11. si non vau al sieu: Jeanroy emends to si non au vostre r., following Crescini (1890) and Paris (1893); our text agrees with Stimming, Monaci and Casella.
14. desirada: Topsfield (1975), p. 51 (and note 6), says that this word “has associations with Christ,” for whom desiratus is found as a name in medieval Latin.
15. Pois del tot: Jeanroy prints Pus totz jorns, following CMSUeb.
18. que Dieus: Jeanroy emends to ni Dieus.
20. et es ben: Jeanroy prints C’s ben es selh.
21. The adjectives Crestiana, Juzeva, Sarrazina, and the noun manna “cannot fail,” says Topsfield (1975), p. 51, “to evoke the Holy Land.”
26. For the possiblity of espina as St. Paul’s thorn see Lefevre (1966).
29–35. Cocito (1969) suggests that this stanza was added by a later jongleur, and refers to events concerning a later Hugh the Swarthy which took place at the beginning of the thirteenth century.
30. que chantam: This is the reading of DIKSg, and has been adopted for the rhyme, following Jeanroy.
31. plan et en lenga: Jeanroy prints CEMa’s en plana lengua.
32. Fillol: Ortiz (1943) suggests that Fillol is the reference of per lui in line 35, and that the stanza is an interpolation by a jongleur named Fillol.
33. bon m’es: Jeanroy prints bo·m sap, following CMeb.
34-35. ABC’s rhyme words Bretaigna (34) and Guianna (35) have been reversed, following Jeanroy, to conform to the rhymescheme.
34. Frank (1942) mentions that Louis VII announced his crusading intentions at Bourges, capital of Berry, possibly explaining the appearance of Beiriu here, which would be relevant to Hugh’s departure on crusade.
35. s’esgau per lui: Stimming prints per leis; Jeanroy, following Crescini’s (1890) suggestion, prints per lui. Frank (1942) argues for per leis, taking leis as referring to the love of the Holy Land. Monaci (1893) held, however, that leis refers to Eleanor of Aquitaine. Ortiz chose per lui; see above, note 32. The people mentioned in the stanza may simply be rejoicing for Hugh’s honor, and he may have been on crusade at the time. As for the other names in the stanza, it should be remembered that they are formulaic, and mean “all the surrounding regions,” and that Jaufre was working under the constraints of rhyme, which explains the appearance of some regions and not others. |
