POS ENTREMES ME SUY DE FAR CHANSOS

(366.27a)

Delius, p. 41; Stronski, Le troubadour Folquet de Marseille, p. 98.

Attribution: Folquet de Marseilla ADEMOTa; Falquet de Romans Cc; Peirol DaGRS; Anonymous f.

On the question of attribution, see the following: for Folquet de Marseilla —Gröber, Rom. Studien, II, 399; for Peirol —P. Meyer, Rom, XVII, 304 and XXXIX, 82; Zenker, Die Gedichte des Folquet von Romans, p. 2; Restori, Rmi, III, 407; Stronski, Folquet de Marseille, pp. 127*-30*.

Attribution. Stronski’s arguments in favour of Peirol appear conclusive: the verse form (coblas doblas), encountered in seven other poems of Peirol, once only in Falquet de Romans, never in Folquet de Marseille; the stanza of seven lines, found in eight other poems by Peirol, once only in Folquet de Marseille, never in Falquet de Romans; the rhyme scheme, which occurs in two other poems of Peirol; stylistic features, noted below, etc.

 

Order of stanzas: ADORa: 1 2 3 4 5 6

                           CM: 1 5 2 3 6 4

                           T: 1 5 2 4 3 6

                           Da: 1 2 4 3 5 - 7 8

                           G: 1 2 4 3 5 -  - 8

                           c: 1 2 5 3 6

                           S: 1 5 2 3

                           f: 3 4 5 6

For a detailed analysis and classification of the MSS., see Stronski, op. cit. p. 214. The main groupings are as follows: A, Oa; DaG, Sc, T; CR, EM, D, f.

Six coblas doblas, with two tornadas each of two lines: a b’ b’ a a c c, lines of ten syllables. Maus 463 and Anmerkungen, 2, 34. Cf. also XXVI and XXXII.

Base and Orthography: C.