Peire Raimon de Tolosa (or Toloza; fl. 1180–1220)[1] was a troubadour from the merchant class of Toulouse. He is variously referred to as lo Viellz ("the Old") and lo Gros ("the Fat"), though these are thought by some to refer to two different persons.[1] On the other hand, lo Viellz could refer to his being of an early generation of troubadours.[2] Eighteen of Peire Ramon's poems survive, one canso with a melody.[1]
Miniature depiction of Peire Raimon de Tolosa
Peire Ramon's name (as Petrus Raimundus) appears in two documents of Toulouse, dated to 1182 and 1214.[1] According to his vida, he became a jongleur and travelled to the court of Alfonso II of Aragon, who bestowed great honour on him.[2] The earliest datable work by Peire Ramon is a planh written on the death of Henry the Young King in 1183.[1] According to his vida Peire passed "a long time" at the courts of Alfonso, William VIII of Montpellier, and a certain "Count Raymond", which could refer to either Raymond V of Toulouse or, more probably, Raymond VI.[1][2] He also spent time in Italy (Lombardy and Piedmont), at the courts of Thomas I of Savoy, Guglielmo Malaspina, and Azzo VI of Este.[1] Azzo's daughter Beatriz was the addressee of one of Peire's poems.[1] Eventually Peire settled down with a wife in Pamiers and there he died.[2]
Peire was reputed as a singer and composer of cansos.[2] His work is characterised by themes of nature. His style was hermetic.[3] He imitated the troubadours Cadenet and Arnaut Daniel and was in turn imitated by Bertran de Born, especially as regards his use of natural imagery.[4] Bertran went so far as to copy almost a whole stanza from Peire's "No.m puesc sofrir d'una leu chanso faire."[5] In "Us noels pessamens", Peire even anticipates the Tuscan poet Dante Alighieri.[6] Peire is complaining about a mistress who first beckoned him and then broke her promise to him when he says:
Peire's sole surviving melody is florid like Cadenet's.[8] His style employs an uncommonly high number of large intervals, including tritones. The poem with the melody is built on an innovative metaphor:
^Lewent, 106. The passage in Dante being referred to is Inferno, V, 121 ff.
^Lewent, 106: "For he who is not accustomed to have much luck, is more capable of suffering misery than one who is noble and high in rank; for misfortune grieves the latter more if he remembers (former) good fortune."
^Gouiran, 88: "Like the candle which destroys itself in order to give light to others, I sing, at the worst of my torture, for the pleasure of others."
Sourcesedit
Anglade, Joseph.Poésies du troubadour Peire Raimon de Toulouse. 1920.
Aubrey, Elizabeth. The Music of the Troubadours. Indiana University Press, 1996. ISBN0-253-21389-4.
Egan, Margarita, ed. and trans. The Vidas of the Troubadours. New York: Garland, 1984. ISBN0-8240-9437-9.
Gouiran, Gérard. "The Classical Period: from Raimbaut d'Aurenga to Arnaut Daniel." The Troubadours: An Introduction. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN0-521-57473-0.
Kastner, L. E. "Notes on the Poems of Bertran de Born." The Modern Language Review, 31:1 (Jan., 1936), pp. 20–33.
Lewent, Kurt. "Old Provençal Miscellany: 1. Troubadours as Precursors of Dante." The Modern Language Review, 38:2 (Apr., 1943), pp. 106–116.
peire, raimon, tolosa, toloza, 1180, 1220, troubadour, from, merchant, class, toulouse, variously, referred, viellz, gros, though, these, thought, some, refer, different, persons, other, hand, viellz, could, refer, being, early, generation, troubadours, eighte. Peire Raimon de Tolosa or Toloza fl 1180 1220 1 was a troubadour from the merchant class of Toulouse He is variously referred to as lo Viellz the Old and lo Gros the Fat though these are thought by some to refer to two different persons 1 On the other hand lo Viellz could refer to his being of an early generation of troubadours 2 Eighteen of Peire Ramon s poems survive one canso with a melody 1 Miniature depiction of Peire Raimon de Tolosa Peire Ramon s name as Petrus Raimundus appears in two documents of Toulouse dated to 1182 and 1214 1 According to his vida he became a jongleur and travelled to the court of Alfonso II of Aragon who bestowed great honour on him 2 The earliest datable work by Peire Ramon is a planh written on the death of Henry the Young King in 1183 1 According to his vida Peire passed a long time at the courts of Alfonso William VIII of Montpellier and a certain Count Raymond which could refer to either Raymond V of Toulouse or more probably Raymond VI 1 2 He also spent time in Italy Lombardy and Piedmont at the courts of Thomas I of Savoy Guglielmo Malaspina and Azzo VI of Este 1 Azzo s daughter Beatriz was the addressee of one of Peire s poems 1 Eventually Peire settled down with a wife in Pamiers and there he died 2 Peire was reputed as a singer and composer of cansos 2 His work is characterised by themes of nature His style was hermetic 3 He imitated the troubadours Cadenet and Arnaut Daniel and was in turn imitated by Bertran de Born especially as regards his use of natural imagery 4 Bertran went so far as to copy almost a whole stanza from Peire s No m puesc sofrir d una leu chanso faire 5 In Us noels pessamens Peire even anticipates the Tuscan poet Dante Alighieri 6 Peire is complaining about a mistress who first beckoned him and then broke her promise to him when he says Que qui non a vezat aver gran be plus leu pot sostener afan que tal es rics e bos que l maltrag l es plus angoyssos quan li soven benanansa 7 Peire s sole surviving melody is florid like Cadenet s 8 His style employs an uncommonly high number of large intervals including tritones The poem with the melody is built on an innovative metaphor Atressi cum la candela 9 que si meteissa destrui per far clartat ad autrui chant on plus trac gren martire per plazer de l autra gen 10 Notes edit a b c d e f g h Aubrey 17 a b c d e Egan 77 Aubrey 18 Aubrey 21 Kastner 27 Lewent 106 The passage in Dante being referred to is Inferno V 121 ff Lewent 106 For he who is not accustomed to have much luck is more capable of suffering misery than one who is noble and high in rank for misfortune grieves the latter more if he remembers former good fortune Aubrey 225 and 268 Also commonly Atressi com la chandella Gouiran 88 Like the candle which destroys itself in order to give light to others I sing at the worst of my torture for the pleasure of others Sources editAnglade Joseph Poesies du troubadour Peire Raimon de Toulouse 1920 Aubrey Elizabeth The Music of the Troubadours Indiana University Press 1996 ISBN 0 253 21389 4 Egan Margarita ed and trans The Vidas of the Troubadours New York Garland 1984 ISBN 0 8240 9437 9 Gouiran Gerard The Classical Period from Raimbaut d Aurenga to Arnaut Daniel The Troubadours An Introduction Simon Gaunt and Sarah Kay edd Cambridge Cambridge University Press 1999 ISBN 0 521 57473 0 Kastner L E Notes on the Poems of Bertran de Born The Modern Language Review 31 1 Jan 1936 pp 20 33 Lewent Kurt Old Provencal Miscellany 1 Troubadours as Precursors of Dante The Modern Language Review 38 2 Apr 1943 pp 106 116 External links editWorks by Peire Raimon of Toulouse at Project Gutenberg Retrieved from https en wikipedia org w index php title Peire Raimon de Tolosa amp oldid 1176656938, wikipedia, wiki, book, books, library,
