Raimbaut de Vaqueyras wrote his Kalenda maya "The Calends of May" to music composed by jongleurs at Montferrat. Wikimedia Commons.

Des insulaires qui ont préservé leurs traditions culturelles

Il existe aussi de nombreuses associations d'Italiens, dont les Fils d'Italie. Orderic Vitalis referred to William composing songs about his experiences on his return from the Crusade of c. A rhymary and Latin—Occitan dictionary designed for Italians. Other ars nova composers

Un monologue (du grec mono: «un seul», et logos: «discours») est une ou plusieurs phrases auto-adressées à haute voix, rapportant les pensées du locuteur au style direct. Il faut distinguer le véritable monologue non seulement, cela va de soi, du roman autobiographique à la première personne, qui suppose un de temps, même minime ("Aujourd'hui maman est morte") entre.

• It was probably during his three-year tenure there that he introduced Occitan lyric poetry to the city, which was later to develop a flourishing Occitan literary culture.
• For some this was their springboard to composition, since their clerical education equipped them with an understanding of musical and poetic forms as well as vocal training.
• None of the trobairitz were prolific, or if they were their work has not survived.

Jacques Mailhot est un humoriste chansonnier, homme de radio et journaliste français né le 1 er mars 1949 à Riom (Puy-de-Dôme).Il a participé à de nombreuses émissions de radio, notamment L'Oreille en coin, sur France Inter, de 1976 à 1992 et Les Grosses Têtes de Philippe Bouvard sur RTL.. Jacques Mailhot est propriétaire du Théâtre des Deux Ânes à Paris, et président de la ...

Chanson paillarde — Wikipédia

Une chanson paillarde ou chanson gaillarde ou grivoise est une chanson populaire traditionnelle aux paroles osées, à caractère sexuel, ouvertement transgressive, visant à choquer les bienséances en violant les tabous qui ont cours dans la vie de tous les jours. Certaines sont des créations récentes, notamment des chansonniers des XIX e et XX e siècles.

Le Prévert, un camping de choix en pleine nature avec plus de emplacements. Notre merveilleux camping familiale saura plaire à tous, des plus jeunes aux moins jeunes, avec ses activités multiples telles que, pour les plus jeunes les jeux d’eau, la piscine chauffée, le terrain de soccer, les différentes aires de jeux, etc. Nous offrons aussi, tout à fait gratuitement, à tous nos.

Many were humorous or vulgar satires. Works can be grouped into three styles: the trobar leu light , trobar ric rich , and trobar clus closed.

The French word itself is borrowed from the Occitan trobador. It is the oblique case of the nominative trobaire "composer", related to trobar "to compose, to discuss, to invent" Wace , Brut , editions I. Arnold, This reconstructed form is based on the Latin root tropus , meaning a trope. There is an alternative theory to explain the meaning of trobar as "to compose, to discuss, to invent".

It has the support of some historians, specialists of literature, and musicologists to justify the troubadours' origins in Arabic Andalusian musical practices. Cercamon writes:. Peire d'Alvernha also begins his famous mockery of contemporary authors cantarai d'aquest trobadors , [11] after which he proceeds to explain why none of them is worth anything.

The early study of the troubadours focused intensely on their origins. No academic consensus was ever achieved in the area. Today, one can distinguish at least eleven competing theories the adjectives used below are a blend from the Grove Dictionary of Music and Roger Boase's The Origins and Meaning of Courtly Love :. Peter Dronke, author of The Medieval Lyric , however, believes that "[his] songs represent not the beginnings of a tradition but summits of achievement in that tradition.

Orderic Vitalis referred to William composing songs about his experiences on his return from the Crusade of c. This may be the earliest reference to troubadour lyrics.

Orderic also provides us with what may be the first description of a troubadour performance: an eyewitness account of William of Aquitaine.

Picauensis uero dux The first half of the 12th century saw relatively few recorded troubadours. Only in the last decades of the century did troubadour activity explode. The troubadour tradition seems to have begun in western Aquitaine Poitou and Saintonge and Gascony , from there spreading over into eastern Aquitaine Limousin and Auvergne and Provence.

At its height it had become popular in Languedoc and the regions of Rouergue , Toulouse , and Quercy c. Finally, in the early 13th century it began to spread into first Italy and then Catalonia , whence to the rest of Spain and to Portugal. The classical period of troubadour activity lasted from about until about During this period the lyric art of the troubadours reached the height of its popularity and the number of surviving poems is greatest from this period.

During this period the canso , or love song, became distinguishable as a genre. The master of the canso and the troubadour who epitomises the classical period is Bernart de Ventadorn.

He was highly regarded by his contemporaries, as were Giraut de Bornelh , reputed by his biographer to be the greatest composer of melodies to ever live, and Bertran de Born , the master of the sirventes , or political song, which became increasingly popular in this period.

The classical period came to be seen by later generations, especially in the 14th and 15th centuries and outside of Occitania, as representing the high point of lyric poetry and models to be emulated. The language of the classic poets, its grammar and vocabulary, their style and themes, were the ideal to which poets of the troubadour revival in Toulouse and their Catalan and Castilian contemporaries aspired.

During the classical period the "rules" of poetic composition had first become standardised and written down, first by Raimon Vidal and then by Uc Faidit. The or so troubadours known to historians came from a variety of backgrounds. They made their living in a variety of ways, lived, and travelled in many different places, and were actors in many types of social context. The troubadours were not wandering entertainers.

Typically, they stayed in one place for a lengthy period of time under the patronage of a wealthy nobleman or woman. Many did travel extensively, however, sojourning at one court and then another. The earliest known troubadour, the Duke of Aquitaine, came from the high nobility.

Many troubadours are described in their vidas as poor knights. Albertet de Sestaro is described as the son of a noble jongleur, presumably a petty noble lineage. Later troubadours especially could belong to lower classes, ranging from the middle class of merchants and "burgers" persons of urban standing to tradesmen and others who worked with their hands. Salh d'Escola and Elias de Barjols were described as the sons of merchants and Elias Fonsalada was the son of a burger and jongleur.

Perdigon was the son of a "poor fisherman" and Elias Cairel of a blacksmith. Many troubadours also possessed a clerical education. For some this was their springboard to composition, since their clerical education equipped them with an understanding of musical and poetic forms as well as vocal training. The Occitan words trobador and trobaire are relatively rare compared with the verb trobar compose, invent , which was usually applied to the writing of poetry.

It signified that a poem was original to an author trobador and was not merely sung or played by one. Sometime in the middle of the 12th century, however, a distinction was definitely being made between an inventor of original verse and the performers of others'. At the height of troubadour poetry the "classical period" , troubadours are often found attacking jongleurs and at least two small genres arose around the theme: the ensenhamen joglaresc and the sirventes joglaresc.

These terms are debated, however, since the adjective joglaresc seems to imply "in the manner of the jongleurs ". Inevitably, however, pieces of these genres are verbal attacks at jongleurs , in general and in specific, with named individuals being called out. It is clear, for example from the poetry of Bertran de Born , that jongleurs were performers who did not usually compose. They often performed the troubadours' songs: singing, playing instruments, dancing, and even doing acrobatics.

In the late 13th century Guiraut Riquier bemoaned the inexactness of his contemporaries and wrote a letter to Alfonso X of Castile , a noted patron of literature and learning of all kinds, for clarification on the proper reference of the terms trobador and joglar. According to Riquier, every vocation deserved a name of its own and the sloppy usage of joglar assured that it covered a multitude of activities, some, no doubt, with which Riquier did not wish to be associated.

In the end Riquier argued—and Alfonso X seems to agree, though his "response" was probably penned by Riquier—that a joglar was a courtly entertainer as opposed to popular or low-class one and a troubadour was a poet and composer. Despite the distinctions noted, many troubadours were also known as jongleurs, either before they began composing or alongside.

Aimeric de Belenoi , Aimeric de Sarlat , Albertet Cailla , Arnaut de Mareuil , Elias de Barjols , Elias Fonsalada , Falquet de Romans , Guillem Magret , Guiraut de Calanso , Nicoletto da Torino , Peire Raimon de Tolosa , Peire Rogier , Peire de Valeira , Peirol , Pistoleta , Perdigon , Salh d'Escola , Uc de la Bacalaria , Uc Brunet , and Uc de Saint Circ were jongleur-troubadours.

A vida is a brief prose biography, written in Occitan , of a troubadour. The word vida means "life" in Occitan. In the chansonniers , the manuscript collections of medieval troubadour poetry, the works of a particular author are often accompanied by a short prose biography. The vidas are important early works of vernacular prose nonfiction. Nevertheless, it appears that many of them derive their facts from literal readings of their objects' poems, which leaves their historical reliability in doubt.

A razo from Occitan for "reason" was a similar short piece of Occitan prose detailing the circumstances of a particular composition. A razo normally introduced the poem it explained; it might, however, share some of the characteristics of a vida. The razos suffer from the same problems as the vidas in terms of reliability. Many are likewise the work of Uc de Saint Circ. These figures generally came from the urban middle class.

They aspired to high culture and though, unlike the nobility, they were not patrons of literature, they were its disseminators and its readers.

It was probably during his three-year tenure there that he introduced Occitan lyric poetry to the city, which was later to develop a flourishing Occitan literary culture. He was a patron as well as a composer of Occitan lyric. The trobairitz were the female troubadours, the first female composers of secular music in the Western tradition. The word trobairitz was first used in the 13th-century Romance of Flamenca and its derivation is the same as that of trobaire but in feminine form.

There were also female counterparts to the joglars : the joglaresas. The number of trobairitz varies between sources: there were twenty or twenty-one named trobairitz, plus an additional poet known only as Domna H. There are several anonymous texts ascribed to women; the total number of trobairitz texts varies from twenty-three Schultz-Gora , twenty-five Bec , thirty-six Bruckner, White, and Shepard , and forty-six Rieger.

Only one melody composed by a trobairitz the Comtessa de Dia survives. Out of a total of about troubadours and 2, troubadour works, the trobairitz and their corpus form a minor but interesting and informative portion. They are, therefore, quite well studied. They wrote predominantly cansos and tensos ; only one sirventes by a named woman, Gormonda de Monpeslier , survives though two anonymous ones are attributed to women.

One salut d'amor , by a woman Azalais d'Altier to a woman Clara d'Anduza is also extant and one anonymous planh is usually assigned a female authorship. None of the trobairitz were prolific, or if they were their work has not survived. All the trobairitz whose families we know were high-born ladies; only one, Lombarda, was probably of the merchant class. All the trobairitz known by name lived around the same time: the late 12th and the early 13th century c.

The earliest was probably Tibors de Sarenom , who was active in the s the date of her known composition is uncertain. The latest was either Garsenda of Forcalquier , who died in , though her period of poetic patronage and composition probably occurred a quarter century earlier, or Guilleuma de Rosers , who composed a tenso with Lanfranc Cigala , known between and There exist brief prose biographies— vidas —for eight trobairitz: Almucs de Castelnau actually a razo , Azalais de Porcairagues , the Comtessa de Dia, Castelloza, Iseut de Capio also a razo , Lombarda, Maria de Ventadorn , and Tibors de Sarenom.

Three main styles of Occitan lyric poetry have been identified: the trobar leu light , trobar ric rich , and trobar clus closed, hermetic. The trobar clus regularly escapes modern scholarly interpretation. Words are commonly used metaphorically and symbolically and what a poem appears to be about on its surface is rarely what is intended by the poet or understood by audiences "in the know".

The clus style was invented early by Marcabru but only favoured by a few masters thereafter. The trobar ric style is not as opaque as the clus , rather it employs a rich vocabulary, using many words, rare words, invented words, and unusual, colourful wordings. Modern scholars recognise several "schools" in the troubadour tradition.

Among the earliest is a school of followers of Marcabru, sometimes called the "Marcabrunian school": Bernart Marti , Bernart de Venzac , Gavaudan , and Peire d'Alvernhe.

These poets favoured the trobar clus or ric or a hybrid of the two. They were often moralising in tone and critical of contemporary courtly society. Another early school, whose style seems to have fallen out of favour, was the "Gascon school" of Cercamon , Peire de Valeira , and Guiraut de Calanso.

Cercamon was said by his biographer to have composed in the "old style" la uzansa antiga and Guiraut's songs were d'aquella saison "of that time".

This style of poetry seems to be attached to early troubadours from Gascony and was characterised by references to nature: leaves, flowers, birds, and their songs.

This Gascon "literary fad" was unpopular in Provence in the early 13th century, harming the reputation of the poets associated with it. Three poets epitomise this "school": Bernart d'Auriac , Joan Esteve , Joan Miralhas , and Raimon Gaucelm. All three were supporters of the French king Louis IX and the French aristocracy against the native Occitan nobility. They have been described as "Gallicised". Joan Esteve and Bernart both composed in support of the French in the Aragonese Crusade.

Troubadours, at least after their style became established, usually followed some set of "rules", like those of the Leys d'amors compiled between and The early troubadours developed many genres and these only proliferated as rules of composition came to be put in writing. The known genres are:. All these genres were highly fluid.

A cross between a sirventes and a canso was a meg-sirventes half- sirventes. The maldit and the comiat were often connected as a maldit-comiat and they could be used to attack and renounce a figure other than a lady or a lover, like a commanding officer when combined, in a way, with the sirventes. Some styles became popular in other languages and in other literary or musical traditions. In French , the alba became the aubade , the pastorela the pastourelle , and the partimen the jeu parti.

The sestina became popular in Italian literature. The troubadours were not averse to borrowing either. The planh developed out of the Latin planctus and the sonnet was stolen from the Sicilian School. The basse danse bassa dansa was first mentioned in the troubadour tradition c.

Troubadours performed their own songs. Jongleurs performers and cantaires singers also performed troubadours' songs. Some troubadours, like Arnaut de Maruelh , had their own jongleurs who were dedicated to singing their patron's work. Arnaut's joglar et cantaire , probably both a singer and a messenger, who carried his love songs to his lady, was Pistoleta. The messenger was commonplace in troubadour poetry; many songs reference a messenger who will bring it to its intended ear. A troubadour often stayed with a noble patron of his own and entertained his court with his songs.

Court songs could be used not only as entertainment but also as propaganda, praising the patron, mocking his enemies, encouraging his wars, teaching ethics and etiquette, and maintaining religious unity. The court was not the only venue for troubadour performance. Competitions were held from an early date. According to the vida of the Monge de Montaudon , he received a sparrow hawk , a prized hunting bird, for his poetry from the cour du Puy , some sort of poetry society associated with the court of Alfonso II of Aragon.

Troubadour songs were usually monophonic. Fewer than melodies out of an estimated survive. Some were set to pre-existing pieces of music. Raimbaut de Vaqueyras wrote his Kalenda maya "The Calends of May" to music composed by jongleurs at Montferrat.

Beginning in the early 13th century, the spread of Occitan verse demanded grammars and dictionaries, especially for those whose native tongue was not Occitan, such as the Catalan and Italian troubadours, and their imitators.

The production of such works only increased with the academisation of the troubadour lyric in the 14th century. Some 2, poems or fragments of poems have survived from around identifiable troubadours. They are largely preserved in songbooks called chansonniers made for wealthy patrons. Troubadour songs are generally referred to by their incipits , that is, their opening lines. If this is long, or after it has already been mentioned, an abbreviation of the incipit may be used for convenience.

Comment ajouter mes sources? Il publie son premier livre chez Michel Lafon La Politique dans Rire. Trente cinq mille exemplaires sont vendus. Wikimedia Commons. Espaces de noms Article Discussion. Jacques Mailhot. Chansonnier , journaliste , acteur , animateur de radio.

Les plus anciens chansonniers français (XIIe siècle) (1891 ...

Les plus anciens chansonniers français (XIIe siècle) by Julius Brakelmann, unknown edition,

Jacques Mailhot est un humoriste chansonnier, homme de radio et journaliste français né le 1 er mars à Riom (Puy-de-Dôme).Il a participé à de nombreuses émissions de radio, notamment L'Oreille en coin, sur France Inter, de à et Les Grosses Têtes de Philippe Bouvard sur RTL.. Jacques Mailhot est propriétaire du Théâtre des Deux Ânes à Paris, et président de la. modifier Le théâtre des Deux Ânes est une salle de spectacle parisienne d'une capacité de places construite en au , boulevard de Clichy (18 e arrondissement) dans laquelle est perpétuée la tradition montmartroise des cabarets de chansonniers. Le théâtre est dirigé depuis par l'humoriste Jacques Mailhot. La façade sur le boulevard et l'élévation de la salle font l. 11/06/ · Comme la forêt n’a jamais été altérée, nous y retrouvons des feuillus très anciens, pour la plupart des érables à sucre de plus de ans qui atteignent jusqu’à 25 mètres de hauteur.

Société en continu

Since the word troubadour is etymologically masculine, a female troubadour Handjob Geschlechtskrankheiten usually called a trobairitz. The troubadour school or tradition began in the late 11th century in Occitaniabut it subsequently spread to Italy and Spain.

Dante Alighieri in Pornburst Crampie De vulgari eloquentia defined the troubadour lyric as fictio rethorica musicaque poita : rhetorical, musical, and poetical fiction. After the "classical" period around the turn of the Kleppercape century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death it died out.

The texts of troubadour songs deal mainly with themes of chivalry and courtly love. Many Sex Shemail humorous or vulgar satires. Works can be grouped into three styles: the trobar leu lighttrobar ric richand trobar clus closed.

The French word itself is borrowed from the Occitan trobador. It is the oblique case of the nominative trobaire "composer", related to trobar "to compose, to discuss, to invent" WaceBruteditions I.

Arnold, This reconstructed form is based on the Latin root tropusmeaning a trope. There is an alternative theory to explain the meaning of trobar as "to compose, to discuss, to invent". It has the support of some historians, specialists of literature, and musicologists to justify the troubadours' origins in Arabic Andalusian musical practices.

Cercamon writes:. Peire d'Alvernha also begins his famous mockery of contemporary authors cantarai d'aquest trobadors[11] after which he proceeds to explain why none of them is worth anything. The early study of the troubadours focused Etre Expansif on their origins. No academic consensus was ever achieved in the area.

Today, one can distinguish at least eleven competing theories the adjectives used below are a blend from the Grove Dictionary of Music and Roger Boase's The Origins and Meaning of Courtly Love :.

Peter Dronke, author of The Medieval Lyrichowever, believes that "[his] songs represent not the beginnings of a tradition but summits of achievement in that tradition. Orderic Vitalis referred to William composing songs about his experiences on his return from the Crusade of c. This may be the earliest reference to Berlin Girls For Sex lyrics. Orderic also provides us with what may be the first description of a troubadour performance: an eyewitness account of William of Aquitaine.

Picauensis uero dux The first half of the 12th century saw relatively few recorded troubadours. Only in the last decades of the century did troubadour activity explode. The troubadour tradition seems to have begun in western Aquitaine Poitou and Saintonge Anciens Chansonniers Gasconyfrom there spreading over into eastern Aquitaine Limousin and Auvergne and Provence.

At its height it had become popular in Languedoc and the regions of RouergueToulouseand Quercy c. Finally, in the early 13th century it began to Anciens Chansonniers into first Italy and then Cataloniawhence to the rest of Cock Stomp and Noni Bilder Portugal. The classical period of troubadour activity lasted 360 Grad Porn about until about During this period the lyric art of the Anciens Chansonniers reached the height of its popularity and the number of surviving poems is greatest from this period.

During Tiger Tyson period the cansoor love song, became distinguishable as a genre. The master of the canso and the troubadour who epitomises the classical period is Bernart de Ventadorn. He was highly regarded by his contemporaries, as were Giraut de Bornelhreputed by his biographer to be the greatest composer of melodies to ever live, and Bertran de Bornthe master of the sirventesor political song, which became increasingly popular in this period.

The classical period came to be seen by later generations, especially in the 14th and 15th centuries and outside of Occitania, as representing the high point of lyric poetry and models to be emulated. The language of the classic poets, its grammar and vocabulary, their style and themes, were the ideal to which poets of the troubadour revival in Toulouse and their Catalan and Castilian contemporaries aspired.

During the classical period the "rules" of poetic composition had first become standardised and written down, first by Raimon Vidal and then by Uc Faidit. The or so troubadours known to historians came from a variety of backgrounds. They made their living in a variety of ways, lived, and travelled in many different places, and were actors in many types of social context.

The troubadours were not wandering entertainers. Typically, they stayed in one place for a lengthy period of time under the patronage of a wealthy nobleman or woman. Many did travel extensively, however, sojourning at one court and then another. The earliest known troubadour, the Duke of Aquitaine, came from the high nobility. Many troubadours are described in their vidas as poor knights.

Albertet de Sestaro is described as the son of a noble jongleur, presumably a petty noble lineage. Later troubadours especially could belong to lower classes, ranging from the middle class of merchants and "burgers" persons of urban standing to tradesmen and Anciens Chansonniers who worked with their hands.

Salh d'Escola and Elias de Barjols were described as the sons of Omar Bongo University and Elias Fonsalada was the son of a burger and jongleur. Perdigon was the son of a "poor fisherman" and Elias Cairel of a blacksmith.

Many troubadours also possessed a clerical education. For some this was their springboard to composition, since their clerical education equipped them with an understanding of musical and poetic forms as well as vocal training.

The Occitan words trobador and trobaire are relatively rare compared with the verb trobar compose, inventwhich was usually applied to the writing of poetry. It signified that a poem was original to an author trobador and was not merely sung or played by one. Sometime in the middle of the 12th century, however, a distinction was definitely being made between an inventor of original verse and the performers of others'.

At the height of troubadour poetry the "classical period"troubadours are often found attacking jongleurs and at least two small genres arose around the theme: the ensenhamen joglaresc and the sirventes joglaresc. These terms are debated, however, since the adjective joglaresc seems to imply "in the manner of the jongleurs ". Inevitably, however, pieces of these genres are verbal attacks at jongleursin general and in specific, with named individuals being called out. It is clear, for example from the poetry of Bertran de Bornthat jongleurs were performers who did not usually compose.

They often performed the troubadours' songs: singing, playing instruments, dancing, and even doing acrobatics. In the late 13th century Guiraut Riquier bemoaned the inexactness of his contemporaries and wrote a letter to Alfonso X of Castilea noted patron of literature and learning of all kinds, for clarification on the proper reference of the terms trobador and joglar. According to Riquier, every vocation deserved a name of its own and the sloppy usage of joglar assured that it covered a multitude of activities, some, no doubt, with which Riquier did not wish to be associated.

In the end Riquier argued—and Alfonso X seems to agree, though his "response" was probably penned by Riquier—that a joglar was a courtly entertainer as opposed to popular or low-class one and a troubadour was a poet and composer. Despite the distinctions noted, many troubadours were also known as jongleurs, either before they began composing or alongside. Aimeric de BelenoiAimeric de SarlatAlbertet CaillaArnaut de Porno NorwegenElias de BarjolsElias FonsaladaFalquet de RomansGuillem MagretGuiraut de CalansoNicoletto da TorinoPeire Raimon de TolosaPeire RogierPeire de ValeiraPeirolPistoletaPerdigonSalh d'EscolaUc de la BacalariaUc Brunetand Uc de Saint Tiereporno were Teen Boob Flash. A vida is a brief prose biography, written in OccitanMaedschensex a troubadour.

The word vida means "life" in Occitan. In the chansonniersthe manuscript collections of medieval troubadour poetry, the works of a particular author are often accompanied by a short prose biography. The vidas are important early works of vernacular prose nonfiction. Nevertheless, it appears that many of them derive their facts from literal readings of their objects' poems, which leaves their historical reliability in doubt. A razo from Occitan for "reason" was a similar short piece of Occitan prose detailing the circumstances of a particular composition.

A razo normally introduced the poem it explained; it might, however, share some of the characteristics of a vida. The razos suffer from the same problems as the vidas in terms Anciens Chansonniers reliability. Many are likewise the work of Uc de Saint Circ. These figures generally came from the urban middle class. They aspired to high culture and though, unlike the nobility, they were not patrons of literature, they were its disseminators and its readers.

It was probably during his three-year tenure there that he introduced Occitan lyric poetry to the city, which was later to develop a flourishing Occitan literary culture.

He was a patron as well as a composer of Occitan lyric. Anciens Chansonniers trobairitz were the female troubadours, the first female composers of secular music in the Western tradition. The word trobairitz was first used in the 13th-century Romance of Flamenca and its derivation is the same as that of trobaire but in feminine form. There were also female counterparts to the joglars : the joglaresas. The number of trobairitz varies between sources: there were twenty or twenty-one named trobairitz, plus an additional poet known only as Domna H.

There are several anonymous texts ascribed to women; the total number of trobairitz texts varies from twenty-three Schultz-Goratwenty-five Becthirty-six Bruckner, White, and Shepardand forty-six Rieger.

Only one melody composed by a trobairitz the Comtessa de Dia survives. Out of a total of about troubadours and 2, troubadour works, the trobairitz and their corpus form a minor but interesting and informative portion. They are, therefore, quite well studied. They wrote predominantly cansos and tensos ; only one sirventes by a named woman, Gormonda de Monpesliersurvives though two anonymous ones are Anciens Chansonniers to women.

One salut d'amorby a woman Azalais d'Altier to a woman Clara d'Anduza is also extant and one anonymous planh is usually assigned a female authorship. None of the trobairitz were prolific, or if they were their work has not survived. All the trobairitz whose families we know were high-born ladies; Entraineur De Foot one, Lombarda, was probably of the merchant class.

All the trobairitz known Butt Tumblr name lived around the same time: the late 12th and the early 13th century c. The earliest was probably Tibors de Sarenomwho was active in the s the date of her known composition is uncertain. The latest was either Garsenda of Forcalquierwho died inthough her period of poetic patronage and composition probably occurred a quarter century earlier, or Guilleuma de Roserswho composed a tenso with Anciens Chansonniers Cigalaknown between and There exist brief prose biographies— vidas —for eight trobairitz: Almucs de Castelnau actually a razoAzalais de Porcairaguesthe Comtessa de Dia, Castelloza, Iseut de Capio also a razoLombarda, Maria de Ventadornand Tibors de Sarenom.

Three main styles of Occitan lyric poetry have been identified: the trobar leu lighttrobar ric richand trobar clus closed, hermetic. The trobar clus regularly escapes modern scholarly interpretation. Words are commonly used metaphorically and symbolically and what a poem appears to be about on its surface is rarely what is intended by the poet or understood by audiences "in the know".

The clus style was invented early by Marcabru but only favoured by a few masters thereafter. The trobar ric style is not as opaque as the Gangbang Hd Pornorather it employs a rich vocabulary, using many words, rare words, invented words, and unusual, colourful wordings.

Modern scholars recognise several "schools" in the troubadour tradition. Among the earliest is a school of followers of Marcabru, sometimes called the "Marcabrunian school": Bernart MartiBernart de VenzacGavaudanand Peire d'Alvernhe. These poets favoured the trobar clus or ric or a hybrid of the two.