Peire Guillem de Tolosa

Last updated
Here Peire is portrayed as a knight of Santiago BnF ms. 854 fol. 110 - Peire Guillem de Tolosa (1).jpg
Here Peire is portrayed as a knight of Santiago
"Pere Guillem was from Toulouse. . ."
He is portrayed here as a monk. BnF ms. 12473 fol. 95 - Peire Guillem de Tolosa (1).jpg
"Pere Guillem was from Toulouse. . ."
He is portrayed here as a monk.

Peire Guillem (or Guilhem) de Tolosa was a 13th-century troubadour from Toulouse. Only one sirventes he wrote ("En Sordel, que us es semblan"), a tenso with the contemporary Italian poet Sordello, survives.

According to his vida he was a courtly man who loved high society. The author of the vida also expresses admiration for his couplets but bewails the excessive number he composed, though so few of his works survive to this day. He was also said to have composed sirventes joglarescs, or sirventes in the manner of joglars, in order to criticise "the barons" (presumably the high noblesse). He also wrote a work criticising the prolific trouvère Theobald I of Navarre.

The troubadour Bertran Carbonel twice mentions another troubadour by the initials P.G., possibly indicating Peire Guilhem. He mourns a certain P.G. in a planh , where the initials probably stand in the manuscript for a full name, since three syllables would be required by the metre. Perhaps Pey Guillem, Pey being a hypocoristic form of Peire, is intended. In another case Bertran directs a sirventes of admonition against a troubadour identified only by his initials: .P. / ponchat et enapres un .G..

According to his vida he entered the "Order of Spaza", probably the "Order of the Sword", meaning either the Order of Santiago or the Order of the Faith and Peace.

Sources

Related Research Articles

Troubadour Composer and performer of lyric poetry during the High Middle Ages

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.

Peire Cardenal

Peire Cardenal was a troubadour known for his satirical sirventes and his dislike of the clergy. Ninety-six pieces of his remain, a number rarely matched by other poets of the age.

The sirventes or serventes, sometimes translated as "service song", was a genre of Old Occitan lyric poetry practiced by the troubadours.

Guilhem Figueira

Guillem or Guilhem Figueira or Figera was a Languedocian jongleur and troubadour from Toulouse active at the court of the Emperor Frederick II in the 1230s. He was a close associate of both Aimery de Pégulhan and Guillem Augier Novella.

Monge de Montaudon

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 dAlvernhe

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

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."

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.

Guilhem Peire Cazals de Caortz or Guilhem Peire de Cazals was a troubadour of the first half of the thirteenth century. He was born or lived in Cahors, Quercy, from which his name "de Caortz". Eleven of his works, including one tenso, survive.

Guilhem Rainol dAt

Guilhem Rainol d'At was a minor Provençal troubadour from Apt in the Vaucluse.

Guillem Magret

Guillem or Guilhem Magret was a troubadour and jongleur from the Viennois. He left behind eight poems, of which survive a sirventes and a canso with melodies.

Peirede la Mula was an Italian troubadour. Of his writings a pair of couplets and one sirventes are all that survive. According to his vida, he was a joglars and trobaire (troubadour) who stayed for a long time in Montferrat, Cortemilia, and the Piedmont at the court of Ottone del Carretto. This places Peire's activity before 1209, when Ottone lost Cortemilia.

Gui de Cavalhon

Gui de Cavalhon, Cavaillo, or Gavaillo was a Provençal nobleman: a diplomat, warrior, and man of letters. He was probably also the Guionet who composed tensos and partimens with Cadenet, Raimbaut de Vaqueiras, Mainart Ros, Pomairol, and a certain Guillem.

Guilhem Ademar

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.

Peire de Bussignac

Peire de Bussignac, Bossinhac, or Bocinhac was a nobleman, cleric, and troubadour from the Périgord. He was probably from Bussignac in Hautefort, but possibly Boussignac in Tulle. He was, according to his vida, "from the castle of Bertran de Born". Though his vida speaks of "good sirventes" to reproach ladies for bad behaviour and sirventes attacking Bertran, only one sirventes by Peire survives: Quan lo dous temps d'abril, an attack on women as ne'er-do-well gossips.

Consistori del Gay Saber

The Consistori del Gay Saber was a poetic academy founded at Toulouse in 1323 to revive and perpetuate the lyric poetry of the troubadours.

Guillem de Balaun

Guillem de Balaun was the castellan of Balazuc and a troubadour from the region around Montpellier. In his vida, which has the characteristics of a razo because it sets the background for the song Lo vers mou mercejan vas vos, he is described as "learned" (adretz).

Guilhem de Berguedan

Guillem de Berguedà, or Guilhem de Berguedan in Occitan, was a Catalan troubadour and viscount of Berguedà. He was the most prolific Catalan poet of the twelfth century, though he composed in Occitan, and thirty-one of his poems survive. Most are sirventes, "typically violent and obscene, reflecting his character and turbulent life," but there are a few cansos. Most of what is known about him derives from his vida and his songs.

Duran Sartor de Paernas or Duran Sartre de Carpentras was a Provençal troubadour from Pernes near Carpentras. The nickname sartor means "tailor". Two sirventes have been attributed to him, both reflect opposition to the royal crusade in Occitania: "Vil sirventes leugier e venassal" was written towards 1210, certainly before 1220, and "En talent ai qu'un sirventes encoc," which was written in 1242, during the Saintonge War. Although Duran criticises the crusade against alleged heretics, he encourages further efforts at crusading against Muslims.