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Willi Apel Medieval Music PDF
Willi Apel Medieval Music PDF
PUBLICATION NO. 55
Edited by
WILLI APEL
Edition of the Literary Texts by
ROBERT W . LINKER and
URBAN T.
HOLMES, J R .
Yale University
COPYRIGHT BY
THE MEDIAEVAL ACADEMY OF AMERICA
1950
PRINTED IN U. S. A.
JOHANNES WOLF
IN MEMORIAM
FOREWORD
hints will suffice to make us aware of the creative power
that keeps those structures in motion and of the human
quality that guided their creators.
To the performers the immediate contingence with this
music will open up new horizons. They will learn to
understand the shortsighted attitude of our present musical culture, which adores only those idols of audible
beauty that are not much older than two hundred years.
They soon will find it necessary to replace our contemporary ways of performing, which oscillate between two
extremes over-individualistic exhibitionism on the one
side and the dullest metric-dynamic motorism on the
other with the altruistic devotion which alone can revive this old music.
The musicologists knew that after Fricdrich Ludwig's
publication of Machaut's works sooner or later the missing link between that composer and Dufay's generation
would be made available. But to those other musicians
whose work is primarily concerned with present and future developments, whose historical knowledge is a
means to a better adjustment of their immediate duties,
the present book will be a revelation and a source of both
information and delight. On behalf of all those who will
touch the musical treasures displayed in the following
pages, I want to thank the author and the publisher for
their precious gift.
Paul Hindemith
There is no need to praise once more the expert scholarship of this book's author, nor can anything be added to
the laudable fact that a publisher's idealism makes possible the edition of a large selection of hitherto unknown
mediaeval compositions. But as a composer and as a
performer of the earlier masters' compositions I feel that
a few words of encouragement, coming from a practical
musician, would help to a better appreciation of this highly interesting, valuable, and stimulating publication.
The modern musician's problems, of which there arc
so many, will lose some of their puzzling oppression if
compared with those of our early predecessors, as they
appear in this volume. It is rewarding to see those masters struggle successfully with technical devices similar to
those that we have to reconquer after periods in which
the appreciation of quantity, exaggeration, and search for
originality in sound was the most important drive in the
composer's mind. They knew how to emphasize, on a
fundament of wisely restricted harmony, the melodic and
rhythmic share of a sounding structure. Their distribution of tonal weight, their cantilever technique of spanning breath-takingly long passages between tonal pillars
hardly finds its equals. Their unselfish and uninhibited
way of addressing the audience and satisfying the performer; the perfect adequacy of poetic and musical form;
the admirable balance of a composition's technical effort
and its sensual appeal these are only a few of the outstanding solutions they found in their works. One could
go on pointing out surprising and exciting features in
those miraculous microcosms of sound, but these few
Cambridge, Massachusetts
March, 1950
vn
PREFACE
The present publication is intendi i to fill, in some
measure, the most serious gap in our cnowledge of the
history of polyphonic music, that is, the development of
French music between Machaut and Dufay. To be sure,
there are other gaps which we would like to have eliminated, as, for instance, the early development from the
Musica enchiriadis of the ninth century to the School of
St. Martial of the twelfth, or the development of Italian
polyphony throughout the fifteenth century. However,
the very greatness of the two names, Machaut and Dufay, imparts special significance to the period we are concerned with here. Moreover, while in the two other cases
the situation appears irremediable, owing to the lack of
sources, there is ample material available for the study
of French music of the late fourteenth and early fifteenth
centuries. It is gratifying to learn of various projects
under way with the same general purpose as the present
publication, projects that will make available hitherto unpublished material from the codices Oxford Bodleian
Library, Canonici misc. 213 and Torino, Biblioteca
Nazionale, / / / 9.
While the repertory contained in these codices is, in
the main, from the early fifteenth century, we are concerned here with the immediately preceding period, approximately from the death of Machaut (1377) to the
first decade of the fifteenth century. The chief sources
for this period are the codices Ghantilly, Musee Conde
1047 {Ch), Modena, Biblioteca Estense L. 568 (Mod),
and Paris, Bibliotheque nationale nouv. acq. jr. 6771,
the so-called Codex Reina (Rei), A number of smaller
sources serve to round off a repertory remarkable for its
quantity of compositions and number of composers.
The present publication is based upon transcriptions
of the entire contents of Mod, Rei and the subsidiary
sources, as well as nearly all the secular pieces in Ch.
From this material 81 compositions representing
about one-half of the total material of French secular
compositions have been selected with the idea of representing the forms, the most important composers, and
the various stylistic periods. Our collection starts with
the complete output of the five most prolific composers,
a group consisting of two Italians, Matheus de Perusio
and Anthonellus de Caserta, and three Frenchmen,
Solage, Trebor and Senleches. Their repertory is rounded off by the addition of ten ballades, twelve virelais, and
eight rondeaux. In each of these groups compositions of
IX
TABLE OF CONTENTS
Abbreviations
Introduction
A.
B.
C.
D.
E.
General Outline
The Sources
The Forms
The Notation
The Style
The Machaut Style
The Manncristic Style
The Modern Style
F. Questions of Performance
G. The Literary Texts
H Artistic Trends in the Late Fourteenth Century
I. Editorial Remarks
J. Notes
1
3
5
7
9
10
10
13
14
15
17
20
23
27
Commentary
29
35
Glossary
37
List of Plates
39
Plates I-VIII
Compositions
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
1*-133*
Matheus de Perusio
A. Four Ballades
B. Seven Virelais
C. Ten Rondeaux and One Canon
Anthonello de Caserta
A. Five Ballades
B. One Virelais and Two Rondeaux
Solage
A. Seven Ballades
B. Two Virelais and One Rondeau
Trebor
Six Ballades
Jacob de Senleches
A. Three Ballades
B. Two Virelais
Ten Selected Ballades
Twelve Selected Virelais
Eight Selected Rondeaux
XI
1*
9*
19*
31*
40*
45*
(50 *
65*
77*
83*
85*
103*
126*
ABBREVIATIONS
I.
II.
SOURCES
Cam
Ch
It
Iv
I.o
Mod
Pad
Pan
Pr
Rei
Sir
7r
MODERN PUBLICATIONS
AMW
ApNPM
W. Apel, The Notation of Polyphonic Music, 900-1600, Cambridge, 1942; fourth revised edition 1949
E. de Coussemaker, Scriptorum de musiat
medii aevi nova series, 4 vols., Paris, 1864
1876
CS
LuGM
MQ
ReMMA
SIM
Strasbourg, Bibl. Comm. 222 C 22 [mostly destroyed; see Ch. van den Borren, in Annales de
VAcademic Royale d'Archeologie de Beige, 1923
25, for list of contents]
WoGM
WoIIN
ZMW
longa
supcrius
r>
s
brevis
contratcnor
semibrevis
tenor
minima
Tr
triplum
Sm
semiminima
12,2]
12,31
13,2]
[3,3]
xu
Musik-
INTRODUCTION
A. GENERAL OUTLINE
Machaut, usually spoken of as the 'predecessor' of Dufay, was born almost exactly one hundred years before
him. Thus, these two masters are in a relative position
comparable to that of Frescobaldi and Bach, or of Beethoven and Ravel. Even making considerable allowance for the slower speed of evolution in earlier centuries and for the unavoidable reduction of perspective
resulting from the remoteness of our point of view, one
hundred years arc too long a period to be overlooked or
dismissed.
Although not enough material has been published so
far to permit detailed investigations, the general outlines
of the development leading from Machaut to Dufay can
be indicated. This long period of transition can be divided into two main schools, one occupying roughly the
second half of the fourteenth, the other, the first half of
the fifteenth century. The earlier of these schools is represented by the codices Chatitilly, Modena, Reina, U)
and their subsidiary sources. (2) Here we find French
composers like Solage, Trebor, Senleches, Galiot, Cuvelier, Suzay, Grimace working side by side with Italians
like Philipoctus de Gaserta, Anthonello de Caserta, and
Matheus de Perusio. The main sources for the later
group are the codices Canonici misc. 213 of the Bodleian Library and Cod. 37 of the Liceo Musicale, Bologna. These include compositions by Baude Cordier, (3)
Fontaine, Ciconia, Lebertoul, Nicolas Grenon, Hugo de
Lantins, Arnolt de Lantins, as well as Tapissier, Carmen
and Cesaris (4) who, as Martin le Franc tells us in his
poem, Le Champion des dames, of c. 1440, were the admiration of 'tout Paris' before the appearance of Dufay
and Binchois.
The present publication is devoted to the first of these
two schools, formed by the immediate successors of
Machaut. The total repertory contained in the sources
of this period consists of liturgical pieces (Mass items,
etc.), motets, and secular compositions, (5) with the last
category far out-numbering the two others. For instance, the above mentioned three main sources contain
approximately a dozen sacred compositions, about fifteen
motets, and over 200 secular pieces, mostly with French,
but occasionally with Italian and Latin texts. In the'following study only the French secular compositions, exclusive of those by Machaut, are considered.
More than half of these are attributed to composers.
The number of these composers is surprisingly great, and
a complete list would include more than forty names.
Thus we find a situation strikingly different from that of
the preceding period which is represented practically by
a single composer, Machaut. Following are all the com-
posers who are known to us by more than one composition, arranged according to the number of attributed
pieces:
Matheus de Perusio (22) (6)
Solage (10)
Anthonello de Caserta (8)
Senleches (6) (7)
Trebor(6)
Philipoctus de Caserta (5) (?)
Vaillant (5)
Galiot (3) (7)
Grimace (4)
GENERAL OUTLINE
composers of our period. With one exception, the ballade Helas pitie (No. 42), all the extant pieces by Trebor
are addressed to members of the French or Spanish nobility. Se Alixandre (No. 45) and Se July Cesar (No.
46) are dedicatory ballades for Gaston III, Count of Foix
(1331-1391) who, for his extraordinary beauty, was
known as Gaston Phoebus, a name to which the motto
'Febus avant' of the second ballade refers. En seumeillant (No. 44) refers to King John I of Aragon (13871396) and his expedition to Sardinia in 1389. (14) Passerose de beaute (No. 41) is a eulogy of one Margaritc
whose husband is referred to as 'Jupiter'. (15) Finally,
Trebor's Quant joyne cuer (No. 43) praises ie roy
puissant. . . qui porte d'or et de gueules gonfanon,' that
is, the King of Navarre. (16) Cuvelier's Se Galaas
{WoGM, no. 65) praises Gaston Phoebus with the same
motto, 'Febus avant,' as Trebor's Se July Cesar, while
Solage's S'aincy estoit (No. 34) celebrates 'Jhean, due
gentilz de Berry.'
This last ballade brings into our perspective one of the
most splendid princes of the time, and one of the greatest patrons of art in all history, Jean, due de Berry
(1340-1416), brother of King Charles V of France and
of Philip the Bold of Burgundy. Two of the most beautiful Hour Books were made for him, Les Grandes
Heures du Due de Berry by Jacquemart Hesdin (who
entered the service of the duke in 1384), and the famous
Trh Riches Heures du Due de Berry of the brothers
Limbourg, a work begun in 1413. Many other artists
frequented his sumptuous court, poets praised him, and
music could not be wanting in such surroundings. In
Solage we find a composer who, at least for some time,
was connected with the court of the duke. Gaston
Phoebus, who entertained a splendid court at Orthez,
was a no less brilliant representative of late mediaeval
chivalry. Jean Froissart (1333-1410), the ubiquitous
chronicler of the period, speaks of him most enthusiastically. Equally devoted to 'les armes, Pamour et la chasse'
(as he said of himself), Gaston wrote a book on hunting
which every grandee of the fifteenth century was anxious
to have copied for himself. One of these copies, the richly illuminated Livre de chasse of the early fifteenth century, is among the most exquisite products of French
miniature art.
The extravagant splendor of these princely courts is
reflected in the literary style of the dedicatory ballades
that our poet-musicians addressed to their patrons. Following the example of the leading poets of their day,
Jean Froissart (1337- after 1400) and Eustache Deschamps (c. 1350-1422), they wrote them as stilted and
grandiloquent eulogies, often with allegorical allusions
to the famous figures of classical legend and history.
Most of these allusions are taken from the well-known
theme of the Nine Heroes {Les Neuf Preux) which be-
THE SOURCES
Ch:
Rei:
It:
Cam:
THE SOURCES
French secular music. As regards their historical position, the Mss Lo (London, Brit. Mus., Add. 29987), It
(Paris, Bibl. Nat., It. 568), and Pan (Florence, Bibl.
Naz., Panciatichi 26) can be said to represent, on the
whole, the period of Rei and Ch, while Cam (Cambrai,
Bibl. Comm., 1328) and Iv (Ivrea, Bibl. del Capitolo)
belong to a somewhat earlier period. Of the circa twenty
compositions which these sources have in common with
the three main Mss, only two occur in Mod, and both
of these exist also in one of the other two main Mss. (26)
Attention may be called to a small number of compositions which, for some reason or other, have found their
way into the majority of the subsidiary sources, although
they are encountered only sporadically in the main Mss.
These compositions are:
1. Pierre de Moulins, Amis tout dous vis (It, 4 r ; Pr,
251r; Iv, 2v; Str, nos. 33 and 134; Tr, no. 18). Transcribed in F. Kammerer, Die Musikstiicke des Prager
Kodex XI E 9 (1931), p. 145. See also LuGM ii,
p. 20a, n. 2 (27)
2. Or sus vous dormez trop (No. 70; see List of Compositions and Sources).
3. Quiconques veut (Cam, 8r; It, l l r ; Pan, 80*-; Iv, 6^;
Tr, no. 87). See LuGM ii, p. 16b, n. 2.
4. Pierre de Moulins, De ce que fol pense (Rei, 40 r ; Ch,
53v; It, 124r; Pan, 87"-; Tr, no. 26; MacVeagh [see
LuGM ii, p. 21b]; Str, no. 52). Transcribed in WoHN
i, p. 354 and Droz-Thibault, Poetes et musiciens du XVe
fiecle (1924), p. 21.
5. Bartolino, La douce cere (Rei, 13v; //, 42 r ; Lo, 14v;
Pan, 108 v ; Florence, Law..pal. 87 [Squarcialupi Codex],
101v). Transcribed in WoGM iii, no. 45.
6. De jour a jour (Rei, 66f; It, 121v; Pan, 74"> Str, no.
72; Tr, no. 73; Brit. Mus., Cotton Titus A 26, p. 3v [cf.
AMW vii, p. 233]; Munich, MS 3232a). See Dezes, in
ZMW x, p. 99ff (the transcription given there is incomplete and partly wrong).
Special interest attaches to the concordances found in
Iv, since this Ms can, with reasonable certainty, be assumed to contain a repertory not later than 1375. It
therefore provides an ulterior date for one composition
of our collection, Or sus vous dormez trop (No. 70).
Since this is one of the realistic virelais, this genre probably flourished at about the time of Machaut's death
(1372). It will be remembered that Rei is the main
source for this genre.
Of similar interest are the concordances of Tr, a Ms
that in all probability was compiled by one Michael who
was chaplain to Charles V (1364-1380). According to
an original inscription it was probably written in
1376. (28) Unfortunately, only its list of contents has
survived. According to this, Tr contained Mag. Fran-
THE FORMS
34
65
28
6
8
29
10
18
8
2
9
18
16
14
6
Ballade
a b a b b cG
3.
2.
1.
T
S
S
Id)
Virelai
1(3)
1(1)
2(4)
ABBA
Refrain
1.
S
gives the figures 69, 8, and 17 (correctly 70, 12, and 18).
(3) Matheus de Perusio's canon Andray soulet (No. 22).
(4) Bartholino's La douce cere and the three-voice canon
Quanje voy.
c d
Ouvert
2.
T
abba
Tierce
4.
S
cd
Clos
3.
T
ABBA
Refrain
5.
S
Rondeau
ABBA
1. 2.
S
T
a b AB abba
3. 4.
5. 6.
S S
S T
ABBA
7. 8.
S
T
s1.
2.
Virelai
T
3.
S
].
5.
4.
Rondeau
T
2.
3.
S
1 4 7
5.
3.
T
? R
6.
THE FORMS
THE NOTATION
THE NOTATION
THE NOTATION
Nos.l;2;3;4;<i;20
2; 4
20
12; 13
5; 13
20
11. f
59
12. | (red)
24; 50
13. J (red)
24; 59
THE STYLE
the student is forced to rely on intrinsic traits and experimentation rather than on external indications. The
clue to this piece is as follows: The figures 2 and 3 indicate the tempus (imperfect or perfect), though not always correctly: the last section of the tenor, though
marked 3, actually is in tempus imperfectum. The prolation is nowhere indicated, except in the second section
of the contra where it is wrongly indicated: in spite of
the circle with dot, this section is in [3,2], not in [3,3].
The correct clue to the prolation is that it is perfect in
all the voice-parts in the first and the third section, imperfect in all the voice-parts in the second section. A last
trick (though one which is relatively easily discovered) is
that the two sections marked 2 (beginning of the discant
and closing section of the tenor) as well as the last section
of the discant, marked 3, are in diminution. Following
is a schematic representation of the mensuration in this
composition:
I
II
III
S. 2 = [2,3] dim. 3 = [3,2]
3 = [3,3] dim.
Ct.
[2,3]
=[3,2]
12,3] or [3,3]
T. 3 = [3,3]
2 = [2,2] dim. 3 = [2,3]
Yet another example of misleading mensuration sign
occurs in Senleches' Je me merveil (No. 48; facsimile on
PI. VI). Here the superius and tenor have their mensuration, [2,3], correctly indicated by a dotted half-circle. The contra has a dotted full circle, but attempts to
transcribe it in [3,3] are abortive. The correct values
of the notes result only if the part is interpreted in [2,2],
that is, with all black notes binary (unless dotted) and
the red notes ternary. Nevertheless the over-all meter
turns out to be the same as in the two other voice-parts,
[2,3], and it would even be possible to fit the part into a
[3,3]-scheme (9/8), although not without many syncopations. The important fact, however, is that in the notation of this part the basic principles of mensural notation, such as perfection, imperfection, and alteration,
are abandoned, and that each note has a constant value
independent of the notes that precede or follow it. The
same remark applies to all the sections of the composition in which red notes are used (closing sections of
superius and tenor). Startling though this method appears within the general frame work of mensural notation, it actually is what we do today, namely, the use of
binary note values for the writing down of ternary (as
well as binary) meter. More than 200 years had to
elapse before the principle adumbrated here was made
the basis of musical notation. (41)
A notational detail of some interest are the signs
2 , 1, ~, found in the discant of Anthonello's Amour
m'a le cuer mis (No. 26).
and may well be the earliest known instance of this device which was to play a prominent role in the notation
of the fifteenth century.
j,
10
THE STYLE
In both of them four-measure phrases occur with remarkable consistency, bestowing upon these pieces a
character of 'popular' simplicity which is quite exceptional in this period. The rondeau En tes douls flans
(No. 74) shows extensive use of rhythmic motives, as
well as the sustained chords of the Machaut style.
Among the composers represented in our collection,
Solage is most closely related to Machaut, and may well
be considered his pupil. He is practically the only one
to continue Machaut's practice of writing in four parts
(Nos. 35, 36, 37, 39), and most of his compositions show
the rhythmic simplicity and homogeneity of his predecessor. His four ballades in three voices, Nos. 31 to 34,
indicate a gradual development toward greater complexity. While his En I'amoureux vergier (No. 31) uses
simple rhythmic patterns (see, e.g., S 8, 11, 15,19-22,
etc.; also S 49, G 51, T 54), Corps femenin (No. 32)
employs motives of greater extension and greater rhythmic complexity (see Commentary). In Calextone qui
fut (No. 33) we find much syncopation as well as traynour (meas. 4046), and with S'aincy estoit (No. 34)
we are in the midst of the notational and rhythmic complexities of the manneristic style, so much so that one
would be inch'ned to ascribe this composition to Trebor
or Senleches, rather than to Solage. Perhaps the singular character of this composition is explained by the fact
that it is Solage's only example of the heraldic court ballade, a type which naturally called for greatest sumptuousness. From the harmonic point of view also, Solage
would seem to hold a position midway between Machaut
and the representatives of the manneristic style. He uses
dissonances freely, but always with a remarkably good
feeling for proper treatment (see Commentary, No. 32).
His rondeau Fumeux fume (No. 40) however, although
close to Machaut in its rhythmic texture, explores entirely new realms of harmonic experimentation, very likely
for reasons of satirical expression. (47)
The Manneristic Style (B) (48)
Turning now to the stylistic group B we come to the
central point of the present study. A glance at one of
the numerous examples contained in our collection (e.g.,
Nos. 1, 29, 61) suffices to demonstrate the difference between the Machaut Style and the Manneristic Style. By
way of general characterization this difference can be described as one between a style which, although flexible,
nevertheless is wholly integrated, and a style of deliberate diversification, extravagance, and utmost complexity.
Easily the most striking trait of the manneristic style
are the extended passages in syncopation, as in Nos. 1,
2, 5, 6 (Perusio); 23, 24, 25, 27, 29 (Anthonello);
59, 60 (Philipoctus); 42, 44, 46 (Trebor); 47, 48
THE STYLE
11
12
THE STYLE
THE STYLE
13
14
QUESTIONS OF PERFORMANCE
moderation. Even more significant is the entirely different treatment of the contratenor. All attempts to approximate the rhythmic liveliness and diversity of the
discant are abandoned, and this part now becomes a
secondary tenor designed to contribute to harmonic definition rather than to melodic and rhythmic animation.
This change in the character and function of the contratenor was perhaps the most decisive contribution of the
Modern style.
Perusio's ballade Pres du soloil (No. 4), as well as
many others of his compositions, particularly the Nos. 10,
11, 14, 16, 18, and 20, indicate the completion of the
process of clarification. Several of these, notably the Nos.
11, 16, and 18, clearly foreshadow Dunstable and Dufay in the triadic design of the melody combined with
tonic-dominant harmonies.
Very likely the occasional use of imitation is another
distinctive trait of the Modern style, at least with reference to the Manneristic repertory. All the instances
noticed occur either in compositions by Perusio (3, 18-
19; 4, 83-85; 9, 1-2; 13,11-12, 32; 17,24-27; 21, 4447, 50-56) or, more sporadically, in compositions preceding the rise of the Manneristic style, for instance, 53,1-2;
54, 1-4, 33-34; 72, 1-2. Thus the basic trends of the
three periods would seem to be neatly reflected in their
varying attitudes toward imitation.
Other traits noticeable in Perusio's later style and connecting him with Dunstable and Dufay are the use of
tempus perfectum with hemiolas (Nos. 11, 18, 20); the
use of syllabic declamation in alternation with melismatic
passages; an underlaying of the text suggestive of instrumental preludes and interludes; (56) the emergence of the
rondeau as the most important of the jormes fixes;
and particularly the frequent use of truly expressive appoggiaturas. In this connection yet another peculiarity
of Perusio (not of Dufay, as far as I know) is interesting, that is, his penchant for iambic rhythms, particularly at the close of a phrase (No. 4 and elsewhere). (57)
In addition to Perusio's compositions, the three last
pieces of this collection, all rondeaux from Mod, evidently belong to the period of the Modern style. Particularly La grant beaute (No. 80) is remarkable for that
graceful beauty associated with the works of the Burgundian masters.
In conclusion attention may be called to a few special
stylistic devices. Hockct effects are found in some of
the earlier compositions, e.g., 45, 44 and 71, 62-65. The
virelais Nos. 64 and 67 (68) employ the method of
tenor repetition repeatedly found in motets of the thirteenth century. In the last section of Senleches' Je me
merveil (No. 48) the two upper voices join in canonic
imitation for the refrain.
F.
QUESTIONS OF PERFORMANCE
1 v -- 1 i
:
2V
2 v -- 1 i
:
3 V
15
merous cross-rhythms and displaced measures, a successful performance is possible only if every player counts
eighth-notes for himself, undisturbed by the other performers. Conceivably this will result in a very moderate
tempo, but the intricate rhythmic texture as well as the
extremely vague harmonic idiom actually require such a
tempo. Without it, the numerous dissonances will simplysound as wrong notes, and the many strange harmonic
progressions will be confusing and unintelligible.
G. THE LITERARY TEXTS
In the late fourteenth century Provencal was still the
native language in the south of France. The chief poetic
influence in this region came from the Jeux Floraux
competition founded in Toulouse in 1323/4. Poets and
musicians who wrote in Provengal and Catalan flocked
there each year. From 1356 the joy a principal or violet te
d'or was awarded for the best chanson, vers, or descort;
the souci d'argent for the best dansa; the eglantine for
the winning sirventes or pastourelle.
Since French was not the native tongue of the inhabitants of southern France, it is normal to find French
verse of that region composed for the noble courts where
the overlord and his immediate followers were French
speakers. There were several such courts: that of Charles
II, le Mauvais (1350-87) and his son Charles III (13901425), kings of Navarra with their capital at Pamplona
in what is now northern Spain; that of Jeanne, the
Countess of Provence at Nice (1348-82) who spent more
of her time, to be sure, in Italy; and the court of Gaston
Phoebus. Charles II was Norman in origin, and Jeanne
was the daughter of Charles of Anjou and Marie of
Valois. Thus both of them were of French extraction.
Charles III married Leonora of Castile in 1375, and his
associations thereafter were close to Spain. He was at the
side of the Spanish monarch during his ill-favored ventue into Portugal in 1385. A most interesting figure was
Gaston Phoebus, Count of Foix (1331-91), who married
Agnes de Navarre. His court at Foix, only fifty-one miles
from Toulouse, was a center where French verse was
much appreciated.
In the first chapter of this Introduction we have encountered several of the trouveres who travelled about
among the patrons. Trcbor wrote two ballades, Se Alixandre (No. 45) and Se July Cesar (No. 46), which are
dedicated to Gaston Phoebus. His Quant joyne cuer
(No. 43) is certainly intended for Charles II of Navarre,
and his En seumeillant (No. 44) refers to the capture
of Sardinia by John I of Aragon, 1389. Cuvelier, in his
Se Galaas, celebrates Gaston Phoebus, and Senleches, in
his Fuions de ci (No. 47), mourns the death of Eleanor
or Aragon.
16
70, 71), while Nos. 72 and 73 strike a more seriously realistic note, a cry for help in distress. Surely these were
not formal pieces intended to be presented before some
noble at his fireside. They were sung at caroles and other
dance festivals, and very likely originated in the northern
part of France, partly under Flemish influence. The
south of France had counterparts for them, but of course,
there they were sung in Provencal.
In the notable example, Par maintes foys (No. 69),
the notes of the nightingale are given as 'tue oci
fideli,' the sky lark is credited with 'lire que te dit
Dieu Dieu,' while the cuckoo sings 'par envie' his monotonous 'cucu, cucu.' Plainly these are direct imitations
from nature. At the same time we are aware that in
previous centuries these calls were noted down in identical language. The most famous example of the 'cucu'
in mediaeval times exists in the English Sumer is icumen
in. In the Wistace li moine, a picaresque romance of the
early thirteenth century, the protagonist Wistace climbs
into a nest and pretends he is a nightingale:
Wistaces commencha a crier:
Ochi! ochi! ochi! ochi! ( w . 1H5-46)
17
ARTISTIC TRENDS
The fresh influence of Nature and her birds is redolent throughout these virelais. In Ma tredol rosignol (No.
68) the lark cries 'liry tantiny' and the lark, the ouzel,
the thrush and the goldfinch are joined by 'naquaires'
and 'cornemuses.'
Our knowledge of the trouveres in the second half of
the fourteenth century is limited, and probably will remain so. The Histoire litteraire de la France, that monumental reference work which seeks to give every known
detail about those who have written on French soil, has
now reached the first fascicule of Vol. XXXVII which
contains a discussion of the Provengal and Catalan poets
who centered around Toulouse in the last half of the
fourteenth century. Probably the next fascicule, when it
appears, will have something to say about the French
poets with which we are concerned. To judge from
what is written about the earlier poets in this century it
is hardly likely that many new details will be presented.
We should like to have before us this authoritative treatment, but in the meantime we shall say what we can.
It is highly probable that when all known lyrics of the
fourteenth century are gathered into an Incipit volume,
with full bibliography and cross references, we shall be
able to identify many of the poems that we are now
publishing as anonymous, or, tentatively, as the literary
work of their musical composers. Indeed, such a check
as we are now able to make leads to the conviction that
most of the lyrics in our present volume were written by
the composers of the music. There are a few exceptions:
No. 23, Beaute parfaite, is a lyric by Machaut to which
Anthonello de Caserta has added the music; and No. 55,
De Narcissus, is probably by Eustache Deschamps, with
the music of a Magister Franciscus. (63) Aside from these,
however, none of the lyrics contained in our collection
has been found among the works of the well-known poets
of the period. Until proved otherwise, we may assume
that the major part of our repertory is the work of poetmusicians continuing a tradition established by the
trouveres of the thirteenth century and represented,
among others, by Adam de la Halle and Guillaume de
Machaut.
Several facts seem to bear out this assumption. There
is excellent evidence that Jacob de Senleches was his own
poet, for his name occurs several times at the end of the
text, as well as at the head of the music (Nos. 47, 48,
49). Some of the ballades of Solage have a metrical
peculiarity, a short line of seven syllables, at the beginning of part 3 of the stanza (Nos. 32, 33, 34, 35). This
suggests that they are the work of one poet who had a
fondness for this peculiarity, possibly Solage himself. An
anonymous Regies de la Seconde Rhetorique, composed
very early in the fifteenth century, mentions some outstanding poets who came after Guillaume de Ma-
64
18
ARTISTIC TRENDS
teenth-century art. Admittedly this is a risky undertaking. Danger lies ahead for anybody trying to cross the
fortified borders existing between the various territories
of the human mind. Curiosity, however, is a potent force,
and since friends beyond the border have kindly extended a helping hand, the author cannot resist the temptation of making this little excursion, knowing full well that,
although the "No Trespassing" sign may have been lowered, another one is still hoisted: "Enter at Your Own
Risk."
The explanations contained in the previous chapters
indicate the general state of affairs in the musical field.
In the last decades of the fourteenth century French music entered into the final phase of a development toward
refinement, elegance and preciousness, a development
starting with Petrus de Gruce and Philippe de Vitry, and
reaching its artistic culmination in Machaut. In his
recent book, The Commonwealth of Art (1946), C. Sachs
interpreted the evolution of art as a continuous oscillation between two polar concepts of human attitude:
ethos and pathos. Obviously, the music of the late fourteenth century represents a maximum digression toward
the pathos side. High tension, extravagance, disintegration, open form, boundlessness, these and similar
terms offer themselves for the purpose of general description. Is it mere chance that this situation occurred at the
end of a century? At any rate, everything combines to
make the music of our period a fin-du-siecle phenomenon
in the literal as well as in the symbolic sense. In this respect the late fourteenth century is not unlike the late
nineteenth, which produced the French impressionism.
Similar to Debussy and other impressionists, the men who
came after Machaut brought forth a late blossoming at
the end of a century revealing the same general traits of a
Romantic art that characterize the music of the nineteenth century. In each instance we find ourselves in that
border region where refinement is close to mannerism
and where elegance verges on preciousness.
The extreme complexity of style and notation mark
the music of our period as the product of an esoteric
school, the work of members of an exclusive guild addressing themselves to courtly audiences of the highest cultural standing, to princes and courtiers accustomed to the
utmost refinement in taste, manners, and fashion. Today
as well, this music is food, not for the masses, but for the
connoisseur who appreciates the unusual and exquisite,
for the mind finding an aesthetic satisfaction in matters
incomprehensible and irritating to the many. It is music
kindred in spirit to that of Gesualdo and Frescobaldi, to
Bach's Art of Fugue and Beethoven's late string quartets,
to Debussy's Pelleas or Schonberg's Pierrot lunaire.
To recognize and appreciate the artistic values of the
French music of the late fourteenth century certainly is
ARTISTIC TRENDS
J9
20
EDITORIAL REMARKS
tions, with their well-ordered design, refined simplicity, melodic continuity, and harmonious combinations,
indicate the beginning of that fusion of French and
Italian elements which reached its consummation in Dufay.
The presence in the International style of painting of
an 'Anglo-Germanic element, chiefly represented by the
Flemings;' invites a search for a similar trend in the musical repertory of the period. Naturally, no exact correspondence can be expected, since there exists nothing in
music comparable to the Flemish-German painting of the
early fourteenth century (Conrad von Socst; Wilhelm von
Herle?). It may be noted, however, that Flemish or,
at least, northern French influence has been observed in
a well-characterized body of the literary texts, that is,
in the 'realistic virelais.' It seems to us that their music
as well points to northern derivation. Instead of lavishness and extravagance we find here an unsophisticated charm, an almost folk-like lyricism, a sense of
earthly humor, a naive delight in the calls of the birds.
A parallel to this 'northern clement' in the music of the
period exists in the fact that it was the Flemish who contributed to the Parisian school of painting Taccent
lyriquc et realiste,' a contribution that persists in the
products of the International style where, side by side
with highlv stvlizcd representations of the nobility, we
find surprisingly realistic and often drastic portrayals of the lower-class people.
Thus, considerations from the various fields of arts
would seem to corroborate the impression that the realistic virelais represent a northern French or, possibly,
Flemish element in the music of the late fourteenth century. True enough, realistic characterization is common
in the Italian caccias, but these show a general character
of dramatic vividness which is quite different from the
playful ease of the virelais. Moreover, the caccias are derived from northern French 'chaccs' of the early fourteenth century, such as Se je chant mains (75) whose
'huo, huo' and 'ietes, ietes' may well indicate the point
of departure for the 'alarme, alarme' and 'restoes, restoes'
in the present repertory (Nos. 72, 73).
I.
EDITORIAL REMARKS
Our prime consideration in matters of editorial technique has been to present the compositions in such a
manner as to avoid all unnecessary difficulties and complications. In adopting this principle we find ourselves
in diametrical opposition to the so-called 'scientific'
method used by the editors of the Denkmaler volumes
and other similar publications, a method characterized
mainly by the retention of the original clefs and of the
EDITORIAL REMARKS
|
["
(~
|
"}
~\
21
ahead of the note to which they belong makes it difficult to decide exactly to which note they refer to, and,
consequently, which meaning the accidental has. In order to illustrate the situation, the original accidentals are
fully and exactly indicated in Perusio's Helas avril (No.
7), and Solage's Fumeux fume (No. 40), which probably represents the ne plus ultra of chromaticism in early
music, is reproduced in facsimile (Plate V).
Regarding the addition of editorial accidentals I feel
that the remarks given on pp. 16, 102, and 104f of my
book on Notation are still valid in a general sense, although the specific rules for the B-flat and B-natural (p.
104), if valid at all, would apply only to a later period.
There is only one new contribution I can make in this
matter, and this concerns the prolonged validity of original accidentals. There can be no question that, as a rule,
the accidents given in our sources (as well as in others)
do have prolonged validity. A particularly good illustration is found in No. 14, where the Ms has a sharp for
F in meas. 6 of the contra-tenor, while a flat for F appears in meas. 11. Obviously the sharp is intended to
have validity for the entire passage between these two
signs. In cases where the accidental is not cancelled the
limit of its validity is often indicated by the end of the
phrase, by a rest, or else can be found by applying 'musical common-sense.' At any rate, there can be no doubt
that numerous accidentals that do not appear in the original notation are nevertheless implied, and it seems
reasonable to consider this fact in the modern transcription. In the present edition these implied accidentals arc
given in the main text, preceding the note they affect,
but placed in square brackets. Purely editorial accidentals, on the other hand, are indicated, as is customary,
above the notes and are enclosed in round parentheses if
they are deemed optional.
After the preceding explanations the reader will not be
surprised to learn I have abandoned that unwieldy tool
of editorial scholarship known as 'Critical Apparatus' or
'Variants.' The value of these extended lists is certainly
out of proportion with the number of pages they consume and with the additional financial burden they
cause. The absence of such a list in the present publication does not mean that I have neglected to collate the
sources. The pertinent results of this study are included
in the present edition. For each composition one Ms
has been selected as the main source, (77) and all the
cases where, because of obvious errors in this Ms, our
version differs from the original are indicated in small
notes, marked: Ms. As regards the variants found in
other Mss, only those are given that lead to a new and
interesting version. These also appear immediately above
the main text (marked Mod, Ch, etc.), so that they can
be easily compared with this.
The original clefs are given below in a table.
22
EDITORIAL REMARKS
LIST OF CLEFS
The abbreviation cl (c2, etc.) means the C-clef on the
first (second, etc.) line from the bottom. Ch, Ret, It
have systems of six lines, Mod and Ca of five. The indications refer to the main source used for each composi-
No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Tr
S
cl
c3
c3
cl
c3
cl
cl
c2
Ct
c3
f3
c4
c4
f3
c3
c4
c4
f3 f5
cl
cl c4
c4
c3
c3
cl
c3
c2
c2
c2
c3
f4
f3
f3
c3
c4
c4
c4
T No.
c3 21
f3 22
c4 23
c4 24
f3 25
c3 26
c4 27
f2 28
f5 29
c3 30
c4 31
f4 32
f3 33
f3 34
c3 35
f3 36
c4 37
c4 38
f3 39
f3 40
Tr
c3
c2
c2
c2
S Ct T No.
f2
cl
cl
cl
cl
c2
dl
cl
cl
c2
c2
c3
c4
c3
c4
cl
c3
cl
c4
f4
f2 41
cl 42
c3 43
c3 44
c3 45
c4 46
d3 47
c3 48
c3 49
f2 50
c4 51
f3 52
f4 53
c5 54
c5 55
c4 56
c5 57
c5 58
c5 59
f5 f5 60
cl
c3
c3
c3
c4
d3
c3
c3
c5
c3
f3
f4
c5
c5
c4
c5
c5
c5
Tr
S
c4
c2
c4
c5
c3
c3
c3
c4
cl
c3
c3
c4
c3
cl
c3
c3
c3
cl
c3
c2
Ct
f3
c4
f4
f5
f4
f3
c5
c4
c2
c3
f3
f3
c5
cl
c5
c5
f3
c3
c3
f3
T No.
f4 61
c4 62
f4 63
f5 64
f4 65
f4 66
c5 67
f4 68
c3 69
f3 70
f3 71
f3 72
c5 73
c3 74
c5 75
c5 76
f3 77
c3 78
c3 79
f3 80
81
Ct T
c4 c5 c5
c3
f3
c2 c4 c4
c2 c3 c4
c2 c2 c4
c2 c4 f2
c2 c2 c4 c4
c3 c3 f3
c2 c3 c4
c2 c4 c3
c3 c3 c3
c2 c2 c5 c5
c3 c3 c5
cl c3 c3
cl c3 c3
c2 c2 c5
c3 f3 f3
c4 f3 f3
c4
f4
c2
f3
c4
c2
Tr
J. NOTES
23
(1) The codex Rtina consists of three parts, of which the second
In presenting these views I wish to say that, as far as I can see,
only is to be considered here. The first contains Italian composithey are not based on convincing evidence or proof, any more than
tions of the fourteenth century, the third French compositions of
is my view presented above. On the whole, de Van as well as
the Dufay period.
Pirrotta recognize Italian influence in the repertory to a much
(2) See the List of Compositions and Sources, p. 27. Important
greater extent than I am able to see. See the discussion of this
additional sources, not considered here, are the codex Apt, conquestion on p. 19a:
taining only liturgical compositions (published in A. Gastou6, Le
(11) The practical importance of this bull has been greatly overManuscript . . . a"Apt, 1936) and the codex Torino, Bibl. Naz.
rated by music historians. It represents one of many futile attempts
J119. The latter is, with 165 French secular compositions, by far
at reformation on the part of a pope who was a 'kleiner leidenthe most extensive source in our field. The fact, however, that it
schaftlicher Schulmeister,' possessed by a 'Neigung, neue Dogmen
was compiled in Cyprus at a slightly later date (between 1413 and
in die Welt zu setzen,' but actually unable 'irgendwo dauernde
1434, according to H. Besseler), and that it does not contain a single
Zustande zu schaffen' (see F. Ludwig, in AMW vii, p. 432, quoting
piece duplicating the repertory of the continental sources, puts it
from K. Wenck).
into a separate category. Publication of this codex has been
(12) See R. Michel-Andre1, Avignon, Les Fresques du palais des
announced by the American Institute of Musicology in Rome.
popes, 1920.
(3) Two compositions by Baude Cordier, an interesting circle
(13) Cuvelier (Cunelier?) may possibly be identical with the
canon (cf. P. Aubry, Les plus anciens monuments de la musique francaise,author of Bertrand du Guesclin, one of the latest products of the old
1905, pi. X X I I ; also H. Riemann, Handbuch der Musikgeschichte, French epic poetry (see G. Paris, Esquisse historique de la litllrature
i. 2, 1905, p. 351), and the famous 'musical heart' (cf. ApNPM,
francaise au moyen-Sge, p. 212).
p. 427) are found in Ch. However, they are later additions copied
(14) See the additional remarks in the Commentary (No. 44).
on a front page (possibly by Cordier himself) and not part of the
(15) Owing to a plurality of Marguerites in the political life of
original Ms.
the period, it is difficult to reach a decision as to the identity of the
(4) The statement in H. Riemann's Musiklexikon (s.v. 'Tapissier'
couple to whom this poem is addressed. The most famous bearer
and 'Cesaris') that Ch includes one composition by Tapissier and
of the name was Marguerite of Flanders (1350-1405), who was
ten by Cesaris, is erroneous. Only a 'Tenor Johannis Cesaris' is
married to Philippe de Rouvre in 1361 and, after his death, to
V
found on p. 46 , where it forms a part of La dieus a"amours. AccordPhilip the Bold, duke of Burgundy, in 1369. Even the later of these
ing to J . Wolf (WoGM i, p. 329) a 'Tenor Johannis Cesaris' also
dates seems a bit early for the composition in question, but the use
r
appears on the next page, 47 , as part of Adieu vous di, but this is a
of the word 'espousa' would justify the assumption that it was
mistake.
written some time after the marriage. Two other claimants figure
(5) The term 'secular composition' is used here as a generic
among the partners of a widely celebrated double wedding that
designation for the compositions based on lyrical poetry (ballades,
took place on April 12, 1385 at Cambrai, when Philip's eldest
virelais, rondeaux).
daughter, Marguerite, was married to Guillaume d'Ostrevent, son
(6) The total number of compositions by Perusio (including
of Albert of Bavaria, and his eldest son, John, to Marguerite of
Mass items, motets and Italian pieces) is 31. Cf. LuGM ii, p. 31a.
Bavaria. Possibly the designation of the husband as 'Jupiter' and
The virelais Plus onques ascribed to Perusio in WoGM ii, iii, no. 69,
of the place of marriage as 'Engaddi, la prcieuse vigne' (in symbolic
actually is anonymous. See, however, the remark near the end of
reference to the biblical Engaddi) may provide a clue. At any
n. 53.
rate, the poem seems to be related to the court of Burgundy that
(7) Two ballades, En atendant soufrir and En attendant esperance, was to play such a central r61e in the music history of the fifteenth
century.
both ascribed to Galiot in Ch, are ascribed differently in Mod, the
former to Philipoctus, the latter to Senleches. On inner grounds
The line 'En Engaddy, la precieuse vigne' recurs in the ballade
we have' accepted Galiot as the more likely composer of En atendant
Roses et Us by Magr. Egidius Anglicus (Ch, 22 r ). For other poems
soufrir, and Senleches as the one for En attendant esperance (see the celebrating this double wedding see p. 16a.
Commentary, Nos. 49 and 56). One composition by Senleches,
(16) Probably Charles II, le Mauvais, who ruled from 1350 to
La harpe de melodie (Ch, 43V), had to be excluded from the present
1387. In Chanlilly, Le Cabinet des livres, Manuscrits ii, 1900, p.
publication because it is incomplete.
277ff, where our musical codex Ch is described in considerable
(8) Edward P. Cheyney, The Dawn of a New Era, 1936, p. 181.
detail, Quant joyne cuer is said to refer to Gaston Phoebus (p. 280,
(9) AMW vii, p. 194.
under No. 41).
(10) During the past few years several scholars have examined
(17) The theme of the Nine Heroes has frequently found expresthe question as to the location of the Franco-Italian school of the
sion in works of art. Of particular interest are the Nine Heroes
late fourteenth century. In an article entitled 'II Codice Estense
tapestries recently discovered and acquired by The Cloisters in New
lat. 568 e la musica francese in Italia al principio del '400' (Atti
York. See The Metropolitan Museum of Art, Bulletin, vol. VII, Numdella R. Accademia di Scienze Leltere e Arti di Palermo,' serie IV, vol. V, ber 9 May, 1949, p. 243ff.
parte II, 1944 /45), N. Pirrotta expresses the opinion that the Italian
(18) H. Angles, 'Cantors und Ministrers in den Diensten der
composers worked in Naples which, as is well known, was under
Konige von Katalonien-Aragonien im 14. Jahrhundert' (Berichl
French domination for many centuries. Caserta, the native place
iiber den musikwissenschqftlichen Kongress in Basel, 1924, p. 56ff); id.,
of Philipoctus and Anthonello, is a town near Naples. Speaking of
'Gacian Reyneau am KSnigshof zu Barcelona in der Zeit von 139..
Philipoctus, Pirrotta considers it 'probabile che il musico casertano
bis 1429' (Festschrift fiir Guido Adler, 1930, p. 64ff); id., 'El Music
. . . trasmigrasse poi (that is, simultaneously with Clement VII,
Jacomi al servei de Joan I i Marti I durant els anys 1372-1404,
1379/80) ad Avignone, dacche figura fra i compositori piu Iarga(in Homenalge a Anloni Rubio i Liuch i, 1936: also separate); A. Pages,
mente rappresentati in Ch' (p. 130). However, in a more recent
La Poisiefrancaiseen Catalogne du XHIe siicle h la Jin du XVe, 1936.
article, entitled ' "Dulcedo" e "Subtilitas" nella pratica polifonica
(19) Ch contains a ballade, Se Dedalus, by Taillandier (p. 42V)
franco-italiana al principio del '400' (Revue Beige de Musicologie, ii, and a rondeau, Va t'en man cuer by Reyneau (p. 56V).
1948, p. 125), Pirrotta apparently abandons this theory, and prefers
(20) He is well known for his letter of 1338 in which he urges his
to consider Philipoctus as 'un rappresentante di una scuola cambrother-in-law, Philip the Bold of Burgundy, to send him an
pana, venuta in contatto dopo il 1377 con i musicisti importati di
exaquier as well as a player who could perform on it. See ReMMA,
Avignone' (p. 130, n. 2). Judging from brief remarks found in an
pp. 375 and 384, and F. Pedrell, 'Jean I d'Aragon, Compositeur
article by G. de Van, 'La P6dagogic musicale a la fin du moyen
de musique' (Riemann-Feslschrift, 1909, p. 229).
age' (Musica Disciplina ii, 1948, p. 75), Bologna also has been
(21) Mainly in WoGM i, 260, 328, and 335. For important
brought into the picture: 'Ettore Li Gotti, La Poesia musicale ilaliana corrections see F. Ludwig, in SIM vi, 611, 616. A detailed descripdel secolo XIV, 69-70, n. 113, parle d'une 6cole bolonaise dont Mod
tion of Ch is found in Chanlilly, Le Cabinet . . . (see n. 16), of Mod,
serait un temoignage.' (p. 80, n. 18); 'M. Pirrotta est, je crois, le
in Pirrotta, 'II Codice . . . " (see n. 10), The descriptions in
premier a avoir localisfe l'6cole bolonaise. L'etude de Mod m'avait
LuGM ii, 22f and in AMW vii, viii (Besseler) should also be consuggerfi depuis longtemps la mtaie idee. J e 'ne connais les theories
sulted, particularly for some of the subsidiary sources not described
de ce savant italien que par une breve citation dans Li Gotti, loc.
in WoGM.
eit: (p. 85, fn. 25).
24
NOTES
NOTES
25
the third note of line 9. Properly the whole passage between these
of the upper part strongly suggests an alternation of vocal and
notes should be in syncopation (see vol. iii, p. 160, syst. 3, meas.
instrumental passages, for instance in Solage's Corps femenin (No.
4ff). For Plus onques dame (ii, p. 125f) Wolf makes several emenda- 32) and Pluseursgens (No. 37).
tions that result in faulty transcriptions of the two closing passages.
(63) G. Raynaud, Oeuvres completes de Eustache Deschamps, vol. x
If correctly transcribed, the final measures show the iambic rhythm
('Oeuvres attribuables a E. D.'J, no. LVI (erroneously given as
often found in the works of Matheus de Perusio (see p. 14a). Thus,
'Se Narcisus'). The same volume contains two other poems that
the very charming composition may well be by Perusio (as indioccur in the musical repertory of our period, namely, Puisqueje suy
cated by Wolf), although it is anonymous in the Ms.
jumeux (no. XIV; composition by Hasprois in Ch, 34v) and De ce
Schering's transcription of Perusio's rondeau (not 'Chanson
quejolpense (no. LXIII; composition by Pierre de Moulins, see p.4b).
balladSe') Pour bel acueil {Geschichte der Musik in Beispielen, 1931, no.
Many of Raynaud's attributions are doubtful. An example in
24) shows a slight mistake in meas. 8, where the first note of the
point is Puisqueje suyjumeux, which appears in Ch with the subscript
superius should appear in syncopation. See No. 12.
'Composuit dictum Ja. de Noyon.' This means, of course, that
In mentioning these mistakes I am fully aware of the possibility
Noyon wrote (not 'composed') the text, an interpretation confirmed
that similar errors may be found in the present transcriptions.
by the fact that Hasprois is given as the 'composer.'
(54) Italic capitals indicate minor triads, Roman capitals major
(64) E. Langlois, ed. Recueil d'Arts de stconde rhitorique, 1902,
or empty (1-5-8) triads.
pp. 13-14.
(55) It is not without interest to notice that the 'high-strung'
(65) See the list of composers given on p. lb.
double-leading-tone cadence of the fourteenth century recurs
(66) SIM'w, 46.
occasionally in a much later repertory revealing the same tendency
(67) Charles Jacques (Sterling), Les Peintures du moyen age, 1941,
toward an exuberant pathos style, that is; the German organ music
p. 17.
of the seventeenth century. The most impressive example is the
(68) From Chapter II of Prof. E. Panofsky's lectures on the
close of Tunder's organ chorale Jesus Christus unser Heiland (K.
Origin and Character of Early Flemish Painting, given at Harvard
Straube, Choralvorspielc alter Meisler, p. 135):
University in 1947/48, and to be published soon. I am very grateful to Mr. Panofsky for having put his manuscript at my disposal,
and for his permission to quote from it.
(69) See n. 68.
(70) See, e.g., C. Sachs, The Commonwealth of Art, p. 272.
(71) See n. 68.
(72) In making these comments I take exception to a fundamental thesis of Sachs' theory of fluctuation (as put forth in his The
Commonwealth of Art), namely that these fluctuations, minor as well
as major, invariably reveal themselves in all the arts and at exactly
XT.
the same time. Many of Sachs' examples adduced to prove this
thesis are far from being convincing.
(73) An interesting illustration exists in a virelai, Quepena, of the
Italian composer Bartholomeo de Bononia {Mod, 37r; reproduced
Ulrich Steigleder's Tabulator Buck Darinnen dass Vatler unser . . .
and transcribed in IVoGM ii and iii, no. 68). The notational comviertzig mal varirt wiirdt (1627) contains a variation in which the
plexities of this composition are hardly less than in the most extreme
chorale appears 'in zwo Stimmen zumal,' that is, doubled in the
examples of the present collection. The resulting rhythmic complilower fourth, a method thus resulting in a double leading tone for
cations, however, nearly always unfold within the bounds of regular
the cadential endings:
and simultaneous measures (see the explanation in ApNPM, p.
429f; corrected in the fourth edition). A comparison of Bartholomeo's Quepena with, for instance, Matheus de Perusio's Le greygnour
bien reveals the difference between the Italian and the French
variety of mannered notation.
(74) N. Pirotta, in his article 'Dulcedo e subtilitas' (sec n. 10)
recognizes Italian derivation in the erratic design of the contratenor, as found in many compositions of Anthonello and Philipoctus, maintaining that these pieces were originally written in the
characteristic Italian texture of two voice-parts (Jacopo da Bologna,
Giovanni da Florentia), and that the contratenor was added subse(56) See the remarks in the chapter on Questions of Performquently as a mere filling part. Although the compositions in
ance (p. 15a).
question do give the impression of having been thus composed, it
(57) See the remark about Plus onques dame near the end of n. 53. may be somewhat rash to interpret this as a typically Italian trait.
(58) We do not include in this group No. 54, because here the
The same kind of erratic contratenor progressing in broken thirds
two fragments of text given with the contra obviously serve only to
is frequent in the compositions of at least one French composer,
underline the imitative character of these passages.
Trebor. It is true, however, that the Italians went further in this
(59) In the two poems by Machaut containing an enumeration
direction than did Trebor.
of instruments (see LuGM i, p. 102 and ii, p. 53) I count 12 strings,
Parenthetically it may be remarked that even the Italian colora24 winds, and five percussion instruments.
turas may have a French ancestry, a possibility strongly suggested
(60) See commentary for No. 34.
by the Et in terra of the so-called Mass of Tournai of c. 1300 (sec
(61) Actual performances would help greatly to clarify these
E. de Coussemaker, Messe du Xllle silcle, 1861).
questions. I had the pleasure of attending the performances of
(75) See H. Besseler, in AMW vii, 251.
music of the thirteenth, fourteenth, and fifteenth century given
(76) For an example see the transcription of Anthonello's Dame
under the direction of Prof. Paul Hindemith at Yale University in
gentil (No. 29) in ApNPM, Appendix, No. 58.
1946 and 1947, and I hope to be permitted to express to Mr.
(77) See the introductory remark to the List of Compositions
Hindemith the sincere gratitude of the whole clan of musicologists
and Their Sources, p. 27.
for his splendid and highly successful efforts.
(78) See the introductory remark to the List of Compositions,
(62) The extremely inaccurate underlaying of the text in Ch
p. 27.
makes it difficult to investigate this problem with regard to compo(79) See LuGM ii, 31b, n. 1.
sitions contained in this Ms. In some cases the musical phraseology
99
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
99
22
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
99
Le greygnour bien
Rei
32r + 1
Le grant dcsir
33v+
Se je me plaing
42v +
Pres du soloil
16r +
Dame que j'aym
10v+
Puisque je sui
44r +
Helas avril
45r +
Dame souvrayne
38r +
Heylas que feray
41v +
Ne me chaut
48r +
Belle sans per
42r +
Pour bel acueil
44v +
Trover ne puis
46r +
Dame de honour plesant
51r +
Se pour loyaulment servir 43v+
Jusques a tant
48v +
A qui fortune
43r +
Pour Dieu vous pri
41r +
Plus lies des lies
23r +
Helas merci
38v +
Par vous m'estuet
lOr +
Andray soulet
40v +
Beaute parfaite
13r +
1
3
3
1
1
1
2
1
1
1
1
1
2
1
1
1
1
1
1
1,1
1
3
23 Anthonello
de Caserta
99
Dame d'onour en qui
24
40v + 1
99
Du val prilleus
12v + 1
25
99
Amour m'a le cuer mis
26
32v + 1
99
Notes pour moi
13v + 1
27
99
Tres nouble dame
28
28v+ 1
99
Dame gentil
38v + 1
29
99
Dame d'onour c'on ne puct 19v + 1
30
En l'amoureux vergier
31 Solage
Corps femenin
32 99
Calextone qui fut
33 99
S'aincy estoit
34 99
Le basile
35 99
99
Helas je voy
36
99
Pluseurs gens voy
37
Tres gentil cuer
38 99
27
46v- 1
47r-l
20r + 3
23v + 3
50r + 1
36r + 3
49v + 3
57v + 3
58r + 3
\ 50v + 3
I 18r + 3
Other Sources
23
LIST OF COMPOSITIONS
Mod
39
40
41 Trebor
42
43
44
45
46
47 Jacob de
Senleches
48
49
50
51 31
52
53
54
55 Mag. Franciscus
56 Jo. Galiot
57 Magister
Egidius
58 Fr. Johannes
Joicux de cucr
Fumeux fume
Passerosc de bcaute
Helas pitie
Quant joyne cuer
En seumeillant
Se Alixandre et Hector
Sc July Cesar
Fuions de ci
Je me mcrveil
En attendant esperance
En ce gracicux tamps
Tel me voit
Ret
Ch
+
+
+
+
+
+
+
+
+
1
1
3
2
3
3
3
3
3
14v + 1
58v
59r
21r
42r
31r
21v
30r
43r
*17r
39v + 1
44v + 3,3
*44r + 3
25v+ 1
40r + 1
UJ
no,, _
\J U l A KA l#
Amour me fait
N P PPIIP
amour
v^ilw tilllUUI
19v + 3
81r- 1
*33v + 3
20r + 2
35r + 1
84v- 0
54r- 1
De Narcissus
oyv 1
57v- 2
29r - 2
X i^
En atendant soufrir
Courtois et sages
61v- 1
58v- 1
Other Sources
LiCtHj y r "~~ i.
12r + 1
Janua
59 Philipoctus
de Gaserta
"
60
61
62
63
64
65
66 Ciconia
67 Borlet
68 ["]
69 Vaillant
70
71
72 Grimace
73
74
75
76 Vaillant
77
78 Garinus
79
80
81
En remirant
34v + 1
De ma dolour
26v + 1 *32r + 3
*39r + 3
80v- 1
28v l
77r-
KPTP Hanip
Contre le temps
Sus un fontayne
He tres doulz roussignol
Ma trcdol rosignol
Par maintes foys
Or sus vous dormez trop
It, 23r - 0
57r5 5 v - 2,2
27r + 1
[Pad, 38v - ?]
54v + 1,1
60r + 1
5 3 r - 1,1,1
i
Onques ne fu
Alarme alarme
55v + 1
T^pstop*? restoes
T?.r tpo Honls flan*?
S'espoir n'estoit
Tres doulz amis
Conbiens qu'il soyt
Loyaute me tient
Hnrs suv ie bien
La grant beaute
Tre doulz regard
6 7 v - iX
69r- 1
FLO-
DOT
77v-
17v + 1,1,1
13r 1
36r 1
30v-l
36v + l
1
X
1
X
COMMENTARY
No. 1. (Facsimile Plate I.) This is one of the most notable
examples of the manneristic style and notation. As usual in this
idiom, the two lower parts are relatively simple, while in the
superius notational virtuosity holds full sway. The basic mensuration of the superius is [2, 2]. The white notes indicate dotted
values, and the full red notes introduce triplets or, in other words,
6 /8 for 2 /4, while the hollow red notes (meas. 59 to 67) stand for
triplets of triplets or, in other words, 9/8 in the place of 2/4.
In the contra the passages in o (end of staff 8 and beginning of
staff 10) seem to have been originally notated in smaller values,
with stems and flags that were later erased. The traces of this
change are noticeable in the original Ms, but could not be reproduced on the facsimile.
A 'correct' rendition of the passage S 11-14 would look as follows:
29
>
-r
30
COMMENTARY
A B-flat signature, not given in the Ms, is required for the tenor
as well as the contra (see especially meas. 29-31, 46, 71). The
extended A-flat major passage in meas. 41-47 may be noticed,
as well as the interesting chord in meas. 55 (repeated in meas. 86).
The several examples of sustained chords (meas. 19,26, 59, 66, 77)
indicate Solage's proximity to Machaut (see p. 10a).
No. 35. The first line of the superius is so faded in the Ms that
the measures 8-18 can be transcribed only with a considerable
degree of uncertainty. A B-flat, found at the beginning of this
and the next line (not elsewhere), would seem to be an accidental
rather than a signature. The notation is in [2, 2] throughout,
but certain passages come out more naturally in 3/4-measures.
No. 37. See the general remark under No. 33. Regarding the
distribution of the text, see the remark p. 25, n. 62.
No. 38. This virelai is copied twice in Ch. We follow the
version on p. 50v, variants from the other version (p. 18r) being
shown under Ch (b). The composition is notable for its pleasant
charm. Of special interest is a recurrent pattern formed by
alternating notes of the tenor and the contra (meas. 7-8; 17-19;
26-29; 49-50).
No. 39. See the general remark under No. 33. The transcription of meas. 11-15 is uncertain. Our rendition, involving
the conjectural addition of a fi-rest in S 12-13 and of another
B-rest in T 14, can hardly be called satisfactory. However, I am
unable to offer a better solution. The triplum makes extended
use of a rhythmic pattern (meas. 1-2, 4, 12-13, etc.), which appears
occasionally in the other voice-parts as well, for instance in the
closing measures where it produces a snatch of imitation.
No. 40. (Facsimile Plate V.) The facsimile will enable the
reader to check and, possibly, modify our interpretation of the
accidentals in this unique example of fourteenth-century chromaticism. No doubt, the extravagancies of this composition are
closely bound up with its literary text. From repeated references
in the works of Deschamps it can be inferred that there existed, at
least from 1366 to 1381, a group or society oifumeurs, obviously
eccentric 'litterateurs' and 'bohemians' who made a point of being
'in a fume/ and of displaying their whims and humors (see E.
Hocpffner, Eustache Deschamps, 1904, p. 50ff). Senleches' composition refers to these Jumeurs, and may well have been played in
one of their meetings, evoking merriment over its 'nonsensical*
chords and roaring bass register. Another example of 'fumeur'
poetry and music is Puisqueje sui Jumeux plains defumie (Ch, 34v),
text by Noyon, and music by Hasprois (see p. 25, n. 63).
No. 41. The tenor and contra of this ballade often combine
into an almost 'chordal' accompaniment, particularly in meas.
60-61. Equally 'advanced' is the V-I cadence at the close. A
B-flat (repeatedly given as an accidental) is to be emended in the
key-signature of the two lower parts. The meaning of the natural
sign in S 35,C 58,andC 68is doubtful. Thefirstof these possibly calk
for C-sharp, in which case editorial accidentals are required in
the lower parts.
No. 42. Somewhat similar to No. 32, this composition shows
the influence of special notation devices (semibreves caudatae) upon
the motive technique of Machaut (see meas. 8, 34, 44 and 14, 31).
In addition, a syncopated pattern recurs in all the parts (e.g.,
COMMENTARY
31
32
COMMENTARY
for the superius and tenor of Rei. For the closing measures of the
first section (S 26-33) the notation of Rei suggests a version similar
to that given as a variant for the close of the second section '(S 7OJJ),
in which the notes appear in non-syncopated position. There are,
however, not sufficient notes in the Rei-version of S 26-33.
C'63-66 are missing in Rei.
While the musical notation of Rei is corrupt, this Ms has a
better reading of the text, as appears from the following collation:
Mod
Rei
mon
commun
ans rege
en siege
mis et tredure nel
nulz contradire ne le
The numerous rests that appear in different places in the various
voice parts, together with the extensive use of syncopation in the
superius make this ballade an interesting example of the 'shredded*
style. Also noteworthy are the sequential repetitions in S 2-6,
S 7-70, S 26-31, and S 51-54.
No. 58. 'Canon ballate. Traitur sub una omnis cantus huius
mensura. Superius nota: rubee proportio dupla. Qui tenet
inferius sexquialtera putet.' The first sentence means that the
various mensurations used in this composition (all four mensurations appear in the superius) occupy measures of the same length.
Thus, [2, 3), [3, 2], and [3, 3] introduce various kinds of triplets
into the basic 2/4-meter. It is interesting to notice that the term
mensura is used here as an exact equivalent to our term measure.
The second sentence refers to the consistent use in the superius of
red Af in the value of a Sm. It has not been deemed necessary
to indicate these numerous red notes in our transcription. Every
sixteenth-note of the transcription appears as a red M in the
original. The last sentence tells us that the red notes of the two
lower parts (here only S and B are used) indicate triplets. For
no apparent reason this same rhythm is notated in dragmas in C //.
The contratenor is of the 'advanced' type mentioned in the
commentaries of Nos. 4, 41, 45.
No. 59. (Facsimile Plate III). The contratenor shows the broken
thirds, often in duplet rhythm, that are found in most of the compositions by Philipoctus. The following errors of the Ms {Mod)
may be noted: The C-clef of the superius should appear on the
lowest line; the B near the middle of the first staff, on 'traitu,'
should be black (transcription S 10); the last note of staff 9 (second
half of the ligature) should be red (C 40); a semibreve G is missing
before the last ligature of staff 7 (C 12); the sixth note from the
end of the superius should be a S, not a M. All these details are
given correctly in Ch and Rei which, however, contain other
errors. For instance, the entire passage between the two dotted
semicircles in the middle of staff 7 (Ct 5-6) is missing in Rei. In
Ch and Rei the duplet passages are notated with hollow red notes,
instead of the reversed semicircle used in Mod. Ch and Rei have
a preferable reading for the close of the superius, identical with
that of the closing passage of the first section.
No. 60. The passages in duplet rhythm (S 16-17; S 51-52;
G 44-47) are notated in hollow red notes. The two sixteenth-notes
in S 18 and in S 53 are written as red Sm, although either black Sm
or red M (see No. 58) would be sufficient. The broken-third
passages in C 44-47 may be noticed.
No. 61. Among the many difficult examples of mannered
notation I have found this perhaps the most exasperating, and I
am far from certain that the present transcription is correct in
every detail. Particularly the beginning of the superius is doubtful, owing to the absence of a sign of mensuration. I had it first
transcribed in [3, 3], but the present version in [2, 2] is slightly
more satisfactory.
The most striking notational feature of this composition are the
mensuration signs with two and one dots. The former indicate
prolatio perfecta, the latter, prolatio imperfecla (see the article men-
tioned on p. 24 no. 40). The signs that are missing in the original
are given in brackets. The temporal relationship between [2, 3]
and [2, 2] is based on the equivalence of the S, not, as usual, of
the M. Therefore the passages in [2, 3] have been rendered, not
in 6/8, but as triplets in 2/4.
The full red notes have the usual meaning (change from 6/8
to 3/4, or from triplets of eighth-notes to triplets of quarter-notes),
and the hollow red notes introduce duplet rhythm, or 2/4-m:ter
without triplets. A special problem is presented by the passage
S 40-42, notated in full red notes with a reversed semicircle. The
main version of our transcription disregards the coloration and
gives the original notes (S. M S. M . . .) in halved values, as
prescribed by the mensuration sign. A tentative rendition taking
both devices into account is added in small notes. The hollow red
notes (C 5-6, etc.) introduce binary groups in [2, 3].
In S 38 the original shows a sharp immediately before, and a
flat immediately after the note (A). These accidentals make no
sense, except if the sharp could be interpreted as referring (a parte
post) to the preceding note on G. This would result in a very bold
dissonance which, however, may well be intended.
No. 63. This virelai is remarkable for the regularity of its
phrasing, a regularity happily relieved" in the final phrase.
No. 64. The tenor consists of three statements of a short melody
in which, no doubt, a popular song of the period is preserved to
us. A similar case exists in No. 67 (68).
No. 65. The main problem presented by this example is the
reconstruction of the text, which is partly written underneath the
music, partly scattered over the free spaces of the page. To
mention only one detail, the words 'Gelle camussete' written next
to the word 'Tenor' are not the beginning of the tenor part, or of
a separate composition (as is indicated in WoGM i, 261), but
belong to the text of the second stanza of the contra, the beginning
of which, to the words "que pour," appears separately in another
space of the page (see p. 107*, text B, line 6)*.
No. 66. This virelai is noteworthy for its full display of notational and stylistic complexities, such as are usually found only
in ballades. No doubt, it is an early work by Ciconia who, like
Perusio, appears to us as a transitional figure leading from the
manneristic to the modern style. A very unusual peculiarity of
the notation is that the reversed semicircle denotes diminutio
sesquialtera, not diminutio dupla, of [2, 2]. Therefore, in this mensuration one measure equals one measure of 6/8, not one measure
of, 2/4. In order to distinguish the two different 'tempi' of 2/4
used in this composition, the passages in diminutio have been transcribed as duplets of 6/8. The composition contains some extraordinary dissonances, as for instance in meas. 65 between the contra
and the tenor.
In LuGM ii, 26b the composition is designated as a ballade.
Both the poetic and the musical form, however, clearly mark it as
a virelai.
Nos. 67 and 68. These two compositions are identical (or
nearly so) in the basic two-voice structure of superius and tenor.
The contratenors are different and the triplum of No. 67 is missing
in No. 68, which is also transposed down a fourth, and has text
in two voices. The most interesting difference, however, is that
of meter and tempo, the semibreves of No. 67 being replaced by
minims in No. 68. This change is accompanied by a general
simplification and smoothing-out of the melodic contours as well
as of certain rhythmic patterns, as in S 7 and 36-38 of No. 67
(S 4 and 18-19 of No. 68). There is, of course, no definite evidence
as to which of the two versions is the earlier one. Since, on the
whole, 6/8 is the meter of the late fourteenth, 3/4 that of the
fifteenth century, one would be inclined to consider No. 68 as the
original composition, No. 67 as a later version in slower tempo
and in four voice-parts. Artistic considerations, on the other
hand, weigh in favor of the opposite conclusion. It is difficult to
believe that the charmingly light-footed music of No. 68 should
have been remodelled into the cumbersome four-part version of
No. 67.
Regarding the tenor, see the remark in No. 64. A notational
peculiarity of No. 68 is the use of hollow (white) minims in groups
of three as well as four notes (see meas. 4 and 18-19). The last
note of G 19 is erroneously written as a black M.
COMMENTARY
No. 69. Vaillant's charming bird virelai, Par maintes Joys, is
well known through its German contrafactum, Oswald von
Wolkenstein's Der May (facsimile and transcription in WoGM ii,
iii, no. 76; transcriptions also in Denkmaler der Tonkunst in Oesterreich ix.i, 179, and A. T. Davison and W. Apel, Historical Anthology
of Music, no. 60). For the present rendition of Par maintes Joys a
free change of 6/8- and 9/8- meter has been used, similar to that
employed in the Anthology for Der May. All the passages in duplet
sixteenth-notes are notated in dragmas, as indicated in meas. 37
and 40.
No. 70. The two sections of this virelai appear in // as two
separate compositions, Or sus on f. 122v/123r, Or tost on f. 123v/
124r. Possibly the tenor and contra of the second section exist
in Pad (37r: 'Tenor de Sones ces nachares;' see LuGM ii, 26a).
In the second section some emendation is necessary in order to
make the parts fit together. In meas. 81, where // has a A/-rest,
the iS"-rest shown in Rei has been adopted, and in meas. 80 two
notes (not given in either source) have been inserted. In Rei the
second half of G 67 and of S 80 are missing, so that all the parts can
be combined without emendation. Nevertheless, we prefer the
(emended) version of //, because in Rei the first sustained note of
the contra comes in the second half of meas. 67, while in It it
appears (more properly, it seems to us) at the moment when the
superius suddenly stops (meas. 68). The version of Rei results from
our rendition if the second half of G 67 is omitted, the entire passage
C 68-80 shifted one-half measure to the left, and the second half
of meas. 80 omitted in all the voice-parts. Brit shows numerous
variants and several errors.
This virelai has all the qualities to become one of the top attractions in concerts of early music. It has the rare virtue of being
charming in a popular way without ever becoming trivial. Performed with a bagpipe for the drones of the contra and a trombone
for the fanfares of the tenor, it will reveal all its inner liveliness,
provided performers resist the temptation of forcing it into a
cheaply popular presto tempo.
33
35
Incipits of texts found in a secondary part (contra, tenor) are given in brackets.
No.
Composer
Grimace .
Anthonello
.
.
Matheus de Perusio .
Matheus de Perusio .
72
26
53
22
17
Composer
La grant beaute de vous ma souvcrayne
Le basile de sa propre nature .
Le grant desir que j ' a y du retourner .
Le greygnour bien que nature .
Loyaute me tient en espoir
. . . .
Solage.
Matheus
Matheus
Garinus
.
de
dc
.
No
. . .
Perusio .
Perusio .
. . .
80
35
3
1
78
Matheus dc Perusio .
76
62
52
68
Solage .
Jo. Vaillant
54
10
27
Solage
Magister Egidius .
77
64 Onques ne fut si dur pertie
32 Or sus, vous dormez trop
57
Matheus de Perusio .
Anthonello de Caserta
Anthonello de Caserta
Anthonello de Caserta
Galiot
Senleches
. . . .
Senleches
. . . .
Solage
Philipoctus de Caserta
Trebor
. . . .
56
49
50
31
59
44
74
Senleches
Solage .
Matheus
Solage
Matheus
Matheus
Trebor
Borlet
Senleches .
Solage
. . .
Matheus de Perusio
Perusio
. . .
Perusio
Perusio
. .
. . .
Matheus de Perusio
71
70
. . . .
. . . .
Anthonello de Caserta 24 Plus lies des lies, plus joieux et plus gay.
Anthonello de Caserta 29 Pluseurs gens voy qui leur pensee .
Pour bel acueil suy je, las, deceu .
5 Pour Dieu vous pri, haulte dame de
Matheus de Perusio .
8 honour
Matheus de Perusio .
Philipoctus de Caserta 60 Pres du soloil deduissant s'esbanoyc
Magister Franciscus . 55 Puisque je sui pour Ioyault6 tenir .
de
.
de
de
.
.
Matheus de Perusio .
Anthonello de Caserta
Vaillant
Matheus de Perusio
Solage . . . .
Matheus de Perusio
19
37
12
Matheus de Perusio
Matheus de Perusio
Matheus dc Perusio
18
4
6
Trebor
43
65
73
73
68
67
Solage . . . .
Trebor
. . .
Matheus de Perusio
Trebor
. . .
Se July Cesar, Rolant et roy Artus
7 Se pour loyaulment servir on puist mcrir Matheus de Perusio
36 S'espoir n'estoit que me done pooir
Johannes Ciconia
20 Sus un fontayne en remirant
S'aincy estoit que ne feust la noblesce .
20
. . . .
42 Tel me voit et me regarde
67 Tre doulz regard amoreuse mon tret .
64 Tres douche plasant bergiere .
69
21
41
34
45
3
46
15
75
66
51
81
65
9 Tres doulz amis, tout ce que proumis t'ay Jo. Vaillant . . . 76
38
79 Tres gentil cuer amoureux et attraians Solage
Philipoctus de Caserta 28
Tres nouble dame souverayne .
Matheus de Perusio . 13
48 Trover ne puis aucunemant confort
39
Fr. Johannes Janua . 58
16 Une dame requis I'autricr d'amer .
61
Ung lion say de tote belle figure .
63
Senleches .
GLOSSARY
abcsstr to abase
acoinlance acquaintance, friendship
afuller to put on
afy PI 1 to assure
agree PS 3 to be acceptable
agut acute, sharp
alee travel, trip
alegement alleviation
aliment alliance; fidelity
Almene Germany
amancer to put sleeves on
amenrir to lessen
amerour bitterness
ami (a bird call)
amoulie P 3 to soften
andray FI 1 to go
anemie hostile, inimical
angosment anguish, torment
annoy, anoy sorrow, grief, ennui
anlre among, amid, in
apertoy II 1 to depart; share
ardement valor
ardesse boldness
ardre to burn
ardure ardor, heat, eagerness
arme soul
armez arms
artiglon spurs
asenee PP placed, directed,
instructed
asnoy alder
asprement harshly
assouvir to achieve, complete
assoufisanchi calm, satisfaction;
end
atargier to delay
atens PI 1 to expect
ator, atom adornment
attraians attractive
atlrayt welcome, attraction,
charm
aurer, aorer to pray
avar! truly!
avironee surrounded
avolir to take flight
aylenl Ps6 to go
baillie power, control
barat deception, ruse; disorder;
ostentation
basile basilisk
batis Imptv to beat
baudour joy; boldness, courage
biere coffin, bier
bis dark
boine good
bos wood
boude PP to thrust
bouter to put, thrust, push
brasin roast
brayre to cry, weep
brunir to become brown; sparkle
cadulet cadence, curtsy?
calle quail
camussette flat-nose
cangie PI 3 to change
cardinette goldfinch
cardonnelte goldfinch
cendal sendal (a silk cloth, generally red); taffeta
ceuronde PI 3 to surpass
37
enperas empress
gonfanon banner, pennon,
enpirant worsening
standard
eniamee PP to cut; begin to use; gravayne grievous
attack, encroach upon, congri will, consent; en grt thanktaminate
fully
entencion intent
greist IS 3 to please
enteritis intent, attentive
greygnour greater, greatest
entredeus in between
griefment grievously
envers on his back
grief, griis grievous
envoisseure joy, gayety, pleasure gris squirrel fur
erl FI 3 to be
groisse PS 3 to increase
esbahis dismayed
guerdon reward
esbanoy entertainment
gueules gules, red
esbanoye PI 3 to amuse, divert, gySl
entertain
halenee breath
esbatement amusement
heit, het PI 3 to hate
esjoir to cheer, delight
he-mi alas
esmay care, thought, sorrow,
hen PP to have
pensiveness
heure hour; de petite heure unesmeree refined, purified
fortunately
espaunie blossomed
hoyne hatred
esprixier to estimate, value
huer to call; start (by yells)
estance position, support
hume man
estent PI 3 to extend
hurler to strike, hit
ester to stand
hustin dispute, struggle
estincelle spark
estoupee stopped
iaue water
estrayne fortune, gift
estriver to strive
jangler chatter, insult
estuet PI 3 to be necessary
jant gentle
eulx eyes
deceust IS6 to deceive
jaquete jacket; Jaquete Jackie
deduissanl PrP to lead, delight; eure hour
(Jacqueline)
exmerea pure
soar
jennesse youth
expoir hope
deffaire to undo
jovanl young
delis pleasures, delights
jus down
demayne PI 3 to lead, thrust; dis- faconde eloquence, graceful
lacez PI 5 to leave
speaking, grace
play
lalons Imptv to sing 'la, la* (?)
jaitis elegant
demayne power, domain
larges generous
falir to fail
demy half; sans demy completely
lasse PI 3 to leave
Java: ferai
deport pleasure, gaiety
layrai FI 1 to leave
deprisier to disparage, depreciate fauchon falcon
legne PS 3 to torment
fays PI 1 to make
deservir to serve, recompense
lermir to shed tears, weep
Jayson plenty
desiteux beggarly, needy, poor
leroit CI 3 to leave, allow
Jayslis pretty, shapely, well-built
deslier to reveal, divide, share
tester to relax
Jaylurt form, face; manner; gens
deslongier to put off
lesse joy
defaylure well born
desparanche despair
ley her
Jenir to end, finish
destin destiny
lie glad
desvoye PI 3 to turn aside, go fer to do, make
her to praise
jermee PP to fix, make firm
astray, lead astray
/OJ praise, reputation
fiere fierce, haughty
delrayre to withdraw
lube to gleam, shine
fiere PS 3;fiert PI 3 to strike
detry delay
lyesse joy, gayety
jest IS 3 to make
devisament invention
devise enumeration, description, finte end
main morning
Jiner to end
quality, manner
mat's que provided that; although
flaitrir
to
wither
diner penny
mar unluckily, in an ill hour
fleirant PrP to smell
diu god
mastin mastiff; servant
felerie
flattery
dots spring, watercourse
mauvis redwing
dreschay refl. PD 1 to direct one's four flower
mayne PI 3 to lead
folz
mad,
foolish
self
maynl PI 3 manoir to dwell
Jorge^ fege
duis PI 1 devoir to owe, to be
mayntes many
forgier to forge, compose, devise
maylin morning
fourt strong
eintre between, among
meclre to put
Jreour
fright
els them
fum, Jumea, Jumee, smoke, mad- merir to merit, deserve
emay emotion
merle blackbird
ness
enchievy PP to furnish, nourish
merlell hammer
fumer to smoke; to be in a fume
encline inclined; subjected
mis foods, dishes
fumex
smoky,
hazy
enfonde PI 3 to sink, upset;
meschant wicked, unworthy,
perish
coarse
Gemynis Gemini (sign of Zodiac)
enfortunee PP favored; made
genglerie idle talk, 'scurvie tat- mesprison error, mistake
fortunate
me me
ling' (Gotgrave)
enginer to trick, deceive
mielz best
gerroye
PI
3
to
make
war
englume anvil
milour better
gesir to lie
ennorte PI 3 to exhort
mon indeed
gie I
enpachier to trouble, harm,
monde pure
wrong
38
GLOSSARY
morsure bite
pile PI 3 to steal
reusignol nightingale
plasanche pleasure
royone queen
nienl nothing
nobli ,-ee nobility
nu: ne le
nuepces nuptials
ocire to kill
ocy PP ocire; also bird cry
oig eye
omit never, henceforth, now
on in the; where
onni shamed
ore to hear
prilleus perilous
propice propitious, favorable
prouesce prowess
proveir to provide
puret CI 3 to be able (?)
osiaux birds
outrie PI 1 to grant
oy PI 1 to hear
pavour fear
f
pent PI 1 to suffer
penre to take
per peer, equal
pert PI 3 to appear
pertie separation
pertie PP to depart
pertillii embroidered (?)
oullrancc excess
speranche hope
rant PI 1 to surrender
ravier: ravir
reparer to restore
rcquequaUs PI 5 to have a care (?)
requier PI 3 to pray, beg, seek
requoy repose; en requoy secretly
resort defense, aid, help
restoer to retard, delay, quench
relhray PI 1 to withdraw
retrer to withdraw
trestuit all
tret PP to draw
treuve PI 1 to find
trislre sad
trujer to deceive, mock
Iritis PI 1 to find
iuer to kill; tin a birdcnll
seure sure
sousy care
otrie PI 3 to grant
ottri good will
samis samite
sanson starling
sanz meaning
sas PI 2 to know
sayjour repose, leisure, delay
schay PI 1 to know
sejour: a sejour at rest, at leisure
semailles sowing, crop
sench PI 1 to feel
seumellant PrP to sleep, slumber,
drowse
suelt PI 3 to be accustomed,
wont
suir to follow
surendant^ PrP to surrender, be
submissive
laburin tabor, drum
tarre to be silent
tempre early
tenoyre tenor
umais henceforth
vaiere true
veir to see
veglarde old
vergier garden
vision vision
vespertilion bat
veusist IS 3 to wish
viaire face
vieultS vileness
vigne vineyard
vigne PS to come
villan a woolen garment
villette little village
viron: de par viron around
vo your
voir to see
voir truth; de voir truly
voiray FI 1 to wish
voisses PS 2 to go
vora FI 2 to be willing
vuidier to void, give up, leave
wacarme fight, assault; hurlyburly; trouble; alas!
yawe water
ye I
ysnell light, swift
ystra FI 3 to go out
LIST OF PLATES
I.
II.
III.
39
PLATE I
No. 1
PLATE II
pn pft <|tc
llttvnVuirc
<i(t.'<nlhl <i
No. 25
PLATE III
*=-
No. 59
PI-ATE IV
limn'
cfto
l l i u u one
mono: Tc
tin
- I
\~-i*
Will
HI
I. li
II III
I _|t
I, J j l
re
gciiti U ^eltm r
en
_
i llJi
'iM i
I
T=l.iniivyri-f.iov.lutr fouUnlcfcva- (cnSSS
I **
_ . l l I!T'I t_i. _.ff Af'l_ iU..
wriwincur fiirfiiciirT-MilUur t p:<:i|CCIUUC
n fc ' ' ' ^ 'Tlfll"' " T .'"ff.l ^"Cr foil .lDltlVc T imHt.1 roficlVtnnnrii.iii
I
-*
1
! f W|VicTioourilii.ltrriifgiri3-iioiii.|fii^riii-iiin
ir iln-vwr nccuisiioui JUiiliuuiJa.
n-milr boiuc yMi-pPiBniTrrflnr'nuifTii
yMipPiBniTrrflnrnui
qnr
1
(i
fc2s2.iur ceff
ff ;
oieiivcn(emir
fcscr
Lftc
inon
lubun^c iZiu.u-cclV cell (\m clV
"
Hit
F=iE
.
i
'_
i noiii-miu-.ignti-Tli.mn.iiH.u-ttn-yii
w cicfiiuimicfoiiioniicfix tc dKiuiici-* tt>ir_
1 mctf fon otni.^oiiitolpiirTron.iuioiu* _
riVfbiijrr
cimi-ic
' i.tiu-rniquu-il-ri
jii.irilfjnr im? elicit*
foiutr.tm
Ivnoiirj.'.
3h
hi
nuHE
U=iJ
k^
No. 34
PLATE V
oucpc :-
No. 40
1047,
FOL. 59R
PLATE
VI
arcnn s
Hi' IcVudr 11
n:i-in '|iui r.
horn
>-r
Ual
ilhr
No. 48
1047,
FOL. 44V
ttpi r
PLATE
Ccttfuirculw
TifHamceqn<|nkrjl5uittchj<hm
No. 56
FOL. 8 4 V
VII
PLATE
VIII
muwur
u ifi
*:
No. 75
:Y
COMPOSITIONS
L IVIATHEUS DE FERUSIO
1*
A. FOUR BALLADES
1. Le greygnour bien
mn
gnour
tant
greypour-
bien
quant
que
unz
j J'j J11 j
t^i
f f ,f
1.
Fist
Pro a -
re
re
a
sem -
p
p ip- ;r
ir
lo
bier
home
de
,r f f
3 ^
en
scien
,f
p 'f ir
5 ip-
ir
J1 j j i IJ
f==,g
folz
par -
Him
jU
tu
cu
raon.
fon-
r ,r
p ip- Ip p
1 r 'to ft
25
80
1. See Commentary
32a
ft
, (D
ce
se
10
na
n'a
85
2*
US
u
est
grant
!=-/
ues -
ifcLT IP
pa -
Quan
ran -
j
LJ^J^iJ
u
JJJ i.
MS*
J.
40
r ir
t r
IP-
P'fc P'
horn
pans'
ir
en
sa-
' pr
ji IJ j J * J
rf
if
^ r~rrr
Pip!
ir
ir ' f
in. r
45
pa.
ran-
frr'r
che
, m
He
60
J- r
' J U
;j
T J'l J J ) J j J j J J J J |J Jl J
as-
sou
fi-san-
rr
J'ji
JJ1J
j)| j :
che.
J IJ
JJ I J
ir r r' rr
IP r
J 1 J"J J i I J
90
2. Le grant desir
1. Le
2. Fet
MS: Q
grant
tout
demon
sir
cuer,
que j'ay
mon cuer
fon -
p ij-
H I
re-tour-ner
et tec- chier,
m
10
r 'r 1
/r\
15
du
dre
the
e
de
de
da - m e
fe - nis
va - lour,
de jour
'
20
r p rp "
as*
8. Car
.r_r
vraye-
jour.
en
nr
r' r ir
25b
raent,
bel-
le
r B Pit
irrrprTp'r1 f
IJ,
JJm?
J !.P JJ.J
da- me
f' i f
S5
- J I,J J j
nour,
Tant con
voy
ne
if
vou-
Mr
40
m
tre
beau -
te
ex -
me -
re -
45
50
5*
"
ys -
No
tra
mon
cuer,
r rrr i i
reux
pen -
J i | J i
no ys-tra
|J
mon
cuer
de
do -
se -
a,
tf n
r f r if
le .
tnrm=^
pen - se -
pr piPrr P i t r / t r IP^ Pr
r
60
a,
05
de do - le - reux
pen -
a.
if p
rP
=$
w^
70
3. Se je me
1. Se
je
2. Quant j'ay
i f r " T r r-Ti*prj
forlui
tuqui
j'ay droit,
m'a-moit
ne,
tant
Car
Ce
par
fult
' y'
ff r
15
20
6*
en - for-tu-nere des-ti-ne-
SSn
S. Or
sui
83b
je
f f i-P*r|.
ne -
;CJ" if r
^
40
#3^
ir *r
I * PI
Ill
1. Mort et amour m'ont mise en povre ploit
Je ne scay lequel m'a plus conturbee.
2. Je croy que Dieux ce mari me devoit
Pour moy pugnir que ne soye dannee.
3. Ma penitanse ara longue duree,
Amours, tu m'as bien jou d'un faulx tour.
Je ne me vueil [plus fier en amour].
4. Pres du soloil
j
r
10
j i"
j u .1 i J r - i r >r
1
P
1. Pres
2. Sur
H so - loil
lU
du
la ri - vie -
H
de.
re
J J J jjfj j
duis-sant
plus ri -
F=#
noy- e
soy. e
rir *
f
f if r
15
JI j
D'eulx en De maint
ten - tis
o - slaux
un
d'une
0)
r
25
r i
10
I 2.
re- dou . te
et d'aul. tre
fau
fa
chon
con.
^S
,-i
85
r
S7a
7b
8*
JJIJ J J r
p/jl
.i i n J iJ.^j~Ju ;J'jj
3. Close est
ir
65
sier
IJ deJ IJ.
par
vi -
ron
d*un beaux
* r v
ir
60
rc/'"
^^^
Dont
ro -
s'il ne
son*
bien
r n i r > r i rr > P i r r
'
'
65
^wJ"iLJfl3>J"'j"j
jeune
preux
et
* j 3 J JlJ j
ve
glar-
ii
r r
70
if
chant ce
ly
if
76
J
Mes-
de
c:r
pf IT r
ir
n
80
rr
r ir r
if
85
II
3
que
le fau -
chon
re -
gar-de.
ir r i f
P
90
II
1. Chescun se doubte et ne scet que fer doye
Fors que d'esmay trayre do lo sayson.
2. Sans plus, tout prest en l'eure si s'employe:
Pluseurs aultres n'aylent ver les buisson.
3. Aucun demeure, aucun y torneron
Simple de cuer sans chault de faire garde,
Meschant cely [que le fauchon regarde].
95
III
1. Quar noblesse et vigour si le convoye,
Desir, espoir, sagacitle et rayson
2. A son porpoii tout brief qu'il s'en voloye,
Uoysel que atens hurter des artiglon.
3. D'aultre ne quier sy donra coulps felon
Pour definer, fache qul vuelt sa garde,
Meschant cely [que le fauchon regarde].
9*
B. SEVEN VIRELAIS
5. Dame que j'aym
!J> j
J J>i n
J
que
pli
j'aym sour
a
YOUS
par
(i)
fj.
tou
grant
de ma. en-fan-ce,
ni - vo . laa.ee
tes
be -
Ke
loue et prise au-tantcom j'ay po-Yoir,
Hon . tcu-xe.ment d'el-le til- re do - loir
t fay - re
En tri - stre
le doy,
an-noy.
(0
if
7 .D
f i> or
10
PP
15
JT3
31
Ay-es u-mais hum-ble
Etvcusplai.se sa.voir
pi.tie
son tort
tre-rnant
a mort
,r
m a==g=
ji,l
i H
T7
20
[j.Jofx]
de nul
son faulx
u
bien
trait
puis a voir
de - ce . voir
10
ce.
ce.
10*
Hir r
ofT.]
J JJJJJJTJ
zm p^
^^
r p?l
J7JJ W
2. For 3. Belle
JIT
PIP r
40
ss
[J..J of T.]
O
ho-
ne
nou
me het
re-e,
de
da
ton- te
siecle
ca puis. san
de - 11 - tan
p r iJ
J ir
r i ^f
r
g^
50
45
il
du
K8.-J
do
ce
et
. i.
eo
OD
65
T-
'1
loir
Toir
Du
Hu-
11*
6. Puisque je sui
1.5. Puis 4. Le
que
mo -
je
sui
raent, le heu
PSi
Hors
For -
que j'ay
a
met
u.
nvy
20
. }
.j
I IE/
J >J
loing
enlx
que
a-
temps
tel
25
i
n
UJ J
mes -
Ip r
e,
e.
Et qu'ain- si m'est
Ses beau- tes sont
J' U
r
pi'
pr
|J
(0
1=
30
ri mi-
-MJJ.
as
a-ne . mi et en - vi -
e,
e.
On-ques
q
D
'll
D'el-le
n'au - ra
de moy
y
i
j point
i
ne
quier
je
nulso-ve - nir.
gra-ce me - rlr.
40
-[
1
jJ
JIJ
^
2. Plain-dre me puts
3. Mes mul ne fu
(i)
as-ses plus
si sage
a
ip
4.
50
i p r Ir r rfp r
que
mon
IJ
it
r Ip r p r Ir p p r
Car son
Que son
jo - ir,
sen - tir
dan - gier
par- ler
'-i
60
55
!Pf Hip r r
J
ir
lir
Ce
Ne
que
de ||J>J
je voy
ce - ust
et
por
sa cie-re
quilfeut que
lfrjjtjlj.
'4.
65
rr
18*
,(0)
' n i i n ui i i
7. Helas avril
1.5. He 4. Tant
las,
plus
A - vril,
de mal
m
^
n'n'
^
J>ay
Qui
de
me
plus
ne
re
toy
ve
ve
r j j j . I J . J i ' J i J l J ,1
Quant
si
En
grant
ir *
te voy,
lan-gour.
jo
Ain -
que
sans
difai
re
re
le
<e -
say,
lay,
no - vel
vif et
et
Ti
vray
De
Jus-
15
M 'r
m
10
TTTT
do lour
de - may
If ' If
J^
J'JiJ I J
par ton
douls
je sueffre a
Ml t
=
i
nir
i ,
20
r f
J > 4j ,
flours
ques
ves a
tu en
tant que
?m
joy. e
son gent
sans es
corps ve
'
Plain
Pour
may,
ray.
d'o - dours,
ce d'e .
I r=
*Si
25
KF)
de ly - es
may an - si
se
m'en
et
je n'en
com-plain
Que
Tant
ay
dray
=
r
f r
r
80
8(0
15
de . sir,
que pi -
so.vetie me
14*
1(0
;J. JlJ
nir,
plain vie - gne
dre
et
se
ler- ra}r.
cou - rtr.
Pr
f
===1
40
45
1(0
J U
S. Biea
3. Des
J * J
me
que
' i e - roit
ma. dame
JJ
la mort
en toy
douce
ne
a
puis
En
Ne
fag
i* r if m
r '
ir
ir.
su
ve -
50
r. J
U
d'aul-
dadb
>i'jf|j/i'J iJ J
ni
son,
co
ay
tre
Mijlj|j
pour ma
se
moy
vie
gre.
Haul-gre
Fort que
def fe . nir.
1st choi - sir
f *
f f 7
> r
^
55
60
for d'elle
tune
et
une, et
G
c- ..
70
ir
76
i ir i r
15*
8. Dame souvrayne
1.6. Da 4. Dont
sou mou -
me
m&
vrayray
ne
d'a
de
mour
beau - te,
se
bon
d'o nour,
se - cours
MerNe
' r ; ir
=i
de ma do - lour,
tre.- no - ble flour.
IT
io
a=
^p|
:J
P!
If
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55
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40
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r p i' j
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56
if
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4. Car
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Je
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soutnre
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ray
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15
vous s u .
ne
me
ne,
ne
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pli
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ment,
ment,
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e
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f r f
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tout
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45
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3. Pour
ne
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o
de
te-
J IJ J I ^
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pour
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60
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12.
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qu'll
vous
gre-
J U i 'x
rIV65a
65b
r r
42*
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14.7. D a .
3. My
6. Kt
rij>j
j>jj.
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if r
ir ir r
(i)
10
15
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2.8.V0U8
6. Quant
Tj.
f if
25
jijiujj.
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80
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48*
pr r
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p r , ipr r
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mant
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44*
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30
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2.8. En
6. Sans
C
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as
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parvi-
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ler
la-
douche,
nie
plaique
p' J
hP
r1 r'
35
sant
me
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ir
rr 'p'pr
40
iU
p u r ir f
^t?
'i," J.
45
50
45*
31 En Tamoureux vergier
I \;p
1. En
2.Drotte
l'aes
mou le-
JU
Ju. meille
'
na
co -
flour
lour,
J lj
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reux
ve -
vere,
J U
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10
sant
U.
Ij JJJJIJ J
le
de
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plai.
p&uet
m
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J J J J I J J
par
et
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gler
de
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te flour me
mis
en a -
re.
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SO
35
re
tu-
ven-
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J~JJ-
J J
if
85
De
l'a - prou
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et
son
46*
IJ
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dour
t > IB J.
tir
sen -
IJ
ij.
Mais
quant
> inj . J.
i
ce
rpno-ble
clos, A-
de -
if
45
<
fus
dens
4,
40
u.
je
mors
if
fist
me
J,
60
==
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56
pr
dou ce ment
.'J.
Ij,
j JiIJ
,f
J* J
ra -
ir
vier
Tant
J I
J J
J IJ
que
mon
J.
< J '
r,rfe
^==
euer
60
iJ J J IJ
IJ,
prent
tout
Jil=|
re
son
pos.
U JJ J . Q J J I
f
iff
f
70
66
II
1. Bn ee vergier sont tuit li gay sejour
Qu'onques Amours douna a creature
2. La me dresehay remirant la valour
De celle flour qu'en ly mayst par droiture.
3. Et apres luy m'assis sus la verdure
Afin qu*Amours de li me fiest jouir
Avar! 11 n'est riens vivant, bien dire l'os
Que j'aime tant, ne riens plus ne desir
Tant que mon cuer la prent tout son repos.
in
1. Et se au jor d'uy trestout li eomte a tour
De Bur ope ou d'Almene tres pure,
2. Ou des belles que maynt amourex tour
Finent si bieng es nuepces de Mercure
3. Renevoient pour mi mettre en leur eure:
Tout me seroyt nient eontre le pleisir
Que j'ay de li on tout bien sont reclos,
Quar c'est la flour qu'omis ne puet flaitrir
Tant que mon euer la prent tout son repos.
47*
15
25
60
nin
ment,
J U J !J
11
II
If -
11
trai
pas-se
flour
doulz
et
plai
de
tis
de
beau-
et
tant
11
ti;
s'ant
L'a
vos
tre
com
oeil ri
mou-
ant
reux
pa
11
sd
est
ray
49*
jJ J
fj J
IJ J
'J 1 1 J J J
fait
par
doule
un
i nlrJ i
sou-ve":
i r ir T\, r mm
r if r ir
110
U5
U J
U J iJ J
J ,MJ i
M8:B
ij
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et
eux
i f=
r if r
If
ISO
125
00
en
^ = ^
r J U J JI
las
ses
18 &
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iJ J
!J J
T^^^J
main -
U J
'4^^'^
nlr.
te -
fT\
i n r ir r
r IT r ir n
1*5
II
1. Nul ne scaroit prisier l'envoitseure
Et la dolcor que j'ay en vos truve,
2. La joye aussi doune nourreture
A euer d'amant de loyaute pare;
3. Rien, certes, ne me pot tant
Onques plaire come vo corps jovant,
Ysnell et gent, ne rien plus ne desir,
Ne ja ne quier jamais autre cherir.
140
160
Ill
1. Et c'eit raison que de gens de fayture
Digne d'onnour vous soit le pris doune.
3. Au gre d'amours qui de volente pure
JTa enrichi du tresor desire
S. Ou tout bien est surendant
Veuillez me done retenir pour amant.
Raison le vuelt quar pour leyal servir
8uelt hon souvent bon guardon acquerir.
50*
J AJ lj.
i'
J. II J
lex^to- ne
qu'il la mist,
1. Ca2. Tant
me
vraye
I*r-fr pff1
if
CrrTci/cjp
ipr
If
P Pf Pf ir1 r ifj:
A
Hault
se
se.
Juou
pi trou -
ter
ne
r 1 F~ r
j.
10
15
fit
et
J J- IJ. J
r ir r r ipr r p i p
25
donlz
fnt
fl
[ -I
u^ - u
hO3rr
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30
i'U
" fa-eremoult
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un
11
si
sib
'
85
se -
reu-
i_r
ment
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E_j if f r r i r
J'IJ'J J
4. ' j .
cou -
ron -
i i
aa
ir ft r r ^ m
46
50
irT
J J.
ton -
sur
tes
ri ehe - ment:
Lors
tous
m
J.
r T Jr
les
linn
IJ.
55
60
dieux
li
' IPr[- pi r
r JT1 ?
"M r
pgPP
r Her g
65
70
I J, U. I
J'
Joi
ma -
eux
re -
if
cept
i r if
i-Pr "r pi r
IP
75
80
52*
II'
1 S'aln.- ey
2. Ffran - ce
toit
droit
es per-
que
on
noprou
p if pr pi
due
se -
an,
de
r ir^r r o - r
la
li
et
LI
lr
if, pr
ne
pris
pi^ P t ^ a
T^
15
I 2.
gen rott
tilz
a-
de
Ber- -
ry,
r if
\iiVT
r~
ir
18b
_2
r-uj J
30
3. Quar
de
eer.
tain
men -
i'r
ip'
58*
i J jiiJ>J
sa
lour
va -
S'es-
tent
tout
per
rr r |f v
rr'
35
et
luist
com le cler
40
jour;
En
tous fais
11
r r
n
45
sonno-ble .cuer
ir
ha-
fi
fifr
ir r 5 r '
50
bun
55
N-
Quar c'est
ce - li
. j.
qui
r ir
est
J j.
la
85
flour
r T
du
II
1. Nature l'a per sa grant soubtilesce
De seus dons richement enchievy.
2. Vaillant et preux, en bien met son adresce
Et noble ator si est prouchain de li
3. Dont il n'a per ne greygnour,
Ains surmonte tout home par doucor.
Ce sbnt graces que Dieux en son cuer fonde:
Quar c'est cell qui est la flour du monde.
mon-
r i ffrrr r r r
Ill
1. Considerer doit eheseun la sagesce
De ce seignour courageux et hardi,
2. Quar c'est un cler ml roue r ou jounesee
De chevaliers doit mettre son ottri.
3. SoA valour ft son amour,
Quar il sont mis en tres souvrain honour
Par sa vertu qui est si tres parfonde:
Quar c'est cell qui est la flour du monde.
70
crr
54*
35. Le basile
Tr.
IjjJllJ
'
li'i-JU-J
It
J It J'J IJ Jjili-JU-Jl
I J I 1 J-
1. Le
2. Car
bason
.Lfffif
sive
le de
nin est
sa
mor.
protel
r ir
10
J JJI
h
pre nasanz me-
m.
JTJTIJ1J
20
J I J J fJ
voit
de
tuet
IJ
IJ J 1 IJ J l j s j
IT
25
$> j 3 J -3 IJ J
Stb
e
sanz
8*a
qu'il
me-
r ir f i r r
1. 8e Commentary
ceuli
re -
Tous
Sans
re
lf
yr r i r
tu
su
> I
IJHT p
30
55*
IJ
J>ij
vie
Les
bons
^173 J
j'lJ'J J.IJ
par
I.
''
trez
|Pr N r
j,
san -
p 1r
40
bu.sie.
if
45
IJ
c.r 1
J -ij.
Tant
quechas - cun
volt
a grant
ion per
r 'r
me
60
ir f r 1
55
J
J J
pay -
ne
Car
ba - rat
tient
le
mon -
de en ion de - mai -
r ir f ir f
P
M
60
65
II
1. Le roy d'amours ou palais de droyture
Si a doune sentense et jugement
2. Contre enmeni qul par fause morsure
A Trays aroans font painne et tourment.
S. Maudite soit leur viel
Kt leur jangler plain de tres grant foulie
Per cni je pers l'amour fine et hautaine
Car barat tlent le monde en son demaine.
ir r iT
70
Ill
1. Or rueille Dieux que per sa grace pure
Pause jouir de la belle au corps gent
t. Quar trop l'aim mieulz que nulle creature
Tant que mon cuer est tout sien fermement.
3. Bile m'est vraye amie
Gaye, playiant, courtoisse et jolie,
Ne plus ne quier fors ma dame souverayne.
Car barat tient le monde en son demaine.
ne.
56*
je voy
m'a fait
et
fin ve de play -
nir
sir
En de. i .
Qtfon - ques nuls
10
25
TAni
horn
mon
de
a - voir
ven- da
un
li
don
57*
i_Lf
P-f-f-^
J
is
d'un
faulz
tour
Dont
'
JHJJ J
se
je
n'ay
3=3=
I j J'J .
1=1=
80
85
Pr
coors
de vray
ef-
fort
Je
tJ p p
pr
croy
brief
que
^ti
f
doub -
te
40
J M J
>
se -
mort.
00
J i
f
sanz
ray
MB
MS: G
45
II
1. He! Fortune, tu fais ton pris haVr
A pluseurs gens qui treuvent amerour,
2. En ta roue qui tout bien fayt perir.
Muer legier joye et jeu en plour
3. Or m'az boude au fleuve de tristor
Dont je te dit quar tu me fays tel tort
Je croy que brief seray sanz doubte mort.
^m
iff
ffif
50
Ill
1. A vous supli, tresreluisant sapliir,
Dois et ruissel, fontayne de dou<jor,
2. Sene flacon en sont tuit mi desir,
Fruit vertueue de tresplalsant saveur,
3. Aleges moy de ma grieve dolour
Ou de certain se r.'ay de vous tonfort
Je croy que brief neray sanz doubte mort.
/*
58*
v
J.
1. Plu 2. L*nn
sears
vest
r i rTr r
JJJI.J.
voy
ne
gens
u-
qul
eo -
leur
te
pea bro -
IT
U. i-
se
de
10
5^
JU h i ^
Ig/j
*-
MS:C
kJar lfJ M
MetL'au-
e
e.
tent
tre
en
un
f ,
,-r
*=E
15
(I)
127
(I)
j,
ve
vU-
hjsj IJ, J. I P
tir
Ian
bon
ha
bis.
four-
fcfc
^^
r pir
r""
r ir1 r i r
88a
35
ft
28b
(I)
,1. J_ 1,1.
. J u.
I^NPS.Man-
mm
teaos
m
tT\
^
so
IJ, ^.MJ
i-
=1=2:
85
por -
tent
IJ
grant on
pe -
59*
ff|f
r f "
65
J.
ipJJ'jiJ,_J
J>u>j, ji
l J. j . I J-
I J I J i J I J ijj
u-ne
* irnr
-T-T
65
60
II
1. Autres i a qui par furaee
Se vestent de porpoins faitis
2. On d'une cote de conpree
Et antres taabis de grant pris
3. Dont ils sont asses plus jolis,
Mais toute leur devise faite,
Je me tieng a une Jaqaete.
Ill
L Qur elle est si blen fa^onee
Bt en tons estas, se m'est vis,
2. Qtfao monde n'a robe fouree
De pene, eendal on samis
S. Qni tant me plavse et pour ce dls:
La devise de ehaseun fayte,
Je me tieng a une Jaquete.
J'J J>lJ.
Ja - que -
te.
60*
*nJ
16. Tres gen4. Done tant
til cuer
de - sir,
et
sou-
amqu. reux
flour
trez
trai
flei-
atef
ans,
rant,
if" 7 T p n ts
(J).E
r p if
i J j> J
=K=
Frans
BeUe
et
et
eour gen -
, f
tois,
te
joplus
Us et plains
que dir ne
de
sau -
joiroy
10
I_L_ J
A
De
e,
e,
vous
re-
ser
voir
du
fa -
vir
vo
P if
Lf f P
em-ploiet coy-
tout mon
temps
con sim - pie
!'
e
e
Quar
Et
i ^ r i r ir
ir
igpgj
15
t", I
il
l'es
T
n'est
gart
Ji
riens
doulz
IP ^
qui
de
m
20
|J
tant
vo
soit
gart
me
re
r-
T^ r
play.
ri-
t^m f
sant.
ant
61*
(II)
J*iJ
N*au - tre
de - sir
a - Yoir
Qui tant me plaist pour ee
"rr
PI
(I)
feho
rr
*\
^ ^
80
(I
2. Qu'a
3. Quar
a
Tons
YOUS
en
honmi
mer.
ion
noupen
rer
er,
r r r r if
ir
g=si
Cre.
Hi
doub - ter
mes euers,
et
mi
loi
YOU-
au
loir,
=*=
rlr.
sir.
et ehe
mi de
85
I p j JlJ IJ J,J
rair,
oeil,
IJ.J J
r Pr i r
*r
40
If
f if n p . f
40a
46b
II
2. Or scay je bien que le doulz souvenir
Que j'ay de vous me fait an euer venir
Joie et baudour
3. Si que ne puis mal ne doulour sentir
Ains trez joieux me fait amours tenir
En gay sejour,
4. S'en loueray, amours eom vrai amant
Quant elle m'a voulu metre en la vote
De YOUS arner et certes se j'avoie
Tout quan e'om puet en ee monde Yivant
Nient me serolt s'ames de vous n'estoie.
so
Ill
2. Si pri a Dieu qu'il me doint a venir
Au doulz tresor qu'Amours snelt departir
Per sa doucor
3. Dont me poves noblement enriehlr
Fin cuer loial et sans rien amenrir
Vostre valor
4. Songect cens fois roon euer tres desirant
De vous veolr be aler g' i osoie
Mais en la fin pour riens ne le layroie
Que ne fuesse avee YOUS demourant
On gay paV< on estre je voudroie.
62*
f
ip r r
r r
f
ir
u /)
JU
mel-lart
TOUS
t'
r rr
j^
Lr
Ir
e
e,
J,
r1
Pr p i * r j
J'j.m j
r P
toy.
soy-
es pen
cner
droit
f rr if
P Tr
j j.
de
bon
eux
a
rr
Jn
lr
1.5. Jot.
4. Kt
U
i>
pr
p fe^p
n iT P vC f i r
10
JHJJJj,
;> j Tj
JJ
Quant je sen - toi - e
Tres-play- sant flour,
j 1 sj.
\r
r f h rr f
15
ir
>*
Et
Gar
j
gent
d'a-
vo
de
ivr Vr
pi
h. n ii-1 i
^ J 1J = *
r fir
f
corps, ma da mours qui mon
ne
ne.
i*
ma so cuer trait
ve.
et
rai
mai
ne,
ne
if p
J.
80
Qu'en Au -
tre
tre
raes
plai.
63*
P
bras
sir
si douan mon -
L Ji J
I J
e e . ment t e - noy
de
ne von loy -
e.
e.
r r rr m
r rr if
25
W-T*
pi r
SO
J J}
J j J J. J
r i
2. Je
I. Car
mai
vai
v
P > Hr i r
PIT
p r
IT
35
^r
ne
ne
i j.
Nfeut
Mon
~
tel bien
cuer e- toyt
cer-tes
rem-pli
eo . me
de tou
j'a
te
voy joy-
JT
P r p ir
40
IT
lil
j.
1J
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j> j .
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r
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ir r f r_j irr r
m
44b
45
64*
1.4.7. F u S.Qu'anK.Quar
'* r rp
L.r L!T r
meux
tre
fu-
,1 I Ir J
JJ
I II . J *
I.
j J
U
i r
Ji
p 'p r
j
pH J J
rp"r p u r
ir
fufum
mer
MS: J) 7
r * p i
me
met
molt
pr
'
i >r
IJ
-J 11'
g t;
10
15
\j Mr * J i
par
sa
li
7 J'J J
fupena -
pr
IJ
me le -
gre-
e
e
e
i .8.Fu 6.Tant
meu
qu'il
'7 p[l'3r
IJ
20
p'T
e
alt
r j ir
j.-
j r ir r
r ^
25
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p
K8:B
15
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I'T
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80
IT
speson
cu - la - cl
en-ten- ci
on.
on.
p r p ' r r > j ^ 3 ip J
j- J u
40
65*
IV. TRBBOR
SIX BALLADES
41. Passerose de beaut6
r
1. P M 2. Done
\T r
eJn
beaupou-
se de
ter l'ei-
roPi-
no fa
ble
va-
a=
' flour,
I I 4.
|t:
MarEns
lour
gKn-
1J
#P^
rl
plus
la
te
if r
ir1 r ir
15
J.
blan-
che
ci-
pre.
N-
nul
e
qne
eu-
SO
3=3
66*
ji j
duprin-
3. Car
i?
'
tamps a tous
la
mons-stre
dou-
^our
..
0^-
r Cf
mngi
cuer
2
^
J j J'l
2fai=J
IC
es-bao-dir
^^P
40
15
f r1
Pour
qui
yray
r PiT r i r J.
vmour
irprpir
gar-
de:
fe
pf
r r"
45
50
jou- is
est
IT
con-
Pr pi
J-
55
II
1. En son der vis sont trestuy li gay sejour,
Plaisanse, odour, honneste tres benygne,
2. Car nature en la produyre mist vigour,
Quant la fourma y tint sa droyte ligne,
S. Son dlr just, eompas, mesare et playsant labour,
Kn son faystis corps droyt com lanee e dardet
Resjonis est ^nieunques la regarde.
mm
Ill
1. Humble mayngtieng, son douls renon, son atour.
Son noble pris, sa redoubtee ensigne
2. Ke porroit null raeomter, ne la auctour
Fleytrir ne puet par froidure que yigne.
3. Tous biens en ly sont composer sanz deseours.
Soyt tant tempre, vespre, main, heure tarde:
Resjouis est quicunques la regarde.
67*
|J) J.
i
u- i
las, pl
glcr, re
1. He2. Dan
en des .
fas,
m
U
J. I. i
lr
J |J
m
vers
daing
raojr
sont
dort
d'un
si
a
fort
eort
je
con -
Qne
En
ne s^ay se je
tre raoy po - lent
toi
gre
II
i r
rr
10
^r
plain,
me
je
n'ay
pas
H8:0
4.
ff
15
US: 7
?
3.Se
rr
if
,r
68*
3EIE
trop
pris,
mes .
Quant
por
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fe-
in'est-ren-
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if
nir
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16
J.
eel
da
goer- don.
pup
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ir
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40
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me
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45
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j.
iJ'j.
J.
>
nul-le
mes-
pri-
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h
50
55
II
1, Et pals qu'alnsl ne trais en riens confort,
Joie, soalas se sont de moy partis
2. Bt m'ont gnerpy, dont fen reehoy la mort
Sans que jamais en ale null respis.
S. Je ne Tif pas, ainsols pene et langais
Or n'est nnl bien qa'en moy prengne seson,
Dont mort me Toy sans nalle mesprison.
69*
I * If
If
pr
3E
1. Quant
2. Fet
joyi ne
son se
cuer
jour
may
play-
en
u,
r pr ir
est
sant,
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mou li-
En
Au
reux
ceux:
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pf
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Piter,
puis - sant
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15
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35
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70*
haat
ft)
ir
80
IS
Pirr r r i f f f ir r r
prii
No. ble-
sa
dont
grant
est
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ni
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non,
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IT
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40
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te
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et
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46
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50
fT\
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fa-
LE-rr
if
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60
II
1. Son droit atonr, son maintieng gracieux
De la Table Ronde est a mon avis
2. Son ardement grant, fonrt et eouragenx
Bn dons est Urges a tons, grans et petls
>. Tant tne le monde en est tons esbahis
De la-noble qrfil a sonbx son penon,
Qui porte d'or et de gnenles gonfanon.
Ill
1. Cest blen rayson que ehans melondleuz
Qni la se tlennent et tons antres delis
2. D'armonnie que tant sont preeieux
8t bons sonvenirs tant plaisante et sobtills
8. A serrir tel seigneur soyent ententis;
Pour ly se nomment en malnte region
Qui porte d'or et de guenles gonfanon.
non.
71*
44. En seumeillant
:*=3=
1. En
2. A-
J Uj
gr J. J ' j : j
ir-r
' ^ J.
xiX
L.T TT
IT
r
Tint
fort
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per
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on
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to
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dre:
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mm
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tait
ir r
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ponr
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72*
if r i r
3. Mais
Se -
ril
mon -
1 ^
stre
en
des-
sa vray
e'est
>
le roy
tient
en
pp
com -
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if
46
ir
IJ
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qui
AT-
Que
40
85
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elon
J> I f J l w r. J J j J
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60
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a-
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j
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if
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55
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60
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65
II
1. Cilx noble roy a timbre de tel fac,on
Dont legler est a touz pour cert comprandre
2. Que malnt palz et lointalne region
De son haut pooir ne*z valdront deffendre,
3. IPa son vaillant euer ardis come lion,
Ains seront touz priants sa seignourie:
Armei, amors, damez, cheraleriei
III
Et, pour donner au songe conclusion,
Le passage qui ert sanz a moult atandre
2. En Sardigne, nous mostre que d'Aragon
Ffera soun cry par tout doubter et eralndre,
3. Car puisant est en terre et mer par renon,
Larges en dons, et ayme sans oublie
Armei; amors, damez, chevalerie!
1.
73*
45.
Se Alixandre et Hector
ir r r
mm
* I J
1. Se
2. St
dre
xansent
et
A-
r t i P rr p i rp e r i P r r
rCj-
m
if
J'J
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J
Hec-
iJFt
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tor
les
fussans
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sab
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e*
An
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Cr i r f P i O r f Eif i f C r P i r
MJ~T~T
15
vivi-
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sent
ton eeulz
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te
de
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r'T
88a
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pin
74*
40
BO
MS:D
65
60
MS:C
(b t)
66
II
1. Son haut renon est en malnte partle,
Car est ardi*, couraugeus et vaillant.
* En Europe nel pafi d'Armenie
N"a nnl tel de } bon gourernement,
3. Ne qui si bien aime ehevalierie.
A ly traient eeuU qni ont contei de Noallles
Vtojx et Beam, Caitelbon et NoTalUes.
HI
1. Por ee doit bien estre sans fleterie
Craint et double et ame chierement.
2. Derroyt pour cil prier an chiere lie
3. (mhtfng)
75*
11.
TTH!
\L
'j,.
Ar
Po2
toy
ne
Pu. rent
Eu - rent
tus
rus
eonar- des-
IN I
10
15
if
te
se
poar
ponr
relos,
nou pris
ir
if
H- itJ
inez
et
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ir~ r- h i p J,
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85
87a
87b
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76*
ar -
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.?
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pi - Cs ic r r> Tr f
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ron - de
ip r p r Ip r
If
i(i r
V I
J. j..
te.
or-
TT ; T r
IJ- r ir
rrr
II
1. Prouesse, vigour le tienent an dessut,
Son avis est monlt grant com du roy Ksmonde.
8. Ses anemis gieve, dont moult en a mis jus,
Sa forehe Men pert en terre et mer parfonde.
3. Ses maintlens sont toudis de la Table Ronde,
Leesse, dedult, soulas le eonforte:
"Febus avant" en sa enseigne porte.
Ill
1. A ly comparer en fats je n'en truis nulsj
Deshonour heit, de vice est quites et monde.
%. En fait de guerre ne tint jamais desporvus,
D'autres vertus est 11 sans per ne seconde.
3. K'aflert que nuls ne termene ou reiponde,
Xoblesse de ly ehescun reporter
"Febus avant" en sa enseigne porte.
77*
V. JACOB DE SENLECHES
A. THREE BALLADES
47. Fuions de ci
r
i.Fui3.. En
1 r p I* t
on*
A-
de ei,
ra- gon,
if
fuien
ir
ons,
France
Ip ' 'lr
poou
\u r r
en
com- pain
Bre - tain -
lc_f r Ir
'JJ
s'en
brief
eons
en
r Ir
ir r ir
Pi
gne,
ir
p It
qneon
rir
n^i-
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ade
ra
Lrirrr
P^P
J ir r
pr r
Pi
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i'l'jj
voist
temps
i J-
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p Ir r
ir
p I r p ir
J? J<
ir p ir
p [i
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p Ip
tu
en
nos
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ir
IB
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28
p ip r
p Ir ?
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2Jb
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78*
ip -> Mr r p I L J r p > i * ir r p. Ir r r . I * If
I r p Ir r
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que.
rir
no
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no s e - i i -
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a-
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==
Bri: Q
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Ir
iEr
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ir
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pip*lr
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Ir
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r I uu ir r
A-
vons
80
J
F
de- m o - rons
r P irJ
r Ir
du
Ne
p
45
r pir
ir p!r pi
ir
ir
r r ir
r irJ"
II
1. Car tfest bien drois, rayion le nous emselgne,
PuUque la mort tres cruel et obscure
2. Nous a oste la royone d'Espaingne,
Nostre maestresse ou eonfort et mesure,
3. Que ehascunt ovre leur volunte pure
De bien brief ment vuldier de ce contour,
Puisque perdu avons Alionor.
1. See Commentary.
pip r p Ir f
Ill
1. Mais an partir personne ne se faingne
Que de bon cuer et loialte seure
2. Ke prie Dieux que Fame de li preingne,
Et qu'elle n'est sa penitence dure,
3. Mais paradls qui de jour en jour dure.
Bt puis pensons d'aler sans nul sojor,
Puisque perdu avons Alionor.
Selenehea Jacob
79*
48. Je me merveil
J J
iii>r
r? * J J l
A. 1. Je
8. t
ri
me
mer font n'es -
UL.V
i r "p p
B . I . J'ay
2. Un
f
fin
pluvt-
fois pour
lay de
ears
re-
f?1^*f.fffiTf
cu-ne
e co -
fois
men -
raent
ment
com
ce -
mon
pe-
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' Orryr if
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ba- t e sen- t i -
estit
Ou
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ment,
ment
10
3^PI
Ir ^ nr r ir
J ' 7 7 ' T iJLJ
me
quan
vuelt
fait
se
qu'il
p if f if
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se,
del
tempi
un
15
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pas ron -
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crit
playa
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sir
moy
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80*
T7
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3. Do -
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tout
quoy
-T-T-
3. Mais
man - te -
me
nant
vueil
'i," r
ir J. i f d ? Pir
40
45
fai-*
def-
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re,
En-
r ir
re
Et moy
i=i
glu-
me
ne
mer-
tell ne
m'ont
iifff|ff?frirrr
le-
sief,
es - ter
^
50
et
ff
55
r ir f ifi r
Puis
que
chas
cuns
se
mel- le
de
r if
H
Puis
que
se
cuns
r i'J J ip r r ir T
60
mel-le
i f J r 'r
65
II
1. C'est soine par peu devisament
Car eel labour ne leur est necessaire,
2. Jo ne dis pas pour celuy qui aprent
Bt qu'il connolt s'il seit bien ou mal faire,
3. Celui doit on tenir a debonaire.
Mais je ne vueil plus faire ee mestier
Puis que chascuns se melle de forgier.
II
1 Forgier doit chili qui son entendement
A si agut c'on ni sceit que refayre,
2. Mais chascuns vuelt aler primierement
Disanti Je scay pour loer son afayre
S. Et pour autruy esblament en son repaire.
Si ne me vuel plus enpachier
Puts que ehascuns se melle de forgier.
char-
III
1. Quant on leur dist leur viee evidement
Qui cognoscent se ne leur puet 11 plaire,
2. II respondent molt ourguelleusement
Disant que de doctrine n'ont que faire.
3. n doinent aus torn a els fol examplaire,
Pour ce faral soppes en un panier,
Puis que chascuns se melle de forgier.
Jacob de Senlecheg
III
1. II en i a qui vont celeement
Monstrer lour fais autruy pour parfayre,
2. Ce n'est pas fayt aseiireement
Ne de bon sens se leur on doit desplayre.
3. Mais fol cuidier ne sceit ou 11 repayre
Pour ce m'estuet liouter en un pol poiller
Puis que chascuns se melle de forgier.
tay.
81*
ci- on,
re-
u.
r ir r r
temps et
say-son
EE
82*
in
gg
rr
*=
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ip r
en li
met
Ci.D
fl-
sa
IJ
an- ce,
Tr
IJ,
r ir
if
h
De
45
J,
toulz
ces mes
cst
UP
J JJji
ser-vis
^-^ a
fay-
P
Cllz
ton
qui
"
J|J
Jllj
J
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sceitvi-vre
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65
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ce.
iJ j J iJ'JJ
^
if
if
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II
1. Esperance tient overte le porte,
Dont chascun puet avoir gnarison.
2. Esperance est de si noble sorte
Que cilz ne doit pendre confusion
3. Qui Va. 0 soy. Et sanz li ne puet on
Avoir luing temps de playsir habundance,
Dont pendre assls puet eonsolacion
Cilz qui ne sceit vtvre sans esperance.
75
Ill
1 Pour ce conoy et voy qu'elle m'ennorte
A li tenir et j'ay cause et rayson
2. Quar j a schay bien que cVlle er.toit morte
Pou y veroit la mien entencion.
3. Dont je vos pris en ma conclusion
Que belle acueil pries pour m'alagance;
En attendant suy [sanz] presoncion
Cilz qui ne sceit vlvre sans esperance.
J*cob de Senlechos
83*
B. TWO VIRBLAIS
J
1.6. En
4. A-
ce
dont
gra- citan-tost
euxtamps
ye mfen
jopar-
"u r ir r
lJ
J ij. i j i
4 ij
11
ti
desa-
tour
lay
En un
Et m'en
P f
lJ > [ ^ ^
la j'ay
sans nul
|J
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o- y,
de-tri
j> I J j
IT
crip
IJ J
JJ J> I J 7 J J I J J* i J
j o - lisi- gnolz
bel
[e-ment]
et jant
ConQue
ques ne ri,
ye veo - y,
Le roEt l\is-
E E
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^
20
15
v i ^ y\p
I J ^ J lJ
*4
10
j - i r r i p r P I P p r j\* J ^ J L L
sicou-
gno- let
toy ga-
lie- mant
lar- de- ment
Can- ter
Dis- sant
o-d
o-ei
o-ei
o-ci
o-ci
o-ci
o-ci
o-ci
o- ci o-ci
o- ci o-ci
if
o
o-
85
JU
iiMj
ei.
ei.
SO
IJ
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2. Mais d'au. tre part
point tar-re
Jl
il y
ne se
a-voit
vo-loit
hau-te
dens[le]
vois
bois
Co-eu
Co-cu
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40
85
fir
(I)
/TV
11
en
co-cu
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45
48
son.
60a
tre
48b
can -
son.
50b
84*
iiii
pir r
1.5.Tel me
4. Et pour
gar-de
tar- de
et me re tropfortme
roit
ce
Qui
Quant
PIr
ter
ter
Bien le
Voi pour
ne me
tel gent
puet
au-
on
trui
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Par
Car
pro- ver
bes- ser,
aquant
if,
-i
i
to
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15
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i pren-dras
mourn
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2. Qui ne
3. Bt si
rr
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26
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En
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85
40a
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85*
l 7 ri hi 11 n* 1 ^ I - ^ P
1. Mar.
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us
fn deRo-me
pr ' V
J. i
J. r i r V ' i J .
ifl
10
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MS:C B
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20
28*
MTTTH
ca-mi pre-san-ter
f r
3 Ne
fu . rent on-ques mu - e
2*b
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26
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45
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50
bien
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40
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trrrr if
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if f i f
8 0
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86*
53.
Amour me fait
J. IJ.
1. A2. Kn
J :IJ
ijlj.
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f P if pp p i C r p
Pif
mm
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11 j J
mour me fait de- l i tie - re - meat dfe - moa
p pr
if
loysen -
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ment
ment
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Ke
au - te
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if
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10
15
J7Tfrj^J,
J. JJ
honour que s'a - voir la po
heu - re
en ee raon-de *e
roy
roy
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f P ir
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3.C'est que
JJj.
chi
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r p if
puis - ce
T
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a-
p r
voir pour
p ^
a-
mer
jiu
nora d'a-mi
m
sans
87
Jttl:r.-J
Jl J
nul
dan.gier
por- ter
Au gre
d?a -
mours
et
de
1 lif
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da -
ma
r I, | r r
ft
40
85
Btt:
J
aln-
me
J
si
Car a - v i s
m'est
pour
a-mant
ter
so - pour -
r Pir P rP
pr
45
J j 1 j. j j j j.
h 1j
No-
ble
cho -
se
est
de
por -
ter
r p
nom
if
so
II
! [s<3 grace et amour douceraent
De ly merci et nom d'arai avoie,
2. Tant temps vivroie en joie liement,
Ne jamais jour nul mal ne sentiroie.
3. Ainsi amours et ma dame sans per
Seulement en amoreux penser
Servlroie comant loiaul amy
Et pour ee point pouroie estrlver.
Noble chose est de porter nom d'amy.
Ill
1. Four ce raon cuer, mon corps entierement
A ma dame craindre et servir s'employe
%. De bonne amour tres amoureusement;
Car tant est belle, plasant, douche et coye,
S. Piteuse, sage et humble sans amer
Que j'ay eipolr que nom d'ami donner
Me veuille en foy eonbien que deservi
Ne l'&y mie avoir sans adorer.
Noble chose est de porter nom d'amy.
88*
P r h
celle
vos-
a mour
tre tuy
es - tre
du
tout
ne
sans
nour,
nour,
Tr.
MS-.D
Ne
J,
r pr
celle
a - mour
ne
puet
es
J^ J
tre me -
if
j i ;[J j J 5
Ma
Tres
douce
dou-
a
ce
pour
m'a -
mour,
flour,
ro ma
pa mour,
pr
nour
r ir
if r*
Dont
Sans
c'est
de -
le que
da-nie
fo par -
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d'i
fal-
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J.
iir r
pen -
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J.
T JMJ.
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pr
r f
ser
tour.
PF^'X
r if r r i l
Ua
10
JCar
vo
dou-
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lib
nuls
jo-
plai-
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sant
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89*
if ft r r1
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e -
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re,
bol-
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re
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if r kr
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1
I J,
don -
me
plai- f a n -
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irJ j
ce
pie.
if
rr.J.
nie
re
J.I
r pr
a, r
25
j,
mm
J >J
Dont
par
des -
t t ft J"1!
p' r
pit
met -
tent
my
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tra-
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tOOR
I J, i i J' J J
i"r r
so
ir p
Mon
I r Pr
Mon
pris
en
pris
nient,
en
Jl
nient,
en
vienl-
te
en
p'
ma
va.
vieul-
lonr.
^^
II
1. Rien ne leur vaut leur parler, leur labour;
Nulle freour n'ayes pour leur genglerie,
Car pour envie, douce en atour.
2. Ne YOUS layrai. Ce teralt grant folour
St grant tristour dentrer en meraneolie;
Si TOUS supplie qu'en grant baa dour
3. Vous tenes, douce dame chiere.
Cest ma priere que je vous fays vaiere
Et enne vous en soit, se dient li pluseur
Mon pris en nient, en vieulte ma valour.
te
ma
va-
lour.
90*
55. De Narcissus
Set: \
Magi8ter Franciscus
Mel: n o It
l.De
2. Si
Nar.
que
r rp
i r
puis
IE
cU
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hoou
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our-guilrow pe- ril-
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leus,
leus
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15
p i
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fon -
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ff I T
20
re on
fu -
se
mour
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l'a
fu
mor
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fi -
91*
3. Ml-
ra
son
vis
par
Que
sir
if Pr p i r
tou- te s*a-mour y
inn
r rr
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et son
plai-
MS: 7
85
mist
tel
rm
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En
40
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MS:D
45
ir r
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55
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l'en
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75
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92*
Jo. Galiot
J JJ
1: En
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nir
soufne
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pay.
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Et
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ne,
ne,
en
est
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gour
ruis-
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rrfif r
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Ci.B
jj
15
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81b
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pr
ver- tu
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li
a Diex
Qu'elle puet
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85
as-iou.vir
chas-
cun
J.
a-
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di-
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40
|E
et tres
no We puis san -
iL-fLU
r \T r
fF^P
ce.
r r if
If
r r 11"
f
Ir
50
II
1. Les grans ruissiauz qui la font leur demaine
Si ont les eonduis de la font estonpee
t. Si c'on n't puet trouver la droite raine
Tant est courompue l'iaue et troublee.
3. Gouster n'en puis une seule halenee,
Si unble pitie n'a de moy ramembrance
Par sa dignite et tres noble puissance.
Ill
1. Si pri a Dieu que a droit la ramaine
Kt la purefie sanz estre entamee,
2. Quar verement c^est chose bien eertaine
Je n'en puis aproehier non ne matinee
3. Et s'a moy estoyt qu'ainsi fust ordenee
Je vivroye en espoir d'avoyr bone estanee
Par sa dignite et tres noble puissance.
55
94*
Magister EgidiuB
l.Conr2. Et
pir
pir
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n
7
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if
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et
par
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1.
ni
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p jr
pr
p !*
if
pr
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m
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ne
car
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fort,
port
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en touscas
mon YO-loir
m'est f o r . t u - ne
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tray
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24b
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3tb
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1r
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vous legne
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4. Et je
r
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le
temps et la
puis fai-xe
if
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son
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Quant
pour
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ma-
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Quant
pour
a-
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ne v i - laij'en s e - roy-
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r
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15
mou
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3.Por ma
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tes
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en-
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ri,
au
ma
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Et vivre
Et de
ma-
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rl,
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no
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part
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je
ane
mou-reu- se - ment
vuel a- li- ment
Et
Et
li
que
femal
ray
pen-
de
se
fait
l'ait.
fr
si.
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De
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so-
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grant
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conpos
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jour
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sans
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30
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re;
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vient
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eun
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rapur:
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ray,
ma
ce
3E
40
la-men11 par.
I
foy,
croy,
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Quant
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que n'est Col
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2. Pour ce je vueil esprouver
Se conseil trouver
De si fort amer
Poray en vous, douche amie.
3. Car je ne puis plus durer
Ne sayjour trouver;
Ma vie finer
Voray je, ne doubte mie.
4. Voelies ore ma prijere,
Et de volonte legiere
Sacies aviser
Coment je poraye aurer
Que mort ne me flere
Qui est si crueulle et fiere,
Car sachies tantost la biere
Poroie afuller.
64b
BH
2. Et sl ne preug tant d'anoy
Au cuer Robin que je voy
Que tu fais por la flllette.
9. Car miex te vaut l'esbanoyPor ce que je m'apertoy
Que pour celle camussette.
4. La mort te puet mettre au fin
Et sans demour.
Hiex valt avoir ton retour
Par saint Martin,
Et mengier de bon brasin
Par grant savour
Aveuc la fille Perrin
Que vivre en tel langour.
108*
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ppun
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fonse
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bail- 11-
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