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Leonard Cohen the Modern Troubadour

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Leonard Cohen the Modern Troubadour PALACKÝ UNIVERSITY, OLOMOUC FACULTY OF ARTS DEPARTMENT OF ENGLISH AND AMERICAN STUDIES LEONARD COHEN THE MODERN TROUBADOUR DOCTORAL DISSERTATION Author: Mgr. Jiří Měsíc Supervisor: Prof. PhDr. Josef Jařab, CSc. 2016 UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA KATEDRA ANGLISTIKY A AMERIKANISTIKY LEONARD COHEN MODERNÍ TRUBADÚR DIZERTAČNÍ PRÁCE Autor práce: Mgr. Jiří Měsíc Vedoucí práce: Prof. PhDr. Josef Jařab, CSc. 2016 The research and publication of this work have been made possible thanks to the direct support of the Ministry of Education, Youth and Sports of the Czech Republic for specific-purpose university research in the year 2015 at Palacký University Olomouc and thanks to the Institut français of Prague and the French Embassy in Prague which enabled the author to undertake two research stays at the University Paul-Valéry in Montpellier in 2014 and 2015. Zpracování této dizertační práce bylo umožněno díky účelové podpoře na specifický vysokoškolský výzkum udělené roku 2015 Univerzitě Palackého v Olomouci Ministerstvem školství, mládeže a tělovýchovy ČR a díky Francouzskému institutu a Francouzskému velvyslanectví v Praze, které autorovi umožnilo dva výzkumné pobyty na Univerzitě Paul-Valéry v Montpellier v letech 2014 a 2015. ABSTRACT This dissertation thesis arose from thinking about literary tradition as described by the Anglo-American modernists Ezra Pound and T.S. Eliot. In their view, the tradition of European love-lyrics crystallised in the work of the medieval Occitan troubadours who were influenced by the cultural and political milieu of the contemporary Occitanie and whose work reflected the religious influences of Judaism, Christianity and Islam. The main subject of their poetry was the worship of the divinised feminine character resembling the Christian Virgin Mary, Gnostic Sophia or the ancient Mother Goddess. In the course of his career, Leonard Cohen has revealed erudition in medieval poetry and religion and a penchant for modernist thinking. Moreover, his work shows many parallels with the work of his Occitan predecessors. The thesis deals with comparison of texts and motifs present in their works with references to religion and mysticism. Key words: religion, song, poem, poetry, Judaism, Christianity, Islam, Cohen, feminine. ABSTRAKT Tato dizertační práce vzešla z přemýšlení o literární tradici tak, jak o ní mluvili anglo- američtí modernisté Ezra Pound a T.S. Eliot. V jejich pojetí tradice evropské milostné lyriky krystalizovala v díle středověkých okcitánských trubadúrů, kteří byli ovlivněni kulturním a politickým životem tehdejší Okcitánie a v jejichž díle se harmonicky skloubí náboženské vlivy tehdejší doby, přesněji vlivy Judaismu, Křesťanství a Islámu. Hlavním předmětem jejich poezie bylo uctívání zbožštěné ženské literární postavy, která více, či méně připomíná křesťanskou panenku Marii, gnostickou Sophii nebo pradávnou Matku Bohyni. Leonard Cohen v průběhu své umělecké kariéry prokázal erudovanost ve středověké poezii a náboženství a také svoji náklonnost k modernistickému uvažování. Mimoto jeho dílo vykazuje značné příbuznosti s díly jeho okcitánských předchůdců. Dizertace se proto zaměřuje na komparaci textů a hlavních motivů v jejich dílech a odkazuje k náboženství a mystice. Klíčová slova: náboženství, píseň, poezie, judaismus, křesťanství, islám, Cohen, ženství. Prohlašuji, že jsem dizertační práci na téma Leonard Cohen, The Modern Troubadour vypracoval samostatně za použití v seznamu literatury uvedených zdrojů a že všechna místa čerpající z myšlenek jiných autorů jsou uvedena řádnou citací. Dále prohlašuji, že tato práce nebyla použita k získání jiného titulu. V Olomouci dne . …… . Jiří Měsíc Words of Gratitude I would like to express my gratitude for the never ending support of my home institution Palacký University in Olomouc and particularly to professor Josef Jařab from the Department of English and American Studies for his encouragement and professional advice. Without him and the kindness of other professors and students of our department one could never work with such a joyful spirit that has accompanied me for the last three years. My special thanks are due to Claude Chastagner and Vincent Dussol from Paul-Valéry University in Montpellier who gave me immeasurable support during my research in France. I also have to express my gratitude to Luis Gonzalez and Nathalie Vincent-Arnaud from University Jean-Jaurès in Toulouse and to Emeline Jouve from the University of Albi for their hospitality and kindness when presenting my research at their departments. The specialists of Occitan literature who provided invaluable advice on my work were Gilda Caiti Russo, Philippe Martel and Jan Feistner from Montpellier to whom I am obliged to give at least humble greetings here. I am also highly indebted to María Luisa Venegas Lagüéns from the University of Sevilla who enabled me to close this chapter of my doctoral studies at their university and do last polishing works. During the course of my studies, I was able to present my work at several universities abroad (Helsinki, Montpellier, Toulouse, Albi, Toulon, London, Barcelona, Aveiro, Sevilla and Lisboa), where I met many fascinating and inspiring people of whom I have to mention Jarkko Arjatsalo, Leonard Cohen’s long-time friend, and literary scholars and in many cases enthusiastic musicologists and musicians themselves: Juan Ignacio, Michael Gronow, Shara Rambarran, Antti-Ville Kärjä, Imen Berrahou, Amina Kam, Sabrina Zerar, Samuel Sánchez Sánchez, Bernat Jimenéz de Cisneros Puig, Maria De São José Côrte-Real, Mostafa Anwar and Judith Cohen. I was also lucky to meet Alberto Manzano and Christophe Lebold, two contemporary writers, authors and men of knowledge who have published books on Leonard Cohen in Spain and France, with whom I could establish a fruitful discussion. I would like to extend my gratitude to my family who have given me just enough space and support to do my research. Special thanks are to Estrella Domínguez Macías who is at my side in this 40°C temperature at La Plaza de la Encarnación right in the heart of Sevilla. Last but not least, I want to thank Jakub Guziur who directed my research earlier at the University of Ostrava and who introduced me to the work of Ezra Pound and Leonard Cohen a few years ago. Sincere greetings to my colleagues from Olomouc, particularly to Michal Kleprlík, Claudia Zavaglini and Marcello Bolpagni. Poetry is the essence of history and of true human culture. Humanistic studies may not be useful for the expansion of the airplane market or in chemical laboratories, but if mankind is to be brought together on the wings of the spirit craving beauty and wisdom, they are the only ones which can achieve that goal and let us hope that a modest niche will be reserved for them in post-war educational programs. Alois Richard Nykl (1885 – 1958) TABLE OF CONTENTS INTRODUCTION ............................................................................................................. 10 REASONS .............................................................................................................................. 12 GOALS .................................................................................................................................. 13 METHODOLOGY .................................................................................................................... 14 INDIVIDUAL SECTIONS .......................................................................................................... 14 I. THE TRADITION .................................................................................................. 17 THE TROUBADOURS AND LEONARD COHEN ......................................................................... 23 THEMATIC ............................................................................................................................. 25 II. FEATURES OF THE TROUBADOUR POETRY .............................................. 27 L’AMOUR COURTOIS ............................................................................................................. 27 PERSISTENCE ........................................................................................................................ 28 CANSO .................................................................................................................................. 30 STYLE AND FORM ................................................................................................................. 32 MUSIC AND INSTRUMENTS .................................................................................................... 32 III. THE VIRGIN AS THE MAIN SUBJECT OF SONG .......................................... 34 TWO SIDES OF THE FEMININE ............................................................................................... 35 VIRGIN OF THE TROUBADOUR POETRY ................................................................................. 37 VIRGIN IN THE WORK OF LEONARD COHEN .......................................................................... 40 DYING SON ........................................................................................................................... 45 FRUSTRATED WORSHIPPERS OF THE VIRGIN ......................................................................... 47 TROUBADOUR MISOGYNISTS ................................................................................................ 50 IV. LEONARD COHEN, THE MODERN TROUBADOUR ...................................
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