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Tibors
Tibors de Sarenom (French ''Tiburge''; c. 1130 – aft. 1198) is the earliest attestable trobairitz, active during the classical period of medieval Occitan literature at the height of the popularity of the troubadours. Biography Tibors is one of eight trobairitz with ''vidas'', short Occitan biographies, often more hypothetical than factual. Research into Tibors' the poet's identification with an independently recorded individual is hampered by the popularity of her name in Occitania during the period of her life. Tibors was the daughter of Guilhem d'Omelas and Tibors d'Aurenga, who brought her husband the castle of ''Sarenom'', probably Sérignan-du-Comtat in Provence or perhaps Sérignan in the Roussillon. Sadly for historians and Occitanists, Tibors and Guilhem had two daughters, both named Tibors, after their mother. It is possible but unlikely that Tibors d'Aurenga was herself the trobairitz. Since she was married in 1129 or 1130 and her daughters were married by 1150, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trobairitz
The ''trobairitz'' () were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. ''Trobairitz'' is both singular and plural. The word ''trobairitz'' is first attested in the 13th-century romance '' Flamenca''. It comes from the Provençal word ''trobar'', the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word ''trobairitz'' is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (''vidas'') of the ''trobairitz'' or troubadours.Paden It does occur in the treatise ''Doctrina d'acort'' by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same.Elizabeth W. Poe, "Cantairitz e Trobairitz: A Forgotten Attestation of Old Provençal »Trobairitz«," ''Romanische Forschungen'', 114, 2 (2002), pp. 206–215, at 207: "which are correctly used on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trobairitz
The ''trobairitz'' () were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. ''Trobairitz'' is both singular and plural. The word ''trobairitz'' is first attested in the 13th-century romance '' Flamenca''. It comes from the Provençal word ''trobar'', the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word ''trobairitz'' is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies (''vidas'') of the ''trobairitz'' or troubadours.Paden It does occur in the treatise ''Doctrina d'acort'' by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same.Elizabeth W. Poe, "Cantairitz e Trobairitz: A Forgotten Attestation of Old Provençal »Trobairitz«," ''Romanische Forschungen'', 114, 2 (2002), pp. 206–215, at 207: "which are correctly used on ... [...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] |
William I Of Baux
William I of Baux ( oc, italic=yes, Guilhèm dei Bauç, archaic ''Guillem'' or ''Guilhem dels Baus'', french: italic=yes, Guillaume des Baux or ''du Baus'', la, Guillelmus de Balcio; c. 1155 – June 1218) was the Prince of Orange from 1182 until his death. He was an important Provençal nobleman. William was the son of , the first Prince of Orange a major patron of Occitan poetry, and Tibors de Sarenom, a sister of Raimbaut d'Aurenga and herself a trobairitz. In 1215 when the Emperor Frederick II sought to make his power effective in the Kingdom of Burgundy, he granted to William at Metz the whole "Kingdom of Arles and Vienne", probably referring to the viceroyalty of the kingdom. William was imprisoned in Avignon in the summer of 1216 and remained there until his death in June 1218. William's descendants continued to claim the Kingdom of Arles until 1393. William was a man of letters and a troubadour, inheriting his love of lyric poetry from his patron-composer parents. Two ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tibors D'Aurenga
Tiburge of Orange (died 1150), was a suo jure ruling countess regnant of Orange from 1115 to 1150. Jacques de Font-Réaulx, Le testament de Tiburge d'Orange et la cristallisation de la principauté, p. 41-58, dans Provence historique, tome 6, Hors série : Mélanges Busquet. Questions d'histoire de Provence (xie – xixe siècle), 1956 She was born to Raimbaut II, Count of Orange, and married William of Aumelas, who became her co-ruler jure uxoris. William and Tiburge had three children: *Raimbaut of Orange (or Raimbaut d'Aurenja) who became lord of Orange and Aumelas and was a major troubadour. He died childless. *Tiburge, who in 1147 married Adhemar (Adémar) de Murvieux, from Murviel near Montpellier. They had two daughters, Tiburge and Sibylle, who (after the death of their uncle Raimbaut) became joint possessors of Aumelas, eventually ceding it in 1199 to William VIII of Montpellier. *Tiburge (''autre Tiburge'', according to her father's will), who married **Firstly Geoffr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Of Aumelas
William of Aumelas (or Omelas) was the second son of William V of Montpellier and of Ermessende, daughter of count Peter of Melgueil. The lordship of Aumelas (the Aumeladez) was detached from the territories of Montpellier to create a property for him. At some date after 1118 he married Tiburge, Countess of Orange, daughter and heiress of Raimbaut, count of Orange. He fell ill and made his will on 7 March 1155. He died before May 1156. William and Tiburge had three children: *Raimbaut of Orange (or Raimbaut d'Aurenja) who became lord of Orange and Aumelas and was a major troubadour. He died childless. *Tiburge, who in 1147 married Adhemar (Adémar) de Murvieux, from Murviel near Montpellier. They had two daughters, Tiburge and Sibylle, who (after the death of their uncle Raimbaut) became joint possessors of Aumelas, eventually ceding it in 1199 to William VIII of Montpellier. *Tiburge (''autre Tiburge'', according to her father's will), who married **Firstly Geoffrey of Mornas, and * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guilhem D'Omelas
William of Aumelas (or Omelas) was the second son of William V of Montpellier and of Ermessende, daughter of count Peter of Melgueil. The lordship of Aumelas (the Aumeladez) was detached from the territories of Montpellier to create a property for him. At some date after 1118 he married Tiburge, Countess of Orange, daughter and heiress of Raimbaut, count of Orange. He fell ill and made his will on 7 March 1155. He died before May 1156. William and Tiburge had three children: *Raimbaut of Orange (or Raimbaut d'Aurenja) who became lord of Orange and Aumelas and was a major troubadour. He died childless. *Tiburge, who in 1147 married Adhemar (Adémar) de Murvieux, from Murviel near Montpellier. They had two daughters, Tiburge and Sibylle, who (after the death of their uncle Raimbaut) became joint possessors of Aumelas, eventually ceding it in 1199 to William VIII of Montpellier. *Tiburge (''autre Tiburge'', according to her father's will), who married **Firstly Geoffrey of Mornas, and * ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raimbaut D'Orange
Raimbaut of Orange (c. 1147 – 1173) or, in his native Old Provençal, Raimbaut d'Aurenga, was the lord of Orange and Aumelas. His properties included the towns of Frontignan and Mireval. He was the only son of William of Aumelas and of Tiburge, Countess of Orange, daughter of Raimbaut, count of Orange. After the early death of Raimbaut's father, his guardians were his uncle William VII of Montpellier and his elder sister Tibors. He was a major troubadour, having contributed to the creation of ''trobar ric'', or articulate style, in troubadour poetry. Abouforty of his workssurvive, displaying a gusto for rare rhymes and intricate poetic form. His death in 1173 is mourned in a ''planh'' (lament) by Giraut de Bornelh, and also in the only surviving poem of the trobairitz Azalais de Porcairagues, who was the lover of Raimbaut's cousin Gui Guerrejat. It seems possible that Azalais's poem was composed in an earlier form while Raimbaut was still alive, because in his poem ''A mon ... [...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] |
Barral Of Baux
Barral of Baux (died 1268) was Viscount of Marseilles and Lord of Baux. He was the son of Hugh III of Baux, Viscount of Marseilles, and Barrale. Career Barral came to oppose the Albigensian Crusade, and invaded the Comtat Venaissin in 1234 in support of Raymond VII of Toulouse. In 1239, Barral entered negotiations to have his daughter Cecile marry Guigues VII, Dauphin of Viennois, another supporter of Toulouse. Under pressure from Philip of Savoy, Barral reneged on the engagement, saying he had only agreed to it in fear of his life. In 1244, Barral helped arbitrate the latest conflict between Savoy and Provence on one side and the dauphin and Aymar III of Valentinois on the other. In December of that year, Cecile married the Count of Savoy, firmly pulling Baux into the Savoy alliances. In 1246, Barral joined his son-in-law and family in bringing an army to the rescue of Beatrice of Savoy and her daughter Beatrice of Provence, who had recently inherited the county of Prove ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 individual poem, acting as a prose preface and explanation; it might, however, share some of the characteristics of a ''vida'' (a biography of a troubadour, describing his origins, his loves, and his works) and the boundary between the two genres was never sharp. In the ''chansonniers'', the manuscript collections of medieval troubadour poetry, some poems are accompanied by a prose explanation whose purpose is to give the reason why the poem was composed. These texts are occasionally based on independent sources. To that extent, they supplement the ''vidas'' in the same manuscripts and are useful to modern literary and historical researchers. Often, however, it is clear that assertions in the ''razos'' are simply deduced from literal readings of details in the poems. Most of the surviving ''razo'' corpus is the work ... [...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] |
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