CAMJAT AI MON CONSIRIER

(366.6)

MW, II, 12.

			Tornadas
Order of stanzas	ABG	1 2 3 4 5 6	7 8 9
	DIKLMN	1 2 3 4 5 6	7 8 -
	S	1 2 3 4 5 6 (7a) (8a)	7 8 9
	a	1 2 3 6 5 4 - (8a)	7 8 9
	C	1 2 3 4 5 6 - (8a)	7 8 -
	R	1 2 3 4 - 6 - (8a)	- - 9
	T	1 2 3 - 5 6	7 - 9
	Dc	1 - 3 - 5 -	- - -

From the stanza order, the following groupings of the MSS. are apparent: ABG, DIKLM; Ca, S, R; T; (Dc). The groupings ABG (cf. 1, 6, 7, 11, 12, 16, 20, 22, 23, 51) and DIKLMN (cf. 6, 11, 12, 16, 20, 51) are further borne out by the variants. These two groups often stand together against the remaining MSS. (cf. 1, 15, 22), but DIKLMN are sometimes found in agreement with MSS. of the group CRSa (cf. 11, 12, 16, 20). Smaller internal groups may be noted, e.g. AG (omission of ren in l. 52) and, as usual, IK (both lack aut in l. 22). The relationship of CRSa, as shown in the analysis of the stanza order, is further borne out by ll. 1, 4, 36, but the individuality of R is frequently to be remarked (cf. 11, 15, 20, 22). T varies considerably in its relations with the other MSS. and often stands alone (cf. 13, 19, 22, 37, 47, 48, 49). Dc shows affinities with C and R (cf. 6, 21, 22, 23).

Six coblas singulars, with two tornadas of three lines: 7a 6b’ 7a 6b’ 7a 6b’ 7a 6b’ 6b’. a changes in each verse, but b remains constant throughout (-ia). Maus 218. Same scheme Dalfi d’Alvernhe 3. Dauphin probably borrowed the scheme from Peirol.

The stanzas below have been rejected as being later interpolations. No other poem of Peirol contains more than six verses and the MSS. containing the additional verses are of relatively later date. Stanza 7a may have been added by a scribe familiar with the vida or with XIV. Stanza 8a contains sentiments similar to those expressed in the two tornadas, and its last line is the same as that of 7a. The rhyme a changes throughout, but it will be seen that stanzas 7a and 8a employ rhymes (-ier and -en) already used (stanzas 1 and 5). In the tornada 9, saber terminates the first line as it does that of the previous tornada; the alternative reading cors is obviously impossible because of the rhyme. In no other poem, moreover, does Peirol use more than two tornadas.

7a (MS. S only)                 Torbat m’an lausengier

                                      mon joi, mi e m’amia;

                                      cen vez l’an faicha plorer

                                      qar tot jorn la batia.

                            5        Tals ni es que sa moiller

                                      plus deigna ni seria,

                                      q’a faiz pres de son oster

                                      ab un hom compaignia.

                                      Non taing q’eu plus en dia.

 

8a (MSS. CRSa only)         10      Leu chansoneta plazen,

                                     vai, ten ta dreita via

                                      a lieys on joi e joven

                                      renovel e coindia.

                                      Digas li qu’a leis mi ren

                            15      en qualque part qu’ieu sia,

                                      quar ieu non ai ges talen

                                      mais d’ autra senhoria.

                                      No·s tanh que plus en dia.

 

9 (MSS. ABGRSTa only)   Lo cor e·l sen e·l saber

                            20      vos ren, domna, qec dia,

                                      que ges no l’en partria.

8a. 11. ades vai ten ta via CR.   12. iois Ra.   13. r. qec diax a.   14. lim CRa; tē R.   15. vas la cal part qe sia Sa.   17. del autra s. Sa.

9: 19. Mos cors T; Oill vos ren boich et cors S; Oils vos ren e boch e cors A; Huels e boca e cors R.   20. vos don dompna on qieu sia B; vos rent ma dolsa amia T; ma bella douz’ amia Sa.   21. de totz bons aips cumplia RTSa.

Musical setting: G 46 (Rmi, III, 432). See Appx. plate 7.

Base and Orthography: I.