne at the time of Louis'

death removes any ground for this unfair accusation. As

for his love for Blanche, it appears to have been simply

a legend.

^John.Benton, "The Court of Champagne as a Literary Center," Speculum. XXXVI (1961). 551-91. 4 ^HenriHenri Hewlett, Flores Historiarum de Wendover (London, 1886), II, 186. On November 29, 1226, three weeks after the death of Louis VIII, Louis IX was crowned at the age of eleven, and Blanche of.Castile became the regent. Although he was invited by the royal family, Thibaut did not attend the coronation- Instead, along with the King of England and important barons such as Pierre Mauclerc of Brittany, the Count of Marche, Thibaut formed a league aimed at dethroning the foreign princess Blanche of Castile.

Blanche reacted promptly and sent the royal army against the rebels. The army advanced so decisively and success­ fully that Thibaut saw himself in real danger. He abruptly changed sides and asked the Regent for her alliance and friendship. The betrayed barons angrily turned against the traitor and invaded Champagne. On two successive occasions, in 1229 and 1230, Thibaut and Cham­ pagne were rescued only because of the intervention of

Blanche of Castile.

As for the real relationship of Thibaut and the

Queen of France, it seems doubtful that Thibaut could have been the lover of Blanche when Louis VIII was still

alive. If he had been the lover of the Queen, why would he have organized a league against her? Moreover, what

is known of Blanche's personality makes it difficult to

think of a relationship of that kind. In fact, her high virtuous qualities have been recognized by historians of all times. Ernest Lavisse writes of Blanche that she had been a fecund, faithful, and active wife.^

The continuing legend of Thibaut's love for the

Queen undoubtedly rests in large part on an entry in the

Grandes chroniques de France which relates a reconcilia­ tion of Thibaut with the Queen. According to the chron­ icle, this reconciliation took place in 1236. After having been reminded that the royal army had saved him and Champagne, Thibaut thanked the Queen and promised fidelity to the royal family: "Ijpon my word. Madam, my heart and my body and all my land are under your command; there is nothing which could pleose you that I would not gladly do; God willing, I will never go against you or against your party.

According to the same chronicle, Thibaut was over­ whelmed by the beauty, the calm, and the noble personality of the Queen:

The Count looked at the Que^n who was wise, and so lovely that he was completely over­ whelmed by her great beauty. He left deep in thought, and the sweet look of the Queen and her beautiful countenance came often to his mind, and a sweetand loving thought entered his heart. But, when he remembered

c 2 Lavisse, Histoire, III , 2. ^Quoted in: Berger, Histoire, p. 146. "Par ma foy, madame, mon cuer et mon corps et toute ma terre est en vostre commandement; ne n'est riens qui vous peut plaire que je ne feisse volontiers; ne jamais, se Dieu plaist, contre vous ne contre les vos je n'irari." that she was such a high lady, of such a good arid fine conduct that he could never enjoy her love, his sweet and loving thought turned into great sadness. And because deep thoughts engen­ der melancholy, he was advised by wise men to apply himself to beautiful sounds of the vielle and sweet, enjoyable songs. He wrote . . . the most enjoyable and melodious songs and had them copied in his hall at Provins and in that of Troyes, and they were called Les Chancons au Roy de Navarre.'

Even though there is nothing scandalous in this account, its admiring tone makes its veracity seem doubtful. It resembles in every respect the characteristic situations of courtly love in the fanciful Vidas of the troubadours.

In 1236 Blanche was forty years old and Thibaut— who had lived at the Court of Philip Augustus— had already known her for some twenty years. Besides, in this chronicle

Thibaut is called "Count," and it is known that he wrote chansons before 1234, the date on which he became King of 8 Navarre. In several jeux-partis his partners call him

Comte or Seigneur. while in others, he is called Koi.

Berger. Histoire, p. 146. "Le conte regarda la royne qui estoit sage, et tant belle que de la grant biaute d'elle il fu tout esbahi . . . D'ilec se parti tout pensis, et ly venoit souvent en remembrance du doux regard la royne et de sa belle contenance; lors si entroit en son cuer une pensee douce et amoureuse. Mais quant il ly souvenoit qu'elle estoit si haute dame, de si bonne vie et de si nete qu'il ne pourroit ja joir, si muoit sa douce pensee amoureuse en grant tristesse. Et, pour ce que parfondes pensées engendrent mélancolie, ly fu-il loé d'aucuns sages hommes qu'il s'estudiast en biaux sons de vielle et en doux chants delitables. Si fist . . . les plus delitables et mélodieuses chansons; et les fist escrire en sa sale a Provins et en celle de Troyes, et sont appelées Les Chancons au.Roy de Navarre." ®Jeux-partis XXXIX,. XL, XLIX. 8

Therefore, if he wrote jeiix-partis before he became King, he must certainly have written love songs before 1236.

In his Histoire de France. Henri Martin placed the episode

in 1227, soon after the death of Louis VIII, when the

Queen saved Thibaut and Champagne from the league of the 9 barons. This is a much more likely date, and later

records of Thibaut's life show that he was not even in

France in 1236. Still, in 1227 he had known the Queen for

more than ten years.

Thus, there is no serious reason to consider

Blanche as the "lady" of Thibaut. It may be presumed that

the poet paid homage to Blanche, as he probably did to many

other ladies; nothing indicates serious love for Blanche.

Moreover, Thibaut was inconsistent, and it is unlikely

that the lyric poetry of the Middle Ages was primarily a

social game that did not necessarily reflect the true

feelings of the poet.

In the summer of 1231, Thibaut's second wife,

Agnès de Beaujeu, died (the first, whom he had married in

1220, had been repudiated because of her sterility). As

a widower, Thibaut thought of marrying Yolande de Dreux,

daughter of Pierre Mauclerc, Duke of Brittany. Since the

Duke of Brittany was her enemy, Blanche of Castile inter­

fered and halted the proposed marriage. Thibaut, as

^Henri Martin, Histoire de France (Paris, 1878), IV. 137. inconsistent in private life as he was in his political acts, married Marguerite, daughter of Archambaud of

Bourbon, faithful vassal of the Regent. Thus, Thibaut remained friendly to the Crown and was again considered a traitor by the barons, who shortly after found an effec­ tive means to annoy him. In 123 3 they arranged for Alix,

Queen of Cyprus and cousin of Thibaut, to come to France to claim her rights to the county of Champagne.The

negotiations between Thibaut and Alix lasted about one year. Thibaut kept Champagne, but he lost some land and money. In September 1234 Alix waived her claim to the

counties of Champagne and Brie in exchange for an annual

rent of 2,000 livres tournois and a sum of 40,000 livres

in cash payment. In this settlement, Thibaut's represen­

tatives (among them his father-in-law, Archambaud of

Bourbon) procured the 40,000 livres by selling to the

King the feudal rights over four of Thibaut's fiefs: the

counties of Blois, Chartres, and Sancerre, and the vis­

county of Chateaudun.^^

In the meantime, April 1234, Thibaut had been

called to Navarre to succeed King Sancho the Strong, his

maternal uncle. Since Sancho the Strong had no children,

Thibaut was crowned King at Pamplona on May 8, 1234.

in 2 Lavisse, Histoire. Ill , 15. ^^Berger, Histoire. p. 247. 10

In 1235, on his return to Champagne, Thibaut— who had found great wealth in the royal treasure of Navarre— attempted to buy back the four domains sold to the King of France, Louis IX, by pretending that they were only placed under distraint. When the King refused to give him the lands, Thibaut prepared to take them by force.

But the twenty-year-old Louis IX threatened Thibaut, who yielded to royal decision in spite of himself. Defeated and insulted, Thibaut went back to Pamplona, where he remained for almost two years.

As early as 1230, in a peace treaty with the barons, Thibaut vowed to participate in a Crusade. In

1238, after the resignation of Emperor Frederic II, he was given the lead of the Fifth Crusade. In August 1239 he embarked at Marseilles accompanied by the barons, among whom were Pierre Mauclerc of Brittany, the Count of Bar, and the Duke of Burgundy. The landing took place at Acre on September first, and two months later the Crusaders advanced toward Ascalan. Thibaut, intelligent and prudent, had forbidden separate expeditions. Unfortunately, his orders were not followed, and several barons, including

Pierre Mauclerc, Amauri of Montford, and the Duke of

Burgundy, attempted a foray on their own. On November 23,

1239, the Turks took them by surprise at Gaza, and their army was destroyed. Thibaut arrived on the battlefield too late to aid them. The Count of Bar had already 11 perished, and Philip of Nanteuil and Mauri of Montford had been taken prisoners. Thibaut, tired of the machina­ tions of the barons and of the dissensions among them, visited Jerusalem and left the Holy Land the following year (1240).

Little is known about Thibaut's life after his return from the Crusade. He lived sometimes in Navarre, sometimes in Champagne. In 1242 he was on the side of the

King of France at the campaign of Poitou and at Saintonge against the English and the Count of Marche. The latter were defeated at Taillebourg and at Saintes in July 12 1242. Two years later, in 1244, Thibaut was defeated

in a battle against Nicolas of Molis, seneschal of the

English King in Gascogne.

In Navarre, his political acts and attitudes seem

to have caused difficulties. His subjects were unhappy,

and he had serious quarrels with the clergy. In 1248, as 14 an act of repentance, Thibaut made a pilgrimage to Rome.

12 Antoine Thomas, "Une chanson française sur la bataille de Taillebourg," Annales du Midi. IV (1892), 368. ^^Mathieu Paris, Chronica majora (London, 1872- 1883), IV, 396, cited in Alfred WallenskOld, Les chansons du roi de Navarre. Edition critique. Société des Anciens Textes français [Paris, 1925), p. xxv. ^^Jean de Moret, Los Annales de Navarra (Pamplona, 1704), III, 58, cited in WallenskOld, Les chansons. p . xxvi. 12

15 He died in Pamplona in July 1253, probably on the seventh, at the age of fifty-two.

15 Arbois de Jubainville, Histoire des Ducs et des Comtes de Champagne. Vol. V: Catalogue des actes se rapportant au règne de Thibaut IV (Paris, 1865), act no 3110, cited by Wallenskôld, Les chansons. p. xxvi. CHAPTER II

MANUSCRIPTS

In the thirteenth and fourteenth centuries trouvère and troubadour chansons were gathered, and manu­ scripts called chansonniers were compiled. A large number of these manuscripts have been lost, a few damaged.

Chansonniers are usually large books ten to twelve inches

long and eight inches wide. Some divide pages into two

columns, whereas other use the entire width of the page.

In both arrangements, and independent of the position of

the chanson in.the page or in the column, the first

letter of every poem is ornamented. In some, the illumina­

tions are artistic and impressive in size; a few consist

of rich miniatures delicately painted in red, blue, and

gold; in others the embellishments consist of a simple

garland or small ornaments without any artistic value.

In trouvère chansonniers. chansons are generally

grouped by author, and authors are arranged according to

their hierarchical rank, starting with the highest. The

name of the composer is usually indicated above the first

line of each chanson. ,Since Thibaut was a king, his

chansons always appear at the beginning of manuscripts

13 14 arranged in this way. Some manuscripts present the chansons alphabetically according to the first word of the poem. In each group of chansons starting with the same letter, authors are presented according to their hierchical rank; Thibaut is always the first author pre­ sented. A few manuscripts place chansons without any systematic arrangement. As a result, in these manuscripts

Thibaut's chansons are mixed with those of other composers.

In trouvère chansonniers all the stanzas of the poems are copied with music above the text of the first stanza only. For some chansons, however, the staves are drawn, but the scribe did not copy the melody. In a few cases the music has been partially copied and completed by a second hand, probably at a later date.

The manuscripts in which Thibaut's chansons are preserved are discussed in the first part of this chapter.

The second part considers the relationship of the manu­ scripts and their grouping in families. This grouping is based upon their contents, the order in which melodies appear, and textual and musical variants that distinguish manuscripts in the same family.

Manuscripts Containing Thibaut's Melodies

According to WallenskOld, the texts of Thibaut's chansons are preserved in thirty-two manuscripts; some contain only a few chansons, while others preserve the 15 entire repertory. WallenkOld points out that, in addi­ tion to the thirty-two manuscripts known, others contain­ ing poems of Thibaut may have been lost. Manuscripts 1 that present single stanzas are not listed by WallenkiJld.

Of the thirty-two manuscripts in which Thibaut's poems are preserved, only fourteen contain melodies. This chapter is concerned with these fourteen which are listed in

Table 1.

Chansonnier du roi de Navarre

Among the collections of Thibaut's chansons, the

Chansonnier du roi de Navarre is unquestionably the most important. Devoted entirely to Thibaut's chansons, the ' collection was inserted in a larger chansonnier that later came to be known as the Manuscrit du Roi. The chansonnier of Thibaut appears as fol. 13 and fol. 59-78 in the present arrangement of the Manuscrit du Roi. Beck placed all the chansonnier of Thibaut together as pages I-XXI at the end of his facsimile edition of the Manuscrit du Roi and gave it a pagination in Roman numerals to distinguish it from 2 the Manuscrit du Roi. The usual siglum for the Chansonnier du roi de Navarre is Mt. According to Beck, Mt was inserted in the larger Chansonnier prepared for Charles of

WallenskOld, Les chansons. p. xxxvi. 2 Le Manuscrit du Roi. published by Jean Beck, Corpus Cantilenarum Medii Aevi, Ser. 2, Vol. II (Phila­ delphia, 1938). 16

TABLE 1

MANUSCRIPT SOURCES OF THIBAUT'S MELODIES

Sigla Name of the Manuscripts Poems Melodies

A A r r a s , Bibl . m u n . ,657 6 6

B Berne,Bibl. mun.,231 11 11

F London , Br. Mus. Egerton 274 2 1

K P a r i s , Bibl . de l'Arsenal, 5198 56 56

M Paris,B.N. f.fr.844 (MS du Roi) 4 4

Mt Inserted in M 58 56

N Paris, B.N. f.fr. 845 28 26

0 P aris, B.N. f.fr. 846 (Cange) 59 57

P P aris, B.N. f.fr. 847 5 5

R P a r i s , B.N.f.fr. 1591 27 32

T Paris, B.N. f.fr. 12615 (Noailles) 54 5

V Paris, B.N. f.fr. 24406 (LaValliere) 56 51

X P aris, B.N. 1050 (Clairambault) 56 56

Z Siena, Bibl . mun. H.X. 36 13 12 17

Anjou, King of Sicily. Beck points out the following note at the bottom of col. a, fol. 11 (Beck's pagina­ tion) :

The following 60 chansons which do not have the name of their author could very well have been inserted shortly after the compilation of the other poems of this volume, because the ink is different, although the writing is almost the same. They could have been tran­ scribed at the castle of Provins. . . .3

Beck comments that, "the last words are missing because of trimming. The note is by the same hand that annotated 4 and wrote rubrics here and there in the manuscript."

Beck does not say when these annotations were added, but they are clearly later than the manuscript itself.

The chateau de Provins mentioned in the above note is undoubtedly the Castle of the Counts of Champagne in Provins. According to literary scholars and historians of different periods, chansons were written or engraved on the walls of the castle. In 1581 Claude Fauchet discussed the episode of the Grandes Chroniques and added: "and

Le Manuscrit du Roi. II, 153. "Les LX chansons suyvantes qui n'ont pas de nom de leur autheur pourroient bien avoir esté insérées quelque temps après la compila­ tion des autres poesies de ce volume. Car l'ancre est différante, bien que l'escritture ne le soit pas trop. Et pourroient bien avoit esté transcriptes au Casteau de Province. ..." 4 Ibid. "Les derniers mots sont partis avec la rognure. La note est de la même main qui a annoté et inscrit des rubriques, par ci par là, dans le manuscrit." 18 some remains can still be seen painted in the Castle of

Provins where the prison used to be."^ As late as 1750, in a book called Nouvel examen general des fiefs en

France. N. Brussel stated: "One sees in his Castle of

Provins some vestiges of the chansons that the Count

Thibaut the Posthumous, who wrote them, had engraved on his walls.

WallenskOld, from whom the above quotations are taken, concludes that, "Thibaut had his chansons written, that is to say copied by people in his service. Perhaps we have there precisely the origin of the book of the chansons of the King of Navarre."^ Thus, an original

Chansonnier du roi de Navarre written under Thibaut's’

Claude Fauchet, Recueil de l'origine de la langue et de la poésie françoise (1581), p. 119, quoted in Wallens­ kOld, Les chansons, p. xvii. "Et s'en voit encore quelque reste peint au chateau de Provins, à l'endroit de la prison." The episode of the Grandes Chronicles. relating a reconciliation of Thibaut and the Queen of France is dis­ cussed and translated on p. 10. The episode, placed in 1226 by historians, ends as follows: "... Thibaut com­ posed the most beautiful songs and had them written in his hall at Provins. ..." •^N. Brussel, Nouvel examen général des fiefs en France (Paris, 1750), Vol. I, p. 43, col. 1, quoted in WallenskOld, Les Chansons, p. xviii. "On voit dans ce Palais de Provins quelques vestiges des chansons que le comte Thibaut-le-Postume, qui les avoit composées, fit graver sur ses murailles." (Thibaut, born after his father's death, was often called the Posthumous.) 7 WallenskOld, Les chansons. p. xviii, f, n, "Thibaut fit écrire, c'est a dire copier, les chansons par des gens à son service. Peut-être avons-nous là précisément l'origine du recueil des chansons du roi de Navarre." 19 supervision could have been copied at the request of

Charles of Anjou and inserted in the Manuscrit du Roi.

Of the sixty-one chansons considered authentic by

WallenskOld, fifty-six are preserved with their melodies in the manuscript Mt. Of the fifty-six chansons, four (X,

XVII, XXII, XLVII) have incomplete melodies, and in two

(XLII and XLVIII) the melodies have been finished by a

second hand. Chansons XVIII and XXXVII have no music, and

Chansons XXX, XLV, and LX are not preserved in the Chanson­ nier. WallenskOld believes that Mt is perhaps closest to

the original source of Thibaut's chansons and gives the most

reliable versions of the text. This also appears to be true

for the melodies, and the versions of Mt, therefore, provide

the basis for the discussion of the melodies in this disser­

tation.

Manuscrit du Roi

The thirteenth-century Chansonnier Paris, B.N. f.

fr. 844 was given the name Manuscrit du Roi in 1780 by O Jean de la Borde. Beck explains that the title Manu­

scrit du Roi is justified because the chansonnier was

prepared for Charles d'Anjou, King of Sicily, to whom it 9 originally belonged. The manuscript was sumptuously

decorated with many rich illuminations and ornamented

letters. Sometime before the seventeenth century.

®Jean de la Borde, Essaie sur la musique ancienne et moderne (Paris, 1780), II, 311. ^Le Manuscrit du Roi. I, ix. 20 however, it was badly mutilated, and most of its embellish­ ments are now missing with the result that many chansons

are incomplete. The Manuscrit du Roi was given the

siglum M by Schwan. It preserved only four chansons of

Thibaut (VI, XI, XVII, XXIX), but the melodies of two

(XI and SVII) are incomplete.

Manuscripts of the Arsenal group

Manuscripts K, N, P, X are usually grouped together

by literary as well as musical scholars. Because of the

importance of the manuscript preserved in the Bibliothèque

of the Arsenal (K), the four manuscripts are often referred

to as the Arsenal group. Their readings are closely

related, and they share minor as well as major variants.

Karp states: "It is possible that these manuscripts were

the product of the same atelier.

Manuscript K (Arsenal 5198) contains fifty-six of

Thibaut's chansons with their melodies. They are grouped

at the beginning of the manuscript under the title "Ce sont

les chansons que le roi de Navarre fist." Each chanson

shows the rubric Li rois de Navarre. Manuscript N (f.

fr. 845) contains only twenty-four of Thibaut's poems with

their melodies. As in K, each chanson shows the rubric

Li rois de Navarre. Manuscript P (f. fr. 847) preserves

Theodore Karp, "The Trouvère MS Tradition," Twenty-Fifth Anniversary Festschrift of Queens Colleqe . . . New York (New York, 1964), p. 35. 21 five poems (VI, IX, XI, XVII, XXIX) with their melodies; as in N, the chansons appear under the name Li rois de

Navarre. In his discussion of manuscripts, WallenskOld notices the very small number of Thibaut*s chansons preserved in P, but he does not suggest any explanation.

The last manuscript of the K group X (Clairambaut) contains fifty-six of Thibaut's chansons with their melo­ dies. The five chansons missing in X are also missing in

K. Each chanson shows the rubric Li rois de Navarre.

In addition to Mt and the K, N, P, X group, two other manuscripts (V and 0) preserve large collections of Thibaut's chansons. The manuscript V (La Valliere) contains fifty-six, of which twenty-seven appear at the beginning of the manuscript (from fol. 1 to 16) in the same order as in K and Mt. After folio 16, Thibaut's chansons are mixed with those of other composers; all fifty-six chansons in this manuscript are included anony­ mously.

Manuscript O (Chansonnier de Cangé) is probably one of the latest chansonniers and is certainly derived from several sources. Its compiler apparently drew his chansons from different collections and arranged them in alphabetical order. Like other manuscripts of this kind, each group starting with the same letter presents authors according to their hierarchical rank; each new letter 22 begins with chansons of Thibaut. Beck remarks that "the letters used by the scribe belong to the family of gothic writings of the end of the thirteenth or the beginning of the fourteenth century.Another reason to believe that the manuscript was compiled later than the others is that the mensural notation of the polyphonic motets of the period appears— partially or completely— in most of the chansons. The 0 manuscript contains fifty-nine of Thibaut's chansons : fifty-seven are preserved with their melodies.

Chansons XXXVII and XXXVIII have no music; XLV and LII are missing. The rubric Roy de Navarre appears at the beginning of each chanson.

In manuscript T (Noailles) fifty-four chansons are grouped at the beginning of the manuscript under the name

Li roi de Navarre. Only five melodies were copies (I,

III, VI, XI, XXIV); staves are left empty above the texts of the other chansons.

Several manuscripts contain only a few of Thibaut's chansons ; in all of them the chansons are included anony­ mously. In manuscript A (Arras) six chansons are preserved with their melodies: IX, XXX, XXXVII, XLI, XIV, XLII. In manuscript Z (Siena), thirteen chansons appear at the beginning of the manuscript. Twelve have melodies.

Chanson XX has no music. Manuscript B (Berne) contains

^^Le Chansonnier de Cangé. published by Jean Beck, Corpus Cantilenarum Modii Aevi. Ser. I, II (Paris, 1927), 15, 23

eleven chansons with their melodies; they are also placed

at the beginning of the manuscript from fol. 1 to 7; they have no rubric. One manuscript F (Egerton 274) contains

one melody of Thibaut (V) and the last musical phrase of

another (XXXIV).

Manuscript R (f. fr. 1591) consists of three

parts. Discussing the high percentage of corrupt melo­

dies in R, Karp mentions that a complete survey of the

manuscript is still not available, and he states that

"one should not draw general conclusions regarding the

source until the nature of the "relationship between these 12 parts is more clearly established." Shortly before

Karp's article appeared, a detailed study of manuscript R

was published by Johann Schubert in Germany. According

to him R1 consists of folios 1 to 75; R2, of folios 76

to 153; and R3, of folios 154 to 183.^^ The entire manu­

script contains twenty-eight of Thibaut's poems inter­

spersed with those of other composers; five of the

twenty-eight appear with two different melodies: V,

XVII, XIX, XXI, and LVIII. Of the thirty-three melodies

thus preserved, fourteen are found in R1, seven in R2,

and twelve in R3. Six chansons appear under the name

Karp, "MS Tradition," pp. 26-7. 13 Johann Schubert, Die Handschrift Paris. Bibl. Nat. Fr. 1591 (Frankfurt, 1963), pp. 1-29. 24

Tiebaut. one under T. roi de Navarre, two under Li rois: twenty-four are anonymous.

Of the fourteen manuscripts described above and listed in Table 1, K, Mt, O, V, and X each contain ninety per cent of Thibaut's melodies, and two (R, N) about fifty per cent. In the other manuscripts the.number of chansons with melodies varies from one to twelve. Since the Mt manuscript contains fifty-six melodies and the miss­ ing or incomplete melodies in Mt are preserved in the manuscripts of the Arsenal group and in others, Thibaut's entire repertory of 58 melodies can be presented. As in all trouvère chansons, the melodies for the same poem are not identical in all the manuscripts in which the poem is preserved; variants have been introduced by scribes and singers, and in some cases new melodies have been written.

In Thibaut's repertory, however, almost every chanson shows several readings related to each other; therefore, if the original melody cannot be pointed out, at least a common or central melody can be established (see Chapter VII).

Manuscript Filiation

WallenskOld divides the thirty-two manuscripts that preserve Thibaut's poems into three families: among the fourteen manuscripts containing the melodies

Mt, M, T, A, Z, F, R1, and R2 are in the first family;

K, N, P, X, V, 0, B, and R3, in the second. No 25 manuscripts in the third family contain melodies of

Thibaut. Wallenskfild's filiation (see Table 2) confirms, in general, that of Schwan based upon the entire repertory ' 14 of the trouveres. WallenskOld bases his classification upon the contents of the manuscripts, the order in which

Thibaut's chansons appear and textual similarities or variants among manuscripts.^^

Contents of the Manuscripts

In their general contents and the order in which they present Thibaut's chansons. manuscripts Mt, K, X, V, and N are very similar. Mt, K, X, arid V begin with an identical succession of twenty-seven of Thibaut's chansons.

The only exception occurs in V in which the sequence is disrupted by the insertion of another composer's chanson between the twenty-first and twenty-second chansons. From fol. 17 to 22 in V— except for three chansons— the melo­ dies above Thibaut's poems are different from any of their counterparts in other manuscripts; they are discussed with contraposita. In N the succession is interrupted after the sixteenth chanson ; WallenskOld suggests that eight folios are probably missing after the sixteenth chanson on folio 8 in N. He bases this assumption upon a compari­ son with the closely related manuscripts K. Fol. 9 in N

Eduard Schwan, Die altfronzOsischen Liederhand- schriften (Berlin, 1886), cited in WallenskOld, Les chansons, p. xcix. ^^WallenskOld, Les chansons. pp. xcviii-xcix. 26

TABLE 2

WALLENSKOLD'S CLASSIFICATION OF THE FOURTEEN MANUSCRIPTS

Origin

Family 1 Family 2

A R1(R2)Z T Mt M F R3 B 0 V N K X P 27 starts in the middle of the forty-fifth chanson in K.

The manuscript P presents only five of Thibaut's chansons interspersed with those of other composers; they are also closely related to those in K. Scholars, among them

WallenskOld, place P in the K, N, and X group. As men­ tioned above, manuscript 0 is one of the latest; its compiler apparently drew his chansons from different sources. Like other scholars, WallenskOld places O in the second family. However, he points out that its rela­ tionship often shifts to the first family. Manuscript Z contains twelve chansons ; although they do not appear in the same order as in Mt, their readings are related to those of the manuscripts in the first family. The other manuscripts are difficult to classify with regard to

Thibaut because they contain such a small number of his chansons. However, the readings in M, T, and A are related to those in the first family, more precisely, to those in Z. On the basis of the total contents of these manuscripts, scholars associate M, A, T, F, Rl, and R2 with the first family; B and R3, with the group K, N, P,

and X.

Text Variants

Text variants provide a second basis for grouping manuscripts in families. WallenskOld demonstrates the

relationship of the different readings by pointing out 28 variations of .words or spelling shared by manuscripts from the same group and textual differences that generally distinguish the three groups.Among the variants found in Thibaut's poems, one of the most common is the substi­ tution of one word for another. In chanson XVI (line 5), for example, the word morir appears in four manuscripts, languir in five:

K, N, P, X ... a tel dolor morir

Mt, Z, 0, R3, V ... a tel dolor languir

In chanson XXXV (line 5) four manuscripts have veut ... trair. three have het ... servir and one, veut ... occire.

K, N, X, V Ainz me veut por li trair

Mt, 0, T Ainz me het por li servir

R3 Ainz mi veut por lui occire

Sometimes a different spelling changes the meaning of the phrase. In Chanson XXIX (line 5) the letter before the verb estuet is the pronoun m' in seven manuscripts and

the negative adverb ri' in two.

K, N, P, X, 0, V, R3 de moi m'estuet douter

Mt, M de moi ri'estuet douter

The textual differences pointed out above, as well 17 as the many variants listed by WallenskOld, demonstrate

the similarity between the readings of K, N, P, and X and

^^WallenskOld, Les chansons. pp. cix-cx. ^^Ibid., pp. civ-cviii. 29 the shifting position of V, R 3 . and O in relation to first and second families. These variants also justify the classification of M, T, and Z with the first family.

Furthermore, they show that the filiation of the fourteen manuscript sources of Thibaut's chansons is similar to that based upon the entire repertory of the trouveres.

Musical Variants

The filiation of the manuscripts based upon musical

variants strengthens the classification based upon the

poetry. As regards Thibaut, a thorough examination of

variants in his melodies leads to a grouping similar to

that of WallenskOld based upon the texts.

In the manuscripts of the Arsenal group, the musi­

cal settings of the same poem are very closely related and

usually share the same variants. In a detailed study, Karp

illustrates the musical relationship of the four manu­

scripts K, N, P, and X with melodies of different com­

posers.^® He points out: "Among the few dozen trouvère

chansonniers. these MSS are the only ones to exhibit a

high degree of unanimity in their musical readings."^®

The identity of readings in K, N, and X as compared with

other manuscripts may be illustrated by the first phrase

18 Theodore Karp, "A Lost Medieval Chansonnier," The Musical Quarterly. XLVIII (1962), 50-67. l®Karp, "MS Tradition," p. 35. 30 of Chanson IV. In K, N, and X the phrase shows a recita­ tive-like structure, while in the other manuscripts the melodic line has a more extended range as in the following:

Example 1

- 4 ---- *-

The shifting relationship of melodies in V, which confirms its unstable poetical relationship, is illustrated in the two phrases shown in Example 2. In Chanson XIX the reading of V is identical to those in K and X; the notes above the first seven syllables are a third too high in

Mt. In Chanson II V shares a textual and musical variant with Mt; in both manuscripts the two words are written as one syllable "

Example 2

-XUL KVX

■ — --- m • • 4 ^ 0

TF •- m

A. CA>Att - - 31

As pointed out before, manuscript 0 is a later compilation, probably from various sources. In addition to its shifting relationship to manuscript families, O 20 apparently introduces many variants of its own. Chanson

II, mentioned above, is one of many examples illustrating the relationship of 0 with the second family. Its rela­ tionship with the first family is obvious in Chanson XI ; in fact, the last three phrases in 0 are identical to their counterparts in M, T, and Z.

Wallenskflld points out that, according to philo­ logical evidence, manuscript M, T, and A are derived from 21 the same source. Their relationship is difficult to determine in Thibaut's chansons. for the three manuscripts have no melodies in common. However, Chansons VI and XI are preserved in M and T and, as may be seen in Vol. II, the readings of both melodies in the two manuscripts are closely related. Manuscript A contains only six melodies, none of which appears in either M or T. Classification of the three manuscripts in regard to Thibaut's chansons is, therefore, impossible. Of the six melodies preserved in

A, three (IX, XLI, XLIV) are different from those in the other manuscripts ; one (XXX) is related to 0, another

(XLVII) to Mt. The melody of Chanson XXXVII is preserved in A only and cannot be compared.

20 The variants in 0 are discussed in Chapter VI. 21 WallenskOld, Les chansons, p. ciii. 32

The readings of the twelve melodies in Z are obviously related to those in the manuscripts of the first family, especially Mt. In the only chanson (XI) which Z has in common with M and T; the readings in the three manu- 22 scripts are very similar.

The eleven melodies preserved in B are related to those of the Arsenal group and the second family; they often share variants with V. Chanson LVIII provides a 23 good example of B's relationship with the second family.

The melodies in R are difficult to classify. In the first part of the manuscript, Rl (fol. 1-75), the melodies are usually related to those in the first family; in the second part, R2 (fol. 76-153), a large number of melodies are contraposita. The readings in R3 (fol. 154-

183) are mostly related to those in the K group; however, in a few chansons the relationship of R3 is closer to the first family.

The musical variants found in Thibaut's melodies corroborate the filiation of manuscripts based upon literary considerations. These variants also show that, except in the case of K, N, P, X, and Mt, many manuscripts have changing relationships between the two families. There­ fore, one can conclude that the repertory preserved in manuscripts does not come from a single source.

^^See Volume II. Z^ibid. CHAPTER III

THIBAUT OF CHAMPAGNE COURTLY POET

Courtly Love

Courtly love and the tradition of courtly lyrics were established with the songs of the first troubadour

William VII, Duke of Aquitain, 1086-1127, ancestor of

Thibaut of Champagne. As Davenson says, "The Count of

Poitiers does not figure as a precursor, he takes his place at once as the first of the classics."^

At the end of the eleventh century a deep trans­ formation in the morals, manners, and life ideals of the nobility changed the place and role of woman in society.

The social frame tended to enlarge, many dependents were

employed and attached to the lords, and courts became

luxurious and more refined. In all refinement more and more importance was given to the woman; she became the

center of the court and was treated with delicacy, honor.

Henri Davenson, Les troubadours (Paris. 1961), p. 108. "Le comte de Poitiers ne fait pas figure de précurseur, il se pose d'emblée comme le premier des classiques." William of Aquitain was also the ninth Count of Poitiers.

33 34

2 and praise. This new situation led to the flowering of a new style of love, a cult of the woman: "this style of intersexual relations called courtly love."^

The traditional name given to courtly love is fin'amor. Zumthor points out that fin means "perfect":

"the adjective fin expresses an idea of perfection, central key term of the chanson amour where it qualifies

love on the one hand, the lady and the lovers on the 4 others." Other scholars have described fin'amor as pure

love, true love, or fine love. In opposition to fin'amor.

the term bon'amor in the traditional vocabulary referred

to physical love.

In the tradition of courtly love and courtly lyrics

the main code is secrecy; the woman addressed is never

named, she is simply "the lady." The subject matter is

love, its happiness and sufferings. It mainly describes

the love of a man (usually a lord) for his lady, invariably

married, who is probably the wife of a neighboring lord.

A third traditional character is often introduced, the

losenqier. who is always ready to gossip and talk scandal.

^Ibid., pp. 60-4. ^Ibid., p. 64. "Ce style de relations intersexuelles qui s'appelle l'amour courtois." ^Paul Zumthor, Essai de poétique médiévale (Paris, 1972), p. 191. " l ’adjectif fin dénotant une idée de perfection, terme clé central de la chanson, ou il qualifie l'amour d'une part, la dame et les amants de l'autre." 35

In courtly lyrics everything is traditional: both the precise and courtly vocabulary with which troubadours and trouvères express their feelings and the elaborate techniques of writing. But behind the conventional vocabulary and artificial form of the poetry, great virtuosity is displayed in the varying use of traditional elements and poetic devices, such as, lengths of lines, structure of the stanzas, and combination of rhymes.

Thibaut's Poetry

Thibaut of Champagne is considered one of the most important poets of the thirteenth century. The extensive­ ness of his work and the unusual variety of poetic types in his repertory show his interest and talent for poetry.

As in all courtly lyrics, love songs predominate in

Thibaut's repertory: among the fifty-nine poems with music that form the subject of this dissertation, more than half, thirty-six, are love songs. WallenskOld classifies fourteen poems as jeux-partis (nine) or débats (five). Eight are begun by Thibaut, and six are addressed to him by other trouvères. Although other types of poetry are not common, several are represented by at least one poem. There are three songs to the

Virgin, three crusader songs, two pastourelles. one serventois. and one lai. Like the other trouvères,

Thibaut respects the tradition of courtly lyrics; he does 36 not hesitate to draw from the courtly vocabulary of the trouveres and to borrow from the poetic techniques of the troubadours. However, his culture, his preciosity expressed through metaphors and allegoric comparisons, the ingenuity of his rhymes, and the diversity of his forms place him above his contemporaries and successors. He was also an innovator and of great influence on other trouveres of his time.

Except for thé lai, which is the subject of a later chapter, poetic types are discussed in the first part of this chapter. Various aspects of poetic form, versifica­ tion, stanza structure, and rhymes, are then considered.

Finally, Thibaut's fame and influence are demonstrated by citations of literary references to him and of contrafacta based on his poems.

Poetic Types

Love song

The love song or chanson d 'amour, called simply a canso. was "created in the Occitan language of the 5 troubadours of the first part of the twelfth century."

Discussing the evolution of the chanson d 'amour. Zumthor states that it had already reached its classical and full development when the trouvères began to write. Trouvères

^Zumthor, Essai. p. 190. 37

"received it as a dynamic set of mental and expressive tendencies and rules of structure."^

In Thibaut's thirty-six love songs, as in all courtly poetry, the lady acclaimed is simply the "Lady.

In a few songs, however, she is "the blond with a light O complexion;" in others she is a "Sweet lady." Again following courtly tradition, Thibaut sings to ease his

g grief: "I want to write a song to comfort myself."

Like many trouvères, the poet proclaims the joy of suffer­ ing in love "which makes me die happily.Perhaps because of his rank, Thibaut does not complain about the cruelty of his lady. Rather, he suggests that she be more sincere with him, as in the following lines: "Why' if she thinks well of me, does she not dare show it?"^^

He does not show either bitterness or aggressiveness. As pointed out by Bossuat, if his lady refuses him, he rather 12 tries to arouse her compassion or to flatter her heart.

^Ibid. . p. 191. n Ibid. Zumthor points out that (ma)dame is the only word to qualify the lady in the French language of the trouvères. Q "La blonde colorée . . . ," XV,V,2; "Douce dame . . .," XXIV;11,1. ^"Une chanson encor vueil Fere pour moi conforter," XXXIII;I,1,2. ^^"Qui me fet joiant morir," XVIII,1,3. ^^"Que, s'a moi a bon penser. Ne l'ose ole demoustrer," XXIV;IV,5,6. ^^Robert Bossuat, Le Moyen Age (Paris, 1967), p. 92. 38

Melz aim de 11 I'acointance Et le douz ndn Que le roiaume de France. I,IV,1-3

(I prefer her welcome and her soft name rather than the kingdom of France.)

If his lady sends him away or if he has to leave her, he acts with great philosophy. In his chanson de congé (IX)

Thibaut does not retain sad feelings.

The chanson de congé is a poem in which the poet,

tired, disappointed, or unwanted any longer, takes leave of his lady. The literary theme of the chanson dé congé

is well-known and has been used by many poets, but Thibaut

treats it in a relatively personal way. He is neither bitter nor angry: he merely says good-bye! He says it

clearly, gently, as if he recognizes that the time for

love is over. He accepts and thanks his lady, love, and

God. He does not criticize love and leaves gracefully:

Je ne sui pas si com cele autre gent Qui ont amé, puis i vuelent contendre Et dient mal par vilain mautalent. On ne doit pas seigneur servise vendre Ne vers Amors mesdire ne mesprendre; Mes qui s'en part parte s'en benement. IX,II,9-12

(I am not like those people who have loved, then want to turn against it and say evil things out of malevolence. One should not sell his service to the lord nor say evil of love, nor act badly. But, he who leaves, should leave gracefully.)

Since love wants it and since his lady begs him

to leave, he will leave. 39

Amors le veut et ma dame m'en prie Que je m'en parte, et je mult l'en mercie. Quant par le gré ma dame m'en chasti. Meilleur reson n'ai je a ma partie. IX,III,5-8

(Love wants it, and my lady asks me to leave, and I thank her very much. When, by choice, my lady punishes me this way, I have no better reason to leave.)

But Thibaut is not sad and, if he escapes from love without losing his life, he will write more songs.

Quant eschapez li sui sanz perdre vie.

Si cuit je fere oncor maint jeu parti Et maint sonet et mainte reverdie. IX,IV,5-8

(When I have escaped without losing my life, .... I think I will again write many jeux- partis, and many sonnets, and many spring songs.j

Thibaut's literary allusions to the fable of the

Unicorn. the Chanson de Roland, and the Roman de Brut show his broad culture and knowledge of the literature of his time as well as that of earlier periods. In chanson

XXXIV he compares himself and his situation to that of the unicorn, who, attracted by the charms of a young lady, stands still gazing at her and does not move when the hunter approaches.

Ausi comme unicorne sui Qui s'esbahist en regardant, Quant la pucelle va mirant.

Lors I'ocit on en traison. Et moi ont mort d'autel senblant Amors et ma dame, par voir: Mon cuer ont, n'en puis point ravoir. XXXIV,1,2,6-9 40

(I am like the ■unicorn who is amazed when look­ ing at the maiden .... So, the (Unicorn) is killed by surprise. In the same way, love and my lady hurt me. They took my heart, and I cannot recover it.)

In the same poem the three guards of the prison

of Love are borrowed from the Roman de la Rose of

Guillaume de Lorris (c. 1235). Biau Senblant (of

Guillaume's allegoric character Faux Senblant), Dangler

(Danger), and Biautez (Beauty).

De la chartre a la clef Amors Et si i a mis trois portiers: Biau Senblant a non li premiers. Et Biautez cele en fet seignors; Dangler a mis en I'uis devant. XXXIV,III,3-5

(Love has the keys of the prison and he placed there three guards. The first is named Biau Senblant, and he (Love) gave the command of the guards to Beauty. He placed Danger at the door.)

In stanza IV, allusions are made to t h e Chanson de

Roland.

Onques Rollanz ne Oliviers Ne vainquirent si granz esters. XXXIV,IV,3,4

(Never Roland nor Olivier had to overcome such a great attack.)

René Bray cites Ausi come unicorne as one of the

best examples of preciosity in the medieval period: "It

is one of the most beautiful examples of the preciosity

of this period and one finds in it . . . many 41 personifications and allegories.The preciosity of

Thibaut appears also in the many metaphors he uses, such 14 as, "The eyes of the heart," or comparisons with the phoenix (XX), the pelican (LIX), and other animals in medieval bestiaries.

Although the subject matter of the chanson d 'amour is always love, the thirty-six love songs of Thibaut show great diversity of attitude and treatment. The wide variety of rhythmic combinations in his poetry and the flexibility of his rhymes illustrate his technical skill.

He was a great "courtly poet" and his chansons d 'amour reflect his culture and refinement.

Jeu-parti

Although the jeu-parti is a well-characterized genre of poetry, its subject matter, form, stanz struc­ ture, and length are about the same as those of the love song. The main difference between jeux-partis and love songs consists in the tone of the poem and its structure as a dialogue. Lyric in love songs, the tone becomes more objective and didactic in jeux-partis. Zumthor

René Bray, La préciosité et les précieux de Thibaut de Champagne a Jean Giraudoux (Paris, 1948), p. 30. "C'est l'un des plus jolis exemples de la préciosité de cette épogue et l'on y retrouve . . . de • nombreuses personnifications et allegories." ^^Les yeux du coeur, X,I,9. 42 describes the jeu-parti as a debate, "which, starting from a dogmatic proposition, unfolds between two trouvères sing­ ing in turn stanzas of identical structure. The length of this song does not much exceed that of the love song; the final envoi is addressed to a judge charged to pass sen- 15 . tence according to the law of love." From the beginning, the jeu-parti. or partimen in Provençal, was a sort of intellectual tournament in which the trouvère who opened the contest proposed a question or a problem with two conflicting solutions, leaving the choice of one to his adversary and undertaking the defense of the other himself.

Each trouvère had the same opportunity to show his ability, for the choice of subject made one side as plausible as the other. According to Jeanroy, the jeu-parti may have been practiced as a social diversion in which the spectators marked points according to the skill displayed in question and repartee. It could also have been known in schools where the daily practice of scholastic dialectic stimu­ lated and encouraged this kind of intellectual exercise.

Jeanroy states that the jeu-parti came through Limousin and Poitou, where Gui and Ebles d'Ussel and Gauceln Faidit

Zumthor, Essai. p. .264, "qui se déroule, à partir d'une proposition que, entre deux trouvères chantant alternativement des strophes de structure identique. La longueur de ce chant alterné n'excède pas sensiblement celle d'une chanson; l'envoi final s'adresse à un juge chargé de dire le droit d'amour." 43 wrote partimen around 1185-1220.^^ Thibaut gave a new impulse to the jeu-parti in northern France and toward the middle of the thirteenth century it became popular among the trouvères of Arras.

Of the jeux-partis attributed to Thibaut by Wallens- kOld, four (XXXVII-XXXIX, XLV) are begun by Thibaut, and five (XL-XLIV) by other trouvères. In all of these jeux- partis , Thibaut's partners refer to him as Sire, King,

Count, or Sire King. From these titles we can conclude that Thibaut wrote jeux-partis before and after 1234, the date on which he became King of Navarre. Thibaut's part­ ners are noblemen, courtly poets, or friends generally easy to identify. According to WallenskOld, the Baudoin of jeux-partis XXXVII, XXXVIII, and XLII is a trouvère who participated in the Albigensian crusade with Thibaut.

Guillaume le Viniers, trouvère of Arras, is the partner of the jeu-parti XLI. Raoul, partner of Thibaut in jeu- parti XLIII, is Raoul of Soissons, friend of Thibaut, who was with Thibaut on the Crusade of 1239-1240. In jeux- partis XL and XLIV Thibaut's partner Gui is a clerk, thought to be Gui who became chancelor of Champagne in

1234. Philip of Nanteuil, another friend, is the partner of the jeu-parti XXXIX. Philip is also Thibaut's partner in débats (XLIX, XLVI), which could be considered as

^^Alfred Jeanroy, Les origines de la poésie lyrique en France (4th éd.; Paris, 1965), pp. 45-7. 44

jeux-partis but are listed with the débats by Wallens- kOld. The jeu-parti XLV is addressed to Girart, an unknown

trouvère from Amiens.

In the jeu-parti the problem proposed is always

related to love and lovers. In "Baudoyn il sunt dui amant"

(XXXVII), one man loves a lady for her moral and intellec­

tual qualities, while the other loves her for her great

beauty. Which one is right and which should be preferred

by the lady? Baudoin chooses moral values and.Thibaut

defends beauty.

-Baudoÿn, assez trueve 1'en Vielles plus laides que nuns chiens Qui ont cortoisie et grant sen, Mais au touchier ne valent riens. V,l,4

(Baudoin, one finds old ladies uglier than any dog. They have good manners, great intelli­ gence, but are worth nothing when you touch t hem.)

Sometimes the nature of the debated question leads

to sharper and saltier remarks. In the jeu-parti XLIV,

"Bons rois Thibaut. Sire, conseilliez-moi." ironic and

satiric answers are given to a licentious cleric who comes

to Thibaut for advice.

-Bons rois Thiebaut, sire, conseilliez-moi! Une dame ai, mult a lone tens, amee De cuer loial, sachiez, en bone foi. Mes ne li os descouvrir ma pensee.

Dites, sire, qu'en font li fin amant? Suesfrent il tuit ausi si grant dolor. Ou il dient le mal q'il ont d'amor? 1,1-4,7-9 45

(Good King Thibaut, sire, advise me I have loved a lady, for a long time with loyalty and faithfulness but I don't dare to tell her my thoughts . . . tell me, sire what does the "fine" lover do? Do all suffer such a great sorrow, when they tell of the pain they have from love?)

Thibaut advises the cleric and sarcastically says to him:

-Clers, je voi bien que tant estes espris Que la corone est bien en vous assise. Quant du prier par estes si hastis. Ce fait li maus des rains qui vous atise;

(Cleric, I can see that you are so infatuated that the crown (tonsure) fits you well. When at prayers you are in such a hurry, it is because lasciviousness stirs you up. Such love is not located in your heart. Tell her soon that you are tormented; have her soon, or leave her soon, for it is obvious from what you say that elsewhere you will trans­ fer your desire.)!

The purpose of the jeu-parti was to develop an argument brilliantly and artistically. Thibaut was at ease and successful with this artificial type of poetry in which the style and spirit of the poet were more impor­ tant than the debated questions.

The Tenso or Debat

The meaning of the terms tenso and débat has been a source of disagreement among scholars. Some believe that in the tenso a lady is always the partner of the poet, others do not. Another source of contradiction is that in trouvère poetry many literary scholars have

!^Wallensk01d, Les chansons, jeu-parti. XLIV, pp. 152-55. 46 replaced the term tenso by the French word debat, while others maintain that the débat is not a poetic form. 18 In Provençal, tenso means a "querelle. dispute."

According to Zumthor, the tenso is a discussion in which

"the lady answers the poet in every other stanza and 19 argues with him on the ideas he successively exposes."

Jeanroy describes the tenso as a "discussion in which one partner maintains an opinion in opposition to that 20 of the other." According to Jeanroy, the nature of the debate characterizes the tenso, and he does not insist that a lady is always the partner involved. In fact, in all the tenso mentioned in his discussion, the dialogue is always between two poets. In his detailed explana­ tion, Jeanroy uses the term tenso for troubadours and the word débat for trouvères. He writes: the tenso is "a older form . . . for which we rightly reserve the name * 21 débat." Jeanroy also replaces the troubadour term partimen by the French word jeu-parti. In his short dis­ cussion of medieval poetry, Bossuat uses the term tenso

18 Emil Levy, Petit dictionnaire provençal- français (Heidelberg, 1965), p. 361. 19 Zumthor, Essai. p. 264. ". . .la dame qui répond, une strophe sur deux, au poète, et argumente avec lui à partir des motifs que successivement il expose. ..." Jeanroy, Poésie lyrique, p. 45. "Discussion dans laquelle chacun soutient une opinion quelconque, en opposition à celle de son interlocuteur." ^^Ibid., p. 45. "une forme plus ancienne, à laquelle nous reservons proprement le nom de débat." 47

and cites a poem between two troubadours "Era-m platz.

Girauts de Borneil" as an example of the troubadours' 22 poetic techniques. Like Jeanroy, Guillaume Picot uses

the term tenso for troubadour poetry and débat for

trouvère poetry. He explains that the "tenso is the

oldest form of the type of poetry called débat" and 23 that partimen is the Provençal word for jeu-parti.

According to Greimas, the term débat has the same meaning 24 as the word tenso namely "dispute, querelle." Since

débat seems to have the same meaning as tenso and since

WallenskOld used it in classifying Thibaut's poems, the

term débat will be used in this dissertation. Like the

jeu-parti. the débat is a dialogue. In the jeu-parti

two partners debate two conflicting solutions to a prob­

lem. In the tenso. however, one of the partners argues

on the ideas exposed by the other.

Thibaut wrote five débats ; in two (XLVII and

XLVIII) his partner is a lady, in two others (XLIX and

XLVI) Philip of Nanteuil, and in one an unknown trouvère

named Robert. As pointed out above, the two poems in which

Philip of Nanteuil is partner might be called jeux-partis

because the two partners merely exchange ideas on love,

however, WallenskOld rightly classified them as débats.

Z^Bossuat, Le moyen âge. p. 87. 23Guillaume Picot. La poésie lyrique au moyen âge, Nouveaux classiques Larousse,, tome i,i , p.p 3y. ^^A. J. Greimas, Dictionnaire de l'ancien fran­ çais (Paris, 1969), p. 159. 48

Dame merci, une riens vous demant (XLVII) is one of the most interesting débats and provides a good example of Thibaut's badinage: What will become of love when we die? Thibaut asks his lady.

Quant vous morrez et je— mes c'iert avant. Car après vous ne vivroie je mie— , Que devendra Amors, cele esbahie, 1,3-5

(When you die, and I— first, for after you, I could no longer live— what will become of Love, that dumbfounded?)

Par Dieu, Thiebaut, selon'c mon escient Amors n'iert ja pour nule mort perie. Ne je ne sais se vous m'alez guilânt. Que trop megres n'estes encore mie. 11,1-4

(By God, Thibaut, to my knowledge. No death will make Love die. I do not know if you are teasing, since you are not too skinny yet.)

Qu'ainz Deus ne fist si tres bele riens nee Com VOS, mes ce me fet trop esmaier, Quant nos morrons, qu'Amors sera finee. 111,5-7

(Because never has God made a more beautiful creature than you, but it dismays me that, when we die. Love will be ended.)

Thiebaut, s'Amofs vous fet pour moi destraindre. Ne vous griet pas, que, s 'amer m'estouvoit, J'ai bien un cuer qui ne se savroit faindre. envoi 1-3

(Thibaut, if love for me torments you, do not be unhappy. For if love warmed me, I have a heart which could not dissimulate it.)

The frivolity with which Thibaut treats the sub­

ject of love and death is typical of débats. 49

In the two débats Philips, je vous demant Que est devenue amors (XLVI) and Par Dieu sire de Champaigns et de Brie (XLIX) Thibaut's partner is Philip of Nanteuil.

In the first (XLVI) he asks Philip what has.become of love, and in XLIX Philip wonders why Thibaut does not sing anymore. Both débats have two envois, one by Thibaut and one by Philip. In Robert veez de Perron (L), Perron is

Pierre Mauclerc and the subject of the débat is the marriage of his daughter. Thibaut's partner is Robert, an unknown trouvère.

In the débats. as in the jeux-partis, Thibaut's talent appears in the sharp and ironic arguments presented in the discussion; his graceful frivolity and nonchalant teasing reflect the superiority of his social rank.

Pastourelle

The pastourelle was a favorite genre of medieval " lyric poetry. Jeanroy, among others, demonstrates that the pastourelle was a highly aristocratic type of poetry in which the pastorel (shepherdess) is usually maltreated and rustic folk disdained. A knight sees a shepherdess whose beauty attracts him; he approaches and offers his heart. She either accepts the offer and leaves with the knight or calls for help. Shepherds, parents, or friends 25 arrive to rescue her, and the knight usually runs away.

25 Jeanroy, Les origines, pp. 19-25. 50

For the troubadours, in the South as well as the trouvères in the North the pastourelle was a courtly entertainment for a refined society.

In his two pastourelles Thibaut does not deviate from the well-established tradition. The setting which

frames the classical meeting of the knight and the shepherd­

ess is vague, as in all pastourelles, and the indication of

time is very concise.

J'aloie 1'autrier errant Quant j'oî ne sai comment, Lez un buisson La voiz du plus bel enfant. LI,I,L,6

(I was wandering the other day when I heard, I don't know how, the voice of the most beauti­ ful girl.)

L'autrier par la matinee Entre un bois et un vergier Une pastore ai trouvée. L U , 1,1-3

(The other day in the morning, between a forest and an orchard, I found a shepherdess.)

In the first pastourelle (LI) all the possible

variations of the traditional situation are presented.

At first the shepherdess is angry and reaches for her

stick:

Et ele saut maintenant A son baston: 'Se vous venez plus avant Ja avroiz la tencon.' LI, II,5-8

(And she reaches right away for her stick: 'If you come closer, you will be in trouble.') 51

The knight does not get discouraged. He sits next to her and talks gently to her. At first she cries, then laughs and agrees to follow him.

Ele commence a plorer Et dist itant: 'Je ne vos puis escouter;'

Ele rist, si respondi: 'Ne faites pour la gent!' LI,IV,5-7,11,12

(She starts to cry and says: 'I cannot listen to you,' . . . . She laughs, and answers : .'Don't do it because of those who could see us!')

Happy with her answer, the knight places her on his horse and rides toward a forest, but unfortunately two shepherds approach, ready to fight. The knight does not insist.

'Je la les, si m'en foi, N'oi cure de tel gent.' LI,V,11,12

(T leave her and run away, for I do not care about such people.')

In the second pastourelle (LII) the knight is not successful and, to his beautiful promises, the shepherdess answers :

'Tricheor Sont mes trop li chevalier. Melz aim Perrin,, mon bergier. Que rich honme menteor.' LII,II,7-10

('Knights are too great cheaters. I prefer Perrin, my shepherd, to a rich liar.') 52

As the knight comes closer, the shepherdess calls for help, and from the nearby forest "Perrinet" comes running. It is time for the knight to run away.

'Je la lais sanz demorer, Seur mon cheval m'en parti.' LII,V,8-10

('I left her without waiting, on my horse I departed.')

When she sees the knight leaving, she remarks sar­ castically:

'Chevalier sont trop hardi.' LII.envoi,3

('Knights are very bold. ' )

As pointed out above, the two pastourelles do not deviate from the traditional pattern. However, in both poems, the knight leaves the girl and runs away, pursued by the shepherds. Thibaut teases the nobility and himself, but the pastourelle was a literary game and neither the honor

nor the heart of the poet was engaged. The theme is conven­

tional and the story fictitious.

Chanson de Croisade

The chanson de croisade or crusader's song was

written by troubadours as well as trouvères. Its poetic

form, structure, and rhymes are those found in any trouvère

and troubadour poetry. Its subject matter, however,

it is either a love song in which the poet leaves his lady 53 or writes to her from overseas, or a religious song in which the love of God and the Crusaders are praised.

In the period preceding his departure for the

Holy Land (1238-1239) Thibaut wrote three crusader songs: the first (LIU) is an exhortation to the cru­ saders; the others (LIV and LV) combine love of a lady and religious feelings.

In Chanson L I U the poet exhorts the Seigneurs to take the cross. He warns them that, if they do not, they will not go to Paradise:

Et qui la croiz d'Outremer ne prendra, A paines mes ira en Paradis. LIII,I,3,4

(And whoever will not go on a crusade, will reach Paradise with great difficulty.)

The brave Seigneurs are praised and the cowards criticized:

Or s'en iront cil vaillant bachelor Qui aiment Dieu et l'eneur de cest mont,

Et li morveus, li cendreus demorront; LUI,III,1,2,4

(The courageous chevaliers who love God and the honor of this world will go . . . - And the snotty, the cowards will stay.)

Then, Thibaut goes further in his exhortation and calls upon God, who addresses himself directly to the crusaders:

'Vous qui ma croiz m'aidastes a porter, Vos en iroiz la ou me angre sont; 54

Et vos par qui je n'oi onques aie Descendroiz tuit en Enfer le parfont.' LUI,IV,3,4,6,7

('You, who would help me to bear my Cross, would go where my angels are. . . . And you from whom I never have any help would all go to the abyss of Hell.')

In this progression of feelings, the envoi is a prayer addressed to the Virgin Mary.

Douce dame, roine coronee. Priez pour nos, Virge bone eüreeî Et puis après ne nos peut mescheoir. * envoi. LIII

(Sweet Lady, crowned queen. Pray for us, blessed Virgin! and afterwards nothing bad can happen to us.)

In the second crusader's song (LIV) love of God and love of a lady are tearing Thibaut's heart apart.

However, his religious feelings are stronger than his regret for love. As in the preceding chanson de croisade. the envoi is a prayer to the Virgin.

Dame des cieus, granz roine puissanz. Au grant besoing me soiez secorranz! De vous amer puisse avoir droite flame! Quant dame pert, dame me soit aidanz! e nvoi. LV

(Heavenly Lady, great powerful queen, in my great need be helpful to me! May I have the true flame for loving you! When I lose my lady, Lady (Virgin), be my aid!)

In the third crusader song (LV) religious and

amorous feelings are again mixed. Thibaut declares that he would prefer to stay in Palestine and conquer "Paradise"

rather than be close to his lady and suffer from her. 55

Oncor aim melz toute voie Demorer el saint pais Que aler povre, chetis La ou ja solaz n'avroie. Philipe, on doit Paradis Conquerra par mesaise avoir. LV,III,2-6

( s t i l l I prefer, however, to stay in the Holy Land rather than to go poor, miser­ able, where I should have no joy. Philip, one must conquer Paradise by having grief.)26

But in the fifth stanza Thibaut decides that he would have preferred to stay with his lady rather than to

go to Palestine.

Dame, moi convient remaindre, De vous ne me qier partir.

(Lady, it is my obligation to stay, I do not wish to leave you.)

WallenskOld notes that from lines seven and eight

of the first stanza "that I see excommunicated/Those who 27 protest," it is possible to date the composition of the

song. The excommunication is probably that of March 20,

1239, issued by Pope Gregory IX against Fredrick II of 28 Germany. It can be assumed, therefore, that the chanson

was written between March 1239 and the departure for the

crusade in September of the same year.

?6 Phelipe is Philip of Nanteuil who was with Thibaut in Palestine. 27 "Que je voi escommenier Ceux qui plus offrent reson." 28 WallenskOld, Les chansons, p. 192. 56

Religious songs

Thibaut wrote six religious songs: one lai (dis­ cussed in a later chapter), one serventois, and four songs to the Virgin.

Serventois

The serventois has a Provençal origin; it was called serventes by the troubadours who cultivated this type of poetry a great deal. Etymologically the word serventes means "song of a servant." In Provençal poetry it usually indicates a poem adapted to a melody already known, and the subject of the poem is political or moral.

In the North, the serventois did not achieve the same importance, and its function was quite different. The word serventois was first used in the twelfth century to designate a religious song.

Thibaut's serventois (LVII) is half religious and half satirical. According to WallenskOld, it was probably written in 1238-1239 and refers to the quarrel between

Pope Gregory IX and the Emperor Frederick II. The subject of the quarrel was whether to go to Palestine, as had already been decided, or to the aid of the Roman Empire in Contantinople following the wishes of the Pope. Thibaut, leader of the 1239 Crusade, wanted to go to Palestine and 29 disapproved of the attitude of Pope Gregory IX.

^^Wallenskttld, Les chansons (LVI) Deus est ensi comme li Pellicanz. p. 195 (stanza III). 57

Nostre chies fet touz noz membres dolloir. LVI,111,1

(Our chief makes all our members suffer.)

WallenskOld points out the allusion to Wace's Roman de

Brut in which the construction of a castle was made impossible by the underground fight of two dragons.

La bataille qui fu des deus dragons Si com I'en trueve el livre des Bretons. LVI,IV,2,3

(The fight of two dragons as is found in the book of the Britons.)3l

The two dragons probably symbolize the Pope and the German Emperor.

Songs to the Virgin

The song to the Virgin or chanson à la Vierge developed in the thirteenth century parallel to the grow­ ing cult of the Virgin Mary. This type of poetry does not have special characteristics, either in form or in expression; often the melodies are borrowed from the secu­

lar lyrics. The southern troubadours as well as the

northern trouvères experienced the same development and

^^WallenskOld, Les chansons, p. 195. ^^According to Bossuat (Le moyen âge, pp. 59, 149), the book of the Britons or Geste des Bretons is another title for the Roman de Brut. Based upon Geoffrey of Mon­ mouth 's Historia regum Britanniae, the Roman de Brut was probably translated by Wace upon the request of Eleanor of Aquitain; it was finished in 1155. 58 wrote many anonymous poems using melodies by Gace Brule, 32 Moniot d'Arras, and others.

In his songs to the Virgin, Thibaut— like other trouvères— transposes from secular to sacred the praises he used to address his "Lady." The tone of his four songs is very conventional, and none shows the religious enthu­ siasm of the crusader's songs.

The first song (LVII) is an elaborate commentary on the five letters of the word M-A-R-I-A. In the second 33 song (LVIII) the Virgin is referred to as Fruit de Nature.

Although it is a religious song, the use of the word

Seigneurs, pointed out by WallenskOld,^^ and the second envoi addressed to Philip show that the song was meant for a courtly audience. The third song (LIX), perhaps the most religious and sincere, is also addressed to the Virgin. In the last (LX) Thibaut describes how the devil tempts men and tries to snare them.

Deables a geté pour nos sesir Quatre aimecons aoschiez de torment: Convoitise lance premièrement Et puis Orgueil pour sa grant roiz enplir; Luxure va le batel traînant Félonie les gouverne et les nage. LX.IV.1-6

32 Friedrich Gennrich, Musikwissenschaft und romantische Philogie (Halle, 1918), p. 9. 33 WallenskOld, Les chansons, p. 207. 34ibid., p. 207. 59

(The devil has thrown to catch us, four hooks baited with torment Covetousness is first thrown and then Pride to fill its large net Lust goes pulling the boat, Felony leads them all and steers.)

WallenskOld points out that, according to

P. Paris, Thibaut could have been inspired by the mural sculptures of churches (the fishing of the souls by the devils) when he wrote his song.^^

Among the religious songs of Thibaut, the serven­ tois and the lai (discussed in Chapter IX) show more religious sincerity than these four songs to the Virgin.

Poetic Form

In the tradition of trouvère lyrics, each poem contains five or six stanzas and one or two envois; love songs, pastourelles, and crusader's and religious songs generally have five stanzas and one envoi ; débats and jeux-partis have six stanzas and two envois. There are, however, a few exceptions. Among Thibaut's songs, six love songs^^ and one song to the Virgin (LVIII) have two envois ; one pastourelle (LI) has none, and one love song

(V) has three envois; one chanson d 'amour (XV) has four

WallenskOld, Les chansons,^p. 214, quotes: "P. Paris (H.L.F. XXIII, 794) a pensé que Thibaut s'est peut-être inspiré des sculptures murales des églises ('la pêche des âmes par le démon'). ^^The love songs VII, XI, XVII, XX, XXVII, XXXV have two envois. 60

stanzas instead of five. Of the jeux-partis, one (XL) has four stanzas, and two (XLVII and L ) have five instead of six; two (^11 and XLIII) have no envoi. and two (XLVII and XLVIII) have only one envoi instead of the traditional two.

The envoi. placed at the end of the poem, usually contains three or four lines which match in length and rhymes the closing lines of the preceding stanza. The envoi may be addressed to the lady, love,

God, or the chanson itself as in Chanson XI, for example :

'Chancon, va t'en droit a Raoul noncier Qu'il serve Amors et face bel accueil Et chant souvent com oiselez en brueil.'

('Song, go straight to Raoul to tell him to serve and welcome Love and to sing often like a bird in the forest.')

Length of the stanza

In Thibaut's poems the length of the stanza varies

from six to fourteen lines with a strong predominance of

eight-line stanzas. Stanzas containing either seven or

nine lines are also common, other lengths than the three

mentioned are used much less frequently. Table 3 shows,

in decreasing order, the number of poems in which the

different lengths of stanzas appear in Thibaut's fifty-

eight chansons. 61

TABLE 3

DIFFERENT LENGTHS OF STANZAS IN THIBAUT'S POEMS

Number of Lines Number of Poems

8 22

9 12

7 11

10 6

11 3

6 2

12 1

14 1

Stanza structure

The stanza of a poem is usually divided into two parts, which Dragonetti calls frons and cauda in his 37 extensive discussion of stanza structure. The frons usually consists of the first four lines of the stanza.

The remaining lines, normally three or four, make up the cauda. The rhyme scheme of the frons is either abab or abba; that of the cauda is free and varies considerably from one poem to another. Two typical examples are shown below:

Ch. XX frons cauda

^ 10^ 10'^10^ 10' ^ 10^ 10^ 10'^10

Roger Dragonetti, La technique poétique des trouvères dans la chanson courtoise (Bruges, 1960), pp. 384-85. 62

Ch. V frons cauda

Of the fifty-eight poems by Thibaut, fifty-four have a four-line frons: in one pastourelle (LI) the frons contains eight lines, and in three the established struc­ tural division of the stanza does not exist. The rhyme scheme of the pastourelle is as follows:

Ch. LI frons cauda

The three poems without frons have the following forms:

Ch. VIII a^aya^a^b^a^b^ Ref.

Ch. L a^a^a^b^a^b^

Ch. XXVI ^10^10^10^10^10^10*^10^10

Types of stanzas

The traditional courtly poetry of the trouvères recognizes two distinct types of stanza: the isometric, in which all lines are the same length, and the hetero- metric, with lines of different lengths.

According to Dragonetti, isometric stanzas pre­ dominate in all courtly poetry. Of 1008 poems, 621 have isometric and 387 have heterometric stanzas. In the most common stanzaid form, eight decasyllabic lines are divided equally between the frons and the cauda. Stanzas of seven decasyllabic lines, in which the cauda is one line 63

shorter than the frons. are also favored by courtly poets.

Dragonetti's list (Table 4) shows the order of appearance 38 of the different isometric stanzas in 574 poems.

TABLE 4 DRAGONETTI'S LIST OF ISOMETRIC STANZAS IN 574 POEMS

No. of Poems Stanzaic Form

162 8-linedecasyllabic 114 7-iinedecasyllabic

64 8-lineheptasyllabic 56 9-line decasyllabic 47 8-line octosyllabic 40 9-line heptasyllabic

23 7-lineheptasyllabic 19 9-line octosyllabic 18 7-line octosyllabic 17 10-line heptasyllabic 14 10-line decasyllabic

Following tradition, Thibaut wrote a majority of

his poems— thirty-nine out of fifty-eight— with isometric

stanzas, and, like other trouvères, he favored decasyllabic

seven- and eight-line stanzas, which he used in half of the

thirty-nine isometric poems. The decreasing order of

appearance of the different isometric stanzas in Thibaut's

poems is shown in Table 5. It is interesting to note that, 39 except for octosyllabic lines, Thibaut's use of the

38 Dragonetti, La technique, p. 387. 39 Of the thirty-nine chansons only four have octosyllabic lines. 64 different stanzaic forms is very close to that given by

Dragonetti for a much larger repertory (Table 4).

TABLE 5 ISOMETRIC STANZAS IN THIBAUT*S POEMS

No. of Poems Stanzaic Form

14 8-line decasyllabic 5 7-line decasyllabic

4 9-line decasyllabic 2 9-line heptasyllabic 2 8-line heptasyllabic

2 7-line heptasyllabic 3 10-line heptasyllabic 2 11-line octosyllabic

1 6-line heptasyllabic 1 8-line octosyllabic 1 9-line octosyllabic 1 10-line decasyllabic

Although less common than isometric construction, the heterometric stanza is by no means rare in courtly poetry. Dragonetti asserts that heterometric lines were often used to avoid monotony in poems with stanzas of nine or more lines. Among the different forms of heterometric

stanzas, however, the eight-line stanza with decasyllabic 40 lines mixed with others is the most common. Thibaut

seems to have preferred heptasyllabic lines mixed with

others. Out of the nineteen poems with heterometric stanzas.

^^Dragonetti, La technique, p. 388. 65 four combine heptasyllabic and decasyllabic lines, ten

combine heptasyllabic lines with lines of other lengths.

Two contrast ten- and four-syllable lines, and in three poems decasyllabic lines are combined with lines of

several different lengths. The lai is written with

seven- and four-syllable poetic l i n e s . Thibaut normally

contrasts lines of only two different lengths i ' his heterometric poems. In addition to the lai, thirteen

of the nineteen poems contain lines with two lengths.

In four poems lines have three different lengths; in one

four lengths; and in another five.

In heterometric stanzas lines of different length

often create a contrast to an isometric series. The

rhythmic combinations in Thibaut's poems usually produce

one of the following results:

a. Contrast of two isometric series

b. Interruption of an isometric series by a

line or lines of different length

c. Change of length in the concluding line or

lines of the stanza

In some cases the contrast of two isometric series

corresponds to the division of frons and cauda. Sometimes

the second series starts later in the cauda.

41 The lai is discussed in Chapter IX. 66

frons cauda

XXI a^b^a^b^ b^a^a^b^

XXXII a^b^b^a^ .d^^d^Qe^Qe^Q

Either shorter or longer lines may interrupt the regular thythm of an isometric series. The three-and five-syllable lines in Chanson XLVI accelerate the regular heptasyllabic rhythm, and the two octasyllabic lines in

Chanson LV slow it down. The schemes of the two chansons are as follows:

XLVI ayb^b^a^a^c^Cgdgd^

LV a^.b^b^a^.b^CgCgb^b^

According to Dragonetti, one or more shorter lines were commonly used at the end of a stanza to create a 42 rhythmic contrast. This device is found in two of

Thibaut's poems. In one (XIII) the stanza consists of six decasyllabic lines and a concluding four-syllable line; a

two-line refrain then echoes this contrast. In the other •

(XXVII) the stanza begins with five decasyllabic lines and

closes with two heptasyllabic lines that introduce a new

rhyme. The stanzaic structures of the two chansons are

illustrated below:

XIII ^10^10^10^10*^10'^10'^4^10''^4 Ref.

XXVII 0^10^10^10^10*^7'*^7'

^^Dragonetti, La technique, p. 295. 67

In both chansons Thibaut uses rhymes in ways that

emphasize the contrasting lengths of the concluding lines.

Rhymes

. Although Thibaut uses both masculine and feminine

rhymes, his poetry shows a predominance of masculine

rhymes, particularly the rhymes and oir. These

rhymes were also favored by Gace Brule and Blondel de

Nesle. Dragonetti points out that, out of forty-one poems

by Thibaut, the masculine rhyme er is found in thirty-one, 43 ir in fifteen, and oir in eighteen.

The number of rhymes in a stanza ranges from two

to five in Thibaut's repertory. Twenty-one poems have

stanzas with only two rhymes; twenty-six have three, eight

have four, and three have five rhymes. In Thibaut's

fifty-eight poems rhymes are arranged in forty-nine differ- 44 ent ways. Except for the three poems that do not have

the structure frons-cauda (VIII, L, XXV) the rhymes of

the first four lines, the frons. are either croisées

(abab) or embrassées (abba). It is by varying the rhyme

schemes of the cauda that Thibaut managed to create so

many different stanzaic forms.

Almost all of Thibaut's poems are written in

cobias doblas; that is, the stanzas of a poem are grouped

43 Dragonetti, La technique, p. 405. 44 The rhyme schemes of all Thibaut's songs are given in Appendix B. 68 by pairs, each of which has its own set of rhymes. When the number of stanzas is uneven, the last stanza has a different set of rhymes that it shares with the envoi.

In one poem (L), however, only the first two stanzas are written as cobias doblas: the others have different rhymes arranged in such a way that the first rhyme of each stanza repeats the last rhyme of the preceding stanza. The struc­ ture of the entire poem is as follows:

Stanzas

I and II aaabab

III bbbcbc

IV cccdcd

V dddede

envoi de

Four poems (I, IV, V, XIII) are written in cobias unisonans. which means that each poem has the same rhymes

for all its stanzas. The rhymes used in each cf the four

poems are as follows:

I ance. on.

IV ant. ier.

V ant, us. iz, aigne (aingne. iengne)

XIII er^, i^, ance. oir.

The capfinidas technique of the troubadours is found

in one of Thibaut's poems (Chanson XXVI). In the capfinidas

technique, the last word of each, stanza appears at the 69 beginning of the next. In Thibaut's poem, the last word reappears as the second word of the next stanza in all cases but one. The first stanza, for example, ends with the word dolor, which returns as the second word of the first line of the second stanza, as shown below:

XXVI. I, 8 Et s'en atent joie après ma dolor

II, 1 Geste dolor me devoit mult seoir

One poem (XXVIII) is written with "grammatical rhymes," words that have the same root but different end­

ings. The poem consists of five cobias doblas and an envoy in each of which the last two lines are grammatically linked as follows:

I. partir. partie: II. faillir. faillie;

III. ami. amie ; IV. saisi, saisie; V. merci,

mercie; VI. oubli. oublie.

In his use of a small number of rhymes Thibaut

shows his ingenuity as a poet and his great command of

the language. Of the fifty-eight poems, including the

jeux-partis in which he answers, four are written in 45 cobias unisonans and fifty-three in cobias doblas.

One of the fifty-three is also capfinidas and one intro­

duces grammatical rhymes.

Thibaut de Champagne, count and king, has long

been acknowledged as one of the greatest trouvères of

^^The rhyme scheme of the one exception. Chanson L, is given on p. 62. 70 the thirteenth century. The many poems addressed to him,

the many writings praising the "roi de Navarre," and the contratacta of his poetry show that Thibaut was famous not only in his own time and country but also in later

centuries and other countries as well.

One evidence of Thibaut's fame in his own time is

the number of poems addressed to him. A characteristic

example by Raoul of Soissons begins as follows:

'Rois de Navare et sires de Vertu, Vous me disiés qu'Amours a tel puissance. . . .'

('King of Navarre and sire of Vertu, you were telling me that love has such power.')

After talking about Thibaut's accession to the

throne of Navarre, Guillaume de Toulouse writes:

E fe mainta canco an maint bel son plazent, E mainta pastorela et maint bel partiment;

(And he made many love songs and many beautiful pleasant sounds. And many pastourelles and many beautiful jeux-partis:)^ '

WallenskOld points out two chansons derived from

Thibaut's poem (IX) Tant ai amors Servie longuement. The

Tant ai servi le monde longuement is a religious contra-

factum. No. 709a in the Spanke-Raynaud Bibliographie ;

the second is a Latin poem by Adam de la Bassée: Ave

^^WallenskOld, Les chansons. p. Ixxxiv.(Vertu is the name of a small city in Champagne.) ^^Guillaume Anelier de Toulouse, Histoire de la guerre de Navarre en 1276 et 1277 (Paris, 1856), cited in WallenskOld, Les chansons. p. Ixxxv. 71 gemma, quae lucis copia. Both contrafacta have the same structure and the same rhyme scheme as their model.

Before WallenskOld, Spanke had given the scheme of the 48 three poems, and in 1918 Gennrich had already listed

Tant ai servi and Ave gemma as contrafacta of Thibaut's 49 chanson Tant ai amors. The rhyme schemes and structure of the three poems, as given by Spanke, are as follows:

T^ant ai amors ^lO^lO ' ^10^10 ' ^lO’^lO^'lO^lO '

ai .servi ^lO^lO ' ^10^10 ’ ^10 ’ ^10^10^10 '

Ave genrna ^10^10^10^10 ^10^10^10^10

WallenskOld also states that two religious songs by Jacques de Cambrai (end of the thirteenth century) are derived from Thibaut's Ausi come unicorne (XXXIV) and

Tuit mi desir (XI). In the only manuscripts in which the songs are preserfed (Berne C) the rubric introduces them

as Jaikes de Cambrai ou chant de 1 'Unicorne and Jaikes de

Cambrai ou chant Tuit mi desir. I n his list of contra-

facta. Gennrich gives the first lines: Haute dame come

rose et lis as the contrafactum of Ausi come unicorne,

48 Hans Spanke, "Das Oftere Auftreten von Strophen- fcrmen und Melodien in der altfranzOsischen Lyrik," Zeit- schrift für franzOsische Sprache und Literatur, LI (1928), 91. 49 Gennrich, Musikwissenschaft, p. 9. 50 WallenskOld, Les chansons, p. Ixxxvii. 72 and Kant je plus pens a commencier chanson as the contra- factum of Tuit mi desir.

It is probably Thibaut to whom the Minnesinger

Wahsmuot von Mulnhusen refers when he writes : Und waere ich kunig in Schampenige. Later the theorist Grocheo

(c. 1300) cites Ausi come unicorne sui as an example of 52 a cantus coronatus (crowned song). Thibaut's chansons were known not only in France but also in Provence and in

Italy because Dante, in his book De vulgari eloquentia, places him among the greatest poets of his time.^^

Gennrich, Musikwissenschaft, p. 5. 52 Both references cited in WallenskOld, Les chansons. p. Ixxxviii. According to VanderWerf, "it is not clear whether (cantus coronatus) refers exclu­ sively to prize-winning songs, to trouvère chansons in general, or to a specific category of trouvère chansons," The Chansons of the Troubadours and Trouvères (Utrecht, 1972), p. 153. 5 3 Dante, De vulgari eloquentia. ed. by Pio Rajna (Florence, 1896), pp. 40-4; 138-40; and 147-51; one of the chansons mentioned by Dante is Thibaut's De bone amor vient seance et bonté R 407, cited by WallenskOld, Les chansons, p. Ixxxvii. CHAPTER IV

MUSICAL FORMS

Many trouvère poems have been preserved with their melodies or more exactly with the melody of the first stanza. Since poems are strophic and melodies are written above the first stanza only, all the stanzas of a poem must have been sung to the same melody. Depending upon its length, the envoi following each poem was presumably sung to the closing phrase of the melody or to the entire cauda. Most chansons have a musical structure based upon one of two traditional musical forms in trouvère songs: the chanson form and the vers or through-composed melody.

In the chanson form the first two musical phrases are repeated to form the melodic counterpart of the frons: the remaining melodic lines or cauda. as well as the melodies in vers form, are usually built with a different melodic phrase for each line of poetry. The structure of the melody, like the poetic form of the stanza, is entirely independent of the poetic type. The poetic term canzo or chanson d 'amour. for example, has no relation to

^The length and form of the envoi are discussed in Chapter III.

73 ■ 74 either the poetic or musical structure of the stanza. It refers solely to the subject matter of the poem. Chanson form, therefore, as applied to a melody, is unrelated to the subject matter of the poetry.

Like other trouvères, Thibaut wrote his melodies in traditional forms, and many of his melodic patterns and cadential formulas can be found in other trouvère melodies.

However, as in his poetry, Thibaut's talent and originality lie in the way he organized these traditional materials in the melodic structure of each chanson.

The first part of this chapter deals with chanson form and its variations in Thibaut's melodies. Melodies in normal and varied vers form are discussed in the second part. The four chansons à refrain and the one chanson with refrains are dealt with separately. The discussion in this chapter is based upon melodic versions of Mt or K. Variants in other manuscripts that affect the formal structure are considered in Chapter VI.

Chanson Form

In the lyrical tradition of the North the chanson form was very much favored. Discussing thirteenth-century musical forms, Pierre Aubry writes: "The thirteenth century knew a nearly fixed form, the chanson. The struc­ ture, it is true, is not absolutely rigorous, but one easily recognizes the observance of a generally adopted 75

2 disposition." The form described by Aubry consists of two sections: the first, two musical phrases repeated, corresponds to the frons. The number of musical phrases in the first section is usually four; that in the second section varies according to the number of lines in the cauda. The musical scheme is ABAB CDEF for an eight-line stanza.

Of the fifty-eight melodies of Thibaut, forty-six are written in chanson form. Of these forty-six, twenty- five have the normal form as described above. Three of the twenty-five have a refrain and one (LI) has a longer first section. In the other twenty-one melodies variants are introduced in either the first or the second section or in both. These variants account for the arrangement of the forty-six melodies in chanson form listed in

Table 6.

Group A in Table 6 includes melodies whose first section is entirely regular with exact repetitions of the first two phrases. Differently placed variants in the

first section of the melody provide the basis for classi­

fication. in the other four groups. Each group is sub­

divided into two parts: through-composed melodies in

Pierre Aubry, Trouvères et troubadours (2e éd.; Paris, 1910), p. 28. "Le Xllle siècle a connu une forme à peu près fixe, la chanson. La structure, il est vrai, n'en est pas d'une rigueur absolue, mais on reconnait aisément l'observance d'une disposition généralement adoptée." 76

TABLE 6 MUSICAL SCHEME OF MELODIES IN CHANSON FORM

Musical Scheme Chansons

Group A ABAB C D E XI,XVI,XXV,XXVII,XXXIII, XLVII.LIII.I C D E F III,VI,IX,XIV,XX,XXIV, XXIX,XXXIX,XLII,LVII C D E F G X,XXXV,X\7III C D E F G H XXXII,XLI,XXIII C D E A' XXVIII C D E B' XII CoCcD E XLVIII C D B'A'E A" XXI C D E C'F G H LVI II C D EoEcC D Ec* XV ABCD ABCD E F G H LI

Group B ABAB’C DE II C D E F LIV C D E F G H I J K L XL CoD E Ce XXXI C DoE F C 'De LU

Group C A B A'B CDEF XXXVI.XXXVII C D E C 'F G H XLIII

Group D A B A'B' C D E F IV C D E F G XLIV A B o A 'Bc C D E F G XLVI A B A'B' COD COD '■ce XLIX

Group E AoAcAoAc B C D B E XVII B C D E D XIII B CoB'Cc LIX

*The letters o and c indicate ouvert and clos end­ ings. 77 the cauda are listed first, followed by those with repeti­ tions of melodic material. The number and percentage of melodies listed in the five groups appear in Table 7.

TABLE 7 NUMBER OF MELODIES WITH AND WITHOUT VARIATIONS

Melodies Variants Variants Variants With No Only In Only In In Both Variants First Second Sections Section Section

Number of melodies 25 9 6 6

Percentage 54.5 19.5 13 13

Variants in the First Section of the Chanson Form

In thirty-one songs the third and fourth phrases of the first section are an exact repetition of the first and second. In fifteen songs variations are found either in the fourth phrase (Group B), in the third (Group C), or in both (Group D); three songs (Group E) have an unusual struc­ ture in which a single phrase is sung four times with alternating open and closed endings.

Variants in the first section are small and generally involve differences in ligatures or short transpositions.

In Chanson XXXI (Group B), for example, the ligature on the expressive word mal of phrase 2 is changed to a single note on the conjunction ejt of the fourth phrase. In the same melody the first four notes of phrase 4 are written a second lower than those of phrase 2 (Example 1). 78

Example 1

-1 X x x i .... -----a ‘ . a * j". , ' '

Li* fv>«L p U- ——.... ------e------^ ' - -1 H- . Sent e^• ejLLî.

In three melodies (Group C) variants appear only in the third phrase. In melody XXXVI, for example, the differences in phrase 3 consist of an added note at the beginning, a repetition of the antipenultimate note and an extension of the one ligature. Line 4 is faulty, and the extra syllable probably accounts for the rearrangement of the melody 3 (Example 2)

Example 2

XXXV1 # ■ T— -9 *

ot. es. nncu-'C' I

3 WallenskOld (Chanson, p. 121) amends the line to read "Quant ma dame. ..." 79

Four melodies contain variations in both the third and fourth phrases (Group D); among them is Chanson XLVI. the only melody written with ouvert and clos endings for

the second and fourth phrases of the frons. In phrase 2

(of XLVI) the ouvert ends on ; the repetition in phrase

4 is exact until the final syllable which ends on cj^. In

the same melody phrase 3 is slightly ornamented repetition

of phrase 1 (Example 3).

Example 3

; : = ------,— I # * > # # * 0 I XI 1

In Chanson IV (Group D) the variants are even

smaller. The end of phrase 3 is slightly modified, and

in phrase 4 the notes above syllables 4 and 5 are written

a second lower than their counterparts in phrase 2

(Example 4).

Example 4

a.

f 3. 80

In the musical reading of Chanson IV in K phrases 3 and 4 are an exact repetition of 1 and 2.^ The other two songs from Group D present the same kind of variants. In XLIX, however, phrase 2 in Mt ends on e^; in K on Phrase 4 ends on a in both manuscripts. This is the only melody in which such a discrepancy occurs, but, as will be shown later,^ the melody of XLIX is not by Thibaut.

In three songs (Group E) the first section consists of four statements of a single phrase with ouvert endings for the first and third statements and clos endings for the second'and fourth. In all three songs the rhyme scheme of the frons is a b a b. Thibaut normally used chanson form in melodies for stanzas with crossed rhymes (aba b) in the frons. Since the third and fourth musical phrases in this form are an exact or slightly modified repetition of the first and second, the poetic and musical structures of these songs correspond:

Poetry: abab

Music: ABAB

Of the forty-six melodies in chanson form, only two

(XXXII and XLVI) are written for stanzas with reversed

rhymes (abba) in the frons:

Poetry: XXXII abba XLVI abba

Music: ABAB A BoA Be

"^See Volume II. ^See Contrafacta. Chapter VI. 81

Second Section or Cauda of the Chanson Form

In the normal chanson form the second section con­

tains new material, usually a different phrase for each

line of text. The rhyme scheme is free, and the length

of the section depends upon the number of verses in the

cauda. Of Thibaut's forty-six songs in chanson form,

thirty-four present the normal succession of different musical phrases for each poetic line. In the remaining

twelve phrase repetitions create a number of different patterns.

Variants in the Cauda of Chanson Form

Rounded chanson form

Of the forty-six songs written in chanson form,

three (XII, XXI, and XXVIII) repeat phrase A or B of the

first section at the end of the cauda: in this Case the

form is called rounded chanson form.

In Chanson XII the second element of the first sec­

tion (B) returns slightly modified at the end of the melody (Example 5).

Example 5

-XIL -, * J •

m * \..— a Î. 82

In Chanson XXI variants of phrases A and B return in reverse order in phrases 7 and 8 , and a further variant of A then completes the melody in phrase 10. Both phrases are modified in the cauda to fit seven syllables instead of their original decasyllabic lines (Example 6).

Example 6

JŒL l. r_ _ l :

I. 1

to

In the third Chanson (XXVIII) the last musical phrase is a complete repetition of phrase A plus the last two notes of phrase B, probably to fit the feminine rhyme or line 8 and to end on c^ (Example 7).

Example 7

-6-XLXVm____ * 1 ..

- * - r

Phrase repetitions within the cauda

A common departure from a series of different

phrases in the second section of the chanson form involves

the exact Or modified repetition of one or more phrases. In 83

Chanson XLVIII (Group A) phrase 5 (C) is immediately repeated (phrase 6) with a different ending. This seems to create a short chanson form in the cauda with C ouvert and C clos. (Example 8 ), but the piece as a whole ends on c^. One might still consider the musical structure to be

ABAB CoCcD E.

Example 8

-#--

Melody XLIII (Group C) shows the same kind of repe­ tition. However, the repeated phrase C does not immediately follow C, and although C could be considered as the clos of

C, it fits neither a structural division of the text nor the rhyme scheme shown below:

Ch. XLIII abab bccddef 8888 8888888 A B A'B CDEC'FGH

In Chanson XXXI (Group b ) phrase C returns at the end of the melody with a clos ending. The first C phrase

ends on e^; the second C ends on ^ (Example 9).

Example 9

Xxxl ______I V

• • à 0 _

Î. 84

In two melodies (LII and XLIX) the first two phrases of the cauda (C-D) are repeated with modifications. In

LII phrases C and D recur at the end of the melody (Phrases

9-10) and phrase 10 is the clos of phrase 6 (Example 10).

Example 10

4_LU ______,------

5. 6- ____ <•’ 9? a J V

In melody XLIX the cauda is based upon only two phrases, C and D; the structure is as follows:

^10' ^10 ^10' ^10 ^10 ^10' ^lO’^10 ^10 A B A' B1 Co D Co D' Cc

Phrases: 5 6 7 8 9

Since phrase 9 (Cc) ends with a feminine rhyme, a note has been added at the end of the phrase. A note has been dropped at the end of phrase 8 (D') because of the masculine rhyme

(Example 11).

Example 11

XUX______' auvt.»-r 0 . » ■ ig> ' y-r*- == Î.1-

-0 *- 85

A different kind of formal variation is found in the cauda of Chanson XV which consists of two parts. The first contains four phrases C D Eo Ec; the second is an exact repetition of the first except that Eo is dropped.

The structure of the complete chanson is as follows:

^7^6'^7^6' ^6 ^6 ^6 ^ 6 ' ^ 6 ^ 6 ^ 6 ' ABAB C D EoEc C D Ec

Since phrases 8 and 11 (Ec) both have feminine rhymes and phrase 7 (Eo) has a masculine rhyme, the clos ending is extended (Example 12).

Example 12

JCZ______1 ouUfcadfc— ,------h .. s -

In Chanson LIX the cauda applies the normal struc­ ture for beginning a song; that is,two phrases are repeated with ouvert and clos endings. The first section of this chanson (Group E) is based upon repetitions of the same phrase. The entire melody has the following structure;

^8 ^8 ^8 ^8 ^7 ^7 ^7 ^7 Ao Ac AO Ac B Co B' Cc

Of Thibaut's forty-six melodies in chanson form, thirty-four have the normal cauda pattern; that is to say, a succession of different phrases for each poetic line. 86

Three other chansons are in rounded chanson form: in two, phrase A returns at the end of the melody, and in one phrase B returns. In nine chansons one or two phrases are repeated within the cauda itself. The different arrangements and repetitions of phrases show that Thibaut was not always satisfied with a normal succession of phrases and sought to organize the cauda in various ways.

Variants in the first section of chanson form normally are minor— added notes, plicas, extended or rearranged ligatures. They do not affect the form of the frons and may have been introduced by singers. From the nature of these variants and the small number of chansons in which they occur (fifteen of forty-six), one may assume that Thibaut meant phrases 3 and 4 to be an exact repetition of phrases 1 and 2.

Chanson à refrain

In troubadour and trouvère chansons refrains are often found in narrative songs such as pastourelles. albas. and chansons de toile; but they also appear occasionally in love songs. The refrain, sung after each stanza, usually consists of one or two lines reflecting or summing up the feelings of the poem. Less often, short refrains of a. few syllables are entirely independent of the text of the stanza. The melody of longer refrains is generally related to that of the 87

chanson, whereas the melody of shorter refrains often

seems to be an unessential addition to the chanson.

Discussing medieval literature, Zumthor writes:

"One of the most constant aspects of the medieval art of poetry seems to me, indeed, to lie in the play of con­

trasts."^ Zumthor explains the different contrasts intro­ duced in the stanzas, such as, different expressions in

the text or changes in the rhythm. He points out: "But

this aesthetic of expressive contrasts includes two extreme cases: the insertion in the song (often as a refrain) of nonsense syllables, or words borrowed from 7 a foreign language."

Thibaut's two short refrains can certainly be

included in the category of nonsense syllables and can be considered as elements of contrasts. Both refrains

"E^,^,^,2" and "Va-la-ra" are listed among the "senseless

Q syllables" refrains by Boogaard.

Scholars have suggested that when a refrain had

the same melody as the last line of the stanza, it was

Zumthor, Recherches. p. 426. "L'un des aspects les plus constants de la poétique médiévale mè semble en effet résider dans le jeu des contrasts." 7 , Ibid., "Mais cette esthétique des contrastes expressifs comporte deux cas extrêmes: l'insertion dans la chanson (souvent sous la forme de refrain) de syllables dénuées de sens, ou de mots empruntés à une langue étrangère." 8 Nico H. J. van den Boogaard, Rondeaux et refrains du Xlle siècle au début du XlVe Collationnement. intro­ duction et notes (Paris, 1969), pp. 261-2. 88 intended te be sung by a group, while the body of the stanza was reserved for a soloist. As Reese says: "It helped the audience if the body had a conclusion present­ ing them with the very melody they would need for the 9 refrain." This is not the case for Thibaut whose refrains have melodies which are different from those of the last lines of the stanzas.

Thibaut wrote four chansons à refrain. In two of them (I and VIII) the refrain is very short: more exactly the vowel repeated in Chanson I,and a three- syllable word Valara in Chanson VIII. Neither refrain has a special meaning or a poetic value. Neither text nor music is related to those of the chanson. As Zumthor indicated, they are used as elements of contrast; the four vowels create an opposition of register to the dark sonorities of the poem and to its unisonant rhymes on and ance (pesance, penitance, prison, raencon

. . .). The light and frivolous Va-la-ra. probably the equivalent of the modern Tra-la-la, must have been intended

as an ironic contrast to the sorrow and lamentation of the

love song. Chanson I is written in chanson form; the

stanza has six lines and refrain. The structure of the

chanson and the melody of the refrain are as follows

^Reese, Music in the Middle A g e s , p. 220. 89

Ch. I a.^ ^71^4 A B A B C D E I-Re^rffvn ,.-J E _ & — f .- f- Chanson VIII has the following abnormal structure:

Ch. VIII a.y , a.y , a.^, a.y , b^ ag,b^ A A' A" B C D E F

*Re^rci\vi. V \ n

Va - la . "UOL

The longer refrains of Chansons XIII and XVIII were appar­

ently not quoted from other sources but were written by

Thibaut himself. They are an integral part of the poem,

and their melodies are related to those of the chansons.

Both are listed as chansons à refrain in Boogaard's

1 10 catalog.

In Chanson XIII the refrain consists of two verses

of ten and four syllables, respectively. The rhymes and

the number of syllables in the verses of the refrain are

the same as those of the last two verses of the chanson.

The melody of the last line of the refrain is closely

related to that of the last line (7) of the stanza. In

fact, it is the embellishment of phrase 7 (Example 13).

The structure of the entire stanza follows.

^^Boogaard, Rouoleaux. pp. 131 and 216. 90

Ch. XIII ^lo^io^lO^lO ^ÏO'^10'^4 ^10*^4 Ao Ac Ao Ac B C D E F

Example 13 fX \U ______a IR.

The refrain of Chanson XVIII contains two lines

which have the same rhyme as the last line of the stanza:

3-~j by,ày , a^ a^ c^ c^ c^ ABAB CDE FG

The melody of the first phrase of the refrain contains

elements from phrases 2 and 5 (B.,C) (Example 14).

Example 14

XVWI______— .

t. i JR.!

The second phrase consists of new material but comes back

to the ending of phrase 7 on c (Example 15).

Example 15

f xviwa-L.ui--______

w - 0 91

Chanson with refrains

In the chanson with refrains, each stanza and

the envoi or envois end with a different refrain. These refrains are presumably quoted from well-known narra­

tive or dance songs. At the beginning of the thirteenth century, the practice of quoting refrains became common

in long narrative poems as well as in trouvère chansons

and secular motets. The oldest text in which refrains

are quoted. Le Roman de Guillaume de Dole, was written between 1210-1215. According to Jeanroy, it is the

first work in which lyrical fragments were inserted; it

contains eighteen refrains.

The practice of quoting refrains became more

and more popular with trouvères in the second half of

the thirteenth century. Jeanroy lists fifty-four 12 chansons with refrains. Gennrich expanded this list 13 to eighty-three and catalogued 1276 refrains. In

1959 Boogaard states: "There are more than six hundred

chansons provided with refrains, many authors are

anonymous (we know the names of ninety trouvères

^^Jeanroy, Les origines, p. 116. l^ibid.. p. 102. ^^Friedrich Gennrich, Rondeaux, Virelais und Balladen, Gesellschaft für romanische Literatur, 47 (1927),255-291 and 309-44. 92 who have composed one or several chansons provided with refrains).

Thibaut wrote only one chanson with refrains

(XXIII). Each of the poem's five stanzas and one envoi

is followed by a different refrain of two or three lines.

Since the last line of the stanza always rhymes with at

least one line of the refrain, and since the refrains have different rhymes, the letter x is used for the last

line of each stanza in indicating the poetic form:

^10^10^10^10 ^10^^10^10^10 Ref. ABAB CDEF

Of the chanson's six refrains, only the first is

preserved in the chansonniers with its melody (Example 16)

Example 16

■ j -SAM Tnav>,vTnav>,v.Aft. A m t r

4 _ . . ^ ^ i— ■•XeM.Vc-t. \ts v o i __por two*

According to Gennrich and Boogard, this refrain is

found with variants in a number of medieval sources. In

Boogaard, Rondeaux. p. 15. "II y a plus de six cents chansons pourvues de refrains, beaucoup d'auteurs sont anonymes (nous connaissons les noms de quatre-vingt-dix trouvères qui ont composé une ou plusieurs chansons pourvues de refrains)," 93 the secular motet Hier main toz seus chevauchoieboth melody and text are slightly different (Example 17).

Example 17

? ■ ;:r; : ! \ ^ — Je Us sent, Vftj. wvolul S

t l S ' } I'/ > i.w ' AaI * n\tr- * _ W & \Jou-VV»ourtv,______* Three other versions of the refrain without music show the following variants:

Jes les sent, Dex, je les sent. Les maus d'amer doucement.

Par m'ame, je sent les maus d'amer por vos Et vos, por moi sentes les vos, ma dame?17

Pour vos les sent, les maus d'amer; Sentes les vous pour moi?l®

In motet Nus ne set les maus sil n'ame (f. fr. 844) 19 the same refrain is given with the following text and music:

-jLr----•--tf-----,------,--#------,--- ^ ------*------•------e—=------

Was nt StJr tnrvti r> ------p#-.-----5------,------.------^ —— J t \t,5 \«-i Vrts Acw-i. mauv Aft. r^ct-

^^Rokseth, ed., Polyphonies du XIII ème siècle. Le manuscrit H 196 de la Faculté de Medecine de Montpellier (Paris, 1936), III, 72. Langfors, éd., Li confrere d'Amours Romania XXXVI, p. 31. 1 7 Chanson R 146, cited in WallenskOld, Les chansons. p. 77. 1 A Ms Hereford, Cathedral Close, p. 3, cited in WallenskOld, Les chansons, p. 77, and in Boogaard, p. 331. This refrain-proverb is not listed in Gennrich. ^^Manuscrit du roi (f. fr. 844), f. 200 verso 201. 94

The second and third refrains (Boogaard No. 1225 and 383) are found only in Thibaut's chanson. The melody of neither one is preserved.

Ref. II Li douz mal dont j'atent joie M'ont si greve Morz sui, s'ele m'i delaie.

Réf. III Dire vos qui mon cuer emble m'a? Li douz ris et li bel oeil qu'ele a.

The fourth refrain (Boogaard No. 1217).is found with music in the secular motet Trois serors. sor rive 20 mer :

Ref. IV L'en doit bien bele dame amer Et s 'amor garder qui l'a.

$

' Et * W 0UT_. Aev. .G.L nu.» \W ____

The fifth refrain (Boogaard No. 1692) appears also in a pastourelle and in a roman.

Réf. V Se la bele n'a de moi merci Je ne vivrai gaires longuement ensi.

In the pastourelle R 575 there is a slight variation in the text:

R 575 Se la bele n'a de moi merci. Je ne vivrai gaires longuement ensi.

20 Rokseth, Polyphonies. II, 60. 95

In the Prison d'Amours the refrain appears in 21 verses 1228-1229.

The sixth refrain (Boogaard No. 530) is found only

in Thibaut's chanson.

Ref. VI Deus! Je ne pens s 'a li non. A moi que ne pense ele donc?

Of the six refrains in Thibaut's Chanson XXIII,

three have been found in no other sources, but it is gener­

ally agreed that they must all be quotations that will have been easily recognized in his own time.

Vers Form or Through-Composed Melodies

The term vers was originally used by troubadours

as a general name for lyric poems. It came from the Latin versus. a word used at Saint-Martial to designate a type of

composition (poetic and musical) closely related to the hymn

and to the later conductus. As early as the ninth and tenth

centuries, versus was applied to troped phrases of the

liturgy. In later medieval Latin the term came to mean

rhythmic rather than metrical poetry and probably came to

vernacular languages through this musical ecclesiastic

vocabulary.

^^A. Scheler, Pits et contes de Baudoin de Condé (Bruxelles, s.d). Vol. 1, p. 267, cited in Boogaard, p. 330. 22 Walter von Wartburg, Franzôsisches Etymologisches Wdrterbuch. Vol. 14 (Basel, 1961), p. 316, col. b. 96

Chailley states "At the beginning, the vers was

the transfer of the musical and poetic forms of the versus 23 of Saint Martial to a lyrical non-religious poem."

Neither the versus nor the vers had a final poetic or musical form, but modern scholars have adopted the term vers to indicate a through-composed melody, in which each line of the poem has a different melodic phrase. This type of melody is similar to the through-composed cauda of the chanson form. Nevertheless, Thibaut uses Some of the same structural devices in both, namely, unchanged or modified repetition of melodic formulas and even complete phrases.

Although individual phrases are well organized and follow logically on each other, there is no division into sections as in chanson form, and the entire melody gives an impression of freedom and improvisation.

Thibaut's twelve melodies in vers form are listed in Table 8. Melodies with the normal ABCDE. . . struc­ ture are in Group A, those with repeated phrases, in

Group B. Of the twelve nine melodies are written on poems with reversed rhymes (abba) in the first four lines of the stanza, and three have irregular rhyme schemes in the opening four verses. (It is worth noting that only two poems with reversed rhymes are set in chanson form.)

23 Jacques Chailley, L ’école de Saint-Martial (Paris, 1967), p. 86. 97

TABLE 8

MUSICAL SCHEME OF MELODIES IN VERS FORM

Musical. Scheme . Chansons

Group A

A B C DE F G V

A B C DE F G H XXII

A B CDE F G HI XXX, XXXIV, LX

A B C DE F G H I J LVI

Group B

A B CoD E CCF VII

A B C D E F C D ' LV

A A B CD EL

A A 'A'"BCD E F VIII

A B A 'C D E F G XIX, XXVI

Of the the twelve melodies, six have a different phrase for each poetic line, six repeat phrases in various formal patterns. In Chanson VII phrase C returns later in the melody, as do phrases C and D in Chanson LV. All three phrases are modified when they are repeated. In Chanson L phrase A is immediately repeated unchanged, and in the chanson à refrain (VIIl), A is repeated twice, each time with slight modifications. In two songs (XIX, XXVI) the melody starts like the first section of the chanson form, but the material of the fourth line is new. Since in both 98 songs the melody does not show the usual contrast between the first and the second section of a chanson form, and since both poems begin with reversed rhymes (abba) in the frons. the two chansons are classified as vers form with repetitions.

Normal vers form

Even in melodies with no repetition of complete phrases, repeated motives, which may be unchanged, trans­ posed, or modified, often link the different phrases of a chanson. The melody of Chanson LVI (Group A), for example, must be classed as through-composed, but it uses two motives or formulas either separately or combined in seven of its ten phrases. The two motives are combined in phrase 2 so that the last three notes of the first motive (a) become the first notes of the second (b). Motive then appears in phrases 3 and 6 , motive b in phrases 5, 7, and 10

(Example 18).

Example 18

--Æ--#

-TB ■ *-.. * *■ • # ' 99

The first phrase of the same melody is an expanded and ornamented version of motive b (Example 19).

Example 19

^ . • ,

In some melodies in normal vers form a link is created by phrases that emphasize or move around a central note. Such phrases usually have a narrow ambitus. In •

Chanson XXXIV, for example, four of the nine phrases are built around the note 3^, and three are written within a fourth (Example 20). In the other phrases either 3 or id predominate, and the melody gives a strong impression of being in the Hypomixolydian mode.

Example 20

From the above examples it is evident that Thibaut organized

and unified his melodies in vers form in ways that prevented

them from becoming merely a series of unrelated phrases. 100

Vers form with repeated phrases

Five of Thibaut's chansons depart from strict vers form by repeating one or more phrases, either unchanged or modified. In Chanson LV phrase 3 and the beginning of phrase 4 are repeated unchanged in phrases 7 and 8 . The second time the melodic material leads to a lower tessitura, and all manuscripts agree as to the variant forms of phrases 4 and 8 (Example 21).

Example 21 8 tv * * 3.

I T.

In Chanson VII (Group B) phrase 3 (C)is repeated but modi­ fied as phrase 6 to give the following structure:

^7'^5^7^7' ^5^7 ^7' ABCDE C F

This diagram fails to indicate all the melodic organization, however, because material from phrase 3 also appears in the intervening phrases 4 and 5. Phrase 3 consists of three elements: ascending and descending fifths plus an ascend­ ing third. In phrase 4 the first element is dropped, and the last note is repeated twice, the second time to accommo­ date the feminine ending. Phrase 5 for afive syllable line also drops the ascending fifth, and the ascending 101 third is provided by the beginning of phrase 6 which gives the impression of being a return of phrase 3 with a clos ending.

Example 22

liL JC*-

I3

T7T

J ( .

Two chansons, VIII and L, have abnormal rhyme schemes as well as musical structures. In each chanson the same rhyme is used for the first three or four lines of poetry, and Thibaut reflects this in his musical struc­ ture by repetition of the opening phrase. The poetic and musical forms of these two chansons are as follows:

Ch. VIII a^a^a^a^b^a^b^ Ref. A A A B C D E

Ch. L A A ’B C D E

In Chansons XIX and XXVI phrase 3 is an exact repetition of phrase 1 which leads one to expect chanson form. In both cases, however, phrase 4 is a new melody and the pieces continue with motivic repetition and development as in normal vers form. 102

In Chanson XIX the motive consists of the descend­ ing third with either repeated notes or ornamentation.

It appears at the end of phrases 1, 2, 3, 5 and in the middle of 4. In the last phrase (8) the third, ornamented, is heard twice before its final appearance in the caidential pattern (Example 23).

Example 23

f '

The melody of Chanson XXVI emphasizes descending fourths either in simple stepwise motion or ornamented.

The fourth f '-c' is heard at the end of five phrases and in the middle of phrase 6. The last phrase of the melody (8)

is based upon the same fourth (Example 24).

Example 24

uttsü . , , ; ■-.n*-.------I ■ ' a « - > 1 é * ** ------* é

Ic. . t. f

In Thibaut's worl<, pieces in chanson and vers forms

show quite different organizational procedures. The two

sections of chanson form are clearly differentiated.

Phrases 3 and 4 are almost always an exact repetition of 1 103 and 2, and the second section or cauda always begins with contrasting material. In the vers form, on the contrary, the entire melody is linked by the repetition of short or longer motives, either modified or unchanged.

The two forms, chanson and vers. are used for poèms with different arrangement of rhymes. Except for two songs chanson form is used with crossed rhymes (a b a b). The repeated phrases of the melody thus reflect the repeated rhymes and clearly define the first musical section. Vers form is used for stanzas with reversed rhymes ; the melody flows without repetition and does not reflect the rhyme scheme of the poetry. CHAPTER V

MELODIC STYLE

Although the monophonic songs of the trouvères were not deliberately written in the style of Gregorian chant, their composers were influenced— consciously or unconsciously— by the music heard in Church. This influence is most noticeable in the recitation-like phrases and in the cadential and melodic formulas which the trouvères used. In spite of the strong influence of liturgical music, however, the melodies of the trouvères have a style different from that of the chants. Because chansons— like the Latin hymns and versus— are usually written in lines of equal length; their melodies have regular phrases that correspond to the poetic lines. When stanzas of a poem have lines of only three or four sylla­ bles, the melodies for these lines are often linked to those of the preceding or following lines. Unlike the choral chants of the Church, trouvère chansons were

interpreted by soloists and were, therefore, sung with more freedom than the chants. Individual singers could

and did introduce many variants of their own. Thus, the versions of trouvère melodies preserved in different

104 105 manuscripts often differ considerably from one another, whereas the chants vary little from one manuscript to another.

This discussion of the melodic style of Thibaut's works is divided into three parts. The first begins with a definition and description of neumatic and syllabic styles. (Melismatic style is not used in trouvère melo­ dies.) This is followed by a discussion of intervallic progressions and the ranges of both individual phrases and complete melodies. The second part of the chapter is concerned with the different shapes or forms of individual phrases. These shapes include the arch with its many variants, phrases that circle around a central note, and recitative-like phrases that resemble the formulas of the

Psalm Tones of the Church. The third and last part of

the chapter is devoted to a discussion of melodic and

cadential formulas in Thibaut's works. Also considered

are melodic formulas that are found in all forms of

medieval music, both secular and sacred, with emphasis on

the appearance of such formulas in Thibaut's melodies.

Neumatic and Syllabic Styles

In discussing the melodic style of trouvère

chansons. it is convenient to adopt the terms neumatic

and syllabic that are commonly used to describe plainchant

melodies. In syllabic style, of course, each syllable is 106 sung to a single note. Groups of notes, usually from two to four on each syllable, characterize neumatic style.

As in Gregorian chant, however, strict adherence to one of

the two styles is rarely found throughout a trouvère melody or even in a single phrase. Syllabic phrases often have

one or more groups of notes or ligatures, generally on the

last word or syllable of the phrase. Similarly, neumatic phrases may have some syllables set to single notes. In

trouvère melodies, indeed, there is a strong predominance

of phrases in which single notes and ligatures appear in

almost equal number. In this dissertation such phrases

will be referred to as neumatic. Phrases containing a

higher percentage of ligatures will be called highly neu­

matic. Those with a lower percentage will be either

moderately neumatic or nearly syllabic. The three kinds

of phrases are illustrated in Example 1.

Example 1

, „ rtaü'i

p-', Qu«. VîtnVci. V* Aau.%, ft XXi/.

Ov*<. 1* c&A* sevi ~Vr«- vo» t, I— ______

i'l- Of Jon j*** «.V». 4av\Vs

In Thibaut's melodies the number of notes to a

syllable varies from one to six. Two ligatures are 107 sometimes found on the last syllable of the phrase, and sometimes a ligature appears on the penultimate syllable with a single note for the rhyming syllable (Example 2).

Example 2

% .1 ^ »— 1*, W --- "------— — #—*— * J U,- OM.ceV ( —-1—

.<<» • 0«- cVft.vN. H*; ^cA.ot.vtV'CJO.ev’ ^ > \o r

In a large number of melodies, especially in love songs, the words and, more important, their meaning deter­ mine the length and place of the ligatures in the phrase.

However, ligatures that emphasize important words in the first stanza do not necessarily fit the text of the other stanzas. Some of Thibaut's melodies were obviously written for the text of the first stanza only, but in some songs the important words of each stanza correspond with the placement of ligatures in the melody.

In Chanson XVI, for example, the four ligatures of the first melodic phrase do not seem appropriate for

the first lines of the other stanzas. The phrase, identi­

cal in seven manuscripts and transposed in one, is shown

in Example 3. 108

Example 3 I En chan- tant vueil ma do lor des- cou vrir Quant m'en sou- vient grief en sont li sous- pir Mi chant sont tui plain dire et de do- lor Sou- vien- gne vos da- me de fine a- mor Da- me bien vueil que vou sa- chiez de- voir

In the first stanza, the ligatures appear on the expressive words do-lor and des-cou-vrir, and the last syllable has a

single note. In the other stanza the expressive words

souspir (sigh), dolor (grief), and amor (love) appear at

the end of the line; on the first syllable of each there is

a two-note ligature, and on the second syllable a single note. Within these lines, however, the longer ligatures

appear on short and unimportant words, conjunctions and

articles, such as, et, and li^. Moreover, there is a

ligature on the second syllable of da-me, while the more

important first syllable has a single note. From the

nature of the words, their importance in the phrases, and

their meaning, one can assume that the melody was written

to fit the text of the first stanza without consideration

for the succeeding stanzas.

In some poems, however, expressive words recur on

the same syllables of the lines in each stanza. In Chanson

XXXI, for example, the first line of the first stanza ends

with a two-syllable word, do-lors; each syllable has a 109 two-note ligature. Examination of the first lines of the succeeding stanzas shows that the last two syllables of each stanza are as expressive as those of the word do-lors. Thus, expressive rhyming words account for the ligatures at the end of the musical phrase as illustrated in Example 4.^

Example 4

a.

les dou- ces do- lors Bien est grand fo- lors Lone res- pit m'en mort Je chant et de- port Da- me j'ai tout mis

In the fourth line of. the same chanson. ligatures appear on syllables 2, 4, and 5, single notes on syllables l.and

3. The melody and texts of the fourth line of each stanza 2 are given in Example 5.

1 The underlined words mean: grief, foolishness, death, depart, and placed everything (in you. Lady). 2 1 . are pleasant and painful; 2. to change his desire; 3. wants to aggravate me: 4. boredom and disgust; 5. without ever changing. 110

Example 5

------»--a— P------^ ■ —

Sont doux et cui- sants Chan- qier son ta- lents Me veut cor- ro- cier En- nui et - dan- gier Sanz ja re- mu- er

In the above example one can easily see that the words or syllables that fall on the ligatures are expressive or stressed and that words such as sanz and son have single notes. In this chanson (XXXI) the poem has obviously been constructed so that the emphasized words and syllables fall in the same place and, therefore, the ligatures fit them.

Number of ligatures in the phrase

In Thibaut's melodic phrases the number of ligatures varies from one to seven, but phrases with one to three ligatures predominate. To illustrate his use of ligatures and single notes, twenty-seven decasyllabic songs of differ­ ent poetic types have been listed in Table 7. They are arranged according to the number of ligatures in the differ­ ent phrases of each chanson. Songs containing the larger number of syllabic phrases are listed first, beginning with melodies of which the phrases either have no ligature or only one. Chanson LVI, for example, contains six phrases without ligatures and four with one. Ill

Following in the list are songs with a mixture of completely syllabic phrases and phrases with from one to three ligatures. Chanson XXIX, for example, contains six phrases without ligatures, one with one, and three with three. Neumatic melodies including a majority of phrases with one to five ligatures and only a few with no liga­ tures at all are listed next in Table 7; they are the most common in Thibaut's repertory. Chanson LIV is a good example of such melodies: of eight phrases, three contain only single notes, three have one, two, and five ligatures, respectively, and two phrases have three. Melodies contain­ ing few, if any, phrases with no ligatures end the list.

Chanson XIV, for example, (the last listed) contains three phrases with three ligatures, three with six, and two with seven.

Of the 214 phrases in the twenty-seven decasyllabic melodies listed in Table 7, thirty-four have no ligatures at all and 150 have from one to three ligatures. Phrases with four, five, six, and seven ligatures are far less common. The number and percentage of the 214 phrases that contain one or several ligatures or no ligatures at all are given in Table 8 . 112 TABLE 9 NUMBER OF PHRASES CONTAINING LIGATURES

Chansons Number of Ligatures in Phrase 0 1 2 3 4 5 6 7 LVI 6 4 LVII 3 5 XLIX 3 6 XX 1 2 5 LX 2 5 2 XXXVI 5 1 XXIX 6 1 3 XLIV 3 1 4 1 IV 2 3 1 1 XXVIII 1 2 2 2 XXI 1 2 4 2 X 6 3 XI 2 5 IX 2 1 5 XL VII 1 4 2 XXVII 5 2 II 1 1 2 2 1 XXII 2 5 1 XXV 4 1 2 XVI 2 2 3 XIII 1 3 3 2 XIX 1 3 2 2 LIV 3 1 1 2 1 LII 4 2 2 LIII 2 1 2 1 XXVI 5 2 1 XIV 3 3 2

Total 34 52 44 54 16 7 5 2 113

TABLE 10 NUMBER AND PERCENTAGE OF PHRASES WITH LIGATURES

Number of Ligatures Number of Phrases Percentage 3 54 25.50 1 52 24.30 2 44 20.00 0 34 16.00 4 16 7.50 5 7 3.25 6 5 2.50 7 2 0.95

Neumatic melodies

The great majority of Thibaut's chansons may be classed as moderately neumatic in style. In these melodies phrases with two and three ligatures predominate; a few have four ligatures. In Chanson XXXII, for example, the decasyl­ labic eight-line stanza contains twenty-three ligatures of two or three notes. Table 11 shows the number of ligatures in each phrase and the number of notes in each ligature.

TABLE 11 LIGATURES IN A NEUhATIC MELODY (CH. XXII)

Number of Ligatures Number of Notes Lines in Phrase in Ligature 2 3 1 3 2 1 2 2 1 1 3 3 3 4 3 3 5 4 3 1 6 3 1 2 7 3 2 1 8 2 2 114

Highly neumatic melodies

In highly neumatic melodies at least half of the phrases have ligatures on more than 50 per cent of the syllables. In Chanson XIV, for example the melody of the eight-line decasyllabic stanza contains forty-one liga­ tures of two to four notes. Table 12 shows the number of ligatures in each phrase and the number of notes in each ligature.

TABLE 12 LIGATURES IN A "HIGHLY NEUMATIC" MELODY (CH. XIV)

Number of Ligatures Number of Notes Lines in Phrase in Ligature 2 3 4 1,3 6 4 2 2,4 7 4 2 1 5 3 3 6 3 2 1 7 3 2 1 8 6 3 3

Syllabic melodies

A very small number of Thibaut's melodies could be called syllabic. In these melodies phrases with one or two

ligatures predominate, and some may have no ligatures at

all. In Chanson LVII. for example, the decasyllabic eight-

line stanza contains five ligatures of two or three notes and

one plica. The number of ligatures in each phrase and the

number of notes in each ligature are shown in Table 13. 115

TABLE 13 LIGATURES IN A SYLLABIC MELODY (CH. LVII)

Number of Ligatures Number of Notes Lines in Phrase in Ligature 2 3 Plica 2,4 0 5 0 1 1 ,3,6,8 1 4 7 1 1

Of the twenty-seven decasyllabic songs listed in

Table 7, the first five could be considered syllabic. Of the forty-four phrases in the five songs, fifteen have no ligatures, twenty-two have one, and seven have two.

Intervals

In the monophonic melodies of the trouvères, as well as in the chants of the Church, the predominant interval by far is the second. Unisons and thirds are the next most common intervals. The percentage of fourths and fifths is far lower and larger intervals are extremely rare. To illus­ trate Thibaut's use of intervals, twenty-seven songs of all types of poetry have been listed in Table 14. The number of intervals in these songs depends upon the number and length of the lines and the degree of neumatic writing.

The songs are arranged according to the kinds of intervals they contain. Melodies with only small intervals (unisons, seconds, and thirds) are listed first. Chanson III, for example, contains twenty unisons, eighty-five seconds. 116

TABLE 1 4 NUMBER OF INTERVALS IN TWENTY-SEVEN SONGS

Number of Intervals Chansons Unisons 2nds 3rds 4ths 5ths 6ths 7ths

III 20 85 10 LIX 15 66 3 XVIII 15 53 14 XII 9 76 6 XX 9 82. 6 XLI 6 79 11 LV 5 66 5 XV 4 60 26 XXXIII 16 56 7 2 XXIX 12 67 5 2 VII 7 45 4 1 IV 14 63 9 1 XI 13 54 6 1 LIV 10 67 12 3 1 LII 10 66 3 1 LXXIX 12 68 5 2 XXIV 5 56 10 2 XIV 15 115 15 1 3 VI 14 69 10 1 3 LIII 11 54 13 2 4 LVII 14 68 9 1 II 5 50 9 1 XXII 11 77 18 3 1 XXVIII 11 56 17 4 1 1 I 1 76 14 1 XVI 13 83 7 3 1 XL 12 120 21 2 5 1

Total 289 1877 275 24 24 4 3 117 and ten thirds. Next on the list are melodies including fourths in addition to small intervals, melodies with fifths follow. .Chansons with intervals ranging from unisons to sixths and sevenths end the list.

In the 2496 intervals of the twenty-seven melo­ dies, 97.8 per cent are seconds, unisons, or thirds; only

1.92 per cent are either fourths or fifths; and 0.28 per cent sixths or sevenths. The total number of individual intervals and the percentage of each interval are summar­ ized in Table 15.

TABLE 15 NUMBER AND PERCENTAGE INTERVALS IN TABLE 12

Intervals______Number______Percentage Unisons 289 11.80 Seconds 1877 75.00 Thirds 275 11.00 Fourths 24 0.96 Fifths 24 0.96 Sixths 4 0.16 Sevenths 3 0.12 Total 2496 100.00

The predominance of the second in all of the chansons is truly astonishing; 75 per cent of the total number of intervals in the twenty-seven songs are seconds; in a few songs, the percentage is even higher.

In Chanson XIV, for example, 115 of the 149 intervals

(77 per cent) are seconds. In the six songs listed in

Table 16 the percentage of seconds varies from 66 to 79. 118

TABLE 16 NUMBER AND PERCENTAGE OF SECONDS IN SIX SONGS

Chansons Total Number Seconds Percentage of Intervals of Seconds XV 90 60 66 . 66 XXIV 73 56 77.00 XL 161 120 74.5 XVI 107 83 77.5

II 65 50 77.00 VII 57 45 79.00

Total 5513 414 74.9

The percentage of thirds is far lower than that

of seconds, but, like the second, the third is found in

every song; in a few, the number of thirds is high. Of

ninety intervals in Chanson XV, for example, twenty^six

are thirds, and fourteen of the twenty-six are written in

successions of two (Example 6).

Example 6

A « ■

Although thirds constitute only 11 per cent of

the intervals in the twenty-seven, five chansons listed

in Table 17 show that the percentage of thirds varies

from 3.75 to 27.5. 119

TABLE 17 NUMBER AND PERCENTAGE OF THIRDS IN FIVE SONGS

Chansons Total Number Thirds Percentage of Intervals of Thirds XII 91 6 6.60 LII 80 3 3.75 XXII 110 18 16.00 I 92 14 15.00 XV 90 26 27.50

Like seconds and thirds, unisons are found in each melody; although they are most common in recitative-like formulas and in syllabic phrases (Example 7), they appear in neumatic phrases as well. In Chanson XXIX.for example, at least one unison is found in seven of the eight phrases; of the seven phrases, three are syllabic, three are neu­ matic, and one is highly neumatic with five ligatures.

Example 7

_KY\X______4 *' l»3 Caui.Wr»»'*- esV on vjivi - jow

The percentage of unisons in the twenty-seven songs is slightly higher than that of thirds, but it varies from ten to eighteen in the five songs listed in Table 18. 120

TABLE 18 NUMBER AND PERCENTAGE OF UNISONS IN FIVE SONGS

Chansons Total Number Unisons Percentage of Intervals of Unisons XII 91 9 10 LII 80 10 12 XXII 110 11 10 LIX 84 15 18 XXIX 86 12 14

Although fourths and fifths are much less common than smaller intervals, both intervals are found in 40 per cent of the twenty-seven melodies listed in Table 14.

Eleven songs of the twenty-seven contain from one to five fifths. There are twenty-four fifths in the twenty-seven melodies: fourteen are found between and ten within phrases. In one song only (LIII) skips of a fifth— d'gd'— appear at the beginning of the melody which is the

Mixolydian mode on G.

The number of fourths in the melodies listed in

Table 13 is also twenty-four. Thirteen are found within phrases, and eleven appear as dead intervals between phrases.

Sometimes, the melodic fourth could be regarded as simply an ornamentation of the third, as in Chanson IV, phrase 8

(Example 8 ).

Example 8 121

Larger intervals, such as, sixths and sevenths are seldom found in trouvère melodies. In the twenty-seven songs listed, there are only four sixths and three sevenths; all are dead intervals.

The percentages of intervals in Thibaut's twenty- seven songs and the percentages of melodies in which they are found are shown in Table 19. These percentages fall into three distinct groups. The first is clearly marked by the predominance of small intervals in all of the twenty-seven songs. The second group includes fourths and fifths in equal number in 40 per cent of the songs.

The third group is set apart by the small number of large intervals and the low percentage of songs in which they are found.

TABLE 19 NUMBER AND PERCENTAGE OF INTERVALS IN TWENTY-SEVEN SONGS

Intervals No. of Percentage No. of Percentage Intervals of Intervals Songs of Songs Seconds 1877 75.00 27 100 Unisons 289 11.80 27 100 Thirds 275 11.00 27 100

Fourths 24 0.96 11 40 Fifths 24 0.96 11 40

Sixths 4 0.16 4 15 Sevenths ■ 3 0.12 3 11 122

Ambitus

The range of Thibaut's melodies varies from a sixth to an eleventh, with a predominance of melodies covering an octave or a ninth. Of Thibaut's fifty-eight melodies, twenty-five are written within an octave, four­ teen within a ninth, six within a tenth, seven within an eleventh, four within a seventh, and two within a sixth.

From the large number of melodies (twenty-four) that do not go below c^ or above regardless of their total range, one can assume that the chansons were written for a baritone.

The range of individual phrases varies from a ; second to a ninth with a predominance of phrases written within a fifth; ranges of a sixth and a fourth are also common. Wider ranges become less common, and phrases within seconds and thirds are very rare. The latter are either recitative-like phrases or settings of short lines or refrains that complete the melodic phrase of the preced­ ing line.

In order to illustrate the ambitus of individual phrases in Thibaut's melodies, twenty-seven songs of different types of poetry have been listed in Table 20,

Melodies containing phrases with narrow ranges from a

second to a fifth are listed first. Chanson VIII, with

two phrases within a second, three within a fourth, and 123

TABLE 20 I^GE OF PHRASES IN TWENTY- SEVEN CHANSONS

Chansons Number of Phrases in the Ranges of 2nd 3rd 4 th 5 th 6th 7th 8ve 9 th

VIII 2 3 3 I 2 1 4 LI 2 5 1 4 VI 3 4 VII 3 4 LIX 2 6 XXI 2 8 XV 2 5 4 X 2 4 3 V 1 2 4 LU 6 3 1 LV 1 2 2 3 1 XIII 1 5 1 2 XLIV 3 2 3 1 LVI 3 3 3 1 II 2 3 1 1 XII 1 1 3 3 LVIII 6 4 1 LIV 2 4 2 XVI 3 2 2 XIV 1 4 4 IV 3 1 1 1 2 IX 4 2 2 XLIII 6 2 1 2 XLVII 3 1 1 2 XXV 2 2 1 2 LUI 1 1 2 2 1

Total 2 6 44 89 53 24 10 3 124

three within a fifth, starts the list. Next come melo­ dies with phrase-ranges from a fourth to a sixth and a

seventh. Melodies including octave and ninth phrase-

ranges complete the list.

Th.e ambitus of a great majority of the 231 phrases

in the twenty-seven songs varies from a fourth to a

seventh; however, phrases within a fifth are by far the

most frequent. At least one phrase in each melody has the

range of a fifth, and one melody (Chanson XXI) has as many

as eight with that range. Phrases within a fourth and a

sixth appear in more than half of the chansons. Although

phrases within a seventh are much fewer in number, they

still appear in fifteen songs. Phrases within an octave,

third, and ninth are much less frequent than those within

a seventh. As pointed out above, phrases within a second

are very rare. The number and percentage of phrases within

each interval from a second to a ninth and the number and

percentage of songs in which they appear are shown in Table

21. 125

TABLE 21 NUMBER AND PERCENTAGE OF PHRASES WITHIN THE DIFFERENT RANGES

Range of Number of Percentage Number Percentage Phrases Phrases of Prases of Songs of Songs 5 th 89 38.50 27 100.00 6 th 53 23.00 21 77.00 4th 44 19.50 17 63.00 7th 24 10.50 15 55.00 8ve 10 4.50 5 18.50 3rd 6 2.50 4 15.00 9 th 3 1.50 2 7.50 2nd 2 0.90 1 3.75

Intervals and Ranges as Elements of Contrast

In the organization of melodic phrases Thibaut treats both intervahc progressions and ranges in.various ways to create contrast within a phrase, between phrases, or between the two sections of chanson form. He may change the pitch level, shift from a wide to a narrow range, reverse the melodic direction, or interrupt stepwise motion with a large interval. One of the most important functions of such contrasts is to distinguish the first and second sec­ tions of chanson form. In Chanson XII, for example, the first two phrases are built within the ninth c-d'. The first phrase consists of a descending scale within the octave d-d'; the second, written within the sixth starts like the first but a fourth below. In contrast to the wide range and descending scales of the two phrases, which are repeated without change, phrase 5 is written within the narrow range of the fourth c - ^ and is basi­ cally an ascending movement from (Example 9). 126

Example 9

p t ... . ■

JT 3 — * * " » ^ , i T ^ ~ • '— ------

In some melodies contrast results from the differ­ ent pitch levels at which a motive is written. In Chanson

XXIX a motive of an ascending plus descending fourth appears in five phrases. In phrases 2, 4, and 7 the fourth begins on JE and in phrases 6 and 8 on cj_. T h e f - b - ^ motive is followed by an ascending third and a descending second, the c'-f'-c' motive by a descending third (Example 10).

Example 10

______

ITa.v

Contrast may also be created by inversion of motives

or melodic direction. In Chanson VII, phrase 1 is written

within the fourth g-c'. With thé motion reversed, phrase 2

is written within the fourth the two phrases have a

common note In the same melody the end of phrase 5 and

phrase 6 are written within ^ - b , and phrase 7 between g^-c^. 127

The inversion is the same as that in phrases 1 and 2, but the common note here is In K, X, and V the melody ends with e^-^, but the last two notes are in Mt

(Example 11). In R the melody also ends on ^ (as in 0

Mt). It is particularly these contrasts between phrases and sections of a chanson that reveal the ingenuity and skill with which Thibaut constructed his melodies.

Example 11

o f

A large interval interrupting a stepwise melodic progression creates a different and much rarer kind of contrast. One example of this device as used by Thibaut stresses the word da-me in Chanson XXII. The stepwise ascending line is interrupted by a skip of a sixth in the opposite direction (Example 12). The melody is the same in all sources except V, where the note on the second syllable of dame is ^ instead of c^.

Example 12

x

Type of Phrase Structure

Although the melodies of the trouvères seem to unfold freely as if they were improvised, they are care­ fully organized. In Thibaut's melodies three types of phrase structure can be distinguished: an arch shape, a narrow-range line built around a central note and a recitative-like structure.

The arch-shape structure is the most common; it consists of ascending plus descending lines. The span of either line may vary from a third to an octave with a predominance of lines moving within fifths and sixths

(Example 13).

Example 13

In a large number of phrases one or two notes of either line are repeated (Example 14).

Example 14 _p_xx#jcux______

In a very few chansons the ascending line of the arch is somewhat longer than the descent. In Chanson LVIII, 129 for example, the ascending line is within a sixth, the descending line within a fourth (Example 15).

Example 15

. LVII*_____ !------=»------

Sometimes the arch pattern is followed by a smaller arch

(Example 16).

Example 16

UÜ______■

-9-- *— #— r

In a large number of phrases the ascent is much

shorter than the descent. It may be only a second or a

third, and in some phrases the long descending line is

followed by an ascending interval, either a third or a

second (Example 17).

Example 17

r XU______

In others the descent is followed by a small arch

line as in Example 16 above. 130

Phrase organization starting with a descending line is not very common in Thibaut's chansons. This struc­ ture usually contains three elements; descending plus ascending and descending lines. The range of each line varies from a fourth to a sixth (Example 18).

Example 18

^r— t —«— j’ A ■■•-rri • * s

Sometimes a fourth element is added at the close of the phrase, either an ascending second or a skip of a third (Example 19).

Example 19

i t

In a very few phrases a skip of a third appears in either line, ascending or descending, as in Example 18 and

19.

Phrases built around a central note are not as frequent as those built with ascending and descending lines; 131 however, they do appear in Thibaut's melodies. Phrases of

this kind usually have a narrow range. In Example 20 the melodic phrase is built around a and the ambitus is a

fourth.

Example 20 IJUill______

Phrases moving around a central note are mostly

found in recitative-like phrases. In Chanson LIX, for

example, the melodic line moves up from e and then circles

£ (Example 21).

Example 21 -*-kUL

S. I Phrases built around a central note are also used

to create contrast with preceding or following phrases

covering a wider range (Example 22).

Example 22

JLL5Ü1)______132

Recitative-like structure

A large number of phrases are constructed with recitative elements. They resemble the melodic phrases of the psalmodie chants of the Church and probably reflect the influence of the Gregorian psalm tones. As in the psalm tones, the introductory formula (Initium) is always ascending, the closing formula (Terminatio) always descend­ ing; repetitions of the tenor or reciting tone depend upon the length of the verse, and the mediant cadence is some­ times used. Chanson XV, phrase 5, for example, uses the

Initium. the tenor, and the mediant cadence of psalm tone 2

(Example 23).

Example 23

AJô L______:______

Y-kt

Unlike the psalm tone, however, the recitative ele­

ments in trouvère melodies are often freely treated, trans­

posed, or varied. In some phrases the tenor is ornamented,

in others the Initium is omitted.

In the opening phrases of two songs (XLVI and

XXIX) the Initium is omitted, and the recitative starts

with the reciting tone. In XLVI the phrase ends with what

may be called a mediant cadence. In Chanson XXIX the 133 reciting tone is followed by a long descending line

(Example 24).

Example 24

-4-XUÜ------r-

1. I_XX1X_

Sometimes one version of a melody ornaments the reciting tone. The melody of XLVI, for example, begins with a reciting tone in Mt, K, and X. In 0, however, the reciting tone is transposed to the lower fourth and orna­ mented to such an extent that the recitative feeling almost disappears (Exanple 25).

Example 25

D xLV\, If; M t y ------rrf---- *---* 0 --- *— ---g--- 0---

° ■ " , .. -- * ^ 0 #-- <7 i. ' ' •

Sometimes several versions of the melody replace

the reciting tone with a normal ascending-descending line.

In Chanson IV the readings in Mt, O, and R give a recita­

tive-like phrase starting with the reciting tone, which the readings of K, N, and X convert to an ascending line

(Example 26). 134

Example 26

•The melody of Thibaut's lai (discussed in

Chapter IX) contains a number of recitative elements influenced by the first psalm tone.

Recitative-like phrases are not as frequent as those with an arch-shape structure; however, Thibaut did use them in his melodies. In some phrases the formula or a section of the formula is clearly present, whereas,in others short fragments, usually the Initium and tenor, dissolve into a free melodic line. These short recitative- like phrases are found in at least twenty chansons of

Thibaut.

Formulas

The various types of phrase structure just discussed are, in fact, melodic formulas that appear over and over with variants in Thibaut's chansons. Another use of formu­ las involves typical cadential progressions. For our present purpose, we may define a formula as the musical setting of the last three or four syllables of a verse. It may consist of one note per syllable or more if the melody is ornamented. In Thibaut's melodies two types of 135 cadential formulas seem to have been favored: the first consists of a stepwise descending line; the second, of a stepwise descending line followed by an ascending second.

The first type of cadence is found in almost all of

Thibaut's songs, both at the ends of internal phrases and at the end of a melody (Example 27).

Example 27

■ n X X I X ------,

i ■ 5-

In many cases ornamentation expands the range of

the formula but maintains the stepwise descent to the final

note (Example 28).

Example 28

&

The second type of cadential pattern consists of a

stepwise descending line, usually to the subfinal of the

mode and an ascending second to the final (Example 29).

Example 29

m 136

Although the above formula is not as common as the line descending to the final, it is found in almost half of

Thibaut's chansons. As in the first formula, ornaments are often introduced in the melodic line (Example 30).

Example 30

_ o ____

A related but less frequent cadential formula in

Thibaut's repertory consists of a descending skip of a third followed by an ascending second to the last note.

It is mostly found as the final cadence of chansons in which the mode is clearly defined either in Mixolydian, in

Lydian, or in Dorian (Example 31).

Example 31

4-&i;£------^ ------A ^ ______¥

-sm ---»— «— #-

In a very few chansons the last interval of the

cadential pattern is either a descending or an ascending

skip of third (Example 32). These two cadential patterns 137 are so rare in Thibaut's repertory that they cannot be considered standard formulas.

Example 32

. _p_ f)_T______u

As commonly occurs in trouvère songs, different manuscripts give variant versions of the melodies, and cadential patterns may also be varied. Chanson VI, for example, is preserved in twelve manuscripts with ten differ­ ent versions of the final cadence (Example 33).

Example 33 ______V ——^ ----- — =»——t-L -a----^——*—0----0— 9----- —— ■ n.. ■ n ----- #--- m.--- £— * * • 0 * — * * — * # « ^ ' ■ ■ • , é * 0 - .. _ _ o i u - M r ---

— 0 — — *— •— 0-— 0 S ---- - » » ' K - j 4 — — ^ — — *— 0--- - * - f ------5 — < —

Some variants introduced in the cadential pattern

of Chanson VI are very small, as for example, the plica in

V instead of the ligature in Mt. In T the entire chanson.

transposed up a fifth, is related to its counterparts in 138

Mt and V. In R and Z the phrases are identical except for

the last two notes, which are different and unexpected in

R; in B the first note is repeated and in K and 0 the

cadence includes the note In spite of all the variants, however, the melody ends on d in ten of twelve manuscripts.

In addition to phrase and cadential patterns which

appear constantly in the melodies of a single composer, a

number of formulas belong to the general vocabulary of the

age and appear in melodies by different trouvères and trouba­ dours, as well as in the chants of the Church. These formu­

las, indeed, were common to all medieval music, sacred and

secular. Discussing the use of formulas, Karp states: "The

fact that medieval writers, and particularly the lyric poets,

made constant use of stereotyped motifs has been firmly

established. It is scarcely surprising, therefore, to find

that trouvère composers drew heavily on a series of melodic 3 formulas." As illustrations of this statement, Karp gives

six formulas that appear, sometimes considerably varied, in

the works of different composers. Four of these formulas

can be found in Thibaut's songs.

The first formula Karp gives consists of five ele­

ments as illustrated in Example 34 by a chanson of the

Chatelain de Coucy. The formula is also found in a few of

^Theodore Karp, "Borrowed Material in Trouvère Music," Acta Musicologica, XXXIV (1962), 94. 139

Thibaut's songs. In two phrases, however, the fifth ele­ ment is missing, and in Chanson XXIX the first note is repeated three times (Example 34). This kind of formula is clearly related to the various arch structures discussed earlier.

Example 34

^ CV>q.V*-\Q\Y-> cit, Coucy

-1^

# * * »,

& -#—*- U-H xxty

J 1.3

Karp’s illustrations of his third formula include one of Thibaut's songs (XXVIII). The formula is also the first phrase of the antiphon Alma Redemptoris Mater

(Example 35). In addition, Karp gives examples of the formula in chansons by Folquet de Marseille, Bernart de

Ventador, Blondel de Nesle, and the Chatelain de Coucy.

Example 35

» #- 140

Karp's fourth formula consists of four elements

(Example 36). His first example of the formula is from

Merci clamant, the melodic source of the jeu-parti Rois

Thibaut. Sire (XLII). Both phrases are shown in Example 36.

In a somewhat doubtful citation, a canso from Bernart de

Ventadorn, the formula appears very much simplified, and in a cantiqa an ascending second is added at the end (Example

36).

Example 36

fngyrcî c \oi-VvtAinl: ■. CAm « At

. Con yay\a.-ÇVoTS cia. O«.v\-Vo.c)oyn # * * ■ • ^ ^ . . ft C a Yih'd^o-S. If - m?------^

The fifth formula pointed out by Karp is written within a sixth; five elements are involved as illustrated

in Example 37. In Thibaut's Chanson XXXIII, as well as in

songs by Gace Brule a^d Blondel de Nesle, an upward skip of

third is added at the beginning of the phrase.

Example 37

! CV>c«Are,\Q>’y> A*. Co t l V bg f«

f — " » # - — i— "--- •----- ;------« k— — I . ^ ------—* - ^ & I . 1 * I —I . I I . — — — - —J 1:______3:------S------i!------h______141

r x.x

Blondel de Nesle Bien doit chanter Gace Brûlé Biaus hi'est estes

Karp's formulas B and F are not found in Thibaut's melodies. What all of these examples demonstrate is that

certain common procedures of phrase structure can be found

in all music of this period. In most cases they do not

represent conscious borrowing from a particular melodic

source. This situation is quite different from the writ­

ing of contrafacta. Many more examples of similar phrases

could probably be found in the works of different composers.

Summary

In courtly tradition a trouvère chanson was above

all a poem meant to be sung; the envois of several songs

confirm this statement. Therefore, one can assume that the

music of the song was written for the text and that the

style of the melody was, to some extent, determined by the

subject matter of the poem. However, if the syllabic style

is most common in didactic and narrative poetry with direct

speech and the highly neumatic style is reserved for love

songs in both types of poetry a third kind of phrase 142 predominates. This neumatic phrase contains single notes

and ligatures in approximately equal number.

Melodic phrases, neumatic and syllabic, are

generally built within fifths, sixths, and fourths. Con­

trast is introduced by opposition of ranges, repetition of

motives at different pitch levels, inversion of motives,

and changes of melodic direction. In his melodies in

chanson form, Thibaut usually creates a contrast between

the first and second sections; this contrast is all the

more striking because the first section usually consists of

two phrases repeated without modifications.

Like all trouvères, Thibaut was influenced by the

chants of the Church. This influence is shown in recita­

tive phrases as well as in free melodies. The influence of

Gregorian melodies is most obvious in neumatic and highly

neumatic phrases. Thibaut's syllabic melodies, on the

contrary, are simpler and more folk-like in character. In

fact, the melody of the pastourelle L'autrier par la

matinée is cited by Davenson as the possible origin of the

folksong L'Amourouso dou Bouscatie.

Thus, the popular tune on which the peasant poet Charloun Rieu composed L'Amourouso dou Bouscatie. tune that belongs to our folklore (it appears in the chansons de guete for the New Year, in Brit­ tany and elsewhere),has for author or at least for first witness, the most aristocratic of the trouvères, Thibaut de Champagne, king of N a v a r r e . 5

^Henri Davenson, Les troubadours (Paris^ 1961), p. 84. '!ainsi I'air populaire sur lequel le poete paysan 143

Charloun Rieu a composé L'Amourouso dou Boscatié, air qui en effet appartient bien au répertoire de notre folklore (on le signale dans des chansons de quete pour le Nouvel An, en Bretagne et ailleurs), a pour auteur, ou du moins pour premier témoin, le plus aristocratique des trouvères, Thibaut de Champagne, roi de Navarre." CHAPTER VI

ORAL AND WRITTEN MELODIC TRADITION

Little is known about the dissemination and trans­ mission of trouvère and troubadour chansons. Some scholars assume that chansons were orally transmitted, while others believe in written transmission. Since most of the chansonniers were not compiled before the middle of the thirteenth century and trouvère songs were written as early as the twelfth century, both oral and written transmission must have been involved.

Trouvère songs were performed by soloists who would naturally have introduced variants by the time chansons were written down. Different versions of a melody or parts of a melody would thus have originated during oral transmission. In some cases melodies have as many versions as the number of manuscripts in which they are preserved.

On the other hand, some melodies appear with only minor variants in several different manuscripts. Scholars who believe in written transmission, therefore, suggest that one or more copies of the chanson were made by the author or under his supervision and were subsequently disseminated by other copies of these originals. In this way, variants

144 145 or errors are attributed to the scribes and not to the performers. Among the many variants found in trouvère songs, some are very minor, whereas others create major discrepancies among the different readings of a chanson.

In some cases, for example, the entire cauda consists of new material.

Composing a new melody for a chanson seems to have been an accepted medieval practice, for some poems have been preserved with two or three different melodies. This practice cannot have been widespread, however, because second and third settings of a text appear in only a few manuscripts and seldom in reliable sources. Such settings are sometimes called contraposita to distinguish them from the "central" melody found in a majority of the sources.

If creating a new melody for a poem was rare, borrow­ ing an old melody for a new poem— writing a contrafactum in other words— was a common medieval practice. Many serven- tois. jeux-partis. and songs to the Virgin were written to melodies of earlier chansons. In Thibaut's repertory

jeux-partis and débats begun by his partner in the debate sometimes have borrowed melodies.

The first part of this chapter deals with variants, errors, and new material in the central melodies of

Thibaut's chansons. (Variants that distinguish manuscript

families have been mentioned in Chapter II). Second and 146 third musical settings of the same poem are discussed in the second part of the chapter. The third part is con­ cerned with borrowed melodies in the jeux-partis and débats.

Variants

The variants in the monophonic chansons of the trouvères and the way they were introduced have given rise to some disagreement among modern scholars. In Vander-

Werf's view chansons were first transmitted orally, and

"jongleurs, professional singers as they were, very often were able to improve upon the original melody. Consequently, for each chanson there existed probably as many versions as there were jongleurs who performed that particular chanson. K a r p strongly believes in a written tradition; he asserts.

At first glance, the hypothesis of an oral tradi­ tion has a certain strength and simplicity. How­ ever, it does not accord with philological find­ ings concerning the origins of trouvère sources: namely, that surviving chansonniers were copies from still older anthologies, now lost.2

Karp, nevertheless, does not reject the possibility that

an oral tradition may have influenced the sources, and

talking about the common source of K, N, P, X, and L, he

^Henrik VanderWerf, "Recitative Melodies in Trouvère Chansons," in Festschrift für Walter Wiora (Kassel, 1967), p. 232. ^Karp, "MS Tradition," p. 32. 147

States: "Oral tradition may conceivably have influenced the archetype itself, but there can be no question of its direct effect on any of the five surviving chansonniers."^

The larger number and the diversity of the variants found in Thibaut's, as well as in all trouvère melodies, suggest that some were introduced by singers and some by scribes. Thus, both oral and written traditions must be invoked to explain the many differences in the melodic ver­ sions of the same chanson. In both oral and written traditions chansons went through different and sometimes numerous manipulations before being copied in the chanson­ niers that have been preserved. An oral tradition assumes that the melodies were memorized by jongleurs who, in turn, interpreted and disseminated them. In a written tradition the chansons were copied from the original. In either case, variants were initiated and many small errors were intro­ duced by scribes or jongleurs. As pointed out by Vander­

Werf, however, "there is a substantial difference between changes caused by scribal inaccuracy and those caused by 4 the freedom of interpretation taken by the performers."

Variants such as plicas in place of single notes, rearrange­ ment of notes in ligatures, and added ornaments of the

melodic line were probably introduced by jongleurs in their

^Ibid. . p. 36. 4 Hendrik VanderWerf, The Chansons of thé Troubadours and trouvères (Utrecht, 1972), p. 27. 148 own interpretation of the songs. Abnormal repetitions of

\ a short pattern or passage, transposition of several notes, omission of a note, extra notes, faulty clef reading, and omission of a clef are mechanical errors that could only have occurred while copying a melody from an already written source or notating it from memory.

Different kinds of variants

Perhaps the most common variants in the trouvère melodies result from the use of the plica, which developed from the liquescent neumes of Gregorian Chant. Unlike the neumes of the chants, which are introduced for textual reasons, the plica is a melodic ornament and may appear on any note or ligature of the phrase. In trouvère melodies it usually appear on single notes and indicates a second unwritten note. Dashes attached to a note indicate the plica, and the direction of the dashes indicate whether the ornamental note is higher or lower than the note to which it is attached p ^

Another frequent variant in trouvère melodies involves the rearrangement of notes and ligatures. In

Chanson XII phrase 3 has a two-note ligature on the first syllable of mer-ci in 0 , while the other manuscripts place the ligature on the second syllable (Example 1). 149

Example 1

V ^ ^ rvvtr. c C **

Sometimes a ligature is divided into single notes with the result that an extra note or notes appear in the phrase. The version of Chanson LVIII in R2 illustrates this variant by dividing a three-note ligature into three single notes. There is no syllable under the first note

(b), and the third note appears on the next syllable which causes further rearrangement of the phrase. In Example 2 the reading in R2 is compared with that in Mt. It is some­ times difficult to decide whether variants of this sort were introduced by jongleurs or scribes.

Example 2 ILVlU J 1‘ Cvi ce. Ç ru iV Ou VartV- oU. \Jx- lev

E n c e 4 ithjÛ.V' c l e)ke. o û _

Ornamentation of the melodic line by replacing single notes with ligatures is another common variant in trouvère chansons. In Chanson XLV|, for example, the recitative-like melody of phrase 1 is ornamented in O

(Example 3). The melody in 0 is written a fourth lower than that in Mt. 150

Example 3

JÜJJ______:______r vAi ^ * -J--- *. _ ^ C = Z MS Ji-3

Chanson XXVI (phrase 8 ) provides another example of the melodic ornamentation that is characteristic of the 0 manuscript (Example 4).

Example 4

Scribal errors

Among the errors that might have been introduced by scribes copying or notating a melody, the transposition of a short passage a third or a second higher or lower seems to be a common and usually obvious error. In Chanson III, for example, the first six notes of phrase 2 in K are written a third higher than their counterparts in Mt, V, and X (Example 5). In phrase 4, however, only the first four notes are transposed a third higher in K. 151

Example 5

Æ. K #

Repetition of a passage or phrase is another scribal error found in trouvère chansons. In Chanson XXIII, phrase

2, the scribe of Manuscript X repeated the melody of phrase

1 instead of the new melody that appears in other manu­ scripts (see Volume II). This is an exceptional error for usually accurate manuscript. Another obvious error of repetition is found in the reading of Chanson III in K, V, and X. The two-note ligature at the end of phrase 4 is repeated at the beginning of phrase 5, and the melody is then shifted forward on the next three syllables

(Example 6).

Example 6

» ^ ______3 - Î : N e n'cLV. tcom - ir>an- -

An extra note, either at the beginning or in the

middle of a phrase, creates the same kind of variant as

that resulting from the division of a ligature. In

Chanson II, for example, an added note at the beginning of 152 phrase 4 in 0 shifts the melody one note forward until it reaches the ligature on the sixth syllable of the poetic line (Example 7).

Example 7

In the above example the reading in Mt is identical to those

in K, V, and X except that Mt has £ instead of ^ on the

fourth syllable.

When a note is missing, a ligature is usually

divided later in the phrase to compensate for it. In

Example 8 the first note 2. is missing in V, and the liga­

ture on the seventh syllable is divided (Example 8 ).

Example 8

3 c * •

Errors involving clefs are also found in trouvere

chansons. In some instances a clef is missing; in others,

a change of clef is omitted or a wrong clef is used. In

Chanson LV, for example, the C clef on the third line is .153 changed to the second line at the end of the fourth staff in 0. The scribe apparently forgot this change of clef and started the fifth and sixth staves as he started the fourth, that is to say, with C clef on the third line. As a result, the melodic passage on staves 5 and 6 is a third lower than its counterparts in Mt, K, N, and X. In Example *9 the ver­ sion of 0 (staves 5 and 6 ) is compared with that in Mt, K,

V, and X. The scribe of 0 also added an extra note at the beginning of staff 5 and one at the end. These additions might reflect an attempt to deal with the poetic line that is obviously corrupt. Perhaps the word tout should be omitted to permit a two-wyllable rhyme corresponding to that in line 7 (Example 9).

Example 9

* * * * * i ' ^

VX fc - SOY»s (•oolV' W «.vn- p« - 'Ttr 6. ^ Oo>' ti-covn 0

Sometimes it is difficult to know if a change of

clef is missing or the passage was accidentally transposed.

In Thibaut's lai the melody corresponding to the text

"trop mal mene Dame pleine" (line 36 and the first four

syllables of line 37) is written a third higher in Mt than 154

in V and 0 (Example 10). The transposed passage appears

in staff 20 from the fourth note to the end. Since staff

20 starts with C clef on the second line and staff 21 with

a C clef on the third line and since the passage is trans­ posed a third higher, it can be assumed that a C clef on

the third line was omitted before the fourth note of

staff 20. In Example 10 the version of Mt is compared with

its counterparts in V and 0.

Example 10

In the above excerpt the reading of phrase 36 in Mt is different from those in 0 and V. The error is probably

in Mt ; verse 36 ends the second stanza and a close on e^' would be difficult to explain. Furthermore, the skip of c fifth would be the only one in the melody of the lai.

Variants or scribal errors, like those discussed

above, are usually easy to point out. Although they vary

the musical reading of a poem to some extent, they do not

change it to the point that the melody cannot be recognized

and its relationship to the other manuscripts identified.

^See Chapter IX. 155

In some instances, however, when possible scribal errors are complicated by small variants introduced by singers, the melody may become almost unrecognizable; in such cases it is difficult to know whether the material is new or a corrupt version of the centralImelody. Chanson

XXXV in O shows this characteristic; the melody is partly related to its counterparts in reliable sources and ends with the same cadence. But from the second part of phrase

6 to the beginning of phrase 9, the material is either altered with extra notes, notes missing, ligatures rear­ ranged, and short transpositions, or it is newly composed.

The reading in 0 (phrases 6-9) can be compared with its counterpart in Mt in Example 11.

Example 11

I

È — — ------i 156

The introduction of new material is certainly the most important variant in trouvere melodies, for it often creates wide discrepancies among the musical readings of the same poem. In some cases new material appears to have been written at a later date by a different scribe in order to finish an incomplete melody. In Chanson XLII Mt fol.

72, for example, the melody of the cauda (phrases 5 to 8) was added later by a different scribe and is not related to any oth.r reading.

New material may sometimes be the result of notation from a faulty memory. Possibly the singer or the scribe forgot a melodic phrase or phrases and replaced the for­ gotten passage with new material. In discussing this kind of variant, Karp asserts, "The introduction of newly com­ posed material . . . seems to occur only in the cauda.

Any number of lines may be affected, and sometimes the eniire cauda consists of new material."^ The introduction of different material in the cauda is illustrated in

Chanson XXXV. The first four phrases of the melody in V

are related to the central melody but the cauda (phrases

5-9) is entirely different. Alteration of the final

phrase is a common variant in 0. The obvious purpose of

these changes is to strengthen the organization of the

^Karp, "MS Tradition," p. 29. 157 melody in a particular mode. Chanson LVII, for example, preserved in K, X, V, Mt, and 0 seems to be in the Lydian mode on _f. Except for Mt, all the manuscripts have flatted b. The first four phrases built around f, c', end on ^ in

all manuscripts, and phrase 7 ends on a. Phrases 5, 6, and

8 (the last) end on £, however, in K, X, V, and Mt. The

last notes of phrases 5, 6 , and 8 in 0 have been changed to

a, f , f obviously to establish the Lydian mode on

Chanson XXXII is another example of the use of new

material in O at the end of a melody. The chanson is pre­

served in Mt, K, N, V, X and seems to be in the Hypodorian

mode on d. Except for the last two phrases in 0, all the

readings are closely related. There is an obvious scribal

error in K, N, V, and X: phrase 5 is written a third too

high. In all manuscripts the third and fourth phrases of

the first section of the chanson form are the repetition

of phrases 1 and 2 and end on ^ and d, respectively.

Phrases 5 and 6 end on a, in K, N, V, and X, on d in Mt,

and je in 0. Phrases 7 and 8 are clearly Hypodorian and end

on d and respectively, in all manuscripts. In phrases

9 and 10 the tonality is not as well established. They both

end on £ except in 0 which introduces new material from

syllable 7 of phrase 9 to the end of phrase 10, and ends

the melody with a cadence on The last two phrases in

Mt and O are illustrated in Example 12. 158

Example 12

U5M1L

JL is -*— r f~'r

'10. ♦•

*> *• i

à 0 --- Ï # • * •• 4 4^------

The many musical variants found, in the trouvère repertory clearly demonstrate that chansons were not directly copied or transmitted from the original source.

On the contrary, variants show that melodies went through different singers or scribes before being written down in the manuscripts in which they are preserved. Furthermore, the accumulation of variants or errors suggests that melo­ dies were first orally transmitted and later compiled in chansonniers. In some cases the melodies may possibly have been notated by a singer and copied later by a scribe or another singer who added more variations. In the melo­ dies preserved one version of the central melody is as 159 good as another; in fact, among the preserved melodic ver­ sions setting the same poem, one cannot say which is the original or even the closest to the original. As for

Thibaut's chansons. the Chansonnier du roi de Navarre (Mt) is a great help and, in spite of a few errors or variants, it is the most reliable source.

The diversity among the different musical readings of the same poem and the large number of melodies missing in some manuscripts prove that— in trouvere chansons— poems were more important than their melodies. Texts were written down first and melodies were copied later, probably by different scribes. Furthermore, the texts preserved in manuscripts of the same family or group show a closer and more uniform relationship than do the melodies. Although the text and melody of a chanson were presumably written by the same trouvere, some texts were given new melodies by different scribes or singers. It is to these new melo­ dies or Contraposita for some of Thibaut's chansons that we may now turn our attention.

Contraposita

Despite all the variants, the melodic settings of the same poem are essentially the same in a majority of manuscripts. These melodic versions, undoubtedly related, 7 are called central melodies. They are presumably closest

^Karp, "MS Tradition," pp. 25-6. 160 to the original form of the melody and apparently related, directly or indirectly, to the original source, the composer.

In addition to the central melodies, a good many poems appear with second or even third settings in some chansonniers. Bittinger referred to such settings as

g contraposita. Karp calls them peripheral melodies and believes that there is no difficulty in recognizing them.

"In the first place, these pieces . . . occur in only one source each. Secondly, one can single out certain MSS 9 whose contents consists primarily of contraposita. ...”

Manuscripts R and V in particular contain a high percentage

of peripheral melodies. Discussing V, Karp states that the melodies attributable, to Thibaut in the first two gatherings

(twenty-seven) belong to the central repertory, while

approximately 75 to 80 per cent of the remainder belong to

the peripheral repertory. The melodies for half of

Thibaut's chansons in this remainder (fourteen out of

twenty-nine) are contraposita. According to Karp, R con­

tains a percentage of peripheral melodies "at least as high

aa, if not higher than, that in

g Werner Bittinger, Studien zur musikalischen Text- kritik des mittelalterlichen Liedes (Würzburg, 1953), cited in Karp, "MS Tradition," p. 26. ^Karp, "MS Tradition," p. 26. l°Ibid. 161

Among other manuscripts in which Thibaut's chansons are preserved., A contains approximately 40 per cent contraposita. According to Karp, A represents a midpoint between the peripheral and central sources. The Rome manu­ script (a), also mentioned by Karp, does not include any of

Thibaut's chansons and 0 contains only one of his poems with a peripheral melody.

Of Thibaut!s fifty-eight poems preserved with their melodies, twenty-one survive with more than one melody.

Fourteen have been set twice and seven have three settings.

These twenty-one poems are listed in Table 22. Folio num­ bers are given for the manuscripts in which contraposita appear but not for manuscripts that present the central melody. When a chanson is listed as having a peripheral melody in more than one manuscript, or two in the same manu­

script (Chanson XIX), the two melodies are different. Four­

teen of the fifty-six melodies preserved in V (25 per cent)

are contraposita. Of the thirty-three melodies in R , ten

are peripheral, as are chree of the six melodies preserved

in A.

As pointed out by Karp, contraposita are easy to

recognize. They always appear in only one source and, as

regards Thibaut's chansons, each can be compared with at

least four versions of the central melody. 162

TABLE 22

CONTRAPOSITA

Manuscripts Manuscripts Chansons with Contraposita with Central Melodies OAR V (Folio Numbers)

V 70v 72v B,F,K,Mt,R3,V,X VII 78r 18r K,0,T,X,Mt IX 152r B,K,0,P,V,X,Z,Mt XI 2v B,K,N,P,0,T,V,X,Z,Mt XVII 74v K,N,P,T,X,B.0,V,R2,Mt XIX 29v K,0,V,X,Mt 79r XXI 73v B,0,V,X,R3,Mt XXV 26v K,N,0,X,Mt XXXI 17r K,0,X,Mt XXXV 75r K,N,0,X,Mt XXXIX 80v 19r K,0,X,Mt XL 20v K,0,X,Mt XLI 137r 2lr K,0,X,Mt XLII 22v K,N,X,0,Mt XLIV 140r 21v K,N,0,X,Mt XLVI 81v 19v K,0,X,Mt XL VII 17r A,K,0,X,Mt XLIX 20r K,0,X,Mt L 21v K,N,0,X,R3,Mt LVI 17v K,0,X,Mt LIX 18v K,0,X,Mt 163

According to Karp, the contraposita in R and V show many of the same melodic characteristics. As a rule, they

"are much more restricted in motion, using smaller range and fewer skips. They tend to be more syllabic than the central melodies, have less clearly established tonal centers, and use less repetition.Karp also points out that the contraposita in A have "little stylistic resem- 12 blance to those in MSS V and R." A detailed examination of the twenty-eight contraposita for Thibaut's poems in manuscripts 0, A, R, and V generally confirms Karp's remarks as to melodic style.

In Thibaut's repertory, however, the ranges of peri­ pheral melodies differ only slightly from those of the central melodies. Of the twenty-eight contraposita listed in Table 22, ten have the same range as the central melo­ dies setting the same poems; twelve have a smaller range;

and six have a larger. The number of melodies in each range category is shown in Table 23 in manuscripts 0, V,

R, and A, respectively.

^^Karp, "MS Tradition," pp. 27-8. ^^Ibid. . p. 28. 164

TABLE 23

RANGE OF CONTRAPOSITA

Compared to Central Melodies Number of Contraposita 0 V R A

Smaller range 6 3 3 Same range 1 5 4 Larger range 3 3

Range of. phrases

In contraposita sharp contrasts in range are some­ times found between phrases of the same melody. A stepwise narrow phrase^ for example, may be followed by a phrase with an unusually large range; this contrast is typical of V.

In Chanson XLII, for example, phrase 1 in V is written within a fourth, and phrase 3 has the ambitus of an octave. The two phrase in V can be compared with their counterparts in the central melody in Example 13.

Example 13

x m . JLJZ - * w *-r

Example 13 also illustrates the lack of repetition in the

V contraposita which destroys the chanson form of the central melody. 165

In order to compare the phrase ranges of a contra- positum and the central melody, the ambitus of the eight phrases of Chanson XXXIX in Mt, along with their counter­ parts in R and V, are shown in Table 24.

TABLE 24

PHRASERANGES OF CONTRAPOSITA IN R AND V

Manuscripts Range of Phrases 1 2 3 4 5 6 7 8

Mt 6 5 6 5 6 5 6 5-

R 5 4 4 4 6 5 4 -4

V 5 6 3 5 6 6 5 7

From the above table it appears that phrases R have

a slightly smaller range than the central melody, whereas,

in phrases V they are more irregular in range. The readings

of the complete melodies of Chanson XXXIX can be compared

in Volume II.

In manuscript A the range of phrases in contraposita

is usually smaller than in the central melodies. Table 25

compares the different phrase ranges of Chanson IX to those

in K (Mt reading is incomplete). 166

TABLE 25

PHRASE RANGE OF CONTRAPOSITA IN A

Manuscripts Range of Phrases 12 3 4 5 6 7 8

K 85857556

A 65656546

As Karp indicated, peripheral melodies in R and V usually are more syllabic than central melodies and, although they have a few skips, their melodic motion is primarily stepwise. Contraposita in A, on the contrary, contain more ligatures and phrases tend to be more neu- matic than in the central melody.

Contraposita in R and V are seldom written in

chanson form, that is, they usually do not repeat phrases

1 and 2 of the first section. Contraposita in A, on the

contrary, always repeat the first two phrases and the two

sections of the chanson form are as clearly defined as

they are in central melodies. Of the ten contraposita in

R and fourteen in V, only two melodies (XI and XXXV) in

R and one (XXXI) in V are written in chanson form. In the

other twenty phrases 1 and 2 are not repeated and phrases

3 and 4 have different material.

As Karp indicated, tonal or modal centers are less

clearly established in the contraposita in R and V. Although 167 a few individual phrases in a melody may appear to be in the same mode, there is no consistent modal feeling through­ out the entire chanson. A comparison of the central melody of Chanson XXXI and its contraposita in R and V will illustrate this statement. The peripheral melodies in the

A manuscript are quite different. They are in chanson form and do have clearly defined modal centers. In

Chanson IX seven of the eight phrases end on g; and one ends on d '. The melody seems to be in the Mixolydian mode on £.

Contraposita were undoubtedly written later than the central melodies. They could be the result of successive changes in oral transmission but since contraposita are found mainly in R, V, and A, one can assume that they were introduced by scribes or singers as a second version of the melody of a poem already provided with a central melody.

Thibaut*s poems were well-known and must have been per­

formed by many singers. In R three of his poems appear

with a central melody and with a contraposita. both appar­

ently written by the same scribe. The two melodies,

central and peripheral, may have been copied from different

sources. 168

Débats, Jeux-Partis. and Contratacta

The practice of borrowing the melody of a pre­ existent chanson was common as early as the twelfth century in the serventes of the troubadours and the ser- ventois of the first trouvères. This practice was also found in the jeux-partis and the débats of thirteenth- century trouvères. The problem of contratacta has been discussed by different scholars and musicologists, among

them Spanke, Gennrich, and Beck who listed some feux- partis and débats, attributed to Thibaut.

A contratactum is a poem whose metrical scheme is built to fit a pre-existent melody. In a contratactum

all the stanzas must have, the same poetic form and rhyme

scheme as those of the original text for which the melody was composed. Zumthor states that in the contratacture

"a melodic and strophic form fits successively two differ­

ent texts.

Nine jeux-partis and five débats are attributed to

Thibaut by Wallenskttld; they are also included in the

Hans Spanke, "Das fiftere Auftreten von Strophen- formen und Melodien in der altfranzOsischen Lyrik," Zeit- schrift für franzttsische Sprache und Literatur, LI (1928), 73-117. Friedrich Gennrich, Musikwissenschaft und Roman- ische Philologie (Halle,.1918), pp. 4-13. Jean Beck. Le Manuscrit du Roi, Corpus Cantilenarum Medii a Aevi, Ser, 2, 1 (Paris, 1927), 154-56. ^^Paul Zumthor, "Recherches sur les topiques. . . ," p. 424. "une forme mélodique et strophique s'adapte successivement à deux texts différents." 169

manuscript of collections of Thibaut's works. Of these

fourteen poems, two jeux-partis (XXXVIII and XLV) have no

music. In three débats (XLVII, XLVIII, and L) Thibaut

wrote both text and music as he presumably did for the

three jeux-partis in which he proposes the questions for

the debate. The poets who began the debates in the remain­

ing six poems (jeux-partis XL-XLIV and débat XLIX) appar­

ently composed or chose the melodies. The borrowed melo­

dies of XL, XLII, and XLIV are listed and discussed as

contrafacta by Spanke, Gennrich, and Beck. In this chapter

all the jeux-partis and débats attributed to Thibaut will

be considered. The twelve poems with melodies are listed

in Table 23 which is divided into three groups. Jeux-

partis or débats begun by Thibaut are the first group.

The second group includes poems started by Thibaut's partners who apparently wrote the melodies. Jeux-partis

and débats whose melodies were borrowed are in the final group. The opening lines of the jeux-partis and débats.

the name of the trouvères to whom they are addressed, and

the chansons with the same melodies, original or not, are

also listed in this table.

Jeux-partis in which Thibaut starts the debate

The jeu-parti Baudoyn. il sunt dui amant (XXXVII)

is addressed to Baudoin, trouvère of Arras. The melody TABLE 26 JE U X -P A R T IS , DEBATS, AND CONTRAFACTS

Melodies by Thibaut Poems with Same Melodies

XXXVII Baudoyn. il sunt dui amant (to Baudoin d'Arras)

XXXIX Phelipe, je vous demant: Dui ami de cuer verai Ne me done pas talent R739 (to Ph. de Nanteuil) (by Moniot d ’Arras) Here au roi omnipotent R713 (by R. de Fournirai) XLVI Phelipe. 1e vous demant Quo est devenue amors Vierge pucele roiaux R383 (to Ph. de Nanteuil) (by le Vinier) A la mere Peu servir R1459 (anonymous) Los clar tems (by R. Jordan) XLVII Dame, merci! Une riens vos demant XLVIII L'autre nuit en mon dormant L Robert, veez de Perron

Melodies by Thibaut's Partners XLI Sire ne me celez mie (by G. le Vinier) XLIII Sire loez moi a loisir ',.)y R . de S o is s o n s ) Mauves arbres LV III (by Thibaut) XLIX Par Dieu Sire de Champaiqne (by Fh. de Nanteuil)

Borrowed Melodies XL Cuens. je vous part un jeu par aatie Quant je plus sui (by Gui, friend of Thibaut i (by Blondel de Nesle) XLIV Bons rois Thibaut. Sire, conseillez-moi Rois de Navarre R2063 (by R. Soissons) Ma derreniere R321 (by O. de la Couroierie) XLII Rois Thibaut. Sire Merci clamant de R671 ______(b y Ba u d o in d 'A r r a s ) (by the CH. de Coucy) o 171 is preserved in manuscript A only. Discussing this jeu- parti . Beck states: "the manuscript d'Arras f. 139vo has 15 a declamatory music in the style of Thibaut." Since no model has been found, it can be assumed that the melody was written by Thibaut. Neither Spanke nor Gennrich mention the jeu-parti in their list of contrafacta.

Phelipe. je vous demant: Dui ami de cuer verai

(XXXIX, R 334) and Phelipe je vous demant. Que est devenue amors (XLVI, R 333) are addressed to Philip of Nanteuil.

In his introduction to the O manuscript. Beck points out that Phelipe (XXXIX) R 334 is sung to the melody of Ne me done pas talent (R 739) of Moniot d'Arras.Gennrich states that the chanson Mere au roi omnipotent (R 713) of

Richard of Fournival is a contrafactum of Phelipe 17 (XXXIX). Spanke does not mention the jeu-parti in his discussion of contrafacta. The chanson Mere au roi (R 713), preserved in manuscript A only, was not available for this dissertation. The melody of Moniot's chanson Ne me done pas talent, preserved in 0 and M, can be compared with IQ that of Phelipe (XXXIX). See Example 14. It is obvious

^^Jean Beck, Le chansonnier de Cangé, Corpus Cantil­ enarum Medii Aevi, Ser. 1, 2 (Paris, 1927), 23. l^ibid. ^^Gennrich, Musikwissenschaft. p. 10. 18 The melody of Ne me done is also preserved in K, fol. 400, the facsimile edition does not go beyond fol. 384. 172

Example 14

334-----

i li * »-

- J J « .'pr> t_ A ÛY1______? S / i______ooh-* ^ — J % T, » „ft.î>S __ . é —♦ ------* '— 0 1-1

Jj, i.

^ >. c.

«A f -V^ - — • -^- -— V ^ ^ - - -**-* ■ ■ I M ■ III — .- ^ ., ^ --^ — — ^ ♦ .♦ f e i —

41. * «• •♦ • + J-R331 173

Example 14— Continued

B-313______h '----

JUVwJt* _o V o\&v. cSks»',

]t.1 »•

. .. j O ------. . y ^ ______oav> C'^cv yt —“ " ^ •• ^ « • •—-«I — . — — — :z;,2:/,rr — *7* ^

XypT^ —-♦• — —- •■“ *--dH—— KX

H

-t.e-_333______, •# i. ■ - —.- —». >:—>7^— Kzc_.*_ ;:.-^-j»~—■_j7i'_r.Tc: I 7. T

. .Lot_îV’„.V'îk>_ _ ~ . — .... — . , »j y « - — — ^ ^ . _ » * - ■ I »I ■ — • m~'^ “ •* J " ‘ ^ 174 that the melody of Phelipe is very similar to that of

Ne me done especially to the 0 reading. But this does not necessarily mean that the melody is by Moniot; it could have been borrowed from an earlier chanson or written by

Thibaut who starts the debate. In fact, if the chanson

Mere au roi is a contrafactum of Phelipe (XXXIX), the chan­ son of Moniot could also be a contrafactum of the jeu-parti.

According to Beck, the melody of the jeu-parti

Phelipe je vous demant (XLVI) is written by Thibaut.

Spanke does not discuss the jeu-parti as a contrafactum, but he states that Phelipe (XLVI) has the same metrical and musical scheme as the chanson Vierge pucele roiaux

R 388 of Guillaume le Vinier, the anonymous chanson A la mere Peu servir R 1459, and the chanson of Raimon Jordan 19 Lo clar tems. The music of Lo clar tems and Vierge pucele are preserved in manuscript M only. The three 20 melodies, Phelipe. Lo clar tems, and Vierge are shown

in Example 14.

Jeux-partis in which partners wrote melodies

The melodies of jeux-partis XLI, XLIII, and XLIX

were presumably written by the trouvères who began the

19 Spanke, Raynaud's Bibliographie, p. 76. on The melody of Phelipe XXXIX in K, 0,X is very closely related to the Mt reading and can be compared in Volume II. 175 debates. According to Beck, Sire ne me celez mie (XLI,

R 1185), addressed to Thibaut by Guillaume le Vinier, is

"quite in the style of Guillaume." Beck adds that "a comparison of Thibaut's XLI With two jeux-partis of

Guillaume le Vinier shows that the three melodies are on d, cadences and melodic lines show similarities. Further­ more, in one jeu-parti (from Guillaume to his brother) the 21 same subject is treated." Neither Spanke, Gennrich, nor

Beck mention the jeu-parti as a contrafactum. As suggested by Beck, the melody could have been written by the trouvère who addresses Thibaut.

In Sire, loez moi a loisir (XLIII, R 1393) the debate is started by Raoul de Soissons. Beck points out that not only is the melodic style typical of Raoul, but some picardes formulas in the text are characteristic of 22 Raoul. WallenskOld mentions the dialectal differences in the stanzas written by Raoul, e.g., orz instead of ors 23 as in the Champenois dialect of Thibaut. Spanke suggests that perhaps the melody of XLIII could be traced to an unknown model.However, he does not list it as a contra- factum. The melody of Thibaut's religious chanson Mauves

21 Beck, Le manuscrit du Roi, p. 156. Z^ibid. 23 WallenskOld, Les chansons. p. 148. ^"^Spanke, "Das ôftere," p. 97. 176 arbres (LVIII) is a,modified version of Sire, loez moi.

WallenskOld asserts that XLIII is the model of LVIII because Thibaut's religious songs were certainly written 25 late in his life- Although the melodies of LVIII and

XLIII are not identical, they are very similar, and the religious song was probably inspired by the melody of the débat or by its model.

The débat Par Dieu, Sire de Champagne et de Brie -

(XLIX, Rllll) is addressed to Thibaut by Philip of Nanteuil.

According to Beck, the melody was probably written by

Philip. "The music of this chanson is completely declama­ tory, without ornamentation, the opposite of that of Thibaut.

The entire melody gives an impression of monotony never felt in Thibaut's chansons.The débat is not discussed as a contrafactum either by Spanke or Gennrich.

Contrafacta XL, XLII, and XLIV

The melodies of jeux-partis XL, XLII, and XLIV were borrowed from earlier chansons by the trouvères who began the debates with Thibaut. According to WallenskOld,

Thibaut's partner in Cuens. je vous part un jeu par aatie

(XL, R 1097) and Bons rois Thibaut. Sire, conseillez-moi

(XLIV, R 1066) is his friend Gui, who became chancellor of

25 WallenskOld, Les chansons, p. 148. ' Beck, Le manuscrit du roi. II, 155. 177

27 Champagne in 1234. Beck points out that the melodies of XL and XLIV resemble each other in general style.

They lie in a higher register that the baritone in which

Thibaut's melodies are usually written, and they show

"a happiness of inspiration which is beyond that of the king."28

Spanke states that the musical and metrical schemes of Cuens (XL) are borrowed from the chanson of

Blondel de Nesle Quant je plus sui en paor de ma vie.

R 1227. The structure and rhymes of both poems are given

in Example 15. The structures are identical except that

the stanza of Cuens divides the decasyllabic line 9 into

two shorter lines of four and six syllables.

Example 15 XL. R 1097 Quant. R 1227 ie ie ^10 ^10 ent iez ^10 ^10 ie ie ^10 ^10 ent iez ^10 ^10 ie iez ^10 ^10 ie ie ^10 ^10 ent iez ^10 h o oit ui ^3 ^3 oit ui ^4 ^10 oit ^6

27 WallenskOld. Les chansons. pp. 132 and 28 Beck, Le manuscrit du roi. II, 156. 178

XL. R 1097 Quant. R 1227 ant iez ^10 ^10 ie ie ^7 ^7 ant b iez ant iez >=7

The jeu-parti is preserved in manuscripts K, Mt,

0, V, and X; Blondel's chanson. in K, 0, and M. The read­ ings of the two melodies are very similar but there are a number of variants. The melody of Quant in 0 is more highly ornamented, and the first phrase is missing in M.

Phrases 6 of Cuens in K, Mt, and X ends on c_ instead of d as in the readings of Cuens in 0 and Quant in K and M.

In addition, the readings of phrases 5 (first eight syl­ lables) and 6 (last three syllables) of Cuens in Mt, K, and

X are related to the reading of Quant in M, while in the version of these passages in Blondel's chanson in K and 0 is similar to that of Cuens in 0. The 0 readings of phrase

13 in both chansons are very closely related, but they are different from their counterparts in other manuscripts.

These differences in phrases 5, 6-, and 13 are illustrated in Example 16. It is interesting to note that, although the structure, length, and rhyme scheme of Cuens are the same as those of its model, the succession of three short verses resulting from the division of verse 9 gives a quite different rhythm to the second part of the stanza. 179

Example 16

•CutTis jt_ i/j>M ?\_1 oj

RjiÜ- 'jn

4_&JsU:____ Î______*'~C~ ? ^ (K

p. im " £ H E :

ÜïI).z%T===!r_::zf=t::rf,— .«_B.)m______180

Example 16— Continued

------:- T------7: » «-- *---- '------'— ë-- 3:------

^ ,------

— - - I.— . . ..I » I — — ^ ^ y **■' " ' \o.

— — _— — — , -

\ \\, — # . —. ^ ^ -■ ■ ■■ 2

f t A . ■ ■ — ■! " ' — - - ^ . . . — ■ •P«-| I «• — ' ' '" “ j fÎ I't'i'i * _ _

* ™

______181

The jeu-parti Bons rois Thiebaut. Sire, conseillez- moi (XLIV, R 1665) has the same poetical structure as three other poems, one of which is by Thibaut (XLV) but has no music. The other two are Rois de Navarre et Sire de Vertu.

R 2063, by Raoul of Soissons, and Ma derreniere veul fere en chantant. R 321, by Oedes de la Couroierie. Both chansons are preserved with their music. The metrical melo­ dies are as follows:

^10 ^10 ^10 ^10 ^10 ^10 ^10 ^10 ^10 ABABCDEFG

Bons rois Thibaut is preserved in seven manuscripts

(A, K, Mt, N, 0, X, and V). The readings in Mt, K, N, 0, and X are closely related; A and V have different melodies.

Of the eleven sources in which Rois dé Navarre is preserved, two only (K, fol. 140 and M, fol. 85) were available for this dissertation. Ma derreniere is found in K, fol. 200.

As illustrated in Example 17, the readings of Rois de

Navarre, R 2063, and Ma derreniere. R 321, are identical in K. That of Rois de Navarre in M is similar to that of

Bons rois (XLIV, R 1666) in Mt, but it is written a fourth below the reading of R 1666 in Mt and, at places, a second below the readings of R 2063 and R 321 in K. As pointed out by Spanke, the melody of Bons rois. R 1666, is closely related to those of R 2063 and R 321. Gennrich confirms

Spanke's statement by saying that the melody of Bons rois 29 Thiebaut resembles that of Rois de Navarre.

Z^cited in Spanke, Das Oftere," p. 96, fn. 18. 182

Example 17

M ft. 2oC3 KHi- .BjloO. 13%, CIV.

-_6.1«C______r

<» -—O M ? .’.-U.

M*'

M 183

Example 17— Continued i

h I

I i ? - . ' . . ______r _ ; ______, ------f _ T _

, •.— ______K jJLi. 7=ZfZ. --yjZiZ

!Li«-OL=Jf^3 3 i__ r

.Cv a jP_

JLio

Rois Thiebaut Sire en chantant responnez (XLII,

R 943) is addressed to Thibaut by Baudoin. According to

WallenskOld, Baudoin is the trouvère to whom Thibaut addressed jeu-parti XXXVII.Spanke, who discusses the jeu-parti. remarks that Rois Thiebaut (XLII) has the same structure and the same melody in 0 as the chanson Merci clamant demon fol errement by the Chatelain of Coucy.

Spanke gives the first line of the jeu-parti incorrectly as

Bons rois Thiebaut en chantant respondez. The same error is made in his revision of Raynaud's bibliography of trouvère chansons. and Karp, who also discusses the jeu-parti. 32 makes the same mistake. It is interesting to note that both Karp and Spanke use the Francian dialect (d in respon­ dez ) while the manuscripts in which the jeu-parti is pre­ served use the champenois dialect (n in responnenz). The correct title of the jeu-parti is Rois Thiebaut. Sire, en chantant responnez.

Rois Thiebaut (XLII) is preserved with music in K,

N, 0, X, V, and Mt. The melody in Mt, similar to those in

K, N, and X in the first four phrases, has been completed by a different hand, and the cauda is entirely different 33 from its counterparts in other manuscripts. The melody 34 is not preserved in P as indicated by Karp.

^^WallenskOld, Les chansons, p. 126. 31spanke, Raynaud's Bibliographie. p. 148. ^^Theodore Karp, "Borrowed Material in trouvère music," Acta Musicologica. XXXIV (1962), 87. ^^The reading in K is used in Example 18 from phrases 5 to the end of the melody. ^^Karp, "Borrowed Material," p. 90. 185

As mentioned by Spanke, the reading of Rois Thiebaut in 0 is very similar to, but a second lower than, that of

Merci (in 0).^^ The readings of Rois Thiebaut in K, N, and X are closely related to that of Merci in M, but they lie a second higher. The first four phrases of Merci in K are similar to their counterparts in M, but the melody of the cauda of Merci in K is different from any of its counterparts in both chansons. The readings of Merci

(R 671) in 0, M, and K and that of XLII,as it appears in

K, N, X, and the first four phrases of Mt^ are shown in

Example 18.

Comparing the settings of Merci and Rois Thiebaut in K, Spanke states, "the two melodies in K show different pitches at the beginning and strong discrepancies at the end.Discussing the same jeu-parti. Karp mentions

Spanke's remark and points out that his descriptions are accurate but "misleading because they depend on a compari­ son that is itself invalid, confining itself, as it does, .37 to only two versions appearing in a single source." Karp, subsequently, discusses the readings of Merci in all manu­ scripts as well as all versions of the contraf-actum. He

^^Spanke, "Das Oftere," p. 96. 3GIbid. 37 Karp, "Borrowed Material," p. 90. 186

Example 18

,1 *ÿtçz^=:i=z-^______“ •»— rcm*:.v- R6J.L. - - ...... -, , ...... -, .

.. 1 ------J:—

j R_9t) .. . .. _ ._. ------■J i ‘1 ' . R 671 KM tp '-- « iru

______0

"-V ■ ^ R-^31______M ^^EEEEfEZE?-v.^i;?E= ' R.t.îJ_ _ _ ~ncr: - * - e -

0 rrs— 187

Example 18— Continued

m 0

S-63.L -o-sr

0 #

h ferr:------^ E Ê y & 1 ? T — ■*■ • * .tLtaj K . 4 = = f r * - ^ (V.Wi. ^ 0

K

0 f 188 concludes that one must "take into the account the read­ ings of contratacta in establishing the musical texts of the models," and "the readings of the models in establish- 38 ing the musical texts of the contratacta."

Of the twelve jeux-partis and débats with music attributed to Thibaut, the music and poetry of three are entirely written by him. He also wrote music for the three debates he began. Among the six partners who began the other debates, Guillaume le Vinier, Raoul of Soissons, and

Philippe of Nanteuil apparently wrote their own melodies.

Three melodies were borrowed, one by Baudoin, trouvère of Arras, and two by Thibaut's friend Gui.

The twelve jeux-partis are classified among

Thibaut's authentic work by modern scholars, and they are

included in manuscript collections under his name. How­ ever, they belong-especially the six started by other poets— to Thibaut's partners as well. Perhaps, because

of his fame as a courtly poet or his rank as a king, these poems were attributed to him and placed in his repertory.

In speaking of the six jeux-partis introduced by the part­

ners of Thibaut, Beck points out that:

It is the structure and the style of the music that determine the true author of the jeux-partis and that the person to

^®Ibid. 189

whom the demand is made has only a secondary role in the composition.39

He adds: "It is only on this premise that one can attri­ bute these jeux-partis to Thibaut de Navarre." Thus,

these jeux-partis are attributed to Thibaut only because

he responded to the partner who started the debate.

Beck, Manuscrit du Roi, p. 156. "C'est la struc­ ture et le style de la musique qui déterminera le véri­ table auteur des jeux-partis, et que le personnage à qui la demande est faite ne joue qu'un rôle secondaire dans la composition." CHAPTER VII

TONALITY

According to the late thirteenth-century theorist

Grocheo (c. 1300) "secular music, in contrast to litur­ gical , was not restricted to requirements of the church modes.Nevertheless, many trouvère melodies can be classified as being in a regular mode, some cannot.

Among melodies written in a mode, a few have well-estab­ lished tonal centers throughout the entire chanson ; the final is predominant in almost each phrase, and the melody properly ends on the final of the mode. A large number of these chansons, however, clearly define tonal centers only at the beginning and in the closing phrase; the inner phrases of the melody depart from the modal system. In a few cases deviations such as unusual range or changes of pitch level create tonal instability or an apparent modulation. Thibaut usually introduces these contrasting elements at the beginning of the cauda of the chanson form.

In addition to chansons clearly in a mode, some are either difficult or impossible to classify. In

^Gustave Reese, Music in the Middle Ages (New York, 1940), p. 216.

190 191 these melodies tonal centers are either unstable or change from one phrase to another.

Generally, the musical readings of Thibaut's chansons in which the mode is clearly defined are closely related in different manuscripts, whereas the versions of melodies with unstable or unclear tonality usually contain many variants and differ among themselves as to the note on which the melody ends.

Many of the departures from academic modal usage

also appear in the chants of the Church. This chapter first discusses the Gregorian system and irregularities found in the chants. It subsequently examines the modes

as they are used in Thibaut's chansons and their

influence on Thibaut's melodies.

Modal System

The modal system consists of eight scalor patterns

closing on d, e, f, g and limited to the range of an

octave. There are four authentic modes and four plagal,

differentiated by the position of tones and semitones

above and below the closing note or final. The authen­

tic modes extend from the final to the octave above;

the plagal modes from the fourth below to the fifth

above the final. Each mode is constructed of a tetra-

chord and a pentachord. In the authentic modes, the

pentachord is below and the tetrachord is above. The 192 plagal modes reverse this order. The ambitus of the authentic modes' is often enlarged by the addition of

the tone below the final, called the subfinalis., Plagal modes may be extended upward by one or two notes

(Example 1).

Example 1

£ )o r \o v > -P-

* I y

In addition to range and final, the Tenor or

reciting tone of the corresponding psalm tone is another

characteristic of a mode. As a rule, the Tenor is the

fifth above the final in authentic modes and the third

above in plagal. The note b, however, is avoided as a

Tenor. It is replaced by £' in the Phrygian and the

Hypomixolydian modes; in the Hypophrygian mode, the

Tenor is raised to a . Instead of ending on one of

the four finals (d, e, f, g) some chants close on 193 different tones, b, or (C ' which are called affinalis

or confinalis. Most of these chants have been trans­

posed in order to avoid chromatic pitches, which except

for b flat, were not used in plainchant notation. The

affinalis ending is also found in untransposed chants,

for example, the Kyrie Cunctipotens which is in the 2 first mode with a range of but ends on a^.

Deviations found in Gregorian Chants

Although the great majority of Gregorian chants

conform to the general requirements of their respective

modes, some deviate from the normal pattern. One of the

deviations from the modal system is the use of b flat

and the Lydian mode on ^ with flatted b is accepted in

the music of the Church. Alma Redemptoris Mater, for

example, is the Lydian mode on ^ with b flat.^

The flatted b is also used to avoid the tritone

or the major sixth in Dorian as illustrated in Example 3

Example 3

M le iw d c L if' ioncÆ C L U o i d t o l fpn ff Tlb« (.LQ. 5 V»»|or sinVVi J b t 0LV<7>J*<) ^ ^ “

2 Liber Usualis, p. 25, ^Ibid. . p. 273. 194 Transposed chants, especially in the first and second modes, often end on the confinalis of the mode. A good example is the Gradual Haec dies, which is in the second mode ending on a . As illustrated in

Example 4, it contains a B-flat which would be an E^flat in the untransposed mode.

Example 4

The range of some Gregorian chants covers the

entire octave of the mode in which they are written.

Others, however, have either an unusually large range,

combining authentic and plagal modes or a very narrow

range. The communion Amen dico vobis,^ for example, is

written within the sixth £-a; the melody is in the first

mode on The Gradual Timete Dominum, also in the first

mode, has the range of the tenth A-c^' . ^

The most important deviation found in church

music is perhaps the tonal instability of some chants.

Usually these chants are built with phrases suggesting •

different modes, sometimes difficult to identify. The

Offertory "Exsulta satis.for example, is in the

'^Ibid. . p. 1148. ^Ibid.. p. 1726. ^Ibid. . p. 352. 195

Phrygian mode on The melody consists of three long phrases; the first phrase starts and ends on 3^, and the

Tenor £ is heard fifteen times. In the second phrase on the word Jerusalem the melody seems to be in the Dorian mode on d with B-flat as an ornament of a . Phrase 3

(the last) ends on e^, final of the Phrygian mode.

Modes in Thibaut's Chansons

The many irregularities found in the chants of the Church also appear in the melodies of the trouvères, including those of Thibaut. As in the chants, B-flat is accepted in the Lydian mode as well as in others to avoid tritone or major sixth. In fact, in most manuscripts,

B-flat appears as a key signature for Lydian melodies.

The Mt manuscript, however, contains only one B-flat signature at the beginning of Chanson LIX.

Usually wide or narrow ranges are common in all medieval secular music. In Thibaut's repertory, eight melodies combine the ranges of the authentic and plagal modes, six are written within a tenth, and three have

the narrow range of a sixth. The ranges of Thibaut's

fifty-eight melodies are listed in Table 24, which also

includes the final of each melody, the notes on which

individual phrases end, and the mode when it can be

determined. Chansons XXXVIII and XLV, which are pre- .

served without music, are not listed. 196

TABLE 27 RANGE AND MODALITY IN THIBAUT'S MELODIES

Chanson Range Final Notes Ending Modes Phrases

I. 9 c-d ' 9 g e g e g d g Hypomixolydian II 11 c-f ’ f g e g f g f' f Hypolydian III 8 f-f ' 9 9 9 9 9 9 a a g Mixolydian IV 9 f-g* 9 b a c a a d' C g V 8 9 - 9 ' 9 b g g b c' c' g Mixolydian VI 8 c-c ' d g d' g d' g e a d VII 9 c-d ' 9 a. g a a f f g Hypomixolydian VIII 8 c-c ' a g g g e e e c a IX 9 f-g' 9 a g a g a g c' g Mixolydian X 8 c-c ' d a e a e g f g Dorian f d XI 8 f - f f a f a f a a f Lydian XII 9 c-d' c f c f c f g e c XIII 8 f - f 9 c ' g c ' g a g g Mixolydian a g XIV 10 f-a' a b g b b e' e' b a XV 9 c-d ' d f d f d f f f d Dorian f f d XVI 9 c-d ' d a d a d c f d Dorian XVII(K) 8 d - d ’ 9 a g a g f c ' a Hypomixolydian f 9 XVIII 9 B - c ’ d 9 g g g d B c g d Dorian XIX . 11 d-g ' 9 9 9 9 9 9 c 'g Mixolydian d'b g XX 8 f - f 9 9 9 9 9 a g a g Mixolydian XXI 7 b-a' d' d'c'd'c'e 'd'e' Dorian d'd'd' XXII 11 f-b' c ' a c'c'c'e 'e' c ' c ' XXIII 11 A-d' d d d d d c f e d Hypodorian c d XXIV 9 G—a d d f d f d g e d Hypodorian XXV 10 f-a' c ' b d ' b d ' g ' c ' c ' XXVI 10 g-b' c ' c'c'd'e'c ' e ' c ' XVII 8 f - f 9 f g f g b b g. Mixolydian XXVIII 9c-d' c e c e c e e g c XXIX 8 f - f 9 f g f g a a f g Hypomixolydian XXX 10 d - f 9 g g d b g g g Mixolydian a g XXXI 9 c-d' f 9 9 9 9 e c a f Hypolydian XXXII 11 A-d' c ' f d'f d'd d d f c c ' XXXIII 8 c-c' f g f g f f e f Hypolydian 197

TABLE 27— Continued

Chanson Range Final Notes Ending Modes Phrases XXXIV 9 c-d' g g g d c g f b Hypomixolydian e g XXXV 8 c - c ’ d a g a g b g d Dorian f d XXXVI(K) 8 d-d' g g g g g g c' a g Hypomixolydian XXXVII 7 g - f a c'a c'a b c'a a XXXIX 8 c-c' d c d c d b g e d Dorian XL 9 c-d' g f d f d c c a f Hypomixolydian d c d c c ' g XLI 8 c-c' d f d f d a d g c Dorian d d XLII 9 c-d' f g g g g a e a f XLIII. 10 d-f' g d f d g c'g f a Hypomixolydian b g XLIV 8 a-a' c ' c ' c'c'c'd g'e ; ' d'c ' XLVI 7 f-e' g d'c'd'g c a a Mixolydian f g XLVII 11 c-f' g e f e f c'b g XLVIII 8 c-c ' c e d e d g d g C XLIX 8 e-e ' f c'e c'a c'f c 'f .f Lydian L 6 g-e' a a a g a b a LI 8 a— a ' c ' e'd'c'c'ed'c' c ' c ' e ' b c ' LII 6 g-e' a d 'g d'g b b a g a a LIII 9 f-g' g f d'f d 'a a g Mixolydian LIV 11 c - f f f g f g g g g f Hypolydian LV 11 d-g' f g c'a a d'd'a f f LVI 8 c-c ' f g g f g d a g e Hypolycian a f LVII 7 e-d' g f f f f g g a g LVI 11 10 A - C c c c ' c c 'd g d c e f c LIX 6 e-c ' f .b f b f g e g f Lydian LX 9 c-d' g a g g e a e f Hypomixolydian e f

Note: In general , the table is based upon the rea< ings in Mt. The readings of K are used in Chansons XVII. XXXVI, and LX because Mt contains obvious errors in these melodies. Chanson XXX is preserfed only in R, 0, and V. The O reading is used in this table. 198

Before discussing modal irregularities, it should be pointed out that, in Thibaut's repertory, thirty-eight melodies (65.50 percent) are clearly written in a mode.

Of the thirty-eight, ten are in the Mixolydian mode, nine are in Hypomixolydian, nine in Dorian, two in Hypodorian, 7 three in Lydian, and five in Hypolydian. The mode of these chansons is easy to identify, mainly by the predom­

inance of final and tenor in the first and the last phrases of the chanson. by the range, and by the last

cadence, properly ending on the final of the mode. Fur­

thermore, the different versions of the manuscripts

containing these chansons usually are closely related

and end with the same cadence. Chanson III, for example, O is preserved in seven manuscripts and is clearly in the

Mixolydian mode on 3 ^. Except for the version in R2, which

introduces new material, phrase 2 in T written a second

lower than the central melodies, and three obvious errors

in X, the phrases of all versions end on g, g, g, g, g, a,

a, and g. All versions (including R2, T, and X) end the

chanson with a cadence on 3 . The ambitus of the melody

is the octave f-f'.

Not all the melodies classified in a mode show

such a strong and steady modal feeling throughout the

Six melodies end on 3 and nine on 3 . Five melo­ dies end on normal finals of the mode but are modaly unstable. ®K. O' V, Mt. X, R2. T. 199 melody. Sometimes the melody seems to modulate from a well-established tonal center. Thibaut's practice is usually to bring a change or contrast at the beginning of the cauda of chanson form and to return to the original mode for the last phrases or the final cadence. Chanson LIII, for example, in chanson form, is in the Mixlydian mode on Phrases 1 and 3 start with skips of a fifth from tenor to final and back, but they end on Phrases 2 and 4 end on d. In phrases

5 and 6 the tonal center seems to change to _f and both phrases end on a. The melody then ends with a cadence in the Mixolydian mode on £.

Melodies with modal deviations

Twenty of Thibaut's chansons deviate from the modal system in one way or another. Some start in one mode and end in another; others seem to modulate several times throughout the melody. A few give the impression of being in a particular mode but then do not end on the final of that mode. In some the tonality is ambiguous, and no single center is established.. Finally, some melo­ dies may be regarded as being transposed in Lydian or

Dorian.

Chanson LVII is a good example of a melody which does not end in the mode in which it starts. The melody preserved in five manuscripts, is written in chanson form. 2 0 0

The first section is in the Lydian mode on jE with a B-flat

signature in K, V, and X. Phrases 1 and 3 are built within t a^id phrases 2 and 4 are built within e^-b.

The four phrases end on The cauda modulates to the

Mixolydian mode on 3 ;. The B-flat signature is dropped, and the four phrases end on g, g, a, and g. Except for

V, which changes the last notes of phrases 2 and 4 to make the modal center and 0 , which changes the last notes of phrases 6 and 8 to keep the Lydian mode through­ out the melody, the chanson starts in the Lydian mode and ends in Mixolydian.

Chanson XIV is an example of a melody in which the tonality is difficult to identify. The readings in the seven manuscripts in which the chanson is preserved

are closely related but vary considerably in the notes on which phrases end. The versions in Mt, K, and X are iden­

tical in phrases 1, 4, 5, and 6 . The range of the melody

is a tenth, , and phrases end on b, g, b, b, e', e ', b, and a. In the Mt version phrases are built within the

following intervals: phrases 1, 3: g-d'; 2, 4: f, e ';

5: c'-a; 6 : a-g'; 7: a-f'; and 8 : g-e'. The melody is written in chanson form, but phrase 4 ends on b in Mt, K,

V, and X, and on £ in N, Z, and 0. The melodic line of phrases 5 and 6 is built within the octave a-a', and both phrases end on e^'. In Mt phrase 7 is written within a-g' 2 0 1 and ends on b, and phrase 8 , built within g-e', ends on a. In K, V, X, and N phrase 8 is written a third higher than its counterpart in Mt and ends on c*. 0 and Z end on Except for the version in 0, clearly in Mixolydian, the entire melody lacks modal stability and, although one version seems as good as another, none of the six remain­ ing readings could be classified in a mode.

Nine of Thibaut's melodies end on c^. Some are modaly ambiguous, others are clearly built within the scale c to c', which may be regarded as a transposition of the Lydian mode with its usual B-flat. This is the case with the melody of Chanson XII. The chanson is preserved in Mt, K, V, X, and 0 and, except for 0 which

as usual introduces variants and ornaments and ends on d, the readings in the different manuscripts are closely

related. The melody ends on f, c, f, c, f, g, e, and c.

The last phrase of the melody is given in Example 5.

Example 5

JOU

f T ■ r ? --

Similarly, some of the six melodies that end on

a may be regarded as being in transposed Dorian. Chanson

L is certainly the best example. The melody is preserved

in seven manuscripts. The readings in Mt, K, N, 0, and

X are closely related. R2 is written a fifth below Mt 2 0 2 and V has a different melody. The central melody is built within the sixth ^-e^' and ends on Phrases end on a, a, g, a, b, and a in Mt. The third phrase ends on ^ in K, N, X, and 0. The last phrase is shown in

Example 6 .

Example 6

*

Scribal errors may sometimes be the cause of an

apparent tonal ambiguity. In Chanson XXXVI, for. example,

the version in Mt ends on while the readings in manu­

scripts K, X, V, 0, R3 end on £. The melody is clearly

in the Hypomixolydian mode on and the phrases, built

around the final or the tenor, end on g, g, g, g, g, c'a,

and g. The scribal error in Mt is obvious. The final

cadences in Mt and K are compared in Example 7.

Example 7

sxtvi. T______

ir

In the above example the note b between brackets is an

extra note in the K reading; the line has ten syllables

and a feminine ending. 203

In this chapter we have already noticed the pro­ cedures typical of 0 in which the end of phrases or the end of melodies are changed to make the modal organiza­ tion much clearer. One more example may be cited here.

In Chanson XXXII the last phrase in 0 is almost com­ pletely rewritten and ends on ^ to keep the melody in the Hypodorian mode in which it starts. The readings in the other manuscripts end on c^. The melody contains ten phrases. The last notes of each phrase in the six manu­ scripts in which the chanson is preserved are as follows;

1 2 3 4 5 6 7 8 9 1 0

Mt f d c d d d d f c c

0 f d f d e d d f c d

K f d f d a c d f c c

N f d f d a c d f ■ c c

V f d f d a c d • f c c

X f d f d a c d f c c

The last note of phrase 1 (f) and the ligature ending on

2 are reversed in phrase 3 in Mt. The last phrases of the melody as they appear in O and Mt are shown in

Example 3.

Example 8

P------!----- ....______2-0------N---- 7 j— 1 9----- —;---- =-—#------M • » r " ------' * * #— ...... — 204

In spite of all the variants in individual read­

ings and the differences between manuscript groups or

families, most of Thibaut*s melodies are tonally well

organized and reveal a strong influence of the modal

system. More than half of his melodies can be classified

in a mode, and, in a few of these melodies, the final is predominant throughout the entire chanson. A character­

istic of Thibaut's chansons is a modulation or an insta­ bility of tonality introduced in the first part of the

cauda in melodies in chanson form. In vers form, if the

tonality becomes doubtful, it is usually after the first

two phrases, but in either form, the final cadence in all

the manuscripts is. almost always in the mode in which the

melody begins.

As in all medieval music, religious and secular,

deviations from the modal system are found in Thibaut's

chansons. A few melodies have an unusually large ambitus

and a few are built within a sixth. Except in Mt, B-flat

is almost always used in the Lydian and it occasionally

appears as an accidental in other modes. Sometimes the

introduction of contrasting elements, such as a change

of pitch level, creates a momentary ambiguity of mode,

and a very few chansons give no feeling of being organized

around a modal center.

In some cases, however, this lack of modal feeling

seems to be the result of scribal uncertainty or inaccuracy. CHAPTER VIII

MUSICAL RHYTHM IN THIBAUT'S MELODIES

Whether or not troubadour and trouvère melodies should be transcribed in measured note values and regular meters has been a source of controversy among scholars, for, in most of the manuscripts, the symbols used to notate these melodies do not indicate a rhythmic pattern.

Among the few manuscripts in which mensural notation appears, Cange (0) is the only one in which as many as a third of the trouvère melodies are written— entirely or partially— in measured note values. Because motets appear with mensural notation in some manuscripts and are unmeasured in others and because so many refrains and other lines from monophonic songs are quoted in motets with measured note values, musical scholars have argued that troubadour and trouvère chansons must also have been measured. Consequently, they applied the rhythms of measured polyphonic music discussed in thirteenth- century treatises to trouvère chansons. In general, present day literary scholars disagree with this theory.

In one of the latest studies on the subject, Dragonetti

205 206 demonstrates that each line of poetry has its own rhythm

and that melody as well as poetry should be interpreted

according to that rhythm. This chapter discusses these

two viewpoints as they apply to the music of Thibaut.

Modal System

The modal system as explained in thirteenth-

century treatises is based on six patterns called rhythmic

modes. Each mode corresponds to a meter of classical

poetry. In mensural notation of the rhythmic modes the

long and the breve are the two basic figures used to

represent the time values. The six modes are shown in

Example 1.

Example 1

First : trochaic ^ #

Second: iambic H

Third : dactylic ^

Fourth: anapestic

Fifth : spondaic

Sixth : tribrachic

The long has a time relationship to the breve of either

3 to 1 for the perfect L, or 2 to 1 for the imperfect L.

Perfection and imperfection are determined by the position

Roger Dragonetti, La technique poétique des trouvères dans la chanson courtoise (Bruges, 1960). pp. 499-513. 207 of the long, more exactly by the value of the note or notes that precede and follow the long.

The mensural system developed from the "modal" notation of melisraatic passages in the organa of Notre-

Dame. These passages were written in chains of ligatures separated by rests. Each chain or phrase was called an ordo. and each ordo contained one or more statements of the modal patterns. The disposition of notes in the ligatures of the ordo indicated the rhythmic mode to be used. This system prevailed in the notation of twelfth- 2 century polyphony. However, it could not be used in syllabic style because the ligatures had to be broken up in single notes. Consequently, it became necessary to find ways of indicating the values of single notes.

Indeed, the earliest motets have the same unmeasured nota­

tion for single notes as that found in trouvère songs.

Later in the thirteenth century, after mensural notat-

tion had been adopted for motets, trouvère melodies con­

tinued to be written in unmeasured note values.

In the nineteenth and twentieth centuries various

medievalists have proposed different interpretations of

modal theory. Hugo Riemann was one of the first to

suggest that all medieval melodies be transcribed in

2 Willi Apel, The Notation of Polyphonic Music 900-1600 (Cambridge, Mass., 1953), pp. 220-25. 208 regular four-measure phrases according to his theory of

"Vierhebigkeit." Riemann believed that the shape of the note was not important, for the rhythm depended on the text. He based his patterns on the iambic meter of octo­ syllabic lines which, according to him, was the ideal medieval meter. At the beginning of the twentieth century. Beck and Aubry proposed that the rhythmic modes be applied to all troubadour and trouvère songs.^ From

1910 to 1950 almost all musical scholars accepted this theory. Beck later modified his view and transcribed some of the Cange manuscript in duple meter, even where the ternary pattern of the third mode was clearly indi­ cated.^

Gennrich also applied the modal theory but suggested that the rhythm could be treated more freely by the application of fractio and extensio modi as it was done in Notre-Dame polyphony.^

^Hugo Riemann, Studien zur Geschichte der Noten- • schrift (Leipzig, 1878), p. 205. ^Jean Aubry, Trouvères et troubadours (Paris, 1909), pp. 151-61. Jean Beck, Die Melodien der Trouba­ dours and Trouvères (Strasburg, 1908), pp. 115-27. Jean Beck, Le Chansonnier de Cangé. Corpus Cantilenarum, Ser. I, III (1938), pp. 57-64. ^Ibid., Tout autresi XIV in the third rhythmic mode pattern is transcribed in duple meter, p. 307. ^Friedrich Gennrich, "Grundsâtzliches zur Rhythmik der mittelalterlichen 'Melodie,'" Die Musik- forsChung. VII (1954), pp. 150-76. 209

In 1935, in his explanation of modal theory,

Higini Angles claimed that binary rhythm should be used along with ternary, especially when ternary does not fit the poetry completely. He strongly advocated the use of mixed modes, particularly the first and second. His theory is supported by his transcription of the Spanish cantigas. Unlike trouvère chansons, the notation of the cantigas does indicate note values and, in some cases, 7 shifts from triple to duple meter.

Likewise in 1935 Jacques Handschin accepted the theory of rhythmic modes but wondered if definite time values were necessarily to be assigned to all medieval secular monody. He believed that, even if melodies had been written within a strict mode, thirteenth-century performers would not necessarily have entirely respected g the given pattern.

Discussing modal rhythm, Jacques Chailley explains

that, unfortunarely, twentieth-century musicologists are

obliged to transcribe trouvère chansons in precise note

values. He believes that thirteenth-century monophonic

music might have had elements of mensuration but not as

rigorous as modal polyphony and certainly not as strict

^Higini Anglès, La musica de Las Cantigas de Santa Maria del Rev. Alfonso El Sabio (Barcelona, 1943), pp. 352- 61, and XV, p. 221. 8 Jacques Handschin, "Die Modaltheorie," Medium Aevum. IV (1935), p. 69. 2 1 0 as the twentieth-century system of notation. He concludes his argument by pointing out Grocheo's statement that trouvère melodies are not precisely measured, "non ita 9 precise mensuratum."

The latest study of the problem by VanderWerf gives a detailed explanation of the modal system and its interpretation by different scholars.^^ His own study and conclusions are based upon the first 2 0 0 chansons of the Cangé manuscript (0). He states that, in about one- fourth of the chansons. the scribe indicates a modal rhythm; in a few, the modal interpretation is more or less suggested; and, in the rest, the notation is non- mensural. He concludes that some chansons may have been performed in a relatively strict modal rhythm; others may call for modified or mixed rhythms, but the vast majority of trouvère melodies were sung in a free, declamatory style.

Mensural notation

All of Thibaut's chansons, in which mensural nota­

tion appears, are found in 0. As stated in Chapter II,

9 Jacques Chailley, "Quel est l'auteur de la 'théorie modale' dite de Beck-Aubry?," Archiv für Musik- wissenschaft, X (1953), pp. 213-22. ^^Hendrik VanderWerf, The Chansons of the Trou­ vères: A Study in Rhythmic and Melodic Analysis (Colum- bia University dissertation, Ann Arbor, 1964), pp. 32-80. Hendrik Vanderwerf, The Chansons of the Troubadours and Trouvères (Utrecht, 1972), pp. 15-45. 2 1 1 this manuscript is from the end.of the thirteenth or the beginning of the fourteenth century, and the mensural notation of the period appears partially or entirely in a little more than a third of the chansons. In fifteen of the fifty-eight melodies in 0 the rhythmic pattern is consistently indicated throughout the melody; in eleven, measured notation appears irregularly; and in thirty-two no rhythmic pattern is indicated.

Of the fifteen chansons with measured notation,

the regular alternation of long and breve notes makes

the rhythmic pattern easy to determine. In Chanson XXIX,

for example, the consistent recurrence of LBB presumably

indicates that the chanson is to be performed in the third

rhythmic mode. The poem is written in decasyllabic lines

which normally have the caesura on the fourth syllable.

This is generally stressed or a monosyllabic word, a situa­

tion that fits the pattern of the third mode of Chanson

XXIX with longs on syllables 1, 4, 7, and 10. Among the

discrepancies between textual and musical rhythms, however,

one may notice the longs on the second syllables of dame

and bele. The modal notation of Chanson XXIX, its trans­

cription into modern symbols, and the text of the first

stanza are shown in Example 2. In phrase 8 the longs on

syllables 4 and 7 have descending plicas, p and phrases 7

and 8 end with a descending three-note ligature. 2 1 2

Example 2

Chanson XXIX Coustume est bien, quant on tient un prison

Lines^ 1 .1 r J i. # # n « « m ■ * 1 Cous- tume est bien quant on tient un pri- son

3 Car nu - le riens ne fet tant cuer fe- Ion

r 1 r J T 3. m m m m ■ 1 m # % 2 Quon ne le veut o- ir ne es- cou- ter

4 Con grant pou- oir qui mal en veut u - ser

\ ) i. r ; J. .r } m # « • • "1 * m 5 Pour ce da— me de moi nes- tuet cou- ter

i. J' \ ) r i 1. r .1 ] * m m * ■ m « f m 6 Car je ni os par- 1 er de ra- en- con

i. ; J J. r J i. J .n! « ■ n • ■ m # # V. 7 Nestre os- ta - gier sen be- le gui- se non

y f i_r r i Jî ) »\ J ■ • n • • m • "1 8 A- pres tout ce ne puis je es- cha- per 213

Both plicas and ligature are transcribed by using modern notation symbols.

In his explanation of measured notation, Vander-

Werf transcribes the melody of Eons rois Thiebaut sire conseillez-moi (XLIV) and cites it as an example of a chanson in which "stemmed an unstemmed notes alternate so regularly that a performance in modal rhythm was cer­ tainly wanted by the scribe.

Chanson II is an example of a melody which— accord­ ing to the regular alternation of long and breve notes in

0— should be transcribed in the first mode. The stanza contains seven heptasyllabic lines and the rhymes are masculine. The melody, which is in chanson form, consists of five different phrases. Long notes fall on syllables 1,

3, 5, and 7. The first four phrases have a three-note ligature on the first /liable of the following expressive words: plesanz (pleasing), poignanz (moving), d 'amer (to love), and penser (to think). Although the ligatures correspond to expressive words or syllables, they fall on the weak beat of the modal pattern. Other discrepancies between word accents and the rhythmic mode will be dis­ cussed later. The text of the first stanza of Chanson II and its notation appear in Example 3.

^^VanderWerf, The Chansons of the Trouvères. p. 34. 214

Example 3

Chanson II De touz mans n'est nus plesanz

Lines \ \ \ \ J m ; ]

« ' A m "1 1 touz mans n'est nus pie - sanz

3 cil est douz et pci - gnanz

j i • « % 2 p i sen - le - ment cil d 'a - mer

4 Et de — li - cious a pen - ser

j j j rrj ■ 1 * A» e\ tant set biau concon- for- ter

J \ c' n • q m 6 Et de granz biens i I n z

4 j 1 .1 .rj J J ■ # 3s eh fb Que nus ne s ' en doit os- ter

In the débat Robert, veez de Perron (L) the second mode is obviously indicated by the regular alternation of

^ and I^ in the notation. The stanza contains six hepta­ syllabic lines and all rhymes are masculine. The melody consists of five melodic phrases; phrase 2 is a repetition 215 of phrase 1. The long beats of the second mode fall on syllables 2, 4, 6 , and 7. In five of six phrases, out of six, the long of the modal pattern on syllable 4 either is replaced by a two- or three-note ligature or is given a plica. Since phrase 2 shows a stemmed note on syllable

6 , it can be assumed that the stem of the note on syllable

6 of verse 1 has been forgotten by the scribe. Example 4 shows the test of the first stanza, its modal notation, and its transcription.

Examole 4

Chanson L Robert, veez de Perron

Lines \ \ Jl 4 \ e' m e m N • 1 Ro- b e r t , ve- ez de Per- ron

J 4 .y o\ a!. • a % a m m Comme il a le cuer fe- Ion

a 4 è • a m a Qu ' a un si loig--taing ba— ron

J 4 j J 4. ■ a a m Veut sa fil- le ma- ri- er

: ê .» JJ .n 4. B m # fT 4 m Qui a si cle- re f a- con n 1 j c' J •J • J J. % a a H m Que 1 ' en s ' i por- roit mi- rer 216

VanderWerf notes that Beck gives Chanson L as an example of a melody which ought to be transcribed in the second mode, because "the tonic accents fall upon 12 the weak part of the rhythmic pattern." This state­ ment may be true of the first line of the poem but, as may be seen in Example 3, it is by no means true of all the lines even in the first stanza.

Partial use of mensural notation

In a number of melodies modal patterns are indi­ cated in some but not all of the places. Chanson LVII, for example, begins mensural notation with the cauda .

(phrase 5). The stanza contains eight decasyllabic lines; lines 1, 3, and 8 have feminine rhymes and the other rhymes are masculine. The melody, written in chanson form, con­ sists of six different melodic phrases with no indication of a recurrent rhythmic pattern in phrases 1 and 2. The only notated long within the first phrase falls on the weak syllable of Virge! In the four phrases of the cauda the notation of the third mode is clearly indicated. The notation, its transcription, and the text of the first stanza appear in Example 5.

12 - % VanderWerf, The Chansons of the Trouveres. p. 43. 217

Example 5

Chanson LVII Du tres douz non a la Virge Marie

Lines ■ * ■ n '' # » « 5 ■ 1 Du tres douz non a la Vir- ge Ma ri-e

3 la pre- mier- re est m qui se- ne-fi-e

# « • « * ■ B # ■ m 2 Vos re- pon- drai cing let- très plai-nement

4 que les a- mes en sont fors de tor-ment

a m • ■ # » 4 5 Car par li vint ca jus en- tre sa gent

B m « 4 ■I*. « m m • n 6 Et nos ge- ta de la noi- re pri-son

m B * 4 # » % 7 Dex qui pour nos en sof- frir pas - si- on

n m m # • m a 8 I- ceste M est et sa mere et sa mi-e

Unmeasured notation

Scholars who adhere to the principle of applying

modal rhythm to chansons with unmeasured notation believe

that proper rhythm must be sought in the text.^^ Thus,

13 Reese, p. 208. 218 according to Beck and various scholars, the poetic accents of Thibaut's chanson Pour conforter ma pesance fit the first rhythmic mode, and the débat Robert, veez de Perron. also according to the text, should be interpreted in the second mode. The accented syllables on the first lines of the two chansons. as they appear in Reese's illustration, 14 are shown below:

I lit Pour con-for-ter ma pe-san-ce

I I t I Ro-bert, ve-ez de Per-ron

This theory cannot easily be applied to the poems of the trouveres, which are not based on a regular alterna­ tion of accented and unaccented syllables. In fact, inter­ pretation of a poem, according to rhythmic modes, would not fit the poetry either in Old French or in Occitan. As

VanderWerf pointed out, "the observation of these scholars are not based.upon reality . . . the few 'proofs' given by Beck and Gennrich are isolated lines. . . Literary scholars generally agree that VanderWerf is right.

Rhythm of the Poetic Line in Trouvère Chansons

Dragonetti, who discusses poetic rhythm at great

length, stresses that each line has its own rhythm depend­

ing upon the words used, their place in the line, and their

^^Ibid. 15 \ VanderWerf, The Chansons of the Trouveres. p. 43. 219 meaning in the text. Therefore, when two or more lines

show the same - rhythmical pattern as, for example, verses

3, 4, and 6 of Chanson XX (Example 6 ), their interpreta­

tion is not necessarily the same. Comparing verses 3 and

4 of Chanson XX, stanza 2, Dragonetti indicates that the

second part of line 4, "gui'estres sires de France," is more emphatic than the second part of the third Line,

"ne poisse partir," and would require greater stress in

reading as well as in singing.The different rhythmic

patterns in the second stanza of Thibaut's Chanter m'es-

tuet (XX), as they appear in Dragonetti's illustration, 17 are shown in Example 6 . The numbers which appear after

each line indicate the different rhythmic patterns.

Example 6

t i l t Je vous di bien une riens sanz mentir 2,2,3,3 I t I I Qu'en Amors a eür et grant cheance 3,3,2,2

I II I Se je de li me poisse partir 1,3,3,3

I l I I Melz me venist qu'estre sires de France 1,3,3,3

I I I I Ore ai je dit com fous desesperez: 1,3,2,4

I II I Melz aim morir recordant ses biautez 1,3,3,3

f I I Et son grant sens et sa douce acointance 4,3,3

I I I Qu'estre sires de tout le mont clamez. 3,5,2

1 6 Dragonetti, La technique, p. 513. l^Ibid.. p. 512. 2 2 0

The notation of Chanson XX is not measured, there­

fore, according to Beck's theory, the rhythmic pattern

should be sought through the text. Since the poem is

written in decasyllabic line, the third mode LEE would

probably be chosen, and the strong accents of the mode

would fall on syllables 1, 4, 7, and 10 of each line. A

close examination of the text of the second stanza (Example

6 ) shows that textual and musical accents would fit in

three of the eight lines of eight, that is, without con­

sidering the internal meaning of the lines and their

dynamic value. The rhythm in the other lines would not

fit at all.

The three chansons with measured notation in 0

(Examples 2, 3, and 4) show the same disagreement between

musical and textual accents. If one or several poetic

lines fit in the rhythmical pattern imposed by the mode,

the vast majority does not. In Chanson XXIX (Example 2)

almost each line, read or sung within the third mode

pattern, loses its meaning,. The poetic rhythm of line 5,

according to the modal theory, is:

I I I I Pour ce. da-me. de moi n 'es-tuet dou-ter 1,3,3,3

According to a normal.declamation of the text, the rhythm

should be:

II I I Pour ce. da^me. de moi n'es tuet dou-ter 2,1,3,4 2 2 1

Thibaut, who was a proficient poet and composer, would not have imposed the regular recurrence of strong and weak accents upon his poetry. His chansons, as well as those of all troubadours and trouveres, were certainly composed without regular rhythmic patterns in mind.

In Chanson II, presented in Example 3 as a chanson that was notated in the first mode, the same discordance between textual and musical accents exists.

In lines 3 and 4, for example, the rhythmic pattern alternation of long and breve is as follows:

I t I t 2 Mes cil est douz et poi-gnanz 1,2,2,2 till 3 Et de-li-teus a pen-ser 1,2,2,2

According to a normal interpretation of the textual accents (1,3,3), the third mode would fit these two lines better.

Chanson L, transcribed in the second rhythmic mode

(Example 4), demonstrates again the disagreement between textual and musical accents which is noticeable in almost each line. In the first stanza, lines 2 and 4, for example, are interpreted with the following accents:

I I I 2 Comme il a le cuer fe-lon 2,2,2,1 III 4 Veut sa fil-le mar-ri-er 2,2,2,1

The two lines would probably be interpreted with the follow­

ing rhythms:

I f I 2 Comme il a le cuer fe-lon 1,4,2

I I I 4 Veut sa fil-le ma-ri-er 1,2,4 2 2 2

The three chansons discussed above show that the melodies of the trouvères obviously could not have been sung within the strict patterns of the rhythmic modes. As affirmed by

Dragonetti, even if two lines seem to have the same rhythm, the meaning of the words and their place and impor­

tance in the text call for different interpretations and,

therefore, different rhythms.

Chansons are, above all, poems meant to be sung,

and the different rhythms found in the lines of the same

stanza prove that they were not created with a single

rhythm in mind. They were probably sung freely in a style

that emphasized the interpretation of the poem. Since

each line has its own rhythm and its own dynamic value,

only a free declamatory style can fit the poems of the

trouveres.

If chansons had been written with a regular

rhythm in mind, it seems probable that the.rhythmic

pattern would have survived in more than one manuscript.

But a thorough examination of the different musical and

literary texts of the chansonniers in which Thibaut's

chansons are preserved shows that melodies in manuscript

Mt, M, X, V, N, R, P, and Z are within the square or

unmeasured notation. The Cange manuscript (0) is one

of the latest chansonniers and only here the mensural

notation of the polyphonic motets are used in some of

the chansons. But the text of the polyphonic motets is 223 not as important as the musical effect, and the modal pattern is necessary to keep the parts together. On the

other hand, the text of a monophonic chanson is written

for its poetic value, and the melody emphasizes its

interpretation. Since the interpretation may vary with

each singer, the melodic accents may also change accord­

ingly.

Furthermore, if chansons were written with a

single rhythmic pattern, their melodies would not contain

so many variants. They would have been performed from

the beginning with the same accents on the same syllables,

and they would have been disseminated and copied with at

least the same concordance of musical and textual accents. '

Variants such as extra syllables and notes or divided

ligatures would not have been so frequent. As VanderWerf

pointed out, "melodic variations would have remained within 18 the possibility of the rhythmic mode." Therefore, only

a free interpretation, varying from jongleur to jongleur

can explain the many variants found in the different manu­

script readings.

In Thibaut's case it would be difficult to believe

that, as talented and cultured a poet as he was, he would

have imposed a regular rhythmic pattern upon his poetry.

His chansons— as those of all trouvères— require à free

^^VanderWerf, The Chansons of the Trouvères. p. 48. 224 interpretation based upon a sound knowledge of the language and a clear understanding of the text. CHAPTER IX

THIBAUT'S RELIGIOUS LAI

The origin of the lai and its poetic and musical characteristics have been the object of many controver­ sial studies by both musicologists and literary scholars,

Some believe that the lai has a Celtic origin; others, that the term "lai" is derived from Latin literature and therefore has a Latin origin. In a recent and detailed study, Baum discusses the meaning of the word lai in troubadour poetry. Although he does not reach any definite conclusion about the origin of the lai. he suggests that the word lai, like other medieval terms, is probably derived from Latin poetry.^ 2 In the nineteenth century, Wolf declared that the repetitive musical form of the lai was derived from

^Richard Baum, "Les troubadours et les lais," Zeitschrift für romanische Philologie. LXXXV (1969), 1-44. 2 " Ferdinand Wolf, Uber die Lais, Seguenzen und Leiche (Heidelberg, 1841).

225 226 the liturgical sequence.^ Hans Spanke,^ Jacques Hand- schin,^ and Friedrich Gennrich^ support and develop

Wolf's theory; Aubry and Jeanroy disagree. Jeanroy firmly believes in the Celtic origin; he stresses that the lai is essentially musical and asserts that French poets used old melodies from the Celtic tradition to compose their lais.^ Aubry denies any relationship between the musical form of the lai and the liturgical •

g sequence. Thus, the studies and opinions of various scholars on the musical origin of the lyrical lai lead to two theories: the German theory of derivation from the liturgical sequence, defended by Wolf, Gennrich,

Spanke, and Handschin; and the theory of Celtic origin advocated by Aubry and Jeanroy and generally accepted by

later French scholars. Arguments for the German theory rest largely on similarities of musical and poetic form.

Brief description of the sequence and its histor­ ical development may be found in Gustave Reese, Music in the Middle Ages (New York, 1940), pp. 185-90, and in Willi Apel, Gregorian Chant (Bloomington, 1958), pp. 442- 64. ^Hans Spanke, "Sequenx und Lai," Studi Medieval. XI (1958), 12-68. 5 " Jacques Handschin, Uber Estampie und Sequenz," Zeitschrift für Musikwissenschaft. XII (1929), 1 and XIII. (1930), 113. ^Friedrich Gennrich, "Der Sprung ins Mittelalter," Zeitschrift für romanische Philologie, LIX (1939), 207-40. 7 Alfred Jeanroy, Louis Brandin, and Pierre Aubry, Lais et descorts lai du Xllle siècle (Paris, 1901), p p . xv-xx. ^Ibid.. pp. xx-33i. 227

The theory of Celtic origin, defended by Jeanroy and others, rests on studies of texts and subjects drawn from Celtic traditions. In his thorough study on the

lai. Maillard states that sequence and lai are derived

from Latin poetry. The origin of both lai and sequence

can possibly be traced through a deep study of the evo- 9 lution of Latin poetry. But, although Maillard believes

that lai is derived from Latin poetry, he states that

Celtic tradition is the immediate origin of this type of

poetry. He explains how Celtic countries, preserved from

Barbarian invasions, were the strongest bastion of Latin

culture during the "dark centuries." In addition, he

points out that the term lai is found in Irish manuscripts

as early as the ninth century.In spite of such posi­

tive statements, however, one may wonder, along with

Baum, if Celtic origin would have been so firmly supported

had scholars begun their research with the troubadours'

use of the word lai.

One may wonder if, by first studying the use of the word lai in the field of Provençal literature, one would have stopped at the hypothesis of a Celtic origin of the word; if

9 ' Jean Maillard, Evolution et esthetique du lai lyrique. Des origines à~Ta fin du XIVe siècle (Paris. 1961), p. 13 l°Ibid.. p. 17. 228

in this case, one would have sought the origin of the lyrical and narrative lai in Brittany. • •

One may also wonder about the Celtic origin of the melodies. While some lais may possibly have been based on older Celtic melodies, others clearly were not. 12 Thibaut's lai— cited as an example of the French lai— has a melody based, in part, on the formula of the First

Psalm Tone of the Church.

Poetic Structure of the Lai

In the thirteenth century the lai was a lyrical poem, secular as well as religious. In structure and

length it was not as restricted as the courtly songs.

Its form became standardized to some degree only in the

fourteenth-century lais of Machaut. The late twelfth-

and thirteenth-century lais contain four to twenty-three

stanzas of unequal length, generally about twenty lines

each. Maillard notes that some stanzas are much longer;

the fifty-three line stanza of Gautier de Coinci's

11 Richard Baum, "Les troubadours et les lais." çp. 43-44. "On peut se demander si, en commençant par etudier l'emploi du mot lai dans le domaine de la littérature provençale, on se serait arrêté à l'hypo­ thèse d'une origine celtique du mot, si, dans ce cas, on aurait cherché l'origine du lai lyrique et du lai narratif du côté des Bretons. ..." 12 Armand Machabey, Guillaume de Machaut, I (Paris, 1901), 101. "Thus was born the true French lai. an incomplete example of which is found in the works of the King of Navarre," quoted from Histoire Littéraire de la France. XXIII (1876), 514. 229

13 Flours de Glais is an example* Individual lines contain from two to thirteen syllables with a strong emphasis on hepta- and octosyllabic lines. New stanzas are usually indicated by new rhymes, but this is not always the case, and rhymes sometimes change- abruptly in the course of the stanza or at the end. In his extensive and detailed study of troubadour and trouvère lais. Maillard first traces their origin which he assigns to Celtic traditions and then discusses the different kinds of lais. This dis­ cussion is based upon Spanke's classification of the lais in five not very well defined groups that progressively move further away from the principle of the sequence with double cursus. which he regards as the origin of the lai.

The only lai in Spanke's last group is Thibaut's Commen­ cerai / A fere un lai. It enjoys this unique position because neither the poetry nor the music follows the

structural patterns found in other lais. In order to

facilitate study of the poetic and musical forms, the

complete text of Thibaut's lai is given here.

A Commencerai A fere un lai De la meilleur. A'Ferment m'esmay Que trop par ai Fet de dolour. Dont mi chant torrent a plour, B Mere Virge savouree. Se vous fetes demouree

13 Maillard, Evolution, pp. 68-69. 230

De prier le haut Seigneur, 10 Bien doi avoir grant paour Du deable, du Felon, Qui en la noire prison. Nous veut mener. Dont nus ne puet eschaper; 15 C Et j'ai forfet, douce Dame, A perdre le cors et l'ame. Se ne m'aidiez.

2. A Douz Dieus, aiez Merci de mes vils pechiez! 20 B Ou sera merci trouvée, S'ele est de vous refusée. Qui tant valez? C Sire, droiture oubliez Et destendez vostre corde, 25 Si vaigne miséricorde Pour nous aidiez ! D Nous n'avons de droit mestier; Quant seur touz estes puissanz. Bien devez de voz serganz 30 Avoir merci. E Biaus, douz Sire, je vous pri Ne me metez en oubli! F Se pitié ne vaint venjance. Dont serons nous sanz doutance 35 Trop mal mené.

3. A Dame, plaine de bonté, Vostre douz mot savouré Ne soient pas oublié! Priez pour nous! 40 B James ne serons rescous. Se ne le sommes par vous, De voir le sai. C Ci lesserai* Et Dieus nous doint sanz délai 45 Avoir son secours verai!

From the tone of the poetry, one can assume that

Commencerai / A fere un lai was written late in Thibaut's life, probably in 1248 when he was on a pilgrimage to

Rome. The poem contains forty-six lines of four and seven syllables. In his metrical scheme (given below). 231

WallenskOld groups lines according to content and sen-

;ructure , but he does not divide 14 stanzas

Lines

1-3 4a 4a 4b

4-7 4a 4a 4b 7b

8-15 7c' 7c' 7b 7b 7d 7d 4e 7e

16-18 It' It' 4g

19-20 4g 7g

21-23 7c' 7c' 4h

24-27 7h 7i' 7i'' 45

28-31 7j 7k 7k 41

32-33 71 71

34-36 7m' 7m ' 4n

37-40 In 7n 7n 4o

41-43 7o 7o 4a

44-46 4a 7a 7a

WallenskOld mentions that, in their publication of Thibaut's lai. Jeanroy, Brandin, and Aubry made some

changes in the readings of the manuscripts which preserve

the lai. In Jeanroy's reconstruction of the text, lines

19 and 20, Douz Dieus. aiez / Merci de mes vil pechiez.

are reduced to one line, Douz Dieus de mes vil pechiez.

^^WallenskOld, Les chansons, p. 215. 232

Line 32, Beaus douz Sires, je vous prie, is omitted, but to obtain a regular pattern, he later assumes that

a seven-syllable line is missing between lines 42 and

43. He represents the seven syllables by periods but

no music is added. He also assumes that three syllables

are missing in the middle of line 44. The metrical

scheme of the lai, as reconstructed by Jeanroy, begins

with six lines of four syllables followed by seven lines

of seven syllables. He arranges the remainder of the

poem in eight groups of four lines, the first with four

syllables, the last three with seven. It is obvious

that all Jeanroy's modifications have been made to

produce the regular pattern shown below.

Lines

1-6 4a 4a 4b 4a 4b

7-13 7b ■ 7 c ’ 7c' 7b 7b Id Id

14-17 4e 7e If' 7f '

18-21 4g 7g 7c ' 7c'

22-25 4h 7h 7i' 7i'

26-29 4j 7j 7k 7k

30-33 41 71 7m' 7m'

34-37 4n 7n 7n 7n

38-41 4o 7o 7o (7o)

42-45 4p 7p 7p 7p

15Jeanroy, Lais et descorts. p. 26. 233

Discussing Jeanroy's modification, WallenskOld points out that neither the musical nor the poetic struc­

ture of the lai calls for the regularity imposed by

these scholarsAt least Jeanroy and Aubry did not

add words or music to support their reconstruction of

the form.

Considering Thibaut's custom of building stanzas

around an idea or feeling, and taking into account the

content of the poem. Commencerai / A fere un lai, may be

divided into three parts or stanzas (see text above).

The first, lines 1-18, is addressed to the Virgin Mary;

the second, lines 18-36, to God; and the last, lines 37-

46, again to the Virgin Mary. The first two stanzas

contain eighteen lines each, but the third is shorter—

ten lines. Each stanza ends with a new rhyme, which is

the same as those of the first two or three lines of the

next stanza.

The first stanza may be further subdivided into

three groups.

1 1-7 4a 4a 4b 4a 4a 4b 7b

2 8-15 7c' 7 c ’ 7b 7b 7d 7d 4e 7e

3 16-18 7f' 7f' 4g

Except for lines 3 and 18, the rhymes of the stanza are all

doubled: aa, bb, etc. The new rhyme at the end, anti­

cipates the next stanza.

^^WallenskOld, Les chansons. p. 215. 234

According to the grammatical structure and the content of the text, the second stanza may be divided into six groups:

1 19-20 4g 7g

2 21-23 7c' 7c ' 4h

3 24-27 7h 7i' 7i' 4j

4 28-31 7j 7k 7k 41

5 32-33 71 71

6 34-36 7m' 7m' 4n

Except for line 19, four syllables, the schemes of the first two and the last two groups are identical, with two double rhymes and a new rhyme for the last line of each pair. The two inner groups 3 and 4 are identical in structure but it should be noted that the doubled rhymes now link one subdivision to the next. This linking con­ tinues in the third stanza, which is divided into three groups :

1 37-40 7n 7n 7n 4o

2 41-43 7o 7o 4a

3 44-46 4a 7a 7a

In this third stanza, rhymes that have been doubled through­ out the poem are tripled for the first six lines and quad­ rupled for the last four lines, which return to the opening rhyme of the poem. In vhis way Thibaut has srowed down the tempo and has given added strength to the conclusion of the lai. 235

Except for the division into three stanzas, the above analysis corresponds to the scheme given by Wallens­ kOld, which is based upon the content and sentence struc­ ture of the poem. WallenskOld does not discuss his grouping of the lines, but he gives the text as it appears in the manuscripts.^^

Musical Analysis of the Lai

Several scholars at various times have attempted musical analyses of Thibaut's lai: but, in spite of all the work done, a definite conclusion has never been reached.

On the contrary, each of these scholars introduces a differ­ ent point of view and arrives at a different conclusion.

Spanke divides the lai into ten fragments of which only the first is repeated (Example 6). His analysis omits verse 19, Douz Dieus. aiez. and verse 32, Ne me metez en oubli. Spanke does not explain why these verses 18 are missing. But apparently he left them out to estab­ lish regular groups of four lines in the middle of the poem.

A 1-3 4a 4a 4b

A' 4-6 4a 4a 4b

B 7-13 7b 7c' 7c' 7b 7b 7d 7d

C 14-17 4e 7e 7f' 7f'

l^Ibid. . p. 216. IB Spanke, "Seguenze. und Lai." pp. 63-64. 236

D 18-21 4g 7g 7c' 7c'

E 22-25 4h 7h 7i' 7i'

F 26-29 4j 7j 7k 7k

G 30-33 41 71 7m' 7m'

H 34-37 4n 7n 7n 7n

I 38-40 40 7o 7o

K 41-44 4p 4p 7p 7p

Discussing the irregular structure of the lai. Spanke states that he does not understand why Thibaut called it a lai. Trying to explain the structure, he suggests:

A simple, perhaps correct, but somewhat cheap explanation could be that each frag­ ment of the melody was repeated by an instru- ■ ment. Then, Thibaut, unconsciously or even consciously, would have adopted the presenta­ tion that changes a sequence with no repeti­ tion to a sequence with repetition. Or else, the composer dropped the sequence and did not retain the characteristic double versicles— perhaps accepting— that the composer was not serious about calling the piece lai (but the word rhymes). The decision is difficult.19

Spanke, apparently, neither accepts nor classifies Commen­ cerai / A fere un lai as a lai: he, obviously, prefers to

Ibid. "Eine- einfache, vielleicht richtige, aber etwas wohlfeile ErklSrung wâre die Annahme, dass nach jedem Abschnitt dessen Melodie instrumental wieder- holt ware; dann hatte Thibaut, bewusst oder unbewusst, auf der Vortragsart zurtlckgegriffen, die aus einer repe- titionslosen Sequenz eine repetierende machte. Oder liess ihn sein Komponist im Stich, und hielt sich nicht and die charakterisierende Versicherung des zweiten Verses,— etwa in der Annahme, dass der Verfasser ('lai' steht in ReimI) selbst seine Aussage nicht recht ernst genommen habe? Die Entscheidung fâllt schwer." 237 assume that Thibaut did not have serious intentions about the name he gave to his song.

The musical text published by Aubry is based on

Jeanroy's corrected transcription of Thibaut's poem. The melody is taken from the Mt manuscript, but the obvious 20 scribal errors appearing in Mt have not been corrected.

As in Mt, the notation is not measured but Aubry has written all single notes with stems. The seven-syllable line after verse 42 and the three syllables assumed to be missing in the middle of line 44 are left blank in Aubry's transcription of the melody.

In 1961 Maillard also analyzed and published

Thibaut's lai. He commented that, in spite of Thibaut's familiarity with the difficulties of versification, the structure of the lai seems hampered by the author's lack 21 of technique.

A thorough examination shows, however, a concern for the form whose practical realiza­ tion was impeded by a lack of technique of the author. One would think of a comparison with the lais of Charles d'Anjou, but more than the King of two Sicilies, the King of Navarre was familiar with the secrets of versification. 22

20 Scribal errors appearing in Mt: line 23 is missing; a change of clef to C on the third line is missing at the beginning of line 36 (staff 20 in Mt) until syllable 5, line 37. These errors are corrected in Example 5. ^^Maillard, Evolution et esthétique du lai lyrique. pp. 296-97. ^^Ibid.. p. 277. "Un examen attentif montre cependant un souci de la forme dont la réalisation 238

According to Maillard, the lai is divided into four stanzas. In each stanza the small letters indicating rhymes begin with a, usually for each group of lines.

In general, Maillard indicates the melodic organization in the same way. (Capital letters are used here instead of the Greek letters in Maillard's diagram.) In lines

14 to 17, however. Maillard indicates melodic relation- ships with lines 8 to 13 as he also does with repeated material in stanza 4.

I 1-7 ^4a ®4a Ccb ^4a ®4a ^4b °7b

II 8-13 ^ a ®7a ^7b °7b A7C »7c

[hi]- 14-17 ^4a ^7a ^7b =7b

18-22 &4a ®4a S a °7c S c

23-26 &4a ^7a ^7d S d

27-30 A'4a ^7a S e '^7a

31-35 ^4a ^7a S a S b S b

IV 36-42 =4b' ®7b S b

43-46 ®4c ^4c S c S c

pratique a été entravée par suite du ]manque de technique de 1'auteur. On songerait à une comparaison avec les lais de Charles d'Anjou^ mais plus que le Roi des Deux Siciles, le Roi de Navarre était rompu aux arcanes de la versifica­ tion." 239

Discussing the melody of the lai. Maillard writes: "The musical text of this lai is given by the

single manuscript B.N. fr. 844; the B.N. fr. 12.615 23 shows staves without music." Maillard does not men­

tion the 0 and V manuscripts both of which preserve the

melody; He transcribes the lai in 3/4 meter, but not

consistently in a rhythmic mode and points out that "the

notation— -punctum virga, a few melismas— is apparently 24 measured." He explains that an exact transcription

of the rhythmic pattern leads to a senseless prosody.

In order to adjust text and melody he makes a few changes 25 that seem "unquestionable" to him.

It is difficult to understand why Maillard states

that the notation in Mt is measured. Some single notes

do seem to. have stems but there is no systematic differ­

entiation between punctum and virga. They do not appear

in regular rhythmic patterns, and the scribe probably did

not intend to indicate measured note values. It is cur­

ious that Maillard does not even mention the Cange manu­

script (O) which presents the melody in precisely

measured notation in the second rhythmic mode.

Maillard, Evolution, p. 297. "Le texte musical est donné par le seul manuscript B.N. fr. 844; le B.N. fr. 12.615 présente des portées dépourvues de notes." Fr, 844 is the Mt manuscript and 12.615 is V. ^^"la notation— punctum, virga, quelques melismes- est apparemment mesurée." ^^Maillard, Evolution, p. 297. 240

The analysis of Commencerai / A fere un lai presented■here is based upon the text and music of the 26 Mt manuscript. The manuscripts 0 and V, in which the text and the melody of the lai are also preserved, have several B-flats; Mt has no accidentals. The musical structure of the lai corresponds to the poetic structure of three stanzas as described above. Like the text, the melody of each stanza is divided into groups, or phrases, and each phrase is divided into melodic fragments which correspond to the lines of the poem as illustrated on page 241.

The first stanza is in the Dorian mode on d and appears to be freely based on the formula of the First

Psalm Tone (see Example 5 on page 245). Each long phrase ends on the final or confinalis of the mode, and many fragments correspond to one of the elements of the First

Tone, namely Initium. Tenor. and Terminatio, either orna­ mented or in its original form. The formula of the First

Tone is given in Example 1.

2 6 Line 23 and its music are omitted in Mt and are taken from the Cange manuscripts, and a clef is added in the middle of the twentieth staff of the lai. that is at the beginning of line 36. 241

Stanza I

Group

AAB C A BC D I 2 3 4 5 6 7

BE F E: F^ 8 9 10 11 12 13 14 15 J2. 2 C EF G 16 17 18

Stanza II

Group

AHI 19 20

B ' J K c: 21 22 23

C j: LM 24 25 26 27

DN Ll M 28 29 30 31

E 32 33

F l 2 0 P 34 35 36

Stanza III

Group

A F^ Q R 37 38 39 40

B ST 41 42 43

C U F^ I^ 44 45 46 242

Example 1 iimti,T*otf/' Q*x , Tf*#r TprrMin&L'o A — . - . '. : ; (I).;

- -.. . , T<^Ml.KT6.Ln .

..... — - ■ . - " ^ , _ : ••* •

The first stanza is divided into three groups of seven, eight, and three lines, respectively.

1 A B C l' A B C D 1 2 3 4 5 6 7

2 E F d " d 2 2 * E^ F^ 8 9 10 1 1 . 12 13 14 15

3 E^ G 16 17 18

consists of two melodic phrases. The containing three elements (1-3), is based upon the

Initium (A), an extension of the range with a return to the Tenor (B) and the Terminatio on a. (C). The second phrase repeats the first and continues with a variation 27 of the ending on 2 (Example 2).

Example 2

A ______

-•-5- $l.M If

•p""------*-j- PI pjf jV Jone. I- : ------— *■

27 In the musical analysis of the lai. numbers represent lines and letters indicate musical fragments; e.g., E 8 : element E, musical fragment corresponding to line 8. 243

The first half of Group 2 consists of two phrases, both of which include two elements (8-9 and 10-11). The first element, E 8 , contains material from A and B; the

second, F 9, has material from B and C. The melody of

lines 10 and 11 contains cadential material similar to

that in D 7. The four elements in the first half of

Group 2 are repeated in lines 12-15 with slight modifica­

tions. The varied repeat of E^ 8 and F 9 in E^ 12 and

F^ 13 and their relation to the opening three elements

of the lai are shown in Example 3.

Example 3

j B g F 4______

j a ' . ± v . ______^ _ V ______D______ft______&-

The melody of Group 3 consists of three elements 2 (16-18). The first, E 16, is composed of material from

A and B; F^ 17 has material from B and then cadences on

3^. The melody of G 18 ends the stanza on the confinalis

of the mode and provided a transition to the higher range 28 of the Lydian mode of the second stanza.

28 The melody of the entire stanza appears in Example 5 on page 245. 244

Example 4

g": 16______F* /? ♦ $ -S______B

The second stanza consists of six groups of two to four lines, as illustrated below:

1 H . I 19 20

2 JK 21 22 23

3 LM 24 25 26 27

4 N j3 M 28 29 30 31 _1 4 5 N J 32 33

6 l 2 0 P 34 35 36

The melody of this stanza is in the Lydian mode on Group 1 (19-30) starts and ends on the Tenor of the mode, and both elements, H 19 and I 20, lie in the upper tetrachord (Example 6). This first phrase not only introduces the melody of the second stanza but it also creates a link, in range and modality, between the first two stanzas of the lai. 245

Example 5

J V''Y----- ______.Fit*------— ------

■ ■ I ■ — - — - I r « . — V ... ^ I I W i- ■ ■■ i . W ■ ■ ■■ i V« ^ ^ __ m. » #»" ' - — - — - T >'■*( î-y M

f.«f "Tone

4-t------Kf

f»Vs^ 10nc :rr.— #rrp_

H ' ^ 7 : 3 '77:' finr Tone,

JJiL. rv— ;;-r"—13. hi

(%rct - . P r . ~ lont-

Ç^av.ïo- ir I '1

_____ ^ 11. _ li

Js-

, ?;. 31 *— 1 3» - _ V - -/(••• ••■• • f— — - ^ ...... • # - - f ^ .... .-V.-^-*'» - — •- - yM .. — » y.. ..». , — ... . / . •^... .. —. . --• -—...... ^ ■ — — 246

Example 5— Continued

-i-iî , , ______

S\ay\z.oL I3T tt V# ' ^ £ E S E

♦ll. 1/2. 43 f

r:#r 247

Example 6

rt 11______. y j-o ^

Group 2 contains three lines (21-23). The melodic element J 21 is based upon H 19 and I 20; the second element, K 22, uses material from E 8 or 12; the third element, 23, is very similar to C 3. All three elements end on the third degree of the mode

(Example 7).

Example 7

\< 1% f#— ~— ± j # #

Group 3 contains four elements (24-27). The first two start on the Tenor of the Lydian mode and 1 the last two start and end on the final. The first, J 2 24, extends with a cadence on c^’ ; the second, J .25, also contains material from H 19 and I 20 (Example 8 ).

The third element, L 26, is a descending scale f '-f with ornamentation of the third degree of the mode. The cadential formula on the final of the mode (M 27) trans­ poses the cadence of I 20 down a fifth. 248

Example 8 I W'9 V I-I— *— * ■ a- - - * , ' »...

Group 4 contains four elements (28-31); the melodic line is very similar to that of Group 3. The first element,

N 28, takes material from 24, however, N 28 starts on the final of the mode while 24 starts on the Tenor. 3 2 The second element, J 29, is a modification of J 25;

the third, 30, is a variation of L 26, and the fourth,

M 31, is identical to M 27, but with the ligature on the

second syllable. (See Example 5, page 245.)

Group 5 contains two elements (32-33) which are

almost an exact repetition of N 28 and 29 of Group 4

(Example 9).

Example 9

, , . * -J.- ■ ■ » — » — — —

Group 6 consists of three elements (34-36). The 7 1 melodic line of L 34 is similar to L 26 and L 30. But 2 L 34 ends on the third degree of the mode. The second 249 element, 0 35, consists of new material: a stepwise, ascending sixth (b-q*) followed by a stepwise descending third to je' . The last element of the phrase, P 36, ends on the Tenor of the Lydian mode in Mt, but in manuscripts

0 and V the phrase ends on d' (Example 10). Since the skip of fifth in Mt is the only one in the melody, one could almost assume a sc~ibal error in Mt. Furthermore, the d' ending would close the stanza, like the first, with an incomplete and transitional cadence that empha­

sizes the beginning of the next stanza.

Example 10

P 36 P 36 CV) > A — ... ■> # —

The third and final sranza contains three groups of

four, three, and three lines, respectively.

1 p3 Q R 37 38 39 40

2 S T t1 41 42 43

3 U F^ I 44 45 46

Groups 1 and 2 seem to 3 1 on £. The first element, L 37, is related to L 30. 3 2 The second element, F 38, has material from F 17; all

four of these phrases end on £ (Example 11). The third 250 fragment, Q 39, consists of new material and still seems to be Mixolydian. R 40 ends the phrase with a cadence on

in Mt and V, and £ in 0.

Example 11

ii-Bi ...

The first element of Group 2, S 41, moves within the third g-b. and the second element, T 42, within the fifth q-d*. This element and the short concluding element,

T^ 43, end on the third of the mode (Example 12).

Example 12

T. [,2. ______r \ y

I

Group 3 returns to the Lydian mode on The melody consists of a long phrase of three fragments built within the octave of the mode f-f'. The first element, 4 U 44, ends on the Tenor c^'. The second, F 45, contains material from 13. The last fragment 46 is similar to I 20 transposed a fifth lower (Example 13). 251

Example 13 IF^»s-______i' UÇ * f * |3______X. I.» P* * ... ^

As so often happens in 0, the end of the melody has been modified to end on and the use of both B-flat and E-flat gives the effect of the transposed Dorian mode. In Mt and

V, however, the melody of the lai ends with a cadence on the final of the Lydian mode on JE. In this version, it is interesting to note the last phrase of the melody is also related to the melodic line of fragments 29-31 in

Stanza II. Both phrases end with the same cadential pattern (Example 14).

Example 14

Although the last two stanzas of the lai are written in a different mode than the first, Thibaut's repetition of melodic formulas, either varied or unchanged, gives unity and stylistic uniformity to the melody as a whole. The occasional repetition of complete phrases 252 also shows that he was well aware of the more usual ways of constructing the melody of a lai.

Conclusion

As mentioned above, Commencerai / A fere un lai

clearly follows Thibaut's technique of writing each

stanza around a particular idea. Although there is no

interruption in text or music, the three stanzas are .

structurally well defined. The first stanza, addressed

to the Virgin Mary, ends on the Tenor of the first Tone

with a short transitional fragment. The second stanza,

addressed to God, has contrasting material in the Lydian

mode and ends with a modulation to Mixolydian on The

Lydian mode then returns at the end of the third stanza.

The melody of the lai is based in part on a

number of formulas, which are grouped according to the

poetic structure in long phrases containing three or

four elements of four or seven syllables each. Although

the lai does not have the regular pattern desired by

Spanke, it shows a well-organized structure based upon

the repetition of formulas. Three phrases out of four­

teen are repeated; ten are built on formulas; one only

(phrase B stanza III) contains new material in a differ­

ent mode. The structure of the melody may be diagrammed

as follows. 253

Stanza I A A B B

II D E F G H

IIIIJ K

One should not try to find a regular structure in Thibaut's lai. because the thirteenth-century lai did not yet follow structural procedures that gave it a stand­ ardized form. Its textual and melodic structures were not restricted as were those of the chanson: its form and length were free. However, if the melody of Thibaut's lai seems to unfold as freely as a Gregorian chant, it has a well-organized structure. If one assumes that Thibaut wrote his lai in the trouvère tradition of courtly poetry, as he did his chansons. it is only to be expected that his melody and the formulas that appear within it should reveal the influence of the music of the Church.

Spanke, who analyzes and discusses the lai. does not understand why Thibaut called it a lai. As indicated above, the thirteenth-century lai did not have to conform to a certain structure or a particular length. On the contrary, the lai was a free, new genre of poetry which

opposed the regular stanzaic structure of the chanson.

If Spanke had not skipped two lines in his analysis and

if he had not been searching for the regular structure of

the sequence, he would have found the lai easier to under­

stand. Since each line corresponds to a fragment of a

long phrase, the omission of two lines upsets and 254 unbalances the entire structure. Furthermore, melody and text fit perfectly.

Jeanroy and Aubry, who corrected the text, made the same error. These scholars forgot that Thibaut was an accomplished and talented poet. They were following the scholarly tradition of their time, namely to establish what they believed to be the original form of the poem.

Jeanroy, as well as Spanke, was trying as best as he could to make Thibaut's lai correspond to the regular structure of other lais. WallenskOld, who knows Thibaut best, writes about Jeanroy's corrections: "If we do not admit the corrections in our text, it is because the metrical and musical structure of the lai does not call for the 29 kind of regularity wanted by Mr. Jeanroy."

Maillard recognizes that the lai presents a few problems with uncertain solutions.He transcribes the melody in a measured notation but makes a few "unques­ tionable" changes. He also divides the lai into four stanzas, which fit neither the text nor the music. He begins the third stanza, for example, with verse 14 although the end of the poetic thought falls at the end of verse 16.

29 WallenskOld, Les chansons, p. 215: "Si . . . nous ne les admettons pas dans notre text, c'est que la structure métrique et musicale d'un lai n'exige pas l'espèce de régularité visée par M. Jeanroy." ^^Maillard, Evolution. p. 296. 255

. Except for WallenskOld, none of the scholars who discuss Thibaut's lai wants to accept it as it is: music and poetry by one of the greatest trouvères of the thirteenth century. WallenskOld is right when he refuses Jeanroy's corrections. Neither the poetic nor the musical structure of the lai requires the regularity of the stanzaic chanson. The poetic and musical free­ dom of form, length, and structure of the lai probably attracted Thibaut. Furthermore, it should not be for­ gotten that Thibaut presumably wrote his lai near the end of his life when he was in Rome on pilgrimage in

1248. The religious atmosphere in which he found himself at that time may help to explain the strong influence of the chant on the melody. CHAPTER X

CONCLUSION

Long before Thibaut IV was born, the cult of the

Lady had been nourished and courtly songs had been written at the Court of Champagne under the patronage of Marie,

Comtesse of Champagne. Chretien de Troyes and Gace Brule had already composed romances and songs under Marie's patronage when her grandson Thibaut was born in 1201.

Thibaut belonged to the generation of trouvères, most of whom were members of the nobility, but he also had friends among the first bourgeois trouvères of Arras.

His reputation was great, both in his time and in later periods, and he is rightly considered one of the most important trouvères of the thirteenth century. His fame was due neither to his rank nor to his ancestors, Marie of Champagne and William of Aquitain.

Among the fourteen manuscripts in which Thibaut's melodies are preserved, Mt is certainly the closest to the original source. According to a chronicle of the time,

Thibaut had chansons written on the walls of his castle at

Provins, and Mt the chansonnier devoted to Thibaut's

256 257 chansons ^ could have been copied at Provins under Thibaut's direct supervision. Later the chansonnier was inserted in the manuscript of Charles d'Anjou, king of Sicily.

Most of the other manuscript versions of his melodies are closely related to that in Mt. Although variants may have been introduced in oral and written transmission, only a few chansons in a few manuscripts are provided with different melodies. Therefore, we can assume that we know the melodies Thibaut composed in approximately their original form. This similarity may be seen by comparing the different manuscript versions in Volume II.

Although Thibaut does not depart from the usual subject matter and the common-place words of courtly vocabulary, he does demonstrate his social rank and per­ sonality in his attitude towards the Lady of his songs.

He is a prince and, when he wants a favor, he does not beg the Lady. He rather tries to arouse her compassion or soften her heart. Because of his background and culture, his poetry is enriched by allusions to literary works, such as, the Roman de la Rose, and by his use of metaphors, allegoric characters, and comparisons that give it a touch of preciosity. The chanson "Ausi comme

Ünicorne." quoted by Grocheo as an example of Cantus

coronatus. is cited by Bray as one of the best examples

of the preciosity of the medieval period. 258

Thibaut respects the tradition of courtly love and expresses, himself in the most conventional form. He draws on the common musical and poetic vocabulary of the

trouvères, and he often uses the formal techniques of

the troubadours: stanzas cobias doblas. unisonans. and

capfinidas. His originality lies in the choice of words,

the ingenuity of rhythms, and the diversity of rhymes.

The same remarks about mastery and traditional

elements can be made about Thibaut's music. Although

his melodies show a great diversity of patterns, they are

mostly written within the normal chanson form. From the

kinds of variants found in the first section of the form

and the contrasting devices or formulas introduced at the

beginning of the cauda. it is clear that Thibaut wanted

two distinct sections. The first, composed of two musical

phrases exactly repeated, usually ends with a cadence on

the final of the mode. The second, starting with contrast­

ing, more elaborate elements, generally returns to the

mode of the beginning. Melodies in vers form show a

different writing technique. There is no division into

contrasting sections and no standard pattern of phrase

repetitions. Instead phrases are linked by melodic

formulas, varied repetition of material, and by returns

to the same prominent notes. A few melodies seem to begin

in one mode and end in another; in others the modal feeling

is unstable. 259

The most remarkable aspect of Thibaut's chansons is the close relationship between music and poetry. Text and melody are written for each other and cannot be separated without losing power and value. The musical form as a whole reflects the poetic form and strengthens the literary effect desired by the poet. Melodies in chanson form, for example, are always written for poems with abab rhymes in the frons. while melodies in vers form fit poems with abba rhymes in the frons. Often individual melodic lines closely follow the words and their meaning. In Chanson XXXI. for example, melodic ornaments coincide with expressive words that are placed on the same syllables of the same lines in each stanza.

In almost all manuscripts the notation is measured

and the melodies have no regular meter. Instead, their rhythmic patterns must change according to the rhythm and meaning of the words, their importance in the phrase, and

their poetic value. A regular and rigid metrical pattern

would destroy the flexibility of the text and its. inter­

pretation. Each line has its own dynamic value, each

word its own importance, and accents vary from line to

line. Therefore, a free rhythmic declamation of the text,

with a melody to emphasize the interpretation is, in all

probability, what Thibaut intended.

The best example of the unity of music and text

appears in the lai. The melody cannot easily be analyzed 260 if the text has not been understood and, similarily, the text would not have been misinterpreted if literary scholars had examined the musical structure. Among those who have tried to analyze the music alone, some have divided the poem in such a way that a stanza starts in the middle of a poetic phrase or thought. With attention to the text, this error would not have occurred. In conclusion, Thibaut's melodies and text, as well as those of all trouvères, cannot be separated. The music adds power and expression to.the words and enhances the artis­ tic value of the poem, but neither can stand by itself.

Only through joint study of words and music can the achievement of the trouvères be fully appreciated. APPENDIX A

261 262 CHANSONS D'AMOUR

I. Por conforter ma pesance (Raynaud 237)

Manuscripts; K*, p. 9; M*, fol. 61; N*, fol. 6;

0*, fol. 95; T*, fol. 4; V*, fol* 5'; X*, fol. 14;

Z*, vol. 1'. KMNTX Li rois de Navarre. MOVZ

anonyme.

II. De touz maus n'est plus plesanz (Raynaud 275)

Manuscripts: K*, p. 22'; M*, fol. 65; 0*, fol. 35;

S, fol. 315'; T, fol. 9; V*, fol. 11; X*, fol. 22;

Z*, fol. 6. KTX Li rois de Navarre. MOXVZ anonyme.

III. Je ne voi mes nului qui qieut ne chant (Raynaud 315)

Manuscripts: C, fol. 85'; I, fol, 162; K*, p. 18;

M*, fol. 63'; 0*, fol. 58'; P, fol. 48'; R * , fol.

1'; T*, fol. 7; V*, fol. 9'; X*, fol. 19 ’. KPRTXa

Li rois de Navarre. IMO.V anonyme.

IV. Fueille ne flor ne vaut riens en chantant (Raynaud 324)

Manuscripts: B*, fol. 1'; C, fol. 77; K*, p. 52';

M*, fol. 69; N*, fol. 12; 0*, fol. 53'; R * , fol. 45;

X, fol. 230'; T, fol. 17'; U, fol. 121; V*, vol. 27;

X*, vol. 36; a, fol. 5'. KNTXaC Li rois de .

Navarre. BMOSUV anonyme.

V. Li rosignous chante tant (Raynaud 360)

Manuscripts: B*, fol. 5'; F*, fol. 117; K*, p. 24;

M*, fol. 65'; O*, fol. 70'; Ra*, fol. 72'; R b * , 253

fol. 170; T, fol. 9'; U, fol. 159; V*, fol. 12;

X*, fol. 23'. KTX Li rois de Navarre. BFMORaRbUV

anonyme.

VI. De bone amor vient seance et bonté (Raynaud 407)

Manuscripts: B*, fol. 2'; C, fol. 50; L, fol.

162'; K*, p. 49; M*, fol. 12; Ma*, fol. 12; Mb,

fol. 6 8 '; N*, fol. 13'; G*, fol, 38; P*, fol. 50';

R*, fol. 43'; T*, fol. 17; U, fol. 122; V*, fol.

25; X*, fol. 32; Z * , fol. 7'; a, fol. 6 ; e, fol.

1. KMaNPXaCT Li rois de Navarre. BIMbOUVZe anonyme.

VII. Une dolor enossee (Raynaud 510)

Manuscripts: K * , p. 35'; M * , fol. 69; 0*, fol.

140'; R*, fol. 78; T, fol. 17; V*, vol. 18; X*,

fol. 30'. KTX Li rois de Navarre. MORV anonyme.

VIII. Por mau tens ne por qelee (Raynaud 523)

Manuscripts: K * , p. 19; M * , fol. 64; 0*, fol. 95';

R*, fol. 177'; T, fol. 7'; V*, fol. 10; X*, fol. 20.

KTX Li rois de Navarre. MORV anonyme.

IX. Tant ai amors servies longuement (Raynaud 711)

Manuscripts: A*, fol. 152; B*, fol. 1; C, fol.

229; F*, fol. 104'; K * , p. 47; M * , fol. 74; N,

fol. 13; 0*, fol. 137'; P*, fol. 47; R*, fol. 44';

S, fol. 230; V*, fol. 24; X*, fol. 36'; Z * , fol. 2';

KPXC Li rois de Navarre. ABFMNOSVZ anonyme. 264

X. Douce dame. tout autre pensement (Raynaud 714)

Manuscripts: K*, p. 15; M*, fol. 62'; 0*, fol. 33;

S, fol. 313'; T, fol. 6; V*, fol. 8 ; X*, fol. 17';

Z*, fol. 5'. KX Li rois de Navarre. MÔSTVZ anonyme.

XI. Tuit mi désir et tuit mi grief torment (Raynaud 741)

Manuscripts: B*, fol. 1'; C, fol. 230'; K*,

p. 51';. M*, fol. 10 (the end is missing); Mb*,

fol. 6 6 ; N, fol. 15; 0*, fol. 80'; P*, fol. 50;

R*, fol. 2'; S, fol. 231'; T*, fol. 10'; U,

fol. 119' (stanza I), fol. 120' (stanza IV), fol.

121 (stanzas V, III, II); V*, fol. 26; X*, fol.

33'; Z*, fol. 3'; a, fol. 7; e, fol. 1. KMaNPTXaC

Li rois de Navarre, R Tiebaut roy de Navarre.

BMbOSUVZe anonyme.

XII. De nouviau m'estuet chanter (Raynaud 808)

Manuscripts: K * , p. 20'; M * , fol. 64'; 0*, fol.

34'; S, fol. 315'; T, fol. 8 ; V*, fol. 10; X*,

fol. 21. TKX Li rois de Navarre. MOSV anonyme.

XIII. Nus hons ne puet ami reconforter (Raynaud 884)

Manuscripts: K * , p. 14'; M * , fol. 62'; N * , fol.

8 ' (the end is missing); 0*, fol. 85'; R*, fol.

174; S, fol. 313'; T, fol. 6 ; V*, fol. 7'; X*,

fol. 17. KNTX Li rois de Navarre. MORSV anonyme. 265

XIV.. Tout autres! con fraint nois et yvers (Raynaud 906)

Manuscripts: K*, p. 13; M*, fol. 62; N*, fol. 8;

O*, fol. 132'; S, fol. 313; T, fol. S'; V*, fol.

7; X*, fol. 16; Z*, fol. 5. KNTX Li rois de

Navarre. MOSVZ anonyme.

XV. Amors me fet commencier (Raynaud 1268)

Manuscripts: C, fol. 5; K*, p. 1; M*, fol. 13;

N*, fol. 1; O*, fol. 1; S, fol. 316; T, fol. 2;

V*, fol. 1; X*, fol. 8. KTC Li rois de Navarre.

N Ce sont les chancons que li rois Thiebaut de

Navarre fist. X Ci commencent les chancons le roy

Thiebaut de Navarre. MOSV anonyme.

XVI. En chantant vueil ma dolor descouvrir (Raynaud 1397)

Manuscripts: K*, p. 3'; M*, fol. 59; N*, fol. 2';

0*, fol. 46'; R*, fol. 176'; S, fol. 314'; T, fol.

3; V*, fol. 2; X*, fol. 9 ’; Z*, fol. 1. KNTX

Li rois de Navarre, MORSVZ anonyme.

XVII. Je me cuidoie partir (Raynaud 1440)

Manuscripts: B*, fol. 2; K * , p. 50; Ma*, fol.

10'; Mb*, fol. 68 (the music is written in the

first four verses only); N * , fol. 14; O * , fol. 14;

P*, fol. 5 1 ’; Ra*, fol. 74'; Rb*, fol. 77'; T,

fol. 16'; V*, fol. 25'; X*, fol. 32'; a, fol. 8 .

KMaNPTXa Li rois de Navarre. BMbORaRbV anonyme. 266

XVIII. De ma dame souvenir (Raynaud 1467)

Manuscripts: K* , p. 11; M * , fol. 61'; N * ,

fol. 6 '; 0*, fol. 32'; S, fol. 316'; T, fol. 5;

V*, fol. 6 ; X*, fol. 15; Z*, fol. 4'. KNX

Li rois de Navarre, MOSTVZ anonyme.

XIX. Li douz penser et li douz souvenir (Raynaud 1469)

Manuscripts: K*, p. 21'; M * , fol. 64'; G*,

fol. 70 ; Ra*, fol. 29'; Rb*, fol. 79; T, fol.

8 '; V*, fol. 10'; X*, fol. 21'; a, f o l . 5.

KXa Li rois de Navarre. Ra Monnios, MORbTV

anonyme.

XX. Chanter m'estuet. que ne m'en puis tenir (Raynaud

1476)

Manuscripts: K* , p. 23; M * , fol. 65; 0*, fol.

22'; R*, fol. 78'; S, fol. 312'; T, fol. 9;

V*, fol. 11'; X*, fol. 22'; Z*, fol. 6 '. TKX

Li rois de Navarre, MORSVZ anonyme.

XXI. Tout autresi con l'ente fet venir (Raynaud 1479)

Manuscripts: B* , fol. 4; K*, p. 26'; M*, fol.

75; 0*, fol. 133; R a * , fol. 73'; R b * , fol.

170'; S, fol. 314'; T, fol. 12'; U, fol. 142';

V*, fol. 14; X*, fol. 25. KX Li rois de

Navarre, BMORaRbSTUV anonyme. 267

XXII. A enviz sent mal qui ne l'a apris (Raynaud 1521)

Manuscripts: K*, p. 10; M*, fol. 61; N*, fol,

6 ; O*, fol. 1 ’; R * , fol. 173; T, fol. 4'; V*,

fol. S'; X*, fol. 14; Z*, fol. 4. KNTX

Li rois de Navarre, MORVZ anonyme.

XXIII. Chancon ferai, que talenz m'en est pris (Raynaud

(1596)

Manuscripts: K*, p. 12; M*, fol. 61'; N,

fol. 7; 0*, fol 21'; R * , fol. 175; S, fol. 315;

T, fol. 5; V*, fol. 6 '; X*, fol. 15'. KNTX

Li rois de Navarre. MORSV anonyme.

XXIV. Contre le tens oui devise (Raynaud 1620)

Manuscripts: K*, p. 6; M*, fol. 59'; N*,

fol. 3'; 0*, fol. 21'; S, fol. 316'; T, fol. 3';

V*, fol. 3'; X*, fol. 11. KNTX Li rois de

Navarre. MOSV anonyme.

XXV. Dame. I'en dit que l'en muert bien de joie (Raynaud

1727)

Manuscripts: K * , p. 53'; M*, fol. 76; N * ,

fol. 12' (the end is missing); 0*, fol. 35;

S, fol. 319'; T, fol. 13'; V*, fol. 26'; X*,

fol. 34. KNTX Li rois de Navarre. MOSV anonyme. 268

XXVI. Je ne puis pas bien metre en nonchaloir (Raynaud

1800)

Manuscripts: K*, p. 7'; M * , fol. 60; N * ,

fol. 4'; O*, fol. 58; S, fol. 317'; T, fol. 1;

V*, fol. 4; X*, fol. 12’; a, fol. 10'. KNXa

Li rois de Navarre. MOSTV anonyme.

XXVII. Empereor ne roi n ’ont nul pouoir (Raynaud 1811)

Manuscripts: B*, fol. 4'; K * , p. 25; M * , f o ] .

74'; G*, fol. 47; R * , fol. 43; V*, fol. 13; X*,

fol. 24; Y, fol. 2'. RKX Li rois de Navarre,

BMOVY anonyme.

XXVIII. Por froidure ne por yver felon (Raynaud 1865)

Manuscripts: K*, p. 7; M*, fol. 60; N*, fol. 4;

G*, fol. 94; S, fol. 317; T, fol. 4; V*, fol. 4;

X*, fol. 12. KNTX Li rois de Navarre. MGSV

anonyme.

XXIX. Coustume est bien, quant on tient un prison

(Raynaud 1880)

Manuscripts: B*, fol. 3; K*, p. 48; Ma*, fol.

10; Mb*, fol. 73’; N*, fol. 13; G*, fol. 29;

P*, fol. 48; R*, fol. 39; S, fol. 230; V*,

fol. 2 4 ’; X*, fol. 35'; a, fol. 5 (the beginning

is missing). KMaNPRXa Li rois de Navarre.

BMbGSV anonyme. 269

XXX. Savez por quoi Amors a non amors (Raynaud 2026)

Manuscripts: A*, fol, 152'; B, fol. 5; 0*,

fol. 123; R*, fol. 1; S, fol. 319; a, fol. 9.

Ra Le Roy de Navarre. ABOS anonyme.

XXXI. Les douces dolors (Raynaud 2032)

Manuscripts: K * , p. 32'; M * , fol. 67; 0*,

fol. 71; S, fol. 232'; T, fol. 15'; V*, fol.

17; X*, fol. 29. KTX Li rois de Navarre. MOSV

anonyme.

XXXII. Por ce se d'amer me dueil (Raynaud 996)

Manuscripts: K*, p. 8 '; M*, fol. 60'; N*,

fol. 5; G*, fol. 94'; T, fol. 1'; V*, fol. 4';

X*, fol. 13; a, fol. 11. KNTXa Li rois de

Navarre. MOV anonyme.

XXXIII. Une chancon oncor vueil (Raynaud 1002)

Manuscripts: K * , p. 16'; M * , fol. 63; 0*,

fol. 140; R*, fol. 180'; S, fol. 314; T, fol.

6 '; V*, fol. 8 '; X*, fol. 18. KXT Li rois de

Navarre, MORSV anonyme.

XXXIV. Ausi comme unicorne sui (Raynaud 2075)

Manuscripts: A, fol. 152 (the beginning is

missing); V, fol. 1; (the first 2 stanzas are

missing): C, fol. 9; F*, fol. 131; K*, p. 29;

M * , fol. 75'; 0*, fol. 1; R*, fol. 38'; S, 270

fol. 230'; T, fol. 13'; U, fol. 125'; V*,

fol. 15; X*, fol. 26'; Z*, fol. 2; a, fol. 7’.

KTXa Li rois de Navarre, R Tiebaut roy de

Navarre. ÀBVMOSUVZ anonyme.

XXXV. Qui plus aime plus endure (Raynaud 2095)

Manuscripts: C, fol. 118'; K * , p. 51; M * ,

fol. 76'; N*, fol. 14'; O*, fol. 106'; R * ,

fol. 75; T, fol. 14; V*, fol. 25'; X*, fol. 33.

KNTX Li rois de Navarre. CMORV anonyme.

XXXVI. De grant joie me sui toz esmeuz (Raynaud 2126)

Manuscripts: K * , p. 17; M * , fol. 63; 0*, fol..

33'; R*, fol. 181; S, fol. 314; T, fol. 7; V* ,

fol. 9; X*, fol. 18'. KTX Li rois de Navarre

MORSV anonyme.

JEUX-PARTIS

XXXVII. Baydoyn, il sunt dui amant (Raynaud 294)

Manuscripts: A*, fol. 139'; I, fol. 199';

M, fol. 72'; G*, fol. 15; T, fol. 11'; a,

fol. 137'. T Parture le Roi de Navarre. AIMOa

anonyme.

XXXVIII. Phelipe, je vous demant (Raynaud 334)

Manuscripts: K*, p. 37; M*, fol. 69'; 0*,

fol. 95'; R*, fol. 80'; S, fol. 313; T, 271

fol. 18; V*, fol. 19; X*, fol. 38. KTX l A

rois de Navarre, MORSV anonyme.

XXXIX. Cuens. je vous part un qieu par aatie (Raynaud 1097)

Manuscripts: D, fol. 1 (the beginning is miss­

ing); K*, p. 39'; M*, fol. 70'; 0*, fol. 23';

T, fol. 19'; V*, fol. 20'; X*, fol. 39'. KTX

Li rois de Navarre. MOV anonyme.

XL. Sire, ne me celez mie (Raynaud 1185)

Manuscripts: A*, fol. 137; K*, p. 41; M * ,

fol. 71; N, fol. 9 (the beginning is missing);

0*, fol. 127'; T, fol. 20; V*, fol. 21; X*,

fol. 40'; a, fol. 134'; b, fol. 149'. KTX

Li rois de Navarre. AMOVab anonyme.

XLI. Rois Thiebaut. Sire, en chantant responnez

(Raynaud 943)

Manuscripts: C, fol. 215'; K*, p. 44'; M*,

fol. 72'; N*. fol. 10'; 0*. fol. 126'; V*,

fol. 22'; X*. fol. 43. KNX Li rois de Navarre.

C Li rois Thiebaus de Navaire. MOV anonyme.

XLII. Sire, loez moi a choisir (Raynaud 1393)

Manuscripts: K*, p. 43'; M*, fol. 72; N*,

fol. 10; 0*, fol. 128; V*. fol. 22; X*, Fol. 42.

KNX Li rois de Navarre. MOV anonyme. 272

XLIII. Bons rois Thiebaut. Sire, conseilliez moi (Raynaud

1666)

Manuscripts: A*, fol. 140; I, fol. 200; K*,

p. 42; M*, fol. 71'; N * , fol. 9'; G*, fol. 14';

T, fol. 11; V*, fol. 21'; X*, fol. 41'; a,

fol. 138 KNTX Li rois de Navarre. AIMOVa

anonyme.

DEBATS

XLV. Phelipe. je vous demant (Raynaud 333)

Manuscripts: K*, p. 37'; M*, fol. 70; 0*, fol.

96; R*, fol. 81'; S, fol. 230'; T, fol. 18';

V*, fol. 19'; X*, fol. 38'. KTX Li rois de

Navarre. MORSV anonyme.

XLVI. Dame. merci ! Une riens vos demant (Raynaud 335)

Manuscripts: A*, fol. 139; C, fol. 51'; K*,

p. 33'; M*, fol. 67'; 0*, fol. 37; S, fol. 318';

T, fol. 15'; V*, fol. 17; X*, fol. 37'; a,

fol. 137; b, fol. 169'. KTX Li rois de Navarre.

C Li rois Tiebaus de Naivaire. AMOSVa anonyme.

XLVII. L'autre nuit en mon dormant (Raynaud 339)

Manuscripts: K * , p. 4'; M*, fol. 59; N * ,

fol. 3; 0*, fol. 69'; R * , fol. 176; S, fol.

317; T, fol. 3'; V*, fol. 2'; X*, fol. 10'; Z*,

fol. 1. KNTX Li rois de Navarre. MORSVZ

anonyme. 273

XLVIII. Par Dieu, sire de Champaiqne et de Brie (Raynaud

1111)

Manuscripts: K*, p. 38'; M*, fol. 70; 0*,

fol. 96'; S, fol. 316; T, fol. 19; V*, fol. 20;

X*, vol. 39. KTX Li rois de Navarre. MOSV

anonyme.

XLIX. Robert, veez de Perron (Raynaud 1878)

Manuscripts: K * , fol. 41'; M * , fol. 71';

N*, fol. 9; O*, fol. 127; R*, fol. 179; S,

fol. 375; T, fol. 10'; V*, fol. 21'; X*, fol.

41. KNTX Li rois de Navarre. MORSV anonyme.

PASTOURELLES

L. J'aloie I'autrier errant (Raynaud 342)

Manuscripts: K*, p. 2'; M*, fol. 13' and 59;

N*, fol. 2; 0*, fol. 57'; S, fol. 375'; T,

fol. 2'; V*, fol. 1'; X*, fol. 9. KNX Li rois

de Navarre. MOSTV anonyme.

LI. L'autrier par la matinee (Raynaud 529)

Manuscripts: B*, fol. 7; K*, p. 31; M*,

fol. 66'; T, fol. 14'; V*, fol. 16; X*, fol.

28. KTX Li rois de Navarre. BMV anonyme. 274

CHANSONS DE CROISADE

L U. Seigneurs, sachiez: qui or ne s'en ira (Raynaud 6)

Manuscripts: K*, p. 1'; M*, fol. 13'; N*,

fol. 1'; 0*, fol. 127; S, fol. 316; T, fol. 2';

V*, fol. 2'; X*, fol. 8 '. KNX Li rois de

Navarre. MOSTV anonyme.

LIII. Dame, ensi est g'il m'en convient aler (Raynaud 757)

Manuscripts: K*, p.- 19'; M*, fol. 64; O*,

fol. 34; P, fol. 154'; S, fol. 315; T, fol. 8;

V*, fol. 75 ; X*, fol. 20'. KTX Li rois de

Navarre. MOPSV anonyme.

LIV. Au tens plain de felonnie (Raynaud 1152)

Manuscripts: K * , p. 25'; M * , fol. 74'; 0*,

fol. 2; R*, fol. 182'; T, fol. 12; V*, fol. 13';

X*, fol. 24'. KTX Li rois de Navarre. MORV

anonyme.

SERVENTOIS RELIGIEUX

LV. Deus est ensi conme li pellicanz (Raynaud 273)

Manuscripts: B, fol. 3'; K * , p. 34'; M * ,

fol. 67'; O*, fol. 37; S, fol. 317'; T, fol. 16;

V*, fol. 17'; X*, fol. 29'. KTX Li rois de

Navarre. BMOSV anonyme. 275

CHANSONS A LA VIERGE

LVI. Du très douz non a la Virqe Marie (Raynaud 1181)

Manuscripts: K * , p. 31'; M*, fol. 67; 0*,

fol. 36'; S, fol. 318'; T, fol. 15; V*, fol.

16'; X*, fol. 28'. KTX Li rois de Navarre.

MOSV anonyme.

LVII. Mauves arbres ne puet florir (Raynaud 1410)

Manuscripts: B*, fol. 4'; K*, p. 27'; M*,

fol. 75'; 0*, fol. 81; R a * , fol. 76'; R b * ,

fol. 183'; S, fol. 375; T, fol. 13; V*,

fol. 14'; X*, fol. 25'. TKX Li rois de Navarre.

BMORaRbSV anonyme.

LVIII. De grant travail et de petit esploit (Raynaud 1843)

Manuscripts: K * , p. 29'; 0*, fol 35'; S, fol.

318; T, fol. 14; V*, fol. 15'; X*, fol. 27.

KTX Li rois de Navarre. OSV anonyme.

LAU RELIGIEUX

LIX. Commencerai A fere un lai (Raynaud 84)

Manuscripts: M * , fol. 6 6 ; 0*, fol. 23; T ,

fol. 9'; V*, fol. 12. T Li rois de Navarre.

MOV anonyme. APPENDIX B

276 277

CHANSONS D'AMOUR

I. Pour conforter ma pesance R 237

Five coblas unissonans with one envoi of two verses

a b a b ba+R 7'3 7*3 7 7' 4 A B A B CD E

II. De touz maus n'est nus plesanz R 275

Five coblas doblas with one envoi of three verses

a b a b b a b 7 7 7 7 7 7 7 A B A B' C D E

III. Je ne voi mes nului qui qieut ne chant R 315

Five coblas doblas with one envoi of three verses

a b a b a a b a

10 10' 10 1 0 ' 10 10 10" 10 A B A B C D E F

IV. Fueille ne flor ne vaut riens en chantant R 324

Five coblas unissonans with one envoi of three verses

a b a b b a a b 10 10 10 10 10 10 10 10 AB A' B' CDE F

V. Li rosignous chante tant R 360

Five coblas unissonans with three envois of three, verses each

a b b a c c d 7 7 7 7 10 10 10 A B C. D E F G 278

VI. De bone amor vient seance et bonté R 407

Five coblas doblas 'with one envoi of

a b a b b a a b 10 10 10 10 10 10 10 10 A B A B C D E F

Une dolor enossee R 510

Five coblas doblas with two envois of each

a b b a c c a 7' 5 7 7' 5 7 7' A B C D E C F

Por mau tens ne por qelee R 523

Five coblas doblas with one envoi of refrain

a a a a b a b + R 7' 7' 7' 7' 4 5' 4 3 A A' A''B C D EF

Five coblas doblas with one envoi (

a b a b b a a b 10 1 0 ' 10 1 0 ' 10 ' 10 10 1 0 ' ABABC DE F

Douce dame. tout autre pensement R

Five coblas doblas with one envoi of five verses

a b a b a a b c c 10 10' 10 10' 10 10 4 ’ 7 7 A B A B C D E F G 279

XI. Tuit mi desir et tuit mi grief torment R 741

Five coblas doblas with two envois of three verses each

a b a b b a a 10 10 10 10 10 10 10 A B A B CD E

XII. De nouviau m'estuet chanter R 808

Five coblas doblas with one envoi of four verses

abab acca 7 7 7 7 7 7' 7' 7 ABAB CD EB'

XIII. Nus hons ne puet ami réconforter R 884

Five coblas unissonans with one envoi of three verses, refrain

a b a b c c d + R 10 10 10 10 1 0 ' 1 0 ' 4 10 4 Ao Ac Ao Ac B C D E D

XIV. Tout autresi con fraint nois et yvers R 905

Five coblas doblas with one envoi of four verses

a b a b a b b a 10 1 0 ' 10 1 0 ' 10 1 0 ' 1 0 ' 10 A B AB C D E F

XV. Amors me fet commencier R 1268

Five coblas doblas with one envoi of four verses

abab ccc bccb 7 6 ' 7 6 ’ 6 6 6 6 ' 6 6 6 ' ABAB C D Eo Ec C D Ec 280

XVI. En chantant vueil ma dolor descouvrir R 1397

Five coblas doblas with one envoi of three verses

a b a b a • a b 10 1 0 ' 10 1 0 ' 10 10 10 A B ■ A B CDE

XVII. Je me cuidoie partir R 1440

Five coblas doblas with two envois of three verses each

a b a b b a a a b 7 7 7 7 7 7 7 7 . 7 Ao Ac Ao Ac BCDB E

XVIII. De ma dame souvenir R 1467

Five coblas doblas with one envoi of three verses, refrain

abab a a c +R 7 7 ,7 7 , 777 7 7 A BAS C D E F G

XIX. Li douz penser et li douz souvenir R 1469

Five coblas doblas with one envoi of vour verses

a b b a c c a a 10 10 10 10 1 0 ' 10 ' 10 10 A B A' C DEF G

Chanter m'estuet. que ne m'en puis tenir R 1476

Five coblas doblas with two envois of four vers» each

a b a b c c b c 10 1 0 ' 10 1 0 ' 10 10 10 ' 10 A B A B C D E F 281

XXI. Tout autres! con l'ente fet venir R 1479

Five coblas doblas with one envoi of four verses

a b a b b a c c c c 10 10 10 10 10 10 7 7 7 • 7 A B A B C D B' A' E A' '

A enviz sent mal qui ne l'a apris R 1521

Five coblas doblas with one envoi of four

a b b a c b c a 10 1 0 ' 1 0 ' 10 10 1 0 ' 10 10 ABCD EFGH

XXIII. Chanson ferai, que talenz m'en est pris R 1596

Five coblas doblas with one envoi of three verses, Chanson with refrains

a b a b c c c X +R 10 10 10 10 10' 10' 10' 10 8 6 AB A BCDEF GK

XXIV. Contre le tens qui devise R 1620

Five coblas doblas with one envoi of three verses

abab bbab 7' 7 7' 7 7 7 7' 7 ABAB CDEF

XXV. Dame. I'en dit que l'en muert bien de joie R 1727

Five coblas doblas with one envoi of three verses

abab baa 1 0 ' 10 10 ' 10 10 1 0 ' 10 ' ABAB C D E 282

XXVI. Je ne puis pas .bien metre en nonchaloir R 1800

Five coblas doblas capfinidas with one envoi of two verses

a b b c a c d d 10 10 10 1 0 ' 10 1 0 ' 10 10 A B A' C D E F G

XXVII. Empereor ne roi n ' ont nul pouoir R 1811

Five coblas doblas with two envois of two each

a b a , b b c c 10 10 10 10 10 7' 7' A B A B CDE

XXVIII. Por froidure ne por yver felon R 1865

Five coblas doblas with one envoi of four verses

a b a b c c d e 10 4 10 4 10 10 10 1 0 ' AB A B CD E A'

XXIX. Coustume est bien, quant on tient un prison R 1880

Five coblas doblas with one envoi of three verses

a b a b b a a b 10 10 10 10 10 10 10 10 A B A B CD E F

XXX. Savez por quoi Amors a non amors R 2026

Five coblas doblas with one envoi of four verses

abba c c d d c 10 10 10 10 1 0 ' 1 0 ' 10 10 10 ' ABCD E F G H I 283

XXXI. Les douces dolors R 2032

Five coblas doblas with one envoi of four verses

abab b a a b 5 5 5 5 7 7 7 7 ABAB' Co D E c e

XXXII. Por ce se d'amer me dueil R 996

Five coblas doblas with one envoi of four verses

a b b a c c d d e e 7 7 7 7 7 ' 7' 10 10 10 10 A B A B C P E F G H

XXXIII. Une chancon oncor vueil R 1002

Five coblas doblas with one envoi of three verses

a b a b b. a b 7 7 7 7 7 7 7 ABA B C D E

XXXIV. Ausi comme unicorne sui R 2075

Five coblas doblas with one envoi of three verses

a b b a c c b d d 8 8 8 8 8 8 8 8 8 A B C DE F G H I

XXXV. Qui plus aime plus endure R 2095

Five coblas doblas with two envois of three verses each

abab b a c c a 7' 7 7' 7 7 7 7 7 7' ABAB C D E F G 284

XXXVI. De grant joie me sui toz esmeuz R 2126

Five coblas doblas with one envoi of four verses

a b a b c c d d 10 1 0 ' 10 1 0 ' 10 10 1 0 ' 10 A B A' B . C DE F

JEUX-PARTIS

XXXVII, Baudoyn, il sunt dui amant R 294

Six coblas doblas with two envois of four verses each

a b a b c d c d 8 8 8 8 8 8 8 8 A B A' B CD E F

XXXVIII. No music

XXXIX. Phelipe. je vous demant R 334

Six coblas doblas with two envois of four verses each

a b a b a b a c 7 7 7 7 7 7 7 7' A. B A B C D E F

XL. Cuens. je vous part un qieu par aatie R 1097

Four coblas doblas with two envois of four verses each

a b a b b a b e c c b a b b 10 10 1 0 ' 10 10 10' 10' 3 4 6 10 7' 7 7 A B A B' CDEFGHIJKL 285

XLII. Rois Thiebaut. Sire, en chantant responnez R 943

Six coblas doblas without envoi

a b a b a a c c 10 10 10 10 10 10 10 10 ABAB CDEF

XLIII. Sire, loez moi a choisir R 1393

Six coblas doblas without envoi

abab b c c d d e e 8 8 8 8 8 8 8 8 8 8 8 A B A' B C D E C F G H

XLIV. Bons rois Thiebaut, Sire, conseilliez moi! R 1666

Six coblas doblas with two envois of five verses each

abab bccd d 10 lO'lO 10' 10*10 10 10 10 A B A' B' C D E F G

DEBATS

XLV. No music

XLVI. Phelipe. je vous demant R 333

Six coblas doblas with two envois of two verses each

a b b a a c c d d 7 7 7 7 7 7 3 5 7 A Bo A' Bc C D E F G

XLVII. Dame. merci I Une riens vos demant R 335

Five coblas doblas with one envoi of three verses

a b a b b a b 10 1 0 ' 10 1 0 ' 10 ' 10 1 0 ' ABA B C D E 286

XLVIII. L! autre nuit en mon dormant- R 339

Six coblas doblas with one envoi of three verses

abab a a a b 7 5' 7 5' 7 7 7 5' A B A B CO CC D E

XLIX. Par Dieu, Sire de Champaiqne et de Brie R 1111

Six coblas doblas with two envois of three verses each

a b à b b a b b a 1 0 ’ 10 1 0 ' 10 10 1 0 ' 10 10 10 A B A' B' CO D Co D' Cc

Robert, veez de Perron R 1878

Five couplets with two envois of two verses each

a a abab 7 7 7 7 7 7 A A B C D E

PASTOURELLES

LI. J'aloie I'autrier errant R 342

Five coblas doblas without envoi

abab ababcccb 7 4 76 74767776 A B C C A* B' C D' E F G H

LII. L'autrier par la matinee R 529

Five coblas doblas with one envoi of three verses

abab bccbb c 7' 7 7' 7 7 7 7 7 7 7 ABAB' C D oEFC'DC 287

CHANSONS DE CROISADE

LUI. Seigneurs, sachiez: quo or ne s*en ira R 6

Five coblas doblas with one envoi of three verses

a b a b c c b 10 10 10 10 1 0 ' 1 0 ' 10 A B A B C D E

LIV. Dame, ensi est g'il m'en convient aler R 757

Five coblas doblas with one envoi of four verses

a b a b a a b a 10 1 0 ' 10 1 0 ’ 10 10 1 0 ' 10 A B A B' CDE F

LV. Au tens plain de felonnie R 1152

Five coblas doblas with one envoi of four verses

abba b c c b b 7' 77 7' 78877 A B C D E F C' D' G

SERVENTOIS RELIGIEUX

LVI. Deus est ensi comme li pellicanz R 273

Five coblas doblas with one envoi of four verses

abba c c d d a a 10 10 10 10 10 10 10 10 10 10 A B C D EFGHIJ

CHANSONS A LA VIERGE

LVIT. Du très douz non à la Virge Marie R 1181

Five coblas doblas with one envoi of three verses

a b a b b c c a 1,0 ' 10 10 ' 10 10 10 10 . 10 ' A B A B C D E F 288

LVIII. Mauves arbres ne puet florir R 1410

Five coblas doblas with two envois of four verses each

a b a b b c c d d e e 8 8 8 8 8 8 8 8 8 8 8 A B AB C DE C F G H

LIX. De chanter ne me puis tenir R 1475

Five coblas doblas with one envoi of four verses

a b a b b a a b 8 8 8 8 7 7 7 7 Ao Ac Ao Ac B Co B' Ce

LX. De grant travail et de petit esplpit R 1843

Five coblas doblas with one envoi of three verses

abba b c c b c 10 10 10 10 10 1 0 ' 1 0 ' 10 10 A B C D EFGHI BIBLIOGRAPHY

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297 298

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Volume II,music, contains very small print. Filmed in the best possible way.

UNIVERSITY MICROFILMS THE CHANSONS OF THIBAUT, COUNT OF CHAMPAGNE,

KING OF NAVARRE

Volume II

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Anne-Marie Josephe Artis, M.A.

*****

The Ohio State University

1975

Reading Committee: Approved By

Prof. Herbert S. Livingston

Prof. Norman Phelps

Prof. Richard Hoppin Adviser Department of Music 300

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