V. TANT AI MON COR EN JOY ASSIS (356, 9)

Classification. All the MSS have the same order of stanzas, and apart from ω and Dc, which are fragmentary, contain the whole poem. The MS variants reveal two clearly defined groups: DIK and CEM, standing opposed in 5, 9, 14, 23, 32, 33, 38, 41, 43, 48. DIK are further linked in 26, 32 (qem), 50 (s’en), as are CEM in 28 (senhor) and 45 (spelling: veirai).

Within the first group the normally close relationship of IK is once more evident (cf. 6, 15, 20, 28, 30, 32, 36 (qu’ieu), 37, 38, 45 (spelling: verrai)) while D quite often joins the second group (cf. 6, 15 (joy), 28, 29 (with E only), 30, 37 (cal), 45 (spelling: veirai) and 46 (te), 50 (gen) (both with C only)).

The relationship between the MSS of the second group is considerably more intricate, as shown below:

CE: 13 (tost), 15, 26, 30 (pauz’e), 48 (guart lo cors), 50 (si).

CM: 32 (que), 37 (qual).

EM: 19, 26 (tan), 33, 48.

This group is, on the whole, the less stable of the two, all three MSS associating themselves at times with the first group. E joins the latter in 32 (qem), 36 (qu’ieu), 37 (tal), as does M in 15, 26, 50 (s’en). C, however, appears to be the nearest of the three to the DIK group, and is in fact supported by it in all four instances where EM stand alone.

ω and Dc were not at Appel’s disposal. ω, in which the first three stanzas are lacking, has an equal link with both traditions. It joins the first in 23, 26, 28, 33 (caissi), 43, 45 (spelling: en p.) and the second in 30 (pauz’e), 33 (qu’en), 37 (qual), 41 (o·us), 48 (cō si), 50 (si). It also shares individual variants with E in 27 (ha-a), 29, 50, and with M in 27 (fieus), 48 (gar lo (el) sieu cors (cor)).

Dc contains the second and fourth stanzas only, and on the evidence available its classification is difficult. It joins the first group in 23, 26 (both with ω) and the second in 9 (lavol), 14, 28. It has further links with IM in 13 (tot), with M alone in 24 and with Eω in 27 (ha).

 

Metrical scheme. Six coblas unissonans of seven lines and two tornadas, each of four lines, following the scheme of the last four lines of the stanzas:

a8 b8 b8 c8 d8 d8 e8

(Frank: 747: 4). The same rhyme scheme as that for Non sai don chant and six other poems; none of them, however, has this syllable arrangement.

 

Base and orthography. C.