QUANT AMORS TROBET PARTIT

(366.29)

MW, II, 6; Choix, III, 279; Parn. Occ., p. 90; Lommatsch, Liederbuch, p. 135; De Bartholomaeis, Poesie provenzali storiche, I, p. 27; Crescini, Manualetto, p. 261 (after AC); Crescini, ‘Di una tenzone imaginaria’, p. 467 (all MSS. except S); Cavaliere, Cento Liriche Provenzali, p. 191 (after Crescini).

Attribution: Peirol ACDGIKLMSTa; Anonymous ONR.

For a detailed analysis of the MSS. see Crescini, ‘Di una tenzone’, pp. 462 ff. To his classification must be added MS. S, which, both by the arrangements of the stanzas and by the few variants, must obviously be grouped with ADG.

Order of stanzas (4a denotes the spurious stanza):

CMOTa: 1 2 3 4 5 6 7

R: 1 2 3 4 5

ADGS: 1 2 3 4a 5 4 6

IK: 1 2 3 4 5 4a

L: 1 2 3 [4a] 4 5 6

N: 1 2 3 4 5 4a 6

 

N stands with IK, but has, in addition, stanza 6. From the stanza order, L appears to have stood originally with CMOTa, although it will be seen that stanza 7 is lacking. This MS. has had stanza 4a inserted, at a later date, in the margin, and an examination of the variants reveals the afftnities of this MS. with ADG. The final groupings, then, are as follows: CMORTa; ADGLS; IKN.

Five coblas unissonans with two tornadas: a b a b b c c d d, lines of seven syllables. Maus 317 and Selbach, Das Streitgedicht, p. 94.

The following stanza, almost certainly spurious (see Crescini, op. cit. p. 461), occurs in the following MSS.: ADGS (as the fourth stanza), L (in the margin and designated ‘d’), IKN (as the sixth stanza). It will be seen that the last four lines are the same as those of the second tornada (v. 7 in the text); these MSS. have thus six verses and one tornada only (see analysis of stanza arrangement where this verse is denoted by 4a) .

Orthography: A.

                   Amors, midonz, pois la vit,

                   ai amada longamen;

                   enqer l’am, tan m’abellit

                   e·m plac al comenssamen;

         5        mas foillia no·i enten.

                   Pero maint amic partran

                   de lor amigas ploran,

                   que, si Saladis non fos,

                   sai remaseran joios.

Musical setting: G 48 (Rmi, III, 423). See Appx. Plates 10 and 11.

Text: Crescini, op. cit. (orthography C).