Aubert, Audebert, Jausbert, Josbert, Gausbert, moine, lo monge de Puicibot, Poicibot, Puycibot, Pueicibòt

Aubert, moine de Puicibot.

Be s cuget venjar amors

Quan se parti soptamen

De mi, quar son falhimen

Li blasmava e 'l reprendia;

Pero si m fetz tan d' onor,

Quar plus far no m' en podia,

Que non sent mal ni dolor,

Ni no m planc, si cum solia,

Pueys n' ay mais de jauzimen;

Qu' el sen e l' entendemen

Que m tolc amors al venir

Ai tot cobrat al partir.

Qu' aissi m' entrepres folhors,

Et amors falset mon sen

Tan qu' una desconoyssen

Amiey, per so quar crezia

Qu' ilh agues de beutat flor,

E de pretz la senhoria;

Mas ar suy ses bailidor,

E sai segre dreita via;

Doncs conosc al sieu non sen

Que lieys amar no m' es gen;

Qu' en dona deu hom chauzir

Que s fass' ab bos fagz grazir.

Pero 'l cor no m' er alhors

Tan cum l' amiey finamen,

Mas cum mostres a la gen

Ab mos lauzars qu' ie 'lh valia,

Quar non cuiava 'l folhor

Que totz lo mons y sabia,

Ans grazia la valor

E lo pretz qu' ilh non avia;

Doncx pus ilh eyssa m desmen

Dels bes qu' ieu n' ai digz soven,

Non ai peccat del mentir,

Quar ieu cuiava ver dir.

Quar dels corals amadors

Non dey nulhs creyr' a nulh sen

De seliey en cui s' enten

Que falhis, sitot falhia;

E pren l' anta per honor,

E per sen pren la folia;

Per qu' ieu ab digz de lauzor

Lauziei lieys que no m valia,

Tan cum l' amiey coralmen;

E s' anc falhi en menten,

Era 'n dic ver ses falhir

Pel messonja penedir.

Qu' om no s salva ni no s sors

Del peccat que fai quan men

Estiers mas en ver dizen,

Per qu' ieu quar antan dizia,

Cum fis amans per error,

Lauzor de lieys, que tot dia

Ponhava en sa deshonor,

En luec de so quar mentia

Dir ver qu' ilh no val nien;

E sai q' un pauc y mespren,

Mas per la colpa delir

Dey la vertat descobrir.

Dona, s' ieu vos dic folia,

E vos la faitz eissamen,

Aissi deschairetz breumen,

Qu' amduy ponham al delir,

Vos ab far et ieu ab dir.

//

https://it.wikipedia.org/wiki/Jausbert_de_Puycibot

Jausbert de Puycibot o Gausbert de Poicibot o Puicibot e altre numerose varianti, talvolta chiamato Lo Monge de Poicibot (il monaco di Poicibot) e altrove Audebert o Josbert, in latino Gaubertus de Podio Ciboti (... – ...; fl. 1220-1231) è stato un cavaliere, religioso e trovatore limosino, originario probabilmente del Périgord o del Limosino e attivo all'inizio del XIII secolo.

Dei suoi componimenti ne sopravvivono quindici (quattordici dei quali sono cansos), in massima parte convenzionali, tranne qualcuno dotato di una "certa sensibilità".

La poesia S'eu vos voill tan gen lauzar è stata attribuita a lui, sebbene siano sorti dubbi a causa della sua apparizione in una collezione di poesie del Monge de Montaudo. Egli probabilmente scrisse un sirventes che, insieme a un altro di Bertran de Preissac, forma una tenzone in cui i due trovatori discutono sui pregi delle donne giovani e vecchie. Jausbert sostiene las joves (le giovani), mentre Bertran las vielhas (le anziane).

Era quan l'ivernz nos laissa

E par la fuoilla en la vaissa

   E il lauzellet chanton c'uns no s'en laissa,

Fas sirventes ses biaissa,

Mas uns malastrucs m'afaissa,

    Car ab joves no.s te: Dieus li don aissa!

Mais pretz una vieilla saissa

Que non a ni carn ni craissa.

   Mal ai' er el os e daval la madaissa!

  Que la genta, covinenta, on bos pretz s'eslaissa,

Fina, francha, frescha, blancha, don jois no.s biaissa,

Mais la vuoill, si gen m'acuoill ni josta se m'acaissa,

Que la rota, que.m des tota Limoges e Aissa.

    .  .  .  .  .  .  .  .  .

  En Bertranz men com afacha...

    E volria n'agues la testa fracha!

Pois parlar l'aug del manjar ni de bon' osta.l tracha,

Al jazer compra.l ben ser, tot lo porc e la vacha,

Quar s'embarga en la pel larga, que es molla e fracha.

Semblanz es, quant hom l'ades, qu'anc no.n trais sa

 garnacha.

    .  .  .  .  .  .  .  .  .

E tenc m'a gran desmesura

Que, pois domna desfegura,

    Quar ja i fai muzel ni armadura.

Mas prezes de si tal cura

Per que l'arm' estes segura,

    Que.l cors desvai a totz jorns e pejura.

  Eu lor dic aquest prezic per gran bonaventura.

  En Bertran vei a lor dan, e par que, per fraichura,

  Cad' aver las! i esper e soffre et abdura.

Secondo uno dei racconti contenuti nei Flores novellarum di Francesco da Barberino, Jausbert s'imbatte nella sua trascurata moglie mentre sta visitando un bordello.

I lavori di Jausbert furono per la prima volta curati e pubblicati da William P. Shepard sotto il titolo Les Poésies de Jausbert de Puycibot (Paris, 1924).

Componimenti

Cansos

Amors, s'a vos plagues

Be⋅s cujet venjar Amors

Car no m'abellis solatz

Merces es e chauzimens

Hueimais de vos non aten

Partitz de joi e d'amor

Per amor del belh temps suau

Pres soi et en greu pantais

S'ieu vos voill tan gent lauzar

S'ieu anc jorn dis clamans

Si res valgues en amor

Una grans amors corals

Uns joys sobriers mi somo

Era quan l'ivernz nos laissa

Sirventes

Gasc, pecs, laitz joglars e fers

Tenso

Jausbert, razon ai adrecha (con Bertran de Preissac)

Componimenti contesi ad altri trovatori:

Aissi com cel qu'a estat ses seignor (canso del Monge de Montaudon)

Amars, onrars e carteners (canso di Guiraut de Bornelh)

Bel m'es oimais qu'eu retraja (canso di Guillem de Saint Didier)

Car fui de dura acoindansa (canso di Aimeric de Peguilhan)

Fin' amors a cuy me suy datz (canso di Folchetto di Marsiglia)

Non pot esser sofert ni atendut (canso di Guillem Ademar)

• (EN) Adams, Edward L. Review of Les Poésies de Jausbert de Puycibot by William P. Shepard in Modern Language Notes, Vol. 41, No. 3. (Mar., 1926), pp. 197–200.
• (EN) Chambers, Frank M. "On the Attribution of a Provençal Poem." Modern Language Notes, Vol. 62, No. 5. (May, 1947), pp. 320–322.
• (EN) Jenkins, T. Atkinson. "On Newness in the Novel." PMLA, Vol. 41, Appendix. (1926), pp. xliii-lix.
• (EN) Shepard, William P. "A Provençal Débat on Youth and Age in Women." Modern Philology, Vol. 29, No. 2. (Nov., 1931), pp. 149–161.

Raimond de Miravals, Miraval, Miravalh

Raimond de Miravals.

I.

Dels quatre mestiers valens,
Per que cavalliers an pretz,
Es belh solatz avinens
Un dels melhors,
E selh cui mielhs acuelh amors;
Per qu' ieu m' esfors ab els et ab chantars,
Cum sobre totz fos grazitz mos affars;
Qu' homs malazautz, sitot s' es pros,
Non es guair' ad ops d' amar bos.

Per domnas desconoissens
Que per un' autra 'n son detz,
S' es alques camjatz mos sens,
Quar las pluzors
No sabon entendre lauzors;
Per qu' ieu non vuelh mos belhs digz plazens cars

Pauzar denan als lurs nescis cuidars,
Pus plazers non es cabalos,
Ans me vir vas autras razos.

Er dirai de mos talens
Qu' estat n' aurai mutz e quetz,
Mentre fui lur bevolens,
M' o tolc temors;
Gardatz s' es ben domneys errors,
Q' uns malapres, vilas, cobes, avars,
Outracuiatz parliers de mals parlars,
Es aculhitz enans que nos;
E quasquna vol n' aver dos.

No vuelh esser conoissens
Dels enjans que tug sabetz,
Don dizon donas que mens
N' es ma valors,
E dels autres domneyadors,
Quar per negun qu' els conogues tan clars
No 'ls agra mais aitan suffertz ni pars;
Mas ades hom n' es negligos
Vas selh que conoys aziros.

Si m' an menat malamens
Donas, e faitz lurs devetz,
Que falhitz m' es essiens
Chans et amors,
Voluntatz, arditz e temors,
Humilitatz e suffrirs e celars,
Parlar per ops, e quan m' es ops, calhars;
Aitals sui francs et amoros
Quar volc ma dona qu' aitals fos.

Ab aitals captenemens
Cum auziretz, si us voletz,
La sai, e sos cors qu' es gens,
E sa valors
Fina ab pauc de preyadors,
Valen e pros, lial ses totz trichars,
Guaya e prezan qu' a penas nulhs lauzars
Pot sos ricx pretz ni sas faisos
Dir en comtans ni ab chansos.

Lials, si m falh amors e domneyars,
Ieu ai chauzit de senhors part mos pars
Mon Audiart, que m' es tan bos
Qu' en sui fis als autres baros.

II.

A penas sai don m' aprenh
So qu' en chantan m' auzetz dir;
Com pieitz trac ni plus m' azir,
Miels en mon chan esdevenh;
Guardatz, quant er qui m n' ensenh,
Si sabrai esdevenir,
Sol ma bona domna m denh,
E nulh' autra no m destrenh,
Ni ses lieys no puesc guerir
De la dolor que sostenh.

Lo plus nescis hom del renh
Que la veya ni remir
Deuria esser al partir
Savis e de belh captenh;
E doncs ieu que l' am ses genh
Be m' en deuria jauzir,
Pos tan gran valor la senh;
E ges de saber no m fenh,
Ni nulh hom no pot falhir
Que de lieys aia sovenh.

Anc a nulh fin amador
No cug mais esdevengues,
Que de domnas no m ven bes,
Ni no m' aus clamar de lor;
Qu' una m tolh lo joy d' alhor
E del sieu no m dona ges,
Ni d' autra non ai sabor;
Pero per la su' amor
Soi plus guays e plus cortes,
E 'n port a totas honor.

Be sai que per sa ricor
Me tol so qu' anc no m promes,
Qu' ieu non soi ges tant apres
Que miey prec m' aian valor;
En aisso paus ma dolor,
Que lai se pausa merces
On falhon tuit validor;
Mas ilh a tan de lauzor
Qu' el bes i es grazis e pres,
E 'l mal en loc de doussor.

Dona, ben cortes jornal
Fa 'l jorn que vos va vezer,
Que ges pueis no s pot tener
Que no us port amor coral;
E non tug per cominal,
Qu' els fals no podon voler
So que volem nos leyal;
Per so viura desleyal
Selh qu' ab enjan no s' esper,
S' aillor non pren son ostal.

Tug li trobador engal,
Segon que an de saber,
Lauzon domnas per plazer,
E non guardon cui ni qual;
Mas qui trop mais que no val
Lauza si dons, fai parer
Qu' esquerns es e non ren al;
Mas ieu n' ai cauzida tal
Qu' om non pot dire mas ver,
Si doncs non dizia mal.

Per qu' ieu non pes de ren al
Mas de servir a plazer
Lieys de cui tenc Miraval.
Deus benediga 'l leyal:
Eu en cort volgra vezer
Cilh cui port amor coral.

III.

D' amor son totz mos cossiriers,
Per qu' ieu no cossir mas d' amor,
E diran li mal parlador
Que d' als deu pensar cavaliers;
Mas ieu dic que no fai mia
Que d' amor mov, qui qu' o dia,
So que val mais a foudat et a sen,
E tot quant hom fai per amor es gen.

Amors a tans de bos mestiers
Qu' a totz fai benestans socor,
Qu' ieu no vey nulh bon servidor
Que non cug esser parsoniers,
Qu' en luec bos pretz no s' abria
Leu, si non ve per amia;
Pueis dizon tug, quant hom fai falhimen,
Be m par d' aquest qu' en donas non enten.

Dona no pot aver estiers,
Si non ama, pretz e valor,
Qu' atressi com li amador
An mais de totz bos aips sobriers,
Selha que trop no s' en tria
En val mais, qui la 'n castia,
Adoncs fai mal, si 'n mielhs no s' en repen;
Mas creire deu adreg castiamen.

Qu' ieu sui mainhtas vetz lauzengiers,
Quar a dona ni a senhor
Non deu consentir deshonor
Negus sos fizels cosselliers;
Non laissarai qu' ieu non dia,
Qu' ieu tos temps non contradia
So que faran domnas contra joven,
Ni m semblara de mal captenemen.

E ja d' aquestz drutz messongiers
Que cuion aver gran lauzor,
Ni dona que s' aten a lor,
Uns per so no m sia guerriers;
Qu' enemics ni enemia
No m notz lo pretz d' una fia,
Sol que m' aia ma dona ferm talen,
E meinhs d' erguelh e mais de chauzimen.

De gaug li fora plazentiers,
Mas trop mi ten en gran error,
Pero per semblan de melhor
N' ai eu loguat cinc ans entiers;
Mas una dona mendia,
Falsa, que dieus la maldia,
Mes entre nos aquest destorbamen,
Don mainhtas vetz n' ai pueys plorat greumen.

Mais D' Amic, dieus benezia
Qui vol que m siatz amia,
E s' ie us ai fag plazer ni onramen
Enquer, si us platz, o farai per un cen.

Mantelh, qui aital n' abria,
Ben er cregutz, quals qu' o dia,
Qu' anc no 'l conques per aur ni per argen,
Mas per valor, e per pretz, e per sen.

Pastoret, no us lauzi mia,
Si dieus vos don joy d' amia,
Qu' a ma dona no mostretz cum l' es gen,
Si Miravalh sap tener franchamen.

Chansoneta, ves mi dons vai corren,
Qu' ilh mante pretz, e renha en joven.

//

Raimon de Miraval(h) (c. 1135/1160 – c. 1220) was a troubadour (fl. 1180–1220) and, according to his vida, "a poor knight from Carcassonne who owned less than a quarter of the castle of Miraval." Favoured by Raymond VI of Toulouse, he was also later associated with Peter II of Aragon and Alfonso VIII of Castile. His senhal for Raymond VI was Audiart.

Raimon has been identified with a person of the same name who undersigned a charter of 1151, which led some to place his birth date as early as c. 1135, while others reject the identification with the Raimon de Miraval of the charter and estimate his birth date at 1160 based on the height of his career c. 1200. That Raimon owned only a quarter of his family's ancestral castle is an indication either of partible inheritance or clan structure. Miraval was captured by Simon de Montfort during the Albigensian Crusade. After the Battle of Muret in 1213 Raimon probably fled to Spain, after swearing never to sing again until he had regained his castle.

At some point he separated from his wife, Gaudairença (or Caudairenga), herself the author of the (now lost) song Coblas e dansas, for uncourtly behaviour. Now a single man, he pursued, with little amatory success but great poetic inspiration, his muses, first Étiennette de Pennautier, wife of Jourdain de Cabaret, “la loba”, the she-wolf, who eventually settled with the Raymond-Roger, Count of Foix, and then with Azalaïs de Boissézon, another married lady, who used his graphic descriptions of her to lure Peter II of Aragon into her bed. 

Of Raimon's works 45 remain, of which 22 have melodies: one of the highest survival rates among troubadours. Most of these works are of the trobar leu style. Raimon addressed many works to one named "Pastoret", but the identification of this person has been problematic, though he is usually identified as Raymond Roger Trencavel. Raimon was admired by contemporaries and by most poets of later generations and he is famous for his handling of the subject of courtly love. Raimon represents a move away from the traditional cansos celebrating the jois d'amor ("joys of love") or amor de lonh ("love from afar"), but rather emphasizing courtliness, honor, and reputation. The highest virtue is faithfulness, but this hinges on courtliness (pretz e valor).Graham-Leigh, Elaine. The Southern French Nobility and the Albigensian Crusade. Woodbridge: The Boydell Press, 2005. ISBN 1-84383-129-5

Taylor, Colin (2018). Lauragais: Steeped in History, Soaked in Blood. Troubador Publishing. ASIN 1789015839.

Topsfield, L. T. "Raimon de Miraval and the Art of Courtly Love." The Modern Language Review, Vol. 51, No. 1. (Jan., 1956), pp 33–41.

https://www.jstor.org/stable/3718257

Topsfield, L. T. (ed). Les Poésies du troubadour Raimon de Miraval. Paris: Les Classiques d'Oc IV, 1971.

http://cunnan.sca.org.au/wiki/Raimon_de_Miraval

http://trobar.org/troubadours/raimon_de_miravalh/

Raimond de Miravals, Miraval, Miravalh

Raimond de Miravals.

I.

Dels quatre mestiers valens,
Per que cavalliers an pretz,
Es belh solatz avinens
Un dels melhors,
E selh cui mielhs acuelh amors;
Per qu' ieu m' esfors ab els et ab chantars,
Cum sobre totz fos grazitz mos affars;
Qu' homs malazautz, sitot s' es pros,
Non es guair' ad ops d' amar bos.

Per domnas desconoissens
Que per un' autra 'n son detz,
S' es alques camjatz mos sens,
Quar las pluzors
No sabon entendre lauzors;
Per qu' ieu non vuelh mos belhs digz plazens cars

Pauzar denan als lurs nescis cuidars,
Pus plazers non es cabalos,
Ans me vir vas autras razos.

Er dirai de mos talens
Qu' estat n' aurai mutz e quetz,
Mentre fui lur bevolens,
M' o tolc temors;
Gardatz s' es ben domneys errors,
Q' uns malapres, vilas, cobes, avars,
Outracuiatz parliers de mals parlars,
Es aculhitz enans que nos;
E quasquna vol n' aver dos.

No vuelh esser conoissens
Dels enjans que tug sabetz,
Don dizon donas que mens
N' es ma valors,
E dels autres domneyadors,
Quar per negun qu' els conogues tan clars
No 'ls agra mais aitan suffertz ni pars;
Mas ades hom n' es negligos
Vas selh que conoys aziros.

Si m' an menat malamens
Donas, e faitz lurs devetz,
Que falhitz m' es essiens
Chans et amors,
Voluntatz, arditz e temors,
Humilitatz e suffrirs e celars,
Parlar per ops, e quan m' es ops, calhars;
Aitals sui francs et amoros
Quar volc ma dona qu' aitals fos.

Ab aitals captenemens
Cum auziretz, si us voletz,
La sai, e sos cors qu' es gens,
E sa valors
Fina ab pauc de preyadors,
Valen e pros, lial ses totz trichars,
Guaya e prezan qu' a penas nulhs lauzars
Pot sos ricx pretz ni sas faisos
Dir en comtans ni ab chansos.

Lials, si m falh amors e domneyars,
Ieu ai chauzit de senhors part mos pars
Mon Audiart, que m' es tan bos
Qu' en sui fis als autres baros.

II.

A penas sai don m' aprenh
So qu' en chantan m' auzetz dir;
Com pieitz trac ni plus m' azir,
Miels en mon chan esdevenh;
Guardatz, quant er qui m n' ensenh,
Si sabrai esdevenir,
Sol ma bona domna m denh,
E nulh' autra no m destrenh,
Ni ses lieys no puesc guerir
De la dolor que sostenh.

Lo plus nescis hom del renh
Que la veya ni remir
Deuria esser al partir
Savis e de belh captenh;
E doncs ieu que l' am ses genh
Be m' en deuria jauzir,
Pos tan gran valor la senh;
E ges de saber no m fenh,
Ni nulh hom no pot falhir
Que de lieys aia sovenh.

Anc a nulh fin amador
No cug mais esdevengues,
Que de domnas no m ven bes,
Ni no m' aus clamar de lor;
Qu' una m tolh lo joy d' alhor
E del sieu no m dona ges,
Ni d' autra non ai sabor;
Pero per la su' amor
Soi plus guays e plus cortes,
E 'n port a totas honor.

Be sai que per sa ricor
Me tol so qu' anc no m promes,
Qu' ieu non soi ges tant apres
Que miey prec m' aian valor;
En aisso paus ma dolor,
Que lai se pausa merces
On falhon tuit validor;
Mas ilh a tan de lauzor
Qu' el bes i es grazis e pres,
E 'l mal en loc de doussor.

Dona, ben cortes jornal
Fa 'l jorn que vos va vezer,
Que ges pueis no s pot tener
Que no us port amor coral;
E non tug per cominal,
Qu' els fals no podon voler
So que volem nos leyal;
Per so viura desleyal
Selh qu' ab enjan no s' esper,
S' aillor non pren son ostal.

Tug li trobador engal,
Segon que an de saber,
Lauzon domnas per plazer,
E non guardon cui ni qual;
Mas qui trop mais que no val
Lauza si dons, fai parer
Qu' esquerns es e non ren al;
Mas ieu n' ai cauzida tal
Qu' om non pot dire mas ver,
Si doncs non dizia mal.

Per qu' ieu non pes de ren al
Mas de servir a plazer
Lieys de cui tenc Miraval.
Deus benediga 'l leyal:
Eu en cort volgra vezer
Cilh cui port amor coral.

III.

D' amor son totz mos cossiriers,
Per qu' ieu no cossir mas d' amor,
E diran li mal parlador
Que d' als deu pensar cavaliers;
Mas ieu dic que no fai mia
Que d' amor mov, qui qu' o dia,
So que val mais a foudat et a sen,
E tot quant hom fai per amor es gen.

Amors a tans de bos mestiers
Qu' a totz fai benestans socor,
Qu' ieu no vey nulh bon servidor
Que non cug esser parsoniers,
Qu' en luec bos pretz no s' abria
Leu, si non ve per amia;
Pueis dizon tug, quant hom fai falhimen,
Be m par d' aquest qu' en donas non enten.

Dona no pot aver estiers,
Si non ama, pretz e valor,
Qu' atressi com li amador
An mais de totz bos aips sobriers,
Selha que trop no s' en tria
En val mais, qui la 'n castia,
Adoncs fai mal, si 'n mielhs no s' en repen;
Mas creire deu adreg castiamen.

Qu' ieu sui mainhtas vetz lauzengiers,
Quar a dona ni a senhor
Non deu consentir deshonor
Negus sos fizels cosselliers;
Non laissarai qu' ieu non dia,
Qu' ieu tos temps non contradia
So que faran domnas contra joven,
Ni m semblara de mal captenemen.

E ja d' aquestz drutz messongiers
Que cuion aver gran lauzor,
Ni dona que s' aten a lor,
Uns per so no m sia guerriers;
Qu' enemics ni enemia
No m notz lo pretz d' una fia,
Sol que m' aia ma dona ferm talen,
E meinhs d' erguelh e mais de chauzimen.

De gaug li fora plazentiers,
Mas trop mi ten en gran error,
Pero per semblan de melhor
N' ai eu loguat cinc ans entiers;
Mas una dona mendia,
Falsa, que dieus la maldia,
Mes entre nos aquest destorbamen,
Don mainhtas vetz n' ai pueys plorat greumen.

Mais D' Amic, dieus benezia
Qui vol que m siatz amia,
E s' ie us ai fag plazer ni onramen
Enquer, si us platz, o farai per un cen.

Mantelh, qui aital n' abria,
Ben er cregutz, quals qu' o dia,
Qu' anc no 'l conques per aur ni per argen,
Mas per valor, e per pretz, e per sen.

Pastoret, no us lauzi mia,
Si dieus vos don joy d' amia,
Qu' a ma dona no mostretz cum l' es gen,
Si Miravalh sap tener franchamen.

Chansoneta, ves mi dons vai corren,
Qu' ilh mante pretz, e renha en joven.

//

Raimon de Miraval(h) (c. 1135/1160 – c. 1220) was a troubadour (fl. 1180–1220) and, according to his vida, "a poor knight from Carcassonne who owned less than a quarter of the castle of Miraval." Favoured by Raymond VI of Toulouse, he was also later associated with Peter II of Aragon and Alfonso VIII of Castile. His senhal for Raymond VI was Audiart.

Raimon has been identified with a person of the same name who undersigned a charter of 1151, which led some to place his birth date as early as c. 1135, while others reject the identification with the Raimon de Miraval of the charter and estimate his birth date at 1160 based on the height of his career c. 1200. That Raimon owned only a quarter of his family's ancestral castle is an indication either of partible inheritance or clan structure. Miraval was captured by Simon de Montfort during the Albigensian Crusade. After the Battle of Muret in 1213 Raimon probably fled to Spain, after swearing never to sing again until he had regained his castle.

At some point he separated from his wife, Gaudairença (or Caudairenga), herself the author of the (now lost) song Coblas e dansas, for uncourtly behaviour. Now a single man, he pursued, with little amatory success but great poetic inspiration, his muses, first Étiennette de Pennautier, wife of Jourdain de Cabaret, “la loba”, the she-wolf, who eventually settled with the Raymond-Roger, Count of Foix, and then with Azalaïs de Boissézon, another married lady, who used his graphic descriptions of her to lure Peter II of Aragon into her bed. 

Of Raimon's works 45 remain, of which 22 have melodies: one of the highest survival rates among troubadours. Most of these works are of the trobar leu style. Raimon addressed many works to one named "Pastoret", but the identification of this person has been problematic, though he is usually identified as Raymond Roger Trencavel. Raimon was admired by contemporaries and by most poets of later generations and he is famous for his handling of the subject of courtly love. Raimon represents a move away from the traditional cansos celebrating the jois d'amor ("joys of love") or amor de lonh ("love from afar"), but rather emphasizing courtliness, honor, and reputation. The highest virtue is faithfulness, but this hinges on courtliness (pretz e valor).Graham-Leigh, Elaine. The Southern French Nobility and the Albigensian Crusade. Woodbridge: The Boydell Press, 2005. ISBN 1-84383-129-5

Taylor, Colin (2018). Lauragais: Steeped in History, Soaked in Blood. Troubador Publishing. ASIN 1789015839.

Topsfield, L. T. "Raimon de Miraval and the Art of Courtly Love." The Modern Language Review, Vol. 51, No. 1. (Jan., 1956), pp 33–41.

https://www.jstor.org/stable/3718257

Topsfield, L. T. (ed). Les Poésies du troubadour Raimon de Miraval. Paris: Les Classiques d'Oc IV, 1971.

http://cunnan.sca.org.au/wiki/Raimon_de_Miraval

http://trobar.org/troubadours/raimon_de_miravalh/

Elias de Barjols

Elias de Barjols.

I.

Belhs Guazans, s' a vos plazia
Ben fora sazos
Qu' el vostre cors belhs e bos,
Humils, de doussa paria,
Fos d' amor tan cobeitos,
Pus negus non es tan pros
Que us o digua, ni que ja sapcha tan
Que vos o aus dir, ni que vos o man.

Qu' ieu sai qu' a vos tanheria
Amics cabalos,
Tals don res a dir non fos,
Aitals cum ieu chauziria;
Farai n' un tot nou qu' er bos,
E penrai de las faissos
De quadaun de las melhors qu' auran,
Tro vos aiatz cavalier benestan.

N Aymars me don sa coyndia,
En Trencaleos
Sa gensozia, En Randos
Donar qu' es la senhoria,
El Dalfis sos belhs respos,
En Peyr cuy es Monleos
Do m son guabar, e volrai d' En Brian
Cavallairia, e 'l sen vuelh d' En Bertran.

Bels Castellas, cortezia
Vuel aver de vos,
E volrai que m do En Neblos
Covit que plus non penria,
En Miravalh sas chansos;
En Pos de Capduelh do nos
Sa guayesa, En Bertran la Tor man
Sa drecheza mi do, e no m soan.

Aital l' auretz ses fadia
Guai et amoros,
Belha, ben fait e joyos,
E ple de cavallairia;
Et es ben dreytz e razos
Que vos l' ametz et elh vos,
Qu' assatz seretz ambeduy d' un semblan;
Sol non crezatz fals lauzengier truan.

II.

Amors be m' avetz tengut
En vostre poder lonjamen,
Qu' anc no i puec trobar chauzimen,
Ni merces no m' a valgut
Ab vos, per que fatz fallensa,
Quar a lieys no mostre mos mals
Cui sui hom litges naturals,
Qu' ieu non l' en aus far parvensa.

Et auriatz m' ereubut,
Amors, e fag ric e manen,
Si m donavatz tan d' ardimen
Que mon fin cor esperdut
Per sobrar de benvolensa
Li mostres una vetz sivals;
Ja pueis no us quezera ren als,
Si m fessetz tanta valensa.

Qu' ieu fatz semblansa de mut
Quan vey son guai cors covinen
De la belha en cui m' enten;
Si 'l tenc mon cor escondut
Qu' ieu non l' aus dir per temensa
Cum li sui francs, fis e lials
Amicx en totz luecx, e cabals,
Que d' als non ai sovinensa.

Ges no m' es dessovengut,
Domna, vostre plazer plazen
Que m fezetz al comensamen
Don m' avetz viu deceubut;
Car comprey ma conoyssensa
E vostra beutat qu' es aitals
Cum belha rosa e belhs cristals,
Pus ab vos non truep guirensa.

Dona, si dieus vos ajut,
Pus conoissetz so que us es gen,
Conoscatz quo us am finamen,
Ni cum mi tenetz vencut,
Ni cum trac greu penedensa,
Ni cum sui vostr' amicx corals,
Ni cum anc ves vos no fui fals,
Ni cum vostr' amors m' agensa.

El senhoriu de Proensa
Es vengutz senhers naturals
A cui no platz enjans ni mals,
Ni cobeytatz non l' agensa.

En Blacatz, vostra valensa
Es de totas valors eguals,
E sapchatz s' ades etz aitals
Non trobaretz qui la us vensa.

III.

Car comprei vostras beutatz
E vostras plazens faissos,
Dona, e 'l semblan amoros
E 'l vostr' avinen solatz,
Quar no us aus mos talans dire,
Ni de vos no m puesc partir,
Ni d' als no son mey cossir,
Ni nulh joy tan non dezire.

Ben tart serai deziratz,
Avinens dompna, per vos,
Tant etz aut' et ieu suy jos,
Si no us vens humilitatz
Vostre cors per cui sospire,
Don ai fag maint greu sospir;
E sai que non puesc guerir,
S' umilitatz n' es a dire.

Anc no us dis ben acordatz,
Dona, tan sui temeros,
Co us am e 'n sui enveios,
Car no sui de vos privatz;
Pero be m pens e m' albire
Que vos sabetz mon albir;
Veus so que m fai esbaudir,
Qu' ieu d' al re no soi jauzire.

Ben sui jauzens et iratz,
Dona, quan sui denan vos;
Iratz sui, quar a rescos
No us aus dir mas voluntatz,
E sui jauzens quan remire
Vos qu' es la genser que s mir,
Mas mey huelh me fan falhir,
S' al dezir me fan aucire.

Ben es mortz qui a pensatz
Viu ni dezaventuros
D' aisso don es cobeitos,
Don nulhs joys non l' es donatz;
D' aital mort suy ieu sufrire
Per vos don no m tuelh ni m vir;
E, si m metetz en azir,
Tem que totz lo mons m' azire.

Bona dompna, s' a vos platz,
Merce us quier, que quan cossire
De vos qui etz ni m' albir,
Si merces no m vol venir,
Mortz sui senes contradire.

Comtessa, nulh mal cossire
Non es qu' om de vos cossir,
E tenetz cort de servir
E de solatz e de rire.

D' En Blacatz no m tuelh ni m vire,
Ni de son pretz enantir,
Que tan non puesc de ben dir
Qu' ades mais no y truep a dire.

//

https://en.wikipedia.org/wiki/Elias_de_Barjols

Elias de Barjols (fl. 1191–1230) was a bourgeois Aquitainian troubadour who established himself in Provence and retired a monk. Eleven of his lyrics survive, but none of his music.

According to his vida Elias was the son of a merchant and came from Agenais. The name of his birthplace is peiols in the manuscripts, but such a name can not be found in Agenais nor elsewhere: the most recent edition suggests that peiols is a scribal error for Poiols, ancient name of Pujols, (Podiolo, little Podium, Pujol, Pujolet, like the well known catalan dwarf) castle placed in Agenais, about 25 km from Agen. The identification of peiols as Pérols-sur-Vézère, as Stronski proposed in 1906, is untenable, because this place was not a castle and was not in Agenais, but in Limousin. According to his vida he was the greatest singer of his age (but such a statement is very frequent in the vidas') and he travelled widely from court to court as a jongleur with a fellow jongleur named Oliver. They eventually found favour with Alfonso II of Provence: a document dated to 1208 seems to confirm this. Alfonso gave them wives and land in Barjols, where Elias is witness in a document of Ramon Berenguer IV, count of Provence (Alfonso's son) in 1222.

According to his vida Elias fell in love with (i. e. celebrated) Garsenda of Sabran, the widow of Alfonso II (died 1209), and composed songs for her "as long as she lived", but none of his songs names her explicitly, whereas three of them are dedicated to Beatrice of Savoy, wife of Ramon Berenguer IV, count of Provence. The vida is therefore inaccurate in this case.

He later entered a hospital of the Fratres Pontifices founded by Beneic in Avignon, where he died.

Elias was a practitioner of the trobar leu style. Among his works are a descort, a partimen, and nine cansos; a sirventes, two cansos and another descort have a questionable attribution. Probably around 1200 Elias (but attribution is uncertain) wrote a poem describing the cavalier soissebut (or cavalher benestan: ideal, or model, knight) with his characteristics taken from his contemporaries, in imitation of a work by Bertran de Born in which the domna soissebuda (or dompna soiseubuda) is described by features of the exemplary noblewomen of Bertran's time. Elias constructs this knight for his lady from the "elegance" of Aimar, the "affability" of Giraut IV Trencaleon d'Armagnac, the "generosity" of Randon (a lord of this name died before 1219, when he is mentioned in the testament of his son-in-law; he was the nephew of the troubadour Garin lo Brun), the "good responses" of Dalfi d'Alvernha, the "wits" of Peir cui es Monleos (maybe the troubadour Peire de Gavaret), the "chivalry" of Brian, the "wisdom" of Bertran, the "courtesy" of a Bels Castellas (beautiful castellan), the "conviviality" of a certain Neblos, the "songs" (chansos) of Raimon de Miraval, the "gaiety" (guaieza) of Pons de Capdoill, and the "probity" of Bertran II de la Tor.

Another poem, Ben deu hom son bon senhor, written probably around 1225, has two tornadas referring to Beatrice of Savoy, husband (wife) of Ramon Berenguer IV of Provence, and the lord Blacatz respectively. The stanza preceding them is full of praise for the Emperor Frederick II, suzerain of Provence, who had good relations with both Raymond Berengar and Blacatz at the time.

Comtessa Beatris, gran be

aug de vos dir e retraire,

quar del mon etz la belaire,

de las autras dompnas qu'om ve.

Countess Beatrice, great good

I hear said and related of you,

for you are the most beautiful

of the ladies seen in the world.

Besides Beatrice and Blacatz, Elias wrote poems to Jaufre Reforzat de Trets and Ferdinand III of Castile-León.

http://www.rialto.unina.it/ElBarj/132.4(Barachini).htm

Egan, Margarita, ed. and trans. The Vidas of the Troubadours. New York: Garland, 1984. ISBN 0-8240-9437-9.

Gaunt, Simon, and Kay, Sarah (edd.) The Troubadours: An Introduction. Cambridge: Cambridge University Press, 1999. ISBN 0-521-57473-0.

Harvey, Ruth. "Courtly culture in medieval Occitania" (pp. 8–27). The Troubadours: An Introduction. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0-521-57473-0.

Stronski, Stanislaw, ed. Le Troubadour Elias de Barjols. Toulouse: Edouard Privat, 1906.

Topsfield, L. T. "Raimon de Miraval and the Art of Courtly Love." The Modern Language Review, 51:1 (January 1956), pp. 33–41. https://www.jstor.org/stable/3718257

http://epistolae.ccnmtl.columbia.edu/letter/497.html  

"One should with one's good lord" at Epistolæ: Medieval Women's Latin Letters.

Elias de Barjols.

Elias de Barjols.

I.

Belhs Guazans, s' a vos plazia
Ben fora sazos
Qu' el vostre cors belhs e bos,
Humils, de doussa paria,
Fos d' amor tan cobeitos,
Pus negus non es tan pros
Que us o digua, ni que ja sapcha tan
Que vos o aus dir, ni que vos o man.

Qu' ieu sai qu' a vos tanheria
Amics cabalos,
Tals don res a dir non fos,
Aitals cum ieu chauziria;
Farai n' un tot nou qu' er bos,
E penrai de las faissos
De quadaun de las melhors qu' auran,
Tro vos aiatz cavalier benestan.

N Aymars me don sa coyndia,
En Trencaleos
Sa gensozia, En Randos
Donar qu' es la senhoria,
El Dalfis sos belhs respos,
En Peyr cuy es Monleos
Do m son guabar, e volrai d' En Brian
Cavallairia, e 'l sen vuelh d' En Bertran.

Bels Castellas, cortezia
Vuel aver de vos,
E volrai que m do En Neblos
Covit que plus non penria,
En Miravalh sas chansos;
En Pos de Capduelh do nos
Sa guayesa, En Bertran la Tor man
Sa drecheza mi do, e no m soan.

Aital l' auretz ses fadia
Guai et amoros,
Belha, ben fait e joyos,
E ple de cavallairia;
Et es ben dreytz e razos
Que vos l' ametz et elh vos,
Qu' assatz seretz ambeduy d' un semblan;
Sol non crezatz fals lauzengier truan.

II.

Amors be m' avetz tengut
En vostre poder lonjamen,
Qu' anc no i puec trobar chauzimen,
Ni merces no m' a valgut
Ab vos, per que fatz fallensa,
Quar a lieys no mostre mos mals
Cui sui hom litges naturals,
Qu' ieu non l' en aus far parvensa.

Et auriatz m' ereubut,
Amors, e fag ric e manen,
Si m donavatz tan d' ardimen
Que mon fin cor esperdut
Per sobrar de benvolensa
Li mostres una vetz sivals;
Ja pueis no us quezera ren als,
Si m fessetz tanta valensa.

Qu' ieu fatz semblansa de mut
Quan vey son guai cors covinen
De la belha en cui m' enten;
Si 'l tenc mon cor escondut
Qu' ieu non l' aus dir per temensa
Cum li sui francs, fis e lials
Amicx en totz luecx, e cabals,
Que d' als non ai sovinensa.

Ges no m' es dessovengut,
Domna, vostre plazer plazen
Que m fezetz al comensamen
Don m' avetz viu deceubut;
Car comprey ma conoyssensa
E vostra beutat qu' es aitals
Cum belha rosa e belhs cristals,
Pus ab vos non truep guirensa.

Dona, si dieus vos ajut,
Pus conoissetz so que us es gen,
Conoscatz quo us am finamen,
Ni cum mi tenetz vencut,
Ni cum trac greu penedensa,
Ni cum sui vostr' amicx corals,
Ni cum anc ves vos no fui fals,
Ni cum vostr' amors m' agensa.

El senhoriu de Proensa
Es vengutz senhers naturals
A cui no platz enjans ni mals,
Ni cobeytatz non l' agensa.

En Blacatz, vostra valensa
Es de totas valors eguals,
E sapchatz s' ades etz aitals
Non trobaretz qui la us vensa.

III.

Car comprei vostras beutatz
E vostras plazens faissos,
Dona, e 'l semblan amoros
E 'l vostr' avinen solatz,
Quar no us aus mos talans dire,
Ni de vos no m puesc partir,
Ni d' als no son mey cossir,
Ni nulh joy tan non dezire.

Ben tart serai deziratz,
Avinens dompna, per vos,
Tant etz aut' et ieu suy jos,
Si no us vens humilitatz
Vostre cors per cui sospire,
Don ai fag maint greu sospir;
E sai que non puesc guerir,
S' umilitatz n' es a dire.

Anc no us dis ben acordatz,
Dona, tan sui temeros,
Co us am e 'n sui enveios,
Car no sui de vos privatz;
Pero be m pens e m' albire
Que vos sabetz mon albir;
Veus so que m fai esbaudir,
Qu' ieu d' al re no soi jauzire.

Ben sui jauzens et iratz,
Dona, quan sui denan vos;
Iratz sui, quar a rescos
No us aus dir mas voluntatz,
E sui jauzens quan remire
Vos qu' es la genser que s mir,
Mas mey huelh me fan falhir,
S' al dezir me fan aucire.

Ben es mortz qui a pensatz
Viu ni dezaventuros
D' aisso don es cobeitos,
Don nulhs joys non l' es donatz;
D' aital mort suy ieu sufrire
Per vos don no m tuelh ni m vir;
E, si m metetz en azir,
Tem que totz lo mons m' azire.

Bona dompna, s' a vos platz,
Merce us quier, que quan cossire
De vos qui etz ni m' albir,
Si merces no m vol venir,
Mortz sui senes contradire.

Comtessa, nulh mal cossire
Non es qu' om de vos cossir,
E tenetz cort de servir
E de solatz e de rire.

D' En Blacatz no m tuelh ni m vire,
Ni de son pretz enantir,
Que tan non puesc de ben dir
Qu' ades mais no y truep a dire.

//

https://en.wikipedia.org/wiki/Elias_de_Barjols

Elias de Barjols (fl. 1191–1230) was a bourgeois Aquitainian troubadour who established himself in Provence and retired a monk. Eleven of his lyrics survive, but none of his music.

According to his vida Elias was the son of a merchant and came from Agenais. The name of his birthplace is peiols in the manuscripts, but such a name can not be found in Agenais nor elsewhere: the most recent edition suggests that peiols is a scribal error for Poiols, ancient name of Pujols, (Podiolo, little Podium, Pujol, Pujolet, like the well known catalan dwarf) castle placed in Agenais, about 25 km from Agen. The identification of peiols as Pérols-sur-Vézère, as Stronski proposed in 1906, is untenable, because this place was not a castle and was not in Agenais, but in Limousin. According to his vida he was the greatest singer of his age (but such a statement is very frequent in the vidas') and he travelled widely from court to court as a jongleur with a fellow jongleur named Oliver. They eventually found favour with Alfonso II of Provence: a document dated to 1208 seems to confirm this. Alfonso gave them wives and land in Barjols, where Elias is witness in a document of Ramon Berenguer IV, count of Provence (Alfonso's son) in 1222.

According to his vida Elias fell in love with (i. e. celebrated) Garsenda of Sabran, the widow of Alfonso II (died 1209), and composed songs for her "as long as she lived", but none of his songs names her explicitly, whereas three of them are dedicated to Beatrice of Savoy, wife of Ramon Berenguer IV, count of Provence. The vida is therefore inaccurate in this case.

He later entered a hospital of the Fratres Pontifices founded by Beneic in Avignon, where he died.

Elias was a practitioner of the trobar leu style. Among his works are a descort, a partimen, and nine cansos; a sirventes, two cansos and another descort have a questionable attribution. Probably around 1200 Elias (but attribution is uncertain) wrote a poem describing the cavalier soissebut (or cavalher benestan: ideal, or model, knight) with his characteristics taken from his contemporaries, in imitation of a work by Bertran de Born in which the domna soissebuda (or dompna soiseubuda) is described by features of the exemplary noblewomen of Bertran's time. Elias constructs this knight for his lady from the "elegance" of Aimar, the "affability" of Giraut IV Trencaleon d'Armagnac, the "generosity" of Randon (a lord of this name died before 1219, when he is mentioned in the testament of his son-in-law; he was the nephew of the troubadour Garin lo Brun), the "good responses" of Dalfi d'Alvernha, the "wits" of Peir cui es Monleos (maybe the troubadour Peire de Gavaret), the "chivalry" of Brian, the "wisdom" of Bertran, the "courtesy" of a Bels Castellas (beautiful castellan), the "conviviality" of a certain Neblos, the "songs" (chansos) of Raimon de Miraval, the "gaiety" (guaieza) of Pons de Capdoill, and the "probity" of Bertran II de la Tor.

Another poem, Ben deu hom son bon senhor, written probably around 1225, has two tornadas referring to Beatrice of Savoy, husband (wife) of Ramon Berenguer IV of Provence, and the lord Blacatz respectively. The stanza preceding them is full of praise for the Emperor Frederick II, suzerain of Provence, who had good relations with both Raymond Berengar and Blacatz at the time.

Comtessa Beatris, gran be

aug de vos dir e retraire,

quar del mon etz la belaire,

de las autras dompnas qu'om ve.

Countess Beatrice, great good

I hear said and related of you,

for you are the most beautiful

of the ladies seen in the world.

Besides Beatrice and Blacatz, Elias wrote poems to Jaufre Reforzat de Trets and Ferdinand III of Castile-León.

http://www.rialto.unina.it/ElBarj/132.4(Barachini).htm

Egan, Margarita, ed. and trans. The Vidas of the Troubadours. New York: Garland, 1984. ISBN 0-8240-9437-9.

Gaunt, Simon, and Kay, Sarah (edd.) The Troubadours: An Introduction. Cambridge: Cambridge University Press, 1999. ISBN 0-521-57473-0.

Harvey, Ruth. "Courtly culture in medieval Occitania" (pp. 8–27). The Troubadours: An Introduction. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0-521-57473-0.

Stronski, Stanislaw, ed. Le Troubadour Elias de Barjols. Toulouse: Edouard Privat, 1906.

Topsfield, L. T. "Raimon de Miraval and the Art of Courtly Love." The Modern Language Review, 51:1 (January 1956), pp. 33–41. https://www.jstor.org/stable/3718257

http://epistolae.ccnmtl.columbia.edu/letter/497.html  

"One should with one's good lord" at Epistolæ: Medieval Women's Latin Letters.