1. qui so: Monaci and Casella print MReg’s qui-l so.
2. qui motz: Monaci and Casella print MReg’s qui-ls motz.
5. aisi: Jeanroy prints aissi.
6, 12, 18, 24, 30, 36, 38. Monaci and Jeanroy print M’s a a after each stanza-final rhyme word; see Musical Appendix.
8. ja no-m veira: Stimming prints i, following CMeg.
9. a: Jeanroy prints ha.
10. de cela que: Stimming prints aissella; Jeanroy prints qu’ieu anc.
11–12. Stimming prints 29–30 here, following CMReg.
12. e: Stimming prints ni.
13. Colps: Stimming prints Colp.
17. nuill: Casella prints nulhs.
19. suau: We follow Jeanroy in rejecting Ee3’s soven, printed by Stimming and Monaci, which makes little sense in this context, and in printing C’s reading.
23. mais: Monaci and Jeanroy print e, following a; Stimming and Monaci print R’s mais (Monaci: e) quan (cant R) mi ressit lo mati. Ee3’s ho makes little sense as it stands, and we follow Stimming in adopting mais.
25–30. Compare this stanza with William IX’s Farai un vers de dreit nien, especially 25–36.
29–30. Stimming prints 11–12 here, following CMReg.
30. so: Jeanroy prints s’o, but the extra particle s’ is not necessary. We follow Jeanroy in adopting CMeg’s so fara for Ee3’s mi veira, printed by Monaci, which appears also in line 8, but which here is redundant.
31ff. Stimming’s stanzas 6 and 7 are C’s stanzas Y and Z which we have followed Jeanroy in judging apocryphal.
31–36. Ortiz (1943) suggests that stanza Z in C beginning Peironet passa·l riu (see above) was later interpolated by a jongleur named Peironet.
31. anc no·l failli: Jeanroy emends to qu’anc no·i falhi; Stimming prints R’s can no·i f.
34. gart no·l franha ni no·l: Jeanroy emends to gart se no·l franha ni·l; Stimming prints no·l falha, following R.
35. e vueill l’auja en Caersi: The subjunctive auja is here governed by the indicative vueill without connecting que; cf. 2.52. Jeanroy emends to car si l’auran en Caerci; Stimming prints CMReg’s si l’auzon.
37–38. Suchier (1874) suggests that these lines allude to the Second Crusade, and that hi refers to the Holy Land, where Bertrand and Alphonse-Jourdain will perform memorable deeds; Crescini (1890) disputes this. Indeed, taking the Holy Land as antecedent of hi seems forced; hi more naturally takes as antecedents Caersi and Tolza, already mentioned in the stanza. Ortiz (1909) proposes emending lo vers to lo sos, and calqe re to casqus motz. |
