Guillaume Adhémar, Guilhem Ademar, Azemar, Ademars, Azemars,

Guillaume Adhémar.

I.

El temps d' estiu quan par la flors el bruelh,
E son braidiu li auzelhet d' erguelh,
Ai pessamen d' amor que m dezacuelh,
Que nulha re tan no dezir ni vuelh.
Ai! douss' amia,
Mala us viron mey huelh,
Si chauzimens no m guia.

Veiaire m' es qu' ieu no sui selh que suelh,
Si m' a sospris us grans mals don mi duelh,
Don ieu murrai, si la dolor no m tuelh
Ab un dous bais dins cambra o sotz fuelh.
Ai! douss' amia,
Mala us viron mey huelh,
Si chauzimens no m guia.

Membre us, domna, quan me detz senhoriu,
De vos servir m' autrei tan cum ieu viu;
Tortz es si us prec, qu' anc ren no vos forfiu;
Ja no m poscan dan tener enemiu.
Ai! douss amia,
Qu' a son coral amiu
Non deu hom far guandia.

Neguna res non es tan fort esquiu
Cum es d' amor lauzenjador braidiu
Qu' aya poder que menta so que pliu,
Mas fos verais e tengues so que diu.
Ai! douss' amia,
Qu' a son coral amiu
Non deu hom far guandia.

Ieu ai ja vist home que conoys fort,
Et a legit nigromansi' e sort,
Trahit per femn' a peccat et a tort;
Et ieu lasset no m' en tenc per estort.
Ai! douss' amia,
Guidatz me a bon port;
Si dieus vos benezia.

Jamais no vuelh chant ni ris ni deport
S' eras no m fai la belh' ab si acort;
Pres n' ai lo mal don cug qu' aurai la mort,
Si 'n breu de temps no fai de que m cofort.
Ai! douss' amia,
Guidatz me a bon port;
Si dieus vos benezia.

II.

S' ieu conogues que m fos enans
Vas l' amor mi dons vers ni sos,
Mout en fora plus volentos
De far que non es mos talans:
E pero no m' en vuelh gequir,
Ans am mais en perdo chantar
De lieys, qu' autr' amor conquistar.

D' aquesta sui fizels amans,
E no 'l serai fals ni ginhos;
Quar non estai de cel en jos
Negun' ab belhazors semblans,
A cui dieus donet lo chauzir
Del mon, per que 'l fai leu triar;
Lieys prec e tot l' als lays estar.

Ben say que ja non er mos dans,
Quar l' am mais d' autra re qu' anc fos;
Qu' elha es tan ensenhada e pros
Que del tot m' er guazardonans;
E 'l guazardo non puesc falhir,
Quar ab un ris me pot payar,
S' ieu n' era estatz pres oltra mar.

Q' us paucs de ben m' es de lieys grans,
Quan l' en ai, mout en sui joyos;
E greus trebalhs e perilhos
Quan m' en ve, ges no m sembl' afans:
Doncx, quon o sai? quar o aug dir;
Amicx ai que m volon jurar
Que pen' aisso que leu me par.

Tant es cortez' e benestans,
E riqu' e de belhas faissos,
Qu' ieu n' ay estat mout cossiros
Loncs temps, e mos cors sospirans;
Quar ja de lieys non pot mentir
Nuls hom que la vuelha lauzar,
Ni ver dir, si la vol blasmar.

Quoras qu' ieu fos grieus ni pezans,

Ni abruzitz, ni nualhos,
Eras suy bautz e delechos,
E vau ves lieys far sos comans:
E si 'lha me vol obezir,
No m lays dieus de lieys tan lonhar

Que no m trobe ses trop sercar.

Per lieys m' en perdra 'l reys Ferrans
E las cortz e 'ls dos e 'ls baros,
Non per aver, ni per mancos,
Ni per cavalhs, ni per bezans:
Que res tan cum lieys non dezir;
E no m pot nulhs hom estancar,
Si no m fai penre o liar.

E prec mi dons, al vers fenir,
Cui sui hom per vendr' e per dar,
Que pes d' En Guillem Ademar.

III.

Non pot esser suffert ni atendut
Qu' ades non chan, pus estius vey tornat,
E li vergier cum si eron canut
Pareysson blanc, e verdeyon li prat.
Adoncx m' a si conquistat un' amors,
Sol per respieg d' un covinen que m fe;
Guardatz que feira s' agues del fag re,
Qu' a penas denh' ab autr' aver solatz.

Al sieu ops m' a de bon cor retengut
Selha que m' a per amic conquistat;
Qu' assatz m' a mielhs en breu temps conogut
Que tals on ai lonc termini ponhat;
Q' us reproviers me ditz dels ancessors:
Qui temps espera e no fai quan temps ve,
S' el temps li falh, ben estai e cove;
Que loncs espers a manhs plagz destorbatz.

Ab aisso m' a joy e deport rendut,
E mon saber tenc endreg meluyrat;
Qu' en aquest mot cug aver entendut,
Que m vol en breu far ric de s' amistat.
Aisso conosc ben dels lauzenjadors
Quan mi cugeron far mal, m' an fait be,
E grazisc lor de la mala merce,
Quar suy de lieys estortz et escapatz.

Anc non auzis son par plag avengut
Ad home viu, auiatz cum es anat:
Qu' a doble m' an miey enemic valgut
Que no feiron, si m' aguesson amat:
E fon ancmais en aissi valedors,
Qu' ieu lor vuelh mal de mort, et ilh a me;
Pero trag m' an de tal loc on jasse
Suffrira afan, e fora perilhatz.

Eras ai ieu a bon port de salut,
Fe qu' ieu vos dei, mon navei aribat,
Et ai lo plom e l' estanh recrezut,
E per fin aur mon argent cambiat;
Qu' autreiat m' a una de las gensors
Donas del mon, e ges no m dessove
Que m don s' amor, e d' un baizar m' estre;
Et es tant pros q' us reys en for' honratz.

E per aisso tenc me per ereubut,

E non envei el mon nulh home nat,

Si m vol mi dons tener vestit o nut,

Baizan lonc se, en luec de mollerat:

Anc no fon fag al mieu par tals honors

Cum er a mi, s' en aissi s' esdeve;

Qu' el sieu cors blanc, gras e chauzit e le

Remir baizan, ni m tenc entre mos bratz.

Si 'l reys N Amfos cui dopton li Masmut,
E 'l mielher coms de la crestiantat
Mandesson ost, pus be son remazut,
Al nom de dieu farian gran bontat,
Sobr' els Paians Sarrazins trahidors;
Ab que l' us d' els menes ensems ab se
Marit gelos qu' inclau e sera e te,
Non an peccat non lur fos perdonatz.

Ieu remanrai e non irai alhors,
Ni virarai vas autra part mon fre;
E ja negus no m demande per que,
Quar ja per elhs non serai descelatz.


//

Guillaume Ademar (Guilhem Ademar en occitan) (1190/1195–1217) était un troubadour de Gévaudan.

Fils d'un chevalier de Meyrueis, donc d'origine noble, mais pauvre, il passe sa vie entre les cours d'Albi, de Toulouse, de Narbonne, et de Catalogne.
Il obtient durant sa vie une importante réputation, au point qu'un autre troubadour, Monge de Montaudon (le Moine de Montaudon), en fait la satire. Il entre dans les ordres à la fin de sa vie.

Nous possédons de lui seize poèmes, quatorze chansons, un sirventès, et une joute (partiment) avec Eble d'Ussel. Ses chansons sont ses œuvres les plus renommées. Souvent pleines d'humour, il s'y inspire de la poésie d'un de ses plus illustres contemporains: Arnaud Daniel.

Une chanson nous est resté avec sa mélodie.

//

Guilhem Ademar (Old Occitan [ɡiˈʎɛm adeˈmaɾ]; also spelled Guillem, Adamar, or Azemar; fl. 1190/1195–1217) was a troubadour from the Gévaudan in France. He travelled between the courts of Albi, Toulouse, Narbonne, and Spain. He achieved fame enough during his life to be satirised by the nobleman and monk, Monge de Montaudon. Guilhem entered holy orders towards the end of his life. Sixteen poems—fourteen cansos, a sirventes, and a partimen with Eble d'Ussel—form his surviving corpus. His cansos are his most famous pieces. Usually humorous, several mock the poetry of Ademar's more illustrious contemporary Arnaut Daniel. One canso survives with a tune.

According to his vida, Guilhem was the son of a poor knight from Meyrueis (Maruois), the lord of which castle created him a knight. He was an eloquent man who "knew well how to invent (trobaire) poetry." When he was no longer able to support himself as a knight he took to minstrelsy and "was greatly honoured by all the high society." Towards the end of his life he joined the Order of Grandmont (Granmon).

Guilhem Ademar's career can be dated from a reference in a poetic satire of contemporary troubadours by the Monge de Montaudon around 1195. The Monge playfully insults Guilhem as a "bad joglar" who always wears old clothes and whose lady has thirty lovers. The earliest reference to a
W. Ademars, a petty noble of the Gévaudan, occurs in 1192, though this figure, who (variously as Ademars or Azemars) appears in documents until 1217, cannot be definitively identified with the troubadour.

One of Guilhem's more famous pieces is Non pot esser sofert ni atendut, a sensuous canso of courtly love wherein he is wishing that his lady's husband would go far away. It has presented a riddle for its dating through references to two Spanish kings: a rey Ferrans ("king Ferdinand") and reis N'Amfos, cui dopton li masmut / e.l mieiller coms de la crestiantat ("king Don Alfonso, whom the Almohads fear / and the greatest count in Christendom"). Ferrans may be either Ferdinand II of León (died 1188) or Ferdinand III of Castile (began reigning in 1217), both of whom present difficulties because their reigns lie outside the usual dating of Guilhem's career. The Alfonso could be Alfonso II of Aragon (contemporary with Ferdinand II), who was also the Count of Barcelona. It could also be Alfonso IX of León, Ferdinand II's successor, whose kingdom lay about as far away as Guilhem could possibly hope to send his lover's husband; or Alfonso VIII of Castile, whose exploits against the Almohads culminated in the definitive victory at Las Navas in 1212. Since Guilhem wrote a poem sometime between 1215 and 1217 in which he referred to Raymond VI of Toulouse as En Raimon, mon seigner ("Lord Raymond, my lord"), it has also be posited that the mieiller coms referred to in the previous work is Raymond, who was with Alfonso at Las Navas in 1212. Guilhem may thus have had in mind the events of Las Navas and been writing at a time after Ferdinand III's succession. Guilhem may have even been at Las Navas with Raymond.

Guilhem's poetry is in general light, easy-going, and characterised by irony. Like Peire Raimon, his contemporary at the court of Raymond VI of Toulouse, he seems to have been influenced by (and perhaps had an influence on) Arnaut Daniel. Guilhem's lone surviving piece of music is neumatic in texture and motivic in phrasing.

In his primary love songs, Guilhem praises two ladies, one from Albi (Na Bona Nasques, a pet name) and another from Narbonne (Beatriz, perhaps her real name). Despite this, Guilhem has been accused of misogyny for his poem El temps d'estui, qan par la flors el bruoill. His love song Ben for'oimais sazos e locs is written as a message to his lover to be delivered by her porter, who is strictly warned to follow through. In his only sirventes, Ieu ai ja vista manhta rey, Guilhem moralises in a slightly Marcabrunian fashion on how loyal and generous suitors are rejected in favour "fools and misers".

Aubrey, Elizabeth. The Music of the Troubadours. Indiana University Press, 1996. ISBN 0-253-21389-4.

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

Riquer, Martín de. Los trovadores: historia literaria y textos. 3 vol. Barcelona: Planeta, 1975.

Gui d' Uisel, Ussèl, Ussel

Gui d' Uisel.

I.

Anc no cugey que m desplagues amors,

Ni m tornes tan ad enuech ni a fays,

Quar manthas vetz ab me mezeis m' irays

Quar anc un jorn dezirei sas dolors;

Mas ieu cum folhs cujava fos honors,

Quar amava leyalmen ses bauzia;

Mas ara vey qu' en amar no m valria

Re menhs d' amor, per qu' ieu d' amar mi lays.

De totz mestiers es dessemblad' amors,

Quar menhs hi a de pro selh qu' en sap mays,

Qu' ab pauc de be fay los folhs ricx e guays,

E 'l profiegz es totz dels gualiadors,

Per que m sembla qu' amar sia folhors;

Doncx be mi suy entendutz en folia,

Qu' anc ses amor no saubi viur' un dia,

Ni anc ses ben tan de mal hom non trays.

Pero, si fos aitals cum sol amors,

Non dic ieu ges que la valgues nulhs jays,

Qu' ilh lonhava de cossirs e d' esmays

Silh qu' eron sieu, e 'ls teni' en doussors;

Pueys era pretz e largueza et honors,

Essenhamens, sabers e cortezia;

Que baisset tot quan falset drudaria,

E sinon tot, al menhs areire s trays.

Mas era es aitals tornad' amors

Qu' ans que sapchan quals es pros ni savays,

Volon amar las dompnas ab essays,

Per que camjon plus soven amadors;

Et esta piegz us usatges qu' es sors,

Que ses amor pot hom aver amia;

Non dirai plus, per que quar mielhs chastia,

Quant o ditz gen amicx, que quan s' irays.

Mas empero sitot m' a mort amors,

Si m dey tener qu' en trop dir no m' eslays,

Que ben leu er alcun amans verays

Cui seria mos castiars languors;

Et a fin drut deu hom faire socors,

E non blasmar tan cum sec dreita via,

Quar tot son dig e son afar perdria,

Entro s' amors per si mezeissa s bays.

E s' amors val, ylh val per Na Maria,

On es beutatz e cortezi' e jays.

II.

Ges de chantar no m falh cor ni razos,

Ni m falh sabers, si chans m' era grazitz;

Mas ieu era vas amor tan falhitz,

Per qu' ai estat marritz e cossiros;

E pus fagz m' es del falhimen perdos,

Deserenan mi coven a chantar,

Pus en mi dons puesc a totz jorns trobar

Novelh sen, novelha valor,

E beutat plus fina e maior.

Tan son plazens e bellas sas faissos

De lieis qu' ieu am, e bel parlars chauzitz,

Que quan la vei me cug far yssernitz;

Et ieu m' espert on plus m' a belh respos,

E de paor vau fenhen ochaizos,

Com s' ieu era vengutz per autre afar,

E tot aisso ven me per sobramar;

Que ja no m feira tal paor,

Si no m vengues de fin' amor.

Totz temps serai de preyar temeros;

Sabetz per que? quar sui d' amar arditz:

Quar miels quier hom un don quant es petitz,

No fai un gran don tug son enveyos;

E per aisso quar es tan rics lo dos,

Sitot lo m vuelh, ieu non l' aus demandar;

Pero be sai, s' elha lo m volgues dar,

Qu' ieu agra del mon la melhor,

Et elha 'l pus fin amador.

Ab meynhs de be me pogra far joyos,

Mas no m' en es tan de joy escaritz,

Ni non lo 'lh quier que non seri' auzitz,

Mas parli m' en quar en sui cobeytos;

Q' uzatges es d' ome qu' es amoros,

Quan plus non pot, se deleyt en parlar;

Et ieu sivals, pus al re non puesc far,

Ten mi lo parlar ad honor,

Mas paor mi fan parlador.

Sivals aitan dirai en mas chansos

Totz sos fins pretz es de fin joy guarnitz,

Se i fos merces qu' es de totz bes razitz;

Mas en lieys falh, et ieu volgra que y fos,

Quar trop hi ai gran dan manthas sazos;

Et enquer m' es plus greu a sufertar

Qu' om en mi dons puesca ren esmendar:

Mas ja no 'lh calgra esmendador,

S' agues merce de ma dolor.

Don' Alazaitz, d' aitan vos faitz lauzar

A tot lo mon, c' a mi non cal parlar;

Mas ja dieus no m don ben d' amor,

S' ieu non am pus bell' e melhor.

III.

L' autre jorn, cost' una via,

Auzi cantar un pastor

Una chanson que dizia:

“Mort m' an semblan traydor!” 

E quant el vi que venia,

Salh en pes per far m' onor,

E ditz: “Dieus sal mo senhor,

Qu' er ai trobat ses bauzia

Leyal amic celador,

A cui m' aus clamar d' amor.” 

E quant ieu vi qu' el volia

Far de s' amia clamor,

Ieu li dis, ans que plus dia,

Que sofr' en patz sa dolor,

Q' ieu l' am, e ges no volria

Fezes de son mal peior

Per dig de lauzenjador:

Qui ben ama ben castia,

E qui conorta folhor

Vol qu' om la fassa maior.

El pastre, qu' el mal sentia,

Tornet son cantar en plor,

E ditz: “Mout ai gran feunia,

Quar vos aug castiador,

Vos que dig avetz manh dia

Mal de donas e d' amor,

Per qu' ieu sui en gran error:

Ar sai que ver ditz Maria,

Quant ie 'l dis que cantador

Son leugier e camjador.” 

“Er auiatz tan gran feunia,

Fi m' ieu, d' aquest parlador,

Que quant ieu 'lh mostri la via

D' esser franc e sofridor,

M' apelhet de leujairia;

Mas ieu say sufrir aor

Tan que, quan prenc deshonor,

Dic que servit o avia;

Et apella m peccador,

Quan totz lo peccatz es lor.” 

Ab tan vi venir s' amia,

Lo pastor de culhir flor,

E viratz li tota via

Camjar paraula e color.

“Bella, si anc jorn fos mia

Ses par d' autre preyador,

Er no us quier autra ricor,

Mas del tort qu' ieu vos avia

Par vencuda e d' amor,

Tro que la m fassatz maior.” 

Elha respon al pastor

Que 'lh es sa leyals amia,

E feira 'lh semblan d' amor,

Si no li fos per paor.

Et ieu qu' era sols ab lor, 

Quan vi qu' enuey lor fazia, 

Laissiey lieys a l' amador, 

Parti m d' elhs, e tinc alhor.

//

https://en.wikipedia.org/wiki/Gui_d%27Ussel

Gui d'Ussel, d'Ussèl, or d'Uisel (fl. 1195–1209) was a troubadour from the Limousin. Twenty of his poems survive: eight cansos, two pastorelas, two coblas, and eight tensos, several with his relatives and including a partimen with Maria de Ventadorn. Four of his cansos melodies remain.

According to his vida, Gui was the youngest of three sons of a wealthy noble family of the castle Ussel-sur-Sarzonne, northeast of Ventadorn. He and his brothers Ebles and Peire, as well as his cousin Elias, are all reputed troubadours and castellans of Ussel according to the author of the vida, who makes Gui himself a canon of Montferrand and Brioude in the diocese of Clermont. Among his relatives Gui was known for his cansos. The only confirmation of Gui's family from outside his vida is a reference to the brothers Guido and Eblo Usseli donating land to the abbey of Bonaigue. Gui's biographer believed him to have been in love with Malgarita, wife of Rainaut VI, viscount of Aubusson. He supposedly later fell in love with Guillemette de Comborn, wife of Dalfi d'Alvernha, and composed many songs about her. Gui spent almost his entire life in the Limousin and Auvergne, rarely travelling abroad.

Gui addresses several of his songs to Maria de Ventadorn (including the partimen) and makes reference to Peter II of Aragon in one which survives with a melody. The reference to Peter's queen in the song's razo puts the date of its composition in 1204 or later, after Peter's marriage to Marie of Montpellier. His vida records how Gui obeyed a papal injunction from Pierre de Castelnau to cease composing in 1209 and the fact that none of his poems can be reliably assigned later than that date and none mention the Albigensian Crusade, it is probable that Gui did indeed obey papal orders and cease writing.

Gui's poetry to some measure imitates that of his contemporary Cadenet, whom he mentions in one piece. His melodies have something in common with those of Gaucelm Faidit, whom he may have met in Ventadorn. His melodies all stay within a minor tenth interval and use numerous thirds and traids, but never repeating phrases in the AAB form. His music is characterised by motivic variety and he has been praised for his "subtle and creative compositional faculty". The later troubadour Daude de Pradas referred to Gui in a tenso and his melody has given some indication that it may have been influenced by those of Gui.

Gui's works were reproduced in the anthology of Ferrarino Trogni da Ferrara.

Pierre Cardinal. Peire Cardenal. Cardinal.

Pierre Cardinal.

I.

Ben tenh per folh e per muzart
Selh qu' ab amor se lia,
Quar en amor pren peior part
Aquelh que plus s' i fia;
Tals se cuia calfar que s' art;
Los bes d' amor venon a tart,
E 'l mals ven quasqun dia;
Li folh e 'l fellon e 'l moyssart
Aquilh an sa paria;
Per qu' ieu m' en part.

Ja m' amia no mi tenra,
Si ieu lieys non tenia,
Ni ja de mi no s jauzira,
S' ieu de lieys no m jauzia;
Cosselh n' ai pres bon e certa
Que 'lh fassa segon que m fara;
E, s' ella me gualia,
Gualiador me trobara,
E, si m vai dreita via,
Ieu l' irai pla.

Anc non guazanhei tant en re
Cum quan perdey m' amia,
Quar perden lieys guazanhei me
Cuy ieu perdut avia:
Petit guazanha qui pert se,
Mas qui pert so que dan li te,
Ieu cre que guazanhs sia;
Qu' ieu m' era donatz per ma fe
A tal que me destruia,
No sai per que.

Donan me mis en sa merce
Me, mon cor e ma via,
De lieys que m vira e m desmante
Per autruy e m cambia.
Qui dona mais que non rete
Ni ama mais autrui de se,
Chauzis avol partia,
Quan de se no 'lh cal ni 'l soste;
E per aquo s' oblia,
Que pro no 'lh te.

De lieys prenc comjat per jasse,

Qu' ieu jamais sieus no sia,

Qu' anc jorn no y trobei ley ni fe,

Mas engan e bauzia:
Ai dousors plenas de vere;
Qu' amors eyssorba selh que ve
E 'l gieta de sa via,
Quant ama so que 'l descove,
E so qu' amar deuria
Grup e mescre.
De leyal amia cove
Qu' om leyals amicx sia;
Mas de lieys estaria be
Qu' en gualiar se fia,
Qu' om gualies quan sap de que;
Per qu' ar mi plai quan s' esdeve
Quan trop qui la gualia,
E guarda sa onor e se
De dan e de folia,
Ni 'l tira 'l fre.

II.

Ar mi pues ieu lauzar d' amor,

Que no m tolh manjar ni dormir;

Ni 'n sent freidura ni calor,
Ni non badalh ni non sospir,
Ni 'n vau de nueitz aratge,
Ni 'n sui conques, ni 'n sui cochatz,
Ni 'n sui dolens, ni 'n suy iratz,
Ni non logui messatge,
Ni 'n sui trazitz ni enganatz,
Que partitz m' en suy ab mos datz.

Autre plazer n' ai ieu maior
Que non trazisc ni fau trazir,
Ni 'n tem tracheiritz ni trachor
Ni brau gilos que m' en azir,
Ni 'n fau fol vassalatge,
Ni 'n sui feritz ni desrocatz,
Ni non sui pres ni deraubatz,
Ni non fauc lonc badatge,

Ni dic qu' ieu sui d' amor forsatz,

Ni dic que mon cor m' es emblatz.

Ni dic qu' ieu muer per la gensor,
Ni dic que 'l belha m fai languir,
Ni non la prec, ni non l' azor,
Ni la deman, ni la dezir,
Ni no 'l fauc homenatge,
Ni no 'l m' autrey, ni 'l mi sui datz,
Ni no sui sieus endomenjatz,
Ni a mon cor en guatge,
Ni sui sos pres ni sos liatz,
Ans dic qu' ieu li suy escapatz.

Mais deu hom amar vensedor
No fai vencut, qui 'l ver vol dir;
Quar lo vencens porta la flor,
E 'l vencut vay hom sebelir;
E qui vens son coratge
De las deslials voluntatz
Don mov lo faitz desmezuratz,
E li autre otratge,
D' aquel vencer es plus honratz
Que si vencia cent ciutatz.

Pauc pres prim prec de preyador,
Quan cre qu' el cuia covertir,
Vir vas vil voler sa valor,
Don dreitz deu dar dan al partir;
Si sec son sen salvatge
Leu l' es lo larcx laus lagz lunhatz,
Plus pretz lauzables que lauzatz;
Trop ten estreg ostatge
Dreytz drutz del dart d' amor nafratz;
Pus pauc pretz, pus pretz es compratz.

No vuelh voler volatge,
Que m volv e m vir vils voluntatz,
Mais lai on mos vols es volatz.

//

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

Peire Cardenal (or Cardinal) (c. 1180 – c. 1278) was a troubadour (fl. 1204 – 1272) known for his satirical sirventes and his dislike of the clergy. Ninety-six pieces of his remain, a number rarely matched by other poets of the age.

Peire Cardenal was born in Le Puy-en-Velay, apparently of a noble family; the family name Cardenal appears in many documents of the region in the 13th and 14th centuries. He was educated as a canon, which education directed him to vernacular lyric poetry and he abandoned his career in the church for "the vanity of this world", according to his vida. Peire began his career at the court of Raymond VI of Toulouse—from whom he sought patronage—and a document of 1204 refers to a Petrus Cardinalis as a scribe of Raymond's chancery. At Raymond's court, however, he appears to have been known as Peire del Puoi or Puei (French: Pierre du Puy). Around 1238 he wrote a partimen beginning Peire del Puei, li trobador with Aimeric de Pegulhan.

At Raymond's court also perhaps, probably in 1213, Peire composed a sirventes, Las amairitz, qui encolpar las vol, which may have encouraged Peter II of Aragon to help Toulouse in the Battle of Muret, where Peter died. In this sirventes Peire alludes first perhaps to the accusations of adultery that Peter had leveled against Peter's wife Maria of Montpellier but also perhaps to the various changes in law governing women. In the second stanza Peire mentions Peter's success in the Battle of Las Navas de Tolosa; in the third he alludes to the sacking of Béziers (whose count Raymond Roger Trencavel was supposed to have been Peter's vassal): at Béziers the poorer soldiers of the Inquisition were flogged by the wealthier, and this is the theme of the stanza. Peire's mention of the court of Constantine may also again evoke the divorce proceedings of Peter and Marie where Peire ultimately lost. Peire later alludes to the death of someone (perhaps a daughter or perhaps Peire's wife Marie) and then apparently to the couple's son James I of Aragon, born at Candlemas, according to James's Chronicle. It's not clear who the crois hom or "dreadful man" is in the final couplet, whose deeds are "piggish": Peire has really never addressed anyone in this verse but Peter II and those close to him. (But dualism had by then made its way into some of the local religious views of Medieval Languedoc: in dualist philosophy worldly deeds might be seen as "piggish".)

Peire subsequently travelled widely, visiting the courts of Auvergne, Les Baux, Foix, Rodez, and Vienne.[3] He may have even ventured into Spain and met Alfonso X of Castile, and James I of Aragon, although he never mentions the latter by name in his poems. (James is however of course mentioned in Peire's vida.) During his travels Peire was accompanied by a suite of jongleurs, some of whom receive mention by name in his poetry.

Among the other troubadours Peire encountered in his travels were Aimeric de Belenoi and Raimon de Miraval. He may have met Daude de Pradas and Guiraut Riquier at Rodez. Peire was influenced by Cadenet, whom he honoured in one of his pieces. He was possibly influenced by Bernart de Venzac.

In his early days he was a vehement opponent of the French, the clergy and the Albigensian Crusade. In the sirventes, Ab votz d'angel, lengu' esperta, non bleza, dated by Hill and Bergin to around 1229 (when the tribunal of the Inquisition was established at Toulouse by the Dominican Order), Peire enjoins those who seek God to follow the example of those who "drink beer" and "eat bread of gruel and bran", rather than argue over "which wine is the best". The latter behavior Peire's verse attributes to the "Jacobins" (Hill and Bergin say this is the Dominican Order).

In Li clerc si fan pastor he condemned the "possession" of the laity by the clergy, for so long as the clergy order it, the laity will "draw their swords towards heaven and get into the saddle." This poem was written probably around 1245, after the First Council of Lyon, where the clergy took action against the Emperor Frederick II, but not against the Saracens. In Atressi cum per fargar Peire suggests that the clergy "protect their own swinish flesh from every blade", but they do not care how many knights die in battle. Peire was not an opponent of Christianity or even the Crusades. In Totz lo mons es vestitiz et abrazatz he urged Philip III of France, who had recently succeeded his father, Louis IX, who died in 1270 on the failed Eighth Crusade, to go to the aid of Edward Longshanks, then on the Ninth Crusade in Syria.

Near the end of the sirventes, Ab votz d'angel, lengu' esperta, non bleza, composed as noted probably around 1229, Peire's words, [s]'ieu fos maritz, "if I were wed", suggest that he is not yet wed. The verse which follows provides evidence in the view of some that Peire married: it first mocks the "barrenness that bears fruit" of the beguinas (beguines, who may have sometimes been associated with the Dominicans; Hill and Bergin in 1973 said this was a reference to nuns of the Dominican Order). Throughout the verse of course Peire had been poking fun at the Dominican clergy, but the comment about the nuns may have additional significance. His tone changes after this and his closing lines suggest though that all this is a miracle from the "saintly fathers", suggesting his acceptance of things: Cardenal.org says that some have interpreted these lines as suggesting that Peire married at this time.

By the end of his life he appears reconciled to the new modus vivendi in southern France. He died at an advanced age (allegedly one hundred years old) possibly either in Montpellier or Nimes, but this is only a supposition, based on where the biographer and compiler Miquel de la Tor was active.

Three of Peire's songs have surviving melodies, but two (for a canso and a sirventes) were composed by others: Guiraut de Bornelh and Raimon Jordan respectively. Like many of his contemporary troubadours, Peire merely composed contrafacta. The third, for Un sirventesc novel vuelh comensar, may be Peire's own work. It is similar to the borrowed melody of Guiraut de Bornelh, mostly syllabic with melismas at phrasal ends. The meagre number of surviving tunes (attributable to him) relative to his output of poetry is surprising considering his vida states that "he invented poetry about many beautiful subjects with beautiful tunes."

https://www.jstor.org/stable/2849662

https://web.archive.org/web/20090116032156/http://www.cardenal.org/

http://www.trobar.org/troubadours/peire_cardenal

http://www.rialto.unina.it/autori/PCard.htm

Berenguer de Palasol. Bérenguer, Berengiers, Berenguier de Palazol, cataloigna

Berenguer de Palasol.

I.

S' ieu sabi' aver guizardo
De chanso, si la fazia,
Ades la comensaria
Cunhdeta de motz e de so;
Que perdut n' ai mon belh chantar,
Per qu' eras m' en pren espavens;
E si n' ai estat alques lens,
No m' en deu hom ochaizonar.

Qu' amada us auray en perdo
Longamen en aital guia;
A! ma belha douss' amia,
Qu' anc res no us plac no m saupes bo,

Ni anc res no saupi pensar
Qu' a vos fos pretz ni honramens,
Qu' al tost far no fos pus correns
Que si 'n degues m' arma salvar.

E ja dieus a me be non do,
S' en lieys mos cors se fadia;
La flor de la cortezia
Elha m' aura, o autra no;
Qu' a sola lieys m' estug e m guar,
E suy aissi sieus solamens,
Qu' autre solas m' es eyssamens
Cum qui m fazia sols estar.

E no farai pus lonc sermo;
Quar on pus la lauzaria,
Del laus sol qu' en remanria,
Cent domnas ne aurian pro,
Qui sabria ben devizar
Las beutatz e 'ls ensenhamens,
E la cortezia e 'l sens,
Aissi cum s' eschairi' a far.

Aissi finira ma chanso,
E no vuelh pus longa sia,
Que pus greu la 'n apenria
Mo senher, e siey companho,
Lo coms Jaufres, que dieus ampar,
Quar es adreitz e conoissens,
E fai tans de ricx faitz valens,
Lauzengiers no 'l pot encolpar.

II.

De la gensor qu' om vey, al mieu semblan,

On nueg e jorn velh e pens e cossir,
Mi vuelh lunhar, si 'l cor mi vol seguir,
Ab tal acort que mais no 'l torn denan;
Quar longamen m' a tengut deziron
Ab belh semblan, mas tan dur me respon
Qu' anc jorn no m volc precx ni demans sofrir.
Jamais miey huelh ab los sieus no s veyran,
S' a lieys no platz que m man a se venir:
Cum plus la vey plus m' auci de dezir,
Et on mais l' am, mais y fatz de mon dan;
E 'l non vezer me languis e m cofon;
E pus no m plai ren als que sia 'l mon,
Ab pauc no m lays de vezer e d' auzir.

Ai! belha domna, ab belh cors benestan,
De belh semblan e de gent aculhir,
A penas sai de vos mon mielhs chauzir,

Si us vey o no, o si m torn, o si m' an:

Non ai saber ni sen que mi aon;
Tan suy intratz en vostr' amor prion,
Qu' ieu non conosc per on m' en puesc issir.

Pero, dona, si us vis cor ni talan
Que m denhessetz l' amor qu' ie us ai grazir,
So es us mals don no volgra guerir;
Mas, pus no us plai, al ver dieu me coman;
De vos mi tuelh, e non ab cor volon,
Quar res ses vos no m pot far jauzion:
Veiatz si m puesc ab gaug de vos partir!

Quar conoissetz que no us am ab engan,
E quar vos sui plus fis qu' ieu no sai dir,
E quar ab vos m' aven viur' e murir,
Vos afranquis merces vas me d' aitan,
Dona, qu' el cor que m falh e m fug e m fon
Me sostenguatz, quar ieu no sai vas on
Mi serc secor, si vos mi faitz falhir.

Senher Bernard, no ns partrem viu del mon,
Mas la belha que m destrenh e m cofon
Tem que m fassa per mort de vos partir.

III.

Totz temeros e doptans
Cais qui s laiss' a non chaler;
Sol puesc' entr' els bos caber,
Vuelh que si' auzitz mos chans;
Pero no m n' entremetria,
Si mon voler en seguia:
Mas francamen m' en somo
Tals cui non aus dir de no.

Domna, cui sui fis amans,
Vos mi faitz viur' e voler;
E quan peza 'n mon lezer
El guais amoros semblans
Que m' a mes de joy en via,
Dic vos que no m camjaria
A la belha sospeisso,
Per nulh autr' oc vostre no.

Tant etz belha e benestans,
Era mi vengr' a plazer
Qu' en pogues un oc aver;
Qu' ades, sitot m' es afans,
N' am mais la belha fadia
Qu' el don d' autra no faria:
De vos aurai aquelh do
Que plus vuelh que d' autra no.

Franca res, conhda e prezans,
Veus mi al vostre plazer;
E si us plai mi retener,
Sui vostres, senes enjans,
E vostres, si no us plazia;
Et en vostra senhoria
Remanh e serai e so,
Ab que m retenguatz o no.

Pueis qu' anc no us vi ni davans,
No pogui dels huelhs vezer
Re que m pogues tan plazer;
Sia mos pros o mos dans,
Pus qu' ieu vos vi, belh' amia,
E quar m' en lais per feunia,
O per un pauc d' ochaizo,
Guerrey mi eys e vos no.

Domna, no sai si us plairia
Qu' ie us vis, o si us pezaria,
En tan gran doptansa so
No sai s' ie us veya o no.
IV.

Tan m' abelis jois et amors e chans,
Et alegrier, deport e cortezia
Qu' el mon non a ricor ni manentia
Don mielhs d' aisso m tengues per benanans;
Doncs, sai ieu ben que mi dons ten las claus
De totz los bes qu' ieu aten ni esper,
E ren d' aisso ses lieys non puesc aver.

Sa grans valors e sos humils semblans,
Son gen parlar e sa belha paria,
M' an fait ancse voler sa senhoria
Plus que d' autra qu' ieu vis pueis ni dabans;
E si 'l sieus cors amoros e suaus,
E sa merce no m denha retener,
Ja d' als amors no m pot far mon plazer.

Tant ai volgut sos bes e sos enans,
E dezirat lieys e sa companhia,
Que ja no cre, si lonhar m' en volia,
Que ja partir s' en pogues mos talans;
E s' ieu n' ai dic honor ni be ni laus
No m' en fas ges per messongier tener,
Qu' ab sa valor sap ben proar mon ver.

Belha domna, corteza, benestans,
Ab segur sen, ses blasm' e ses folhia,
Sitot no us vey tan soven cum volria
Mos pessamens aleuja mos afans,
E delieyt me, e m sojorn, e m repaus;
E quan no us puesc estiers dels huelhs vezer,
Vey vos ades en pessan jorn e ser.

Sabetz per que no m vir ni no m balans
De vos amar, ma belha douss' amia,
Quar ja no m cal doptar si ie us avia
Que mesclessetz falsia ni enjans;
Per qu' ieu am mais, quar sol albirar n' aus,
Que vos puscatz a mos ops eschazer,
Qu' autra baizar, embrassar ni tener.

Doncs, s' ieu ja m vey dins vostres bras enclaus,

Si qu' ambeduy nos semblem d' un voler,
Meravil me on poiria 'l joy caber.

V.

Mais ai de talan que no suelh,

Quo fezes auzir en chantan

D' amor co m ten en son coman,

Ni quo fai de mi so que 'l plai;

Qu' ara m fai chantar aitan be,

Ab lo brau temps et ab la gran freydor,

Cum si eram el belh temps de pascor.

On plus vau, mielhs am e mais vuelh,

De bon cor e de fin talan,
La belha que m compret baizan;

Qu' eras l' am tan que non puesc mai,

E no sai cossi m' esdeve
Que, quan li play que m fai be ni honor,

Ades l' am mais, no sai don mov l' amor.

E quan mi fai semblan d' erguelh,
Ges l' amor no s baissa per tan,
Ans es ver, e no m tengua dan
Que non la puesc per ren ni sai
Dezamar per neguna re;
Ni vuelh esser en luec d' emperador,
Qu' ieu per autra vires mon cor alhor.

Ja no s lassarian miey huelh
D' esguardar los sieus belhs semblan,
Neys si durava 'l jorn un an;
Tan m' es belh tot quan ditz ni fai

Que de nulh maltrach no m sove;

Que 'l sieu belh huelh e la fresca color

M' aluma 'l cor en joy et en bauzor.

Li maltrach don ieu pus mi duelh
Son quar ades no 'l sui denan;
E si la vey pro en pensan,
Qu' el cor e 'ls huelhs tenh ades lai;
Mas li dezir son sai ab me
Que m' agran mort lonc temps a de dolor,

S' aquest dous pens no fos que mi secor.
Li lauzengier son d' un escuelh
Ab aquels que van devinan
L' autrui joy, et es enuetz gran
Quar ja 'ls pros s' en meton en plai;
Et on mais val meyns y cove,
Quar aver deu de si meyns de paor
Selh qui d' autrui ditz enueg ni folhor.

VI.

Bona domna, cui ricx pretz fai valer
Sobre las plus valens, al mieu veiaire
Avetz razo per que m deiatz estraire
Lo belh solatz ni l' amoros parer,
Sinon quar vos auziey anc far saber
Qu' ie us amava mil aitans mais que me;
En aquest tort me trobaretz jasse,
Quar non es tortz que ja us pogues desfaire.

Si 'l belh semblan que m solias aver
De clar que m fo, dona, tornatz en vaire,
Quar conoissetz qu' ieu no m' en puesc estraire,
Mielhs me fora ja no us pogues vezer;
Quar ges pauzar no us puesc a non chaler:
Tals es l' envey' e 'l dezir que m' en ve
Manthas sazos que de vos me sove,
E vir mos huelh devas vostre repaire.

E si de vos dizetz que m dezesper,
Dona, no sai de qui m sia esperaire;
Si m' avetz fait d' autras amar estraire
Q' una non vey ab cui dezir jazer:
Sens totz covens vuelh ab vos remaner,
E sia en vos que m fassatz mal o be;
Pero guaratz qual mielhs vos en cove,
Que no us deman oltra grat pauc ni guaire.

De bon talan, ab cor leyal e ver,
M' autrey a vos per vostres comans faire,
Sol no m mandetz de vos amar estraire,
Quar ja, dona, non auria lezer;
E no m' en cal per messongier tener,
C' aissi mi soi enpres per bona fe,
Ja dezamar no us poiria per re,
Ni fin non vuelh, s' aman no la 'n puesc traire.

Trop mi podetz longamen mal voler,
Si m dezamatz, quar ieu vos suy amaire,
E volgues m' en mon essien estraire,
Ja de mon cor non auria poder;
E doncs, dona, pus no m' en puesc mover,
Ni m' abelhis autre joys ni m soste,
S' ab vos no truep chauzimen e merce,
Vostre belh cors n' er vas amor peccaire.

Amors n' a tort quar enveyos me te
Del vostre cors graile, gras, blanc e le,
S' enquer no m faitz mielhs que no m soletz faire.

//

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

Berengiers de palazol si fo de cataloigna, del comtat de rossillon, paubres cavallier fo...

"Berenguier de Palazol was from Catalonia, from the county of Roussillon, a poor knight he was..."

Berenguier de Palazol, Palol, or Palou (fl. 1160–1209) was a Catalan troubadour from Palol in the County of Roussillon. Of his total output twelve cansos survive, and a relatively high proportion—eight—with melodies.

Palafolls: 
En el año 1002 aparece en el alodio de Palazol en un documento de los condes de Barcelona Ramón Borrell y Ermesenda de Carcasona, a favor del vizconde de Gerona Sunifredo.

Only some sketchy details of Berenguier's life can be gleaned from surviving records. According to his vida he was a poor knight, but well-trained and skilled in arms. Other evidence suggests that his family was well-off.
He appears in five documents of Roussillon between 1196 and 1209, all under the Latin name Berengarius de Palatiolo (or Palaciolo). The earliest dates of his career are determined by the fact that he was a vassal of Gausfred III of Roussillon, who died in 1164 and receives mention in several of Berenguier's works. It is quite possible that Berenguier was one of the earliest troubadours, and the poems that mention Jaufres (Gausfred) may date as early as 1150. Berenguier does not seem to have had much contact with his fellow troubadours. He may have met Pons d'Ortaffa late in life, and the latter may address him in one of his songs as Senher En Berenguier.

All of Berenguier's surviving works deal with the theme of courtly love.
One of his cansos was a model for a sirventes by his contemporary Raimbaut de Vaqueiras, who may have set it to the same tune, Berenguier's most "florid". The chief object of the love of his songs is Ermessen d'Avinyo, wife of Arnaut d'Avinyo. According to Berenguier's vida, Arnaut was a son of Maria de Peiralada, but this is probably a confusion with Maria domina de Petralata, the mother of Soremonda, the lover of Guillem de Cabestany.

Berenguier's well-preserved music is generally syllabic with a few melismatic phrase endings; conservative, generally staying within an octave; and motivically structured, having something in common with that of Bernart de Ventadorn.

//
https://ca.wikipedia.org/wiki/Berenguer_de_Palou_(trobador)

Berenguer de Palou (o Berenguer de Palol, o de Palazol) (segona meitat del s. XII) va ser un trobador català, del comtat del Rosselló. (que escribía en lengua occitana, plana romana)

Es tenen poques notícies d'aquest trobador. Segons explica la vida,[1] fou un cavaller de Palol -Palazol, tal com grafia la vida-, al Rosselló, i és difícil identificar-lo amb algun personatge de l'època a partir d'altres documents, ja que durant els segles XII i xiii abunden els catalans que porten aquests noms. Sempre segons la vida, fou un cavaller pobre, però destre, instruït i bo amb les armes. Trobà bé cançons i cantava d'Ermessenda d'Avinyó, muller d'Arnau d'Avinyó, fill de Maria de Peiralada.

Es conserven dotze composicions seves, totes de temàtica amorosa, de les quals vuit van acompanyades de notacions musicals en el cançoner R; això el converteix en un dels pocs trobadors catalans la música dels quals es conserva i un dels trobadors amb un percentatge alt de música conservada sobre el conjunt de l'obra.

Una de les seves cançons (S'ieu sabi'aver guiardo) descriu la total submissió del trobador a la seva dama. Com a curiositat es pot observar que en la darrera estrofa diu que no ha volgut allargar més la composició perquè vol que la recordin bé Gausfred III de Rosselló i els seus companys, la qual cosa ens pot indicar que no només els joglars cantaven les cançons dels trobadors, sinó que es tenia la intenció que els mateixos cortesans les recordessin i també hi donessin publicitat. La referència a Gausfred permet, a més, situar cronològicament el trobador, ja que Gausfred morí el 1164. Això el fa probablement el trobador català conegut més antic.

Algunes d'aquestes poesies s'atribueixen, segons en quin cançoner es conserven, a altres trobadors.

(47,1) Ab la fresca clardat (cançó; amb música conservada al cançoner R)

(47,2) Aissi com hom que senher ochaizona (cançó)

(47,3) Aital dona cum ieu sai (cançó; amb música conservada al cançoner R)

(47,4) Bona dona, cuy ricx pretz fai valer (cançó; amb música conservada al cançoner R)

(47,5) De la gensor qu'om vey', al mieu semblan (cançó; amb música conservada al cançoner R)

(47,6) Dona, la genser qu'om veya (cançó; amb música conservada al cançoner R)

(47,7) Dona, si totz temps vivia (cançó; amb música conservada al cançoner R)

(47,8) Mais ai de talan que no suelh (cançó)

(47,9) S'ieu anc per fol' entendensa (sirventès-cançó)

(47,10) S'ieu sabi' aver guiardo (cançó)

(47,11) Tant m'abelis joys et amors et chans (cançó; amb música conservada al cançoner R)

(47,12) Totz temoros e doptans (cançó; amb música conservada al cançoner R)

//

Vegeu Riquer 1983 o 1995; o el text que apareix en la fotografia, en tinta vermella.

Una explicació sobre la numeració de la poesia trobadoresca d'acord amb el repertori de Pillet i Carstens es troba a l'article Alfred Pillet.
//

Adroher, Michel. Les troubadours roussillonnais : XIIe-XIIIe siècles (en francès). Perpinyà: Publications de l'Olivier, 2012. ISBN 978-2-908866-42-1 [Consulta: 15 octubre 2016].

Alfred Pillet / Henry Carstens, Bibliographie der Troubadours von Dr. Alfred Pillet [...] ergänzt, weitergeführt und herausgegeben von Dr. Henry Carstens. Halle: Niemeyer, 1933 [Berenguer de Palou és el número PC 47]

Costa, Ricardo da; Gaby, André; Hartmann, Ernesto; Ribeiro, Antonio Celso; Silva, Matheus Corassa da. "Um tributo à arte de ouvir. O amor cortês nas cançons de Berenguer de Palou (c. 1160-1209)". In: eHumanista/IVITRA 15 (2019), p. 396-455. ISSN 1540-5877

Guido Favati (editor), Le biografie trovadoriche, testi provenzali dei secc. XIII e XIV, Bologna, Palmaverde, 1961, pàg. 122

Margherita Beretta Spampinato, Berenguer de Palol, edizione critica, Modena, Mucchi, 1978 [és l'edició que es pot consultar en línia a Rialto

Martí de Riquer, Los trovadores. Historia literaria y textos. Barcelona: Ariel, 1983, vol. 1, pàg. 300-310 [Comentari i edició i traducció a l'espanyol de la vida i dues composicions]

Martí de Riquer / Antoni Comas, Història de la literatura catalana, Barcelona: Ariel, 1964 (5a ed. 1993), vol. 1, p. 67-71

Martí de Riquer, Vidas y retratos de trovadores. Textos y miniaturas del siglo XIII, Barcelona, Círculo de Lectores, 1995 p. 286-287 [Reproducció de la vida, amb traducció a l'espanyol, i miniatures dels cançoners I i K].

https://ca.wikipedia.org/wiki/Llista_de_trobadors_i_trobairitz

https://ca.wikipedia.org/wiki/Llista_de_trobadors_amb_m%C3%BAsica_conservada

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Berenguer de Palou, obispo