Biography of medieval poets

What to read when the trumpeters composed their songs from about a year, although you can extend their story for several decades. There are also the biographies of trumpeters - heterogeneous narratives in prose about life and the legendary moments of their biography. But these biographies are not direct evidence. They are founded in many ways on the songs of the trumpeters and in themselves are a literary genre; The reality in biographies can be distorted, and beautiful legends often obscure the songs of Trubadurov in the eyes of readers.

The language of the Oldoxan is also Oksky, the Old Proversal, the language “OK” - that is, the language in which the word “yes” sounds so, this is the language of the indigenous population of the south of France. It is included in the Romanesque group of languages. The authors of Trubadur, according to the most common etymology, lead to the word Tropatorem, which means “writer of paths”, that is, rhymed Latin poems about holidays and saints who sang during worship and gradually went beyond the walls of temples.

He fixes these songs in writing, and then either trusts them to perform the singer to the juggler, often wandering, or performs himself. The possessions of the first of the troubadours known to us, the IX Aquitaine Guilloma - were extensive than the possessions of the French king; His granddaughter is the patroness of Trubadurov Alienora Aquitaine, the future French, and then the English queen, wife of Henry Plantagenet and mother Richard Lion's heart.

However, not all troubadours were just as noble. For example, the biography of Markabrun represents him with an unknown severity, and Bernart de Ventadorna, the son of a stoker, however, may not be completely trusted to these texts. A noble birth in itself does not guarantee nobility and courtesy - and a modest origin does not interfere with the lure of courteous songs, argue about literature, judge nobility, and sing sophisticated and pure love.

It is known near the names of Trubadurov, and sometimes we know only the names, but the texts have not reached us. The historical context of the first generation of trumpeters comes from Limousin and Aquitaine; Then their culture applies to the entire Oxitan area. At the same time, the songs in oxitan were also composed in the initially foreign cultures-Catalan, Lombard, Venetian.

Languedoc will keep the traditions of Trubadur art for the longest. In this struggle, the French crown gradually prevailed. Trubadura could participate in the Crusades; The larger the distance to the house and the lady, the easier it is to chant "love from afar." In the aesthetics of Trubadurov, they often seek the influence of “heresies of the Cathars”: in contrast to canonical Christianity, she teaches that evil is an independent principle opposed to God.

Accordingly, all material, carnal was evil for the Cathars, and all spiritual was good. However, the majority of the trumpeters were not catarrh, but by faithful Catholics. The lyrics of Trubadurov belongs to the castle and the court. Courtoimus is difficult to give a single definition: this is a model of knightly courtesy, and a sophisticated game, and a system of values ​​that regulates the life of a noble estate.

Trubadur speaks on behalf of the feudal clan, which contrasts itself with the world of urban culture, so the topic of the fall of morals in society, served by didactically or even sharply. But despite this, the trumpeters in the eyes of subsequent generations remained only singers of love. In their lyrics, a grain of ideas is laid, which through centuries will find its highest reflection in the culture of the Renaissance: the nobility of the heart can become along with the nobility of birth and even higher or more valuable.

If Trubadur compares courtesy songs and experiences true love, then he is called courteous. The lyrical works of Trubadurov are born as songs in the full sense of the word. Of course, people should be fulfilled by people who are specifically invited or admitted, who are called juggles, are far from the most privileged layers of society. The genres of the chancers are literally “song”, the highest embodiment of “great courteous singing” dedicated to love.

Sirvent is a version of the canzon, but more often on a military-political theme, often sustained in a satirical tone. Crying is also a version of the canzona, a requiem along the lord or lover. Alba is a dawn song, sung a friend who should warn lovers that he will soon dword and they will need to part. Pastorel is a genre built around the plot of a knight, seducing a simple shepherd.

Serena is a complaint of a lover. Partimen Jok-Partit is a separate version of the dispute that one participant begins, inviting the partner to defend one of the positions to choose from and undertakes to protect the other that he considers the infidel. A song about the Crusade is a hybrid genre, inspired at the same time as the theme of the struggle for the just-sided and lovingly lyrical principle.What the most famous songs of Trubadura-love-are addressed to the lady who calls him, whom he calls the “Donna” from the Latin “mistress” or even “my master”, emphasizing her paradoxical vassal service to her in the real world, on the contrary, is obliged to keep vassal fidelity to her father, her husband, brother-a word, a patron man.

Where is the border between real experience and a sophisticated game? Hence the two points of view on the reason for the sunset of the lyrics of the trumpeters: perhaps the cultural environment died in the flame of the Albigan wars, which nourished the Oxitan poetry, or maybe the constant desire to sublimate the love beginning in pure spirituality, which regularly led the lady’s place and the songs of the troubadours became purely religious lyrics - and this is a different story.

A bright hero is the main character of a courteous universe, of course, a lady. Her name cannot be called, so she is given the so -called lord - a conditional poetic nickname, often in a male gender. The lady willingly describe what they have never seen or saw a glimpse in the darkness. Very often they talk about whiteness - the lady has a white body, like snow for Christmas, tender and complete.

Sometimes, on the contrary, he clarifies that he cannot be happy if he does not hug the lady naked in close peace. The lady’s white is not only the body, but also the hands and even, for example, teeth. This part is developed by Bertrand de Bourne, when he composes a playful song about a composite lady, for which he will borrow beautiful eyes from one, the other has ruddy cheeks, the third has the ability to conduct a courteous conversation, and others have white hands and teeth, a slender camp, and also generosity and whole treasure of courteous virtues.

The appearance of the lady is perfect, but her charm is connected not only with physical beauty. Her eyes are not just beautiful - they have a special spirituality, and from their gaze, the usual day seems Christmas. Sources are the Bible first. Secondly, Ovid: the trumpeters not only make concrete references to the Roman poet, but also develop the love code in the light of his “science of love” and “medicine for love”.

Thirdly-folk songs. Fourth-Arab-Andalusian poetry.

The lord, which helps not to call the real name of the lover, is similar to the corresponding technique of Arab poetry, where the addressee will be called "My neighbor". The very concept of courtesy, some researchers lead to the concept of “adab”, which formed in the Arab culture of the Age of Abbasids of the 9th - 10th centuries. The motive of a trenabish desire that gives rise to joy and suffering at the same time can ascend to the motive of the so -called virgin love, which was most embodied in the plot of Leilie and Majnun, extremely popular in the near and Middle East.

Followers when the cultural center of gravity moves from the south of modern France to the north, courtesy songs begin to sound in Old French. They are sung by tribers, peculiar heirs of troubadours. German poetry, dedicated to the Holy Virgin, has obvious parallels with courteous songs. The first part of the Rosa Roman is an attempt to systematically state the Courterative Code in the form of a novel.

The second part, written by the other author, is clearly anti -courier and polemicizes with the first. The image of a lady from the stylists acquires angelic features. So, in the purge of Dante, Arnauta Daniel meets: Trubadur tells about himself in terms of courteous loving lyrics, but they are rethought: the joy awaiting Trubadura is not the joy of connecting with his lover, but the joy of salvation.

Petrarka called his poetic collection “Canzoniere” “Book of Songs” - just as the manuscripts were called, in which the songs of Trubadurov were corresponded. In mass culture, interest in trumpeters begins to gradually wake up at the end of the 18th century, and they really open them again in the Napoleonic era; Browning, Heine, Rambo each in his own way are inspired by the trumpeters.

The aged Bertrand de Bourne appears in the final part of the novel and joins the Crusader to the Castile King Alfonso. Feihtwanger inserts into the novel the most famous Syrwowns and a fragment of crying, and Bertrand’s only essay in the novel reads the king, although he should sing or order to sing in order to prove that the war for the knight is sweeter than love for a woman.

The old Trubadur appears as a tireless instigator to the war. He receives a wound in an unsuccessful war with Muslims, and his hand is taken away. During amputation, he dictates to his squire "Sirvent about the glove." For King Alfonso, parting with Bertrand retreating to the monastery means parting with reckless dreams of knightly exploits. In the year, Umberto Eco gave the features of Trubadur Jaufre Ryuel to the hero of his novel “Baudolino” Abdulo: the love of a distant princess with a radiant face was born with a hero under the influence of hash.At the same time, their courteous culture developed a complex system of concepts, none of which is amenable to either an unambiguous interpretation, or even more adequate translation; The fact that they managed to convey them in the folk language, and not to, for example, Latin - a real miracle for more than one century folk languages ​​as a whole will have difficulties with the development of an abstract dictionary!

The trumpeters are the first of the writers in the folk language are thinking about its improvement, the search for new means of expression, thereby bringing folk literature to a qualitatively different level. Dante among his teachers primarily calls Trubadurov. The same paradox becomes the system of images in the lyrics of trumpeters. It is also paradoxical that it is quite earthly, sensual love for the lady is not opposed to the Christian system of values, but is fused with her.

The soul of Trubadura in the limit should be cleansed of the earthly and through love suffering to achieve spiritual perfection. The lyrics are constantly balancing between the awareness of the living reality of the court of generous and welcoming trumpeters and juggles of the prince, in which a separate dwelling is allocated to beautiful ladies and longing according to an inaccessible, lost courteous paradise, which is only reconstructed in the songs of troubadours.