Amongst the troubadour poets, Giraut de Borneil was one of the most important and influential. This 1989 edition covers Giraut's entire output.

The songs of the troubadour poets of the south of France were a pervasive influence in the development of the European lyric (and indeed other genres) from the twelfth century to the Renaissance and beyond. Much troubadour poetry is on the topic of love, and is composed from a first-person position. This book is a full-length study of this first-person subject position in its relation to language and society. Using theoretical approaches where appropriate, Sarah Kay discusses to what extent this first person is a 'self' or 'character', and how far it is self-determining. Dr Kay draws on a wide range of troubadour texts, and provides close readings of many of them, as well as translating all medieval quotations into English in order to make the discussion accessible to the non-specialist. Her book will be of interest both to scholars of medieval literature, and to anybody investigating subjectivity in lyric poetry.

This book is a reference volume and a digest of more than a century of scholarly work on troubadour poetry. Written by leading scholars, it summarizes the current consensus on the various facets of troubadour studies. Standing at the beginning of the history of modern European verse, the troubadours were the prime poets and composers of the twelfth and thirteenth centuries in the South of France. No study of medieval literature is complete without an examination of the courtly love which is celebrated in the elaborately rhymed stanzas of troubadour verse, creations whose words and melodies were imitated by poets and musicians all over medieval Europe. The words of about 2,500 troubadour songs have survived, along with 250 melodies, and all have come under intense scholarly scrutiny. This Handbook brings together the fruits of this scrutiny, giving teachers and students an overview of the fundamental issues in troubadour scholarship. All quotations are given in the original Old Occitan and in English. The editors provide a list of troubadour editions and an index, and each chapter includes a list of additional readings. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996. This book is a reference volume and a digest of more than a century of scholarly work on troubadour poetry. Written by leading scholars, it summarizes the current consensus on the various facets of troubadour studies. Standing at the beginning

Peire Vidal, one of the most celebrated of the Occitan troubadours, was a favorite performer at the courts of France, Spain, Italy, Malta, and Palestine during the late twelfth and early thirteenth centuries. His witty and humorous love-songs and satires provide a fascinating insight into the courtly society of his times. This book includes the first English translation and commentary of the complete works of Peire Vidal. It is a useful and accessible text for students and specialists of medieval literature.

The love songs of Occitan troubadours inspired a rich body of courtly lyric by poets working in neighboring languages. For Sarah Kay, these poets were nightingales, composing verse that is recognizable yet original. But troubadour poetry also circulated across Europe in a form that is less well known but was more transformative. Writers outside Occitania quoted troubadour songs word for word in their original language, then commented upon these excerpts as linguistic or poetic examples, as guides to conduct, and even as sources of theological insight. If troubadours and their poetic imitators were nightingales, these quotation artists were parrots, and their practices of excerption and repetition brought about changes in poetic subjectivity that would deeply affect the European canon. The first sustained study of the medieval tradition of troubadour quotation, Parrots and Nightingales examines texts produced along the arc of the northern Mediterranean—from Catalonia through southern France to northern Italy—through the thirteenth century and the first half of the fourteenth. Featuring extensive appendices of over a thousand troubadour passages that have been quoted or anthologized, Parrots and Nightingales traces how quotations influenced the works of grammarians, short story writers, biographers, encyclopedists, and not least, other poets including Dante and Petrarch. Kay explores the instability and fluidity of medieval textuality, revealing how the art of quotation affected the transmission of knowledge and transformed perceptions of desire from the "courtly love" of the Middle Ages to the more learned formulations that emerged in the Renaissance. Parrots and Nightingales deftly restores the medieval tradition of lyric quotation to visibility, persuasively arguing for its originality and influence as a literary strategy.

Study of comparison and identification with exemplary figures drawn from myth, history and historical legend, the Bible, the authorial canon, and literary tradition, from Homer to the interrelated branches of the medieval European vernacular lyric up to the end of the fourteenth century. The first half treats Homer, Virgil, Latin poets from Catullus to Ovid, and late and medieval Latin poets. The second half discusses the troubadour lyric, including Italian and Catalan poets who wrote in the language of the troubadours, the trouvr̈e lyric, the German lyric, and the Sicilian and Italian lyric up to Petrarch. The languages covered are thus classical Greek, classical, post-classical and medieval Latin, Occitan/Old Provenȧl, Old French, and medieval German and Italian. Representative examples of comparison and identification are given in the original language, followed by translation and textual and literary analysis.

An engaging and accessible introduction to the music, poetry, and lives of the medieval singer-songwriters. Composing songs of love and war in medieval Western and Southern Europe, troubadours spanned the social spectrum from powerful nobles to penniless minstrels. This book delves into the everyday worlds of these remarkable poet-musicians, famed for their innovative use of language and music as well as the lasting impact of their work on audiences then and now. The troubadours’ songs explored ideas about courtly love as well as medieval perceptions of gender, class, war, and chivalry. Linda M. Paterson examines the troubadours’ music, performance, and legacy, pairing fresh translations with the original texts to highlight the enduring beauty of their songs and poetry.

The Canso d'Antioca is a fascinating text which deserves more attention than it has received. It is a fragment of a much larger epic describing the events of the First Crusade, related to the Old French Chanson d'Antioca but with many unique features. As such it presents a double interest to scholars of both history and literature. It is a source text for the First Crusade with information not contained in any other source. It is also an early and seminal text for Occitan epic, few examples of which survive. And arguably it represents the first work of vernacular verse history in France, raising fundamental questions about the junction of epic and historiography. This is the first published edition of the text since Paul Meyer's version in 1884. It is based on the single extant manuscript of the Canso found in Roda in Northern Spain and now in Madrid, accompanied by a translation into English on facing pages. The text is supported by detailed notes and a glossary of proper names cross-referenced to all major First Crusade sources. The introduction discusses in detail the history of the text and manuscript, the value of the Canso as a historical document, and its place both within the historical tradition of the Crusade and within Occitan literary tradition and 12th-century vernacular historiography.

Here, Reddy illuminates the birth of a cultural movement that managed to regulate selfish desire and render it innocent - or innocent enough. Reddy strikes out from this historical moment on an exploration of love, contrasting the medieval development of romantic love in Europe with contemporaneous eastern traditions in Bengal.