Davantal - Einführung - Analysis - Presentación - Présentation - Presentazione - Presentacion

Nicholson, Derek E. T. The Poems of the Troubadour Peire Rogier. Manchester: Manchester University Press, 1976.

356,007- Peire Rogier



Classification. The interrelationship of the MSS is reflected to a great extent by the stanza order:

1 2 3 4 7 6 5 torn.
1 2 3 5 4 6 7 torn.
1 2 3 4 6 5 7 torn.
1 2 3 6 5 4 7 torn.
1 2 7 5 6 4 3 –
It should be noted that G and U have a similar order of stanzas. They also stand with CT in opposition to ADEIKR in the position of stanza VII, while the opposite is true in their reversal of the order of stanzas V and VI.

In view of their position at the end of the poem, stanzas III and IV in a1 have been examined to see if there is any evidence that they were added at a later stage or if they can throw further light on the relationship of the MS with the others. The same procedure has been adopted in the case of the fourth stanza in U. In neither case, however, is there anything to suggest that their relationship with the other MSS is significantly different from that found in the rest of the poem. The only point probably worth noting is that the readings of the two MSS are particularly close in stanza IV (cf. ll. 22, 24, 25). This stanza also occupies the same position in each MS.

The classification formed by the stanza analysis is borne out by the variants. ADEIKR show themselves to be the more stable group, coming together to oppose the other MSS in 4 (soi), 5 (partrai), 16, 17 (car), 20, 21 (non ten), 22 (et ab), 29, 30, 43. ADIK are frequently allied elsewhere, being joined in turn by E and R; cf. 5 (qe), 13, 28 (e), 34 (cors), 41, 48 (qieu), 52. DIK form a further sub-group (cf. 1, 12, 24 (gargaz), 26 (obs es), 50), with IK offering, as usual, almost identical readings. They share variants in 27 (with A), 28 (ni) (with E), 30 (with R), 32, 35, 46. AD also have a fairly close relationship, cf. 25, 28, 46.

R is the most individualistic of the MSS of the first group. It associates quite often with MSS of the second, cf. 13, 34, 35 (onor), 36 (el), 46, 48, having notable individual links with C (I, 12 (sis—si), 50), T (21 (condug—conduc), 24 (afans), 28 (loc—lioc), 32, 33 (ni), 35), a1 (15, 19). E also occasionally inclines to MSS of the second group (cf. 12 (with T), 28 (ni), 36 (caber), 41). The two MSS share readings with GU in 24 (ses—sest), 32 (non), and with CU in I (raimbaut).

The MSS of the second tradition form a rather more loose grouping to which may be added the defective Dc. CGTUa1 stand together in opposition to the first group in 5, 29, 30, 41, 43, though in all but 5 and 41 they subdivide, offering variations on their common original. In a number of other instances the readings of four of the MSS confirm their relationship and oppose the readings of the first group, cf. 4 (fi—fis—si), 16 (qavez, etc), 17 (qe—qez), 21 (noies—noia), 28 (ni), 52.

All the MSS of this group, notably T and U, are prone to individualism, but C to a lesser extent than the others. The complex relationship between them is indicated below. The pattern is borne out in a number of those instances where the MSS join the first tradition in groups of two or more.

(a) Groups of three

 (b) Groups of two


On the evidence available it is difficult to classify precisely the MSS of the Breviari d’Amor in relation to the other MSS. They share variants with each of the two groups in turn as well as with a1 and Dc.


Metrical scheme. Seven coblas unissonans of seven lines and a tornada of three lines, following the scheme of the last three lines of the stanzas:

a8 b8 b8 a8 c8 c8 d8

(Frank: 571: 10). The same scheme as that for Raimbaut d’Orange’s Peire Rotgier, a trassaillir and five other poems. There are a further seven examples of this rhyme scheme with a different syllable arrangement.


Base and orthography. A.






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