Alamanda was a trobairitz whose only surviving work is a tenso with Giraut de Bornelh called S'ie us qier conseill, bella amia Alamanda.[1] In the past she was usually considered fictitious and the "tenso" was considered a piece of Giraut's writing. However, an Alamanda is mentioned by three other troubadours, including the trobairitz Lombarda, indicating that she was probably real and quite prominent in Occitan poetic circles.
The trobairitz is probably identical with the Alamanda de Castelnau or Castelnou who was born around 1160. She was probably poetically active only briefly while spending her youth at the court of Raymond V of Toulouse (reigned 1148-1194). She left his court to marry Guilhem de Castelnou and later became a canoness of Saint-Étienne at Toulouse, dying in 1223.
Bruckner, Matilda Tomaryn; Shepard, Laurie; and White, Sarah. Songs of the Women Troubadours. New York: Garland Publishing, 1995. ISBN0-8153-0817-5.
M. L. Abbé Salvan, Histoire Générale de l'église de Toulouse: Depuis les temps les plus recalés jusqu'à nos jours (Toulouse, 1859) (external link to Internet Archive text)
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A troubadour was a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350). Since the word troubadour is etymologically masculine, a female troubadour is usually called a trobairitz.
Raimbaut of Orange or, in his native Old Occitan, Raimbaut d'Aurenga, was the lord of Orange and Aumelas. His properties included the towns of Frontignan and Mireval. He was the only son of William of Aumelas and of Tiburge, daughter of Raimbaut, count of Orange. After the early death of Raimbaut's father, his guardians were his uncle William VII of Montpellier and his elder sister Tibors.
Giraut de Bornelh, whose first name is also spelled Guiraut and whose toponym as de Borneil or de Borneyll, was a troubadour connected to the castle of the viscount of Limoges. He is credited with the formalisation, if not the invention, of the "light" style, or trobar leu.
Azalais de Porcairagues or Alasais de Porcaragues was a trobairitz, composing in Occitan in the late 12th century.
Na Castelloza was a noblewoman and trobairitz from Auvergne.
The trobairitz were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. Trobairitz is both singular and plural.
Ermengarde, was a viscountess of Narbonne from 1134 to 1192. She was the daughter of Aimery II of Narbonne and his first wife, also named Ermengarde.
A tenso is a style of troubadour song. It takes the form of a debate in which each voice defends a position; common topics relate to love or ethics. Usually, the tenso is written by two different poets, but several examples exist in which one of the parties is imaginary, including God, the poet's horse or his cloak. Closely related, and sometimes overlapping, genres include:
Guilhem de Saint-Leidier, also spelled Guilhem de Saint Deslier, Guillem de Saint Deidier and Guilhèm de Sant Leidier was a troubadour of the 12th century, composing in Occitan. He was lord of Saint Didier-en-Velay, was born at some date before 1150, and died between 1195 and 1200. He was said to have loved Belissende, sister of Dalfi d'Alvernha and wife of Eracle III of Polignac, Guilhem's feudal overlord.
The Comtessa de Dia, possibly named Beatritz or Isoarda, was a trobairitz.
Almucs de Castelnau or Castelnou was a trobairitz, that is a female troubadour, from a town near Avignon in Provence. Her name is also spelled Almuc, Amucs, Almois, Almurs, or Almirs.
Peire d'Alvernhe or d'Alvernha was an Auvergnat troubadour with twenty-one or twenty-four surviving works. He composed in an "esoteric" and "formally complex" style known as the trobar clus. He stands out as the earliest troubadour mentioned by name in Dante's Divine Comedy.
Bertran d'Alamanon, also spelled de Lamanon or d'Alamano, was a Provençal knight and troubadour, and an official, diplomat, and ambassador of the court of the Count of Provence. Twenty-two of his works survive, mainly provocative tensos and sirventes, many dealing with Crusading themes.
Pistoleta was a Provençal troubadour. His name means "little letter (epistle)" in Occitan. He left behind eleven songs, comprising nine cansos and two tensos. Some of his pieces are assigned to an otherwise unknown Jordan de Born in the table of contents of chansonnier C, a fourteenth-century Occitan manuscript.
Alais and Yselda were two young noble trobairitz, probably sisters or nuns, who wrote an Occitan tenso with an elderly woman named Carenza. Their poem begins Na Carenza al bel cors avinen, and the first two stanzas were composed by Alais and Yselda. It is the last two stanzas, composed by Carenza, that are the most difficult to interpret. Magda Bogin and Peter Dronke have read the opening line of both her stanzas as beginning with the address N'Alais i na Iselda. There is, however, an alternative interpretation that sees the address as to a "N'Alaisina Iselda". Under this interpretation, there are two, not three, interlocutors in the poem: Carenza and Alaisina Yselda. Within the poem, in favour of the multiplicity of younger women is the phrase nos doas serors, but against it is the continuous use of the first person singular. The poem is preserved amidst a collection of coblas esparsas in only one Italian chansonnier.
Arnaut Plagues or Plages was a troubadour probably from Provence.
Bernart Arnaut d'Armagnac, also Bernard Arnaud, was a troubadour and from 1217 the Count of Armagnac in opposition to his brother, Gerald V, who inherited it from the childless Gerald IV. Bernart and Gerald were both sons of Bernard de Fézensaguet.
Nationality words link to articles with information on the nation's poetry or literature.
Nationality words link to articles with information on the nation's poetry or literature.
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