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Enarratio covers basic interpretation of verbal texts; in this category I have chosen to focus on Folquet’s use of proverbs. The use of proverbial material is discussed and recommended frequently by classical and medieval literary theorists; this aspect of Folquet’s poetry is the one most often examined by modern scholars. I chose proverbs, however, because many interactions between words and music discussed in Chapter 5 emphasize the proverbs in some way. 29
Chapter 2. Poetry Folquet’s poetic art has been examined by many literary scholars, either in the introduction to an edition of his works or a close examination of one or more songs. I have chosen to discuss three aspects–versification, punctuation, and proverbs–which interact with the melody in revealing ways as discussed in Chapter 5; I discuss them according to the medieval grammatical procedure for interpretation of texts. The first two aspects lie in the area of lectio, how to read aloud correctly: one must first understand the metrical patterns and locate the divisions in the work before one can read it aloud correctly. The last aspect, identification and examination of one of Folquet’s rhetorical devices, steps into the area of ennaratio and provides considerable insight into his poetic craft. In this chapter I include all of Folquet’s securely attributed poetry, whether transmitted with a melody or not. Versification Lectio In the classical grammatical model, part of the preparation for reading aloud included the identification of the patterns of long and short syllables (metrum) and the accent patterns (accentus) in Latin poetry. Troubadour (and most other medieval) poetry follows a different logic to the form of the poem (discussed below), so the classical model must be expanded to include all aspects of versification. Versification, with its emphasis on the sonic quality of words, is one characteristic that distinguishes poetry from prose. Modern scholars have observed that the troubadours were 30
Page 1 and 2: “LOS MOTZ E.L SO”: WORDS, MELOD
Page 3 and 4: Acknowledgments I would first like
Page 5 and 6: Compositional Suggestions . . . . .
Page 7 and 8: 5.2. “Tan m’abellis,” Versifi
Page 9 and 10: 4.10. “En chantan” in manuscrip
Page 11 and 12: List of Manuscripts Troubadour Manu
Page 13 and 14: their separation from the overall f
Page 15 and 16: Although medieval composers, critic
Page 17 and 18: duration, regardless of how many pi
Page 19 and 20: Folquet de Marseille In this disser
Page 21 and 22: Yet in the twentieth century schola
Page 23 and 24: Other literary scholars, however, a
Page 25 and 26: manuscripts, including ones of sout
Page 27 and 28: King Richard of England in the Thir
Page 29 and 30: ecounts that he entered Torondet bu
Page 31 and 32: manuscript progressed. 75 The manus
Page 33 and 34: occur in authorial collections, but
Page 35 and 36: Manuscript W, copied between 1254 a
Page 37 and 38: Table 1.3. Order of Folquet’s Son
Page 39 and 40: were copied into manuscripts, they
Page 41: The science of interpretation was d
Page 45 and 46: hundred different meters for the tw
Page 47 and 48: each aspect in detail primarily as
Page 49 and 50: Folquet uses verses of four, five,
Page 51 and 52: Dante also describes stanza form as
Page 53 and 54: combinations of seven-syllable paro
Page 55 and 56: of different lengths has a certain
Page 57 and 58: Table 2.2 Continued Oimais no.i con
Page 59 and 60: S’al cor plagues ben for’oi mai
Page 61 and 62: Here, desconiscenza in line 1.4 for
Page 63 and 64: of the stanza into four lines plus
Page 65 and 66: sounds suggests that for the old Fr
Page 67 and 68: Table 2.4. Shifting of Rhyme Sounds
Page 69 and 70: order. This feature is irrelevant t
Page 71 and 72: much of the sentence remains, as mu
Page 73 and 74: final pause anywhere in the verse.
Page 75 and 76: This sentence is complete enough, b
Page 77 and 78: similar things. Car, pois, and si u
Page 79 and 80: emphasized through con at the begin
Page 81 and 82: This type of enjambment is truly ne
Page 83 and 84: Here the cesura occurs between the
Page 85 and 86: grammatica, Isidore of Seville’s
Page 87 and 88: converted into narrative situations
Page 89 and 90: topic. Numerous scholars have ident
Page 91 and 92: harm.” 111 Most, however, have so
Page 93 and 94:
point where he is no longer allowed
Page 95 and 96:
they say, ‘What begins badly ends
Page 97 and 98:
qar cel qui plus fort de si desmesu
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26.12. The other double proverb is
Page 101 and 102:
Music. Chapter 3. Pitch Structure A
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and polyphonic music, heard in Pari
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allows non-specialists to distingui
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and Grocheio take this set of pitch
Page 109 and 110:
ules of the modes but are varied in
Page 111 and 112:
and authentic tetrardus are also id
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cofinal. Transposition is effected
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Aubrey generally concurs with van d
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call soft or round, but which by so
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a note to be sung as fa and >before
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correct the tritone with the final.
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Finals. The numbers of songs ending
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fourth neume according to Marchetto
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at the transposed location. Guido a
Page 129 and 130:
Table 3.5. Modal Characteristics an
Page 131 and 132:
Figure 3.5. continued. The end of t
Page 133 and 134:
Figure 3.7. “Amors, merce!” in
Page 135 and 136:
R end on c or d. The versions of
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Compositional Suggestions All the w
Page 139 and 140:
Table 3.6. Beginning and Ending Not
Page 141 and 142:
constitute a part of song; and one
Page 143 and 144:
Similarly when the song pauses on t
Page 145 and 146:
In eight 86 the final ends more ver
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verbal units form a nested hierarch
Page 149 and 150:
The final does not end any verse ex
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the end of line 3, in which the fin
Page 153 and 154:
Figure 3.12. “Tan m’abellis”
Page 155 and 156:
Chapter 4. Musical Form and Melodic
Page 157 and 158:
seven concords is determined to be
Page 159 and 160:
from stanza to stanza, a topic expl
Page 161 and 162:
create their diagrams accordingly.
Page 163 and 164:
Table 4.1. Five Scholars’ Assessm
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melody. 18 Because Dante and his co
Page 167 and 168:
4.2. The fourth neume in line 1 con
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All three indicate that line 3 of
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Figure 4.7. “Per Dieu! Amors” i
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identical in the two lines, so the
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epetition as part of a formal desig
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Gennrich covers two types of canzon
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categories. 32 Vanin subdivides the
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Table 4.3. Musical Forms Song35 No
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Although this articulation is the e
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aligned vertically. He imposes the
Page 187 and 188:
However, like Ruwet’s original pr
Page 189 and 190:
no.s cug hom” begins on the third
Page 191 and 192:
Troubadour Scholars’ Discussions
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syllables; sometimes it begins a me
Page 195 and 196:
units end on and the final for the
Page 197 and 198:
Guido, however, describes several a
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Marchetto aligns his species logica
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The authors who discuss melodies mo
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Figure 4.16. “En chantan” in ma
Page 205 and 206:
create a continuous species of fift
Page 207 and 208:
Figure 4.18. “Amors, merce!” in
Page 209 and 210:
fourth line, however, counters this
Page 211 and 212:
These three pitches then begin the
Page 213 and 214:
Chapter 5. Relationships between th
Page 215 and 216:
How and to what extent does Folquet
Page 217 and 218:
the song reveals more complex inter
Page 219 and 220:
Figure 5.1. “Ben an mort,” Comp
Page 221 and 222:
Ieu ioc c’oguan per flor. I joke
Page 223 and 224:
Table 5.7. “Sitot me sui,” Vers
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Si tot me sui a trat apercenbuz. Al
Page 227 and 228:
Uns volers oltracuidaz. One outrage
Page 229 and 230:
Figure 5.4. “S’al cor plagues,
Page 231 and 232:
de ma chanso so que.m veda razos. i
Page 233 and 234:
Figure 5.5. “Greu fera,” Comple
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different ways. This would correspo
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Or surely they are called tones bec
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first phrase, which ends on a pitch
Page 241 and 242:
how the cesura is articulated by le
Page 243 and 244:
fourth or the fourth and fifth syll
Page 245 and 246:
In other lines the vertical stroke
Page 247 and 248:
prevented by a stroke after the fou
Page 249 and 250:
Lines in a few songs have vertical
Page 251 and 252:
line of verse into two equal parts,
Page 253 and 254:
Melodic Contour. The indication of
Page 255 and 256:
Although ascending lines most often
Page 257 and 258:
stanza, however, is not a normal, m
Page 259 and 260:
so that every line in the manuscrip
Page 261 and 262:
The occasional melodic and verbal e
Page 263 and 264:
Figure 5.17. “Per Dieu! Amors,”
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eginning of this line. This is the
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Aa qant gen venz et a qant pauc d
Page 269 and 270:
antithetical results of the differe
Page 271 and 272:
Conclusions A close examination of
Page 273 and 274:
Other Classical and Medieval Writin
Page 275 and 276:
Quintilian. Instituto Oratoria. Edi
Page 277 and 278:
Cabau, Patrice. “Foulque, marchan
Page 279 and 280:
Kivy, Peter. “The Fine Art of Rep
Page 281 and 282:
Pesce, Dolores. The Affinities and
Page 283 and 284:
Squillacioti, Paolo. “Folchetto d
Page 285 and 286:
Appendix A. Vida and Razos in Manus
Page 287 and 288:
3. Razo for “Tan mou” Folquet s
Page 289 and 290:
Amors merce no muora tan soven. Lov
Page 291 and 292:
Ben an mort mi e lor Indeed they ha
Page 293 and 294:
4. 155, 8. “En chantan” 280
Page 295 and 296:
Q’ar si la deignaz ascoltar. For
Page 297 and 298:
Ja no.s cuich hom q’eu cange mas
Page 299 and 300:
Molt i fez granz pecat amors. Love
Page 301 and 302:
8. 155, 16. “Per dieu! Amors” o
Page 303 and 304:
A zo conosc q’eu sui nemps pauros
Page 305 and 306:
Ab bel senblan qe fals amors aduz.
Page 307 and 308:
Ben sai que tot qan faiz es dreiz n
Page 309 and 310:
Tant mou de cortesa razon. So much
Page 311 and 312:
13. 155, 27. “Us volers” 298
Page 313 and 314:
Mas pero chantar no.m plaz. But to
Page 315 and 316:
Per qu’er peccatz amors so sabetz
Page 317 and 318:
Palimpsest Melody (separation aided
Page 319 and 320:
3. 155, 5. “Ben an mort” on pag
Page 321 and 322:
5. 155, 14. “Mout i fez” 308
Page 323 and 324:
6. 155, 16. “Per dieu! Amors” P
Page 325 and 326:
7. 155, 18. “S’al cor plagues
Page 327 and 328:
9. 155, 23. “Tan mou” 314
Page 329 and 330:
E si merces no.m ten pro. And if Me
Page 331 and 332:
Us volers otracuiatz One presumptuo
Page 333 and 334:
1. 155, 10. “Greu fera. Appendix
Page 335 and 336:
2. 155, 21. “Sitot me sui” 1. .
Page 337 and 338:
3. 155, 22. “Tan m’abellis” M
Page 339 and 340:
Tan mot de corteise raison. It begi
Page 341:
Vita Nancy Washer was born in New Y
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