Thomàs Périz de Fozes

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Thomàs Périz de Fozes (or Thomas Periz in original orthography) was an Aragonese troubadour of the knightly class, who has left two poems in the Occitan language. His mother tongue was evidently Aragonese. His Occitan is the literary koiné of the classical era of the troubadours (11601220) and was apparently learned: it is in general grammatically and rhythmically perfect asides from a few errors of declension caused by his greater familiarity with Aragonese.

Kingdom of Aragon medieval and early modern kingdom in the Iberian Peninsula

The Kingdom of Aragon was a medieval and early modern kingdom on the Iberian Peninsula, corresponding to the modern-day autonomous community of Aragon, in Spain. It should not be confused with the larger Crown of Aragon, that also included other territories — the Principality of Catalonia, the Kingdom of Valencia, the Kingdom of Majorca, and other possessions that are now part of France, Italy, and Greece — that were also under the rule of the King of Aragon, but were administered separately from the Kingdom of Aragon.

Troubadour composer and performer of Old Occitan 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.

Knight An award of an honorary title for past or future service with its roots in chivalry in the Middle Ages

A knight is a man granted an honorary title of knighthood by a monarch, bishop or other political or religious leader for service to the monarch or a Christian church, especially in a military capacity.

Thomàs is mentioned among the barons of Aragon in a sirventes of Joan de Castellnou, which is sufficient to show that he was considered an exemplar of the practice of courtly love between the years 1339 and 1343. In 1339 he was a counsellor of Peter IV of Aragon, who named him administrator of the Val d'Aran and castellan of Castell-lleons. Through his brother, Artal de Fozes, who married Esclaramonda, daughter of Sancho, an illegitimate brother of King James III of Majorca, Thomàs was related by marriage to the younger branch of the royal House of Barcelona. His brother's second wife (1371) and widow, Sibil•la de Fortià, was a mistress and then wife (1377) of Peter IV.

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

Joan de Castellnou was a troubadour of the Consistori del Gay Saber active in Toulouse. He left behind five or six cansos, three vers, a dansa, a conselh, and a sirventes. His most famous works are non-lyric, however: a grammar (compendi) called Las flors del gay saber, estier dichas las Leys d'amors and a glossary (glosari) on the Doctrinal (1324) of his predecessor, Raimon de Cornet.

Courtly love medieval European literary conception of love

Courtly love was a medieval European literary conception of love that emphasized nobility and chivalry. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of love is originally a literary fiction created for the entertainment of the nobility, but as time passed, these ideas about love changed and attracted a larger audience. In the high Middle Ages, a "game of love" developed around these ideas as a set of social practices. "Loving nobly" was considered to be an enriching and improving practice.

Thomàs tried to use his influence at court for the benefit of his relatives when, early in 1342, he composed a poem, Trop me desplay can vey falir, petitioning the king for clemency towards James III, whom Peter desired to depose. He admits to the pride and infidelity of James, who had refused to swear fealty to Peter, but urges that he should not lose everything for a moment's folly. Finally, he draws on the magnanimity of Peter's paternal and maternal lineages, which earned his father, Alfonso IV, the epithet "the Benign", in a direct appeal to the king to spare his vassal. In the end, James III died at the Battle of Llucmajor in 1349.

Alfonso IV of Aragon King of Aragon, Valencia, Sicily, Sardinia and Corsica

Alfonso IV, called the Kind was the King of Aragon and Count of Barcelona from 1327 to his death. His reign saw the incorporation of the County of Urgell, Duchy of Athens, and Duchy of Neopatria into the Crown of Aragon.

Battle of Llucmajor

The Battle of Llucmajor occurred in 1349 when Peter IV of Aragon's forces defeated and killed his cousin James III of Majorca in the town of Llucmajor on the Balearic Islands, resulting in the end of the independent Kingdom of Majorca.

Thomàs' second poem, Si col vassayl can servex longamen, is a canso addressed to a Na Resplendens (Resplendent Lady) mentioned in the second tornada of his earlier poem. This senhal (code name) refers to an unknown lady of high rank. The main theme of the poem is the poet's need to "seize the day" ( carpe diem ):

The canso or canson or canzo was a song style used by the troubadours; it was, by far, the most common genre used, especially by early troubadours; only in the second half of the 13th century would its dominance be challenged by a growing number of poets writing coblas esparsas.

Tornada (Occitan literary term) final, shorter stanza (or cobla) that appears in lyric poetry and serves a variety of purposes within several poetic forms

In Old Occitan literature, a tornada refers to a final, shorter stanza that appears in lyric poetry and serves a variety of purposes within several poetic forms. The word tornada derives from the Old Occitan in which it is the feminine form of tornat, a past participle of the verb tornar. It is derived from the Latin verb tornare.

<i>Carpe diem</i> latin phrase

Carpe diem is a Latin aphorism, usually translated "seize the day", taken from book 1 of the Roman poet Horace's work Odes.

Valetz-me, donchs, mentre jovens m'avança,
d'un joy, qu'estiers, can torn en veylezir,
covendrà'm, las, tot joy d'amor jaquir,
e viuré puys am trista desirança.
Help me, then, while youth recedes,
to joy, because otherwise, as I begin to age
I must, alas!, all joy of love abandon,
and live thereafter with melancholy desire.

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