3-7. These lines are difficult. Since the rest of the poem is straightforward, one is led to suspect that the problem at this point is one of faulty MS transmission. My punctuation and translation will doubtless appear forced; a period at the end of v. 4 would be more normal, but this would leave the rest of the cobla totally disjointed.
6. Ducs, qu’es coms e marques. As far back as Raymond de Saint-Gilles (Raymond IV, 1093-1105), the counts of Toulouse had also styled themselves dukes of Narbonne and marquises of Provence.
8. s’es. For esser used reflexively, cf. Levy, SW, 3: 214,20; another example is found in the first line of Raimbaut d’Aurenga’s Escoutatz, mas no say que s’es (389,28). See also Gui de Cavaillon, si tot me soi paubres (192,1), although the editors ( 1) emend to me sai. — ferma e. Count a e as one syllable; see poem no. I, n. 9; cf. also vv. 18 and 34 below: Sainta Escriptura and creire als.
13. patz forsada. In a sense every peace is forced on the vanquished, but that of Meaux was rammed down the throat of Raymond VII in an exceptionally brutal manner.
15-21. Jeanroy quotes this cobla in his own translation, Poésie lyrique, 1: 220-221.
21. luocs. Levy, PD: ‘occasion.’ — vengues. I have preferred I’s spelling here, as being a better indication of the pronunciation; similarly for valgues (27) and nogues (28).
25. creis. ‘Increases’ in the sense of making stronger, more powerful, etc.
27. valgues. From valer ‘to aid’; cf. Spanish ¡válgame Dios!
28. nogues. From nozer ‘to harm.’
Note:
1) Jean Boutière, Les Poésies du troubadour Peire Bremon Ricas Novas (Toulouse/Paris, 1930), p. 75. Salverio Guida, “L’attività poetica di Gui de Cavaillon durante la crociata albigese,” Cultura Neotatina,33 (1973), 266. (↑) |
