The 21th Galway Early Music Festival May 12 - 15, 2016
TROBAR ET JOGLAR
ALLA FRANCESCA Brigitte Lesne / voice, psaltery-harp Pierre Hamon / recorders, flutes, pipes, bagpipes Vivabiancaluna Biffi / voice, fiddle Bruno Caillat / percussion
SATURDAY, MAY 14, 2016 8:30 PM ST JOSEPH’S PARISH CHURCH PRESENTATION RD
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Trobar & Joglar Per vous m’esjau, done del firmament — CHANT A LA VIERGE – Anonyme Ab joi et ab joven m’apais — CANSO – Comtesse de Die / contrafactum versus aquitain Lo ferm voler qu’el cor m’intra — SEXTINE – Arnaud Daniel Can l'erba frescha — CANSO – Bernard de Ventadour Mira lege, miro modo — CONDUIT AQUITAIN INSTRUMENTAL – Anonyme Bona domna, tan vos ai fin coratge — TENSON – Anonyme / contrafactum Guiraut Riquier Danse instrumentale — IMPROVISATION sur la chanson Quan ai lo mon consirat (anonyme) Estat ai en greu cossirier — CANSO – Comtesse de Die / contrafactum versus aquitain Danses instrumentales — IMPROVISATIONS sur les chansons Tant es gaia (anonyme) et Reis glorios (Guiraut de Bornelh) Per joi que d’amor m’avenha — CANSO – attr. Na Castelosa / contrafactum Raimon de Miraval Eras quan vei verdeiar — DESCORT PLURILINGUE – Raimbaut de Vaqueiras / contrafactum Guiraut Riquier Joglar — IMPROVISATION INSTRUMENTALE Adsit Johannes — CONDUIT (instrumental) – École Saint-Martial de Limoges A chantar — CANSO – Comtesse de Die Coindeta sui, si com n’ai gran cossire — CHANSON DE MALMARIEE – Anonyme / contrafactum Berenguer de Palou
PROGRAMME CONCEPT AND MUSICAL DIRECTION Brigitte Lesne & Pierre Hamon PRODUCTION Centre de musique médiévale de Paris
With the support of the Minister of Culture / DRAC Île-de-France
PROGRAMME NOTES Alongside the art of trobar went the instrumental virtuosity of the jongleurs who were also instrumenalists. If this music was not written, and if a very small part of Medieval dances and instrumental music has come down to us, we know nevertheless, from numerous texts, that the art of improvisation and ornamentation, and of the transformation of song into instrumental form or vice versa, was a guarantee of fine quality among the jongleurs who were also instrumentalists. Mirroring the grant chant of the occitan courtly lyric, we propose to include, as a homage to the talent of these anonymous minstrels and jongleurs, instrumental dances and improvisations, based on melodic and modal material drawn from troubadour songs. The programme presented in the concert raises a fundamental issue concerning the historical transmission of the medieval lyric in Occitan and northern French: the essential role of the jongleurs alongside the troubadours and trouvères (poets). The majority of the songs in this selection are in Occitan, the language of the troubadours. These poets all shared the language and the art that they termed trobar. They composed both text and music, and sometimes also performed their own creations. This tradition first appeared in the Limousin at the close of the eleventh century, with the earliest of the known troubadours, Guillaume IX – Guillaume, the ninth Duke of Aquitaine and seventh Count of Poitiers. Because of what he did, he was considered to be a buffoon by the clerical chroniclers at his court. The term troubadour relates to the image of the jongleur, a word which derives from the Latin joculator(em), the name coming from joc(um), meaning play or sport. From Antiquity, a joculator was regarded as a person of ill repute, and was criticised by the Church, which placed him in the same category as prostitutes. Physical play mocked the divine image that each man carries within himself. Trobar was thus associated with joglar. Guillem Augier Novella, attested as a jongleur in the first quarter of the thirteenth century, opened a debate with a certain Bertran d’Aurel, saying: ‘Bertran, you who are used to frequenting thieves... ’, asking him which profession was the more dishonourable, that of jongleur or that of thief. Bertran This concert is supported by
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replied that he could well know that for himself, since he had exercised both professions! Jongleurs and thieves, associated terms which accorded well with the reputation attached to Guillem in the mind of an average medieval person. In the transmission of the troubadour lyric, the title jongleur is often attributed also to these poet-musicians in Occitan, from the start of the tradition of vidas. These are brief, narrative biographies that appear at the head of collections of poems, and they were copied into manuscripts from the late thirteenth century, by which time the term had doubtless lost some of its derogatory connotation. Cercamon, for example, one of the earliest Gascon troubadours, is called a jongleur, since he composed text and music and sang them as he travelled the world – hence his name, meaning ‘seeks the world’. In the vida of one of his contemporaries, Marcabru, he is referred to as a trobador, which indicates that when the vidas were composed, the two terms were interchangeable. In the description of the celebrations of the marriage of Flamenca, in the eponymous romance, we discover a passage that typifies the musical and poetic role of the jongleurs, when they stand to make themselves heard with all kinds of instruments: ‘Whoever knew a fresh viol tune, a song, a descort or a lay, did his best to make himself heard ... One plays the harp, another the viol; one the flute, another whistles ... one speaks, another accompanies his words ... One makes marionnettes dance, another juggles with knives ... None neglects his calling ...’ (vv. 592-616), The final two pieces raise an important question concerning the modern interpretation of troubadour music. The poems preserved in manuscripts are not always accompanied by their musical notation. The oral tradition, practised through a succession of interpreters whom we normally term jongleurs, passed into written form late – towards the close of the thirteenth century – and far from its place of origin – in Italy. This double distancing has resulted in irredeemable losses – only some ten per cent of troubadour music remains – but at the same time it gave rise to contrafacta, that is the imitation of the same metrical forms by later troubadours. Modern interpreters can therefore rely on the musical notation preserved for more recent poems which were composed following the same metrical formulae invented by earlier troubadours. As a homage to poets of the past, this practice allows modern interpreters to become jongleurs in their turn. In this way the poem by the Comtesse de Die, for which we do not have the original musical notation, is sung on the contrafactum of an Aquitaine versus,
which has the same metrical structure. The multilingual descort of Raimbaut de Vaqueiras, for which the melody has not been preserved, is sung to a melody belonging to a poem by Guiraut Riquier, the “last troubadour” (his presence is attested in Narbonne in the thirteenth century), which has the same metrical form. A prolific poet in every genre, he carefully dated his compositions, and manuscripts preserve traces of this. Poems circulated with their music throughout all the lands covered by the langue d’oc, and beyond: in Italy, Catalonia, France and Galicia, as this rich selection of pieces shows. Jongleurs adapted words and languages to the metrical and musical structures, and they had their instruments. To compose and sing was the troubadour’s practice. Did they accompany themselves on an instrument? Iconographic sources (painted manuscripts, sculpted capitals), though of a later date, bear important witness to this issue. Jongleurs and jongleresses – the texts and iconography prove that the profession was practised by women also – were well received by the public when they were able to spice up their performance, as purveyors of texts memorised in profusion, with rhythms and melodies. The vida of some troubadours relate, for instance, that Gaucelm Faidit had an unpleasant voice or could not sing, although he could compose; a jongleur would therefore accompany him in order to display his talents. This role could be filled by a woman, as can be seen from a picture in the margin of a manuscript collection of love poems, showing a woman playing a large tambourine. The theme of love is central – love betrayed, love that has gone cold, love that drives the lover mad to the point of uttering desperate words and composing unheard-of melodies to express love’s sufferings: ‘for it is sharper than thorn, / the pain that is cured by sexual fulfilment’, exclaims Jaufré Rudel. Through the game of seduction, which increases or decreases the distance between the poet, as a jongleur of words and melodies, and his lady, who plays on the effect of her attractions in the other’s heart, as on a subtle instrument, the art of trobar contributes to the development of the worth, the merit and the values of what is known as ‘courtoisie’ between the participants in the game: the troubadour and his lady. Trobar, as an expression of the ideal of fin’amor, refined love, brings together the values which in the course of the twelfth century became the prerogative of the principal southern-French courts, as a means of countering the brutality of day-to-day relationships. The texts and music of the troubadours were perceived very early on as a rich source of inspiration and hope. Their joi, echoed in modern interpretations, gives us the pleasure of hearing them sing of love. Geneviève Brunel-Lobrichon Université Paris IV - Sorbonne
ALLA FRANCESCA Since its founding in the early 1990s, Alla francesca has explored all types of music from the Middle Ages – solo songs in the various Romance languages, pieces meant specifically for instruments, polyphonies, and folk music whose roots go back to that early era – up to the repertoires of the early Renaissance. Since the beginning of the millennium, the ensemble has been under the joint direction of Brigitte Lesne and Pierre Hamon, depending on the programme or project. Having become a reference in the interpretation of mediaeval music, it can be heard in the most important early music festivals on every continent. In 2014, Alla francesca releases two CD recordings: troubadour songs ‘Trobar & Joglar’ (16th recording) and Jewish songs from the North of France. Alla francesca is produced by the Centre de musique médiévale de Paris. With the support of the French Ministry of Culture http://allafrancesca.fr
SONG LYRICS Per vous m'esjau, done del firmament, tres coralment. Alumas et engres de vostre preis laudar tant com podrie s'agrade a vous et Dé, mes non voldrie.
In you I rejoice, lady of heaven, with all my heart. Praising your glory as much as I can kindles me and sets me ablaze; if this pleases you and God, I desire no more.
Douce done, de vous mot et descent lou jauziment per que de vous chantes. Done, marces : Preias Dé que non vie Sobre poder de quel que dampnans sie.
Sweet lady, through you wax and wane our joy, hence do I sing of you. Lady, I thank thee : pray God that He may not leave me in the power of the cursed one.
Ab joi et ab joven m'apais, e jois et jovenz m'apaia, que mos amics es lo plus gais per qu'ieu sui coindet' e gaia ; e pois eu li sui veraia, be.s tanh qu'el me sia verais, qu'anc de lui amar no m'estrais, ni ai cor que me n'estraia.
Joy and youthfulness soothe me, I feed on youthfulness; the more my beloved is merry, the more I am cheerful and merry. and as I remain loyal towards him, he must also be towards me, for I have never abandoned loving him, nor have I any wish to.
Mout mi plai, car sai que val mais cel que plus desir que m’aia, e cel que primiers lo m’atrais, Dieu prec que gran joi l’atraia, e qui que mal l’en retraia no.l creza, fors [so] qu’ie.l retrais ; qu’om cuolh maintas vetz los balais ab qu’el mezeis se balaia.
I am much cheered to know that he is the more worthy, he whom I greatly wish would possess me, and the one who first drew me to him, I beg God to give him great joy. Whatever wrong he is accused of he should not believe, unless it is I who accuse him, for we often gather sticks with which to beat ourselves.
E dompna qu’en bon pretz s'enten deu ben pausar s'entendença en un pro cavalier valen, pois qu'ilh conois sa valença, que l'aus amar a presença ; que domna, pois am' a presen, ja pois li pro ni.l avinen no.i diran mas avinença.
And a lady who appreciates merit should place her desires in a knight who is worthy and noble. As she knows his worth, may she love him without concealment! And of a lady who loves openly, worthy and honest folk will henceforth say only pleasant things.
Qu'ieu n'ai chausit un pro e gen, per cui pretz melhur' e gença, larc et adreg e conoissen, ont es sens e conoissença ; prec li que m’aja crezença, ni om no.l puosca far crezen qu'ieu faça vas lui falhimen, sol non trop en lui faillença.
I have in fact chosen a worthy and noble man, whose merit increases and shines forth; he is generous, clever and learned; he has wit and distinction. I beseech him to have confidence in me, and let no-one make him believe that I can hurt him, provided that I find no fault in him.
Floris, la vostra valença sabon li pro e li valen, per qu'ieu vos quier de mantenen, si.us plai, vostra mantenença.
Floris, your worth is known to the worthy and noble, that is why I ask now, if you please, for your support.
Lo ferm voler qu'el cor m'intra no.m pot ges becs escoissendre ni ongla de lauzengier, qui pert per mal dir s'arma; e car non l'aus batr' ab ram ni ab verga, sivals a frau, lai on non aurai oncle, jauzirai joi, en vergier o dinz cambra.
The firm desire that penetrates my heart no word or deed can break from a slanderer, who destroys the soul by evil words. And as I dare not beat him with branch or rod, at least in secret, where I have no uncle, I’ll take my pleasure in orchard or chamber.
Quan mi soven de la cambra on a mon dan sai que nulhs om non intra anz me son tuch plus que fraire ni oncle, non ai membre no.m fremisca, neis l'ongla, aissi com fai l'enfas denant la verga: tal paor ai no.l sia trop de l'arma.
When I recall the chamber which to my sorrow I know that no man enters, for they are all as brothers or uncles to me, all my limbs tremble like the child faced with the rod, such is my fear of not being close to her soul.
Del cor li fos, non de l'arma, e cossentis m'a celat dinz sa cambra, que plus mi nafra.l cor que colps de verga car lo sieus sers lai on ilh es non intra; Totz temps serai ab lieis com carns et ongla e non creirai chastic d'amic ni d'oncle.
May I be close to her person, not her soul, and may she admit me secretly into her chamber for it wounds my heart more than blows from a rod that her servant can enter where she is. I’ll always be with her like her own flesh and nails and I’ll follow the advice of neither friend nor uncle.
Anc la seror de mon oncle non amei plus ni tant, per aquest' arma, qu'aitant vezis com es lo detz de l'ongla, s'a liei plagues, volgr' esser de sa cambra: de mi pot far l'amors qu'inz el cor m'intra mielhs a son vol qu'om fortz de frevol verga.
Never my uncle’s sister did I love so much, by my soul. As close as finger is to nail, should she please, I should like to be to her chamber. Love which enters my heart may do as he pleases with me, better than a strong man to feeble rod.
Pois flori la seca verga ni d’En Adam mogron nebot ni oncle tant fin' amors com cela qu'el cor m'intra non cug fos anc en cors, ni eis en arma; on qu'ilh estei, fors en plaz’, o dins cambra, mos cors no.i.s part de lieis tant com ten l'ongla.
Since the dry rod has flowered and uncles and nephews came forth from Adam, such perfect love as that which enters my heart I don’t believe there ever was in heart or soul. Wherever I may be, outside or in a chamber my heart does not abandon her, as the nail holds firm.
Qu’aissi s'enpren e s'enongla mos cors en lei com l'escors' en la verga; qu'ilh m'es de joi tors e palaitz e cambra, e non am tant fraire, paren ni oncle: qu'en Paradis n'aura doble joi m'arma, si ja nulhs om per ben amar lai intra.
Thus my heart implants and takes flesh in her, like the bark on a rod. She brings me joy in tower, palace and chamber, and I do not love as much brother, relative or uncle, in paradise my soul’s joy will redouble if ever man enters there through loving truly.
Arnautz tramet sa chanson d'ongl' e d'oncle, a grat de lieis que de sa verg’ a l'arma, son Desirat, cui pretz en cambra intra.
Arnaut sends his song of nail and uncle to the good will of her who has the soul of his rod ; her Desired One, whose merit enters the chamber.
Can l'erba fresch' e.lh folha par, e la flors boton'el verjan, e.l rossinhols autet e clar leva sa votz e mou so chan, joi ai de lui, e joi ai de la flor, e joi de me, e de midons major, daus totas partz sui de joi claus e sens, mas sel es jois que totz autres jois vens.
When the fresh grass and leaf appear, and flower bursts open on the branch and the nightingale loud and clear raises his voice and begins to sing, I am full of joy because of him, because of the flower and of myself and my lady even more! I am surrounded and girt with joy all around, but there is a joy that surpasses all other joys.
Tan am midons e la tenh car, e tan la dopt'e la reblan, c'anc de me no.lh auzei parlar, ni re no.lh quer, ni re no.lh man. Pero ilh sap mo mal e ma dolor, e can li plai, mi fai ben e onor, e can li plai, eu m'en sofert ab mens, per so c'a leis no.n avenha blastens.
I love my lady so much and cherish her so much, I fear her so much and I serve her, for never have I dared speak to her of myself, nor beseech her for anything, nor ask her for anything. yet she knows my sorrow and my grief and as it pleases her she accords me gifts and honours and as it pleases her I am content with less, so that no blame may attach to her.
Be la volgra sola trobar, que dormis, o.n fezes semblan, per qu'e.lh embles un doutz baizar, pus no valh tan qu'eu lo.lh deman. Per Deu, domna, pauc esplecham d'amor! Vai s'en lo tems, e perdem lo melhor. Parlar degram ab cubertz entresens, e, pus no.ns val arditz, valgues nos gens.
I should love to find her alone, either asleep or pretending to be, so that I might steal a sweet kiss from her, as I am not worthy of asking for one. By Heaven! My lady! We take pleasure in love so little! Time passes, and we waste the best of it! We should speak to each other covertly and since boldness does not work, let us employ shrewdness.
S'eu saubes la gen enchantar mei enemic foran efan, que ja us no saubra triar, ni dir re que.ns tornes a dan. Adoncs sai eu que vira la gensor, e sos bels olhs e sa frescha color, e baizera.lh la bocha en totz sens, si que d'un mes i paregra lo sens.
If I knew how to enchant people my enemies would become children, for none of them would be able to perceive nor speak of anything that could harm us. Then I know that I should see the most noble one and her beautiful eyes and fair complexion and I would kiss her mouth in all ways so that the mark would be visible for a whole month.
Ai las, com mor de cossirar! que manhtas vetz en cossir tan : lairo m'en poirian portar que re no sabria que.s fan. Per Deu, Amors, be.m trobas vensedor, ab paucs d'amics e ses autre senhor. Car una vetz tan midons no destrens, abans qu'eu fos del dezirer estens?
Alas! how I die in thinking of it for often I think of it so much that robbers could easily carry me off without my realising what they are doing! By Heaven, Love, you find me very easy to conquer, with few friends and with no other lord, why, just once, do you not overcome my lady before I am destroyed by desire?
— Bona domna, tan vos ai fin coratge non puesc mudar no.us conselh vostre be. E dic vos be que faitz gran vilanatge, car cel ome qu'anc tan non amet re laissatz morir e non sabetz per que ; pero, si mor, vostre n'er lo damnatge, qu'autra domna mas vos a grat no.l ve, ni en lui non a poder ni senhoratge.
- Noble lady, I have such a good opinion of you that I cannot help but offer you advice! And so I say to you that you are committing a grave injustice, for the man who never loved anyone so much you allow to die without knowing why. But if he dies, yours will be the blame, for there is no other lady but you who pleases him and who can exercise power and overlordship over him.
— Na donzela, be.m deu esser salvatge quan el gaba ni se vana de me ; tan a son cor fol e leu e volatge que m'amistat en lunha re no.s te. Per que m'amors no.l tanh ni no.l cove ; e pus el eis s'a enques lo folatge, non m'en reptetz si la foldatz l'en ve, qu'aissi aug dir que dretz es e onratge.
- Madam lady, he must be disagreeable to me since he preens himself and boasts about me. He has such a foolish heart, flighty and fickle, that he attaches little importance to my friendship. And so my heart does not touch him or suit him and since he has sought folly, do not blame me if folly comes upon him, for thus do I hear it said that this is justice and honour.
— Bona domna, ardre.l podetz e pendre, o far tot ço que.us venga a talen, que res non es qu'el vos puesca defendre : aissi l'avetz ses tot retenemen. E no.m par ges que.us sia d'avinen, pus ab un bais li fetz lo cor estendre aissì co.l focs que.l mort carbon encen ; pueis, quant el mor, no vo.n cal merce pendre.
- Noble lady, you may burn him and hang him and do all that you wish, for there is nothing that he can forbid you: thus he is yours without reservation. But it does not seem to me at all that it is fair on your part, since with a kiss you have enflamed his heart, as fire enflames dead charcoal. Then if he dies, it does not matter to you to have pity on him.
— Na donzela, non m'en podetz rependre, que.l dei m'amor ab aital covinen que el fos mieus per donar e per vendre e que tostemps fos a mon mandamen. Mas el a fach vas me tal falhimen don ges no.s pot escondir ni defendre. Non o fatz mal, si m'amor li defen, car ja per el non vuelh mon pretz discendre.
- Madam lady, you cannot reproach me, for I granted him my love on condition that he be mine, to give or sell, and that it should always be at my discretion. But he has committed such a wrong towards me that he cannot deny or defend himself from! I do not act badly if I forbid him my love, for through him I do not wish to lower my worth.
— Suau parlem, domna, qu'om no.ns entenda ! Ara digatz que forfaitz es vas vos, mais que per far vostres plazers se renda sos cors umils contra.l vostr' ergulhos, vuelh que.m digatz, domna, per quals razos poiretz estar que merces non vo.n prenda que mil sospirs ne fa.l jorn angoissos, don per un sol no.l denhatz far esmenda.
- Let us speak quietly, lady, lest we be overheard! Tell me then what cost is it to you, except that to please you he must surrender his humble heart against your proud one. I want you to tell me, lady, for what reasons you can persist in feeling no pity for him, while he sighs many a sigh, and is in anguish all day, and you don’t deign offer him the reward of a single one
— Si m'amor vol, Na donzela, que renda, ben li er ops que sia gais e pros, francs e umils, qu'ab nulh om no.s contenda, e a cascun sia de bel respos ; qu'a me non tanh om fel ni ergulhos, per que mon pretz dechaia ni discenda, mas francs e fis, celanz e amoros, s'el vol que.l don lezer qu'en mi entenda.
- If he wishes me to return my love, Madam lady, he must be merry and worthy, loyal and humble, and should dispute with no one and engage in a friendly relationship with everyone, for I am not impressed by a man who is irritable and proud, through whom my reputation could suffer and diminish, but [he must be] loyal and courteous, discreet and loving if he wishes that I grant him permission to pay me court.
— Aital l'auretz, ja regartz non vo.n prenda, bona domna, que.l sieu cor avetz vos ; que el non a poder qu'ad autr' entenda.
- You shall have it thus! Have no more fear, noble lady, for you have his heart, you do, such that he cannot possibly woo another.
— Bona.s la fin, donzela.n que s'atenda ; e vos siatz garda entre nos dos, e que.us tengatz ab aquel que.l tort prenda.
- This is a good issue, Madam, to engage in. And you, be watchful of both of us and be on the side of the one who may become the victim
Estat ai en greu cossirier per un cavallier qu'ai agut, e vuolh sia totz temps saubut cum eu l'ai amat a sobrier; ara vei q'ieu sui traida car eu non li donei m'amor, don ai estat en gran error en lieich e quand sui vestida.
I have been sorely troubled about a knight I had; I want to know it for all time how exceedingly I loved him. Now I see myself betrayed because I didn't grant my love to him; I've suffered much distress from it in bed and fully clothed.
Ben volria mon cavalier tener un ser en mos bratz nut qu'el s'en tengra per ereubut sol q'a lui fezes cosselhier ; car plus m'en sui abelida no fetz Floris de Blanchaflor: eu l'autrei mon cor e m'amor mon sen, mos uolhs e ma vida.
I'd like to hold my knight in my arms one evening, naked for he'd be overjoyed were I only serving as his pillow, and I am more pleased with him than Floris with his Blanchaflor To him I grant my heart, my love, my mind, my eyes, my life.
Bels amics, avinenz e bos, Quora'us tenrai en mon poder, et que jagues ab vos un ser, et que'us des un bais amoros? Sapchatz, gran talan n'auria que'us tengues en luoc del marit, ab ço que m'aguessetez plevit de far tot ço qu'en volria.
Fair, agreeable, good friend, when I will have you in my power, lie beside you for an evening, and kiss you amorously? Be sure I'd feel a strong desire to have you in my husband's place provided you had promised me to do everything I wished.
Per joi que d'amor m'avenha no.m calgr' ogan esbaudir, qu'eu non cre qu'en grat me tenha cel qu'anc non volc obezir mos bons motz e mas chanços ; ni anc non fon laçatz sos qu'ie'm pogues de lui sofrir, anz tem que'm n'er a morir pos vei qu'ab tal autra renha don per mi no.s vol partir.
For the joy that may come to me through love I should not henceforth rejoice for I do not believe that he is well disposed towards me, he who would never listen to my sweet words and my songs. And never was there music that would allow me to forget him. I fear in fact that I must die, since I perceive that he dwells with another from whom he does not wish to separate for me.
Partir me n'er, mas no.m denha, que morta m'an li consir ; e pos no.lh platz que.m retenha, vuelha.m d'aitant obezir qu'ab sos avinenz respos me tenha mos cor joios ; e ja a sidonz non tir s.ie.l fatz d'aitant enardir, qu'ieu no.l prec per mi que.m tenha de leis amar ni servir.
I must separate from him since he does not want me, for jealousy has left me as dead; and since he does not wish to retain me may he be willing to listen to me so that with pleasant responses he might keep my heart joyful. In no way do I steal him from his lady if I make him thus bold, for I do not beseech him for my sake, to refrain from loving her, nor from serving her.
Leis serva mas mi.n revenha que no.m lais del tot morir [si m'angoissa] que m'estenha s'amors don me fa languir. Ai ! Amics valenz e bos, car etz lo melhor qu'anc fos, non vulhatz qu'alhors me vir, mas no.m voletz far ni dir com eu ja jorn me captenha de vos amar ni grazir.
Let him serve her, but return to me, so that he does not let me truly die; love for him, with which I languish, causes me such anguish that it is destroying me. Alas, good worthy beloved, you are the best that ever was! Don’t make me seek elsewhere, while you do not consent to act or to tell me how I might one day cease loving you and praising you.
Grazisc vos com que me.n prenha tot lo maltrach e.l consir ; e ja cavaliers no.s fenha de mi, qu'un sol non desir, bels amics, si fatz fort vos, on tenc los olhs ambedos ; e platz me quan vos remir qu'anc tan bel non sai chausir. Dieu prec qu'ab mos bratz vos cenha, qu'autre no.m pot enriquir.
I do praise you, although it causes me so much pain and jealousy. And may no knight ever show interest in me, for I don’t want any of them, fair beloved, as strongly as I do you on whom I keep both my eyes fixed. I love to contemplate you, for I could not choose a fairer one. I beseech God that I might enclose you in my arms for no one else can fulfil me.
Rica soi, ab que.us suvenha com pogues en luec venir ont eu vos bais e.us estrenha qu'ab aitant pot revenir, mos cors, quez es envejos de vos mout e cobeitos ; amics, no.m laissatz morir, pueis de vos no.m puesc gandir un bel semblan que.m revenha fatz, que m'aucira.l consir.
I am fulfilled provided that you recall by what means I could find somewhere to kiss you and embrace you, for in that way my heart can revive, which is full of longing for you and very envious. Beloved, do not let me die! Since I cannot give you up, arrange an appropriate way to revive me which will kill off my jealousy
Eras quan vei verdeiar pratz e vergiers e boscatges, vuelh un descort comensar d’amor, per qu’ieu vauc aratges ; qu’una dona.m sol amar, mas camjatz l’es sos coratges, per qu’ieu fauc dezacordar los motz, e.ls sos, e.ls lenguatges.
I see meadows, orchards and groves turning green! I wish to begin a descort of love, because I turn this way and that at will. I love a lady since a long while but her heart has changed, which is why I make a discordance between the words and music and the languages.
Io son quel que ben non aio ni jamai non l’avero, ni per avril ni per maio, si per ma donna non l’o ; certo que en so lengaio sa gran beuta dir non so, çhu fresca qe flor de glaio, per qe no m’en partiro.
I am someone who has no good fortune nor ever will have, neither in April nor in May, unless I obtain it from my lady. It is certain that in her language I cannot describe her great beauty. Her complexion is fresher than the gladiolus, which is why I shall never separate from her.
Belle douce dame chiere, a vos mi doin e m’otroi ; je n’avrai mes joi’entiere si je n’ai vos e vos moi. Mot estes male guerriere si je muer per bone foi ; mas ja per nulle maniere no'm partrai de vostre loi.
Fair, sweet and dear lady, I give myself to you completely! I shall not have total joy unless I possess you, and you me. You are a very poor warrior and I am dying through my good faith. But never, in no way shall I withdraw myself from your authority.
Dauna, io mi rent a bos, coar sotz la mes bon’e bera q’anc fos, e gaillard’e pros, ab que no.m hossetz tan hera. Mout abetz beras haisos e color hresc’e noera. Boste son, e si.bs agos no.m destrengora hiera.
My lady, I surrender to you, for you are the best and fairest that ever existed, and merry and courtly, although you are so hard towards me. You have some very fine ways and your complexion is fresh and youthful. I am yours and if I were to possess you the fever would torment me no more.
Mas tan temo vostro preito todo’n son escarmentado. Por vos ei pen’e maltreito e meo corpo lazerado : la noit, can jatz en meu leito, so mochas vetz resperado ; e car nonca m’aprofeito falid’ei en mon cuidado.
But I fear your arguments, and I am punished thereby. Because of you I experience pain and torment and my body is destroyed! At night, when I lie in my bed, I am woken many times and as I gain nothing from it I am deceived and anxious.
Belhs Cavaliers, tant es car lo vostr’onratz senhoratges que cada jorno m’esglaio. Oi me lasso ! que faro si sele que j’ai plus chiere me tue, ne sai por quoi ? Ma dauna, he que dey bos ni peu cap Santa Quitera, mon corasso m’avetz treito e mot gen favlan furtado.
Fair knight, the honour of having sway over you is so precious to me that every day I tremble with dread. Alas, hapless me! what shall I do if she who is the dearest to me kills me, I know not why ? My lady, by the faith that I owe you and by the head of Saint Quitère, you have taken my heart from me and by your words gently stolen it.
A chantar m’èr de ço qu’eu no volria, Tant me rancur de lui cui sui amia ; Car eu l’am mais que nulha ren que sia : Vas lui no’m val Mercés ni Cortezia Ni ma beltatz ni mos prètz ni mos sens ; Qu’atressí’m sui enganad’ e trahia Com degr’èsser, s’eu fos desavinens.
I must sing of what I would not, Such sorrow do I feel because of him whose friend I am; For I love him more than anything that exists. But with him Grace and Courtesy are of no avail to me, Nor my beauty, nor my worth, nor my wit. I find I am as deceived and betrayed As I would be if I were devoid of charms.
Meravelh me com vòstre còrs s’orgòlha, Amics, vas me, per qu’ai razon que’m dòlha ; Non es ges dreitz qu’autr’amors vos mi tòlha, Per nulha ren que’us diga ni acòlha. E membre vos quals fo’l comensamens De nòstr’amor ! Ja Dòmnedeus non vòlha, Qu’en ma colpa sia’l departimens.
I am astonished that your heart is so full of pride Towards me, my friend; that gives me cause for sorrow. It is not right that another love should take you from me, Whatever she may say or offer you. And remember the beginnings Of our love! May the Lord God forbid That our separation should be by my fault!
Valer mi deu mos prètz e mos paratges E ma beutatz, e plus mos fins coratges ; Per qu’eu vos man, lai on es vòstr’estatges, Esta chanson, que me sia messatges E vòlh saber, lo meus bèls amics gens, Per que vos m’ètz tant fèrs ni tant salvatges ; No sai si s’es orgòlhs o mals talens.
There is value for me in my merits, my noble blood, My beauty, and still more my sincere heart; Therefore I send you, where you dwell, This song as my messenger. I want to know, fair noble friend, Why you are so haughty and so harsh to me: I do not know if it is pride or ill will.
Mas aitan plus vòlh li digas, messatges, Qu’en tròp d’orgòlh an gran dan maintas gens.
But even more I want you to tell him, messenger, That overweening pride has caused the ruin of many.
Coindeta sui, si com n'ai gran cossire, per mon marit, car ne.l volh ne.l desire.
Refrain: I am pretty, but I suffer greatly because of my husband, for I don’t want him, nor do I desire him!
Qu'eu be.us dirai per que son cossirosa : coindeta sui si com n'ai gran cossire car pauca son, jovenata e tosa, coindeta sui si com n'ai gran cossire e degra aver marit dont fos joiosa, ab cui totz temps pogues jogar e rire. Coindeta sui si com n'ai gran cossire per mon marit, car ne.l vol ne.l desire.
And I’ll tell you why I am so flirtatious, for I am a petite young girl, and should therefore have a husband who makes me merry with whom I can always play and laugh.
Ja Deus no.m sal, si ja.n sui amorosa : coindeta sui … de lui amar mia sui cobeitosa, coindeta sui … anz quan lo vei, ne son tan vergonhosa qu'eu prec la mort que.l venga tost aucire. Coindeta sui ...
May God save me, if I am in love! I do not wish to love him at all, but when I see him I feel such shame that I beg Death to come soon to take him.
Mais d'una ren me.n son ben acordada : coindeta sui … se.l meu amic m'a s'amor emendada : coindeta sui … ne.l bel esper a cui me son donada ; planh e sospir, car ne.l vei ne.l remire. Coindeta sui …
But I have accepted one thing in myself: since my lover has granted me his love in compensation, here is the fine hope that I have given myself up to ; I lament and sigh when I don’t see him or contemplate him.
E dirai vos de que sui acordada : coindeta sui ‌ que.l meu amic m'a longament amada, coindeta sui ... ar le sera m'amor abandonada, e.l bel esper que tant am e desire. Coindeta sui ...
And I shall tell you what I have resolved upon: as my lover has loved me for a long while I shall henceforth give my love to him and the fine hope that I cherish and desire so much.
En aquest son fatz coindeta balada coindeta sui ... e prec a totz que sia lonh cantada coindeta sui ... e que la chant tota domn' ensenhada, del meu amic qu'eu tant am e desire. Coindeta sui ...
Upon this melody I compose a pretty ballad and I beseech everyone that it be sung far and wide and that all ladies of good breeding should sing it concerning my lover whom I love and desire so much.
Comtesse de Die