  The
Troubadours (
Trobadors, 
Trouvères)
Introduction
to the Troubadours
Troubadour
Conventions and Favourite Themes
Troubadour
Lyrics
Troubadour
Music
Troubadours
and Cathars
Troubadours
at the Court of the Counts of Toulouse
The
Song of the Crusade (La Chanson de la Croisade) - The Song
of the Cathar Wars
Troubadour
Origins
Well
Known Troubadours
Women
Troubadours, or Trobairitz
Jeux
Floraux (Floral Games)
Troubadours
from the Lands of the Counts of Toulouse and the Counts
of Foix
Troubadours
from the Roussillon and other parts of Catalonia and Aragon
Troubadours
from the Aquitaine and other continental territories of
the Kings of England
Troubadours
from Gascony and Comminges
Troubadours
from Provence
Troubadours
from Quercy and the Rouergue
Troubadours
from Limousin and Marche
Introduction to the Troubadours
 Modern
European literature originated in Occitania
in the early 12th century. It was started by
hundreds of Troubadours (poet-musicians), who sang the praises
of new values and in a new way. Their themes
were courtly love, and concepts such as "convivencia" and
"paratge" for which there is no modern counterpart in modern
English or French. "convivencia" meant something
more than conviviality and "paratge"
meant something much more than honour, courtesy,
chivalry or gentility. Troubadours praised
high ideals, promoting a spirit of equality based on common
virtue and deprecating discrimination based on blood or
wealth. They were responsible for a great flowering
of creativity. The lyrics could be racy, even by modern
standards. Woman troubadours as well as men were welcomed
in Châteaux throughout the Midi. They were loathed
by the Roman Church, though a number of priests and bishops
had themselves been well known troubadours in their early
years - including, famously, Fouquet de Marseille, Archbishop
of Toulouse.
The earliest troubadour whose work survives is William
IX, Duke of Aquitaine, (1071 - 1127, also known in his
native Occitan
as as Guilhem de Peitieus, and in French Guillaume d'Aquitaine).
Troubadours flourished in the 12th and 13th centuries in
the Languedoc (Occitania). Their language Occitan
(sometimes called the langue d'oc and occasionally Provençale)
was the first literary language of Europe since classical
times. Some 2000 of their works are known, from the short
compositions like the "cansos", to book-long epics. All
are expressed in Occitan,
or as it was then called, "plana lenga romana" - the plain
Roman tongue.
Click on the following link for songs (in Occitan with English translations) by William IX of Aquitaine 
In France to the north the idea was copied by speakers
of French (the langue d'oil) who are generally known as
Trouvères. This was probably accelerated when Eleanor
of Aquitaine (the grand-daughter of the first known
troubadour William IX of Aquitaine) married the King of
France. She exported the same ideals of courtly love to
England when she later married King
Henry II. Her daughter Marie, Countess of Champagne
took the same ideas of courtly behavior to the court of
the Count of Champagne.
 Two
common errors - repeated in the modern literature by scholars
who really aught to know better - are that all Troubadours
wrote in Provençale and that Provençale is
a dialect of French. The first error arises presumably because
the name Provençal is occasionally used, confusingly,
to refer to the Occitan language. The second is inexcusable
- a blind acceptance of French propaganda perpetrated by
the same people who promote the fiction that Occitania was
always part of France. The fact is that Provençale
is a dialect of Occitan not of French, and relatively
few troubadour works are written in the Provençale
dialect. Most troubadour works date from a time before the
Languedoc (
Lengadoc), Provence (
Proveça), the Aquitaine (
Gasconha) or much of the rest of Occitania
were annexed by France.
Troubadours were well-educated highly sophisticated verse-technicians.
The earliest lives of the troubadours (called "vidas")
were compiled in the 13th and 14th centuries. They contributed
a romantic air to troubadour mythology. We know that "Trobadors"
were welcomed by noble courts throughout Occitania,
including areas that are now regarded as Spanish, Italian
or French. They were also welcomed in the courts
of England, France and even Germany (as minnesänger).
 Their
influence was profound and far-reaching, giving rise to
the development of virtually all modern western literature
other than religious "legends". Dante can be classsed
as a troubadour; and troubadour influences clearly aparent
in writers like Geoffery Chaucer, John Gower, Marie de France,
Chretien de Troyes, Gottfried von Strassburg and Thomas
Malory. They shaped much of our modern romanticised concept
of medieval life - right down to ladies awarding favours
to knights bearing their colours in jousting tournaments.
Among the many direct descendants of their work might be
counted a range of modern genres, from biographies to novels;
from war stories to political satires; and from soft pornography
to Mills and Boon style romances. The very word romance
with its modern connotations is a Troubadour invention.
The word began as the name for a narrative poem about chivalric
heroes.
Troubadour Conventions and favourite
themes
 Troubadours
made great contributions to intellectual life with their
new art, blending courtly love, eroticism, war, nature,
political satire and philosophy - all of which (apart from
war songs) excited the ire of the Roman Church. Courtly
love (cortez amors , amour courtois) was condemned
particularly strongly. It was a concept of love that appeared
in Occitania at the end of the eleventh century - the same
time as the First Crusade (1099) and the birth of the troubadour
tradition where it found its first expression. Oddly, the
term cortez amors occurs only once in medieval litterature,
in a late 12th century lyric by Piere d'Alvernhe, but it
denotes much the same idea as fin'amor ("fine
love") which is much more common.
Courtly love was contradictory as it encompassed both erotic
desire and spiritual aspration. As one modern authority
puts it "a love at once illicit and morally elevating,
passionate and self-disciplined, humiliating and exalting,
human and transcendent." The knight accepts the independence
of the object of his desire and tries to make himself worthy
of her by acting honourably and by doing deeds of heroism
that might appeal to her. Rather than being critical of
romantic and sexual love as sinful, troubadours praised
it as the highest good. The woman was an ennobling morale
force. This view was diametrically opposed to the clerical
view, which held that women and sex were both inherently
sinful. Clerics saw religion as the only route to salvation
and regarded as blasphemous the troubadours' innovation
that love might offer an alternative route to the same end.
Matrimony had been declared a sacrament of the Church, at
the Fourth Lateran Council, 1215, but even after this time
the ideal state of a Christian was celibacy. Around the
same time Courtly Love was condemned by the church as heretical.
But there was a carrot as well as a stick. It is no coincidence
that the cult of the Virgin Mary also began in the west
around this time - fostered specifically to counter courtly
views of women.
Many songs focus on the concept of Courtly Love (in French
l'amour courtois) often featuring extravagantly artificial
and stylized relationships and characterised by five attributes:
- Literary. Before it established itself as a
real-life activity, courtly love was a theme in imaginative
literature. Courtly love between noblemen and noblewomen
was popular in song and fable before real knights and
ladies started to behave in the same way (rather like
to bored young rich of today aping what they see in films).
- Aristocratic. Courtly love was practiced by
lords and ladies typically in a royal palace or court.
- Secret. Courtly lovers were pledged to strict
secrecy. A critical element of their affair, and the source
of its special attraction, was that no-one else should
know about it. The lovers comprised their own closed universe
with its own secret meeting places, rules and codes of
conduct.
- Ritualistic. Couples engaged in a courtly relationship
exchanged gifts and tokens of their love. The lady was
the exalted domina, the commanding mistress of the affair.
He was her servus, her lowly but faithful servant. She
was wooed according to elaborate conventions of etiquette
and was the recipient of songs, poems, bouquets, sweetmeats,
favours and gestures. For all these attentions, she was
expected to return no more than a hint of approval or
affection. Unrequited desire was part of the fun. (One
might observe that this aspect has developed in a specialist
trade in more cynical modern times)
- Adulterous. "Fine love", fin d'amour,
almost by definition, was extramarital. One of its attractions
was that it offered an escape from the routine and confinement
of noble marriage - accepted by all as a political or
economic alliance for the purpose of producing dynastic
heirs. Troubadours scoffed at conventional marriage, dismissing
it as yet another religious swindle. In its place they
exalted their own ideal of a relationship the objective
of which was not mere sexual satisfaction, but sublime
and ethereal intimacy. According to tradition, great ladies
like Eleanor
of Aquitaine presided over Courts of Love - one of
which passed judgment that a wife could never be the object
of her own husband's fine love. A troubadour addressing
a similar question pointed out that a wife might have
two lovers - her husband and one other - but that three
was one too many.
 Poets adopted the conventions of feudalism, declaring themselves
the vassal of the lady and addressing her as an overlord
(midons, literally "my lord"). One advantage of
this was that it provided the poet with a way of avoiding
the lady's name, and at the same time flattering her. In
a way. The lady was noble, rich and powerful and the humble
poet gave voice to the aspirations of the courtier class
- even if the poet was himself a senior nobleman - perhaps
even a member of a royal house. Only those who qualified
as noble could engage in courtly love, but the qualification
was not the one promoted by the Church. According to the
troubadours real nobility is not based on wealth or birth,
but on character and action. Contempt for class distinction
in Occitan and Troubadour culture is well illustrated by
the mixed social standing of the troubadours we know of.
As well as many commoners and minor nobles, known troubadours
include five high born ladies, five viscounts, ten counts
and a countess, five marquises, a duke, seven kings and
an emperor. A few Troubadour kings of note are:
- Guilhem de Peiteus (William IX, Guillaume IX, Duke of
Aquitaine, 1071-1126), 12 vers. More on Guilhem
de Peiteus
- Richart d'Anglaterra ("Lo Reis Richart d'Anglaterra"
-
Richard the Lionheart, King of England) (known in
1157-1199) : His works include: 2 of his sirventes
survive, one with music. His death was mourned by a fellow
troubadour, Gaucelm Faidit, in a moving lament called
a planh.
- Frédéric III de Sicile (King Frederick
III of Sicily) : His works include a sirventes
- Alfons II Reis d'Aragon (Alphonse II King of Aragon)
(known in 1154-1196) : His works include: a canso
and a tenson
- Jacme II d'Aragon, de Malhorca (James II of Aragon,
King of Majorca) (known in 1267-1327) : His works include
a dansa
- Peire III d'Aragon (Peter III, King of Aragon) : His
works include a cobla
- Thibaut IV, King of Navarre;
- Alfonso X, King of Castile and León (from 1252).
As well as being a troubadour himself, Alfonso was a patron
of the arts. Many troubadours found favour at his court,
and it was here that the manuscript known as the Cantigas
de Santa María one of the greatest monuments
of medieval music comprising over 400 songs was compiled;
Alfonso himself is believed to have composed some of its
melodies. He was the patron of many troubadours, and established
a course in music at the university of Salamanca. Guiraut
Riquier, the last of the troubadours, is known to have
spent time at Alfonso's court.
Troubadour Lyrics
The main topic of troubadour poetry is love, and it was
the need to express works as succinctly as possible that
led to the establishment of genres, distinguished less by
form than by content or situation. The most common forms
were;
- sirventes (satirical political poems),
- planhs (laments),
- albas (morning songs - generally about having
to separate after a night together: typically lovers are
warned by a watchman that morning is approaching and that
they both risk discovery by their spouses),
- pastorals (amorous encounters between a knight
and a shepherdess),
- teux-partis (disputes),
- cansos (courtly love-songs, consisting of five
or six stanzas with an envoi - a short stanza at the end
used either to address an imagined or actual person or
to comment on the body of the poem.),
- dansas or baladas (dance songs with a
refrain, mock-popular songs based on an establised dance
form)
- descorts (literary jokes discordant in verse
form or feeling),
- escondigs (lovers' apologia),
- gaps (a challenge),
- tensos, partimens, joc-partits (songs
of debate)
- trobars clus (cryptic poems)
- razos (reasons) prose explanations accompanying
poems, often added at the end.
Troubadour Music
 Troubadour
lyrics were sung and accompanied by instruments that are
thought to have duplicated the melody - partly on the grounds
that all the music that has survived is monophonic. As Grove
points out "most troubadour songs are strophic, based
on stanzaic patterns repeated throughout the song to the
melody of the first verse in widely ranging schemes, always
devised with a great awareness of technical accomplishment".
Troubadours themselves were intensely conscious of everything
to do with form and style.
Medieval Musical Instruments (As Depicted at The Château of Puivert)
| Lute |
Cornemuse |
Rebec |
Tambourine |
Hurdy Gurdy |
Portative Organ |
Cithern |
Psaltery |
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 Music
survives for only some 282 out of more than 2500 troubadour
poems, though most of the circa 2100 trouvère poems
have music. The same text often survives with several different
melodies, making authorship uncertain. Melodies use a much
greater modal variety and flexibility than their liturgical
counterparts, some displaying the equivalent of modulation.
Only a small proportion of the repertoire survive with sophisticated
notation, making rhythmic interpretation difficult. A few
later examples are however notated in modal rhythm.
Troubadours and Cathars
Many troubadours were caught up in the Crusade
against the Cathars
of the Languedoc, largely because their noble patrons
were Cathars,
or at least were sympathetic to the Cathars. After this
period the High culture of the Troubadours declined - the
decline is often attributed to the Crusade
and the activities of the Papal
Inquisition that followed it. Many troubadour patrons
finished up dispossessed, some even as faidits - homeless
guerilla fighters. But the decline came some time after
wandering troubadours had already influenced neighbouring
lands. The influence extended not only to France, where
the counterparts of Troubadours were called trouvères,
but also Germany where troubadours were imitated by minnesingers.
The tradition was also carried to Aragon, Castile and Leon,
Italy and across the Mediterranean
Sea to the Holy Land.
How closely the troubadours of the Languedoc were associated
with the Cathar religion is still debated.
Denis de Rougement (in Love in the Western World)
said the troubadours were influenced by Cathar doctrines
which rejected the pleasures of the flesh. According to
him troubadours were metaphorically addressing the spirit
and soul of the lady. Some less rigorous historians like
Otto Rahn have affirmed that Cathars and troubadours were
the same people under different names or at least that troubadours
performed at Cathar
ceremonies. The truth is that there is very little historical
evidence to implicate troubadours in Catharism - on the
other hand it is hardly surprising that no pro-Cathar troubadour
literature has survived. The Inquisition
were the supreme masters at rooting out and destroying what
they saw as heretical works as well as their heretical authors.
The closest reliable connection we have is Savaric
de Mauléon, who fought alongside Raymond VI of Toulouse against the French
Catholic Crusaders in the war against the Languedoc. He
was a noted troubadour but there is no evidence that he
was himself a Cathar believer. Peire Cardenal, another troubadour,
although sometimes regarded as verging on heresy, is not
specifically Cathar in his views.
 Some
circumstantial reasons for associating Cathar and Troubadour
ideas are:
-
They shared a concept of spiritual
love and rejection of carnal love - though there is little
evidence that either group recognised the similarities
with the other in the Middle Ages
-
They both ridiculed the Roman Catholic
Church and its beliefs, and were both hated by the Church
for their attitudes as well as for their ideas - for example
both Troubadours and Cathars
regarded women more highly than the Catholic Church. To
Catholic bishops the idea of a
woman troubadour, or trobairitz was almost as alien
and monstrous as the idea of a Cathar
Parfaite. Again, Troubadours and Cathars expressed
contempt for conventional class distinctions that were
approved as God-given by the Catholic Church. Both ridiculed
marriage. Both regarded the Catholic Church as little
more than a huge moneymaking scam.
-
Troubadours and Cathars were popular
in the same areas and at the same time - in roughly decreasing
order of market penetration in the early thirteenth century:
Lands of the Count of Toulouse and the County of Foix,
Aquitaine, Provence, Lombardy, Catalonia, Angou and other
English lands in continental Europe, France, Germany.
Two Occitan poets contributed to a book length account
of the Crusade against the Cathars of the Languedoc. one
supported the Crusade and the other opposed it, but neither
expessed support for Catharism.
As Walter Wakefield & Austin Evans, (Heresies of
The High Middle Ages , Columbia, 1991, p 67) dryly observe
on the whole question of connections between Cathars and
troubadours:
It has been alleged that Catharist thought
is expressed in some of the poems of the troubadours, in
the medieval versions of the Arthurian cycle, and especially
in the legends of the quest for the holy Grail. The search
for traces of Catharism in such literature has been pressed
with enthusiasm but has not produced convincing results
Troubadours at the Court of the Counts of
Toulouse
 The Counts of Toulouse were patrons of the troubadours
from the early twelfth century. Troubadours were welcomed
and often became part of the innermost circle of the Counts
- part of their familia. In this they behaved much
like neighbouring princes: The
kings of Aragon, Kings
of England and the Dukes
of Aquitaine. The same troubadours visited their courts,
sometimes changing allegiance as they did so. Peire
Vidal for example moved from the Court of Toulouse to
that of Alphonse I of Aragon. Later, Peter of Aragon tried
to lure Raymond de
Miraval away from Count
Raymond VI, but without success.
It is possible that Marcabru
frequented the Court of Count Alphons
Jordan (1112-1148), and certain that Giraudet
le Roux did: His Vida tells us so. Jaufre
Rudel accompanied his soverign to the Second Crusade,
along with the Count's illigitimate son Betrand.
Under Raymond
V (1148-1194) the Court at Toulouse became a brilliant
centre for the troubadour arts. Raymond V welcomed Bernart
de Ventadorn (
Bernard de Ventadour), one-time troubadour to Eleanor of
Aquitaine; Peire Vidal
before his defection to Alphonse I, King of Aragon; Gaucelm
Faidit; and Bertrand
de Born, more famous as a troubadour favourite of King
Richard I of England. Around 1180 he welcomed to his court
a trobairitz
named Na Alamanda. From Peire d'Auvergne we know that the
Count himself sang in public - indeed we learn that the
Count sang a composition that was promptly stolen by another
troubadour, Peire de Monzo. It was common for troubadours
to use a senhal - a sort of nickname or pet-name
for the subjects of their poems. Bernart
de Ventadorn used the senhal "Alvernhat",
apparently poking gentle fun at Count Raymond V, his master,
whose heart seems to have been captivated by a lady called
Na Vierna. To Peire
Vidal the Count was "Castiat" - the Chaste.
To Gaucelm Faidit
Count Raymond was simply "Sobeiran" - literally
Sovereign. An indication that even great lords aspired to
be troubadours, and also that troubadours of whatever social
class were accepted as equals, is that sometimes a great
lord and his troubadour would use the same senhal
for each other. For Bernard
de Durfort, Raymond V was "Albert": For Raymond,
Bernard was "Albert". Sometimes a troubadour and
his prince clearly shared an affection for the same lady.
Here is my poor translation of a passage from Peire
Vidal, addressing a lady, but including a reference
to a co-admirer, Raymond V, the hansome Castiat:
Joy arises in your presence. It increases
all around you; that's what we feel, me and my Beax Castiat;
and I frequently feel a perfect happiness - as often as
he reminds me of the joy brought by you and your appearance.
This is a world at once impossibly remote from us and at
the same time almost familiar, lying just the other side
of those Blue Remembered Hills.
Above all, it is clear how much troubadours from Raymond's
familia cared for their prince. When Raymond died
Bernart de Ventadorn
became a Cistercian
monk and retired to Dalon. Peire
Vidal - who had previously abandoned Raymond for the
Court of Aragon - was even more affected. We know from a
razo (De
chantar m'era laisatz) that:
Peire Vidal was powerfuly afflicted by
the death of the good Count Raymond of Toulouse and experienced
great sadness because of it. He dressed in black, had the
tails and ears of all his horses cropped, had his hair shaved
off, and also the hair of all his servants; but let his
beard and finger nails grow. He continued in this way for
a long time, like a man insane with grief and sorrow.
In the thirteenth century Raymond
VI of Toulouse (1194-1222) welcomed to his Court Peire
Cardenal around 1204. Among many others were Raymond
de Miraval "greatly honoured and esteemed by the
Count of Tolouse"; Ademar
lo Negre; Aimeric
de Peguilhan; Cadenet
and Guilhem Ademar.
Raymond of Toulouse and Raymond
de Miraval shared a common senhal. They called
each other "Audiart". In 1215, on their way to
the Fourth Lateran Council, Raymond VI and Gui
de Cavalhon exchanged a partimen
concerning the possible recovery of Raymond's lost territories.
Raymond
VII (1222-1249) attracted Guilhem
Figueira, Gui de Cavaillon, Gavaudan,
Montans Sartre, Bernart
Arnaut de Montcuc, Tomier,
Palaizi, Guilhem Rainol
d'Apt, and the anonymous author of the second part of
the canso
de la Crozada. According to the canso
Gui de Cavalhon,
the troubadour who had shared partimen
with Raymond VI just a year before, counselled the future
Raymond VII on the subject of paratge.
The Song of the Crusade, (La
canso de la crozada) or The Song of the Cathar Wars
The Song of the Crusade, (
canso
de la crozada,
Chanson de la Croisade) is an Occitan
poem dealing with the first part of the French
Catholic crusader wars against the people of the Languedoc
in the thirteenth century. It is also, more accurately,
referred to as the Song of the Cathar Wars, and often known
simply as the canso.
For information about the poem visit a page specifically
on the
Song of the Cathar Wars 
For extracts from the Song of the Cathar Wars in the original
Occitan
along with a translation in English, visit pages on
Troubadour Origins
If troubadour ideas did not come from the Cathars then
the question of their origins is still open. There is no
general agreement on this. In fact there is not even general
agreement on the exact meaning of the word trobar. As well
as the Cathars, contenders the source of troubadour ideas
range from Arabic, Celtic, and liturgical to classical Latin,
goliardic and folkloristic sources. Ideas indistinguishable
from courtly love were already prevalent in Al-Andalus and
elsewhere in the Islamic world, so it is likely that Islamic
practices influenced Christian Europeans.
William IX of Aquitane, the first recognised troubadour,
had been involved in the Reconquista in Spain, where he
would have come into contact with Muslim culture. According
to one source he started his troubadour carreer not long
after finding among a crowd of captives some women already
trained as singers and poets. An any case, in 11th-century
Spain, groups of wandering poets would travel from one noble
court to another. Christians and Moslems who had lived next
to each other for decades tended to be a little more understanding
and tolerant than their monocultural fellows, and cultural
leakage across religious borders (as also happened in the
Holy Land) seems likely. In later years contacts between
Spanish poets and French troubadours became frequent. As
a final piece in the jigsaw puzzle, metrical forms used
by troubadours had earlier been used by Spanish poets.
Well Known Troubadours
- Jaufré Rudel de Blaia, (lived
c.1120 - 1147; fl. 1125-1148) : Troubadour from the area
of Gascogne, Comminges, Agenais, Bordelais. Works include:
7 cansos.
Jaufré went on Crusade with Louis VII and may have
died in the East or on the journey home. He is the hero
of Rostand's La Princesse lointaine,though the
story on which this is based is probably apocryphal. More
on Jaufre
Rudel
- Bernart de Ventadorn (
Bernard de Ventadour), (known in 1147-1170) of poor family
- his father had been a sort of stoker - feeding wood
into a bread oven.: Troubadour from the area of Limousin,
a subject of the Duke of Aquitaine. Works include: 44
pieces Bernart
de Ventadorn
- Peire Vidal, (c.1160 - 1206, fl.
1180–1206) : Born in Toulouse, the son of a "pelletier".
He traveled widely in Italy, Cyprus, Hungary, Spain, and
Malta. Richard I (Richard Cœur de Lion) was one of
his patrons. His poems are excellent examples of troubadour
love poetry, notable for their strong personal feeling
and simple style. Works include: 52 pieces. He exploited
the esoteric style known as the 'trobar clos'; thirteen
of his forty poems have surviving melodies. One of them
Bim pac d'lveru covers almost two octaves. More
on Peire
Vidal
- Raimbaut de Vaqueiras, (1155 - 1207; fl 1180-1205)
: Troubadour from the area of Provence. Works include:
38 pieces. Raimbaud spent most of his life in Italy at
the court of Boniface II of Montferrat. He accompanied
Boniface on Crusade in 1202. He was the author of the
first known Italian poetry and was fluent in other languages.
One of his poems has a verse in each of Provençal,
Italian, French, Gascon And Galician-Portuguese. His Kalenda
maya, is now one of the best-known pieces in the whole
troubadour canon. It owes its dance-like character to
its origins as an estampie - played, according to fourteenth
century descriptions, by two minstrels. Eight of his melodies
survive.
- Folquet de Marseille, (
Folquet de Marseille) (born c 1150, known in 1180-1231)
: Troubadour from the area of Provence. Works include:
27 pieces. He later took Holy Orders in the Roman Catholic
Church and rose to become bishop of Toulouse. He became
notorious as a persecutor of Cathars
during the Albigensian
Crusade. Dante awarded him a place in Paradise for
his role of Champion of the Roman Catholic faith. More
on his time as Folque,
Bishop of Toulouse
More on him as Folquet
de Marselha
Texts
of Folquet's poems (in Occitan)
- Bertrand de Born, (
Bertrand de Born), Vicomte d'Hautefort (lived c.1140–c.1214,
fl 1159-1195) : Troubadour from the area of Poitou, Saintonge,
Périgord. Works include: 46 pieces. Some of his
surviving poems tell of his part in the struggles between
Henry II of England and his sons. For his troublemaking
role in these quarrels, Bertrand is named as a “sower
of schism” in Dante's Inferno and portrayed
carrying his head in his hands as punishment. A sublime
poet, but a thouroughly unpleasant man, he ended his life
in a monastery. Only one of his melodies survives. More
on Bertran
de Born
- Marcabru (fl. 1129-48) Troubadour,
born in Gascony; He was one of the most famous of an older
generation of troubadours. His patrons included William
X of Aquitaine and Alfonso VII of Castile. Unusually for
a troubadour he was a mysoginist. He initiated the 'trobar
clos' style, a cryptic poetic idiom. More than forty of
his poems survive, but only four of the melodies, including
the Crusade song Pax in nomine Domini, which probably
dates from 1137.
- Blondel de Nesle, a trouvère
from France. Blondel is celebrated for having searched
across Europe for Richard I. According to the story they
recognised each other - Richard imprisoned, Blondel outside
- through a troubadour strain known only to the two of
them. Sadly the story is a fiction, but Blondel's melodies
were well known and popular all over Europe.
- Arnaut Daniel, (known in 1180-1195)
: Troubadour from the area of Poitou, Saintonge, Périgord.
Works include: 16 cansos,
2 sirventes.
(fl.1180-1200). No melodies survive for his eighteen poems,
but Dante esteemed him above all other troubadours, and
paid him the tribute of writing about him in Provençal
(a dialect of Occitan).
- Gaucelm Faidit (lived, c.1170 -
1230, fl. 1185-1220) : Troubadour from the area of Limousin,
a subject of the Duke of Aquitaine. He came from a bourgeoise
family. His works include: around 70 pieces. Gaucelm Faidit
travelled to Italy and went on the Fourth Crusade. Fourteen
melodies survive along with his 70 poems. His lament (planh)
for Richard I of England is the only surviving example
of a particular type of troubadour song written on the
death of a friend or patron - in this case both. More
on Gaucelm
Faidit
- Raimon de Miraval, (known in 1219-1229)
: Troubadour from the area of Languedoc (a subject of
the Trencavel family). Works include: 49 pieces
- Gui de Cavalhon (
Cavaillon) (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 sirventes,
2 tensos,
2 exchanges of coblas.
He is mentioned several times in the canso
de la crozada.
- Peire Cardenal (late 12th century
- 1275). He was one of the most celebrated troubadours
of his time. Seventy poems - for which only three tunes
survive - contain satirical criticism of the contemporary
moral and political climate. His verse was considered
to verge on heresy. Cardenal flourished around 1204–1272.
He was known for his satirical sirventes and his dislike
of the clergy. Ninety-six pieces of his remain. He was
born in Le Puy-en-Velay, apparently of a noble family.
He was educated as a canon, but abandoned his career in
the church. Peire began his secular career at the court
of Raymond VI of Toulouse. A document of 1204 refers to
a Petrus Cardinalis as a scribe of Raymond's chancery.
In his early days he was a vehement opponent of the French,
the clergy and the Albigensian Crusade. In Li clerc si
fan pastor he condemned the "possession" of
the laity by the clergy. He says that for so long as the
clergy order it, the laity will "draw their swords
towards heaven and get into the saddle." In Atressi
cum per fargar Peire notes that the clergy "protect
their own swinish flesh from every blade", but they
do not care how many knights die in battle. Here is the
first verse of Tartarassa ni voutor
| |
Tartarassa ni voutor
No sent tan leu carn puden
Quom clerc e prezicador
Senton ont es lo manen.
Mantenen son sei privat,
E quant malautia-l bat,
Fan li far donassio
Tel que-l paren no-i an pro.
|
Buzzards and vultures
Do not smell out stinking flesh
As fast as clerics and preachers
Smell out the rich.
They circle around him, at once, like friends,
and as soon as sickness strikes him down
they get him to make a little donation,
and his own family gets nothing. |
| |
In Clergue fan pastor, Peire Cardenal
describes the clergy as self-interested, murderous,
hypocritical, power-hungry, lying, shysters, with cruel
and vicious hearts. |
|
Clergue si fan pastor
E son aucizedor!
E par de gran sanctor
Qui los vei revestir,
E-m pren a sovenir
Que n'Ezengris, un dia,
Volc ad un parc venir:
Mas pels cans que temia
Pel de mouton vestic
Ab que los escarnic,
Puois manget e traic
Tot so que li-abelic. |
Clerics pretend to be shepherds,
But they are the killers;
The likeness of sanctity is on them
When you see them in their habit,
And it puts me in mind
That Master Ysengrim, one day,
Wanted to get into a sheepfold,
and because he feared the dogs
he put on the skin of a sheep
with which he tricked them all.
Then he gobbled and glutted
As much as he liked. |
| |
Rei e emperador,
Duc, comte e comtor
E cavalier ab lor
Solon lo mon regir!
Ara vei possezir
A clers la seinhoria
Ab tolre e ab trair
E ab ypocrezia,
Ab forsa e ab prezic!
E tenon s'a fastic
Qui tot non lor o gic
E sera, quan que tric. |
Kings, emperors,
Dukes, counts, viscounts,
And knights, together,
Used to rule the world.
Now I see the power
In the hands of clerics
With stealing, betrayal,
Hypocrisy,
Violence, and sermons,
And they are highly offended
If you don't hand it all over to them,
And so it shall be, though it may take a while. |
| |
Aissi can son major
Son ab mens de valor
Et ab mais de follor,
Et ab meins de ver dir
Et ab mais de mentir,
Et ab meins de paria
Et ab mais de faillir,
Et ab meins de clerzia.
Dels fals clergues o dic:
Que anc hom non auzic
A Dieu tant enemic
De sai lo tems antic. |
The greater they are
The less they are worth
And the greater their folly,
The less their truthtelling
And the greater their lying,
The less their friendship
And the greater their dereliction,
And the less they keep faith with their calling.
Of false clerics I say this:
I have never heard of any man
So great an enemy to God
Since the ancient of days. |
| |
Can son en refreitor
No m'o tenc ad honor,
C'a la taula aussor
Vei los cussons assir
E premiers s'escaussir.
Aujas gran vilania:
Car i auzon venir
Et hom no los en tria.
Pero anc non lai vic
Paubre cusson mendic
Sezen laz cusson ric:
D'aitan los vos esdic. |
When I am in a refectory
It's no great honor to me,
Because up at the high table
I see those shysters sitting
And the first to serve themselves the soup.
Listen to this great villainy:
That such truck dare to come there
And no one picks them out.
On the other hand, I never saw
One poor begging shyster there
Sitting next to any well-established shyster:
Of that much, anyway, I exonerate them. |
| |
Ja non aion paor
Alcais ni Almansor
Que abat ni prior
Los anon envazir
Ni lor terras sazir,
Que afans lor seria!
Mas sai son en cossir
Del mon consi lor sia
E com en Frederic
Gitesson de l'abric:
Pero tals l'aramic
Qui fort no s'en jauzic. |
Let the Arab chiefs
And sultans never fear
That abbots or priors
Might ever attack them
And take their lands,
For that would be hard work.
No, they stay home rapt in thought,
How the whole world might be theirs
And how they might have cast
En Frederick from his sanctuary.
But there was one who attacked him
And did not rejoice in it much. |
| |
Clergue, qui vos chauzic
Ses fellon cor enic
En son comte faillic,
C'anc peior gent non vic. |
Clerics, whoever depicted you
Without a cruel and vicious heart
Erred in his account,
For a worse breed I never saw. |
- Arnaut de Marolh, (
Arnaut de Mareuil) (known in 1195) : Troubadour from the
area of Poitou, Saintonge, Périgord. Works include:
26 cansos
- Guiraut Riquier. (lived c.1230
- 1292; fl. 1254-1292) : Troubadour from the area of Languedoc,
and County of Foix. Works include: 89 lyrical pieces:
cansos,
sirventes,
tensos.
Guiraut is sometimes called the last of the troubadours.
He survived the the wars that destroyed the cultured Occitan
society that had fostered them. He wrote that although
song should be joyful, he was oppressed by sorrow and
had come into the world too late. For some years he lived
in Spain under the patronage of Alfonso X, and a letter
to Alfonso, dealing with troubadours and jongleurs, survives.
- Giraudet le Roux. from Toulouse
- Guilhem de Durfort (known in 1204)
: Troubadour from the area of Languedoc. Works include:
1 sirventes
- Aimeric de Pegulhan (
Péguilhan) (known in 1190-1221) : Troubadour from
the area of Toulouse. He came from a bourgouise family
and had been a curtain salesman. His works include 52
pieces. More on Aimeric
de Pegulhan
- Guilhem Ademar (
Guillem Ademar) (known in 1195-1217) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
12 cansos
- Azemar lo Negre (
Ademar le Negre) (known in 1210-1217) : Troubadour from
the area of Languedoc (a subject of the Trencavel family)
Works include: 4 cansos
- Cadenet (known in 1160-1240) : Troubadour
from the area of Provence. Works include: 23 cansos,
1 pastorella, 1 alba,
1 sirventes
- Guilhem Figueira (
Guillem Figueira) (known in 1215-1240) : Troubadour from
the area of Toulouse, a tailor by profession. His works
include 12 pieces.
Women Troubadours or Trobairitz
In line with the much greater equality enjoyed by women
in the Languedoc compared to their sisters elsewhere in
Christendom, a number of female troubadours are known. A
woman troubadour is called a Trobairitz.
Click on the following link for more on troubairitz
The best known troubairitz is La Comtessa da Dia
(Beatrice, The Countess of Die, known in 1200). Her works
include the only surviving work by a troubairitz for which
we have the music. Click on the following link for an example
of her racy lyrics
Estat ai en greu cossirier (with an English translation)
Music, in modern notation for a song by
La Comtessa da Dia
Jeux Floraux (Floral Games)
Jeux Floraux were founded in or around 1323 at
Toulouse by seven troubadours to uphold the traditions
of courtly lyricism. It promulgated a code of poetry
known as the laws of love and awarded a golden flower
of its annual literary competition established in
1324. With the decay of the troubadour tradition,
its literary contest was supplemented by a French
competition. After 1539 Occitan was dropped altogether
and the sole language of contributions was French.
The Académie des Jeux Floraux (Aacademy
of Floral Games, originally the Collège de
la gaie science) is one of the oldest known literary
societies in the world. It received its present
title from Louis XIV in 1694. The group supported
Victorian style romanticism and 19th-century winners
of its traditional golden flower included Chateaubriand
and Hugo. In 1895, at the urging of Frédéric
Mistral, the great champion of the Langued'oc,
Occitan was readmitted on a par with French. The
modern competion is held in Toulouse
on 3rd May each year.
|
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This is not the only vestige of a great inheritance. At
the annual Fécos
at Limoux, you can see speakers of Occitan making fun
of the powers that be, just as their troubadour forebears
did with their sirvantes eight hundred years ago.
Troubadours and Troubairitz from the Lands
of the Counts of Toulouse and the Counts of Foix:
- Bernart Marti (known in 1150) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
8 cansos,
1 sirventes
- Azalais de Porcairagues (known in 1173) : Trobairitz
from the area of Languedoc, and County of Foix. Works
include: 1 canso
- Clara d'Anduza (known in 1200) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 canso
Mir Bernat (de Carcassonne) (known in 1200) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 partimen
- Raimon Rigaut (known in 1250) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
3 coblas
- Pons Fabre d'Uzes (known in 1270) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes,
1 sextine
- Peire Raimon de Tolosa (known in 1180-1221) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 20 pieces
- Guilhem Augier Novella (known in 1209-1228) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 3 descorts, 2 partimens,
1 planh,
1 sirventes,
2 coblas
- Guilhem de Montanhagol (known in 1233-1268) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 14 pieces
- Bernart de Rouvenac (known in 1242-1261) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 4 sirventes
- Guiraut d'Espanha (known in 1245-1265) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 14 dansas, 3 cansos
- Matfre Ermengau (known in 1288-1322) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
7 coblas,
1 canso,
1 sirventes
- Gaston Febus, Count of Foix (known in 1331-1391) :
Troubadour from the area of Languedoc, and County of Foix.
Works include: 2 cansos
- Ademar (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 partimen
- Ademar de la Rocaficha (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 2 cansos,
1 sirventes
- Aicart del Fossa (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes
- Aimeric (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 tenson
- Albert Calha (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 partimen
- Amoros del Luc (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes
- Arnaut (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 4 partimen
- Arnaut Peire d'Aganges (Ganges) (dates uncertain) :
Troubadour from the area of Languedoc, and County of Foix.
Works include: 1 canso
- Arnaut Vidal de Castelnaudari (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 roman, Jeux Floraux
- At de Mons (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 sirventes,
1 cobla
- Berenguier de Poivert (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 cobla
- Berenguier de Pozrenger (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 cobla
- Bernart Alanhan (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes
- Bernart d'Aurilhac (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
2 cansos,
1 sirventes,
1 cobla
- Bernart de la Barta (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 2 tensos,
1 sirventes,
1 cobla
- Bernart Tot Lo Mon (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
3 sirventes
- Bofilh (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 tenson
- Codolet (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 partimen
- Enric, senher d'Alès (Pierre Pelet) (dates uncertain)
: Troubadour from the area of Languedoc, and County of
Foix. Works include: 1 partimen
- Envejos (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 partimen
- Esperdut (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 canso,
1 partimen,
1 sirventes
- Evesque de Clarmon (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes,
2 coblas
- Folquet de Lunel (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
5 cansos,
2 sirventes,
1 partimen
- Giraut del Luc (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
2 sirventes
- Gormonda de Montpelher (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 sirventes
- Guilhem Anelier de Tolosa (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 4 sirventes
- Guilhem d'Anduza (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 canso
- Guilhem de Balaruc (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 canso
- Guilhem de Biars (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 canso
- Guilhem Fabre (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 sirventes,
1 canso
- Guilhem Uc d'Albi (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 canso
- Guilhem, Evesque de Bazas (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 canso
- Guiraudo lo Ros (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
7 cansos,
1 partimen
- Jaufre de Pons (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
2 tensos
- Joan Esteve de Beziers (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 11 pieces
- Joios de Toloza (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 pastorela
- Lombarda (dates uncertain) : Trobairitz from the area
of Languedoc, and County of Foix. Works include: 1 cobla
- Olivier de la mar (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 cobla
- Olivier del Temple (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 crusader's song
- Peire Basc (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 sirventes
- Peire de Barjarc (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 canso
- Peire de Durban (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes
- Peire del Vilar (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 sirventes
- Peire Duran (de Limos=Limoux) (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 2 cansos,
1 sirventes
- Peire Ermengau (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 cobla
Peire Guilhem de Tolosa (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 sirventes
- Peire Lunel cavalier Lunel de Montech (dates uncertain)
: Troubadour from the area of Languedoc, and County of
Foix. Works include: 2 cansos,
2 sirventes
- Peironet (dates uncertain) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 tenson,
1 cobla
- Pons Barba (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 canso,
1 sirventes
- Pons de Montlaur (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 tenson
- Pons Santolh (de Toulouse) (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 1 planh,
1 cobla
- Raimon Escrivan (dates uncertain) : Troubadour from
the area of Languedoc, and County of Foix. Works include:
1 invented tenson
- Raimon Gaucelm de Beziers (dates uncertain) : Troubadour
from the area of Languedoc, and County of Foix. Works
include: 9 pieces
- Uc de Muret (dates uncertain) : Troubadour from the
area of Languedoc, and County of Foix. Works include:
1 sirventes
- Guilhem de Tudela + & Anonymous (known in 1208-1213
and 1213-1219 respectively) : Troubadour from the area
of Languedoc, and County of Foix. Works include: 1 canso
- Na Castelhoza (known in 1210) : Trobairitz from the
area of Auvergne, Velay, Gévaudan, Vivarais. Works
include: 3 cansos
- Bernart Sicart de Marvejols (known in 1230) : Troubadour
from the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 sirventes
- Alberjat (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Almucs de Castelnou (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 cobla
- Arver (dates uncertain) : Troubadour from the area of
Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Austorc d'Aurilhac (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 sirventes
- Austorc de Segret (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 sirventes
- Bernart de Bondelhs (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 canso
- Bertran de la Tor (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 cobla
- Bonafos (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 tenson
- Cavaire (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 tenson
- Dalfi d'Alvernha (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 5 sirventes,
2 tensos,
1 partimen,
2 coblas
- Dalfinet (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 sirventes
- Eble de Saignas (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 partimen
- Enric (dates uncertain) : Troubadour from the area of
Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Esquileta (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 cobla
- Esquilha (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Esteve (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Folcon (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 cobla
- Garin d'Apchier (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 3 sirventes
- Garin le Brun (dates uncertain) : Troubadour from the
area of Auvergne, Velay, Gévaudan, Vivarais. Works
include: 1 tenson
invented
- Gauceran (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Gauceran de Saint-Leidier (dates uncertain) : Troubadour
from the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 2 cansos
- Iseut de Capio (dates uncertain) : Troubadour from the
area of Auvergne, Velay, Gévaudan, Vivarais. Works
include: 1 cobla
- Jutge (dates uncertain) : Troubadour from the area of
Auvergne, Velay, Gévaudan, Vivarais. Works include:
1 partimen
- Peire de Blai (dates uncertain) : Troubadour from the
area of Auvergne, Velay, Gévaudan, Vivarais. Works
include: 1 canso
- Peire Pelissier (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 1 cobla,
1 tenson
- Raimon de Castelnou (dates uncertain) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 5 cansos,
1 sirventes
- Torcafol (dates uncertain) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
5 sirventes,
2 coblas
- Uc de Maenzac (dates uncertain) : Troubadour from the
area of Auvergne, Velay, Gévaudan, Vivarais. Works
include: exchange of coblas
- Peire d'Alvernha (known in 1149-1170) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 25 pieces
- Peire Rogier (known in 1160-1180) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 8 cansos,
1 sirventes
- Peirol (known in 1188-1222) : Troubadour from the area
of Auvergne, Velay, Gévaudan, Vivarais. Works include:
35 pieces
- Pons de Capdolh (known in 1190-1237) : Troubadour from
the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 27 pieces
- Monge de Montaudon (known in 1193-1210) : Troubadour
from the area of Auvergne, Velay, Gévaudan, Vivarais.
Works include: 17 pieces
- Gavaudan (known in 1195-1211)
: Troubadour from the area of Auvergne, Velay, Gévaudan,
Vivarais. Works include: 5 sirventes,
2 pastorelas, 1 planh,
1 canso,
1 crusader's song
- Aimar de Peteus (dates uncertain) : Troubadour from
the area of Dauphiné, Viennois and Valentinois.
Works include: 1 partimen
- Felip de Valenza (dates uncertain) : Troubadour from
the area of Dauphiné, Viennois and Valentinois.
Works include: 1 tenson
- Gausbert (dates uncertain) : Troubadour from the area
of Dauphiné, Viennois and Valentinois. Works include:
1 sirventes
- Genim d'Urre (dates uncertain) : Troubadour from the
area of Dauphiné, Viennois and Valentinois. Works
include: 1 sirventes
- Guilhem Magret (dates uncertain) : Troubadour from the
area of Dauphiné, Viennois and Valentinois. Works
include: 2 sirventes,
5 cansos,
1 cobla
- Peire Bremon le Tort (dates uncertain) : Troubadour
from the area of Dauphiné, Viennois and Valentinois.
Works include: 2 cansos
- Peire Bremon Ricas Novas (dates uncertain) : Troubadour
from the area of Dauphiné, Viennois and Valentinois.
Works include: 22 pieces
- Perdigon (known in 1192-1212) : Troubadour from the
area of Dauphiné, Viennois and Valentinois. Works
include: 14 pieces
- Falquet de Romans (known in 1215-1233) : Troubadour
from the area of Dauphiné, Viennois and Valentinois.
Works include: 15 pieces
Troubadours and Troubairitz from the Roussillon
and other parts of Catalonia and Aragon
- Guiraut de Cabrera (known in 1150) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 ensenhamen
de joglar
- Berenguier de Palazol (known in 1164) : Troubadour
from the area of Roussillon, Catalogne. Works include:
9 cansos, 1 sirventes
- Guilhem de Cabestanh (known in 1212) : Troubadour from
the area of Roussillon, Catalogne. Works include: 9 cansos
- Guilhem de Berguedan (known in 1138-1192) : Troubadour
from the area of Roussillon, Catalogne. Works include:
29 pieces incl. 21 sirventes
- Pons de la Guardia (known in 1154-1188) : Troubadour
from the area of Roussillon, Catalogne. Works include:
6 cansos, 1 sirventes
- Alfons II Reis d'Aragon (known in 1154-1196) : Troubadour
from the area of Roussillon, Catalogne. Works include:
1 canso, 1 tenson
- Pond d'Ortafa (known in 1184-1246) : Troubadour from
the area of Roussillon, Catalogne. Works include: 2 cansos
- Uc de Mataplana (known in 1185-1213) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 sirventes,
1 exchange of coblas
- Raimon Vidal de Besalú (known in 1200-1252)
: Troubadour from the area of Roussillon, Catalogne. Works
include: 1 canso, 1 sirventes, 3 coblas
- Cerverí de Girona (known in 1259-1285) : Troubadour
from the area of Roussillon, Catalogne. Works include:
at least 112 pieces
- Jofre de Foixá (known in 1267-1295) : Troubadour
from the area of Roussillon, Catalogne. Works include:
3 cansos, 1 cobla
- Jacme II d'Aragon, de Malhorca (known in 1267-1327)
: Troubadour from the area of Roussillon, Catalogne. Works
include: 1 dansa
- Batard d'Aragon (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 3 coblas
- Bremon Rascas (dates uncertain) : Troubadour from the
area of Roussillon, Catalogne. Works include: 2 cansos
- Catalan (dates uncertain) : Troubadour from the area
of Roussillon, Catalogne. Works include: 1 tenson
- Engles (dates uncertain) : Troubadour from the area
of Roussillon, Catalogne. Works include: 1 tenson
- Formit de Perpinhan (dates uncertain) : Troubadour
from the area of Roussillon, Catalogne. Works include:
1 canso
- Guilhem Raimon (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 3 coblas,
1 tenson
- Guilhem Raimon de Gironela (dates uncertain) : Troubadour
from the area of Roussillon, Catalogne. Works include:
3 cansos, 1 partimen
- Peire Gausseran (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 tenson
- Peire III d'Aragon (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 cobla
- Peire Salvatge (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 cobla
- Pons Uc d'Ampuries (dates uncertain) : Troubadour from
the area of Roussillon, Catalogne. Works include: 1 tenson
Troubadours and Troubairitz from the Aquitaine
and other continental territories of the Kings of England
- Arnaut de Marolh (known in 1195) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 26 cansos
- Guilhem de Peiteus, William IX, Duke of Aquitaine &
Count of Poitiers (known in 1071-1126) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 12 vers
- Reis Richart d'Anglaterra (Lo) (aka King Richard) (known
in 1157-1199) : Troubadour from the area of Poitou, Saintonge,
Périgord. Works include: 2 sirventes
- Arnaut Daniel (known in 1180-1195) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 16 cansos,
2 sirventes.
More on Arnaut
Daniel
- Rigaut de Berbezilh (known in 1180-1220) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 9 cansos,
1 planh
- Savaric de Mauleon (known in 1180-1230) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 2 tensos,
1 cobla
- Elias Cairel (known in 1204-1222) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 12 cansos,
1 descort, 1 sirventes
- Guilhem de la Tor (known in 1216-1233) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 14 pieces
- Gausbert de Poicibot (known in 1220-1231) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 14 cansos,
2 sirventes
- Aimeric de Sarlat (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 4 cansos
- Arnaut Plagues (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 1 canso
- Azar (dates uncertain) : Troubadour from the area of
Poitou, Saintonge, Périgord. Works include: 1 canso
- Bertran de Preissac (dates uncertain) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 1 sirventes,
1 tenson
- Bertran de Saint-Felix (dates uncertain) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 1 tenson
- Bertrand de Born jr (dates uncertain) : Troubadour
from the area of Poitou, Saintonge, Périgord. Works
include: 2 sirventes
- Elias Fonsalada (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 2 cansos
Guilhem de Salinhac (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 1 canso,
1 descort
- Isabelha (dates uncertain) : Troubadour from the area
of Poitou, Saintonge, Périgord. Works include:
1 tenson
- Jaufre de Pons (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 2 tensos
- Jordan Bonel (dates uncertain) : Troubadour from the
area of Poitou, Saintonge, Périgord. Works include:
3 cansos
- Peire de Bossinhac (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 1 sirventes
- Rainaut (dates uncertain) : Troubadour from the area
of Poitou, Saintonge, Périgord. Works include:
1 partimen
- Rainaut de Pons (dates uncertain) : Troubadour from
the area of Poitou, Saintonge, Périgord. Works
include: 1 partimen
- Salh d'Escola (dates uncertain) : Troubadour from the
area of Poitou, Saintonge, Périgord. Works include:
1 canso
Troubadours and Troubairitz From Gascony
and Comminges
- Alegret (known in 1145) : Troubadour from the area
of Gascogne, Comminges, Agenais, Bordelais. Works include:
1 canso, 1 sirventes
- Gausbert Amiel (known in 1254) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 canso
- Aimeric de Belenoi (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 21 pieces
- Aldric del Vilar (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 sirventes
- Amanieu de la Broqueira (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 2 cansos
- Arnaut de Comminges (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 1 sirventes
- Arnaut Guilhem de Marsan (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: ?
- Bernart Tortitz (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 canso
- Bernart-Arnaut d'Armanhac (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 1 cobla
- Bernart-Arnaut Sabata (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 1 canso
- Grimoart Gausmar (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 canso
- Guilhem de Saint-Leidier (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 15 cansos 1 tenson, 1 planh
- Guilhem Gausmar (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 partimen
- Guiraut de Calanson (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 8 cansos, 1 planh, 2 descorts
- Lantelnet d'Agulhon (dates uncertain) : Troubadour
from the area of Gascogne, Comminges, Agenais, Bordelais.
Works include: 1 sirventes
- Marcoat (dates uncertain) : Troubadour from the area
of Gascogne, Comminges, Agenais, Bordelais. Works include:
2 sirventes
- Peire Corbian (dates uncertain) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 religious song
- Peire de Bergerac (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 sirventes
- Peire de Cols (dates uncertain) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 canso
- Peire de Gavaret (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 sirventes
- Peire de Valeria (dates uncertain) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 canso, 1 cobla
- Uc Catola (dates uncertain) : Troubadour from the area
of Gascogne, Comminges, Agenais, Bordelais. Works include:
1 tenso, 1 exchange of cobla
- Uc de Lescura (dates uncertain) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 1 sirventes
- Jaufre Rudel (known in 1125-1148) : Troubadour from
the area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 7 cansos
- Marcabru (known in 1130-1149) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: at least 45 pieces
- Cercamon (known in 1137-1149) : Troubadour from the
area of Gascogne, Comminges, Agenais, Bordelais. Works
include: 5 cansos, 2 sirventes, 1 planh, 1 tenson
Troubadours and Troubairitz From Provence
- Raimbaut d'Aurenga (known in 1147-1173) : Troubadour
from the area of Provence. Works include: 41 pieces
- Raimbaut de Vaqueiras (known in 1180-1205) : Troubadour
from the area of Provence. Works include: 38 pieces
- Folquet de Marselha, in French Folquet de Marseille
(born c 1150, known in 1180-1231) : Troubadour from the
area of Provence. Works include: 27 pieces. He later took
Holy Orders in the Roman Catholic Church and rose to become
archbishop of Toulouse. He was notorious as a persecutor
of Cathars during the Albigensian Crusade. Dante awarded
him a place in Paradise.
- Albertet de Sisteron (known in 1194-1221) : Troubadour
from the area of Provence. Works include: 23 pieces
- Blacatz (known in 1194-1236) : Troubadour from the
area of Provence. Works include: 1 sirventes, 11 tensos,
1 canso
- Raimon d'Avinhon (known in 1209-1250) : Troubadour
from the area of Provence. Works include: 1 sirventes
- Bertran d'Alamanon (known in 1229-1266) : Troubadour
from the area of Provence. Works include: 22 pieces
- Bonifaci de Castelhana (known in 1244-1265) : Troubadour
from the area of Provence. Works include: 3 sirventes
- Paulet de Marselha (known in 1262-1267) : Troubadour
from the area of Provence. Works include: 4 cansos, 1 tenson, 1 sirventes, 1 planh, 1 pastorella, 1 dansa
- Alaizina Izelda (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 tenson
- Alexandre (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenson
- Andrian del Palais (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 canso
- Bertran Albaric (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 tenson, 2 coblas
- Bertran Carbonel (dates uncertain) : Troubadour from
the area of Provence. Works include: 7 cansos, 7 sirventes,
3 tensos, 1 planh, 86 coblas
- Bertran d'Aurel (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 partimen, 1 cobla
- Bertran del Pojet (or Bernart) (dates uncertain) :
Troubadour from the area of Provence. Works include: 1 tenson, 1 sirventes
- Bertran Folcon (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 tenson, 1 cobla
- Blacasset (dates uncertain) : Troubadour from the area
of Provence. Works include: 3 sirventes, 4 cansos, 4 coblas
- Bonafe (dates uncertain) : Troubadour from the area
of Provence. Works include: 2 tensos
- Carenza (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenson
- Comte de Provence (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 tenson, 1 partimen
- Duran Sartre (from Carpentras or Pernes) (dates uncertain)
: Troubadour from the area of Provence. Works include:
2 sirventes
- Elias de Barjols (dates uncertain) : Troubadour from
the area of Provence. Works include: 12 cansos; 1 partimen,
2 descorts
- Esquilhas (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenson
- Falconet (dates uncertain) : Troubadour from the area
of Provence. Works include: 2 tensos
- Faure (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenson
- Garsenda de Forcalquier (dates uncertain) : Trobairitz
from the area of Provence. Works include: 1 tenso
- Granet (dates uncertain) : Troubadour from the area
of Provence. Works include: 2 sirventes
- Guigo de Cabanas (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 sirventes, 3 débats,
1 cobla
- Guilhem de l'Olivier d'Arles (dates uncertain) : Troubadour
from the area of Provence. Works include: 77 coblas
- Guilhem del Baus (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 sirventes, 2 coblas
- Guilhem d'Ieres (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 canso
- Guilhem Godin (dates uncertain) : Troubadour from the
area of Provence. Works include: 1 canso
- Guilhem Rainol d'Apt (dates uncertain)
: Troubadour from the area of Provence. Works include:
2 sirventes, 2 tensos, 1 romance
- Guillem de Sant Gregori (dates uncertain) : Troubadour
from the area of Provence. Works include: 1 canso, 2 débat,
1 sextine
- Guionet (dates uncertain) : Troubadour from the area
of Provence. Works include: 4 partimen
- Isnart d'Entrevennes (dates uncertain) : Troubadour
from the area of Provence. Works include: 2 sirventes,
1 tenson
- Jacme Mote d'Arles (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 sirventes
- Jordan de l'Isla de Venessi (de l'Isle-sur-Sorgue)
(dates uncertain) : Troubadour from the area of Provence.
Works include: 1 canso
- Jori (dates uncertain) : Troubadour from the area of
Provence. Works include: 2 tensos
- Montan (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenso, 3 coblas
- Peire de Castelnou (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 sirventes
- Perdigon (dates uncertain) : Troubadour from the area
of Provence. Works include: 16 pieces
- Pistoleta (dates uncertain) : Troubadour from the area
of Provence. Works include: 11 pieces
- Pujol (dates uncertain) : Troubadour from the area
of Provence. Works include: 2 cansos, 1 sirventes, 2 coblas
- Raimbaut de Beljoc (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 sirventes
- Raimbaut d'Ieres (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 cobla
- Raimon Bistortz (d'Arles) (dates uncertain) : Troubadour
from the area of Provence. Works include: 4 cansos, 1
cobla
- Raimon de las Salas (dates uncertain) : Troubadour
from the area of Provence. Works include: 3 cansos, 1
alba, 1 invented canson
- Raimon de Tors (dates uncertain) : Troubadour from
the area of Provence. Works include: 6 sirventes
- Reforzat de Forcalquier (dates uncertain) : Troubadour
from the area of Provence. Works include: 1 sirventes
- Ricau de Tarascon (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 canso, 1 tenson
- Rostanh Berengier (dates uncertain) : Troubadour from
the area of Provence. Works include: 2 cansos, 1 estampida,
1 sirventes, 4 coblas
- Rostanh de Mergas (dates uncertain) : Troubadour from
the area of Provence. Works include: 1 canso
- Taurel (dates uncertain) : Troubadour from the area
of Provence. Works include: 1 tenson
- Tomier e Palazi (dates uncertain) : Troubadour
from the area of Provence. Works include: 2 sirventes
Troubadours and Troubairitz From Quercy and
the Rouergue
- Raimon Jordan (known in 1178-1195) : Troubadour from
the area of Quercy, Rouergue. Works include: 11 cansos,
1 tenson, 1 sirventes
- Bernart de Venzac (known in 1180-1209) : Troubadour
from the area of Quercy, Rouergue. Works include: 2 cansos,
3 sirventes, 1 alba
- Uc de Sant Circ (known in 1217-1253) : Troubadour from
the area of Quercy, Rouergue. Works include: 48 pieces
- Raimon de Cornet (known in 1324-1340) : Troubadour
from the area of Quercy, Rouergue. Works include: ?
- Ademar Jordan (Saint-Antonin) (dates uncertain) : Troubadour
from the area of Quercy, Rouergue. Works include: 1 sirventes,
1 cobla
- Austorc d'Alboi / del Boi (dates uncertain) : Troubadour
from the area of Quercy, Rouergue. Works include: 1 tenson
- Berengier Trobel (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 2 cansos
- Bernart Arnaut de Montcuq (dates
uncertain) : Troubadour from the area of Quercy, Rouergue.
Works include: 1 sirventes
- Bernart Arnaut Sabata (dates uncertain) : Troubadour
from the area of Quercy, Rouergue. Works include: 1 canso
- Bernart de La Barta (dates uncertain) : Troubadour
from the area of Quercy, Rouergue. Works include: 2 tensos,
1 cobla, 1 sirventes
- Bernart de Prades (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 3 cansos
- Bertran de Gordon (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 tenson
- Bertran de Paris (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 ensenhamen
de joglar
- Daude de Caylus (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 cobla
- Daude de Pradas (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 19 cansos
- Enric I de Rodes (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 3 tensos
- Enric II de Rodes (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 4 tensos,
2 partimen
- Guilhem de Murs (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 sirventes,
7 tensos
- Guilhem Peire de Cazals (dates uncertain) : Troubadour
from the area of Quercy, Rouergue. Works include: 10 cansos,
1 partimen
- Guiraut (dates uncertain) : Troubadour from the area
of Quercy, Rouergue. Works include: 1 sirventes
- Matieu de Caersi (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 planh
- Ozil de Cardatz (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 1 canso
- Raimon de Dufort (dates uncertain) : Troubadour from
the area of Quercy, Rouergue. Works include: 2 sirventes
- Turc Malec (dates uncertain) : Troubadour from the
area of Quercy, Rouergue. Works include: 1 cobla
- Uc Brunenc (dates uncertain) : Troubadour from the
area of Quercy, Rouergue. Works include: 8 cansos
- Uc de Penna (dates uncertain) : Troubadour from the
area of Quercy, Rouergue. Works include: 3 cansos
Troubadours and Troubairitz From Limousin
and Marche
- Arnaut de Tintinhac (known in 1150) : Troubadour from
the area of Limousin and Marche. Works include: 3 cansos
- Girault de Bornelh (known in 1162-1199) : Troubadour
from the area of Limousin and Marche. Works include: at
least 83 pieces
- Gui d'Ussel (known in 1170-1225) : Troubadour from
the area of Limousin and Marche. Works include: 20 pieces
- Maria de Ventadorn (trobairitz) (known in 1180-1215)
: Trobairitz from the area of Limousin and Marche. Works
include: 1 partimen
- Gaucelm Faidit (known in 1185-1220) : Troubadour from
the area of Limousin and Marche. Works include: around
70 pieces
- Alamanda (dates uncertain) : Troubadour from the area
of Limousin and Marche. Works include: 1 tenson
- Bernart (dates uncertain) : Troubadour from the area
of Limousin and Marche. Works include: 5 debats
- Bertran (dates uncertain) : Troubadour from the area
of Limousin and Marche. Works include: 1 tenson
- Eble d'Ussel (dates uncertain) : Troubadour from the
area of Limousin and Marche. Works include: 2 tensos,
1 cobla
- Elias d'Ussel (dates uncertain) : Troubadour from the
area of Limousin and Marche. Works include: 4 tensos,
1 partimen, 2 coblas
- Gaucelm Estaca (dates uncertain) : Troubadour from
the area of Limousin and Marche. Works include: 1 canso
- Joan d'Aubusson (dates uncertain) : Troubadour from
the area of Limousin and Marche. Works include: 2 tensos,
1 cobla
- Lemozi (dates uncertain) : Troubadour from the area
of Limousin and Marche. Works include: 1 tenson
- Peire de Montalembert (dates uncertain) : Troubadour
from the area of Limousin and Marche. Works include: 1
partimen
- Peire Espanhol (dates uncertain) : Troubadour from
the area of Limousin and Marche. Works include: 3 cansos
- Raimon de Tors (dates uncertain) : Troubadour from
the area of Limousin and Marche. Works include: 6 sirventes
- Uc de la Bacalaria (dates uncertain) : Troubadour from
the area of Limousin and Marche. Works include: 1 canso,
1 alba, 4 débats
- Vescoms de Torena (The Viscount of Turenne) (dates
uncertain) : Troubadour from the area of Limousin and
Marche. Works include: 1 tenson, 1 cobla
Texts
of Troubadour poems in Occitan
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