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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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Old Occitan
Old Occitan (, ), also called Old Provençal, was the earliest form of the Occitano-Romance languages, as attested in writings dating from the 8th to the 14th centuries. Old Occitan generally includes Early and Old Occitan. Middle Occitan is sometimes included in Old Occitan, sometimes in Modern Occitan. As the term ' appeared around the year 1300, Old Occitan is referred to as "Romance" (Occitan: ') or "Provençal" (Occitan: ') in medieval texts. History Among the earliest records of Occitan are the '' Tomida femina'', the '' Boecis'' and the '' Cançó de Santa Fe''. Old Occitan, the language used by the troubadours, was the first Romance language with a literary corpus and had an enormous influence on the development of lyric poetry in other European languages. The interpunct was a feature of its orthography and survives today in Catalan and Gascon. The official language of the sovereign principality of the Viscounty of Béarn was the local vernacular Bearnès dialect of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Troubadour
A troubadour (, ; ) 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 equivalent 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) and since died out. The texts of troubado ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bertran Carbonel
Bertran Carbonel (fl. 1252–1265) was a Provençal troubadour from Marseille. He is a polarising figure among scholars and his reputation varies between authorities. Eighteen of his lyric works survive, as well as seventy-two (Gaunt and Kay) or ninety-four (Riquer) single '' coblas triadas esparsas'' on "edifying" themes. He was patronised at the court of Hugh IV and Henry II of Rodez. There were many individuals of Bertran's name in Marseille in his time, so identifying the troubadour among them has been impossible. Bertran's poetry is among the earliest Occitan literature to be written ''as literature'', or, in contemporary Latin, ''juxta propria principia''. He was also educated, as his references to Ovid, Terence, and other Classical figures reveals. Bertran was a devotee of the minor(-sounding) style of Peire Cardenal, whom he imitated in tone. His moralising is, however, as advice, generally mediocre and unexciting. His '' cansos''—for he wrote mostly those and '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guillem De L'Olivier
Guillem de l'Olivier d'Arle, also spelled Guilhem del Olivier, was a troubadour, probably active after 1260. He was from Provence, presumably the region around Arles, and he was also active in northern Italy. He was a prolific author of '' coblas esparsas'', single-stanza poems, usually on a moral theme. The number of lines per poem vary from a low of four to a high of sixteen. Scholars Alfred Pillet and Henry Carstens, along with István Frank, counted 77 such pieces; while Oskar Schultz-Gora counted 79, and Alfred Jeanroy only 70. A poem ascribed to a "Sir 'En''G. de Lobeuier" in one chansonnier A chansonnier (, , Galician and , or ''canzoniéro'', ) is a manuscript or printed book which contains a collection of chansons, or polyphonic and monophonic settings of songs, hence literally " song-books"; however, some manuscripts are call ... is commonly thought to belong to Guillem de l'Olivier, and some manuscripts also mistakenly call him "Gui" or "Guiraut". The unreliable ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenso
A ''tenso'' (; ) 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 ( Bertran Carbonel) or his cloak ( Gui de Cavalhon). 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 st ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Partimen
The ''partimen'' (; ; also known as ''partia'' or ''joc partit'') is a cognate form of the French jeu-parti (plural ''jeux-partis''). It is a genre of Occitan lyric poetry composed between two troubadours, a subgenre of the ''tenso'' or ''cobla'' exchange in which one poet presents a dilemma A dilemma () is a problem offering two possibilities, neither of which is unambiguously acceptable or preferable. The possibilities are termed the ''horns'' of the dilemma, a clichéd usage, but distinguishing the dilemma from other kinds of p ... in the form of a question and the two debate the answer, each taking up a different side. Of the nearly 200 surviving Occitan debate songs, 120 are ''partimens'' and 75 are open ''tensos''. The ''partimen'' was especially popular in poetic contests. See also Torneyamen. References Further reading * Alfred Jeanroy, ''Les origines de la poésie lyrique en France au Moyen-Age'' (Paris, 1899, 3/1925) *Alfred Jeanroy: ''La poésie lyrique des tro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martín De Riquer
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Cançoneret De Ripoll
The Cançoneret de Ripoll (, ), 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 abundance of authors ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Catalonia
Catalonia is an autonomous community of Spain, designated as a ''nationalities and regions of Spain, nationality'' by its Statute of Autonomy of Catalonia of 2006, Statute of Autonomy. Most of its territory (except the Val d'Aran) is situated on the northeast of the Iberian Peninsula, to the south of the Pyrenees mountain range. Catalonia is administratively divided into four Provinces of Spain, provinces or eight Vegueries of Catalonia, ''vegueries'' (regions), which are in turn divided into 43 Comarques of Catalonia, ''comarques''. The capital and largest city, Barcelona, is the second-most populous Municipalities in Spain, municipality in Spain and the fifth-most populous List of metropolitan areas in Europe, urban area in the European Union. > > > ''Catalonia'' theoretically derived. During the Middle Ages, Byzantine Empire, Byzantine chroniclers claimed that ''Catalania'' derives from the local medley of Goths with Alans, initially constituting a ''Goth-Alania''. Othe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Old Occitan Literature
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Poetic Forms
Poetry (from the Greek language, Greek word ''poiesis'', "making") is a form of literature, literary art that uses aesthetics, aesthetic and often rhythmic qualities of language to evoke meaning (linguistics), meanings in addition to, or in place of, Denotation, literal or surface-level meanings. Any particular instance of poetry is called a poem and is written by a poet. Poets use a variety of techniques called poetic devices, such as assonance, alliteration, Phonaesthetics#Euphony and cacophony, euphony and cacophony, onomatopoeia, rhythm (via metre (poetry), metre), and sound symbolism, to produce musical or other artistic effects. They also frequently organize these effects into :Poetic forms, poetic structures, which may be strict or loose, conventional or invented by the poet. Poetic structures vary dramatically by language and cultural convention, but they often use Metre (poetry), rhythmic metre (patterns of syllable stress or syllable weight, syllable (mora) weight ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Western Medieval Lyric Forms
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