An Introduction to Old Provençal VersificationThe major portion of this study is devoted to the lyric poems of the 12th & 13th century which constitute Southern France's greatest contribution to world literature. Nevertheless, chronology requires that this study begins by glancing briefly at two narrative pieces, the oldest Provencal poems of which we have any knowledge. Contents: The Earliest Provencal Verse: "Boeci," & the "Chanson de Sainte Foy"; Guilhem VII, Comte de Peitieu (or Peiteus); Marcabru; Marcabru's Contemporaries; "Trobar clus"; "Trobar leu"; The Generation of '80; Thematic Genres in the 13th Century; Genres Based on Form; Non-lyric Genres; & Bibliography. |
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Page 9
... consists of 593 octosyllables , grouped in laisses of varying length ; and these laisses are set apart from one another not by assonance , as in Boeci and most chansons de geste , but by full rime . In point of time it was preceded by ...
... consists of 593 octosyllables , grouped in laisses of varying length ; and these laisses are set apart from one another not by assonance , as in Boeci and most chansons de geste , but by full rime . In point of time it was preceded by ...
Page 44
... consists of singulars , in which the a rimes change from stanza to while b remains constant . If the generally accepted da the two poems are correct , this one is earlier by at l year ( 1146 as opposed to 1147 ) ; and if , as Marcabru ...
... consists of singulars , in which the a rimes change from stanza to while b remains constant . If the generally accepted da the two poems are correct , this one is earlier by at l year ( 1146 as opposed to 1147 ) ; and if , as Marcabru ...
Page 46
... consist of isometric heptasyllables , which a a . All masculine ( one ) : Ans quel terminis verdei ( 7 ) 8 b . All feminine ( four ) : L'autrier jost ' una sebissa ( 30 ) Al son desviat chantaire ( 5 ) Lanquan fuelhon li boscatge ( 28 ) ...
... consist of isometric heptasyllables , which a a . All masculine ( one ) : Ans quel terminis verdei ( 7 ) 8 b . All feminine ( four ) : L'autrier jost ' una sebissa ( 30 ) Al son desviat chantaire ( 5 ) Lanquan fuelhon li boscatge ( 28 ) ...
Page 47
... consisting of isometric heptasyllables introduce something quite new . Guilhem had displayed a preference for parisyllabic verses , using impari- syllables in only two patterns : eleven - syllable lines in the Companho poems , and ...
... consisting of isometric heptasyllables introduce something quite new . Guilhem had displayed a preference for parisyllabic verses , using impari- syllables in only two patterns : eleven - syllable lines in the Companho poems , and ...
Page 49
... consists of seven syllables ending in a proparoxytone 10 E.g. , Alfred Jeanroy , Les origines de la poésie lyrique en France au moyen âge , 3o éd . aris : Champion , 1925 ) , pp . 342–62 . ( intrínsecus , amaritúdine ) whose final ...
... consists of seven syllables ending in a proparoxytone 10 E.g. , Alfred Jeanroy , Les origines de la poésie lyrique en France au moyen âge , 3o éd . aris : Champion , 1925 ) , pp . 342–62 . ( intrínsecus , amaritúdine ) whose final ...
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Common terms and phrases
Aldric amor Arnaut balada Bel m'es Bernart Bernart de Ventadorn Bertran Boeci canso Cercamon Cerveri cesura chan chansoneta chansons de geste chantar chapter coblas coblas doblas coblas singulars coblas unissonans Companho compositions contrafacta Count of Poitou d'amor dansa decasyllables descort Dieu edition epic cesura feminine heptasyllables feminine rimes flors Frank French Gaucelm genre Giraut de Bornelh gran heterometric imitation internal rimes isometric Jeanroy joglar laisses lines lyric m'en manuscript Marcabru Marti masculine and feminine masculine octosyllables meter metrical motz Old Provençal paroxytonic pastorela pattern Peire Cardenal pieces poems poésie poet poet's pretz Provençal versification qu'ieu quan quar que·l quoted Raimbaut Raimon refrain respos retroencha rime-scheme rime-sounds rims estramps Riquer sirventes song stanza structure syllables synalepha temps tenso tornada totz trobar clus troubadour tune unstressed Ventadorn verses vida vowel vuoill word-refrain words
Popular passages
Page 2 - L'homme y passe a travers des forets de symboles Qui 1'observent avec des regards familiers. Comme de longs echos qui de loin se confondent Dans une tenebreuse et profonde unite, Vaste comme la nuit et comme la clarte, Les parfums, les couleurs et les sons se repondent.
Page 21 - How much better thou'rt attended Than the- Son of God could be, When from heaven He descended And became a child like thee...
Page 71 - II faut aussi que tu n'ailles point Choisir tes mots sans quelque meprise: Rien de plus cher que la chanson grise Ou 1'Indecis au Precis se joint.
Page 95 - Ar resplan la flors enversa Pels trencans rancx e pels tertres, Cals flors? Neus, gels e conglapis Que cotz e destrenh e trenca; Don vey morz quils, critz, brays, siscles En fuelhs, en rams e en giscles Mas mi ten vert e jauzen joys Er quan vey secx los dolens croys.
Page 1 - Quella lettura, e scolorocci il viso : Ma solo un punto fu quel che ci vinse. Quando leggemmo il disiato riso Esser baciato da cotanto amante, Questi, che mai da me non fia diviso, La bocca mi baciò tutto tremante. Galeotto fu il libro, e chi lo scrisse : Quel giorno più non vi leggemmo avante. Mentre che F uno spirto questo disse, L' altro piangeva sì, che di pietade Io venni men, così com' io morisse, E caddi come corpo morto cade.
Page 185 - Planher vuelh en Blacatz en aquest leugier so, ab cor trist e marrit; et ai en be razo...
Page 114 - Lo tems vai e ven e vire per jorns, per mes e per ans, et eu, las!, no.n sai que dire, c'ades es us mos talans. Ades es us e no.s muda, c'una.n volh en ai volguda, don anc non aic jauzimen.
Page 14 - Farai un vers de dreyt nien Guillem de Peiteus Farai un verse de dreyt nien: Non er de mi ni d'autra gen, Non er d'amor ni de joven, Ni de ren au, Qu'enans fo trobatz en durmen Sobre chevau. No sai en qual hora-m fuy natz: No suy alegres ni iratz, No suy estrayns ni sui privatz, Ni no-n puesc au, Qu'enaissi fuy de nueitz fadatz, Sobr
Page 118 - Can vei la lauzeta mover de joi sas alas contral rai, que s'oblid' es laissa chazer per la doussor c'al cor li vai, ai! tan grans enveya m'en ve de cui qu'eu veya jauzion, meravilhas ai, car desse lo cor de dezirer no-m fön.