GENERAL INDEX
A
Abridgment, 62 , 80 , 84 , 215 , 221 , 250 n.2, 255 n.9, 256 n.15
Addressee, 22 , 55 , 73 ;
as retransmitter, 53 , 202
Aesthetics, 87 , 134 , 163 , 182 , 184 , 204 ;
classless, 163 , 187
Affective fallacy, 207
Affective stylistics, 207 -8
Aigar et Maurin,261 n.11
Aimeric de Belenoi, 222 , App. A
Aimeric de Peguilhan, 29 -30
Alberic de Romano, 253 n.9
Albigensian crusade, 247 n.1
Alegret, 188 -89
Allegory, 160
Allodium (freehold), 154
Alfonse Jordan, count of Toulouse, 96 , 135
Alfonso II, king of Aragon, 51 -52, 145 , 148
Alfonso VII, king of Castile and Léon, 96
Amador . See Lover
Amar, amors . See Love
Amateur, 23 , 48 , 52 , 102 , 209 -10;
revision by, 90 , 210
Anonymity, 4 , 5
Anthologist (transmitter), 30 , 117 ;
skills of, 37 -38;
troubadour as, 59 , 61
Apollinaire, Guillaume, 198
Appel, Carl, 27 , 205
Architectural metaphors, 173 -77
Arnaut Daniel:
and idea of fixed text, 89 ;
razo,47 -49, 56 -57, 62 ;
and stanzaic linkage, 84 , 89 , 103 -8, App. A;
and transposition, 79 , 80 ;
"Anc yeu non l'aic" (P.-C. 29, 2; Toja 7), 47 , 56 ;
"Autet e bas" (29, 5; Toja 8), 260 n.10;
"Chansson do·ill mot" (29, 6; Toja 2), 103 -8, 172 ;
"En cest sonet" (29, 10; Toja 10), 173 ;
"Lancan son passat" (29, 11; Toja 4), 46 ;
"L'aur'amara" (29, 13; Toja 9), 81 ;
"Lo ferm volers" (29, 14; Toja 18), 122 , 127 , 203 ;
"Pos Raimons" (29, 15; Toja 1), 260 n.6
Arnaut de Mareuil, 84 , 219 , App. A
Audiences, 9 , 22 , 52 , 73 , 75 , 76 , 77 , 78 , 88 , 128 , 133 , 134 , 136 -38, 154 , 163 , 180 , 184 , 187 , 198 , 202 , 203 , 210 , 211 , 250 n.4, 260 n.7, 261 n.10;
literary experience of, 203 -4, 208 -9
Authenticity and authorship, 13 , 29 , 57 , 66 , 74 , 185 ;
author and Creator, 162 -63
Authorial control, 20 , 83 -84, 86
Authorial revision, 78 , 85 , 250 n.4
Autograph songbooks, 48 , 58 -65, 66 -67, 253 n.6;
as literary property, 65 -68
Avalle, d'Arco Silvio, 12 , 27 , 38 , 60 -64, 251 , 253 , 254
Azalais de Portcairagues, 73 , 121
B
Barbieri, Giovanni Maria, 37 -38, 197
Bartsch, Karl, 65
Berenger de Palazol, 52 , 202 , 219 , 222 , App. A
Bernard of Clairvaux, 34 -35
Bernart Amoros, 30 -34, 37 , 39 , 77 , 109 , 170 -71, 185 , 251 nn.9, 11, 260 n.3
Bernart d'Anduza (messenger), 42
Bernart de Saissac, 12
Bernart de Ventadorn, 18 ;
and literary property, 77 , 163 ;
and transposition, 79 , 82 , 219 , 222 , App. A;
"Ab joi mou" (P.-C. 70, 1; Appel 1), 49 ;
"Can vei la flor" (70, 42; Appel 42), 117 ;
"Can vei la lauzeta" (70, 43; Appel 43), 76 -78, 97 , 205 , 256 n.15;
"En
Bernart de Ventadorn (continued )
cossirer" (70, 17; Appel 17), 43 -44;
"Era·m cosselhatz" (70, 6; Appel 6), 44 , 49 ;
"Ges de chantar" (70, 21; Appel 21), 167 ;
"Lo tems vai e ven" (70, 30; Appel 30), 21 ;
"Non es meravelha" (70, 31; Appel 31), 109 -17;
"Tant ai mon cor" (70, 44; Appel 44), 119 -21, 143 -44
Bernart de Venzac, 42 , 164 -65
Bernart Marti, 23 , 202 ;
and transposition, 83 , App. A;
and vers entiers,177 , 202 ;
"Belha m'es la flors d'aguilen" (P.-C. 323, 5; Hoepffner dubia 1), 43 ;
"Companho per companha" (63, 5; Hoepffner 4), 24 ;
"D'entier vers far ieu non pes" (63, 6; Hoepffner 5), 182 -84;
"Quan l'erb'es reverdezida" (63, 8; Hoepffner 7), 24 , 159
Bertoni, Giulio, 39 , 251 n.10
Bertran de Born, 76 , 252 n.1;
sestina, 122 ;
and stanzaic linkage, 84 , 85 ;
and transposition, 80 , 219 , App. A
Bertrandus sancti de sideri j, 248 n.10
Birds:
birdsong, 55 , 124 , 125 , 185 ;
grackle, 185 , 202 ;
lark, 120 ;
peacock, 185 , 202 ;
phoenix, 193 -94;
starling, 9 ;
turtledove, 110 , 116 ;
woodpecker, 284;
wren, 101
Bloch, R. Howard, 47 , 66 , 140 , 146 , 249 n.8, 259 n.12
Bonifacio I de Monferrat, 253 n.10
Book culture, 9 , 13 , 84 , 85 , 197 , 221
Bourgeois stance, in poetry, 135 , 137
Boutière, Jean, and A. H. Schutz, 251 n.8, 252 n.19, 254 n.15
Building and sculptural metaphors, 57 -58, 168 -69, 173 -77
Bunting, Basil, 192
C
Calin, William, 127 -28, 206
Camproux, Charles, 43 , 249 n.1
Canso, chanson,19 , 21 -22, 28 , 38 , 44 , 100 , 103 , 114 , 177 , 186 , 187 , 254 n.1;
chanson leu,133
Cantador, 19 , 25 , 27 , 51 , 54 , 55 , 109 , 121 ;
avol,21 , 74 , 75 , 96 , 123 , 168 .
See also Jongleur; Performer
Caras rimas (difficult rhymes) of Arnaut Daniel, 46 , 47
Cardalhac (jongleur), 201 , 252 n.1
Cercamon, 67
Chansonniers, 9 , 26 , 27 , 28 , 31 , 36 , 56 , 117 , 126 , 201 , 215 , 216 , 250 nn.1, 3, 4, 251 n.11;
chronology of lyrics in, 64 , 77 ;
compilation of, 38 , 40 , 41 , 58 , 59 , 60 , 62 , 64 , 65 , 85 ;
diversity, of tradition, 66 , 76 , 90 , 116 -17, 213 ;
quality of variants in, 40 , 43 , 71 , 76 , 211 , 261 n.9;
sequences of lyrics in, 63 -65, 205 , 253 n.11;
sigla, 65 .
See also Manuscript survival
"Chirographic folk," 7 , 28 , 251 n.5
Chronological trend, 65 , 81 , 256 n.14
Circulation of poetry, 6 , 9 , 67 88, 134 , 138 , 202 , 219 .
See also Performance; Reception
Cistercians, 34 -35
Clerics, 9 , 251 n.9
Closed poetry, 134 , 139 , 154 , 163 , 201 .
See also Open text
Cobla (stanza), 57 , 58 , 59 , 73 , 86 -87, 91 -119, 215 , 243
Comtal, 145 , 146 , 148
Conceit, 54 , 58
Contests of skill, 47 -48
Continuity, 50 , 127 , 128
Copyists, 38 , 39 , 76 , 77 , 106 , 109 , 219 , 222
Correlation coefficient, 217
Correlation matrices, 217
Creation of poetry, 56 -58, 127 , 200 , 250 n.4, 255 n.7
Criticism, 206 -8;
biographical, 199 ;
explication de texte,128 ;
formal, 2 , 3 , 127 , 128 ;
intertextual, 207 ;
mechanistic, 3 ;
multiple reading, 203 -5, 210 -11;
New Criticism, 128 , 206 -7, 211 ;
practical, 206 ;
reader-response, 207 ;
reception theory, 128 , 206 , 208 -9;
Romantic, 1 , 2 , 206
Crusade, Fourth, 253 n.10
D
Dante, 197
Daude de Pradas, 85 , App. A
Decorum of poetry 49 -50, 166
Dickinson, Emily, 199
Dictation, 255 n.4
"Doctrina d'Acort," 50 -51
"Doctrina de Compondre Dictatz," 50
Dragonetti, Roger, 4
"Dry verse," 187 -91
Dylan, Bob, 210
E
Eadmer of St Albans, 251 n.14
Editing, 13 , 34 , 39 , 40 , 56 , 61 , 71 , 210
Eleanor II of Aquitaine, 10
Entendadors . See Amateur
Envoi . See Tornada
Equivocal rhyme, 188
Eros, 23 , 25 , 198
Estampida, 175
Exegesis, 157 -60
Exordium, 49 , 92 , 126 , 142
F
Fenice (of Chrétien de Troyes), 157
Ferrari de Ferrara, 37 , 59 , 215
Fin' amors:
and eloquence, 18 , 19 , 29 , 86 , 156 , 201 , 247 n.1, 261 n.7;
versus fals' amors,151
Fixed text, 13 , 75 , 89 , 129 , 201 , 258 n.17
Folquet de Marselha, 80 , 85 , 218 , App. A
Formal properties of poetry, 77 , 81 , 86 , 88 , 221 ;
auditory shape, 198
G
Gandensian formalism, 127
Gap (boasting poem), 158 , 249 n.2
Garsio (jongleur), 49 , 67 -68
Gioglaret (jongleur), 57 -58, 202
"Gioglaret quan passarez" (P.-C. 461,142), 57
Giraut de Bornelh, 121 -22, 201 -2;
"Alegrar me volgra" (P-C. 282, 5; Kolsen 9), 261 n.10;
"A penas sai comensar" (242, 11, Kolsen 4), 185 -86;
"Be deu en bonacort" (242, 18; Kolsen 49), 261 n.10;
"Can brancha" (242, 57; Kolsen 39), 45 ;
"Cardalhac" (242, 27; Kolsen 75), 252 n.1;
"Leu chansonet'" (242, 45; Kolsen 48), 198 -99;
"No posc sofrir" (242, 51; Kolsen 40), 176 -77;
"S'es chantars ben entendutz" (242, 67; Kolsen 62), 151 , 184 -85;
"Si·m sentis fizels" (242, 72; Kolsen 27), 148 -49
Gröber, Gustav, 31 , 38 , 40 , 41 , 48 , 56 -66, 251 nn.13, 18, 253 n.11
Gui d'Ussel, 17
Guiette, Robert, 1 , 4
Guigemar (Marie de France), 157
Guilhem IX:
amar/trobar,249 n.2;
exchange of messages, 45 , 54 ;
and stylistic complexity, 83 -84, 255 n.9;
and transposition, 78 , 83 , App. A;
writing, 42 , 45 , 255 n.4;
"Companho farai" (P.-C. 183, 3; Pasero), 158 ;
"Farai un vers de dreit nïen" (183, 7), 54 , 136 , 139 , 149 -50, 166 ;
"Mout jauzens" (183, 9), 45 ;
"Pos de chantar" (183, 10), 42
Guilhem X, duke of Aquitaine, 96
Guilhem de Balaun, 42
Guilhem de Bergueda, 216 ;
"Ara voill un sirventes far" (P.-C. 210, 3; Riquer 24), 175 ;
"Cantarey mentre m'estau" (Riquer 5), 209 -10;
"Cel so qui capol'e dola" (Riquer 15), 174 ;
"Un sirventes ai" (Riquer 21), 175
Guilhem de Cervera, 259 n.10
Guilhem de Montagnagol, 78 , 85 , App. A
Guilhem de St-Didier, 11 , 248 n.10;
Bertrands in, 73 ;
and stanzaic linkage, 84 , 103 ;
and transposition, 79 , 218 , 219 , App. A;
"Bel m'es oimais" (P.-C. 234, 5; Sakari), 98 , 100 -101, 102 , 258 n.13
H
Heraldic shield, 146 -50
Horace, 192
Hortus conclusus,150 -60
Hypermetric lines, 151
Hypometric lines, 95
I
Ignaure, 260 n.5
Imagery:
cape, 57 ;
cork, 101 ;
dryness, 187 -91;
farming, 180 ;
fire, 146 -47;
fortress, 57 -58, 94 , 175 -77;
garden, 150 -60;
geometric, 101 , 106 , 161 ;
hunting, 106 , 201 ;
kiss, 22 , 24 , 25 ;
mirror, 10 , 186 ;
poacher, 158 ;
shield, 146 -50;
tower, 176 -77;
water, 190 -91
Imagery of animals:
bear, 110 , 114 , 115 , 116 ;
dog, 158 ;
frog, 11 -12;
lion, 54 -55, 110 , 114 , 115 , 116 ;
spiderweb, 169 .
See also Birds
Imagery of household:
barrel, 57 , 58 ;
bucket, 186 -87;
fountain, 187 -88, 190 ;
honeycomb, 160 -62;
key, 54 ;
marketplace, 152 ;
oven, 11 ;
wineskin, 10 , 16, 190
Imagery of metal and wood:
filing, 169 -73;
gold and gilding, 169 -73;
rust, 167 -72;
splinters, 167 ;
whetstone, 191
Imagery of writing:
jongleur as blank page, 57 -58;
pen, 43 ;
scroll, 41 , 60 ;
tears as ink, 44
Individuality and originality, 4 , 9 -10, 18 , 146 , 220
Inequality, social, 135
Interpretation. See Criticism
Interpretation, exegetical, 159 , 160
J
Jaufre de Foixa, 29 , 30
Jaufre Rudel:
and literary property, 77 , 163 , 200 -201;
and stanzaic linkage, 84 , 85 ;
and transposition, 79 , 83 , App. A;
"No sap chantar" (P.-C. 262, 3; Pickens 6), 165 , 166 , 181 -82;
"Quan lo rius" (Pickens 2), 41 , 98 ;
"Quan lo rossinhols (262, 6; Pickens 1), 250 n.1
Jongleur, 9 , 54 , 71 , 210 , 254 n.1;
as comic figure, 21 , 47 , 58 , 185 , 202 , 252 n.1
as fictional character, 67 ;
literacy or illiteracy of, 38 , 46 , 56 , 58 , 63 ;
memorization by, 47 , 48 , 119 , 181 ;
modifying text, 39 , 67 , 81 , 88 , 97 , 164 , 178 , 194 ;
named, 72 , 73 , 255 n.5;
payment of 76 , 178 ;
repertory of, 76 ;
signature, 68 ;
as third-rate poet, 156 , 201 -2.
See also Performer
Jongleurs, individual:
Cardalhac, 201 , 252 n.1;
Garsio, 49 , 67 -68;
Gioglaret, 57 -58, 202 ;
Joglar, 73 , 121 ;
Levet, 11 , 72 , 202 ;
Mailolis, 76 , 202 , 252 n.1;
Peire de Cols, 67 ;
Raimon de Pau, 254 n.1
K
Keats, John, 199
L
Lachmannian principles, 27 , 63 , 71
Lady, 19 , 20 , 105 ;
beauty, 22 ;
vs. biblical sponsa,159 ;
feminine Other, 198 ;
as garden, 156 -57, 158 ;
under guard, 157 -58;
implied, 17 , 21 -22, 151 , 157 ;
learning lyrics, 53 , 55 ;
literacy of, 44 ;
as poem, 157 , 199
Language:
"registers" of, 23 ;
of secular poetry, 182
Lay (verse form), 45
Levet (jongleur), 11 , 72 , 202
"Libro di Michele." 37 -38
Liederblätter (song sheets), 28 , 40 , 56 , 58 , 63 ;
absence of, 252 n.18
Liederbuch . See Autograph songbooks
Liedersammlung,63
Linked stanzas. See Stanza, linked
Linking words (bridge between stanzas), 106 -8, 117
Literary property, 65 -68, 77 , 84 , 154 , 156 , 202 .
Literary tradition:
written and oral, 34 , 38 , 41 -45, 48 , 59 , 61 , 72 -73, 87 , 192 , 203 , 219 , 252 n.20
Love, amar:
interchangeability with trobar,17 , 19 , 22 , 138 , 146 , 150 , 151 , 152 , 198 -200, 249 n.2;
interchangeability with cantar,18 , 19 , 240 n.1
Love, amors: 1 , 19 , 20 , 21 , 24 , 103 , 104 , 106 , 108 , 138 , 143 , 152 , 159 , 160 , 169 , 198 -200;
de lonh, 199 ;
as motive for singing, 113 -14, 173 ;
as trobars,150 , 151 , 152
Love, creator of poetic artifice, 173 ;
vocabulary of, 17 , 19
Lover, 20 , 23 , 25 ;
as debator of poetry (fis amans contrarians ), 106 , 114 , 115 -16, 138 , 140 , 146 , 156 ;
as fictitious persona, 18 -19, 22 , 168 , 186 , 193 ;
jealous, 158 , 159 ;
as poet, 199
M
Mailolis (jongleur), 76 , 202 , 252 n.1
Mallarmé, Stéphane, 197
Manuscripts. See Chansonniers
Manuscript survival, 77 -79, 217 , 218
Manuscript versions, 62 , 215 , 218 , 219 , 221
Marcabru:
and literary property, 77 , 163 , 201 ;
metrical schemes in, 118 -19;
stylistic complexity of, 83 -84, 222 ;
and textual integrity, 127 , 201 ;
and transposition, 83 , 219 , 222 ;
"A l'alena del vent doussa" (P.-C. 293, 2), 118 -19, 140 ;
"Al son desviat' (293, 5), 150 -52;
"Assatz m'es bel" (293, 8), 47 ;
"Aujatz de chan" (293, 9), 91 -96, 152 ;
"Bel m'es quan la rana" (293, 11), 188 ;
"Contra l'ivern" (293, 14), 257 n.13;
"D'aisso lau Deu" (293, 16), 158 -59;
"Dirai vos senes duptansa" (293, 18), 161 ;
"Ges l'estornels" (293, 26), 9 -10;
"Lanquan fuelhon" (293a, 28), 22 ;
"Lo vers comens" (293, 33), 146 -47, 167 -68;
"Puois la fuoilla" (293, 38), 99
Marcabrunian satire, 181
Marqueza de Cabrera, 102
Marshall, J. H., 39 -40
Matfre Ermengaud, 31
Memorization, memory, 47 -49, 51 , 52 , 54 , 57 , 67 , 106 , 107 , 108 , 140 , 181 , 192 -93, 202
Messenger. See Index of Provençal Terms: Messatge
Metrical scheme, 49 , 74 , 75 , 89 , 126 , 220 ;
flaws in, 96
Miniatures, 41
Miquel de la Tor, 37 , 38 , 59
Mnemonic devices, 48 -52, 83 -85, 134 , 255 n.7, 255 n.8.
See also Rhyme
"Mondegreens," 250 n.1
Money, 66
Monumentalism, 40 , 58 , 76 , 176 , 191 -94
Moore, Marianne, 198
Motifs, 44 , 114 , 199 -200, 204 ;
artisan in his workshop, 173 ;
avarice, 95 ;
continuity, 50 , 166 ;
courtly, 3 , 115 , 128 ;
of envoi, 43 -44;
of fin'amors,86 , 116 ;
friendship, 176 -77;
game, 23 ;
hunting, 106 ;
inept jongleur, 58 ;
lady in garden, 157 ;
love as prison, 114 , 115 , 116 ;
poem as scroll, 41 , 60 ;
poet as builder, 173 -77;
poet as phoenix, 193 -94;
sequence of 92 , 116 ;
world upsidedown, 142 -44.
See also Birds; Imagery
Mots-refrain,121 -24
Mouvance, 30 , 71 , 75 , 127 , 205 , 211 , 219 , 221 ;
in Cistercian antiphonary, 34 ;
defined, 5 -6;
in musical texts, 252 n.20;
poets' attitudes toward, 6 -7, 68 , 73 -75, 89 -90, 128 , 163 , 194 , 200 , 203 ;
selectiveness of, 71 ;
of stanzas, 7 , 202 ;
stylistic difficulty as control for, 73 , 74 , 153 , 154 ;
testimony of chansonniers,26 -27;
textual integrity, 147 , 200 -203
Multiple reading, 111 -16, 210 -11, 203 -5
Music, 63 , 183 , 252 n.1, 255 n.2;
blank staves, 28 ;
mutability in musical texts, 34 -35, 38 -39
N
Natural order, 141 -42
Natureingang (nature introduction), 60
Nero, Piero di Simon del, 251 n.6
Noigandres, 207 , 208
No-say-que-s'es,142 , 194 -95, 202
No-slope population, 78
O
Open text, 6 , 163 , 203 -5
Ovid, 60 , 252 n.4
P
Paden, William D., Jr., 72 -73
Parchment, 41 , 56 , 57 , 58 , 60 , 67 , 76 , 198
Peire Cardenal, 249 n.6
Peire d'Alvernhe, 83 , 127 , 142 , 202 , App. A;
vida, 181 ;
"Bel m'es lo dous chant" (P.-C. 323, 6), 164 -66;
"Bel m'es quan la roza" (323, 7; Del Monte 13), 48 , 144 -45;
"Bel m'es qui a son bon sen" (323, 8; Del Monte 14), 261 n.10;
"Bel m'es qu'ieu fass'" (323, 9; Del Monte 15), 167 , 190 ;
"Be m'es plazens" (323, 10; Del Monte 8), 91 , 153 -54;
"Cantarai d'aquestz" (323, 11; Del Monte 12), 4 -5, 10 -12, 186 -87, 202 ;
"Lo fuelhs e·l flors" (323, 19; Del Monte 5), 147 -48;
"Sobre·l vieill trobar" (323, 24; Del Monte 11), 178 -81
Peire de Monzo, 207
Peire Rogier, 177 , 202 , App. A;
"Dous' amiga" (P.-C. 356, 2; Nicholson 9), 97 ;
"Ges non puesc" (356, 4; Nicholson 6), 79 ;
"No sai don chant" (356, 5: Nicholson 4), 142 ;
"Tan no plou" (356, 8; Nicholson 2), 53 , 143
Peire Vidal, 27 , 50 , 169 , 187 , 193 , 253 -54;
addressee, 202 ;
and idea of fixed text, 89 ;
songbook, 60 -65;
and stanzaic linkage, 84 , 85 ;
and transposition, 80 , 64 , App. A;
"En una terra estranha" (P.-C. 364, 20), 173 ;
"Mout m'es bon e bel" (364, 29), 123 -26, 127 ;
"Nulhs horn pot d'amor gandir" (364, 31), 103 ;
"Tant me platz" (Avalle 4), 51 , 169
Performance, 20 , 28 , 48 , 58 , 59 , 68 , 77 , 134 , 168 , 201 , 202 , 205 , 210 , 219 , 256 n.15, 257 n.13;
closed, 138 ;
conditions of, 126 , 187 , 200 ;
as a dying art, 37 , 73 ;
frequency of, 76 , 166 ;
oral, 3 , 181 , 195 ;
to secure a song, 181 ;
topos
Performance (continued )
of, 29 , 166 ;
tradition of, 28 , 44 , 56 , 74 , 210
Performer, 68 , 88 , 134 , 168 , 201 , 202 , 205 , 210 , 219 ;
alteration of songs by, 138 , 167 , 184 , 193 , 202 -3, 222 , 256 n.13;
poet as, 19 , 22 ;
repertories of, 76 ;
request for payment to, 115 ;
as retransmitter, 53 , 164 , 180 , 200 .
See also Jongleur
Permutation, 99 , 100 , 109 , 257 n.11.
See also Transposition of stanzas
Personas, 5 , 18 , 19 , 66 , 71 , 200 ;
for stage, 76 ;
of performing self, 20 , 260 nn.5, 7;
poets conscious of three, 22 ;
speaker/poet-as-lover, 126 , 168 , 186 , 193 .
See also Voice
Pickens, Rupert T., 12 -13, 26 -17, 205
Poésie formelle,4
Poetics, 9 , 13 , 22 , 18 , 84 , 133 -63
Pons de la Guardia, 117 -18, 202 ;
and stanzaic linkage, 84 , 117 -18;
and transposition, 83 , App. A;
"Be·m cujava" (Frank 7), 102 , 254 n.1, 262 n.19
Popularity, 76 -80, 121 , 202
Pound, Ezra, 40 -41, 207
Professional name, 67
Pseudonym. See Professional name; Senhals
Puivert (Aude), 10
Punch and Judy, 203
R
Raimbaut d'Aurenga, 17 ;
and literary property, 163 ;
songbook, 65 -66;
and stanzaic linkage, 84 ;
and transposition, 79 -80, 218 , 219 , 222 , App. A;
"Aissi mou" (P.-C. 389, 3; Pattison 18), 133 ;
"Apres mon vers" (389, 10; Pattison 4), 193 ;
"Ara·m platz Guiraut" (389, 10a; Pattison 31), 134 -46;
"Ara·m so del tot" (389, 11; Pattison 29), 155 -56;
"Ar resplan" (389, 16; Pattison 39), 121 ;
"Ar vei escur" (392, 5; Pattison 10), 59 -60;
"Ben s'eschai" (389, 20; Pattison 21), 260 n.10;
"Cars dous" (389, 22; Pattison 1), 101 -2, 171 ;
"Domna si m'auzes" (389, 25; Pattison 26), 20 ;
"En aital rimeta" (389, 26; Pattison 2), 170 , 174 ;
"Escotatz mas no say que s'es" (389, 28; Pattison 24), 194 -95;
"Joglar, fe qed eu dei" (389, 30; Pattison 33), 109 ;
"Parliers" (389, 33; Pattison 34), 148 ;
"Pos trobars plans" (389, 37; Pattison 16), 156 ;
"Una chansoneta fera" (389, 40; Pattison 3), 161 -62;
"Un vers farai" (398, 41; Pattison 5), 161
Raimbaut de Vaqueiras:
"Kalenda Maia" (P.-C. 392, 9), 175
Raimon de Miraval, 80 , App. A;
"A Dieu mi coman Bajona" (P.-C. 406, 1; Topsfield 39), 97 -98
Raimon de Pau (jongleur), 254 n.1
Raimon Vidal, 35 -36
Raymond V, count of Toulouse, 135
Razo:
anecdote, 2 , 42 , 47 , 56 , 57 , 66 , 172 , 249 n.9, 259 n.13;
argument, 32 , 86 , 92 , 96 , 97 , 100 , 105 , 127 , 154 , 180 , 181 , 200 , 204 , 211
Razos de Trobar,51 .
See also Raimon Vidal
Reception:
medieval, 138 , 203 -5, 207 -10;
modern, 127 , 128 , 203 , 206 , 210 -11;
poet as auditor, 49
Recusatio, 148
Redundant safeguards, 103
Refrain words, 121 -24
Registers of language, 23
Regles de Trobar,29 , 30
Rhyme, 95 , 108 ;
closed, 152 ;
derivative, 257 n.13;
equal, 166 ;
equivocal, 188 ;
interlocking, 117 , 127 , 168 , 215 , 255 n.11;
in inverse order, 101 ;
patterns, 97 -102;
repetition, 90 , 147 , 162 , 186 , 304;
rotating, 98 , 103 , 117 , 118 -26;
scheme, 51 , 91 -129, 165 -66, 222 , 257 n.13;
scheme, guide to, 243 ;
scheme, as mnemonic aid, 49 , 51 , 73 , 83 , 84 , 179 ;
sounds, 91 , 92 , 109 ;
and stability, 74 , 81 , 86 -90, 96 , 100 , 181 -82, 203 ;
and stylistic complexity 74 , 81 , 89 , 255 n.9;
words, 108 , 124 , 154 .
See also Index of Provençal Terms: Rimar
Rich, Adrienne, 199
Rigaut de Berbezilh:
addressee as transmitter, 54 , 202 ;
coblas capfinidas,108 -9;
and idea of fixed text, 89 ;
and literary property, 67 ;
senhal, 73 ;
and stability, 67 , 84 , 222 , App. A;
"Atressi com l'orifans" (P.-C. 421, 2; Várvaro 2),
23 , 45 -46, 193 -94;
"Lo nous mes d'abril" (421, 6; Várvaro 6), 54 ;
"Pauc sap d'amor" (421, 7; Várvaro 7), 122 -23, 127 ;
"Si co·l solilhs" (337,1; Várvaro dubia 5), 67 ;
"Tot atressi con la clartatz" (421,9; Várvaro 8), 108 -9
Roncaglia, Aurelio, 96
Rupert of Duize, 158
S
Salut d'amor,44
Sancho III of Castile, 145 , 150 -51
Satire, 10 -11
Scribes, 61 , 62 , 63 , 68 , 88 , 108 , 128 , 222 , 256 n.15.
See also Clerics; Copyists
Scripture, 157 -58, 159 , 195 ;
miracle at Cana wedding, 191 ;
parable of the Sower, 180
Senhals, 54 , 73 , 110 , 248 n.13;
Bels Bericles, 73 ;
Bels Paradis, 157 ;
Bertran, 73 ;
Bons Respieitz, 248 n.13;
Desirat (for Sancho III?), 150 -51;
Glove Lady, 148 ;
Joglar, 73 , 109 , 121 ;
Linhaure (of Raimbaut d'Aurenga), 134 , 138 , 172 , 260 n.5;
Messager, 49 ;
Miels-dedomna, 54 , 55 , 123 ;
Mos Cortes, 110 , 116 ;
Mos Tortres, 110 , 116 ;
Tort n'avetz, 53
Sequence of stanzas:
and Arnaut Daniel, 106 -7;
and closure, 197 ;
and idea of fixity, 201 , 213 , App. A;
and Marcabru, 91 -96;
and meaning, 72 , 92 , 127 -29, 202 -3, 206 ;
and razo, 92 , 126 -27;
and reception, 203 -5;
and song length, 256 n.15;
and stemmas 255 n.3;
and stylistic complexity, 74 -75, 81
Sermons, 158
Sestina, 122 , 200 , 203
Shakespeare, William, 192
Significance level, defined, 217
Singer. See Cantador; Jongleur; Performer
Sirventes, 29 , 38 , 92 , 97 , 145 , 188 , 190 , 197 ;
bastir, 175
Slot strophes, 257 n.8
Social class of troubadours, 66 -67, 68
Songbooks. See Autograph songbooks; Chansonniers
Song of Solomon (Canticus), 155 , 157 , 159 , 160 , 219 -22
Stability and mutability, 5 , 28 , 79 , 89 , 198 -99, 210 , 211 .
See also Mouvance
Stanzaic arrays, 62 , 82 , 83 , 88 , 92 , 97 , 102 , 122 , 126 , 127 , 179 , 213 -16, 219 -22.
See also Abridgment; Versions and variants
Stanzaic sequence. See Sequence of stanzas
Stanzaic transposition. See Transposition of stanzas
Stanza length:
and stability, 81 , 83 -86, 119 , 221 , 222 , 255 n.14, App. A;
and stylistic difficulty, 80 , 81
Stanza position:
first, 99 , 108 , 117 , 166 , 200 -201, 256 n.15 (see also Index of Provençal Terms: Comensamen );
final, 117 , 200 (see also Tornada );
penultimate, 151
Stanzas, autonomy of: 116 , 118 , 127 ;
and of half-stanzas, 92 , 93
Stanzas, linked:
defined, 74 -75, 86 ;
favored or rejected, 221 , 222 ;
and stability, 83 -90, 99 , 102 -17, 119 , 222 , App. A;
and stanza length, 81 .
See also Cobla; Rhyme, rotating
Stanzas, paired, 86 , 98 , 102 , 103 , 108 ;
inverted pairs, 99 , 257 n.11;
in threes, 86 , 117 .
See also Cobla
Stanzas, unlinked, 88 , 91 , 214 -21, 255 n.14.
See also Cobla
Stanza structure, 255 n.7;
pentastanzaic, etc., 255 n.9;
two-part form, 92
Stemma, 71 -72, 255 n.3
Strophes. See Stanzas
Strophic order. See Sequence of stanzas; Stanzaic arrays
Stylistic complexity, 72 , 80 , 83 -90;
as control for mouvance,73 , 74 , 153 , 154 ;
and rhyme, 74 , 81 , 89 , 255 n.9
Stylistic debates, 12 , 133 -63
Stylistic programs, 52
Syllable count, 258 n.13
T
Teissier, Jacques (of Tarascon), 251 n.6
Templars, 140
Tenso,9 , 28 , 134
Text:
authoritative (original), 62 , 67 , 68 , 84 , 96 , 116 -17, 251 n.11, 252 n.6;
closed and open, 6 , 76 -77, 89 , 163 , 201 , 203 -5;
distribution of, 201 ;
fixed, 81 , 91 , 127 , 165 , 201 , 203 , 206 , 258 n.17;
"irremediable," 253 n.6;
moving, 68 , 210 , 211 ;
sanctity of, 198 ;
Text (continued )
stability of, 81 , 86 , 122 , 202 ;
stemmatic reconstructions of, 71 -72
Textual criticism, 61 , 63 , 209 , 253 n.6
Textual integrity, 124 ;
as medieval ideal, 89 , 127 , 181 -82;
as modern ideal, 74 , 154 , 191 -95 209 ;
vs. mouvance,200 -203;
in transmission, 28 , 86 , 166 , 250 n.4;
views of poets on, 75 , 83 , 185 , 187 , 202 , 218
Thematic continuity 51 , 97
Thibaut de Champagne, 65
Topic development, 141 , 205
Topos . See Motifs
Tornada,6 , 26 , 29 , 44 , 45 , 53 , 73 , 98 , 106 , 110 , 113 , 115 , 116 , 122 , 123 , 150 , 165 , 193 , 250 n.4, 260 n.2;
as anti-envoi,43 ;
as signature of performer, 68
Transmission of authorship, 57 , 67
Transmitting culture, 86 , 89 , 126 -27, 201 , 213
Transposition of stanzas, 67 , 71 -90, 97 , 99 , 117 , 119 , 254 n.2;
and verse forms, 75 , 86 -88, 106 -7, 109 , 126
Trobar:
interchangeability with amar,17 , 19 , 22 ;
lexical field of, 17 .
See also Index of Provençal Terms
Tropeic development, 140 -41
Trouvères, 1 , 3 , 4 , 18 , 65 , 248 n.1
Typewriter, 197 -98
U
Uc de St-Circ, 59
V
Value of poetry, 136 , 138
Variants. See Versions and variants
Variants, word-level, 68 , 116 , 119 -21, 255 n.3;
in linking words, 106 -7, 108
Version production, 80 -81, 87 , 213 , 218 , 222
Versions and variants, 26 , 71 -72, 204 , 255 nn.3, 8, 256 n.15;
as stanzaic array, 82 , 116
Vida (biography), 2 , 32 , 46 , 67 , 147 , 197 , 199 , 259 n.13
Virgin Mary, as hortus conclusus,150 , 157
Voice, 3 , 49 , 53 , 67 , 76 , 101 , 193 -94, 198
W
Wordsworth, William, 2
Wright, Frank Lloyd, 176
Writing, poets' use of, 40 -48, 57 , 67 , 72 , 73 , 83 , 85 , 255 n.4.
See also Imagery
Z
Zumthor, Paul, 2 -6, 18 , 204