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Cançoneret De Ripoll
The Cançoneret de Ripoll (, la, Carmina Riulpullensa), now manuscript 129 of Ripoll in the Arxiu de la Corona d'Aragó, is a short Catalan-Occitan chansonnier produced in the mid-fourteenth century but after 1346, when Peter IV of Aragon held a poetry competition which is mentioned in the chansonnier.This dating, from Martín de Riquer (1964), ''Història de la Literatura Catalana'', vol. 1 (Barcelona: Ariel), 509 and n3, has been disputed, Lola Badia placing it as early as the 1320s. Influenced by Cerverí de Girona, the chansonnier and its ideology serve as transition in the history of Catalan literature between the dominance of the troubadours and the new developments of Ausiàs March. The provenance of the manuscript has been debated. Arguments in favour of an origin with the monastic community of Ripoll, where the manuscript is first recorded in the library before heading to the archives in Barcelona, include the use of Latin headings to introduce some of the poems and the abu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santa Maria De Ripoll
The Monastery of Santa Maria de Ripoll is a Benedictine monastery, built in the Romanesque style, located in the town of Ripoll in Catalonia, Spain. Although much of the present church is 19th century rebuilding, the sculptured portico is a renowned work of Romanesque art. History The Monastery of Santa Maria de Ripoll was founded in 888 by Count Wilfred the Hairy (called Guifré el Pilós in Catalan) who used it as a centre to bring about the repopulation of the region after conquering it. Wilfred's son, Ridulph, was educated there and was later abbot of the monastery, as well as bishop of Urgell. The monastery grew rapidly, and was subsequently reconsecrated in 935, 977 and 1032, though the monks are known to have been established there permanently only from 1025 or 1032. The scriptorium and the monastic school quickly gained renown under Arnold Scholasticus. The monastery had several offshoots which included the abbeys of St. Martin-du-Canigou (now in France) and that of Santa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaufre De Foixa
''Jaufre'' (also called ''Jaufré'' or ''Jaufri'') is the only surviving Arthurian romance written in Occitan. A verse romance approximately 11,000 lines long, its main character is equivalent to Sir Griflet son of Do, a Knight of the Round Table known from other literature. Translations of ''Jaufre'' were popular on the Iberian peninsula; a version of the tale (from a Spanish redaction) even exists in Tagalog, the language of the Philippines. Synopsis Below is a summary based on the ms. A version, after Lavaud & Nelli's 1960 translation into modern French, and Ross G. Arthur's English translation. Chapter names approximately follow the latter. Prologue: 1–55 After a short eulogy to the court of King Arthur, the poet dedicates his work to the young King of Aragon, who has recently defeated God's enemies, possibly the Saracens in Spain. King Arthur's Court: 95–485 The poem proper begins. The court of King Arthur is assembled in the hall at (i.e. Carlisle) for the feast o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillem De Cabestany
Guillem de Cabestany (; 1162–1212) was a Catalan troubadour from Cabestany in the County of Roussillon. He is often known by his Old Occitan name, Guilhem de Cabestaing, Cabestang, Cabestan, or Cabestanh (pronounced ). Life Not much reliable information is known about Guillem de Cabestany. He is probably the son of Arnau de Cabestany, a noble of Roussillon, and a vassal in relation with the lords of Castell Rosselló. Cabestany itself is a fief located immediately next to the east of Castell Rosselló and southwest of Canet (a future viscounty). According to Pere Tomich, Guillem de Cabestany fought alongside Peter II of Aragon at the Battle of Las Navas de Tolosa against the Almohads in 1212. Legend According to his legendary ''vida'', he was the lover of Margarida or Seremonda (or Soremonda), wife of Raimon of Castell Rosselló. On discovering their affair, Raimon fed Cabestany's heart to Seremonda. When he told her what she had eaten, she threw herself from the win ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viadera
The ''viadera'' (, oc, viadeira ; also spelled ''viadeyra'' or ''viandela'') was a lyric genre of Catalan and Occitan literature invented by the troubadours. It was a dance song devised to lighten the burden of a long voyage or to enliven the trip. It was a popular as opposed to "high" form and only infrequently used by cultivated poets. According to the Catalan Cançoneret de Ripoll, it was ''la pus jusana spècies qui és en los cantàs'' (the most humble genre of song there is) and elsewhere it is called ''la més baixa espècie de cançons'' (the most base genre of song). One of the more famous ''viadeyras'' was composed by Cerverí de Girona. It begins ''No.l'' ("Don't take that false husband") and is preserved in the Cançoner Gil. The theme of the song is that of a warning to a girl, either ''Jana delgada'' (delicate Joanna) or ''Na Delgada'', a ''senhal'' (pet name) meaning "delicate lady". The line ''jana delgada'' (read either as ''Jana delgada'' or ''ja, Na Delgada'') ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dansa
A ''dansa'' (), also spelt ''dança'', was an Old Occitan form of lyric poetry developed in the late thirteenth century among the troubadours. It is related to the English term "dance" and was often accompanied by dancing. A closely related form, the ''balada'' or ''balaresc'', had a more complex structure, and is related to the ballade but unrelated to the ballad. Both terms derive from Occitan words for "to dance": ''dansar'' and ''balar/ballar''. A ''dansa'' begins with a ''respos'' of one or two lines, whose rhyme scheme matches that of the first line or two of each subsequent stanza. The actual ''respos'' may have been repeated between stanzas, of which there were usually three, as a refrain. The few surviving melodies of ''dansas'' seem like incipient virelais. The verses of the ''dansa'' were sung by a soloist while the refrain was sung by a choir. A ''dansa'' lacking a vuelta is called a ''danseta''. In a ''balada'' each stanza is divided into three parts. The first part ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vers (Occitan Literary Term)
Vers may refer to: *Vers (Lahn), a river of Hesse, Germany *Vers (Lot), a river of southern France, tributary of the Lot *an abbreviation for the trigonometric function "versine" *an abbreviation for versatile (sex), commonly used in Western gay male culture *an acronym for Victorian Electronic Records Strategy, a system for records management *an alias for Carol Danvers in the 2019 superhero film '' Captain Marvel'' Places in France Vers is the name or part of the name of several communes in France: * Vers, in the Lot ''département'' * Vers, in the Saône-et-Loire ''département'' * Vers, in the Haute-Savoie ''département'' * Vers-en-Montagne, in the Jura ''département'' * Vers-Pont-du-Gard, in the Gard ''département'' * Vers-sous-Sellières, in the Jura ''département'' * Vers-sur-Méouge, in the Drôme ''département'' * Vers-sur-Selles Vers-sur-Selle (, literally ''Vers on Selle'') is a commune in the Somme department in Hauts-de-France in northern France. Geography ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cobla (Occitan Literary Term)
A ''cobla esparsa'' ( literally meaning "scattered stanza") in Old Occitan is the name used for a single-stanza poem in troubadour poetry. They constitute about 15% of the troubadour output, and they are the dominant form among late (after 1220) authors like Bertran Carbonel and Guillem de l'Olivier.Simon Gaunt and Sarah Kay, edd. (1999), ''The Troubadours: An Introduction'' (Cambridge: Cambridge University Press, ). The term ''cobla triada'' is used by modern scholars to indicate a ''cobla'' taken from a longer poem and let stand on its own, but its original medieval meaning was a ''cobla esparsa'' taken from a larger collection of such poems, since ''coblas esparsas'' were usually presented in large groupings. Sometimes, two authors would write a cobla esparsa each, in a ''cobla'' exchange; this corresponds, in a shorter form, to the earlier ''tenso'' or ''partimen''.Martín de Riquer (1964), Història de la Literatura Catalana, vol. 1 (Barcelona: Ariel), 509ff. Whether such excha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sirventes
The ''sirventes'' or ''serventes'' (), sometimes translated as "service song", was a genre of Old Occitan lyric poetry practiced by the troubadours. The name comes from ''sirvent'' ('serviceman'), from whose perspective the song is allegedly written. Sirventes usually (possibly, always) took the form of parodies, borrowing the melody, metrical structure and often even the rhymes of a well-known piece to address a controversial subject, often a current event. The original piece was usually a canso, but there are sirventes written as contrafacta of (at least) sestinas and pastorelas. They were always opinionated, being either highly complimentary or, more often, oozing with vitriol; however, these features are not unique to the sirventes, so a piece can be positively identified as one only if its nature is explicitly stated in the text (which it often is) or the original piece it is based on has been preserved (which is also often the case: for a parody to work, it had to target a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenso
A ''tenso'' (; french: tençon) is a style of troubadour song. It takes the form of a debate in which each voice defends a position; common topics relate to love or ethics. Usually, the tenso is written by two different poets, but several examples exist in which one of the parties is imaginary, including God (Peire de Vic), the poet's horse (Gui de Cavalhon) or his cloak (Bertran Carbonel). Closely related, and sometimes overlapping, genres include: * the ''partimen'', in which more than two voices discuss a subject * the ''cobla esparsa'' or ''cobla exchange'', a tenso of two stanzas only * the ''contenson'', where the matter is eventually judged by a third party. Notable examples *Marcabru and Uc Catola''Amics Marchabrun, car digam'' possibly the earliest known example. *Cercamon and Guilhalmi''Car vei finir a tot dia'' another candidate for the earliest known example. *Raimbaut d'Aurenga and Giraut de Bornelh''Ara·m platz, Giraut de Borneill'' where major exponents of the two ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Canso (song)
The ''canso'' or ''canson'' or ''canzo'' () was a song style used by the troubadours. It was, by far, the most common genre used, especially by early troubadours, and only in the second half of the 13th century was its dominance challenged by a growing number of poets writing ''coblas esparsas''. The ''canso'' became, in Old French, the ''grand chant'' and, in Italian, the ''canzone''. Structure A ''canso'' usually consists of three parts. The first stanza is the ''exordium'', where the composer explains his purpose. The main body of the song occurs in the following stanzas, and usually draw out a variety of relationships with the ''exordium''; formally, aside from the ''envoi''(''s''), which are not always present, a ''canso'' is made of stanzas all having the same sequence of verses, in the sense that each verse has the same number of metrical syllables. This makes it possible to use the same melody for every stanza. The sequence can be extremely simple, as in ''Can vei la ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leys D'amors
Guilhem Molinier or Moulinier ( 1330–50) was a medieval Occitan poet from Toulouse. His most notable work is ''Leys d'amors'' ("Laws of Love"), a treatise on rhetoric and grammar that achieved great notoriety and, beyond the Occitan, influenced poets writing in Catalan as well as in Galician or Italian, for which they served as a reference. The occasion for its composition was the founding in 1323 of the Consistori de la Sobregaya Companhia del Gay Saber ("Consistory of the Happy Company of the Gay Science") at Toulouse. The consistory consisted of seven members who organized poetic contests and rewarded lyric poems that best imitated the style of the 12th- and 13th-century troubadours. Molinier was not an original member of the consistory, but he was its chancellor in 1348, when he was tasked with codifying the principles of Occitan lyric poetry. In this work he had a collaborator, Marc Bartholomieu. A final version was approved by the consistory in 1356.. The original ''Leys ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consistori Del Gay Saber
The Consistori del Gay Saber (; "Consistory of the Gay Science") was a poetic academy founded at Toulouse in 1323 to revive and perpetuate the lyric poetry of the troubadours. Also known as the Acadèmia dels Jòcs Florals or Académie des Jeux Floraux ("Academy of the Floral Games"), it is the most ancient literary institution of the Western world. It was founded in 1323 in ToulouseM. de Ponsan, ''Histoire de l' Académie des Jeux floraux'' (Toulouse, 1764), p. 4, French. and later restored by Clémence Isaure as the Consistori del Gay Saber with the goal of encouraging Occitan poetry. The best verses were given prizes at the floral games in the form of different flowers, made of gold or silver, such as violets, rose hips, marigolds, amaranths or lilies. The Consistori eventually became gallicised. It was renewed by Louis XIV in 1694 and still exists today. The has had such prestigious members as Ronsard, Marmontel, Chateaubriand, Voltaire, Alfred de Vigny, Victor Hugo and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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