Sources
- Egan, Margarita, ed. and trans. The Vidas of the Troubadours. New York: Garland, 1984. ISBN 0-8240-9437-9.
- Riquer, Martín de. Los trovadores: historia literaria y textos. 3 vol. Barcelona: Planeta, 1975.
Arnaut de Tintinhac or Tintignac was a 12th-century Gascon nobleman and troubadour from Naves, near Tulle. He was the lord of Tintinhac, probably a feudatory of the viscount of Turrenne, and very proud of his heritage, as indicated when he refers to himself anonymously as sel de Tintinhac: "he of Tintinhac".
Four of his poems have survived, with one—Bel m'es quan l'erba reverdis—being ascribed in one manuscript to Raimon Vidal. In his expressions he is reminiscent of Marcabru and Bernart Marti and in his aggressive attitude towards encouraging courtly love he also resembles the early troubadours. Like other early Gascon troubadours, such as Peire de Valeira, he employed nature metaphors, as at the beginning of this song:
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The vida of Peire de Valeira seems to confuse its intended subject with Arnaut (at least at some points). It goes like this:
Peire de Valeira was from Gascony, from the land of Lord Arnaut Guillem de Marsan. He was a minstrel at the very same time in which Marcabru lived, and he composed poems such as were made at the time, of slight worth, about leaves and flowers and songs and birds. His songs had no great value, nor did he.
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.
Occitan literature is a body of texts written in Occitan, mostly in the south of France. It was the first literature in a Romance language and inspired the rise of vernacular literature throughout medieval Europe. Occitan literature's Golden Age was in the 12th century, when a rich and complex body of lyrical poetry was produced by troubadours writing in Old Occitan, which still survives to this day. Although Catalan is considered by some a variety of Occitan, this article will not deal with Catalan literature, which started diverging from its Southern French counterpart in the late 13th century.
Peire Vidal was an Old Occitan troubadour. Forty-five of his songs are extant. The twelve that still have melodies bear testament to the deserved nature of his musical reputation.
Pons de Capduelh was a troubadour from the Auvergne, probably from Chapteuil. His songs were known for their great gaiety. He was a popular poet and 27 of his songs are preserved, some in as many as 15 manuscripts. Four of his cansos survive with musical notation.
Marcoat was a minor Gascon troubadour and joglar who flourished in the mid twelfth century. He is often cited in connexion with Eleanor of Aquitaine and is placed in a hypothetical "school" of poetry which includes Bernart de Ventadorn, Marcabru, Cercamon, Jaufre Rudel, Peire Rogier, and Peire de Valeria among others. Of all his works, only two sirventes survive: Mentre m'obri eis huisel and Una re.us dirai, en Serra.
The (Lo) Monge de Montaudon, born Pèire de Vic, was a nobleman, monk, and troubadour from the Auvergne, born at the castle of Vic-sur-Cère near Aurillac, where he became a Benedictine monk around 1180. According to his vida, he composed "couplets while he was in the monastery and sirventes on subjects that were popular in the region."
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.
Uc de Saint Circ or Hugues (Hugh) de Saint Circq was a troubadour from Quercy. Uc is perhaps most significant to modern historians as the probable author of several vidas and razos of other troubadours, though only one of Bernart de Ventadorn exists under his name. Forty-four of his songs, including fifteen cansos and only three canso melodies, have survived, along with a didactic manual entitled Ensenhamen d'onor. According to William E. Burgwinkle, as "poet, biographer, literary historian, and mythographer, Uc must be accorded his rightful place as the 'inventor' (trobador) of 'troubadour poetry' and the idealogical trappings with which it came to be associated."
Grimoart(z) Gausmar(s) was a Gascon troubadour of the third quarter of the twelfth century. The sole source of information about his life comes from a satire of Peire d'Alvernhe, which mentions that Grimoart was a knight and jongleur. Only one known poem by Grimoart has survived. The poet names himself in its last lines:
Peire de Valeira, Valeria, or Valera was a Gascon troubadour. Since troubadour poetry probably originated in northwest Aquitaine and first spread—within a generation—south into Gascony, Peire was one of the earliest troubadours. Only two of his poems survive, one canso and one cobla.
Giraut or Guiraut de Calanso or Calanson was a Gascon troubadour in the Occitan language. Of his lyric works that remain five are cansos, two descorts, a congé, a planh, and a vers. He also wrote a mock ensenhamen entitled Fadet juglar.
Peire Raimon de Tolosa was a troubadour from the merchant class of Toulouse. He is variously referred to as lo Viellz and lo Gros, though these are thought by some to refer to two different persons. On the other hand, lo Viellz could refer to his being of an early generation of troubadours. Eighteen of Peire Ramon's poems survive, one canso with a melody.
Alegret was a Gascon troubadour, one of the earliest lyric satirists in the Occitan tongue, and a contemporary of Marcabru. One sirventes and one canso survive of his poems. Nonetheless, his reputation was high enough that he found his way into the poetry of Bernart de Ventadorn and Raimbaut d'Aurenga. The work of Alegret is also intertextually and stylistically related to that of Peire d'Alvernhe.
Amanieu de Sescars or Amanieu des Escàs was a Catalan, possibly Gascon, troubadour of the late 13th century. Famous for his love songs in his own day, his contemporaries gave him the nickname dieu d'amor. He wrote two ensenhamens and two saluts d'amor that survive.
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.
Guilhem Ademar was a troubadour from the Gévaudan in France. He travelled between the courts of Albi, Toulouse, Narbonne, and Spain. He achieved fame enough during his life to be satirised by the nobleman and monk, Monge de Montaudon. Guilhem entered holy orders towards the end of his life. Sixteen poems—fourteen cansos, a sirventes, and a partimen with Eble d'Ussel—form his surviving corpus. His cansos are his most famous pieces. Usually humorous, several mock the poetry of Ademar's more illustrious contemporary Arnaut Daniel. One canso survives with a tune.
Uc de Lescura or de l'Escura was a minor troubadour. The Lescura of his birth is unknown. There is a Lescurre in Ariège, Aveyron, and Tarn. Based on references in his work, historian Alfred Adler placed him at the court of Alfonso VIII of Castile and in Catalonia.
Arnaut Guilhemde Marsan was a Landais nobleman and troubadour. He was descended from a cadet branch of the viscounts of Marsan and was himself lord of Roquefort and Montgaillard and co-lord of Marsan.
Amanieu de la Broqueira was a Gascon troubadour. His name suggests he was from Labroquère, near Saint-Bertrand-de-Comminges. He wrote two cansos that have been preserved in the 14th-century troubadour chansonnier E :
