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    44 views98 pages

    Meg Bogin - The Women Trouvadours

    Uploaded by

    sandra bibiana morales garcia

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 98
    The’ omen Goubadours Che Women Coubadours meg Bost W-W- NORTON & COMPANY New York - London ‘Actotas ls valens femnas {qu'an cantat ses estee cantadas. "To all the valiant women ‘who have sung and gone unsung, AW Notlon& Compan, ne, 500 ith Axeoue, New Yo NY 0170 Copysisht © 1976 by Paddington Press Lid Published simultaneously in Canada by George 3, MeLsod Limited, ‘Toront, Printed inthe United States of Amerie. All Rights Reseved Firat published asa Norton paperback 1980 by arrangement with Paddington Press Le Library of Congress Cataloging in Publication Data opin, Mes. “The women troubadour, (A Norton paperback) iliogapby: TIncades inden 1. Provencal postryWomen authors. 2. Provengl ostty “Women authors Translations into English. Bagh pory—Translaons trom Provengal 4. Troubadour 5. Women poels—Franee-Provence— Biography. 1 Tide Pcssza.n6 "T9860 8a¥.04 79.2838 TSBN 0-393-005b5-3 TABLE OF CONTENTS ACKNOWLEDGMENTS: Ixrropucrion, ‘Tar Essay Historical Background Courtly Love: A New Interpretation The Women Troubadours ‘Tne Porws ‘A Word on the Translations Pronunciation Guide Tibors Countess of Dia “Almucs de Castelnau and Iseut de Capio Azalais de Forcairages Maria de Ventadora ‘Alamanda Garsenda Isabella Lombarda castelloza Clara d’Anduza Bieiris de Romans Gulllelma de Rosers Doma Ht. ‘Alais, Iselda and Carenza ‘Anonymous 1 ‘Anonymous It ‘Anonymous I Aprenpix Biographies ‘Manuscript Sources Foorworss Seuscrep READING List Inpex 20 37 6 n 8 82 92 94 98 02 108, no 1a ns 130 132 Ba 138 1a vas 152 156 160 16 180) 188, 1st ACKNOWLEDGMENTS ‘This book was helped along its way by the encouragement of so many different people that I cannot think of it as something T have made alone, I assume responsibility for any errors, ‘much ofthe inspiration must be traced to other sources OF these the very frst are strangers: the many thousands of ‘women who are the Women’s Movement, to whom 1 owe my ‘own awakening. Their struggle for identity and selfhood is behind this book and in between its lines, In passing from the unknown tothe known, there is room here toacknowledge only those who worked directly with me on the book: Many wonderful friends supported me less tangibly but equally importantly, 1 was Joan Kelly-Gadol of Sarah Lawrence College and the City College of New York who took this project on as a con- ference course at Sarah Lawrence College inthe fall of 1972 and vuho first suggested that it be a book; Jane Cooper who sharpened. my ear and opened my eyes. I am indebted also to Professor Charles Camproux of the Université Paul Valéry in Montpellier for his meticulous and illuminating help with the translations ‘over a period of many weeks in the spring and summer of 1975, ‘Additional thanks go to my parents and my sister Nina for ‘their constant enthusiasm and perceptive comments; to Richard Ehrlich, Michael Marqusee, Allen Graubard and Ann Popkin for their helpful criticism; to M, René Nelli of Carcassonne for his generous correspondence; to Joan Ferrante of Columbia University for her kind reading of the first drafts of the trans- lations; t Frederick Goldin of the Graduate School of the City University of New York for permission to quote extensively from his translations of the male troubadours; to Mme. Agnes de Gunzbourg, for her extended hospitality to me while T was, at work in Paris And lastly to Electa Arenal, who was a primary source ‘The author would lke t acknowledge the generous support of ie Ludvig Vogelstein Foundation of New York City and the National Endowment for the Humanities, Present-day France showing approximate area of Occitan. INTRODUCTION Lost rventons has beard of the troubadous, the A= Tinger poets of the south of Trance, But adly anyone ncudng specnitsle tare that there wete women uoubadeurs wh ved and wrote ind same peiod roughly te twelfth and thee cetares ind tee area, Although eight ofthe women represened it thie book ae mentioned In the tneenthecotay des whch ‘ethemjorierat source efinformationon te troubalours, nly ¢ hand af them have bern ans or suded, Phe five been atc her and thar over the years bout Aalaede Poresrages, Castello and the Countess of Ds but thse ave eco in Scholar revew conceroed wih race teckel pest ofthe poss, The only sty ofthe women oubsdoure ‘mate |s «German moncgnph om 188 to whlch Ta indebted forte texts ofall at two ofthe pov, However st thy six pages Die Provenulchon Dicherinen can hdl be conslired ak exhaustive work Th books the Det fal eat Study onthe women Woubadour a well asthe a editog of thawed to include anton ExTRODUCTION ° Contrary to the popular image, most troubadours were not Jute-strumming wanderers, but serious court poets who only rarely were forced to hawk thelr poems from castle to castle. They are perhaps best known to the general reader for their development ofa set of amorous attitudes toward women which thas come to be identified as courtly love. Beginning in the early years of the twelfth century, following the First Crusade, they ‘were among the first to express what we might now call romantic love, as distinguished from, though not necessarily excluding, sexual passion. Their poems were addressed to women of the high nobility, fo whom they vowed eternal homage and obedi- ‘ence. Inexchange for their prostration, the troubadours expected to be ennobled, enriched, or simply made “better” Bach day 1am a beter man ard purer {for serve the noblest lady inthe world, ‘and I worship hr, Ill you this inthe ope. Arnaut Daniel. f1iso-1200 In almost every sense this poetry was new. For while the trou- badours-the word meansliterally "inder,”""inventor” —

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