Sordel, Sordello, Goito, Goit

 Sordel.

I.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

Er quan renovella e gensa

Estius ab fuelh et ab flor,

Pus mi fai precx, ni l' agensa

Qu' ieu chant e m lais de dolor

Silh qu' es domna de Plazensa

Chantarai, sitot d' amor

Muer, quar l' am tant ses falhensa;

E pauc vey lieys qu' ieu azor.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

Sitot amor mi turmenta

Ni m' auci, non o planc re,

Qu' al mens muer per la pus genta

Per qu' ieu prenc lo mal pel be;

Ab que 'l plassa e m cossenta

Qu' ieu de lieys esper merce,

Ja per nulh maltrag qu' ieu senta

Non auzira clam de me.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

Mortz suy, si s' amor no m deynha,

Qu' ieu no vey ni m puesc pensar

Ves on m' an ni m vir ni m tenha,

Si 'lha m vol de si lunhar;

Qu' autra no m plai que m retenha,

Ni lieys no m puesc oblidar,

Ans ades, quon que m' enprenha,

La m fai mielhs amors amar.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

Ai! per que m fai ta maltraire,

Qu' ilh sap be de que m' es gen,

Qu' el sieu pretz dir e retraire,

Suy plus sieus on piegz en pren;

Qu' elha m pot far e desfaire

Cum lo sieu, no li m defen,

Ni de lieys no m vuelh estraire,

Si be m fai morir viven.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

Chantan prec ma douss' amia,

S' il plai, no m' auci' a tort;

Que, s' ilh sap que pechat sia,

Pentra s' en quan m' aura mort:

Empero morir volria

Mais que viure ses conort,

Quar pietz trai que si moria

Qui pauc ve so qu' ama fort.

Aylas! e que m fan miey huelh,

Quar no vezon so qu' ieu vuelh!

II.

Bel m' es ab motz leugiers de far

Chanson plazen et ab guay so,

Quar melhor que hom pot triar,

A cui m' autrey e m ren e m do,

No vol ni 'l plai chantar de maestria;

E mas no 'lh plai, farai hueymais mon chan 

Leu a chantar e d' auzir agradan,

Clar d' entendre e prim qui prim lo tria.

Gen mi saup mon fin cor emblar, 

Al prim qu' ieu miriey sa faisso, 

Ab un dous amoros esguar 

Que m lansero siey huelh lairo; 

Ab selh esguar m' intret en aisselh dia 

Amors pels huelhs al cor d' aital semblan 

Qu' el cor en trays e mes l' a son coman, 

Si qu' ab lieys es on qu' ieu an ni estia.

Ai! cum mi saup gent esgardar,

Si l' esgartz messongiers no fo

Dels huelhs que sap gent enviar

Totz temps per dreg lai on l' es bo

Mas a sos digz mi par qu' aiso s cambia:

Pero l' esgar creirai, qu' ab cor forsan

Parl' om pro vetz, mas nulh poder non an

Huelhs d' esgardar gen, si 'l cor no 'ls envia.

E quar am de bon pretz ses par, 

Am mais servir lieys en perdo 

Qu' autra qu' ab si m degues colgar; 

Mas no la sier ses guazardo, 

Quar fis amicx no sier ges d' aital guia, 

Quan sier de cor en honrat loc prezan; 

Per que l' onors m' es guazardos d' aitan 

Qu' el sobreplus non quier, mas ben penria.

Pierre Cardinal. Peire Cardenal. Cardinal.

Pierre Cardinal.

I.

Ben tenh per folh e per muzart
Selh qu' ab amor se lia,
Quar en amor pren peior part
Aquelh que plus s' i fia;
Tals se cuia calfar que s' art;
Los bes d' amor venon a tart,
E 'l mals ven quasqun dia;
Li folh e 'l fellon e 'l moyssart
Aquilh an sa paria;
Per qu' ieu m' en part.

Ja m' amia no mi tenra,
Si ieu lieys non tenia,
Ni ja de mi no s jauzira,
S' ieu de lieys no m jauzia;
Cosselh n' ai pres bon e certa
Que 'lh fassa segon que m fara;
E, s' ella me gualia,
Gualiador me trobara,
E, si m vai dreita via,
Ieu l' irai pla.

Anc non guazanhei tant en re
Cum quan perdey m' amia,
Quar perden lieys guazanhei me
Cuy ieu perdut avia:
Petit guazanha qui pert se,
Mas qui pert so que dan li te,
Ieu cre que guazanhs sia;
Qu' ieu m' era donatz per ma fe
A tal que me destruia,
No sai per que.

Donan me mis en sa merce
Me, mon cor e ma via,
De lieys que m vira e m desmante
Per autruy e m cambia.
Qui dona mais que non rete
Ni ama mais autrui de se,
Chauzis avol partia,
Quan de se no 'lh cal ni 'l soste;
E per aquo s' oblia,
Que pro no 'lh te.

De lieys prenc comjat per jasse,

Qu' ieu jamais sieus no sia,

Qu' anc jorn no y trobei ley ni fe,

Mas engan e bauzia:
Ai dousors plenas de vere;
Qu' amors eyssorba selh que ve
E 'l gieta de sa via,
Quant ama so que 'l descove,
E so qu' amar deuria
Grup e mescre.
De leyal amia cove
Qu' om leyals amicx sia;
Mas de lieys estaria be
Qu' en gualiar se fia,
Qu' om gualies quan sap de que;
Per qu' ar mi plai quan s' esdeve
Quan trop qui la gualia,
E guarda sa onor e se
De dan e de folia,
Ni 'l tira 'l fre.

II.

Ar mi pues ieu lauzar d' amor,

Que no m tolh manjar ni dormir;

Ni 'n sent freidura ni calor,
Ni non badalh ni non sospir,
Ni 'n vau de nueitz aratge,
Ni 'n sui conques, ni 'n sui cochatz,
Ni 'n sui dolens, ni 'n suy iratz,
Ni non logui messatge,
Ni 'n sui trazitz ni enganatz,
Que partitz m' en suy ab mos datz.

Autre plazer n' ai ieu maior
Que non trazisc ni fau trazir,
Ni 'n tem tracheiritz ni trachor
Ni brau gilos que m' en azir,
Ni 'n fau fol vassalatge,
Ni 'n sui feritz ni desrocatz,
Ni non sui pres ni deraubatz,
Ni non fauc lonc badatge,

Ni dic qu' ieu sui d' amor forsatz,

Ni dic que mon cor m' es emblatz.

Ni dic qu' ieu muer per la gensor,
Ni dic que 'l belha m fai languir,
Ni non la prec, ni non l' azor,
Ni la deman, ni la dezir,
Ni no 'l fauc homenatge,
Ni no 'l m' autrey, ni 'l mi sui datz,
Ni no sui sieus endomenjatz,
Ni a mon cor en guatge,
Ni sui sos pres ni sos liatz,
Ans dic qu' ieu li suy escapatz.

Mais deu hom amar vensedor
No fai vencut, qui 'l ver vol dir;
Quar lo vencens porta la flor,
E 'l vencut vay hom sebelir;
E qui vens son coratge
De las deslials voluntatz
Don mov lo faitz desmezuratz,
E li autre otratge,
D' aquel vencer es plus honratz
Que si vencia cent ciutatz.

Pauc pres prim prec de preyador,
Quan cre qu' el cuia covertir,
Vir vas vil voler sa valor,
Don dreitz deu dar dan al partir;
Si sec son sen salvatge
Leu l' es lo larcx laus lagz lunhatz,
Plus pretz lauzables que lauzatz;
Trop ten estreg ostatge
Dreytz drutz del dart d' amor nafratz;
Pus pauc pretz, pus pretz es compratz.

No vuelh voler volatge,
Que m volv e m vir vils voluntatz,
Mais lai on mos vols es volatz.

//

https://en.wikipedia.org/wiki/Peire_Cardenal

Peire Cardenal (or Cardinal) (c. 1180 – c. 1278) was a troubadour (fl. 1204 – 1272) known for his satirical sirventes and his dislike of the clergy. Ninety-six pieces of his remain, a number rarely matched by other poets of the age.

Peire Cardenal was born in Le Puy-en-Velay, apparently of a noble family; the family name Cardenal appears in many documents of the region in the 13th and 14th centuries. He was educated as a canon, which education directed him to vernacular lyric poetry and he abandoned his career in the church for "the vanity of this world", according to his vida. Peire began his career at the court of Raymond VI of Toulouse—from whom he sought patronage—and a document of 1204 refers to a Petrus Cardinalis as a scribe of Raymond's chancery. At Raymond's court, however, he appears to have been known as Peire del Puoi or Puei (French: Pierre du Puy). Around 1238 he wrote a partimen beginning Peire del Puei, li trobador with Aimeric de Pegulhan.

At Raymond's court also perhaps, probably in 1213, Peire composed a sirventes, Las amairitz, qui encolpar las vol, which may have encouraged Peter II of Aragon to help Toulouse in the Battle of Muret, where Peter died. In this sirventes Peire alludes first perhaps to the accusations of adultery that Peter had leveled against Peter's wife Maria of Montpellier but also perhaps to the various changes in law governing women. In the second stanza Peire mentions Peter's success in the Battle of Las Navas de Tolosa; in the third he alludes to the sacking of Béziers (whose count Raymond Roger Trencavel was supposed to have been Peter's vassal): at Béziers the poorer soldiers of the Inquisition were flogged by the wealthier, and this is the theme of the stanza. Peire's mention of the court of Constantine may also again evoke the divorce proceedings of Peter and Marie where Peire ultimately lost. Peire later alludes to the death of someone (perhaps a daughter or perhaps Peire's wife Marie) and then apparently to the couple's son James I of Aragon, born at Candlemas, according to James's Chronicle. It's not clear who the crois hom or "dreadful man" is in the final couplet, whose deeds are "piggish": Peire has really never addressed anyone in this verse but Peter II and those close to him. (But dualism had by then made its way into some of the local religious views of Medieval Languedoc: in dualist philosophy worldly deeds might be seen as "piggish".)

Peire subsequently travelled widely, visiting the courts of Auvergne, Les Baux, Foix, Rodez, and Vienne.[3] He may have even ventured into Spain and met Alfonso X of Castile, and James I of Aragon, although he never mentions the latter by name in his poems. (James is however of course mentioned in Peire's vida.) During his travels Peire was accompanied by a suite of jongleurs, some of whom receive mention by name in his poetry.

Among the other troubadours Peire encountered in his travels were Aimeric de Belenoi and Raimon de Miraval. He may have met Daude de Pradas and Guiraut Riquier at Rodez. Peire was influenced by Cadenet, whom he honoured in one of his pieces. He was possibly influenced by Bernart de Venzac.

In his early days he was a vehement opponent of the French, the clergy and the Albigensian Crusade. In the sirventes, Ab votz d'angel, lengu' esperta, non bleza, dated by Hill and Bergin to around 1229 (when the tribunal of the Inquisition was established at Toulouse by the Dominican Order), Peire enjoins those who seek God to follow the example of those who "drink beer" and "eat bread of gruel and bran", rather than argue over "which wine is the best". The latter behavior Peire's verse attributes to the "Jacobins" (Hill and Bergin say this is the Dominican Order).

In Li clerc si fan pastor he condemned the "possession" of the laity by the clergy, for so long as the clergy order it, the laity will "draw their swords towards heaven and get into the saddle." This poem was written probably around 1245, after the First Council of Lyon, where the clergy took action against the Emperor Frederick II, but not against the Saracens. In Atressi cum per fargar Peire suggests that the clergy "protect their own swinish flesh from every blade", but they do not care how many knights die in battle. Peire was not an opponent of Christianity or even the Crusades. In Totz lo mons es vestitiz et abrazatz he urged Philip III of France, who had recently succeeded his father, Louis IX, who died in 1270 on the failed Eighth Crusade, to go to the aid of Edward Longshanks, then on the Ninth Crusade in Syria.

Near the end of the sirventes, Ab votz d'angel, lengu' esperta, non bleza, composed as noted probably around 1229, Peire's words, [s]'ieu fos maritz, "if I were wed", suggest that he is not yet wed. The verse which follows provides evidence in the view of some that Peire married: it first mocks the "barrenness that bears fruit" of the beguinas (beguines, who may have sometimes been associated with the Dominicans; Hill and Bergin in 1973 said this was a reference to nuns of the Dominican Order). Throughout the verse of course Peire had been poking fun at the Dominican clergy, but the comment about the nuns may have additional significance. His tone changes after this and his closing lines suggest though that all this is a miracle from the "saintly fathers", suggesting his acceptance of things: Cardenal.org says that some have interpreted these lines as suggesting that Peire married at this time.

By the end of his life he appears reconciled to the new modus vivendi in southern France. He died at an advanced age (allegedly one hundred years old) possibly either in Montpellier or Nimes, but this is only a supposition, based on where the biographer and compiler Miquel de la Tor was active.

Three of Peire's songs have surviving melodies, but two (for a canso and a sirventes) were composed by others: Guiraut de Bornelh and Raimon Jordan respectively. Like many of his contemporary troubadours, Peire merely composed contrafacta. The third, for Un sirventesc novel vuelh comensar, may be Peire's own work. It is similar to the borrowed melody of Guiraut de Bornelh, mostly syllabic with melismas at phrasal ends. The meagre number of surviving tunes (attributable to him) relative to his output of poetry is surprising considering his vida states that "he invented poetry about many beautiful subjects with beautiful tunes."

https://www.jstor.org/stable/2849662

https://web.archive.org/web/20090116032156/http://www.cardenal.org/

http://www.trobar.org/troubadours/peire_cardenal

http://www.rialto.unina.it/autori/PCard.htm

Elias Cairels, Cairel, Cayrel

Elias Cairels.

I.

Mout mi platz lo dous temps d' abril,
Quan vey florir pratz e boissos,
Et aug lo chan dels auzelos
Que fan los playssatz retendir;
Adoncx cossir
Cum ieu pogues jauzir
D' un joy novelh que m' es al cor intratz,
Que m ve d' amor a cui mi sui donatz;
Per qu' ieu farai guais motz ab son plazen,
Qu' atendut ai la razon longamen.

Ma dona a pretz senhoril
E los fagz e 'ls digz amoros,
Per qu' ieu n' am mais mos huels amdos
Quar me feron en lieys chauzir;
Mas no l' aus dir
Mon cor ni descobrir,
Quar per un pauc pert hom soven assatz;
E, s' ieu de lieys perdia 'l guay solatz
Ni 'l gap ni 'l ris ni 'l belh aculhimen,
No viuria pueys jorn mon escien.

Del sieu belh cors grail' e sotil,
Blanc e gras, suau, len e dos
Volgr' ieu retraire sas faissos;
Mas gran paor ai de falhir
Quan ieu remir
Son gen cors cui dezir,
Sa saura crin pus que aur esmeratz,
E son blanc front, e 'ls sils voutz e delguatz,
E 'ls huelhs e 'l nas e la boca rizen
A! per un pauc denan totz non la pren.

Lo cor ai temeros e vil,
Dompna, quan ieu sui denan vos,
Tan que d' al no sui poderos,
Mas quan dels huelhs ab que us remir,
Que us cuion dir
La gran pena e 'l martir
En que m' a mes vostra fina beutatz;
Per qu' ieu vos prec, bona dompna, si us platz,
Qu' aiatz merce de me e chauzimen,
E non gardetz lo vostre pretz valen.

Qu' amors non guarda 'l plus gentil
Lai on es vencuda razos,
Mas selui qu' es cortez e pros,
Qui sap l' onor e 'l ben grazir;
Per qu' ieu no m vir,
Dona, de vos servir;
Ans sufrirai lo ben e 'l mal en patz,
E fora m' en del tot desesperatz:
Mas per servir bon senhor humilmen

Ai vist paupre venir ric e manen.

Chansoneta, vai me tost e viatz
Dreg al marques de cui es Monferratz,
E diguas li qu' anc a volpil dormen
Non intret grils en boca ni en den.

Don' Izabel, ma chanso vos prezen,
Quar valetz mais de tot lo remanen.

II.

Si cum selh que sos companhos
Ve rire e no sap de que,
Tot atretal vey qu' es de me,
Que fas chansos
E de l' autruy joy suy joyos;
Mas tan mi platz
Joy e solatz
Per que m don alegrier chantan,
E nulh afan
Non a tan grieu en tot lo mon,
Cum far chanso, e no sap don.

Er es venguda la sazos,
Pero ben crey que fos ancse:
S' us cortes complitz de tot be
Vol esser bos,
Li desconoyssen enueyos
A cuy desplatz
Joy e solatz,
Cosselhan e cridan e fan
Brut e mazan,
Tro giet son don a cor volon,
Si non l' a tan ferm que l' aon.

De las dompnas mov l' ochaizos,
Per qu' el pros servirs se recre,
Que fals fenhedors de mal ple
Son cabalos
E de lur dompney poderos,
E silh cui platz
Joy e solatz,
Qu' es fis e leyals ses enjan,
Es en soan;
Don quier a ma dompna perdon,

Qu' el cor ay e 'l sen sus el fron.

Mi dons es guaya e belh' e pros
E tals que no m desditz en re,

Ni ieu no 'l fuy anc per ma fe

Trop enuios,
Ni elha no saup anc qui m fos;
Doncx per que m platz
Joy e solatz?
Quar l' am e la ser atretan
Cum s' en baizan
M' agues dat lo joy jauzion
Don tug l' autre son deziron.

Selieys cuy platz
Joy e solatz
Ai estat de vezer un an,
Mas ma fe 'l man,
S' ieu trobes sobre mar un pon,
Vist agra son cors jauzion.

//

https://en.wikipedia.org/wiki/Elias_Cairel

Elias Cairel (or Cayrel; fl. 1204–1222) was a troubadour of international fame. Born in Sarlat in the Périgord, he first travelled with the Fourth Crusade and settled down in the Kingdom of Thessalonica at the court of Boniface of Montferrat (1204–1208/10) before moving back to western Europe, where he sojourned at the court of Alfonso IX of León (1210–11) and in Lombardy (1219–1222/24). He wrote fourteen surviving lyrics: ten cansos, one tenso, one descort, one sirventes, and one Crusade song. He was partial to refrain rhyming and coblas capfinidas.

Elias' vida survives in three manuscripts with a variant in a fourth designed to refute the other three. According to his biographer he was gold- and silversmith and an armourer who turned to minstrelsy. His singing, composition, fiddling, and speaking were reputed as "bad", but his biographer says ben escrivia motz e sons: "well he wrote words and songs", implying a distinction between his composing and his writing. He supposedly returned from Romania to die in Sarlat.

Elias composed his only tenso with the trobairitz Ysabella, who may have been either a high-ranking noblewoman of Italy or Greece, or perhaps just a local girl of Périgord who Elias knew in his youth. She is also the addressee of two other poems. Elias also addressed one poem to Ruiz Díaz de Coneros (Roiz Dies), a Spanish patron, and another to Conon de Béthune (Coino), a trouvère. Elias may have been present at the Battle of Las Navas de Tolosa in 1212.

In his Toz m'era de chantar gequiz, the Bolognese troubadour Rambertino Buvalelli asks Elias to bring the poem to Beatrice d'Este when he travels to the court of Azzo VII at Este.

Abril ni mai non aten de far vers

Era no vei puoi ni comba

Estat ai dos ans (addressed to Ysabella)

Freit ni ven, no·m posc destreigner

Lo rossinhols chanta tan dousamen

Mout mi platz lo doutz temps d'abril (addressed to Ysabella)

N'Elyas Cairel, de l'amor (with Ysabella)

Per mantener joi e chant e solatz

Pois chai la fuoilla del garric

Qan la freidors irais l'aura dousana

Qui saubes dar tant bon conseil denan

Si cum cel qe sos compaignos

So qe·m sol dar alegranssa

Totz mos cors e mos sens (addressed to Ruiz)

Aubrey, Elizabeth. The Music of the Troubadours. Indiana University Press, 1996. ISBN 0-253-21389-4.

Bertoni, Giulio. I Trovatori d'Italia: Biografie, testi, tradizioni, note. Rome: Società Multigrafica Editrice Somu, 1967 [1915].

Bruckner, M. T.; Shepard, L.; and White, S. Songs of the Women Troubadours. New York: Garland Publishing, 1995. ISBN 0-8153-0817-5.

Egan, Margarita (ed. and trans.) The Vidas of the Troubadours. New York: Garland, 1984. ISBN 0-8240-9437-9.

Gaunt, Simon, and Kay, Sarah. "Appendix I: Major Troubadours" (pp. 279–291). The Troubadours: An Introduction. Simon Gaunt and Sarah Kay, edd. Cambridge: Cambridge University Press, 1999. ISBN 0-521-57473-0.

Jaeschke, Hilde, ed. Der Trobador Elias Cairel. Berlin: Emil Ebering, 1921. Text at archive.org

Riquer, Martín de. Los trovadores: historia literaria y textos. 3 vol. Barcelona: Planeta, 1975.

http://www.rialto.unina.it/autori/ElCair.html