The Troubadours by H.J. Chaytor (page 2)

misery; virtue and good works die and are buried because of thee, treacherous Rome, thou guiding-star, thou root and branch of all iniquity… Greed blindeth thy eyes, and too close dost thou shear thy [89] sheep… thou forgivest sins for money, thou loadest thyself with a shameful burden. Rome, we know of a truth that with the bait of false forgiveness, thou hast snared in misery the nobility of France, the people of Paris and the noble King Louis (VIII., who died in the course of the Albigeois crusade); thou didst bring him to his death, for thy false preaching enticed him from his land. Rome, thou has the outward semblance of a lamb, so innocent is thy countenance, but within thou are a ravening wolf, a crowned snake begotten of a viper and therefore the devil greeteth thee as the friend of his bosom.” This sirventes was answered by a _trobairitz_, Germonde of Montpelier, but her reply lacks the vigour and eloquence of the attack.

It is not to be supposed that the troubadours turned to religious poetry simply because the Albigeois crusade had raised the religious question. Purely devotional poetry is found at an earlier period.[29] It appears at first only sporadically, and some of the greatest troubadours have left no religious poems that have reached us. The fact is, that the nature of troubadour poetry and its homage to the married woman were incompatible with the highest standard of religious devotion. The famous _alba_ of Guiraut de Bornelh invokes the “glorious king, true light and splendour, Lord Almighty,” for the purpose of praying that the lovers [90] for whom the speaker is keeping watch may be undisturbed in interchange of their affections. Prayer for the success of attempted adultery is a contradiction in terms. For a theory of religion which could regard the Deity as a possible accomplice in crime, the Church of Southern France in the twelfth century is to blame: we cannot expect that the troubadours in general should be more religious than the professional exponents of religion. On the other hand, poems of real devotional feeling are found, even from the earliest times: the sensual Count of Poitiers, the first troubadour known to us, concludes his career with a poem of resignation bidding farewell to the world, “leaving all that I love, the brilliant life of chivalry, but since it pleases God, I resign myself and pray Him to keep me among His own.” Many troubadours, as has been said, ended their lives in monasteries and the disappointments or griefs which drove them to this course often aroused religious feelings, regrets for past follies and resolutions of repentance, which found expression in poetry. Peire d’Auvergne wrote several religious hymns after his retirement from the world; these are largely composed of reiterated articles of the Christian faith in metrical form and are as unpoetical as they are orthodox, Crusade poems and _planhs_ upon the [91] deaths of famous nobles or patrons are religious only in a secondary sense. A fine religious _alba_ is ascribed to Folquet of Marseilles–

Vers Dieus, e.l vostre nom e de sancta Maria m’esvelherai hueimais, pus l’estela del dia ven daus Jerusalem que’ m’ensenha qu’ien dia: estatz sus e levatz,
senhor, que Dieu amatz!
que.l jorns es aprosmatz
e la nuech ten sa via;
e sia.n Dieus lauzatz
per nos e adoratz,
e.l preguem que.ens don patz
a tota nostra via.
La nuech vai e.l jorns ve
ab elar eel e sere,
e l’alba no’s rete
ans ven belh’ e complia.

“True God, in Thy name and in the name of Saint Mary will I awake henceforth, since the star of day rises from o’er Jerusalem, bidding me say, ‘Up and arise, sirs, who love God! For the day is nigh, and the night departs; and let God be praised and adored by us and let us pray Him that He give us peace for all our lives. Night goes and day comes with clear serene sky, and the dawn delays not but comes fair and perfect.'”

At the close of the Albigeois crusade the Virgin Mary becomes the theme of an increasing number of lyric poems. These are not like the farewells [92] to the world, uttered by weary troubadours, and dictated by individual circumstances, but are inspired by an increase of religious feeling in the public to whom the troubadours appealed. Peire Cardenal began the series and a similar poem is attributed to Perdigon, a troubadour who joined the crusaders and fought against his old patrons; though the poem is probably not his, it belongs to a time but little posterior to the crusade. The cult of the Virgin had obvious attractions as a subject for troubadours whose profane songs would not have been countenanced by St Dominic and his preachers and religious poetry dealing with the subject could easily borrow not only the metrical forms but also many technical expressions which troubadours had used in singing of worldly love. They could be the servants of a heavenly mistress and attribute to her all the graces and beauty of form and character. It has been supposed that the Virgin was the mysterious love sung by Jaufre Rudel and the supposition is not inconsistent with the language of his poems. Guiraut Riquier, the last of the troubadours, provides examples of this new _genre_: from the fourteenth century it was the only kind of poem admitted by the school of Toulouse and the Jeux Floraux crowned many poems of this nature. These, however, have little in common with classical troubadour poetry except language. The following stanzas from [93] the well-known hymn to the Virgin by Peire de Corbiac, will give an idea of the character of this poetry.

Domna, rosa ses espina,
sobre totas flors olens,
verga seca frug fazens,
terra que ses labor grana,
estela, del solelh maire,
noirissa del vostre paire,
el mon nulha no.us semelha
ni londana ni vezina.

Domna, verge pura e fina,
ans que fos l’enfantamens,
et apres tot eissamens,
receup en vos carn humana
Jesu Crist, nostre salvaire,
si com ses trencamen faire
intra.l bels rais, quan solelha,
per la fenestra veirina.

Domna, estela marina
de las autras plus luzens,
la mars nos combat e.l vens;
mostra nos via certana;
car si.ns vols a bon port traire
non tem nau ni governaire
ni tempest que.ns destorbelha
ni.l sobern de la marina.

“Lady, rose without thorn, sweet above all flowers, dry rod bearing fruit, earth bringing forth fruit without toil, star, mother of the sun, nurse of thine own Father, in the world no woman is like to thee, [94] neither far nor near.

Lady, virgin pure and fair before the birth was and afterwards the same, Jesus Christ our Saviour received human flesh in thee, just as without causing flaw, the fair ray enters through the window-pane when the sun shines.

Lady, star of the sea, brighter than the other stars, the sea and the wind buffet us; show thou us the right way: for if thou wilt bring us to a fair haven, ship nor helmsman fears not tempest nor tide lest it trouble us.”

CHAPTER VII [95]

THE TROUBADOURS IN ITALY

To study the development of troubadour literature only in the country of its origin would be to gain a very incomplete idea of its influence. The movement, as we have already said, crossed the Pyrenees, the Alps and the Rhine, and Italy at least owed the very existence of its lyric poetry to the impulse first given by the troubadours. Close relations between Southern France and Northern Italy had existed from an early period: commercial intercourse between the towns on the Mediterranean was in some cases strengthened by treaties; the local nobles were connected by feudal ties resulting from the suzerainty of the Holy Roman Empire. Hence it was natural for troubadours and _joglars_ to visit the Italian towns. Their own language was not so remote from the Italian dialects as to raise any great obstacle to the circulation of their poetry and the petty princes of Northern Italy lent as ready an ear to troubadour songs as the local lords in the South of France. Peire Vidal was at the court of the Marquis of Montferrat so early as 1195; the Marquis of Este, the Count of San Bonifacio at Verona, the Count of [96] Savoy at Turin, the Emperor Frederick II. and other lords of less importance offered a welcome to Provencal poets. More than twenty troubadours are thus known to have visited Italy and in some cases to have made a stay of considerable length. The result was that their poetry soon attracted Italian disciples and imitators. Provencal became the literary language of the noble classes and an Italian school of troubadours arose, of whom Sordello is the most remarkable figure.

Raimbaut de Vaqueiras, who spent a considerable part of his career (1180-1207) with the Marquis of Montferrat, belongs as a troubadour quite as much to Italy as to Southern France. He was the son of a poor noble of Orange and became a troubadour at the court of William IV. of Orange; he exchanged _tensos_ with his patron with whom he seems to have been on very friendly terms and to whom he refers by the pseudonym Engles (English), the reason for which is as yet unknown. Some time later than 1189, he left the court of Orange, apparently in consequence of a dispute with his patron and made his way to Italy, where he led a wandering life until he was admitted to the court of the Marquis of Montferrat. To this period of his career belongs the well-known poem in which he pays his addresses to a Genoese lady.

“Lady, I have prayed you long to love me of your kindliness… my heart [97] is more drawn to you than to any lady of Genoa. I shall be well rewarded if you will love me and shall be better recompensed for my trouble than if Genoa belonged to me with all the wealth that is there heaped up.” The lady then replies in her own Genoese dialect: she knows nothing of the conventions of courtly love, and informs the troubadour that her husband is a better man than he and that she will have nothing to do with him. The poem is nothing but a _jeu d’esprit_ based upon the contrast between troubadour sentiments and the honest but unpoetical views of the middle class; it is interesting to philologists as containing one of the earliest known specimens of Italian dialect. An example of the Tuscan dialect is also found in the _descort_ by Raimbaut. This is a poem in irregular metre, intended to show the perturbation of the poet’s mind. Raimbaut increased this effect by writing in five different languages. He found a ready welcome from Bonifacio II. at the court of Montferrat which Peire Vidal also visited. The marquis dubbed him knight and made him his brother in arms. Raimbaut fell in love with Beatrice, the sister of the marquis, an intimacy which proceeded upon the regular lines of courtly love. He soon found an opportunity of showing his devotion to the marquis. In 1194 Henry VI. [98] made an expedition to Sicily to secure the claims of his wife, Constance, to that kingdom: the Marquis Boniface as a vassal of the imperial house followed the Emperor and Raimbaut accompanied his contingent. He refers to his share in the campaign in a later letter to the marquis.[30]

Et ai per vos estat en greu preyzo
Per vostra guerra e n’ai a vostro pro Fag maynt assaut et ars maynta maiso
Et a Messina vos cobri del blizo;
En la batalha vos vinc en tal sazo Que.us ferion pel pietz e pel mento
Dartz e cairels, sagetas e trenso.

“For your sake I have been in hard captivity in your war, and to do you service I have made many an assault and burned many a house. At Messina I covered you with the shield; I came to you in the battle at the moment when they hurled at your breast and chin darts and quarrels, arrows and lance-shafts.” The captivity was endured in the course of the marquis’s wars in Italy, and the troubadour refers to a seafight between the forces of Genoa and Pisa in the Sicilian campaign. In 1202 he followed his master upon the crusade which practically ended at Constantinople. He had composed a vigorous _sirventes_ urging Christian men to join the movement, but he does not himself show any great enthusiasm to take the [99] cross. “I would rather, if it please you, die in that land than live and remain here. For us God was raised upon the cross, received death, suffered the passion, was scourged and loaded with chains and crowned with thorns upon the cross…. Fair Cavalier (i.e. Beatrice) I know not whether I shall stay for your sake or take the cross; I know not whether I shall go or remain, for I die with grief if I see you and I am like to die if I am far from you.” So also in the letter quoted above.

E cant anetz per crozar a Saysso,
Ieu non avia cor–Dieus m’o perdo– Que passes mar, mas per vostre resso
Levey la crotz e pris confessio.

“And when you went to Soissons to take the cross, I did not intend–may God forgive me–to cross the sea, but to increase your fame I took the cross and made confession.” The count lost his life, as Villehardouin relates, in a skirmish with the Bulgarians in 1207. Raimbaut de Vaqueiras probably fell at the same time.

This is enough to show that troubadours who came to Italy could make the country a second home, and find as much occupation in love, war and politics as they had ever found in Southern France. Aimeric de Pegulhan, Gaucelm Faidit, Uc de Saint-Circ,[31] the author of some troubadour [100] biographies, were among the best known of those who visited Italy. The last named is known to have visited Pisa and another troubadour of minor importance, Guillem de la Tor, was in Florence. Thus the visits of the troubadours were by no means confined to the north.

It was, therefore, natural that Italians should imitate the troubadours whose art proved so successful at Italian courts and some thirty Italian troubadours are known to us. Count Manfred II. and Albert, the Marquis of Malaspina, engaged in _tensos_ with Peire Vidal and Raimbaut de Vaqueiras respectively and are the first Italians known to have written in Provencal. Genoa produced a number of Italian troubadours of whom the best were Lanfranc Cigala and Bonifacio Calvo. The latter was a wanderer and spent some time in Castile at the court of Alfonso X. Lanfranc Cigala was a judge in his native town: from him survive a _sirventes_ against Bonifacio III. of Montferrat who had abandoned the cause of Frederick II., crusade poems and a _sirventes_ against the obscure style. The Venetian Bartolomeo Zorzi was a prisoner at Genoa from 1266 to 1273, having been captured by the Genoese. The troubadour of Genoa, Bonifacio Calvo, had written a vigorous invective against Venice, to which the captive troubadour composed an equally strong reply addressed [101] to Bonifacio Calvo; the latter sought him out and the two troubadours became friends. The most famous, however, of the Italian troubadours is certainly Sordello.

There is much uncertainty concerning the facts of Sordello’s life; he was born at Goito, near Mantua, and was of noble family. His name is not to be derived from _sordidus_, but from _Surdus_, a not uncommon patronymic in North Italy during the thirteenth century. Of his early years nothing is known: at some period of his youth he entered the court of Count Ricciardo di san Bonifazio, the lord of Verona, where he fell in love with his master’s wife, Cunizza da Romano (Dante, _Par._ ix. 32), and eloped with her. The details of this affair are entirely obscure; according to some commentators, it was the final outcome of a family feud, while others assert that the elopement took place with the connivance of Cunizza’s brother, the notorious Ezzelino III. (_Inf_. xii. 110): the date is approximately 1225. At any rate, Sordello and Cunizza betook themselves to Ezzelino’s court. Then, according to the Provencal biography, follows his secret marriage with Otta, and his flight from Treviso, to escape the vengeance of her angry relatives. He thus left Italy about the year 1229, and retired to the South of France, where he visited the courts of Provence, Toulouse, Roussillon, [102] penetrating also into Castile. A chief authority for these wanderings is the troubadour Peire Bremen Ricas Novas, whose _sirventes_ speaks of him as being in Spain at the court of the king of Leon: this was Alfonso IX., who died in the year 1230. He also visited Portugal, but for this no date can be assigned. Allusions in his poems show that he was in Provence before 1235: about ten years later we find him at the court of the Countess Beatrice (_Par._ vi. 133), daughter of Raimon Berengar, Count of Provence, and wife of Charles I. of Anjou. Beatrice may have been the subject of several of his love poems: but the “senhal” Restaur and Agradiva, which conceal the names possibly of more than one lady cannot be identified. From 1252-1265 his name appears in several Angevin treaties and records, coupled with the names of other well-known nobles, and he would appear to have held a high place in Charles’ esteem. It is uncertain whether he took part in the first crusade of St Louis, in 1248-1251, at which Charles was present: but he followed Charles on his Italian expedition against Manfred in 1265, and seems to have been captured by the Ghibellines before reaching Naples. At any rate, he was a prisoner at Novara in September 1266; Pope Clement IV. induced Charles to ransom him, and in 1269, as a recompense for his services, he received five castles in the Abruzzi, near the river Pescara: shortly [103] afterwards he died. The circumstances of his death are unknown, but from the fact that he is placed by Dante among those who were cut off before they could repent it has been conjectured that he came to a violent end.

Sordello’s restless life and his intrigues could be exemplified from the history of many another troubadour and neither his career nor his poetry, which with two exceptions, is of no special originality, seems to justify the portrait drawn of him by Dante; while Browning’s famous poem has nothing in common with the troubadour except the name. These exceptions, however, are notable. The first is a _sirventes_ composed by Sordello on the death of his patron Blacatz in 1237. He invites to the funeral feast the Roman emperor, Frederick II., the kings of France, England and Aragon, the counts of Champagne, Toulouse and Provence. They are urged to eat of the dead man’s heart, that they may gain some tincture of his courage and nobility. Each is invited in a separate stanza in which the poet reprehends the failings of the several potentates.

Del rey engles me platz, quar es paue coratjos, Que manje pro del cor, pueys er valens e bos, E cobrara la terra, per que viu de pretz blos, Que.l tol lo reys de Fransa, quar lo sap nualhos; E lo reys castelas tanh qu’en manje per dos, [104] Quar dos regismes ten, e per l’un non es pros; Mas, s’elh en vol manjar, tanh qu’en manj’a rescos, Que, si.l mair’o sabra, batria.l ab bastos.

“As concerns the English King (Henry III.) it pleases me, for he is little courageous, that he should eat well of the heart; then he will be valiant and good and will recover the land (for loss of which he lives bereft of worth), which the King of France took from him, for he knows him to be of no account. And the King of Castile (Ferdinand III. of Castile and Leon), it is fitting that he eat of it for two, for he holds two realms and he is not sufficient for one; but if he will eat of it, ’twere well that he eat in secret: for if his mother were to know it, she would beat him with staves.”

This idea, which is a commonplace in the folklore of many countries, attracted attention. Two contemporary troubadours attempted to improve upon it. Bertran d’Alamanon said that the heart should not be divided among the cowards, enumerated by Sordello, but given to the noble ladies of the age: Peire Bremen proposed a division of the body. The point is that Dante in the Purgatorio represents Sordello as showing to Virgil the souls of those who, while singing _Salve Regina_, ask to be pardoned for their neglect of duty and among them appear the rulers whom Sordello had satirised in his _sirventes_. Hence it seems that it was this [105] composition which attracted Dante’s attention to Sordello. The other important poem is the _Ensenhamen_, a didactic work of instruction upon the manner and conduct proper to a courtier and a lover. Here, and also in some of his lyric poems, Sordello represents the transition to a new idea of love which was more fully developed by the school of Guido Guinicelli and found its highest expression in Dante’s lyrics and Vita Nuova. Love is now rather a mystical idea than a direct affection for a particular lady: the lover is swayed by a spiritual and intellectual ideal, and the motive of physical attraction recedes to the background. The cause of love, however, remains unchanged: love enters through the eyes; sight is delight.

We must now turn southwards. A school of poetry had grown up in Sicily at the court of Frederick II. No doubt he favoured those troubadours whose animosity to the papacy had been aroused by the Albigeois crusade: such invective as that which Guillem Figueira could pour forth would be useful to him in his struggle against the popes. But the emperor was himself a man of unusual culture, with a keen interest in literary and scientific pursuits: he founded a university at Naples, collected manuscripts and did much to make Arabic learning known to the West. He was a poet and the importance of the Sicilian school consists in the [106] fact that while the subject matter of their songs was lifted from troubadour poetry, the language which they used belonged to the Italian peninsula. The dialect of these _provenzaleggianti_ was not pure Sicilian but was probably a literary language containing elements drawn from other dialects, as happened long before in the case of the troubadours themselves. The best known representatives of this school, Pier delle Vigne, Jacopo da Lentini and Guido delle Colonne are familiar to students of Dante. After their time no one questioned the fact that lyric poetry written in Italian was a possible achievement. The influence of the Sicilian school extended to Central Italy and Tuscany; Dante tells us that all Italian poetry preceding his own age was known as Sicilian. The early Tuscan poets were, mediately or immediately, strongly influenced by Provencal. The first examples of the sonnet, by Dante da Majano, were written in that language. But such poetry was little more than a rhetorical exercise. It was the revival of learning and the Universities, in particular that of Bologna, which inspired the _dolce stil nuovo_, of which the first exponent was Guido Giunicelli. Love was now treated from a philosophical point of view: hitherto, the Provencal school had maintained the thesis that “sight is delight,” that love originated from seeing and pleasing, penetrated to the heart and [107] occupied the thoughts, after passing through the eyes. So Aimeric de Pegulhan.

Perque tuit li fin aman
Sapchan qu’amors es fina bevolenza Que nais del cor e dels huelh, ses duptar.

“Wherefore let all pure lovers know that love is pure unselfishness which is born undoubtedly from the heart and from the eyes,” a sentiment thus repeated by Guido delle Colonne of the Sicilian school.

Dal cor si move un spirito in vedere D’in ochi’n ochi, di femina e d’omo
Per lo quel si concria uno piacere.

The philosophical school entirely transformed this conception. Love seeks the noble heart by affinity, as the bird seeks the tree: the noble heart cannot but love, and love inflames and purifies its nobility, as the power of the Deity is transmitted to the heavenly beings. When this idea had been once evolved, Provencal poetry could no longer be a moving force; it was studied but was not imitated. Its influence had lasted some 150 years, and as far as Italy is concerned it was Arabic learning, Aristotle and Thomas Aquinas who slew the troubadours more certainly than Simon de Montfort and his crusaders. The day of superficial [108] prettiness and of the cult of form had passed; love conjoined with learning, a desire to pierce to the roots of things, a greater depth of thought and earnestness were the characteristics of the new school.

Dante’s debt to the troubadours, with whose literature he was well acquainted, is therefore the debt of Italian literature as a whole. Had not the troubadours developed their theory of courtly love, with its influence upon human nature, we cannot say what course early Italian literature might have run. Moreover, the troubadours provided Italy and other countries also with perfect models of poetical form. The sonnet, the terza rima and any other form used by Dante are of Provencal origin. And what is true of Dante and his Beatrice is no less true of Petrarch and his Laura and of many another who may be sought in histories specially devoted to this subject.

CHAPTER VIII [109]

THE TROUBADOURS IN SPAIN

The South of France had been connected with the North of Spain from a period long antecedent to the first appearance of troubadour poetry. As early as the Visigoth period, Catalonia had been united to Southern France; in the case of this province the tie was further strengthened by community of language. On the western side of the Pyrenees a steady stream of pilgrims entered the Spanish peninsula on their way to the shrine of St James of Compostella in Galicia; this road was, indeed, known in Spain as the “French road.” Catalonia was again united with Provence by the marriage of Raimon Berengar III. with a Provencal heiress in 1112. As the counts of Barcelona and the kings of Aragon held possessions in Southern France, communications between the two countries were naturally frequent.

We have already had occasion to refer to the visits of various troubadours to the courts of Spain. The “reconquista,” the reconquest of Spain from the Moors, was in progress during the twelfth and thirteenth centuries, and various crusade poems were written by troubadours [110] summoning help to the Spaniards in their struggles. Marcabrun was the author of one of the earliest of these, composed for the benefit of Alfonso VIII. of Castile and possibly referring to his expedition against the Moors in 1147, which was undertaken in conjunction with the kings of Navarre and Aragon. The poem is interesting for its repetition of the word _lavador_ or piscina, used as an emblem of the crusade in which the participants would be cleansed of their sins.[32]

Pax in nomine Domini!
Fetz Marcabrus los motz e.l so.
Aujatz que di:
Cum nos a fait per sa doussor,
Lo Seignorius celestiaus
Probet de nos un lavador
C’ane, fors outramar, no.n’ fon taus, En de lai deves Josaphas:
E d’aquest de sai vos conort.

“Pax, etc.,—Marcabrun composed the words and the air. Hear what he says. How, by his goodness, the Lord of Heaven, has made near us a piscina, such as there never was, except beyond the sea, there by Josaphat, and for this one near here do I exhort you.”

Alfonso II. of Aragon (1162-1196) was a constant patron of the troubadours, and himself an exponent of their art. He belonged to the family of the counts of Barcelona which became in his time one of the [111] most powerful royal houses in the West of Europe. He was the grandson of Raimon Berengar III. and united to Barcelona by marriage and diplomacy, the kingdom of Aragon, Provence and Roussillon. His continual visits to the French part of his dominions gave every opportunity to the troubadours to gain his favour: several were continually about him and there were few who did not praise his liberality. A discordant note is raised by Bertran de Born, who composed some violent _sirventes_ against Alfonso; he was actuated by political motives: Alfonso had joined the King of England in his operations against Raimon V. of Toulouse and Bertran’s other allies and had been present at the capture of Bertran’s castle of Hautefort in 1183. The biography relates that in the course of the siege, the King of Aragon, who had formerly been in friendly relations with Bertran, sent a messenger into the fortress asking for provisions. These Bertran supplied with the request that the king would secure the removal of the siege engines from a particular piece of wall, which was on the point of destruction and would keep the information secret. Alfonso, however, betrayed the message and the fortress was captured. The _razo_ further relates the touching scene to which we have already referred when Bertran moved Henry II. to clemency by a reference [112] to the death of the “young king.” The account of Alfonso’s supposed treachery is probably no less unhistorical: the siege lasted only a week and it is unlikely that the besiegers would have been reduced to want in so short a time. It was probably invented to explain the hostility on Bertran’s part which dated from the wars between Alfonso and Raimon V. of Toulouse. This animosity was trumpeted forth in two lampooning _sirventes_ criticising the public policy and the private life of the Spanish King. His accusations of meanness and trickery seem to be based on nothing more reliable than current gossip.

Peire Vidal, with the majority of the troubadours, shows himself a vigorous supporter of Alfonso. Referring to this same expedition of 1183 he asserted “Had I but a speedy horse, the king might sleep in peace at Balaguer: I would keep Provence and Montpelier in such order that robbers and freebooters should no longer plunder Venaissin and Crau. When I have put on my shining cuirass and girded on the sword that Guigo lately gave me, the earth trembles beneath my feet; no enemy so mighty who does not forthwith avoid out of my path, so great is their fear of me when they hear my steps.” These boasts in the style of Captain Matamoros are, of course, not serious: the poet’s personal appearance seems to have been enough to preclude any suppositions of the kind. In [113] another poem he sings the praises of Sancha, daughter of Alfonso VIII. of Castile, who married Alfonso II. of Aragon in 1174. With the common sense in political matters which is so strangely conjoined with the whimsicality of his actions, he puts his finger upon the weak spot in Spanish politics when he refers to the disunion between the four kings, Alfonso II. of Aragon, Alfonso IX. of Leon, Alfonso VIII. of Castile and Sancho Garces of Navarre: “little honour is due to the four kings of Spain for that they cannot keep peace with one another; since in other respects they are of great worth, dexterous, open, courteous and loyal, so that they should direct their efforts to better purpose and wage war elsewhere against the people who do not believe our law, until the whole of Spain professes one and the same faith.”

The Monk of Montaudon, Peire Raimon of Toulouse, Uc de San Circ, Uc Brunet and other troubadours of less importance also enjoyed Alfonso’s patronage. Guiraut de Bornelh sent a poem to the Catalonian court in terms which seemed to show that the simple style of poetry was there preferred to complicated obscurities. The same troubadour was sufficiently familiar with Alfonso’s successor, Pedro II., to take part in a _tenso_ with him.

Pedro II. (1196-1213) was no less popular with the troubadours than his [114] father. Aimeric de Pegulhan, though more closely connected with the court of Castile, is loud in his praises of Pedro, “the flower of courtesy, the green leaf of delight, the fruit of noble deeds.” Pedro supported his brother-in-law, Raimon VI. of Toulouse, against the crusaders and Simon de Montfort during the Albigeois crusade and was killed near Toulouse in the battle of Muret. The Chanson de la Croisade does not underestimate the impression made by his death.

Mot fo grans lo dampnatges e.l dols e.l perdementz Cant lo reis d’Arago remas mort e sagnens, E mot d’autres baros, don fo grans l’aunimens A tot crestianesme et a trastotas gens.

“Great was the damage and the grief and the loss when the King of Aragon remained dead and bleeding with many other barons, whence was great shame to all Christendom and to all people.”

The Court of Castile attracted the attention and the visits of the troubadours, chiefly during the reign of Alfonso VIII. (or III.; 1158-1214) the hero of Las Navas de Tolosa, the most decisive defeat which the Arab power in the West had sustained since the days of Charles Martel. The preceding defeat of Alfonso’s forces at Alarcos in 1195 had called forth a fine crusade _sirventes_ from Folquet of Marseilles appealing to Christians in general and the King of Aragon in particular [115] to join forces against the infidels. The death of Alfonso’s son, Fernando, in 1211 from an illness contracted in the course of a campaign against the infidels was lamented by Guiraut de Calanso, a Gascon troubadour.

Lo larc e.l franc, lo valen e.l grazitz, Don cuiavon qu’en fos esmendatz
Lo jove reys, e.n Richartz lo prezatz E.l coms Jaufres, tug li trey valen fraire.

“The generous and frank, the worthy and attractive of whom men thought that in him were increased the qualities of the young king, of Richard the high renowned, and of the Count Godfrey, all the three valiant brothers.” Peire Vidal in one of the poems which he addressed to Alfonso VIII., speaks of the attractions of Spain. “Spain is a good country; its kings and lords are kindly and loving, generous and noble, of courteous company; other barons there are, noble and hospitable, men of sense and knowledge, valiant and renowned.” Raimon Vidal of Bezaudun, a Catalonian troubadour has given a description of Alfonso’s court in one of his _novelas_. “I wish to relate a story which I heard a joglar tell at the court of the wisest king that ever was, King Alfonso of Castile, where were presents and gifts, judgment, worth and courtesy, spirit and chivalry, though he was not anointed or sacred, but crowned with praise, [116] sense, worth and prowess. The king gathered many knights to his court, many _joglars_ and rich barons and when the court was filled Queen Eleanor came in dressed so that no one saw her body. She came wrapped closely in a cloak of silken fabric fine and fair called sisclaton; it was red with a border of silver and had a golden lion broidered on it. She bowed to the king and took her seat on one side at some distance. Then, behold, a _joglar_ come before the king, frank and debonair, who said ‘King, noble emperor, I have come to you thus and I pray you of your goodness that my tale may be heard,'” The scene concludes, “Joglar, I hold the story which you have related as good, amusing and fair and you also the teller of it and I will order such reward to be given to you that you shall know that the story has indeed pleased me.”

The crown of Castile was united with that of Leon by Fernando III. (1230-1262) the son of Alfonso IX. of Leon. Lanfranc Cigala, the troubadour of Genoa, excuses the Spaniards at this time for their abstention from the Crusades to Jerusalem on the ground that they were fully occupied in their struggles with the Moors. Fernando is one of the kings to whom Sordello refers in the famous _sirventes_ of the divided heart, as also is Jaime I. of Aragon (1213-1276), the “Conquistador,” of whom much is heard in the poetry of the troubadours. He was born at [117] Montpelier and was fond of revisiting his birthplace; troubadours whom he there met accompanied him to Spain, joined in his expeditions and enjoyed his generosity. His court became a place of refuge for those who had been driven out of Southern France by the Albigeois crusade; Peire Cardenal, Bernard Sicart de Marvejols and N’At de Mons of Toulouse visited him. His popularity with the troubadours was considerably shaken by his policy in 1242, when a final attempt was made to throw off the yoke imposed upon Southern France as the result of the Albigeois crusade. Isabella of Angouleme, the widow of John of England, had married the Count de la Marche; she urged him to rise against the French and induced her son, Henry III. of England, to support him. Henry hoped to regain his hold of Poitou and was further informed that the Count of Toulouse and the Spanish kings would join the alliance. There seems to have been a general belief that Jaime would take the opportunity of avenging his father’s death at Muret. However, no Spanish help was forthcoming; the allies were defeated at Saintes and at Taillebourg and this abortive rising ended in 1243. Guillem de Montanhagol says in a _sirventes_ upon this event, “If King Jaime, with whom we have never broken faith, had kept the agreement which is said to have been made [118] between him and us, the French would certainly have had cause to grieve and lament.” Bernard de Rovenhac shows greater bitterness: “the king of Aragon is undoubtedly well named Jacme (jac from jazer, to lie down) for he is too fond of lying down and when anyone despoils him of his land, he is so feeble that he does not offer the least opposition.” Bernard Sicart de Marvejols voices the grief of his class at the failure of the rising: “In the day I am full of wrath and in the night I sigh betwixt sleeping and waking; wherever I turn, I hear the courteous people crying humbly ‘Sire’ to the French.” These outbursts do not seem to have roused Jaime to any great animosity against the troubadour class. Aimeric de Belenoi belauds him, Peire Cardenal is said to have enjoyed his favour, and other minor troubadours refer to him in flattering terms.

The greatest Spanish patron of the troubadours was undoubtedly Alfonso X. of Castile (1254-1284). El Sabio earned his title by reason of his enlightened interest in matters intellectual; he was himself a poet, procured the translation of many scientific books and provided Castile with a famous code of laws. The Italian troubadours Bonifaci Calvo and Bartolomeo Zorzi were welcomed to his court, to which many others came from Provence. One of his favourites was the troubadour who was the last [119] representative of the old school, Guiraut Riquier of Narbonne. He was born between 1230 and 1235, when the Albigeois crusade was practically over and when troubadour poetry was dying, as much from its own inherent lack of vitality as from the change of social and political environment which the upheaval of the previous twenty years had produced. Guiraut Riquier applied to a Northern patron for protection, a proceeding unexampled in troubadour history and the patron he selected was the King of France himself. Neither Saint Louis nor his wife were in the least likely to provide a market for Guiraut’s wares and the Paris of that day was by no means a centre of literary culture. The troubadour, therefore, tried his fortune with Alfonso X. whose liberality had become almost proverbial. There he seems to have remained for some years and to have been well content, in spite of occasional friction with other suitors for the king’s favour. His description of Catalonia is interesting.

Pus astres no m’es donatz
Que de mi dons bes m’eschaia,
Ni nulho nos plazers no.l platz,
Ni ay poder que.m n’estraia,
Ops m’es qu’ieu sia fondatz
En via d’amor veraia,
E puesc n’apenre assatz

En Cataluenha la gaia, [120] Entrels Catalas valens
E las donas avinens.

Quar dompneys, pretz e valors,
Joys e gratz e cortesia,
Sens e sabers et honors,
Bels parlars, bella paria,
E largueza et amors,
Conoyssensa e cundia,
Troban manten e socors

En Cataluenha a tria,
Entrels, etc.

“Since my star has not granted me that from my lady happiness should fall to me, since no pleasure that I can give pleases her and I have no power to forget her, I must needs enter upon the road of true love and I can learn it well enough in gay Catalonia among the Catalonians, men of worth, and their kindly ladies. For courtesy, worth, joy, gratitude and gallantry, sense, knowledge, honour, fair speech, fair company, liberality and love, learning and grace find maintenance and support in Catalonia entirely.”

Between thirty and forty poets of Spanish extraction are known to have written Provencal poetry. Guillem de Tudela of Navarre wrote the first part of the _Chanson de la Croisade albigeoise_; Serveri de Gerona wrote didactic and devotional poetry, showing at least ingenuity of technique; Amanieu des Escas has left love letters and didactic works for the [121] instruction of young people in the rules of polite behaviour. But the influence of Provencal upon the native poetry of Spain proper was but small, in spite of the welcome which the troubadours found at the courts of Castile, Aragon, Leon and Navarre. Troubadour poetry required a peaceful and an aristocratic environment, and the former at least of these conditions was not provided by the later years of Alfonso X. Northern French influence was also strong: numerous French immigrants were able to settle in towns newly founded or taken from the Moors. The warlike and adventurous spirit of Northern and Central Spain preferred epic to lyric poetry: and the outcome was the _cantar de gesta_ and the _romance_, the lyrico-narrative or ballad poem.

This was not the course of development followed either in the Eastern or Western coasts of the peninsula. Catalonia was as much a part of the Provencal district as of Spain. To the end of the thirteenth century Catalonian poets continued to write in the language of the troubadours, often breaking the strict rules of rime correspondence and of grammar, but refusing to use their native dialect. Religious poems of popular and native origin appear to have existed, but even the growth of a native prose was unable to overcome the preference for Provencal in the [122] composition of lyrics. Guiraut de Cabreira is remembered for the 213 lines which he wrote to instruct his _joglar_ Cabra; Guiraut upbraids this performer for his ignorance, and details a long series of legends and poems which a competent _joglar_ ought to know. Guiraut de Calanso wrote an imitation of this diatribe. The best known of the Catalonian troubadours is Raimon Vidal of Besadun, both for his _novelas_ and also for his work on Provencal grammar and metre, _Las rasos de trobar_,[33] which was written for the benefit of his compatriots who desired to avoid solecisms or mistakes when composing. “For as much as I, Raimon Vidal, have seen and known that few men know or have known the right manner of composing poetry (trobar) I desire to make this book that men may know and understand which of the troubadours have composed best and given the best instruction to those who wish to learn how they should follow the right manner of composing…. All Christian people, Jews, Saracens, emperors, princes, kings, dukes, counts, viscounts, vavassors and all other nobles with clergy, citizens and villeins, small and great, daily give their minds to composing and singing…. In this science of composing the troubadours are gone astray and I will tell you wherefore. The hearers who do not understand anything when they hear a fine poem will pretend that they understand perfectly… because they [123] think that men would consider it a fault in them if they said that they did not understand…. And if when they hear a bad troubadour, they do understand, they will praise his singing because they understand it; or if they will not praise, at least they will not blame him; and thus the troubadours are deceived and the hearers are to blame for it.” Raimon Vidal proceeds to say that the pure language is that of Provence or of Limousin or of Saintonge or Auvergne or Quercy: “wherefore I tell you, that when I use the term Limousin, I mean all those lands and those which border them or are between them.” He was apparently the first to use the term Limousin to describe classical Provencal, and when it became applied to literary Catalonian, as distinguished from _pla Catala_, the vulgar tongue, the result was some confusion. Provencal influence was more permanent in Catalonia than in any other part of Spain; in 1393, the Consistorium of the _Gay saber_ was founded in imitation of the similar association at Toulouse. Most of the troubadour poetical forms and the doctrines of the Toulouse _Leys d’Amors_ were retained, until Italian influence began to oust Provencal towards the close of the fifteenth century.

On the western side of Spain, Provencal influence evoked a brief and brilliant literature in the Galician or Portuguese school. Its most [124] brilliant period was the age of Alfonso X. of Castile, one of its most illustrious exponents, and that of Denis of Portugal (1280-1325). The dates generally accepted for the duration of this literature are 1200-1385; it has left to us some 2000 lyric poems, the work of more than 150 poets, including four kings and a number of nobles of high rank. French and Provencal culture had made its way gradually and by various routes to the western side of the Spanish peninsula.

We have already referred to the pilgrim route to the shrine of Compostella, by which a steady stream of foreign influence entered the country. The same effect was produced by crusaders who came to help the Spaniards in their struggle against the Moors, and by foreign colonists who helped to Christianise the territories conquered from the Mohammedans. The capture of Lisbon in 1147 increased maritime intercourse with the North. Individuals from Portugal also visited Northern and Southern France, after the example of their Spanish neighbours. References to Portugal in the poetry of the troubadours are very scarce, nor is there any definite evidence that any troubadour visited the country. This fact is in striking contrast with the loud praises of the Spanish courts. None the less, such visits must have taken place: Sancho I. had French _jongleurs_ in his pay during [125] the twelfth century and the Portuguese element in the five-language _descort_ of Raimbaut de Vaqueiras shows that communication between Provencal poets and Portuguese or Galician districts must have existed. The general silence of the troubadours may be due to the fact that communication began at a comparatively late period and was maintained between Portugal and Spanish courts, and not directly between Portugal and Southern France.

Alfonso X. of Castile himself wrote many poems in the Galician or Portuguese dialect; perhaps his choice was dictated by reasons analogous to those which impelled Italian and Catalonian poets to write in Provencal. The general body of Portuguese poetry declares itself by form and content to be directly borrowed from the troubadours: it appeals to an aristocratic audience; the idea of love as a feudal relation is preserved with the accompanying ideas of _amour courtois_, and the lyric forms developed in Southern France are imitated. The Provencal manner took root in Portugal as it failed to do in Spain, because it found the ground to some extent prepared by the existence of a popular lyric poetry which was remodelled under Provencal influence. The most popular of the types thus developed were _Cantigas de amor e de amigo_ and _Cantigas de_ _escarnho e de maldizer_; the former were love songs: when the poet speaks the song was one _de amor_; when the lady speaks (and she is unmarried, in contrast to Provencal usage) the song was _de amigo_. This latter is a type developed independently by the Portuguese school. _Cantigas de escarnho_ correspond in intention [126] to the Provencal _sirventes_; if their satire was open and unrestrained they were _cantigas de maldizer_. They dealt for the most part with trivial court and personal affairs and not with questions of national policy upon which the troubadours so often expressed their opinions. Changes in taste and political upheavals brought this literature to an end about 1385 and the progress of Portuguese poetry then ceases for some fifty years.

CHAPTER IX [127]

PROVENCAL INFLUENCE IN GERMANY, FRANCE AND ENGLAND

Provencal influence in Germany is apparent in the lyric poetry of the minnesingers. Of these, two schools existed, connected geographically with two great rivers. The earlier, the Austro-Bavarian school, flourished in the valley of the Danube: the later minnesingers form the Rhine school. In the latter case, Provencal influence is not disputed; but the question whether the Austro-Bavarian school was exempt from it, has given rise to considerable discussion. The truth seems to be, that the earliest existing texts representing this school do show traces of Provencal influence; but there was certainly a primitive native poetry in these Danube districts which had reached an advanced stage of development before Provencal influence affected it. Austria undoubtedly came into touch with this influence at an early date. The Danube valley was a high road for the armies of crusaders; another route led from Northern Italy to Vienna, by which Peire Vidal probably found his way to Hungary. At the same time, though Provencal influence was strong, the [128] Middle High German lyric rarely relapsed into mere imitation or translation of troubadour productions. Dietmar von Aist, one of the earliest minnesingers, who flourished in the latter half of the twelfth century has, for instance, the Provencal _alba_ theme. Two lovers part at daybreak, when awakened by a bird on the linden: if the theme is Provencal, the simplicity of the poet’s treatment is extremely fresh and natural. This difference is further apparent in the attitude of minnesingers and troubadours towards the conception of “love.” The minnesong is the literary expression of the social convention known as “Frauendienst,” the term “minne” connoting the code which prescribed the nature of the relation existing between the lover and his lady; the dominant principle was a reverence for womanhood as such, and in this respect the German minnesang is inspired by a less selfish spirit than the Provencal troubadour poetry. Typical of the difference is Walter von der Vogelweide’s–

Swer guotes wibes minne hat,
der schamt sich aller missetat.

(“He who has a good woman’s love is ashamed of every ill deed”), compared with Bernart de Ventadour’s–

Non es meravilha s’ieu chan [129] Melhs de nul autre chantador
Car plus trai mos cors ves Amor
E melhs sui faitz a son coman.

(“It is no wonder if I sing better than any other singer, for my heart draws nearer to love and I am better made for love’s command.”) The troubadour _amor_, especially in its Italian development, eventually attained the moral power of the _minne_; but in its early stages, it was a personal and selfish influence. The stanza form and rime distribution of the minnesinger poems continually betray Provencal influence: the principle of tripartition is constantly followed and the arrangement of rimes is often a repetition of that adopted in troubadour stanzas. Friedrich von Hausen, the Count Rudolf von Fenis, Heinrich von Morungen and others sometimes translate almost literally from troubadour poetry, though these imitations do not justify the lines of Uhland.

In den Thaelern der Provence ist der Minnesang entsprossen, Kind des Fruehlings und der Minne, holder, inniger Genossen.

Northern France, the home of epic poetry, also possessed an indigenous lyric poetry, including spring and dance songs, pastorals, romances, and “chansons de toile.” Provencal influence here was inevitable. It is apparent in the form and content of poems, in the attempt to remodel [130] Provencal poems by altering the words to French forms, and by the fact that Provencal poems are found in MS. collections of French lyrics. Provencal poetry first became known in Northern France from the East, by means of the crusaders and not, as might be expected, by intercommunication in the centre of the country. The centre of Provencal influence in Northern France seems to have been the court of Eleanor of Poitiers the wife of Henry II. of England and the court of her daughter, Marie of Champagne. Here knights and ladies attempted to form a legal code governing love affairs, of which a Latin edition exists in the _De arte honeste amandi_ of Andre le Chapelain, written at the outset of the thirteenth century. Well-known troubadours such as Bertran de Born and Bernart de Ventadour visited Eleanor’s court and the theory of courtly love found its way into epic poetry in the hands of Chretien de Troyes.

The Provencal school in Northern France began during the latter half of the twelfth century. The _chanson_ properly so called is naturally most strongly represented: but the Provencal forms, the _tencon_ (Prov. _tenso_) and a variant of it, the _jeu-parti_ (Prov. _jocs partitz_ or _partimens_) are also found, especially the latter. This was so called, because the opener of the debate proposed two alternatives to his interlocutor, of which the latter could choose for support either that [131] he preferred, the proposer taking the other contrary proposition: the contestants often left the decision in an _envoi_ to one or more arbitrators by common consent. Misinterpretation of the language of these _envois_ gave rise to the legend concerning the “courts of love,” as we have stated in a previous chapter. One of the earliest representatives of this school was Conon de Bethune, born in 1155; he took part in the Crusades of 1189 and 1199. Blondel de Nesles, Gace Brule and the Chatelain de Coucy are also well-known names belonging to the twelfth century. Thibaut IV., Count of Champagne and King of Navarre (1201-1253), shared in the Albigeois crusade and thus helped in the destruction of the poetry which he imitated. One of the poems attributed to him by Dante (_De Vulg. El._) belongs to Gace Brule; his love affair with Blanche of Castile is probably legendary. Several crusade songs are attributed to Thibaut among some thirty poems of the kind that remain to us from the output of this school. These crusade poems exhibit the characteristics of their Provencal models: there are exhortations to take the cross in the form of versified sermons; there are also love poems which depict the poet’s mind divided between his duty as a crusader and his reluctance to leave his lady; or we find the lady [132] bewailing her lover’s departure, or again, lady and lover lament their approaching separation in alternate stanzas. There is more real feeling in some of these poems than is apparent in the ordinary chanson of the Northern French courtly school: the following stanzas are from a poem by Guiot de Dijon,[34] the lament of a lady for her absent lover–

Chanterai por mon corage
Que je vueill reconforter
Car avec mon grant damage
Ne quier morir n’afoler,
Quant de la terra sauvage
Ne voi nului retorner
Ou cil est qui m’assoage
Le cuer, quant j’en oi parler
Dex, quant crieront outree,
Sire, aidies au pelerin
Por cui sui espoentee,
Car felon sunt Sarrazin.

De ce sui bone atente
Que je son homage pris,
E quant la douce ore vente
Qui vient de cel douz pais
Ou cil est qui m’atalente,
Volontiers i tor mon vis:
Adont m’est vis que jel sente
Par desoz mon mantel gris.
Dex, etc.

“I will sing for my heart which I will comfort, for in spite of my great loss I do not wish to die, and yet I see no one return from the wild [133] land where he is who calms my heart when I hear mention of him. God! when they cry Outre (a pilgrim marching cry), Lord help the pilgrim for whom I tremble, for wicked are the Saracens.

“From this fact have I confidence, that I have received his vows and when the gentle breeze blows which comes from the sweet country where he is whom I desire, readily do I turn my face thither: then I think I feel him beneath my grey mantle.”

The idea in the second stanza quoted is borrowed from Bernard de Ventadour–

Quant la douss’ aura venta
Deves vostre pais.
Vejaire m’es qu’eu senta
Un ven de Paradis.

The greater part of this poetry repeats, in another language, the well-worn mannerisms of the troubadours: we find the usual introductory references to the spring or winter seasons, the wounding glances of ladies’ eyes, the tyranny of love, the reluctance to be released from his chains and so forth, decked out with complications of stanza form and rime-distribution. Dialectical subtlety is not absent, and occasionally some glow of natural feeling may be perceived; but that school in general was careful to avoid the vulgarity of unpremeditated emotion and appealed only to a restricted class of the initiated. Changes in the constitution and customs of society brought this school [134] to an end at the close of the thirteenth century, and a new period of lyric poetry was introduced by Guillaume de Machaut and Eustache Deschamps.

Of the troubadours in England there is little to be said. The subject has hitherto received but scanty attention. Richard Coeur de Lion was as much French as English; his mother, Queen Eleanor, as we have seen, was Southern French by birth and a patroness of troubadours. Richard followed her example; his praises are repeated by many troubadours. What truth there may be in Roger of Hovenden’s statement concerning his motives cannot be said; “Hic ad augmentum et famam sui nominis emendicata carmina et rhythmos adulatorios comparabat et de regno Francorum cantores et joculatores muneribus allexerat ut de illo canerent in plateis, et jam dicebatur ubique, quod non erat talis in orbe.” The manuscripts have preserved two poems attributed to him, one referring to a difference with the Dauphin of Auvergne, Robert I. (1169-1234), the other a lament describing his feelings during his imprisonment in Germany (1192-1194). Both are in French though a Provencal verson is extant of the latter. The story of Richard’s discovery by Blondel is pure fiction.[35]

From the time of Henry II. to that of Edward I. England was in constant [135] communication with Central and Southern France and a considerable number of Provencals visited England at different times and especially in the reign of Henry III.; Bernard de Ventadour, Marcabrun and Savaric de Mauleon are mentioned among them. Though opportunity was thus provided for the entry of Provencal influence during the period when a general stimulus was given to lyric poetry throughout Western Europe, Norman French was the literary language of England during the earlier part of that age and it was not until the second half of the thirteenth century that English lyric poetry appeared. Nevertheless, traces of Provencal influence are unmistakably apparent in this Middle English lyric poetry. But even before this time Anglo-Latin and Anglo-Norman literature was similarly affected. William of Malmesbury says that the Norman Thomas, Archbishop of York, the opponent of Anselm wrote religious songs in imitation of those performed by jongleurs; “si quis in auditu ejus arte joculatoria aliquid vocale sonaret, statim illud in divinas laudes effigiabat.” These were possibly hymns to the Virgin. There remain also political poems written against John and Henry III. which may be fairly called _sirventes_, Latin disputes, such as those Inter Aquam et Vinum, Inter Cor et Oculum, De Phillide et Flora, are constructed upon the [136] principles of the _tenso_ or _partimen_. The use of equivocal and “derivative” rimes as they are called in the Leys d’Amors is seen in the following Anglo-Norman stanzas. A poem with similar rimes and grouped in the same order is attributed to the Countess of Die, the Provencal _trobairitz_; but this, as M. Paul Meyer points out, may be pure coincidence.[36]

En lo sesoun qe l’erbe poynt
E reverdist la matinee
E sil oysel chauntent a poynt
En temps d’avril en la ramee,
Lores est ma dolur dublee
Que jeo sui en si dure poynt
Que jeo n’en ai de joie poynt,
Tant me greve la destinee.

Murnes et pensif m’en depart,
Que trop me greve la partie;
Si n’en puis aler cele part,
Que ele n’eyt a sa partie
Mon quor tot enter saunz partie.
E puis qu’el ad le men saunz part, E jeo n’oy unkes del soen part
A moi est dure la partie.

“In the season when the grass springs and the morn is green and the birds sing exultantly in April time in the branches, then is my grief doubled, for I am in so hard a case that I have no joy at all, so heavy is my fate upon me.

“Sad and thoughtful I depart, for the case is too grievous for me: yet [137] I cannot go thither, for she has in her power my heart whole and undivided. And since she has mine undivided and I never have any part of hers, the division is a hard one to me.”

This influence was continued in Middle English lyric poetry. These lyrics are often lacking in polish; the tendency to use alliteration as an ornament has nothing to do with such occasional troubadour examples of the trick as may be found in Peire d’Auvergne. Sometimes a refrain of distinctly popular origin is added to a stanza of courtly and artificial character. Generally, however, there is a freshness and vigour in these poems which may be vainly sought in the products of continental decadence. But Provencal influence, whether exerted directly or indirectly through the Northern French lyric school, is plainly visible in many cases. Of the lyrics found in the important MS. Harleian 2253,[37] “Alysoun” has the same rime scheme as a poem by Gaucelm Faidit: it opens with the conventional appeal to spring; the poet’s feelings deprive him of sleep. The Fair Maid of Ribbesdale has a rime-scheme almost identical with that shown by one of Raimbaut d’Aurenga’s poems; the description of the lady’s beauty recalls many troubadour formulae: the concluding lines–

He myhte sayen pat crist hym seze, [138] pat myhte nyhtes neh hyre leze,
heuene he hevede here.

are a troubadour commonplace. Many other cases might be quoted. Hymns and songs to the Virgin exhibit the same characteristics of form. The few Provencal words which became English are interesting;[38] colander or cullender (now a vegetable strainer; Prov. colador), funnel, puncheon, rack, spigot, league, noose are directly derived from Provencal and not through Northern French and are words connected with shipping and the wine trade, the port for which was Bordeaux.

In the year 1323 a society was formed in Toulouse of seven troubadours, the “sobregaya companhia,” for the purpose of preserving and encouraging lyric poetry (lo gay saber). The middle class of Toulouse seems at all times to have felt an interest in poetry and had already produced such well-known troubadours as Aimeric de Pegulhan, Peire Vidal and Guillem Figueira. The society offered an annual prize of a golden violet for the best _chanso_; other prizes were added at a later date for the best dance song and the best _sirventes_. Competitors found that songs to the Virgin were given the preference and she eventually became the one subject of these prize competitions. The society produced a grammatical [139] work, the Leys d’Amors, under the name of its president, Guillem Molinier, in 1356,[39] no doubt for the reference and instruction of intending competitors. The competition produced a few admirable poems, but anxiety to preserve the old troubadour style resulted generally in dry and stilted compositions. The _Academie des jeux floraux_[40] altered the character of the competition by admitting French poems after 1694. At the end of the sixteenth century, Provencal poetry underwent a revival; in our own time, poets such as Jasmin, Aubanel, Roumanille and above all, Mistral, have raised their language from a patois to a literary power. The work of the felibres has been to synthetise the best elements of the various local dialects and to create a literary language by a process not wholly dissimilar to that described at the outset of this book. But the old troubadour spirit had died long before; it had accomplished its share in the history of European literature and had given an impulse to the development of lyric poetry, the effects of which are perceptible even at the present day.

BIBLIOGRAPHY AND NOTES

LITERARY HISTORY

F. Diez, _Leben und Werke der Troubadours_, 2nd edit., re-edited by K. Bartsch, Leipsic, 1882. _Die Poesie der Troubadours_, 2nd edit., re-edited by K. Bartsch, Leipsic, 1883.

K. Bartsch, _Grundriss zur Geschichte der provenzalischen Literatur_, Elberfeld, 1872. A new edition of this indispensable work is in preparation by Prof. A. Pillet of Breslau. The first part of the book contains a sketch of Provencal literature, and a list of manuscripts. The second part gives a list of the troubadours in alphabetical order, with the lyric poems attributed to each troubadour. The first line of each poem is quoted and followed by a list of the MSS. in which it is found. Modern editors have generally agreed to follow these lists in referring to troubadour lyrics: e.g. B. Gr., 202, 4 refers to the fourth lyric (in alphabetical order) of Guillem Ademar, who is no. 202 in Bartsch’s list.

A list of corrections to this list is given by Groeber in Boehmer’s _Romanische Studien_, vol. ii. 1875-77, Strassburg. In vol. ix. of the same is Groebers’ study of troubadour MSS. and the relations between them.

A. Stimming, _Provenzaliscke Literatur in Groeber’s Grundriss der Romanischen Philologie_, Strassburg, 1888, vol. ii. part ii. contains useful bibliographical notices.

A. Restori, _Letteratura provenzale_, Milan, 1891 (_Manuali Hoepli_), an excellent little work.

A. Jeanroy, _Les origines de la poesie lyrique en France_, 2nd edit., Paris, 1904.

J. Anglade, _Les troubadours_, Paris, 1908, an excellent and trustworthy work, in popular style, with a good bibliography.

J. H. Smith, _The troubadours at Home_, 2 vols., New York, 1899; popularises scientific knowledge by impressions of travel in Southern France, photographs, and historical imagination: generally stimulating and suggestive, Most histories of French literature devote some space to Provencal; e.g. Suchier & Birch-Hirschfeld, _Geschichte der franzoesischen Litteratur_, Leipsic, 1900. The works of Millot and Fauriel are now somewhat antiquated. _Trobador Poets_, Barbara Smythe, London, 1911, contains an introduction and translations from various troubadours.

DICTIONARIES AND GRAMMARS

F. Raynouard, _Lexique roman_, 6 vols., Paris, 1838-1844, supplemented by.

E. Levy, _Provenzalisches supplement-Woerterbuch_, Leipsic, 1894, not yet completed, but indispensable.

E. Levy, _Petit dictionnaire provencal-francais_, Heidelberg, 1908.

J. B. Roquefort, _Glossaire de la langue romane_, 3 vols., Paris, 1820.

W. Meyer-Luebke, _Grammaire des langues romanes_, French translation of the German, Paris, 1905.

C. H. Grandgent, _An outline of the phonology and morphology of old Provencal_, Boston, 1905.

H. Suchier, _Die franzoesiche und provenzalische Sprache_ in Groeber’s _Grundriss_. A French translation, _Le Francais et le Provencal_, Paris, 1891.

TEXTS

The following chrestomathies contain tables of grammatical forms (except in the case of Bartsch) texts and vocabularies.

_Altprovenzalisches Elementarbuch_, O. Schultz-Gora, Heidelberg, 1906, an excellent work for beginners.

_Provenzalische Chrestomathie_, C. Appel, Leipsic, 1907, 3rd edit.

_Manualetto provenzale_, V. Crescini, Padua, 1905, 2nd edit.

_Chrestomathie provencal_, K. Bartsch, re-edited by Koschwitz, Marburg, 1904.

The following editions of individual troubadours have been published.

Alegret. _Annales du Midi_, no. 74.

Arnaut Daniel. U. A. Canello, Halle, 1883.

Bernart de Rovenac. G. Borsdorff, Erlangen, 1907.

Bartolomeo Zorzi. E. Levy, Halle, 1883.

Bertran d’Alamanon. J. Salverda de Grave, Toulouse, 1902 (_Bibliotheque Meridionale_).

Bertran de Born. A. Thomas, Toulouse, 1888 (_Bibliotheque Meridionale_).

Bertran de Born. A. Stimming, Halle, 1892 (and in the _Romanischz Bibliothek_, Leipsic).

Blacatz. O. Soltau, Leipsic, 1890.

Cercamon. Dr Dejeanne, Toulouse, 1905 (_Annales du Midi_, vol. xvii.).

Elias de Barjols. Stronski, Paris, 1906 (_Bibliotheque Meridionale_ vi.).

Folquet de Marselha. Stronski, Cracow, 1911.

Folquet de Romans. Zenker (_Romanische Bibliothek_).

Gavaudan. A. Jeanroy, _Romania_, xxxiv., p. 497.

Guillaume IX. Comte de Poitiers. A. Jeanroy, Toulouse, 1905.

Guillem Anelier de Toulouse. M. Gisi, Solothurn, 1877.

Guillem de Cabestanh. F. Hueffer, Berlin, 1869.

Guillem Figueira. E. Levy, Berlin, 1880.

Guillem de Montanhagol. J. Coulet, _Bibliotheque Meridionale_, iv., Toulouse.

Guiraut de Bornelh. A. Kolsen, Berlin, 1894 and 1911.

Guiraut d’Espanha. P. Savi-Lopez. _Studj mediaevali_, Fasc. 3, Turin, 1905.

Guiraut Riquier, Etude sur, etc. J. Anglade, Paris, 1905.

Jaufre Rudel. A Stimming, Kiel, 1873.

Marcabrun. Dr Dejeanne. _Bibliotheque Meridionale_, 1910.

Marcoat. Dr Dejeanne, Toulouse, 1903 (_Annales du Midi_, xv.).

Monk of Montaudon. E. Philippson, Halle, 1873; O. Klein, Marburg, 1885.

N’ At de Mons. Bernhard. _Altfranzoesische Bibliothek, Heilbronn_.

Paulet de Marselha. E. Levy, Paris, 1882.

Peire d’Alvernhe (d’Auvergne). R. Zenker, Rostock, 1900.

Peire Vidal. K. Bartsch, Berlin, 1857 (an edition by J. Anglade is about to appear).

Peire Rogier. C. Appel, Berlin, 1892.

Perdigon. H.J. Chaytor, _Annales du Midi_, xxi.

Pons de Capdoill. M. Napolski, Halle, 1879.

Raimbaut de Vaqueiras. O. Schultz, Halle, 1893.

Raimon de Miraval, Etude sur, etc. P. Andraud, Paris, 1902.

Sordel. De Lollis, Halle, 1896 (_Romanische Bibliothek_).

Numerous separate pieces have been published in the various periodicals concerned with Romance philology, as also have diplomatic copies of several MSS. Of these periodicals, the most important for Provencal are _Romania, les Annales du Midi, Zeitschrift der Romanischen Philologie, Archiv fur das Studium der neueren Sprachen, Romanische Studien, Studj di filologia romanza, Revue des langues romanes_. Mahn’s _Gedichte der Troubadours_, 4 vols., Berlin, 1856-71, contains diplomatic copies of MSS.; his _Werke der Troubadours_, Berlin, 1846-55, contains reprints from Raynouard, _Choix des poesies originales des Troubadours_, Paris, 1816. Suchier, _Denkmaeler provenzalischer Sprache_, Halle, 1883; Appel, _Provenzalische Inedita_, Leipsic, 1890; Chabaneau, _Poesies inedites des Troubadours du Perigord_, Paris, 1885; P. Meyer, _Les derniers troubadours de Provence_, Paris, 1871, should be mentioned. Most of the pieces in the _Parnasse Occitanien_, Toulouse, 1819, are to be found better edited elsewhere. Other pieces are to be found in various _Festschriften_ and occasional or private publications, too numerous to be detailed here. C. Chabaneau, _Les biographies des Troubadours_, Toulouse, 1885 (part of the _Histoire generale de Languedoc_) is full of valuable information. The biographies have been translated by I. Farnell, _Lives of the Troubadours_, London, 1896.

NOTES

CHAPTER I

1. See maps at the end of Groeber’s _Grundriss_, vol. i.

2. _De Vulg. El._ I., 8: alii oc, alii oil, alii si affirmando loquuntur, and _Vita Nuova_, xxv. Dante also knew the term provincialis.

3. Boethius. F. Huendgen, Oppeln, 1884. For Sainte Foy d’Agen, see _Romania_ xxxi., p, 177 ff.

4. P. Meyer in _Romania_ v., p. 257. Bedier, _Les chansons de Croisade_, Paris, 1909, p. 16.

5. See P. Maus, _Peire Cardenals Strophenbau_, Marburg, 1884.

6. See Jeanroy, Origines, etc.

CHAPTER II

7. Provencal has also the feminine _joia_ with the general meaning of “delight.”

8. See Stimming’s article in Groeber’s _Grundriss_.

9. Raynouard, _Les Troubadours et les Cours d’Amour_, Paris, 1817; see also Diez, _Ueber die Minnehoefe_, Berlin, 1825. Pio Rajna, _Le Corti d’Amore_, Milan, 1890.

10. _Annales du Midi_, xix. p. 364.

11. _Die provenzalische Tenzone_, R. Zenker, Leipsic, 1888.

CHAPTER III

12. Girart de Roussillon, translation by P. Meyer, Paris, 1884: see also _Romania_, vii. Diplomatic copies of the MSS. in _Romanische Studien_ V. _Le Roman de Flamenca_, P. Meyer, Paris, 1901.

13. J. B. Beck, _Die Melodien der Troubadours_, Strasburg, 1908. _La Musique des Troubadours_, Paris, 1910, by the same author, who there promised a selection of songs harmonized for performance: this has not yet appeared. See also _Quatre poesies de Marcabrun_, Jeanroy, Dejeanne and Aubry, Paris, 1904, with texts, music, and translations.

14. Schindler, _Die Kreuzzuege in der altprovenzalischen und mittelhochdeutschen lyrik._, Dresden, 1889. K. Lewent, _Das altprovenzalische Kreuzlied_, Berlin, 1905.

15. A. Pillet, _Studien zur Pastourelle_, Breslau, 1902. Roemer, _Die volkstuemlichen Dichtungsarten der altprovenzalischen Lyrik_, Marburg, 1884.

16. _Quae judicia de litteris fecerint Provinciales_. P. Andraud, Paris, 1902.

17. From _Si’m sentis fizels amics_, quoted by Dante, _De Vulg. El._ i. 9.

CHAPTER IV

18. “Paubre motz”; also interpreted as “scanty words,” i.e. poems with short lines. On Jaufre Rudel in literature, see a lecture by Carducci, Bologna 1888. The latest theory of his mysterious love is that she was the Virgin Mary; see C. Appel, _Archiv fuer das Studium der neueren Sprachen_, cvii. 3-4.

19. Mahn, _Gedichte_, no. 707. An edition of Bernard de Ventadour’s poems is in preparation by Prof. Appel.

20. _Cp._ Dante, _Par._ xx. 73.

CHAPTER V

21. Dante, _De Vulg. El._ ii. 2.

22. “Il Provenzale,” _Conv._ iv. 11.

23. _Purg._ xxvi.

24. On his family see Stronski, _Folquet de Marseille_, p. 15 and 159-172.

25. See G. Paris, _La Litterature francaise au moyen age_, Sec. 128.

CHAPTER VI

26. The best short account of the Albigenses is to be found in vol. i. of H.C. Lea’s _Histoire de L’Inquisition au moyen age_, Paris, 1903. This, the French translation, is superior to the English edition as it contains the author’s last corrections, and a number of bibliographical notes. The Adoptionist theory is stated in the introduction to F.C. Conybeare’s _Key of Truth_, Oxford, 1908. The _Chanson de la Croisade Albigeoise_, P. Meyer, Paris, 1875, 2 vols., is indispensable to students of the subject. In these works will be found much of the extensive bibliography of the heresy and crusade.

27. Eckbertus, _Serm. adv. Catharos, Migne, Patr. Lat._, tom. 193. p. 73.

28. _Cf._ Milman, _Latin Christianity_, Book IX. chap. viii. p. 85.

29. On religious lyric poetry, see Lowinsky, _Zeitschrift fuer franzoesische Sprache und Litteratur_, xx. p. 163 ff., and the bibliographical note to Stimming’s article in Groeber’s _Grundriss_, vol. ii. part ii. Sec. 32.

CHAPTER VII

Most histories of Italian literature deal with this subject. See Gaspary’s _Italian Literature to the death of Dante_: H. Oelsner, Bohn’s Libraries. See also the chapter, _La poesie francaise en Italie_ in Jeanroy’s _Origines_. For Dante, see _Storia letteraria d’Italia, scritta di una societa di professori_, Milan, vol. iii., Dante, by Zingarelli. _The Troubadours of Dante_, Chaytor, Oxford, 1902. Useful are A. Thomas, _Francesco da Barberino et la litterature provencale en Italie au moyen age_, Paris, 1883. O. Schultz, _Die Lebensverhaeltnisse der Italienischen Trobadors_, Berlin, 1883.

30. Schultz, _Die Briefe des Trobadors Raimbaut de Vaqueiras an Bonifaz I._, Halle, 1883.

31. Zingarelli, _Intorno a due Trovatori in Italia_, Florence, 1899.

CHAPTER VIII

Mila y Fontanals, _Los trovadores en Espana_, Barcelona, 1861, remains the best work on the subject. On Portugal, the article in Groeber’s _Grundriss_, ii. 2, p. 129, by C. Michaelis de Vasconcellos and Th. Braga is admirable: see the bibliographical references there given and the introduction to R. Lang, _Das Liederbuch des Koenigs Denis von Portugal_, Halle, 1894.

32. The date of this poem is disputed, see Dr Dejeanne’s edition of Marcabrun, p. 235.

33. F. Guessard, _Grammaires Provencales_, Paris, 1858; E. Stengel, _Die beiden aeltesten prov. Gram._, Marburg, 1878.

CHAPTER IX

Troubadour influence in Germany is discussed at greater or less length in most histories of German literature. See Jeanroy, _Origines_, p. 270 ff. A. Luederitz, _Die Liebestheorien der Provenzalen bei den Minnesingern der Slauferzeit_, Literarhistorische Forschungen, Berlin, 1904.

For France. A. Jeanroy, _De nostratibus medii aevi poetis qui primum Aquitaniae carmina imitati sint_, Paris, 1889.

For England. Schofield, _English Literature from the Norman Conquest to Chaucer_, London, 1906. O. Heider, _Untersuchungen zur mittelenglischen erotischen Lyrik_, Halle, 1905. A. Brandl, _Spielmann’s verhaeltnisse in fruehmittelenglischer Zeit_, Sitzungs-berichte der Koenigl. preuss., Akademie, 1910.

34. Bedier, _Chansons de Croisade_, Paris, 1909, p. 112.

35. See introduction to Leo Wiese, _Die Lieder des Blondel de Nesle_, Dresden, 1904, p. 19 ff.

36. _Romania_, viii. p. 370.

37. K. Boeddeker, _Altenglische Dichtungen des MS. Harl._ 2253, Berlin, 1878.

38. Modern Language Review, vol. 1. p. 285; vol. ii. p. 60, articles by Prof. Skeat.

39. P. Leinig, _Grammatik der provenzalischen Leys d’amors verglichen mit der Sprache der Troubadours_, Breslau, 1890. M. Gatien. Arnoult, _Monuments de la litterature romane_, Toulouse, 1841.

40. _Histoire critique de l’Academie des Jeux Floraux_, by F. de Gelis from the origin to the 17th century will appear shortly in the Bibliotheque meridionale, Toulouse. Useful anthologies of modern Provencal are _Flourilege prouvencau_, Toulon, 1909: _Antologia provenzale_, E Portal, Milan, Hoepli, 1911 (Manuali Hoepli).

INDEX.

Alamanon, Bertran d’, 104
_Alba_, 33, 128
Albigeois, 13, 23, 75, ff.
Alcuin, 7
Alfonso II. of Aragon, 51, 59, 69, 74, 110, 113 Alfonso VIII. of Castile, 110, 113, 114 Alfonso X. of Castile, 118, 124
Andre le Chapelain, 19, 130
Aquino, Rinaldo d’, 82
Aquitaine, 42
Arabs, 8, 105
Aragon, 54, 71, 110
—- Pedro II. of, 78, 83, 113
Arles, 5
Aurenga, Raimbaut d’, 35, 85, 64
Auvergne, 3
—- Dauphin of, 134
—- Peire d’, 36, 67, 70, 135
Azalais, 71, 79

_Ballata_, 33
Barral, 71, 79
Belenoi, Aimeric de, 118
Bethune, Conon de, 131
Bezaudun, Raimon Vidal of, 115, 122 Beziers, 50, 78
Blacatz, 103
Born, Bertran de, 13, 57, 111, 130 Bornelh, Giraut de, 23, 35, 37, 53, 68, 86, 113 Brunei, Uc, 113

Cabestanh, Guillem de, 73
Cabreira, Guiraut de, 122
Caen, Raoul de, 6
Cairel, Elias, 12
Calanso, Guiraut de, 115, 122
Calha, Albertet, 12
Calvo, Bonifacio, 100, 118
Carcassonne, 78
Cardenal, Peire, 11, 82, 84, 92, 117, 118 Castile, 54, 71
—- Sancho III. of, 67
Catalonia, 3, 5, 71, 109, 121 ff.
Cercamon, 9, 42
Chabaneau, 20
_Chanso_, 23
Cigala, Lanfranc, 39, 100, 116
Circ, Uc de San, 100, 113
Corbiac, Peire de, 93
_Comjat_, 23
Compostella, 109, 124
Courts of Love, 19
Cunizza, 101

Daniel, Arnaut, 55
Dante, 24, 53, 55, 57, 63, 104, 108, 131 Denis, 124
_Descort_, 33, 97
Die, Countess of, 11, 65
Dietmar von Aist, 128
Dominic, 77, 80

Ebles II., 46
Eleanor of Aquitaine, 42, 46, 59, 130 Escas Amanieu des, 121
_Escondig_, 33
Estampida, 33
Este, 95
Ezzelino III., 101

Faidit, Gaucelm, 99, 135
Ferdinand III. of Castile, 104, 116 Figueira, Guillem, 82, 138
Flamenca, 23
Florence, 100
Frederick II. of Sicily, 88, 105
Friedrich von Hausen, 129

Galicia, 123
_Gasson_, 3, 9, 115
Genoa, 78, 100
Gerona, Serveri de, 120
Guido delle Colonne, 106, 107
Guido Guinicelli, 106
Guiot de Dijon, 132

Hautefort, 60, 111
Henry II. of England, 47, 59, 63
Henry III. of England, 104, 117

Innocent III., 76, 77
Inquisition, 80
Isabella of Angouleme, 117

Jaime I. of Aragon, 85
Jaufre, Roman de, 23

Languedoc, 3
Lemosin, 5
Lentino, Jacopo da, 82
Leys d’Amors, 16, 23, 33, 138
Limousin, 3, 4, 8, 123
Louis VII. of France, 60, 69
Louis VIII. of France, 89
Lyons, 5, 77

Malaspina, Marquis of, 100
Malmesbury, William of, 41
Manfred II., 100, 102
Mantua, 101
Marcabrun, 35, 43, 68, 85, 110, 135 Mareuil, Arnaut de, 50, 53
Marseilles, 5, 10
—- Barral of 71, 79
—- Folquet of, 10, 13, 72, 78, 91 Marie of Champagne, 130
Marvejols, Bernard Sicart de, 84, 117, 118 Mauleon, Savaric de, 135
Minnesingers, 128
Miraval, Raimon de, 39, 83
Montanhagol, Guillem de, 117
Montaudon, Monk of, 11, 69, 79, 113 —- Beatrice of, 97
Montpelier, Germonde de, 89
—- William VII. of, 51, 79
Muret 78, 114
Music, 26 ff.

Narbonne, 5, 59, 67
Navarre, 54, 110
—- Guillem de Tudela of, 120
Nesles, Blondel de, 131, 134
Nostradamus, 19
Novara, 102

Orange, William IV. of, 96

_Partimen_, 130
_Pastorela_, 33
Pegulhan, Aimeric de, 99, 107, 114, 138 Perdigon, 11
Pisa, 100
_Planh_, 30
Poitou, 4
Poitiers, 6, 8
—- William of, 6, 41, 65, 90
Portugal, Denis of, 124
Provence, 3
—- Beatrice of, 102
Puegsibot, Gausbert de, 14
Puy, 69

Raynouard, 19
Richard Coeur de Lion, 55, 58, 69, 72, 134 Riquier, Guiraut, 92, 118
Rogier, Peire, 66
Rovenhac, Bernart de, 118
Roussillon, 3
—- Girart de, 22
Rudel, Jaufre, 23, 44
Rudolf, Count of Neuenberg, 82

Savoy, 96
_Serena_, 33
Simon de Montfort, 78
_Sirventes_, 30, 135
Sordello, 96, 101, 116
_Stanza_, 24, ff.

_Tenso_, 21, 31, 130
Thibaut IV. of Champagne, 131
Tor, Guillem de la, 100
Toronet, 79
Toulouse, 5, 13, 78, 80, 84, 138
—- N’At de Mons of, 117
—- Peire Raimon of, 113
—- Raimon V. of, 49, 50, 60, 67, 111 —- Raimon VI. of, 78, 80, 114
Tripoli, Countess of, 44
_Trobar clus_, 34
Turin, 96

Ussel, Gui d’, 14

Vaqueiras, Raimbaut de, 96, 100
Vaudois, 76
Venice, 100
Ventadour, 11
—- Bernart of, 11, 13, 46, 68, 128, 130, 133, 135 Verona, 96
_Vers_, 23
Vidal, Peire, 71, 95, 97, 100, 112, 115, 127, 138 Virgin Mary, 15, 91

Zorzi, Bartolomeo, 100, 118