{ 71-18,060 NELSON, Deborah Hubbard, 1940- MARCABRU, PROPHET OF FIN'AMORS. The Ohio State University, Ph.D., 1970 Language and Literature, general University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED MARCABRU, PROPHET OF FIN*AMORS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Deborah Hubbard Nelson, B. S., M. A. ****** The Ohio State University 1970 Approved by Department of Romance Languages ACKNOWLEDGMENTS I wish to express my deepest gratitude to my adviser, Dr. Eleanor Bulatkin, for her encouragement, her suggestions, and her patience throughout the course of my study. I would also like to thank Dr. and Mrs. Ernst Schorrig for their assistance in translating into English some of the articles in German. i i VITA July 19, 1940 ............................... Born—Springfield, Ohio 1960 ................................................. B. S., Wittenberg University, Springfield, Ohio 1960-1961 ........................................ University of Grenoble, Grenoble, France 1961-1964 ........................................ Teaching Assistant, Department of Romance Languages, The Ohio State University, Columbus, Ohio 1964 ................................................ M. A., The Ohio State University, Columbus, Ohio 1964-1967 ........................................ Lecturer, Department of Romance Languages, The Ohio State University, Columbus, Ohio 1968-1970 ........................................ Assistant Professor, part-time, Murray State University, Murray, Kentucky FIELDS OF STUDY Medieval French Language and Literature. Professor Eleanor W. Bulatkin Provencal Literature. Professor Eleanor W. Bulatkin 111 TABLE OF CONTENTS Page ACKNOWLEDGMENTS .............................................................................................................. ii VITA ...................................................................................................... iii INTRODUCTION ................................................................................................................... 1 Chapter I. MARCABRU: THE WORK, THE MAN, AND THE CRITICS .............................. 3 II. FIN1 AMORS VS. AMARS..................................................................................... 38 H I. THE DECLINE OF FIN' AMORS................................................. 75 IV. CONCLUSION............................................................................................................109 APPENDIX A. TRANSLATION OF POETRY..................................................................................... 112 B. DESCRIPTIVE AND ANALYTICAL BIBLIOGRAPHY ........................................... 177 REFERENCE BIBLIOGRAPHY ............................................................................................. 187 1v INTRODUCTION There is available only one edition of Marcabru's poetry, that of Jean-Marie-Lucien Dejeanne, a physician who wished to give modern scholars access to the work of the troubadours of his native Gascogne. He died before completing his study of Marcabru's songs, and Jeanroy published in 1909 the notes as he found them.1 As a result, the quality of the translations is very irregular. Alfred Pillet,2 Kurt Lewent,3 and Leo Spitzer1* have published additions and corrections to Dejeanne's reading of the manuscript and also his translation, but no one has undertaken a new edition until recently. Aurelio Roncaglia is currently preparing one and is publishing each poem as he completes it. Besides a definitive text and translation he gives for each song the manuscript tradition, a bibliography, an analysis of the form, the historical background, and many notes which often compare his own linguistic interpretation with that of other critics. To date, seven 1 Poesie completes du troubadour Marcabru. (Toulouse). 2 "Beitrage zur Kritik der altesten Troubadours," Sonderabdruck aus dem 89. Jahresbuch der Schlesischen Gesellschaft fur Vaterland Cul- tur, 1912, no. II. 3 "Beitrage zum Verstandnis der lieder Marcabrus," Zeitschrift fur romanische Philologie, XXXVII (1913), 313-337, 427-451. •* "Zu Kurt Lewent's Beitragen zum Verstandnis der Lieder Marca­ brus," Zeitschrift fur romanische Philologie, XXXIX (1917), 221-223. 1 2 have appeared.5 When his project is complete, the study of Marcabru's poetry will be much facilitated. The poetry of Marcabru is very difficult to read because of both the language and the content. My goal in writing this paper has been to find the themes in the songs which would give a continuity to the whole corpus. Before doing this, I found i t necessary to establish n\y own translation, which is given in an appendix to this dissertation. I have tried to make as accurate a translation as possible while at the same time communicating the total sense in English. In the case of some very obscure passages for which I have found no solution, I have offered Dejeanne's translation. Chapter I will be devoted to a discussion of Marcabru's poetry as a whole and will treat the manuscript tradition, the historical back­ ground, the genres and general contents and the style and form. It is the aim of the second chapter to establish a definition of the terms fin ' amors and amars as the poet used them and to illu strate his role as prophet of Fin'amors struggling against Amars. In the third chapter I seek to demonstrate that the main theme of Marcabru's poetry comprises the effect on the world of the decline of Fin'amors. A critical bibli­ ography of studies on Marcabru's poetry to date is given in an appendix. 5 "I due sirventesi di Marcabruno ad Alfonso VII," Cultura Neo- Tati na, X (1950), 157-183; "II 'Gap' di Marcabruno," Studi Medievali, XVlI (1951), 45-70; "Marcabruno: 'Lo vers comens quan vei del fau,'" Cultura Neolatina, XI (1951), 25-48; "Marcabruno: Aujatz de Chan," Cul­ tura Neolatina, XVII (1957), 20-48; "Marcabruno: A1 departir del brau tempier," Cultura Neolatina, XIII (1953), 5-33; "La tenzone tra Ugo Catola e Marcabruno," ed. Cesare Segre, Linquistica e filologia. Omagqio a Benvenuto Terracini. Milan, 1965, pp. 201-254. CHAPTER I MARCABRU: THE WORK, THE MAN, AND THE CRITICS Manuscript Tradition, p. 3. Genres, p. n . Historical Back­ ground. p. 18. Style, p. 26. Conclusion, p. 36. The Manuscript Tradition Marcabru's forty-two extant songs are found in fifteen manu­ scripts and a Breviari d'amor from the thirteenth, fourteenth, fifteenth and sixteenth centuries. Two of the earliest, Manuscripts A and K, each contain the same selection of twenty-seven songs. This is the largest number of poems found in any one manuscript. Manuscript A is in the Vatican Library (5232) in Rome. K is in Paris in the Bibliotheque Na- tionale (12473). They are both in Italian handwriting from the th ir­ teenth century. The following songs are found in these two manuscripts. As throughout this paper, the songs are numbered according to Dejeanne's edition. The folio number follows the title in parentheses.1 IV. A1 prim comens de I'ivernaill (A 33, K 106). V. A! so desviat chantaire (A 32, K 106). VIII. Assatz m'es be! del temps essug (A 32, K 105). IX. Aujatz de chan com enans' e meillura (A 30, K 104). 1 The information concerning the location and date of the manu­ scripts is found in Alfred Oeanroy's Bibliographie sonmaire des chan- sonniers provencaux (Paris, 1916) while the contents of each manuscript are listed in Alfred Pillet and Henry Carstens' Bibliographie der Trou­ badours (Halle, Niemeyer, 1913), pp. 256-263. 3 4 XIII. Bel m'es quan son Ii fruich madur (A 34. K 106). XV. Cortezamen voill comensar (A 27, K 102). XVI. D'aisso laus Deu (A 30, K 104). XVII. Dirai vos en mon lati (A 27, K 102). XVIII. Dirai vos senes duptansa (A 29, K 103). XIX. Doas cuidas ai compaignier (A 29, K 104). XX bis. Seiqner n1 Audric (A 28, K 103). XXII. Emperaire, per mi mezeis (A 31, K 105). XXIV. En abriu s 'e sc la iro o ll riu contra* 1 pas- cor (A 27, K 102). XXIX. L'au trier, a V issida d 'abrui (A 31, K 105). XXX. L'autrier jo s t' una sebissa (A 33, K 106). XXXI. L'iverns vai e»l temps s 'aizina (A 27, K 102). XXXII. Lo vers comensa (A 28, K 103). XXXIII. Lo vers comens, quan vei del fau (A 28, K 103). XXXV. Pax in nomine Domini! (A 29, K 103). XXXVI. Per I 1aura freida que guida (A 32, K 105). XXXVII. Per savi»1 tenc ses doptansa (A 33, K 106). XXXVIII. Pos la foilla revirola (A 32, K 105). XXXIX. Pos l 'i - verns d 'ogan es anatz (A 34, K 107). XL. Pos mos coratqes s 'esclarzis (A 30, K 104). XLI. Pos ses foilla son li verqan (A 30, K 104). XLII. Quan I 1aura doussana bufa (A 30, K 104). XLIV. Soudadier, per cui es jovens (A 34, K 107). All of Marcabru's poems except five (VI, VII, XIlbl s , XXIII, XXVI) are found in a combination of Manuscripts A or K and C. The five songs which are lacking appear only one time each in other manuscripts. Manuscript C, containing twenty-four songs, is in the Bibliotheque Na­ tional e (856) and was written in the southwest of France during the fourteenth century. Five songs which occur only in Manuscript C are I. A la fontana del vergier (C 173); II. A 1'alena del yen doussa (C 173); III. Al 5 departlr del brau tempier (C 172); XIV. Contra l ' ivern que s 'enansa (C 171); and XXVIII. Lanquan foil!on li boscatge (C 173). The other songs in this manuscript are XI. Bel m'es quan la rana chanta (C 172); XV. Cortezamen voill comensar (C 347), which is attributed to Uc de la Bacalaria as it is in the Breviari d 'amor; XVI. D'aisso laus Deu (C 172); XVII. Dirai vos en mos lati (C 177); XVIII. Dirai vos senes dup- tansa (C 174); XX*315. Seigner n'Audric (C 177); XXI. Bel m'es quan la foilla fana (C 171); XXIV. En abriu s'esclairo-ill riu contra‘1 pascor (C 345), which is attributed to Elias Fonsalada; XXV. Estornel, coil! ta volada (C 174), without its sequel XXVI. Ges 1 'estornels no s 'oblida; XXX. L'autrier jo s t' una sebissa (C 176); XXXI. L'iverns vai e«l temps s 'aizina (C 174); XXXII. Lo vers comensa (C 171); XXXIII. Lo vers comens, quan vei del fau (C 177); XXXIV. Oimais dei esser aleqrans (C 176); XXXV.