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He was of humble birth.<ref name=gk/> According to his ''[[Vida (Occitan literary form)|vida]]'' he was from Provence, though some modern scholars suspect he was a Toulousain.<ref name=gk/><ref name=egan/> His ''vida'' records that he was "a good inventor (''trobaire'') of poetry, and a great lover."<ref name=egan/> His lover was a lady named Jauseranda from [[Lunel]], the lord of which castle, Raymond Gaucelm V, Guilhem probably knew.<ref name=egan/>
He was of humble birth.<ref name=gk/> According to his ''[[Vida (Occitan literary form)|vida]]'' he was from Provence, though some modern scholars suspect he was a Toulousain.<ref name=gk/><ref name=egan/> His ''vida'' records that he was "a good inventor (''trobaire'') of poetry, and a great lover."<ref name=egan/> His lover was a lady named Jauseranda from [[Lunel]], the lord of which castle, Raymond Gaucelm V, Guilhem probably knew.<ref name=egan/>


His ''cansos'' are awkward, and he emulated the earlier troubadours, praising ''mezura'' (moderation) among all the virtues.<ref name=gk/> He stated that "from love proceeds chastity" (''d'amor mou castitatz''), which may mean no more than that love is necessary for fidelity.<ref name=paden/><ref name=topsfield127>Topsfield, 127.</ref> He has been viewed as a precursor of the ''[[Dolce Stil Novo]]'' and as an important link between [[Occitan literature|Occitan]] and [[Italian literature]] through his work with Sordello.<ref name=topsfield127/> He has been credited with an innovative picture of [[courtly love]] blended with Christian morality.<ref name=topsfield127/>
His ''cansos'' are awkward, and he emulated the earlier troubadours, praising ''mezura'' (moderation) among all the virtues.<ref name=gk/> He stated that "from love proceeds chastity" (''d'amor mou castitatz''), which may mean no more than that love is necessary for fidelity.<ref name=paden/><ref name=topsfield127>Topsfield, 127.</ref> He has been viewed, most ardently by [[Cesare de Lollis]], as a precursor of the ''[[Dolce Stil Novo]]'' and as an important link between [[Occitan literature|Occitan]] and [[Italian literature]] through his work with Sordello.<ref name=topsfield127/><ref>Boase, 33, credits Montanhagol with inventing the term ''dolce stil novo''.</ref> He has been credited with an innovative picture of [[courtly love]] blended with Christian morality,<ref name=topsfield127/> and indeed he refers to ''noel dig de maestria'' ("a new saying of mastery"), though this is probably not an indication of any conscious reformation.<ref>Spiers, "''Vita Nuova'' and ''Dolce Stil Nuovo''", 39.</ref>


Guilhem's political ''sirventes'' concern Toulousain and Spanish politics.<ref name=gk/> Writing in the aftermath of the [[Albigensian Crusade]] which devastated [[Languedoc]], Guilhem was an opponent of the [[Papal Inquisition]], though not of the Church itself.<ref name=gk/> He encouraged the gentle correction of the [[Cathars]], but not their violent suppression by means of war.<ref name=paden/>
Guilhem's political ''sirventes'' concern Toulousain and Spanish politics.<ref name=gk/> Writing in the aftermath of the [[Albigensian Crusade]] which devastated [[Languedoc]], Guilhem was an opponent of the [[Papal Inquisition]], though not of the Church itself.<ref name=gk/> He encouraged the gentle correction of the [[Cathars]], but not their violent suppression by means of war.<ref name=paden/>
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===Bibliography===
===Bibliography===
<div class="references-small">
<div class="references-small">
*Boase, Roger. ''The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship''. Manchester: Manchester University Press, 1977. <small>ISBN 0 87471 950 x.</small>
*Egan, Margarita, ed. ''The Vidas of the Troubadours''. New York: Garland, 1984. ISBN 0 8240 9437 9.
*Egan, Margarita, ed. ''The Vidas of the Troubadours''. New York: Garland, 1984. ISBN 0 8240 9437 9.
*Gaunt, Simon, and Kay, Sarah. "Appendix I: Major Troubadours" (pp. 279&ndash;291). ''The Troubadours: An Introduction''. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0 521 574730.
*Gaunt, Simon, and Kay, Sarah. "Appendix I: Major Troubadours" (pp. 279&ndash;291). ''The Troubadours: An Introduction''. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0 521 574730.
*Paden, William D. "Guilhem de Montanhagol" (p. 425). ''Medieval France: An Encyclopedia'', ed. William W. Kibler. New Jersey: Routledge University Press, 1995. ISBN 0 82404 444 4.
*Paden, William D. "Guilhem de Montanhagol" (p. 425). ''Medieval France: An Encyclopedia'', ed. William W. Kibler. New Jersey: Routledge University Press, 1995. ISBN 0 82404 444 4.
*[[Riquer, Martín de]]. ''Los trovadores: historia literaria y textos''. 3 vol. Barcelona: Planeta, 1975.
*[[Riquer, Martín de]]. ''Los trovadores: historia literaria y textos''. 3 vol. Barcelona: Planeta, 1975.
*Spiers, A. G. H. "''Vita Nuova'' and ''Dolce Stil Nuovo''." ''Modern Language Notes'', '''25''':2 (Feb., 1910), pp. 37&ndash;39.
*Spiers, A. G. H. "''Dolce Stil Nuovo''&mdash;The Case of the Opposition." ''Periodical of the Modern Language Association'', '''25''':4 (1910), pp. 657&ndash;675.
*Topsfield, L. T. "The Theme of Courtly Love in the Poems of Guilhem de Montanhagol." ''French Studies'', '''11''' (1957), 127&ndash;34.
*Topsfield, L. T. "The Theme of Courtly Love in the Poems of Guilhem de Montanhagol." ''French Studies'', '''11''' (1957), 127&ndash;34.
</div>
</div>
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[[Category:Occitan poets]]
[[Category:Occitan poets]]
[[Category:Troubadours]]
[[Category:Troubadours]]

[[hu:Guilhelm de Montanhagol]]

Revision as of 20:11, 5 May 2008

Guilhem or Guillem (de) Montanhagol or Montaignagol (fl. 1233–1268) was a Provençal troubadour, most likely active in Toulouse, but known in the courts of Provence, Toulouse, Castile, and Aragon.[1][2] Guilhem left behind seven cansos and six sirventes.[2] He also left behind one tenso (specifically, a partimen) with Sordello (perhaps suggesting a brief sojourn in Lombardy) and his total surviving output comes to fourteen pieces.[1][2]

The meaning of Guilhem's name has been debated. "Montanhagol" means "from Montanhac", but it is not known which Montanhac that could be.[3] For a long time it was thought that the correct form of the troubadour's name was simply "Guilhem Montanhagol", since the "de" (of) would be redundant.[4] Contemporary documents, however, clearly use "de".[4]

He was of humble birth.[1] According to his vida he was from Provence, though some modern scholars suspect he was a Toulousain.[1][3] His vida records that he was "a good inventor (trobaire) of poetry, and a great lover."[3] His lover was a lady named Jauseranda from Lunel, the lord of which castle, Raymond Gaucelm V, Guilhem probably knew.[3]

His cansos are awkward, and he emulated the earlier troubadours, praising mezura (moderation) among all the virtues.[1] He stated that "from love proceeds chastity" (d'amor mou castitatz), which may mean no more than that love is necessary for fidelity.[2][5] He has been viewed, most ardently by Cesare de Lollis, as a precursor of the Dolce Stil Novo and as an important link between Occitan and Italian literature through his work with Sordello.[5][6] He has been credited with an innovative picture of courtly love blended with Christian morality,[5] and indeed he refers to noel dig de maestria ("a new saying of mastery"), though this is probably not an indication of any conscious reformation.[7]

Guilhem's political sirventes concern Toulousain and Spanish politics.[1] Writing in the aftermath of the Albigensian Crusade which devastated Languedoc, Guilhem was an opponent of the Papal Inquisition, though not of the Church itself.[1] He encouraged the gentle correction of the Cathars, but not their violent suppression by means of war.[2]

Guilhem was grieved in a planh written by his brother-in-law Pons Santolh.[2]

Works

  • A Lunel lutz una luna luzens
  • Ar ab lo coinde pascor
  • Del tot vey remaner valor
  • Bel m'es quan d'armatz aug refrim
  • Ges, per malvastat qu'er veya
  • Leu chansoneta m'er a far
  • No sap per que va son joy pus tarzan
  • Non an tan dig li primier trobador
  • Non estarai, per ome qe-m casti
  • Nulhs hom no val ni deu esser prezatz
  • On mais a hom de valensa
  • Per lo mon fan li un dels autres rancura
  • Qui vol esser agradans e plazens
  • Senh'En Sordel, mandamen

References

Bibliography

  • Boase, Roger. The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship. Manchester: Manchester University Press, 1977. ISBN 0 87471 950 x.
  • Egan, Margarita, ed. The Vidas of the Troubadours. New York: Garland, 1984. ISBN 0 8240 9437 9.
  • Gaunt, Simon, and Kay, Sarah. "Appendix I: Major Troubadours" (pp. 279–291). The Troubadours: An Introduction. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0 521 574730.
  • Paden, William D. "Guilhem de Montanhagol" (p. 425). Medieval France: An Encyclopedia, ed. William W. Kibler. New Jersey: Routledge University Press, 1995. ISBN 0 82404 444 4.
  • Riquer, Martín de. Los trovadores: historia literaria y textos. 3 vol. Barcelona: Planeta, 1975.
  • Spiers, A. G. H. "Vita Nuova and Dolce Stil Nuovo." Modern Language Notes, 25:2 (Feb., 1910), pp. 37–39.
  • Spiers, A. G. H. "Dolce Stil Nuovo—The Case of the Opposition." Periodical of the Modern Language Association, 25:4 (1910), pp. 657–675.
  • Topsfield, L. T. "The Theme of Courtly Love in the Poems of Guilhem de Montanhagol." French Studies, 11 (1957), 127–34.

External links

Notes

  1. ^ a b c d e f g Gaunt and Kay, appendix.
  2. ^ a b c d e f Paden, "Guilhem de Montanhagol".
  3. ^ a b c d Egan, 57.
  4. ^ a b Riquer.
  5. ^ a b c Topsfield, 127.
  6. ^ Boase, 33, credits Montanhagol with inventing the term dolce stil novo.
  7. ^ Spiers, "Vita Nuova and Dolce Stil Nuovo", 39.
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