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Arnaut De Tintinhac
Arnaut de Tintinhac or Tintignac was a 12th-century Gascon nobleman and troubadour from Naves, near Tulle. He was the lord of Tintinhac, probably a feudatory of the viscount of Turrenne, and very proud of his heritage, as indicated when he refers to himself anonymously as ''sel de Tintinhac'': "he of Tintinhac". Four of his poems have survived, with one—''Bel m'es quan l'erba reverdis''—being ascribed in one manuscript to Raimon Vidal. In his expressions he is reminiscent of Marcabru and Bernart Marti and in his aggressive attitude towards encouraging courtly love he also resembles the early troubadours. Like other early Gascon troubadours, such as Peire de Valeira, he employed nature metaphors, as at the beginning of this song: The '' vida'' of Peire de Valeira seems to confuse its intended subject with Arnaut (at least at some points). It goes like this: Peire de Valeira was from Gascony, from the land of Lord Arnaut Guillem de Marsan. He was a minstrel A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gascony
Gascony (; french: Gascogne ; oc, Gasconha ; eu, Gaskoinia) was a province of the southwestern Kingdom of France that succeeded the Duchy of Gascony (602–1453). From the 17th century until the French Revolution (1789–1799), it was part of the combined Province of Guyenne and Gascony. The region is vaguely defined, and the distinction between Guyenne and Gascony is unclear; by some they are seen to overlap, while others consider Gascony a part of Guyenne. Most definitions put Gascony east and south of Bordeaux. It is currently divided between the region of Nouvelle-Aquitaine (departments of Landes, Pyrénées-Atlantiques, southwestern Gironde, and southern Lot-et-Garonne) and the region of Occitanie (departments of Gers, Hautes-Pyrénées, southwestern Tarn-et-Garonne, and western Haute-Garonne). Gascony was historically inhabited by Basque-related people who appear to have spoken a language similar to Basque. The name Gascony comes from the same root as the word Basq ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Courtly Love
Courtly love ( oc, fin'amor ; french: amour courtois ) was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of love is originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love changed and attracted a larger audience. In the high Middle Ages, a "game of love" developed around these ideas as a set of social practices. "Loving nobly" was considered to be an enriching and improving practice. Courtly love began in the ducal and princely courts of Aquitaine, Provence, Champagne, ducal Burgundy and the Norman Kingdom of Sicily at the end of the eleventh century. In essence, courtly love was an experience between erotic desire and spiritual attainment, "a love at once illicit and morally elevating, passionate and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gascons
Gascony (; french: Gascogne ; oc, Gasconha ; eu, Gaskoinia) was a province of the southwestern Kingdom of France that succeeded the Duchy of Gascony (602–1453). From the 17th century until the French Revolution (1789–1799), it was part of the combined Province of Guyenne and Gascony. The region is vaguely defined, and the distinction between Guyenne and Gascony is unclear; by some they are seen to overlap, while others consider Gascony a part of Guyenne. Most definitions put Gascony east and south of Bordeaux. It is currently divided between the region of Nouvelle-Aquitaine (departments of Landes (department), Landes, Pyrénées-Atlantiques, southwestern Gironde, and southern Lot-et-Garonne) and the region of Occitania (administrative region), Occitanie (departments of Gers, Hautes-Pyrénées, southwestern Tarn-et-Garonne, and western Haute-Garonne). Gascony was historically inhabited by Basques, Basque-related people who appear to have spoken a language similar to Basqu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minstrel
A minstrel was an entertainer, initially in medieval Europe. It originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments. Description Minstrels performed songs which told stories of distant places or of existing or imaginary historical events. Although minstrels created their own tales, often they would memorize and embellish the works of others. Frequently they were retained by royalty and high society. As the courts became more sophisticated, minstrels were eventually replaced at court by the troubadours, and many became wandering minstrels, performing in the streets; a decline in their popularity began in the late 15th century. Minstrels fed into later traditions of travelling entertainers, which continued to be moderately strong into the early 20th century, and which has some continuity in the form of today's bu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnaut Guillem De Marsan
Arnaut Guilhem (or Guillem) de Marsan (fl. 1160–1180) was a Landais nobleman and troubadour. He was descended from a cadet branch of the viscounts of Marsan and was himself lord of Roquefort and Montgaillard and co-lord of Marsan. Arnaut was a member of the 1170 escort of Eleanor, daughter of Henry II of England, from Bordeaux to the Spanish border for her marriage to Alfonso VIII of Castile. He is attested in a charter of Eleanor of Aquitaine. Arnaut Guilhem was also an Occitan lyric poet who composed one of the earliest ''ensenhamens'' or didactic poems: the ''Ensenhamen del cavalier'' (teaching of the cavalier). The medievalist Mark Johnston notes that his work is similar to that of another 12th-century troubadour poet, Garin lo Brun. According to an Occitan ''vida'', the troubadour Peire de Valeira was from Arnaut Guilhem's lands. Arnaut Guilhem was the ancestor of three branches of the house of Marsan through his three sons: the co-lords of Marsans and lords o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vida (Occitan Literary Form)
''Vida'' () is the usual term for a brief prose biography, written in Old Occitan, of a troubadour or trobairitz. The word ''vida'' means "life" in Occitan languages; they are short prose biographies of the troubadours, and they are found in some chansonniers, along with the works of the author they describe. Vidas are notoriously unreliable: Mouzat, while complaining that some scholars still believe them, says they represent the authors as "ridiculous bohemians, and picaresque heroes"; Alfred Jeanroy calls them "the ancestors of modern novels". Most often, they are not based on independent sources, and their information is deduced from literal readings of details of the poems. Most of the ''vidas'' were composed in Italy, many by Uc de Saint Circ. Additionally, some individual poems are accompanied by ''razo A ''razo'' (, literally "cause", "reason") was a short piece of Occitan prose detailing the circumstances of a troubadour composition. A ''razo'' normally introduced an in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peire De Valeira
Peire de Valeira, Valeria, or Valera (fl. early–mid twelfth century) was a Gascon troubadour. Since troubadour poetry probably originated in northwest Aquitaine (Poitou and Saintonge) and first spread—within a generation—south into Gascony, Peire was one of the earliest troubadours.Zumthor, 15. Only two of his poems survive,Egan, 80. one ''canso'' ("Vezer volgra n'Ezelgarda") and one ''cobla'' ("Qui qu'Amors don son voler"). His birthplace was Valera, near Podensac and Saint-Macaire in the Gironde. His '' vida'' places his birthplace in the fief of Arnaut Guillem de Marsan, who was himself a troubadour. He was a contemporary of Marcabru and originally a jongleur. His poems were typical for the time, according to Uc de Saint Circ, the probable author of his ''vida'', being about natural objects (like leaves, flowers, and birds), but not of great value to the biographer's time. But Uc saves his harshest critique for the end, as Elizabeth Poe relates: The unexpec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernart Marti
Bernart Marti was a troubadour, composing poems and satires in Occitan, in the mid-twelfth century. They show that he was influenced by his contemporaries Marcabru and knew Peire d'Alvernha, who, in one poem, he accused of abandoning holy orders. Along with Peire, Gavaudan and Bernart de Venzac Bernart de Venzac ( fl. 1180–1210) was an obscure troubadour from Venzac near Rodez in the Rouergue. He wrote in the Marcabrunian style, leaving behind five moralising pieces (two '' cansos'' and three '' sirventes'') and one religious ' ... he is sometimes placed in a hypothetical Marcabrunian school. His work is "enigmatic, ironic, and satiric", but has no following among later troubadours, according to Gaunt and Kay. Works Nine or ten of Marti's poems survive; the following have been attributed to him: *''A, senhors, qui so cuges '' *''Amar dei '' *''Belha m'es la flors d'aguilen'' *''Bel m'es lai latz la fontana '' *''Companho, per companhia '' *''D'entier vers far ieu non pes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Troubadour
A troubadour (, ; oc, trobador ) was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word ''troubadour'' is etymologically masculine, a female troubadour is usually called a ''trobairitz''. The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread to the Italian and Iberian Peninsulas. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, ''trovadorismo'' in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his ''De vulgari eloquentia'' defined the troubadour lyric as ''fictio rethorica musicaque poita'': rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) it died out. The texts of troubadou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marcabru
Marcabru (; floruit, fl. 1130–1150) is one of the earliest troubadours whose poems are known. There is no certain information about him; the two ''vida (Occitan literary form), vidas'' attached to his poems tell different stories, and both are evidently built on hints in the poems; not on independent information. According to the brief life in BnF ms. 12473, ''Marcabrun'' was from Gascony (details of the dialect of his poems support this) and was the son of a poor woman named Marcabrunela. This evidently comes from a reading of poem 293,18. According to the longer biography in MS. Vat. Lat. 5232 ''Marcabru'' was abandoned at a rich man's door, and no one knew his origin. He was brought up by Aldric del Vilar, learned to make poetry from Cercamon, was at first nicknamed ''Pan-perdut'' and later ''Marcabru''. He became famous, and the lords of Gascony, about whom he had said many bad things, eventually put him to death. This appears to be based on poems 16b,1 and 293,43 (an excha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raimon Vidal
Raimon Vidal de Bezaudu(n) (Catalan: ''Ramon Vidal de Besalú'') (flourished early 13th century) was a Catalan troubadour from Besalù. He is notable for authoring the first tract in a Romance language (Occitan) on the subject of grammar and poetry, the ''Razós de trobar'' (c. 1210),The similar ''Donatz proensals'' of Uc Faidit was also produced around this time. a title which translates as "Reasons (or Guidelines) of troubadour composition". He began his career as a joglar and he spent his formative years at the court of Hug de Mataplana, which he often recalls fondly in his poems and songs. In the ''Razós'', Raimon distinguishes the "parladura francesa" (French) from the "cella de Lemosin" (Occitan). He also discusses the art of the listener (''li auzidor'') and his responsibility to understand the troubadour works. Raimon's insistence that the audience understand what is sung and that they keep silent during its singing has been regarded as seminal in the history of classica ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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