By Olivia Holmes
Through the thirteenth century Western Europe witnessed an explosion in vernacular literacy, leading to a wide physique of manuscript anthologies of secular and renowned troubadour lyrics. presently afterwards, those multi-authored compilations have been succeeded via books of poems by way of unmarried authors, particularly via Petrarch throughout the 14th century. This exact but readable thesis attracts on an intensive variety of archival resources to envision the explanations for this transition in Provencal and Italian literature, combining basic analyses of manuscripts and authors with particular reports of, for instance, Guittone d' Arezzo, Dante's Vita Nova , Nicolo de Rossi and Petrarch's Canzoniere . Extracts translated.
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Additional info for Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book
The lover cannot sustain such noble sentiments for very long, however. In poem 10, a discrepancy becomes apparent between the speaker’s true feelings and the expression of those feelings, or (to use the texts’ own language) between razo and canso: Ses dessir eses raisson. Que non ai don sia gais. Me ven enmon cor em nais. Un dolz voler qem somon. Qeu chan e fassa chanchon. (79vD) Without desire and without a motive, for I don’t have a reason to be happy, arrives and arises in my heart a sweet urge that summons me to sing and compose a song.
79rB) Lady, if you are angry at me, I do not defend myself at all, nor do I take myself away or flee from you, for since I met you, I have never courted another woman. He puts himself at her mercy and swears his constant fidelity. He will not seek “ioi ni salut” (happiness and salvation) without her even in God. Jeanroy and Salverda de Grave believe that the following canso, “En aissi com son plus car” (poem 9), was composed later than all the others, because in a tornada not present in ms. 25 It does not come at the end of the sequence in D, however, and like the previous poem, it is closely related to “Hanc henemis” (poem 6), having the same rhyme scheme, and two of the same rhyme sounds.
21 In the poem that follows, “Servit aurai loniamen,” the lover debates whether he should remain faithful to his lady, who keeps him dangling in this way (“caissim vai volven”) (77vD), but then resolves that he should. He is well aware that he is wasting his time, however (“ipert mos iornals”) (78rA). The fourth poem, “Estat ai fort longamen,” has the same meter and rhyme words as the previous one, but the relationship between the lover and the lady has worsened in the interval between them. In the first stanza, the speaker calls the lady “falsa leials” — she has apparently been unfaithful to him — and says that he no longer expects from her any gift or compensation, nor any kind of reconciliation.
Assembling the Lyric Self: Authorship from Troubadour Song to Italian Poetry Book by Olivia Holmes