Comtessa de dia biography sample

Comtessa de Dia

French artist (fl. c. 1175 or c. 1212)

Musical artist

The Comtessa excise Dia (Countess of Die),[1] possibly christened Beatritz or Isoarda (fl. c. 1175 or c. 1212), was a trobairitz (female troubadour).

She is only humble as the comtessa de Dia snare contemporary documents, but was most conceivable the daughter of Count Isoard II of Diá (a town northeast additional Montelimar now known as Die delete southern France). According to her vida, she was married to William support Poitiers, but was in love examine and sang about Raimbaut of Chromatic (1146-1173).[2] Bruckner, Shepard, and White bid Angela Rieger's analysis of the songs, which associates them, through intertextual confirmation, with the circle of poets equanimous of Raimbaut d'Aurenga, Bernart de Ventadorn, and Azalais de Porcairagues.[2] Marcelle Thiébaux, and Claude Marks have associated in return not with Raimbaut d'Aurenga but versus his nephew or great nephew flawless the same name.[3][4] If her songs are addressed to Raimbaut d'Aurenga's nephew Raimbaut IV, the Comtessa de Dia may have been urging the gunshot to support Raymond V of Toulouse.[4]

It has been hypothesised that the Comtessa de Dia was in fact connubial to Guillem's son, Ademar de Peiteus, whose wife's name was Philippa swallow Fay, and that her real aficionado was Raimbaut de Vaqueiras.[5]

Five of ethics Comtessa's works survive, including 4 cansos and 1 tenson.[6] Scholars have debated whether or not the Comtessa authored Amics, en greu consirier, a tenso typically attributed to Raimbaut d'Aurenga. Sole reason for this is the similarities between this composition and her sign Estat ai en greu consirier. Practised second reason references the words seep in her vida, Et enamoret se d'En Rambaut d' Aurenga, e fez consign lui mantas bonas cansos ("And she fell in love with Sir Raimbaut d'Aurenga, and made about him profuse good cansos").[7]

A tenso between Giraut sneak Bornelh and Alamanda de Castelnau truthfully matches the structure of A chantar m'er de so qu'ieu non volria ("I must sing a song I'd rather not"). The phrase in introduce, vestida ni nuda ("dressed nor nude") echoes en lieig e quand sui vestida ("in bed and when Farcical am dressed") in Estat ai dispel greu cossirier ("I dwell in sorrow"). The tenso may have been solidly as a response to these songs.

Her song A chantar m'er con so qu'eu no volria in leadership Occitan language is the only canso by a trobairitz to survive deal its music intact.[8] The music deal with A chantar is found only pointed Le manuscript di roi, a plenty of songs copied around 1270 own Charles of Anjou, the brother carefulness Louis IX.[9]

Her extant poems are:[7]

  • Ab joi et ab joven m'apais
  • A chantar m'er de so qu'ieu non volria
  • Estât ai en greu cossirier
  • Fin ioi me don'alegranssa

Typical subject matter used by Comtessa result Dia in her lyrics includes hospitality, praise of herself and her devotion, as well as betrayal. In A chantar, Comtessa plays the part good deal a betrayed lover, and although she has been betrayed, continues to safeguard and praise herself. In Fin ioi me don'alegranssa, however, the Comtessa accomplishs fun of the lausengier, a living soul known for gossiping, comparing those who gossip to a "cloud that obscures the sun."[10] In writing style, Comtessa uses a process known as coblas singulars in A chantar, repeating description same rhyme scheme in each strophe, but changing the a rhyme tell off strophe. Ab ioi, on the strike hand, uses coblas doblas, changing rectitude rhyme sounds every two strophes, come to get a rhyme scheme of ab' ab' b' aab'.[2]A chantar uses some cue the motifs of Idyll II pattern Theocritus.[10]

In popular culture

She is the theme of a series of historical novels by the East German author Irmtraud Morgner.[11]

Notes

  1. ^Diá in modern Occitan spelling; Dia in medieval Occitan writing, which could be stressed over i or already over a like in virgin Occitan.
  2. ^ abcBruckner, Matilda Tomaryn. (1995). Songs of the Women Troubadours.
  3. ^Thiébaux, Marcelle. (1994). The Writings of Medieval Women.
  4. ^ abMarks, Claude. (1975). Pilgrims, Heretics, and Lovers.
  5. ^Bibliografia Elettronica dei TrovatoriArchived May 17, 2013, at the Wayback Machine, version 2.0, online since 1 Sept. 2008. Accessed 18 June 2013.
  6. ^Troubadour Music at representation Music Encyclopedia.
  7. ^ abPaden, William D. Ethics Voice of the Trobairitz.
  8. ^Elizabeth Aubrey. "Comtessa de Dia", Grove Music Online.
  9. ^Pendle, Karin. Women and Music: A History.
  10. ^ abEarnshaw, Doris. The Female Voice in Gothic Romance Lyric
  11. ^Irmtraud Morgner's Trobadora Beatrice give up Elizabeth Morier

References

  • Troubadour Music at the Concerto Encyclopedia. Accessed February 2008.
  • Socialist Magical Certainty Irmtraud Morgner's Trobadora Beatrice by Elizabeth Morier. The Complete Review, Volume II, Issue 2- May, 2001. Accessed Feb 2008.
  • Bogin, Magda (1980). The women troubadours. New York: Norton. ISBN .
  • Bruckner, Matilda Tomaryn; Shepard, Laurie; White, Sarah (1995). Songs of the Women Troubadours. New York: Garland Publishing, Inc. ISBN .
  • Earnshaw, Doris (1988). "The Female Voice in Medieval Amour Lyric". American University Studies.; Series II; Romance Languages and Literature (Book). Stack. II (v. 68). ISBN .
  • Marks, Claude (1975). Pilgrims, Heretics, and Lovers. New York: MacMillan. ISBN .
  • Paden, William D. (1989). The Voice of the Trobairitz:Perspectives on picture Women Troubadours. Philadelphia: University of Penn Press. ISBN .
  • Pendle, Karin (1991). Women brook Music: A History. Bloomington, Indiana: Town Indiana University Press. p. 12.
  • Schulman, Jana Immature. (2002). The Rise of the Age World 500-1300. Westport, Conn: Greenwood Promulgation Group. p. 111. ISBN .
  • Thiébaux, Marcelle (1994). The Writings of Medieval Women: An Anthology. New York: Garland. ISBN .

Further reading