Troubadour poetry

Essential content
a. Historical-literary contextualization
Medieval Spaces, Protagonists and Circumstances
Troubadour poetry is the designation given to the set of medieval poetic compositions.
framed in different genres, intended to be sung, and that were produced in
Portugal, in Galicia and also in the kingdoms of Castile, León, and Aragon, by poets who, beyond
They composed these songs - cantigas -, played and sang, being thus called troubadours.
As a general rule, the troubadours were of noble origin and dedicated themselves to the craft of composing and setting music.

poems only for pleasure, for delight, without deriving any material benefit from them.
The troubadour poetry flourished during the Middle Ages, more specifically during the period
which extends from the mid-12th century to the mid-14th century.
Medieval society is profoundly marked by religion, lived intensely and
permanent. God is the center of the world and of all human life - theocentrism. The
pilgrimages, religious festivals were moments of demonstration of faith, but
also contact between the populations, of joy and fun, since they brought with them the
music, dance, song. The importance of God and the Christian faith is still evidenced by the struggle against
the infidels, carried out during the Crusades towards the east (Jerusalem) and the west, as happened
on the Iberian Peninsula, where the Christian Reconquest took place.
Indeed, in the 12th and 13th centuries, the Portuguese monarchs, with the help of the warrior class and
crusaders coming from other regions of Europe managed to expel the Muslims and thus,
define the territory of Portugal as we know it today (the last conquest was that of Faro and
date of 1249).
Medieval society was also heavily stratified. Each social class had a role.
well defined and being born into a certain class implied assuming a status that
rarely would it be changed. Oclerotinha had the function of praying, transmitting values, ennobling
to defend the lands by arms and to cultivate the land or to join the army.
The society was organized according to feudalism, a political, economic, and social system.
characterized by the division of property (feudal), combined with the division, the fragmentation of the
sovereignty, and the mutual obligations between vassals and lords, which ensured not only the
maintenance of social hierarchy, as well as the transmission and permanence of values
important values such as loyalty, fidelity, courage, honor.
Of the three previously mentioned social groups, the clergy was the one that had the most contact.
with the Letters, namely the monks, who, in the convents, studied, compiled and
they produced the manuscript books. The clergy therefore had access to a literature and a culture
written - monastic culture. The nobility and, above all, the people only enjoyed literature and
from oral culture - profane culture.
It is from the oral heritage that Portuguese literature arises, and especially, troubadour poetry.
whose texts are collected in songbooks from the late 13th century and the 14th century and that bring together
texts from the late 12th century.
The collections that gather the troubadour compositions are:
• Ajuda Songbook - is located in the Ajuda Library in Lisbon and contains little
more than 310 songs (64 do not have correspondence in the other two songbooks).
• Songbook of the National Library - copy ordered by the Italian collector
Angelo Colocci; documents the largest number of compositions.
 • Vatican Songbook - contains 1205 songs from various Galician troubadours
Portuguese, from the end of the 12th century to the mid-14th century.
The language in which these compositions were written is still referred to: Galician-Portuguese.
effect, in the 12th century, both Portuguese and Galician were in formation and were not languages
different. In the North of Portugal, in the region of Entre Douro e Minho, and in Galicia, Galician was spoken-
Portuguese, and it is in these regions that troubadour poetry will flourish, through different
interpreters.
Some monarchs served as a role model, as was the case with Alfonso X, the Wise.
(1221-1284), King of León and Castile, author of secular compositions and religious poems–
Cantigas of Santa Maria, and of D. Dinis, his grandson (1261-1325), who composed various cantigas of
friend, songs of love and songs of mockery and slander.
But there are also other interpreters of troubadour poetry with distinct functions:

Troubadour–composer of poetry, almost always a nobleman (could even be a king).

Jogral–executor (generally of low status) who lived from the profit of the art of singing or of
to recite verses of one's own or others.
Segrel – knight-troubadour, of the minor nobility, who wandered from court to court singing and
to declaim; was accompanied by a reciter or replaced it.
Minstrel - in the 13th century, a musician-poet (sometimes confused with the jongleur, only that
she lived under the protection of a noble and traveled from court to court.
Soldier or troubadour - singer or dancer, on salary, who accompanied the troubadour (had,
many times, a behavior of questionable morality).

b. Representations of affections and emotions

Being a cultural manifestation, troubadour poetry reflects, in a crafted way and

represented, experiences of its time, but does so subjectively, since it is based on the
feelings, emotions, attitudes.
One of the predominant themes of this poetry is love. However, the feeling of love can
assume different nuances that ultimately allow us to distinguish two genders:
• cantigas de amigo - autochthonous poetry resulting from the lyrical tradition that existed in the North
from Portugal, between Douro and Minho and Galicia;
• cantigas of love–poetry that developed under the influence of poems and themes of
Provence, France.

The cantigas de amigo present, in the voice of a young woman (the subject
poetic is feminine), the feelings lived for her regarding her
friend who may be far away, absent (by their own will or by force of
circumstances–war, defense of the border, travel), leading it, therefore, to
to manifest longing, sadness, hurt, anguish, fear. But the feeling that
nurtures the friend can also lead her, on other occasions, to express joy,
sensuality, confidence, at parties, pilgrimages, processions. It is very common
a maiden reveals what she feels to her mother, to her friends, or even to herself.
Nature, functioning as confidants of this love, at times
silently, other times intervening and responding to the desires, to the
doubts, to the fears of the maiden. This connection to Nature and this aspect of
the confidence lends to the song of a friend a spontaneity and a
own naturalness.
 In the birth songs of love, the voice is masculine and the loving feeling is
lived by a man who serves the woman, as a general rule,
married. The lady appears distant, cold, or even indifferent and is placed in a
superior position to the poet, who renders him a service of vassalage
following the code of courtly love. The male subject thus lives a
unhappy passion -poor love-, because it cannot be characterized. In these
compositions, let's then find, on one hand, emotions building up
regarding this suffering of love, such as pain, anguish, the
despair, madness and death itself, and on the other hand, emotions that make
part of the framework of the courtly love that these songs reproduce. The lover
praise your beloved, your lady, and draw a completely idealized portrait of
the same, emphasizing both her physical characteristics (blonde hair, fair skin)
wants its moral characteristics (common sense, good speaking). To provide a
good service to the lady, the poet must be discreet and not name her, he must
to respect it and to submit to it - conventions of Provençal poetry. Hence
the love songs seem to us, usually, less spontaneous than
the songs of a friend.

In addition to these two genres, troubadour poetry also encompasses a satirical dimension.
express in the calls, songs of mockery and slander. In fact, the troubadours and the jongleurs
they also felt the need to point the finger at some figures in society, at some
situations or behaviors, and they did it either directly, naming those involved and using
a clear, satirical language, sometimes even violent and coarse - songs of slander - now of
indirect form, not specifying concretely who it was or what the target was and resorting to
a more camouflaged, ironic language - songs of mockery. In both, one observes a
critical, moralizing, and sometimes comical intention.
The courtly love and its dramatic character (evidenced in the death of love), the act of creation
poetic, but also the immoral behaviors of certain elements of the clergy or life
the misery of some elements of the nobility are some of the themes of these songs. In this sense,
the cantigas of scorn and slander offer us a more complete portrait of society at that time
time and some of its protagonists.

c. Language, style, and structure

To understand the scope of this poetry, it is essential to consider the language, the style
and the structure that underlies each of the aforementioned genres. Although many of the aspects that
we learn with these three topics to be more visible through the reading and analysis of songs
specific, what we will do in points d), e) and f), it is important to specify some markers of these
compositions, especially regarding structure, that is, organization, arrangement that
the verses take on in poetic compositions.
In this regard, we draw attention to the fact that the cantigas de amigo are characterized by
a strophic and rhythmic structure that brings poetry closer to music. This effect results from the fact
of these songs, they frequently resorted to two processes (simultaneously or
isolated): refrain–repetition of one or more verses at the end of each stanza–and the
parallelism.
Regarding this last one, let us consider the following explanation, based on the analysis of the composition of
Martim Codax.
Waves of the sea of Vigo Thematic characterization
Waves of the sea of Vigo, • In this song, the friend addresses the ocean waves
You dress my friend! (apostrophe), wanting to know news about your friend1.
Oh God, will it come soon! • Nature is, therefore, a confidante (personification),
but the sea (symbol of distance and danger -"sea
Waves of the sea carried,
"raised") does not respond.
Dress my beloved! • The waves symbolize restlessness, the state of
Oh God, if it will come soon!
spirit of the girl.
If you dress my friend, • This confidence to the sea is emphasized by the supplication.
oh why do I sigh! What the girl does to God ("Hey God, will you come soon!")
Oh God, will it come soon! - apostrophe).
• In turn, the appeal to God translates another
If you see my beloved, the expectation for the friend's return.
Because I take great care!
Oh God, will it come soon!
Martim Codax
(CV 884, CBN 1227)
Medieval Poetry and Prose (selection, introduction, and notes by Maria
Ema Tarracha Ferreira), Ulisseia, 1988

Glossary
will come - will come
1The importance of the sea and all the scenery of this song allow
v. 4–March high sea–rough sea
v. 8–or why I sigh–the one for whom I sigh classify it as a barcarole or marine.

Formal characterization
• Two pairs of stanzas (1st and 2nd couplets; 3rd and 4th couplets) in parallelism - the two verses
from the 2nd stanza we express practically the same meaning as the two lines of the 1st stanza,
presenting subtle variants ("sea of Vigo" / "carried sea"; "friend" / "beloved"); the
the same happens with the 3rd and 4th stanzas. In the case of these two, there is still a highlight on the use
doleixa-prem, which helps to create a sense of unity and progression in the song (the
the second line of the first and second couplet is the first line of the third and fourth
distics, respectively).
• Each two-line stanza (distich) is followed by a chorus - refrain song.
Concentrated only in a phrase, which always takes the same formulation, the chorus
intensifies the friend's feeling of anxiety (note the use of the interjection and the
exclamation point).

Marks of the songs of a friend

• The poetic subject is feminine: a maiden who wishes to know news of her distant friend.
• Nature as the girl's confidant: it is to the waves that the maiden asks about
beloved.
• Primitive and simple scenario - the sea.
• The simplicity of the song is evident in its repetitive structure (chorus, parallelism) and
also in the type of rhyme used (alternation between the vowels -ie-a, quite musical).
Regarding style, we can say that it relates to the choices that each author makes.
regarding various aspects, among which are included, for example, the selection and use of
expressive resources. Among those we can find in the songs, we highlight the
comparison, irony, personification, resources that will be analyzed in specific songs.
d. Songs of a friend

variety of loving feeling;

romantic confidence;
relationship with Nature.

After analyzing the context of production of troubadour poetry, the thematic characterization and
formal aspects of the cantigas de amigo, the common and distinctive traits in relation to the cantigas de amor,
we will now explore some songs of a friend, proposing clues for a critical reading.

Oh me, poor thing, how I live

Oh poor me, how I suffer Glossary
with great care for my friend v. 2 - care - concern
What a long time! It delays me a lot v. 3–elongated–I have distanced
my friend in Guarda!
Oh me, poor thing, how I live
a great desire for my friend v. 6 –in great desire –remembrance
nostalgic
I am delayed and I don't see! It takes me a long time.

my friend in Guarda!
D. Sancho I (CBN 398)
Medieval Poetry and Prose (selection, introduction, and notes by Maria Ema Tarracha Ferreira), Ulisseia,
1988

Note: This cantiga is now attributed to D. Sancho I (1154-1211), sometimes to Afonso X, the Wise (1221-1284).

Thematic characterization
• The young woman reveals her suffering, her pity and concern for the.
friend who is away ("the elongated") and who takes a long time ("It takes me a long time") in the Guard.
It is noteworthy that this term may refer either to the city of Guarda, located in an area
border-related, whether in the activity of guarding, protecting the border, a common activity in that
time of wars between kingdoms and battles between feudal lords.
• The feminine subject of enunciation also reveals, in the second stanza, the longing she feels.
great desire
• The initial anaphora in each of the stanzas ('Oh me, poor thing'), reinforced by the interjection
"Ai" conveys a tone of confidence and accentuates the pain of absence.
• Expressive punctuation (the use of exclamation points) also contributes
for the expressed sentimentality.

Formal characterization
• Duas estrofes seguidas de refrão - "Muito me tarda/o meu amigo na Guarda".
• Parallelism between the two couplets, varying only the words 'care' / 'desire', 'that
it is prolonged / that takes time and I do not see.

Marks of the songs of a friend

• Female voice.
• Spontaneous, natural sentimentality - expression of longing for the friend who is delayed.
• Simple and repeated structure (parallelism and refrain), which evokes a character
traditional - indigenous origin.
 Let's dance all three of us now, oh friends Thematic characterization
Let's dance, all three of us, oh friends, A maiden, in love, joyful, and happy,
these blossoming hazel trees; confident in your beauty and that of your friends,
and who for velida, like us, velidas, certain of your seductive ability (v. 15),
if friend loves, she is eager to go dancing and makes a
these flowering hazel trees invitation to your friends ('Let us dance already)
he/she will come to dance. all three of us, oh friends; let's dance now
all three, oh sisters).1
Let's dance all three of us now, oh sisters, This invitation is extended to other maidens,
This branch of hazelnuts; as long as they are beautiful (and whoever is)
and whom for louçana, like we louçanas, velida, like us, velidas" - comparison) and
befriend love, beautiful ("and when it is bright, as we,
I am this branch of these hazelnuts; "louçanas" - comparison) and since
will come to dance.
be in love ('if a friend loves').
For God, oh friends, while we do not do it, As maidens, being the recipients of
invitation from a friend, they are your confidants.
if this flowering branch we dance;
and who looks good, as we look, All dance, entwined with Nature,
if a friend loves, that shares the joy of awakening with them
this branch is only the one we dance; for love (the 'flowering hazel trees' and the
She will come to dance. "flourishing branch" symbolizes spring.
Formal characterization
Airas Nunes de Santiago or Airas Nunes (CV Refrain song, composed of three
462, CBN 818) stanzas of four lines, with a couplet refrain
Medieval Poetry and Prose (selection, introduction and interlaced ("to love a friend, / will come to dance").
notes by Maria Ema Tarracha Ferreira), Ulisseia, • Parallelistic cantiga:
1988 → anaphoric parallelism ("Let's dance
Note: This song is now attributed to D. Sancho I we already all three
(1154-1211), now to Afonso X, o Sábio (1221-1284). these... / I am these... / I am
Glossary this... / is this...
v. 2–only these blooming hazel trees–under these 11; 14 and 17));
flowering bushes → semantic parallelism ('oh friends')
v. 3–beloved–beautiful, lovely
v. 6 - will come - will come
"to the brother" (v. 1); "only these
v. 9–beautiful, lovely
avelaneiras bloomed"(v. 2)/ "sô
v. 13–we don't do anything else this branch of these hazelnuts
we do not do 8)).
v. 17–only that–under which

Brands of the songs of a friend

• A feminine voice that invites other maidens (her confidantes).
• Auto-praise of the feminine figure.
• Empathy with Nature, which seems to be in harmony with feelings of
happiness, passionate love and the seduction of the girl.
• Creation of a rhythm and cadence through the chorus and parallelism, reinforcing the
message (the invitation and the "conditions" for the dance; the Nature that flourishes, just as
the feelings of the maiden) and contributing to the musical character of this song.

1As it is an invitation to dance, certainly implying music, this song can be classified as a
bailia or bailada.
e. Songs of Love
the love affair and the courteous praise

Before we analyze some Galician-Portuguese love songs, it is worth mentioning that,

although the influence of the so-called Provençal poetry is notable, there was an adaptation of the cansó
Provençal to the existing forms, that is, to the structure of the cantiga de amigo and also to its
sentimentality.
In fact, the use of the refrain is observed, and despite the respect for the code of courtly love, there is a
sincerity superior to that of the Provençals.

Proença is very good at finding.1

Proençais know how to talk very well
Those who find and rejoice
and they say it's with love;
from a time that has color
but those who trade in the time of flowers
a frol consigu', and, as much as it is
and not in another, I know well that not
that time, a place to find reason
in so much great pain in his heart
no, no they live in any loss
Which of my lady I see being taken. Oh! I live, for what shall kill me.
But they play and know how to praise
D. Dinis (CV 127, CBN 489)
These gentlemen are the most and the best
that they can, they are only aware Medieval Poetry and Prose (selection, introduction and
notes by Maria Ema Tarracha Ferreira), Ulisseia,
that those who find, when it is flower season
1988
ah, and not before, if God forgives me,
I don't know what to say that I don't know. Glossary
v. 1–soen–costumam; v. 3–tempo da flor–
spring; v. 5–coitus–suffering (loving);
1This song does not have a refrain (mastery song). v. 10–spring season–time of flower; v. 14
no color

Thematic characterization
• The theme of this song is the love pain 'without equal', that is, unparalleled, and death for love.
for it must kill me.
• The troubadour compares his love with that of the Provençals. Although he acknowledges them
the ability to rhyme (vv. 1-2), considers that the feelings they express result more
of an artificiality, of a pretence, for they only sing in the spring ('in the time of the flower')
and outside of this time not (vv. 15-17).
• Thus, the troubadour criticizes and distances himself from the Provençal poets–vv. 3-6. And this difference will
being emphasized: in the 2nd verse, it already refers to 'the plight which I have without a pair' and, in the 3rd, to death for

love ("not in, not living in any loss / oh, I live, for then it has to kill me"). O
the suffering of the interpreter is real, as opposed to Provençal conventionalism. There,
thus, a whole gradation and reiteration of arguments in favor of the poetry of the subject
poetic.
• For this reason, this song can also function as a kind of poetic art.
of the art of troubadouring: a conventional and artificial poetry (that of the Provençals) and a poetics
authentic, based on the deep love affair (that of the troubadour). Nevertheless, the poem
ends with a common place characteristic of Provençal poetry - the death of love.

Signs of love songs

• Male poetic subject - he is a troubadour.
• The love pain associated with courtly love.
• Direct relation between the suffering of the poet.
 f. Cantigas of mockery and slander
the satirical dimension: the parody of courtly love and the critique of customs

We have seen that the troubadours and the jongleurs did not only compose songs of friendship and songs.
of love. In fact, beyond lyrical poetry, they also dedicated themselves to satirical poetry.
We can even say that this was quite fruitful among us, already revealing a taste for criticism,
by the comic and by the ridiculous.
According to the Art of Trovar1documentthat represents a kind of poetic of poetry
troubadour and found at the beginning of the Songbook of the National Library, there were two types
of satirical poetry.
Thus, in the mocking songs, the criticism is more subtle, not revealing the identity of who
It is criticism. In the maldizer songs, the criticism is more direct, identifying the intended target.

Oh ugly lady, it was you who complained

Oh, where have you complained? Ugly lady, I never praised you.
that you never praise my singing; In my finding, I found much;
but now I want to make a singing but now I will make a good song
In what I will praise you still; in which I will still praise you;
if you see like me I want to praise: and I will tell you how I will praise you:
ugly woman, old and watermelon! ugly, old and watermelon lady!

Ugly lady, if God pardons me, João Garcia de Guilhade (B 1486, V 1097)
for you have such a big heart
Graça Videira Lopes, Songs of Mockery and
that you read it, this reason Maldizer of the Troubadours and Goliards Galician
I want to praise you already; Portuguese, Editorial Estampa, 2002
and you see what the situation will be:
Glossary
ugly lady, old and watermelon! v. 5–loar–louvar; v. 6–sandia–louca, doida;
v. 8 – for you have such a great heart –
You have so much desire; v. 9–in this reason–for
this reason; v. 14–but–even though, for
Thematic characterization
• The composition presented falls within the so-called mockery songs, since it
critically, in an indirect way (the name is never mentioned), the attitude, the behavior of a
gift (alluding thus to the lord of love songs) who wants to be praised, despite
for not having the attributes for it, as she is 'ugly, old, and crazy'.
• For this reason, this song is also considered a parody of courtly love, as it is
an imitation of a love song with an ironic and comedic purpose.
• The irony is, in fact, evident throughout the song. Let's see:
→ the lady complained about not being praised and expressed a great desire to be.
"I" the lyrical seems to access that desire - "but now I want to make a song / in
that I will still praise you" (1st stanza); "I want to praise you already; / and you see how
I will sing a good song now in which I will praise you
still" (3rd verse);
→ however, although the poetic subject praises the lady, he does not do so in the way that
this would intend, since the praise repeated in the refrain is 'ugly lady, old and
watermelon!
• The chorus thus marks the comic effect that is created by praising not a beautiful mistress,
young and sensible, usually depicted in love songs, but rather a
woman whose image is extremely negative.

1Art of Trova from the Songbook of the National Library of Lisbon (introduction, critical edition, and facsimile by Giuseppe
Tavani), Colibri, 2002
Marks of the songs of mockery
• Critique of the object of praise - 'ugly lady, old and watermelon': avoiding identification
direct, points to mockery and satire.
• Rude language connoted with satirical poetry: see, by way of example, the triplet.
adjectivation of the refrain – "ugly, old, and watermelon".

Burnt King died with love Thematic characterization

Burnt King died with love Direct and explicit criticism of a poet – Roi
in your songs, for Saint Mary, Burnt–which, in its compositions and
for a lady who really wanted to come; because of the love for a lady, announced
and for getting involved as a troubadour, his death, although he continued to live.
because she didn't want to do it well, It is, therefore, an old song of
fate to die in your songs; maledict, which places a ridiculous o
but it resurfaced on the third day. the behavior of this poet, in particular.
Biting and ironic critique of the death of love
This was done by a lady. so conventional of the love songs:
what you want is good; and I would tell you more:
Burnt King claimed in his songs
because it takes care of what makes mastery,
that was so in love with a lady
in the songs that he made there is flavor
who, for her, died of love;
to die and to live. did all this to prove that he was a
This does he, what he can do, troubadour with great qualities ("and for this)
but another man would not do it. put in more troubadour
And the name has already of his death fear, however, he "rose again" on the third day
I fear death but there it is. but it resurfaced on the third day.
but knows well, for his wisdom, • Use of irony to satirize power that
who will live, since he will be dead; Burnt King seems to have - to die and then
and does [one] in his singing make death hold, but it arose again on the third day
of you is alive: you see that power (allusion to the resurrection of Jesus Christ). Moreover,
what God gave her - but who would care for her! in the last stanza, the end of the song
the poetic subject reveals the desire to
And if God granted me power also he has this power.
What is today, for dying, of living, Finally, we can still consider that the
never [I] would fear death. poetic notes of Roi Queimado are
But Garcia Burgalês (B 1380, V 988) equally subject to criticism, as it is said about him
for getting involved for an even greater troubadour
Graça Videira Lopes take care that it makes a mastery.
of Galician-Portuguese Troubadours and Jongleurs,
Editorial Estampa, 2002 This song demonstrates the artificiality of
troubadours and the poetic conventions of
Glossary
courtly love.
v. 1–Burned King–troubadour poet who lived in the
reigns of D. Afonso III and D. Dinis; v. 4–for itself Brands of the songs of slander
to put on more of a troubadour vibe – to give oneself an air of greatness
Male voice expressing its position
troubadour; v. 5 –name who does good –
correspond to your love; v. 7–more–but; v. 10– criticism regarding the ridiculous behavior of
make the mastery – make verses like a master; v. 11 – there is a specific poet (Roi Queimado) and
flavor - have pleasure; v. 12 - and from the living - and since
before a convention – death by love.
then come back to life; v. 14 - by rem - for thing
Comic effect achieved through antitheses
none; do not - do not; v. 20 - of this to live - then
this live again; v. 21–more than I would care–
to die
more than one could suppose; v. 23 - for to die, of (v. 23)–and of irony.
to live – (the power...) of, after dying, to live
 Content synthesis

Representation of affections and

Language
Spaces, protagonists and
Gender Poetic subject style and
emotions circumstances
structure
Female voice Variety of feeling Domestic environment and Parallelism
(young lady, girl) love, longing familiar, markedly Chorus
tristeza, mágoa, ansiedade, female (maiden or girl and •Regularity
joy as friends, or the mother and daughter) estrófica and
Romantic confidence to Collective environment (pilgrimage, metric
Nature, to friends, to mother sanctuary Resources
Cantigas Relationship with Nature: Rural and natural environment expressive: e.g.:
of friend confidant (personification) (field, river, sea) personification
in harmony with the state of •Symbolic elements: water, comparison
spirit of the maiden birds, deer... apostrophe
For our mothers are going to Indigenous origin,
Saint Simon resulting from the lyrical tradition already
Oh flowers, oh green flowers existing in the region
pine
Male voice Love heartbreak - passion Aristocratic environment (king, Song of
(troubadour) who is unhappy, suffering from love, noble, lords maestria (without
directs his fleet that can lead to death for Palace chorus) or with
(your lord) love–hyperbolization of Cut resource to refrain
habitually romantic feelings Environment marked by a Regularity
married, to whom Courteous praise - praise of code and by conventions (the estrófica and
Songs
render vassalage sir, model of beauty and of courtly love, the measure– metric
of love
loving virtue self-control, Resources
ceremony –, a
The lady I love has courtesy - good manners, expressive: e.g.:
by lord civility adjectivation
Imported cantigas, in hyperbole
particular to the Provence area comparison,
antithesis
Male voice Parody of courtly love Palatial environment and from Satire, comedic
(troubadour) who does praise of the lady; death by cut Resources
an indirect criticism love Intersection of influence expressive: e.g.:
Songs
(song of Critique of customs (lack of indigenous and Provençal irony
of
scorn) or direct poetic gifts of a troubadour,
scorn and
(song of the misery of elements of
malefactor
maldizer nobility, etc.)
Burnt King died
with love

Terms of troubadour poetry

It is a metric process that consists of the chaining of verses and stanzas with each other until the end of the song; it consists of the connection.
syntactic and ideological between the stanzas.
Couplet - stanza.
Distich - a stanza of two verses.
Repetition throughout the poem of words in the same position of the verse or stanza.
Finda - final stanza of one to three verses, a kind of conclusion; poems can have more than one finda.
Leixa-prem - poetic artifice that consists of starting a stanza with the verse from the previous pair of couplets (for example, the second).
the verse of two parallel couplets is the first verse of the two following couplets.
Mozdobre - repetition, throughout the poem, of different forms of the same word, at the same point in the verse or stanza.