William IX. (Aquitaine)

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the first trobador
"Lo Coms de Peit (i) eus", Guillem VII, portrait of the author from the illumed chansonnier provençal "K". The historicized initial “P” marks the incipit of the “canso”: “  Pos de chantar m'es pres talens  ” (BdT 183,10). BnF ms. fr. 12473, folio 128r (13th century) Gallica .

William IX. (* October 22, 1071 ; † February 10, 1126 ), known as the first trobador (BdT 183), was as " Guilhem IX " the ninth Duke of Aquitaine and Gascony . As "Coms de Peit (i) eus", "Guilhem VII", he was the seventh Count of Poitiers and the Province of Poitou . He was a son of Wilhelm VIII of Aquitaine from his third marriage to Hildegard (Audéarde) of Burgundy, the daughter of Robert I , Duke of Burgundy.

"Lo coms de Peiteus" is the first troubadour known by name, founding father of trobador poetry . In literary history he is referred to as a " trovatore bifronte ", a double- faced trobador, because he wrote crude, vulgar, "rude" songs on the one hand and subtle, "courtly" canzons in which for the first time the ideal of courtly love , des "amour courtois", the love ideology of the " fin'amors " was presented.

Wilhelm IX., Duke of Aquitaine, is the progenitor of an important dynastic line, grandfather Eleanor of Aquitaine , the famous patroness , " Queen of the Troubadours ", Duchess of Aquitaine , Queen of France and then of England. "Lo coms Guilhem VII de Peitieus" is therefore also the great-grandfather of two English kings, the troubadour king Richard the Lionheart (BdT No. 420) and the king Johann Ohnelands , both sons of his granddaughter Eleonore.

His great-granddaughter Marie de Champagne , daughter of Eleonores from her marriage to the French King Louis VII , was, like her mother, a patron of literature . At her Count's Court in Troyes she supported the Trouvère Chrétien de Troyes , the founder of the “Courtly Novel” , which became world famous for his five verse novels about the “Knights of the Round Table” and whose work spanned the entire Western epic from the High Middle Ages to modern times influenced.

In Occitan Studies (Provencal Studies), Duke Wilhelm IX applies. von Aquitaine, the VII. Count of Poitiers, as the author of the eleven songs of one of the “ Coms de Peit (i) eu (s)” not specified in the “Chansonniers” , the illuminated ancient Provencal song manuscripts.

Life as ruler

In 1086, when Wilhelm took over the rule after the death of his father at the age of fifteen, "he owns more land than the French King Philip I , to whom he later bowed as crown vassal".

In 1089 he married Irmgard von Anjou (French: "Ermengarde d'Anjou"), the daughter of Fulkos IV , Count of Anjou , called "the brawler" (French: "le Rechin"). The short marriage remained childless. In 1091 the marriage was annulled.

In 1094 he entered into his second marriage, with Philippa , the daughter of Wilhelm IV , the Count of Toulouse . This second marriage with many children led him to long-lasting conflicts with his wife's family.

In 1098 Wilhelm occupied Toulouse for the first time.

In 1099 he ceded his rights to a nephew of his wife, Count Bertrand von Saint-Gilles , in return for financial compensation . The money flowed mainly into the "little crusade of 1101" , in which Wilhelm participated on the side of Welf IV .

1101 In Herakleia , his army was completely wiped out in an ambush by Seljuk forces. The chronicler Ordericus Vitalis reports - certainly exaggerated - of 300,000 dead.

In 1102 Wilhelm and his companions managed to make their way through Antioch to Jerusalem and returned to France in the autumn.

1103 supported Wilhelm Fulko IV , Count of Anjou , known as "the brawler" ("le Rechin"), in whose dispute with his son Gottfried Martell  - an undertaking that turned out to his disadvantage when the opponents reached an agreement. Wilhelm had to give up several castles in the Saintonge , but was able to force their return in 1107 through the capture of Fulkos V of Anjou.

1108 when Ludwig VI took office . Duke Wilhelm refused to obey the new French king.

In 1112, when Bertrand von Saint-Gilles died in the Holy Land, William renewed his claims to Toulouse. In 1113 he took the city for the second time.

1114 Church ban : Bishop Peter I of Poitiers excommunicated Wilhelm because the duke had touched church tax privileges in favor of the state treasury.

In 1115 Wilhelm disowned his wife Philippa, who retired to the Fontevrault monastery . Wilhelm fell in love with the "Dange (i) rosa de L'Isle Bouchard " ( Dangeirosa literally means: the dangerous ), later called "La Maubergeonne". The wife of his vassal , the neighboring vice count of Châtellerault , Aimery I. Wilhelm's legitimate son, who later became William X, married the legitimate daughter of Aimerys I and Dangeirosa, Aénor von Châtellerault, in 1121. Daughter of Aénors and William X was the famous Eleanor of Aquitaine , Queen of France, then of England, who had obviously inherited the love of poetry and the boisterous temperament of her adulterous grandparents. Eleonore promoted as a patron at the French-speaking ( Anglo-Norman ) English court and at the court of Poitiers trobador poetry and minnesang (see Marie de France ). One of her daughters, Marie de Champagne , continued her mother's literary patronage and supported the great epic writer and trouvère Chrétien de Troyes , among others .

In 1119 at the Council of Reims , Philippa accused her husband of adultery in 1119, an event with which Wilhelm’s Spanish campaign is connected (as a presumed atonement). Together with Alfonso I, the warrior ("el Batallador"), the king of Aragon , William conquered Calatayud in Spain .

1120 Major victory over the Moors in the “Battle of Cutanda” ( Teruel province ) as part of the Reconquista . At the side of Alfonso I, the warrior, Duke Wilhelm inflicted a crushing defeat on the Almoravids .
The alliance with Alfonso I, however, did not last. Wilhelm changed fronts two years later in the conflict over Toulouse, depending on the support of Raimund Berengar III. , Count of Barcelona, ​​against Alphonse Jourdain of Toulouse .

Towards the end of his life, Wilhelm lost Toulouse for good.

1126 or 1127 (contradicting sources), on February 10th, Wilhelm IX died. 56 years old near Blaye .

In contrast to his hapless politics are his splendid court rulings, his generous patronage and his creative achievements as a poet, as the founder of trobado poetry , as the inventor of the ideal of "courtly love", of "amour courtois".

The French Romanist and Medievalist Jean-Charles Payen thinks that the ducal trobador Guilhem IX deserves more attention:

“Le personnage a l'envergure d'un héros; il invite les dramaturges et les scénaristes à lui redonner corps et vie; il devrait être aussi popular qu'Asterix ou que D'Artagnan. Qui saura le dépoussiérer? Qui le sortira des bibliothèques pour le révéler au grand jour? "

“This character is the size of a hero. He invites playwrights and screenwriters to bring it back to life. He should be as popular as Asterix or D'Artagnan . Who will be able to “dust off” it? Who will take it out of the libraries to bring it to the great light? "

- Jean-Charles Payen : Le Prince d'Aquitaine. Essai sur Guillaume IX, son oeuvre et son érotique. Honoré Champion 2000, ISBN 978-2852030800 , p. 171

Descendants

The marriage to Philippa has four children:

  1. Wilhelm X , his successor as Duke of Aquitaine. In 1121 he married Aliénor de Châtellerault. Eleanor of Aquitaine is born from this marriage in 1122 .
  2. Raimund of Poitiers (1099–1149), Prince of Antioch
  3. Henry , Prior of Cluny , Abbot of Peterborough Abbey
  4. Agnes of Aquitaine (also called: Inés of Poitou), married Ramiro II of Aragón

Act as a poet

“ Vida ” in red, bottom left: “Lo coms de perteus si fo uns dels maiors cortes del mon e dels maiors trichadors de domnas ...”. - "Chansonnier provençal K"; BnF, ms. fr. 12473, folio 128r; from the 2nd half of the 13th century Gallica .

Anonymous Vida

In a few lines, anonymous Vida , a biography from the 13th century, it is said of the Count of Poitiers:

«Lo coms de Peitieus si fo us dels majors cortes del mon e dels majors trichadors de dompnas , e bons cavalliers d'armas e larcs de dompnejar; e saup ben trobar e cantar . Et anet lonc temps per lo mon per enganar las domnas.
Et ac un fill, que ac per moiller la duquessa de Nomandia, don ac una filla que fo moiller del rei Enric d'Engleterra, maire del rei Jove et d'En Richart et del comte Jaufre de Bretaigna. »

“The Count of Poitiers was one of the greatest noblemen in the world and one of the greatest impostors of women . He was a very strong knight. He knew how to write poetry and sing well ; and traveled the world for a long time seducing women.
And he had a son, whose wife [Aénor de Châtellerault] was Duchess of Normandy, with whom he had a daughter , who was the wife of King Henry of England . She was the mother of the "young king" , Richards and Jaufrés, the Count of Brittany. "

- Camille Chabaneau : Les biographies des troubadours en langue provençale, Edouard Privat Toulouse, 1885, p. 6: I. - Guillaume VII, Comte de Poitiers - on Gallica

First trobador

Wilhelm IX achieved fame in literary history. of Aquitaine, when Occitanists identified him as the "first" trobador , of whom research knows to this day. Accordingly, he is also the first secular lyric poet of Christian Europe known by name to write poetry in a vernacular :

“C'est un juriste et historien toulousain, Antoine Dadin de Hauteserre qui, le premier, dans un livre publié en 1657, a suggestion que Guillaume IX était l'auteur des poèmes. ...
Il n'est probablement pas excessif de conclure que "la simple phrase" de Dadin de Hauteserre en 1657 a eu un impact exceptionnel sur l'histoire littéraire de la France. "

“It was a lawyer and historian from Toulouse, Antoine Dadin de Hauteserre , who was the first to express the hypothesis in a book published in 1657 that William IX. is the author of the poems. ...
It is probably not an exaggeration to conclude from this that "the simple sentence" Dadins de Hauteserre of 1657 had a striking effect on French literary historiography. "

- Georges Beech: L'attribution des poèmes du comte de Poitiers à Guillaume IX d'Aquitaine . In: Cahiers de Civilization Médiévale Année, 1988, 31-121, pp. 3-16: Full text, pages 3 and 16

Only Ibero-Roman, Mozarabic Chardjas from al-Andalus show older evidence of poetry in Roman folk language:

“The oldest surviving Romanesque Chardscha is in a Muwaššaḥa written by the Jewish poet Yosef al-Katib, which was written before 1042 . This brings us half a century behind the oldest trobador songs , which were composed by William of Aquitaine around 1100. "

- Reinhold Kontzi : Two Romance songs from Islamic Spain. (Two Mozarabic Ḫarǧas)

Eleven songs ( cansos ) in the stylized Old Occitan language are attributed to Guilhem, the VII Count of Poitiers. This literary language, highly styled in the limousine dialect, has since become an old Provencal koine , the lingua franca .

“ Cansos or verse are lyrical poems, the stanzas of which are each of the same structure, with a melody made up for them. The number of syllables, the number of lines of verse and the disposition of the rhymes are largely optional in the stanza model. Decided is the song most of a repetitive verse, the "tornada" that the Envoi called contains, which, to whom it is addressed. "

- Werner Dürrson : Wilhelm of Aquitaine. Collected songs , Verlag Die Arche, Zurich 1969, p. 63

Eleven "cansos"

The surviving manuscripts, which contain Vidas and the text corpus of the eleven songs, which were written by the literary historian Wilhelm IX. are attributed, speak only of a «Coms de Peitieus», without specifying which Count of Poitiers it is.

This article is followed by the numbering of the poems and the old Provencal text reproduction of the critical edition by Alfred Jeanroy .

I. Companho faray un vers ... covinen
II Compaigno, non puosc mudar qu'eo no m'effrei
III Companho, tant ai agutz d'avols conres
IV Farai un vers de dreyt nien
V Farai un vers pos mi sonelh
VI Ben vuelh que sapchon li pluzor
VII Pus vezem de novelh florir
VIII Farai chansoneta nueva
IX Mout jauzens me prenc en amar
X Ab la dolchor del temps novel
XI Pos de chantar m'es pres talentz

Companions, I'll be a decent 'song dense
companion, I can't help frightening myself
Companions, I've had so many disappointments
I'm going to compose a song about nothing
I'll compose a song because I'm sleepy
I want that everyone knows
. We'll see it bloom again.
I'll compose a new song.
Great joy seizes me when I love.
With the mildness of the new season.
When I feel like singing

“Trovatore bifronte”, the double-faced man

The various faces of the Count of Poitiers are reflected in Wilhelm's «Cansos». That is why the Italian Romanist Pio Rajna called him Guglielmo conte di Poitiers trovatore bifronte , the double- faced trobador , in the title of his much-cited essay . For next to courtly tamed songs, which praise the fin'amors (old Occitan term for courtly love ) in subtle tones , there are extremely sensual to crude obscene companho songs in which the poet boasts of his potency.

For example, in the third stanza of Canso n ° I, the “Stutengedicht”, Companho, faray un vers covinen (“Companions, I'll write a decent song”), he compares his two lovers Agnes and Arsène with mares:

V7 Dos cavalhs ai a ma selha ben e gen;
V8 Bon son e adreg per armas e valen;
V9 Mas no ls puesc amdos tener que l'us l'autre non cossen.

I have two horses under my saddle, and that's a good thing;
Both are trained to fight and are brave;
But I can't hold them both together, because one can't stand the other.

- Les Chansons de Guillaume IX Duc d'Aquitaine , éditées par Alfred Jeanroy , Éditions Honoré Champion Paris 1964, 2e édition revue, p. 1.

Under his other, the romantic face, the duke wrote the first courtly poetry (Cansos n ° VII, VIII, IX, X):

“In a dramatic reversal of traditional customs and gender roles, Wilhelm granted women power over men. ... The beloved was seen as mistress, he had to be obeyed. "

- Marilyn Yalom : How the French invented love. 900 years of passion , Graf Verlag 2013, ISBN 978-3-86220-038-2 , p. 29, Google Books .

More recent works even recognize three different faces in Wilhelm's songs and therefore speak of a trovatore trifronte :

“This view [of Pio Rajna] has taken on several shades. More recent works speak more of Wilhelm's experimentation with different styles and contents in search of a binding theme for the love poem. Wilhelm's poetry reveals three approaches to love poetry, which lead us to speak of a trovatore trifonte . "

- Michael Bernsen : The problematization of lyrical speaking in the Middle Ages. P. 66, Google Books .

Wilhelm's most famous verses, the “dark” riddle poem (Old Occitan: devinalh ), the Canso n ° IV, Farai un vers de dreyt nien (“I will make a song about absolutely nothing”) are neither the erotic-sensual, rude nor to be assigned to the spiritual, courtly poem of the trobadzor. In Provençal studies one speaks here of a category of Trobar clus , the closed , hermetic, dark poetry:

"The dark style is one of the most significant phenomena in ancient Provencal literature."

- Erich Köhler : On the “trobar clus” of the trobadors . In: Trobadur lyric and courtly novel, p. 133.

This Canso n ° IV:

"Is one of those old Provencal poems that have given Provençal studies the most headaches to this day and whose elucidation has been tried again and again by research."

- Dietmar Rieger: "The vers de dreyt nien." Wilhelms IX. of Aquitaine: enigmatic poem or enigmatic poem? Investigation into a "key poem" of Trobador poetry. Series: Session reports of the Heidelberg Academy of Sciences, Philosophical-Historical Class, born 1975, Abh. 3. Carl Winter Heidelberg 1975. ISBN 3-533-02392-3 , p. 7.

In this song Wilhelm addresses the poetic creative process in a self-referential , paradoxical way and at the same time parodies it:

V1 Farai un vers de dreyt nien:
V2 Non er de mi ni d'autra gen,
V3 Non er d'amor ni de joven,
V4 Ni de ren au,
V5 Qu'enans fo trobatzen durmen
V6 Sobre chevau.

I will make a song about absolutely nothing:
Neither about myself nor about others,
Neither about love nor about youth,
nor about
anything else, I wrote it in my sleep
On a horse.

Canso V, a "rude" song

(Canso n ° V. - FARAI UN VERS POS MI SONELH ) (BdT 183,12)

  • Canso n ° V. From the III. Verse : "En alvernhe part Lemozi" . Manuscript «C», BnF, français 856, folio 232r: digitized on Gallica . (1301-1400).

  • Canso n ° V. Last stanza: «Monet, tu m'iras al mati» . Manuscript «C», BnF, français 856, folio 232v: digitized on Gallica . (1301-1400).

The rude Companho song, the Canso n ° V, has come down to us in two versions: manuscripts V, N and N2 versus manuscript "C". Alfred Jeanroy bases his edition on the manuscript «V» (Venise, Bibl. Marc. App. Cod. XI.). In the following, both Jeanroy's text (verses 01-86) and the most important variants of the manuscript "C" (C07-C12, C67-C72) are reproduced.

At that time, A. Jeanroy did not dare to translate the obscene passages of this piquant Fabliaus , this swan poem, this boastful “Gasconnade” (Occitan: “un gap”) out of shame .

I.
v01 Farai un vers, pos mi sonelh
v02 Em vauc e m'estauc al solelh.
v03 Domnas ia de mal conselh,
v04 Et sai dir cals:
v05 Cellas c'amor de cavalier
v06 Tornon a mals.

II.
V07 Domna fai gran pechat mortal
v08 Qe no ama cavalier leal;
v09 Mas s'ama monge o clergal,
v10 Non a raizo:
v11 Per dreg la deuri'hom cremar
v12 Ab un tezo.

III.
v13 En Alvernhe, part Lemozi,
v14 M'en aniey totz sols a tapi:
v15 Trobei la moller d'dn Guari
v16 E d'en Bernart;
v17 Saluderon mi simplamentz
v18 Per san Launart.

IV.
V19 La una-m diz en son latin:
v20 «E, Dieus vos salf, don pelerin;
v21 Mout mi semblatz de bel aizin,
v22 Mon escient;
v23 Mas trop vezem anar pel mon
v24 De folla gent. »

V.
v25 Ar auzires qu'ai respondut;
v26 Anc no li diz ni ba ni but,
v27 Ni fer ni fust no ai mentagut,
v28 Mas sol aitan:
v29 "Babariol, babariol ,
v30 Babarian" .


[Here the variant of the above 5th stanza in handwriting «C», there 2nd stanza]:

C07 Aujatz ieu que lur respozi;
C08 Anc fer ni fust no-y mentaugui,
C09 corn que lur dis aital lati;
C10 «Tarrababeard ,
C11 Marrababelio rub ,
C12 Saramahart» .

VI.
v31 So diz n'Agnes a n'Ermessen:
v32 «Trobat avem que anam queren.
v33 Sor, per amor Deu, l'alberguem,
v34 Qe ben es mutz,
v35 E ja per lui nostre conselh
v36 non er saubutz. »

VII.
V37 La una-m pres sotz son mantel,
v38 Menet m'en sa cambra, al fornel.
v39 Sapchatz qu'a mi fo bon e bel,
v40 El focs fo bos,
v41 Et eu calfei me volentiers
v42 Als gros carbos.

VIII.
V43 A manjar mi deron capos,
v44 E sapchatz ac i mais de dos,
v45 Et no-i ac cog ni cogastros,
v46 Mas sol nos tres,
v47 El pans fo blancs el vins fo bos
v48 El pebr'espes.

IX.
v49 "Sor, aquest hom es enginhos,
v50 E laissa lo parlar per nos:
v51 Nos aportem nostre gat ros
v52 De mantement,
v53 Qe-l fara parlar az estros,
v54 Si de re-nz ment."

X.
v55 N'Agnes anet per l'enujos,
v56 E fo granz et ab loncz guinhos:
v57 E eu, can lo vi entre nos
v58 Aig n'espavent,
v59 Qu'a pauc non perdei la valor
v60 E l'ardiment

XI.
v61 Quant aguem begut e manjat,
v62 Eu mi despoillei a lor grat;
v63 Detras m'aporteron lo gat
v64 Mal e felon ;
v65 La una-l tira del costat
v66 Tro al tallon.

XII.
v67 Per la coa de mantenen
v68 Tira-l gat, et el escoissen:
v69 Plajas mi feron mais de cen
v70 Aquella ves;
v71 Mas eu no-m mogra ges enguers,
v72 Qui m'ausizez.

XIII.
v73 Sor diz n'Agnes a n'Ermessen,
v74 Mutz es, que ben es conoissen;
v75 Sor, del banh nos apareillem
v76 E del sojorn. »
V77 Ueit jorns ez encar mais estei« »
v78 En aquel forn.

XIV.
V79 Tant las fotei com auzirets :
v80 Cen e quatre vint et ueit vetz ,
v81 Q'a pauc no-i rompei mos corretz
v82 E mos arnes;
v83 E no-us pues dir lo malaveg,
v84 Tan gran m'en pres.

XV.
v85 Ges no-us sai dir lo malaveg,
v86 Tan gran m'en pres.


[The variant of the XV. Verse in handwriting "C", there XII. Stanza,
contains the following escort stanza, an envoy , the “Tornada”]:


C67 Monet, tu m'iras al mati,
C68 Mo vers portaras el borssi,
C69 Dreg al la molher d'en Guari
C70 E d'en Bernat,
C71 E diguas lor que per m'amor
C72 Aucizo-l cat .

I.
I will compose a song since I am sleepy,
And walk and stand in the sunshine;
There are ladies who are badly advised,
and I can say which they are: they
are those who denigrate a knight's love
.

II.
The lady who
loves no honest knight commits a grave mortal sin ;
But if she even loves a monk or a cleric,
she's wrong:
rightly she should be branded
with a poker.

III.
In the Auvergne, beyond the Limousin,
I moved all alone and unrecognizable:
There I met the wife of Mr. Garin
And [the wife] of Mr. Bernart;
They simply greeted me at
St. Leonhard.

IV.
One of them said to me in her Latin [in her language]:
God be with you, Pilgrim;
They do appear to be beautiful in nature, in
my opinion;
But you see
crazy people roaming the world .

V.
So, hear what I answered;
I said neither boo nor bah,
and I did not mention iron or [pilgrim's] staff,
but [said] only:
"Babariol, babariol ,
Babarian."

Hear what I answered you;
I did not mention iron or [pilgrim] staff,
But I told you [aital lati]:
"Tarrababart ,
Marrababelio rub ,
Saramahart."

VI.
Sister, said the lady Agnes to the lady discretion,
we have found what we are looking for.
Let him shelter us for God's reward,
for he is probably dumb;
And through him our plan will
never be revealed.

VII.
One took me under her cloak
and led me into her room, to the stove;
Know that it was very good for me,
And the fire was good,
And I liked to warm myself
on the coals.

VIII.
They gave me broilers to eat,
And you know there were more than two,
And there was neither a cook nor an assistant,
Only the three of us,
And the breads were white and the wines were good,
And the pepper was thick.

IX.
Sister, this man is a cheat,
because of us he lets be talk:
let's get our red cat right
now,
he 'll make him speak in an instant,
if he's lying somehow.

X.
Lady Agnes went to fetch the disgusting cattle,
And it was big and had long whiskers:
And I, when I saw it between us,
I was so afraid
that I almost lost momentum
and boldness.

XI.
After we had drunk and eaten,
I undressed at her request.
Behind me they brought the cat ,
angry and treacherous :
One pulled him from my side
to the heel.

XII.
Now, by the tail
she pulls the cat, he scratches;
They inflicted wounds on me, more than a hundred
this time.
But I didn't make the slightest gesture,
even if they'd killed me.

XIII
“Sister,” says Dame Agnes to Dame Eressess,
“he is mute, because that is easy to see.”
“Sister, let's prepare a bath
and let's get ready for a good time.”
I stayed for eight days and more
In this oven.

XIV.
As many times as you will hear I've fucked her:
One hundred and eighty-eight times ,
so that I almost broke my straps
and my bridle .
And I cannot tell you what
a really great exhaustion it befell me.

XV.
Surely I cannot tell you what exhaustion,
a really great one, fell upon me.

Monet, at dawn, you will leave,
My song will you carry in your pocket ,
direct to the wife of Mr. Guari
And the Lord Bernat,
And you will tell you about my love's sake:
Kill the cat!

Canso VII, a "courtly" song

(Canso n ° VII.- PUS VEZEM DE NOVELH FLORIR ) (BdT 183, 11)

  • Canso n ° VII: First to sixth stanza «Pus vezem de novelh florir» . Manuscript «C», BnF, français 856, folio 231r: digitized on Gallica . (1301-1400).

  • Canso n ° VII: Seventh to ninth stanza «Del vers vos dig que mais en vau» , manuscript «C», BnF, français 856, folio 231v: digitized on Gallica . (1301-1400).

I.
v01 Pus vezem de novelh florir,
v02 Pratz e vergiers reverdezir,
v03 Rius e fontanas esclarzir,
v04 Auras e vens,
v05 Ben deu quascus lo joy jauzir
v06 Don es jauzens.

II.
V07 D'Amor non dey dire mas be.
v08 Quar no n'ai ni petit ni re?
v09 Quar ben leu plus no m'en cove;
v10 Pero leumens
v11 Dona gran joy qui be-n mante
v12 Los aizimens.

III.
v13 A totz jorns m'es pres enaissi
v14 Qu'anc d'aquo qu'amiey non jauzi
v15 Ni o faray ni anc no fi.
v16 Qu'az esciens
v17 Fas maintas res que-l cor me di:
v18 «  Tot es niens . "

IV.
V19 Per tal n'ai meyns de bon saber
v20 Quar vuelh so que no puesc aver,
v21 E si-l reproviers me ditz ver,
v22 Certanamens:
v23" A bon coratge bon poder,
v24 Qui's ben suffrens. »

V.
v25 Ja no sera nuils hom ben fis
v26 Contr'Amor, si non l'es aclis,
v27 Et as estranhs et as vezis
v28 Non es consens,
v29 Et a totz sels d'aicels aizis
v30 Obediens

VI.
v31 Obediensa deu portar
v32 A motas gens qui vol amar,
v33 E coven li que sapcha far
v34 Faigz avinens,
v35 E que-s gart en cort de parlar
v36 Vilanamens.

VII.
V37 Del vers vos dig que mais en vau
v38 Qui ben l'enten ni plus l'esgau,
v39 Que-l mot son fag tug per egau
v40 Cominalmens,
v41 El sonetz, qu'ieu mezeis m-en lau,
v42 Bos e valens.

VIII.
V43 A Narbona, mas ieu no-i vau,
v44 Sia-l prezens
v45 Mos vers, e vuelh que d'aquest lau
v46 M Sia guirens.

IX.
v47 Mon Esteve, mas ieu no-i vau,
v48 Sia-l prezens
v49 Mos vers e vuelh que d'aquest lau
v50 Sia guirens.

I.
As we see it bloom
again , meadows and orchards turn green again,
rivers and fountains shine, breezes
and winds,
I may each enjoy the pleasure
that he wants to enjoy.

literature

U. Vones-Liebenstein, Dietmar Rieger: Wilhelm IX . In: Lexicon of the Middle Ages (LexMA). Volume 9, LexMA-Verlag, Munich 1998, ISBN 3-89659-909-7 , Sp. 140-142.

Biographies

Guillaume IX d'Aquitaine: Le Duc troubadour . Geste éditions 2002, ISBN 978-2845610590 .
  • Bernard Félix: Guillaume le Troubadour: Duc d'Aquitaine fastueux et scandaleux. Aubéron 2002, ISBN 978-2844980243 .
  • Léon Palustre: Histoire de Guillaume IX dit le troubadour, duc d'Aquitaine , Honoré Champion 1882: full text - on Internet archive.
  • Jean-Charles Payen : Le Prince d'Aquitaine. Essai sur Guillaume IX, son oeuvre et son érotique. Honoré Champion 2000, ISBN 978-2852030800 .
  • Alfred Richard: Histoire des comtes de Poitou 778-1204 , 2 vols., Picard Paris 1903 on Gallica

Chroniclers

Bibliographies, manuscripts, authorship

Bibliographies

  • Alfred Jeanroy: Bibliography sommaire des chansonniers provençaux (manuscrits et éditions) , Honoré Champion, Paris 1916 full text on Internet archive
  • Alfred Pillet , Henry Carstens: Bibliography of the Troubadours (abbreviation: BdT), Max Niemeyer Halle 1933. Ristampa anastatica dell'edizione Halle (Saale), Max Niemeyer Verlag, 1933, a cura di Paolo Borso e Roberto Tagliani. Ledizioni Milano 2013, ISBN 978-88-95994-64-2 . 460 trobadors are listed here by name and numbered in alphabetical order from 1 Ademar to 460 Vescoms de Torena. The "Count of Poitiers", "lo coms de Peiteus" (sic), ie Wilhelm IX., Bears the number 183.
  • Robert A. Taylor: A Bibliographical Guide to the Study of Troubadours and Old Occitan Literature. Research in Medieval Culture, Western Michigan University, 1937, New edition 2015, ISBN 978-1580442152 , Google Books

Manuscripts

Sources of the text corpus of Wilhelm IX. attributed cansos form the manuscripts (C, D, E, I, K, N, N2, R, V, a1, a2 and α). These manuscripts are chansonniers , anthologies of Provencal songs that were only written about 200 years after the Duke's death.

Authorship, editorial criticism

  • George T. Beech: L'attribution des poèmes du comte de Poitiers à Guillaume IX d'Aquitaine. In: Cahiers de civilization médiévale Vol. 31 (1988) pp. 3–16: full text online .

Editions

  • Alfred Jeanroy : Les chansons de Guillaume IX, duc d'Aquitaine (1071-1127) , Honoré Champion Paris (1913, 1927) 1964, deuxième édition revue. (Note: A. Jeanroy did not dare to translate the obscene passages of the slippery poem n ° V.)
  • Gerald A. Bond: The Poetry of William VII, Count of Poitiers, IX Duke of Aquitaine . Edited and translated by Gerald A. Bond. Garland Publishing Co., New York 1982, ISBN 9780824094416 .
  • Werner Dürrson : Wilhelm of Aquitaine. Collected Songs , published by The Ark, Zurich 1969 (bilingual, free adaptation of Cansos into German).
  • Nicolò Pasero: Guglielmo IX. Poetry. Edizione critica a cura di Nicolò Pasero , STEM-Mucchi, Modena 1973.

Musicology

Secondary Philological Literature

  • Michael Bernsen : The problematization of lyrical speaking in the Middle Ages. An investigation into the discourse change in love poetry from the Provençals to Petrarch. In: Supplements to the journal for Romance philology, Vol. 313, 2001, ISBN 3-484-52313-1 , p. 66/67, Google Books .
  • Erich Köhler : Trobadur poetry and courtly novel. Essays on French and Provencal literature of the Middle Ages. New Contributions to Literary Studies, Volume 15, Hardcover. Rütten & Loening Berlin 1962.
  • Leo Pollmann : Poetry and love with Wilhelm of Aquitaine. In: Journal for Romance Philology Vol. 78 (1962) pp. 326–357.
  • Pio Rajna : Guglielmo, conte di Poitiers, trovatore bifronte. In: Festschrift A. Jeanroy, Paris 1928, pp. 349–360.
  • Dietmar Rieger : "The vers de dreyt nien." Wilhelms IX. of Aquitaine: enigmatic poem or enigmatic poem? Investigation into a "key poem" of Trobador poetry. Series: Session reports of the Heidelberg Academy of Sciences, Philosophical-Historical Class, born 1975, Abh. 3. Carl Winter Heidelberg 1975. ISBN 3-533-02392-3
  • Dietmar Rieger (ed. And translator): Medieval poetry of France I. Songs of the Trobadors. Provencal / German. Reclam Universal-Bibliothek 7620, Stuttgart 1980 (Wilhelm: 5 Lieder, pp. 16–39; on this comments pp. 234–243), ISBN 3-15-007620-X .
  • Maria Stasyk: The language and works of four trobadors in the light of research with special consideration of foreign language and dialectal influences . Dissertation University of Siegen, December 2006: Full text server of the University of Siegen.

On the poem n ° V: On the "silent" pilgrim and the red cat "

  • Dietmar Rieger (ed. And translator): Medieval poetry of France I. Songs of the Trobadors. Provencal / German. Reclam Universal-Bibliothek 7620, Stuttgart 1980, ISBN 3-15-007620-X , pp. 29-35 and pp. 239-241.
  • Erich Köhler : Wilhelm IX., The pilgrim and the red cat . In: Mélanges de langue et de littérature médiévales: offerts à Pierre Le Gentil par ses collègues, ses élèves et ses amis , Paris: SEDES, 1973, pp. 421–434 full text - on freidok.uni-freiburg.de.
  • Rita Lejeune : L'extraordinaire insolence du troubadour Guillaume IX d'Aquitaine . In: Mélanges de langue et de littérature médiévales: offerts à Pierre Le Gentil par ses collègues, ses élèves et ses amis , Paris: SEDES, 1973, pp. 485-503.
  • René Nelli : L'Érotique des Troubadours , private Toulouse 1997, ISBN 978-2708986077 .
  • Charles Oulmont : Les débats du clerc et du chevalier dans la littérature poétique du moyen age. Étude historique et littéraire suivie de l'édition critique des textes et ornée d'un fac-similé. Champion Paris 1911. Full text on Internet Archive.
  • Alan R. Press: Quelques observations sur la chanson V de Guillaume IX: Farai un vers pos mi sonelh. In: Etudes de civilization médiévale: (9th-12th siècles): Mélanges offerts à Edmond-René Labande. Poitiers: CESCM 1974. pp. 603-609.
  • Michel Stanesco: L'étrange aventure d'un faux muet: blessures symboliques et performances sexuales dans un poème de Guillaume IX d'Aquitaine . In: Cahiers de civilization médiévale, 32e année (n ° 126), Avril-juin 1989. pp. 115-124 full text on Persée.
  • Patrice Uhl: Un chat peut en cacher un autre: autour d'une interprétation 'sans difficulté' de Henri Rey-Flaud et de Jean-Charles Huchet . Neophilologus 75., 1991 pp. 178-184.
  • François Zuffery: Les exploits du Comte de Poitiers sous les rayons ultraviolets . In: Cultura Neolatina (CN), 53 (1993), pp. 135-149.
On the problem of the “Arabic” verses in Canso n ° V
  • Gerold Hilty and Frederico Corriente Córdoba: La fameuse cobla bilingue de la Chanson V de Guillaume IX. Une nouvelle interprétation . In: Vox Romanica Vol. 65 (2006), pp. 66–71: Volltext –pdf
  • István Frank : "Babariol-Babarian" in Guillaume IX . (Notes de philologie pour l'étude des origines lyriques, I). In: Romania, tome 73 n ° 290, 1952. pp. 227-234: Full text on Persée. [Note: István Frank is the skeptic].
  • Évariste Lévi-Provençal : Arabica occidentalia, II: Les vers arabes de la chanson Vde Guillaume IX d'Aquitaine . In: Arabica, 1 (1954), p.208-211 full text on JSTOR
  • Patrice Uhl: Farai un verse, pos mi sonelh: la version du chansonnier C (BN, Fr. 856), la cobla bilingue et leproblemème du "lati" ou "Tarrababart saramahart" in Guillaume IX d'Aquitaine . In: Cahiers de civilization médiévale, 33e année (n ° 129), Janvier-mars 1990, pp. 19-42: full text - on Persée
  • Patrice Uhl: Guillaume IX d'Aquitaine et la sorcellerie de Babel: A propos des vers arabes de la chanson V (MS. C) . In: Arabica, 38, 19-39 (1991).
  • Paul Zumthor : Unproblemème d'esthetique médiéval: l'utilisation poétique du bilinguisme. In: Le Moyen Âge, LXVI (1960), pp. 301-336 and pp . 561-594 on Gallica.

On the poem n ° VII: "Spring awakening"

  • Heinz Bergner (editor): Poetry of the Middle Ages I. Problems and Interpretation . Therein: Dietmar Rieger: Pos vezem de novel florir , pp. 252-264, Reclam 7896, Stuttgart 1983, ISBN 978-3150078969 .
  • Dietmar Rieger: Guillaume IX d'Aquitaine et l'idéologie troubadouresque. Remarques sur l'emploi des noms propres chez le "premier" troubadour. In: Romania, tome 101 n ° 404, 1980. pp. 433-449, especially from p. 435. DOI: 10.3406 / roma.1980.2036 - full text on Persée .
  • Sergio Vatteroni: «Tot es nienz». Per l'interpretazione di “Pos vezem de novelh florir” by Guglielmo IX d'Aquitania. In: Romanistische Zeitschrift für Literaturgeschichte, 17 (1993), pp. 26–39.

On the question of the origin of the trobador poem

  • George T. Beech: Troubadour Contacts with Muslim Spain and Knowledge of Arabic: New Evidence Concerning William IX of Aquitaine. In: Romania Vol. 113, n ° 449-450, 1992, pp. 14-42: full text .
  • Pierre Le Gentil : La strophe zadjalesque, les khardjas et leproblemème des origines du lyrisme roman (premier article). In: Romania, tome 84 n ° 333, 1963. pp. 1-27; First part - on Persée.
  • Pierre Le Gentil: La strophe zadjalesque, les khardjas et leproblemème des origines du lyrisme roman (deuxième article) . In: Romania, tome 84 n ° 334, 1963. pp. 209-250; Second part - on Persée.
  • E. Perkuhn: The Arab theory and the question of the origin of the troubadour art . In: Studia Musicologica Academiae Scientiarum Hungaricae, T. 15, Fasc. 1/4 (1973), pp. 129-139: Full text on JSTOR.
  • Samuel Miklos Stern: Les vers finaux en espagnol dans les muwassahs hispano-hébraïques. Une contribution à l'histoire du muwassah et à l'étude du vieux dialecte espagnol 'mozarabe' . In: Al-Andalus Revista de las escuelas de estudios arabes de Madrid y Granada, XII (1948), pp. 299–346.

Cultural history

How the French invented love. 900 years of passion , Graf Verlag 2013, ISBN 978-3-86220-038-2 . In it: 1. Chapter 1 Minne - How the French invented courtly love. Google Books .

Web links

Commons : Wilhelm IX.  - Collection of pictures, videos and audio files

The "Corpus des Troubadours" project

Musical lecture in old Occitan language

Footnotes

  1. ↑ Ursula Peters: Das Ich im Bild: The figure of the author in vernacular illuminated manuscripts from the 13th to 16th centuries , Verlag Böhlau, Cologne 2008, ISBN 978-3412188061 - limited preview in the Google book search.
  2. ^ Robert A. Taylor: An assessment on what we know and we don't know about the first troubadour . Google Books , p. 876
  3. ↑ a b BdT this abbreviation refers to the standard work: Alfred Pillet , Henry Carstens: Bibliographie der Troubadours (abbreviation: BdT), Max Niemeyer Halle 1933. Ristampa anastatica dell'edizione Halle (Saale), Max Niemeyer Verlag, 1933, a cura di Paolo Borso e Roberto Tagliani. Ledizioni Milano 2013, ISBN 978-88-95994-64-2 . 460 trobadors are listed here by name and numbered in alphabetical order from 1. Ademar to 460. Vescoms de Torena. "Lo coms de Peiteus" (sic), ie Wilhelm IX., Bears the number 183.
  4. ^ Pio Rajna: Guglielmo conte di Poitiers Trovatore Bifronte, in: Mélanges de linguistique et de littérature offerts à M. Alfred Jeanroy, Éditions E. Droz Paris 1928.
  5. ↑ One finds both the spelling “fin'amor” and “fin'amors” in the literature. The nominative of the feminine noun "amor" is "amors" in Alktokzitan. So «la fin 'amors» would be the right graphic. The Old Occitan dialects have a two-caustic system : casus rectus and casus obliquus. The case rectus, the nominative, "amors", ends in s . In the casus obliquus (genitive, dative, accusative), however, it says "amor" without an 's'.
  6. ↑ Marilyn Yalom : How the French Invented Love. 900 years of passion , Graf Verlag 2013, ISBN 978-3-86220-038-2 , pp. 29–30, Google Books .
  7. ^ Moshé Lazar: Amour courtois et "fin'amors": dans la littérature du XIIe siècle , Librairie C. Klincksieck, 1964.
  8. ^ Régine Pernoud : Queen of the Troubadours. Eleanor of Aquitaine . dtv 1461, 15th edition Munich 1979, pp. 145-160, ISBN 3-423-30042-6 .
  9. ^ Henriette Walter : Aventures et mésaventures des langues de France. Honoré Champion Paris 2012, ISBN 978-2745323392 , pp. 140/141.
  10. ↑ Occitan or Provençal studies is the branch of Romance studies that examines the dialects and the literature of the "langue d'oc" . "Provencal" was used in the older Romance languages to refer to all of the Occitan dialects . Since the 1990s, the terms “Occitan”, “Occitan Studies”, and “Occitanist” have become generally accepted.
  11. ^ Joseph Salvat: Provençal ou occitan? In: Annales du Midi , 1954, pp. 229-241.
  12. ^ George T. Beech: L'attribution des poèmes du comte de Poitiers à Guillaume IX d'Aquitaine. In: Cahiers de civilization médiévale Vol. 31 (1988) pp. 3–16: full text online .
  13. ↑ Werner Dürrson : Wilhelm of Aquitaine. Collected songs , Verlag Die Arche, Zurich 1969, p. 61
  14. ^ Bernard Félix: Guillaume le Troubadour: Duc d'Aquitaine fastueux et scandaleux. Aubéron 2002, ISBN 978-2844980243 , p. 126.
  15. ^ Régine Pernoud : Queen of the Troubadours. Eleanor of Aquitaine. dtv 1461, 15th edition, Munich 1979, ISBN 3-423-30042-6 , pp. 145-160
  16. ^ Henriette Walter: Aventures et mésaventures des langues de France. Honoré Champion Paris 2012, ISBN 978-2745323392 , pp. 140/141.
  17. ↑ Raimund von Poitiers is given in Schwennicke ( European Family Tables II (1984) Plate 76 as the illegitimate son of Wilhelm IX. (VII.) From his relationship with the wife of Amaury I, Vice Count of Châtellerault . It is common, however, to name him as the younger son Wilhelms from his 2nd marriage to Philippa von Toulouse, where the name Raimund was the lead name, although it should be noted that it was precisely her uncle Raimund IV who gave her - with the will of her father Wilhelm IV. - the county of Toulouse , her alleged inheritance for lack of male descendants, withheld. The sources cited in the "collection of material" do not comment on who Raimund's mother was, and Steven Runciman is also silent in his "History of the Crusades" (7th book, 2nd In the article “Wilhelm IX.” Of the Lexicon of the Middle Ages (Volume IX, Column 140) this connection is made: “He [Wilhelm IX.] Could stay in Toulouse until 1123 (...), where Philippa also her son Rai mund (* 1114/17), whose name identified him as the heir of the county, gave birth ”.
  18. ↑ Cf. French-language Wikipedia: Agnès de Poitiers (pure d'Aragon)
  19. ↑ Error of the author of the Vida: not the wife of Wilhelm X. was Duchess of Normandy, but their daughter Eleanor of Aquitaine became Duchess of Normandy through her marriage to the later King of England, Henry II .
  20. ↑ The incipit of this oldest old Spanish Chardscha reads: "Tan te amaré, tan te amaré, habib, tan te amaré" (I will love you so much, my friend.) - It is the Chardscha n ° written in Hebrew characters 18 according to the numbering of Samuel Miklos Stern
  21. ↑ Christopher J. Pountain: A History of the Spanish language through Texts. Routledge 2013, ISBN 978-0415707121 , p. 48: original Hebrew text with transliteration, reconstruction and translation
  22. ↑ Reinhold Kontzi: Two Romance songs from Islamic Spain. (Two Mozarabic Ḫarǧas) . In: Romania cantat. Dedicated to Gerhard Rohlfs on the occasion of his 85th birthday . Volume II Interpretations. Narr, Tübingen 1980, ISBN 3-87808-509-5 , p. 308: p. 308 in the Google book search.
  23. ^ The sources, medieval manuscripts, the chansonniers, assign the poems to an unspecified Coms de Peitieus .
  24. ↑ Georges Beech: L'attribution des poèmes du comte de Poitiers à Guillaume IX d'Aquitaine In: Cahiers de Civilization Médiévale Année, 1988, 31-121, pp. 3-16: Full text on Persée.
  25. ^ Alfred Jeanroy: Les chansons de Guillaume IX, duc d'Aquitaine (1071-1127) , Honoré Champion Paris (1927), deuxième édition revue 1964, in the series Les classiques français du Moyen Âge.
  26. ^ Pio Rajna: Guglielmo conte di Poitiers Trovatore Bifronte , in: Mélanges de linguistique et de littérature offerts à M. Alfred Jeanroy, Éditions E. Droz Paris 1928
  27. ↑ One finds both the spelling “fin'amor” and “fin amors”, because the Old Occitan dialects have a two-caustic system : casus rectus and casus obliquus. The case rectus, the nominative of this feminine noun "amors", is "amors". In all other cases (genitive, dative, accusative), i.e. in the case obliquus, it is called "amor". The French translation "la fine amour" is often found in francophone literature.
  28. ↑ The Old Occitan text and the numbering of the poems follow the critical edition by Alfred Jeanroy .
  29. ↑ a b The translations from Altokzitan into German are from the author of this article.
  30. ↑ Les chansons de Guillaume IX, duc d'Aquitaine (1071-1127) , Honoré Champion Paris (1913, 1927) 1964, deuxième édition revue, p. 33
  31. ↑ Rita Lejeune also translates: "on devrait la marquer au fer rouge" (one should brand her with a hot iron). In: L'extraordinaire insolence du troubadour Guillaume IX d'Aquitaine . In: Mélanges de langue et de littérature médiévales: offerts à Pierre Le Gentil par ses collègues, ses élèves et ses amis , Paris: SEDES, 1973, p. 493.
  32. ↑ Rita Lejeune explains in her essay, op.cit pp.496-499, this allusion to Saint Leonhard von Noblat . Saint-Léonard-de-Noblat is a station famous in the MA on Via Lemovicensis , a section of the pilgrimage route to Santiago de Compostela .
  33. ^ "Bat" and "but" are onomatopoeic formations.
  34. ↑ Probably an allusion to Saint Leonhard and the "iron" chain with which he is represented. He is considered to be the prisoner's liberator.
  35. ↑ Some well-known Arabists have expressed the opinion in essays that lines 29, 30 and C10, C11, C12 are “Arabic verses” in a “bilingual stanza”. A good summary of this thesis is offered by: Gerold Hilty and Frederico Corriente Córdoba: La fameuse cobla bilingue de la Chanson V de Guillaume IX. Une nouvelle interprétation . In: Vox Romanica Vol. 65 (2006), pp. 66-71: full text - pdf
  36. ^ Jean-Charles Payen : Le Prince d'Aquitaine. Essai sur Guillaume IX, son oeuvre et son érotique. Honoré Champion 2000, ISBN 978-2852030800 , p. 152
predecessor Office successor
Wilhelm VIII./VI. Duke of Aquitaine
1086–1127 		Wilhelm X./VIII.
Wilhelm VIII./VI. Count of Poitou
1086–1127 		Wilhelm X./VIII.
personal data
SURNAME William IX.
ALTERNATIVE NAMES William IX. of Aquitaine and Gascony; Wilhelm the boy; William VII of Poitou
BRIEF DESCRIPTION Duke of Aquitaine and Gascony, Count of Poitou
DATE OF BIRTH October 22, 1071
DATE OF DEATH February 10, 1126 or February 10, 1127