Jongleurs et troubadours gascons des XIIe et XIIIe siècles ei publicat pera Librairie Ancienne Honoré Champion, en 1923.
Jongleurs et troubadours gascons des XIIe et XIIIe siècles
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Jongleurs et troubadours gascons des XIIe et XIIIe siècles ei publicat pera Librairie Ancienne Honoré Champion, en 1923.
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The chansonnier Paris, Bibliotheque nationale, f. fr. 22543 (known as “R”) has been recognized for over 200 years as a precious repository of the literature of the medieval troubadours of southern France. It transmits almost 950 lyric poems and 160 melodies, along with many other important writings in the Occitan language, many of which are unica.
The paleography, decoration, and dialect of the manuscript are described thoroughly, and their distinctive features are seen to support the hypothesis that R was compiled in northern Languedoc or western Provence around 1300. While most of the texts of R were copied by one scribe, the relatively few melodies it contains were probably notated by at least four different copyists. Over eighty percent of the poems were never supplied with their melodies, even though musical staves were provided; these staves were left empty. The notation is in the style of the so-called Notre Dame school of Paris, and the rhythms of the notes are not apparent, although a few seem to be in rudimentary mensural notation.
The manuscript contains some works of the troubadours of the early twelfth century, and also a large number of works by late thirteenth-century poets. By examining internal paleographical data and making comparisons with other extant codices, it is possible to offer suggestions on the nature of the exemplars of this heterogeneous collection. The problems of determining how the texts and melodies were transmitted are investigated, including the issues of oral transmission, the lack of extant autographs, the disparity in the origins of the surviving manuscripts, and the variant attributions. The musical transmission is especially problematic, since only three other sources containing music survive. The forty-five concordances that R shares with these other codices are discussed.
A review of the modern history of the manuscript shows that the earliest known owner was the Marquise d’Urfe of the early eighteenth century. The commonly accepted belief that R was in the library of her ancestor the poet Honore d’Urfe in the seventeenth century is found to be unsupported by the available evidence.
De A autant d’argent que de pesolhs à Virar coma un baciu fagord, ce sont plus de 1000 expressions et dictons occitans, enracinés au plus profond de notre quotidien, qui sont réunis et expliqués dans cet ouvrage. A leur source, l’observation et l’imagination pour les unes : Aimable coma una mosca d’ase ; Aver d’argent coma un chin de nièras ; Aver un cuol coma un amolaire ; Cargat coma un muol; Curios coma un pet ; Dormir coma una missara. la musicalité et la rime qui facilitent la mémorisation pour les autres : Al mes d’abriu, Io cocut canta, mort o viu ; Auba roja, vent o ploja ; Cada topin troba sa cabucèla ; Es lo matin que la jornada se pèrd o se ganha ; Grèc, pluèja al bec ; La raça raceja. Tous ont été choisis par l’auteur à partir d’enquêtes et de lectures personnelles.
The poetry of the troubadours was famous throughout the middle ages, but the difficulty and diversity of the original languages have been obstacles to its appreciation by a wider audience. This collection aims to redress the situation, presenting English verse translations in contemporary idiom and a highly readable form. It includes some 125 poems, with a strong representation of those composed by women, and goes beyond traditional limits in time to feature a sampling of the earliest texts in the Occitan language, written in the tenth and eleventh centuries, and later works from the early fourteenth. Though most poems translated in the book were written in Occitan, the vernacular of southern France, there are also a few translations of poems written in the same place and time but in other languages, including Latin, Hebrew, Norse, Catalan, and Italian. Genres include love songs, satires, invectives, pastourelles, debates, laments, and religious songs. A comprehensive introduction places the troubadours in their historical context and traces the development of their art; headnotes introduce each poet, and the book ends with a bibliography and suggestions for further reading.
Montaillou: un petit village de montagnards et de bergers en haute Auriège, à 1 300 mètres d’altitude. En 1320, Jacques Fournier, évêque de Pamiers, plus tard pape d’Avignon, y déploie ses talents d’inquisiteur. Il finit par déterrer tous les secrets du village.
Rien n’échappe à cet évêque fureteur, ni les vies intimes, ni les drames de l’existence quotidienne.
En s’appuyant sur cet extraordinaire document de Jacques Fournier, sorte de roman vrai du petit peuple du XIV siècle, Emmanuel Le Roy Ladurie ressuscite, en utilisant les méthodes historiques et ethnographiques les plus actuelles, la réalité occitane et cathare d’il y a six cent cinquante ans.
Se sap que, en el conjunt dels parlars romànics, no resulta excep- cional de trobar varietats lingüístiques que, en l’imperfet d’indicatiu de la segona i la tercera conjugacions, presentin a la desinència un so labial intervocàlic. Apareix, per exemple, dialectalment, en espanyol: en zones ben diverses, en clapes disperses, ja sigui en el vell o en el nou continent. Apareix en rètic o en dialectes itàlics: com, sense anar més lluny, en el toscà mateix. O bé també en aragonès, llengua en la qual «la terminación del imperfecto mantiene la -b- tanto en la primera como en la segunda y tercera conjugaciones» (ALVAR, 1953: 230) i en què aquestes formes amb un element bilabial —perquè, com en espanyol, hi és bilabial— a la desinència són, de fet, les formes referencials.
L’objectiu, doncs, no és de tractar d’afers —recurrents, per altra banda— com l’origen etimològic o analògic d’aquell so consonàntic, sinó sobretot de treure a la llum dades que hi fan referència: informa- cions obtingudes durant els darrers set anys arreu dels pobles de la Vall d’Aran —i també del Comenge veí, ja a l’Estat francès— a través d’enquestes de tipus dialectològic de format —diguem-ne— clàssic.
Joseph Anglade siguec professor ena Universitat de Tolosa.
L’idée du présent travail date de plus de vingt-cinq ans..
An Introduction to Old Occitan is the only textbook in print for learning the language used by the troubadours in southern France during the Middle Ages. Each of the thirty-two chapters discusses a subject in the study of the language (e.g., stressed vowels, subjunctive mood) and includes an exercise based on a reading of an Occitan text that has been edited afresh for this volume. An essential glossary analyzes every occurrence of every word in the readings and gives cognates in other Romance languages as well as the source of each word in Latin or other languages. The book also contains a list of prefixes, infixes, and suffixes and a dictionary of proper names. An accompanying compact disc includes discussion of the pronunciation of the language, with illustrations from the texts in the book, and musical performances by Elizabeth Aubrey, of the University of Iowa.
It was out of medieval Provence – Proensa – that the ethos of courtly love emerged, and it was in the poetry of the Provençal troubadours that it found its perfect expression. Their poetry was also a central inspiration for Dante and his Italian contemporaries, propagators of the modern vernacular lyric, and seven centuries later it was no less important to the modernist Ezra Pound. These poems, a source to which poetry has returned again and again in search of renewal, are subtle, startling, earthy, erotic, and supremely musical.
The poet Paul Blackburn studied and translated the troubadours for twenty years, and the result of that long commitment is ‘Proensa’, an anthology of thirty poets of the eleventh through thirteenth centuries, which has since established itself not only as a powerful and faithful work of translation but as a work of poetry in its own right. Blackburn’s ‘Proensa’, George Economou writes, “will take its place among Gavin Douglas’ ‘Aeneid’, Golding’s ‘Metamorphoses’, the Homer of Chapman, Pope, and Lattimore, Waley’s Japanese, and Pound’s Chinese, Italian, and Old English.”
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