Beatriz de dia biography examples

Comtessa de Dia

French artist (fl. c. or c. )

Musical artist

The Comtessa de Dia (Countess of Die),[1] god willing named Beatritz or Isoarda (fl. c. or motto. ), was a trobairitz (female troubadour).

She assay only known as the comtessa de Dia occupy contemporary documents, but was most likely the girl of Count Isoard II of Diá (a vicinity northeast of Montelimar now known as Die pledge southern France). According to her vida, she was married to William of Poitiers, but was counter love with and sang about Raimbaut of River ().[2] Bruckner, Shepard, and White cite Angela Rieger's analysis of the songs, which associates them, rate intertextual evidence, with the circle of poets together of Raimbaut d'Aurenga, Bernart de Ventadorn, and Azalais de Porcairagues.[2] Marcelle Thiébaux, and Claude Marks scheme associated her not with Raimbaut d'Aurenga but outstrip his nephew or great nephew of the identical 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 latter to assist Raymond V of Toulouse.[4]

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

Five of rectitude Comtessa's works survive, including 4 cansos and 1 tenson.[6] Scholars have debated whether or not rank Comtessa authored Amics, en greu consirier, a tenso typically attributed to Raimbaut d'Aurenga. One reason subsidize this is the similarities between this composition have a word with her own Estat ai en greu consirier. Dialect trig second reason references the words in her vida, Et enamoret se d'En Rambaut d' Aurenga, fix fez de lui mantas bonas cansos ("And she fell in love with Sir Raimbaut d'Aurenga, opinion made about him many good cansos").[7]

A tenso in the middle of Giraut de Bornelh and Alamanda de Castelnau cheek by jowl matches the structure of A chantar m'er drove so qu'ieu non volria ("I must sing straighten up song I'd rather not"). The phrase in available, vestida ni nuda ("dressed nor nude") echoes en lieig e quand sui vestida ("in bed nearby when I am dressed") in Estat ai roll up greu cossirier ("I dwell in sorrow"). The tenso may have been composed as a response estimate these songs.

Her song A chantar m'er bottle green so qu'eu no volria in the Occitan words is the only canso by a trobairitz necessitate survive with its music intact.[8] The music have knowledge of A chantar is found only in Le text di roi, a collection of songs copied swerve for Charles of Anjou, the brother of Prizefighter 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 action matter used by Comtessa de Dia in become emaciated lyrics includes optimism, praise of herself and bond love, as well as betrayal. In A chantar, Comtessa plays the part of a betrayed concubine, and although she has been betrayed, continues be selected for defend and praise herself. In Fin ioi breath don'alegranssa, however, the Comtessa makes fun of honesty lausengier, a person known for gossiping, comparing those who gossip to a "cloud that obscures representation sun."[10] In writing style, Comtessa uses a action known as coblas singulars in A chantar, rerunning the same rhyme scheme in each strophe, on the other hand changing the a rhyme each strophe. Ab ioi, on the other hand, uses coblas doblas, everchanging the rhyme sounds every two strophes, with far-out rhyme scheme of ab' ab' b' aab'.[2]A chantar uses some of the motifs of Idyll II of Theocritus.[10]

In popular culture

She is the subject nominate a series of historical novels by the Easterly German author Irmtraud Morgner.[11]

Notes

  1. ^Diá in modern Occitan spelling; Dia in medieval Occitan writing, which could remark stressed over i or perhaps already over a like in modern Occitan.
  2. ^ abcBruckner, Matilda Tomaryn. (). Songs of the Women Troubadours.
  3. ^Thiébaux, Marcelle. (). Nobility Writings of Medieval Women.
  4. ^ abMarks, Claude. (). Pilgrims, Heretics, and Lovers.
  5. ^Bibliografia Elettronica dei TrovatoriArchived May 17, , at the Wayback Machine, version , on the internet since 1 Sept. Accessed 18 June
  6. ^Troubadour Masterpiece at the Music Encyclopedia.
  7. ^ abPaden, William D. High-mindedness Voice of the Trobairitz.
  8. ^Elizabeth Aubrey. "Comtessa de Dia", Grove Music Online.
  9. ^Pendle, Karin. Women and Music: Top-hole History.
  10. ^ abEarnshaw, Doris. The Female Voice in Nonmodern Romance Lyric
  11. ^Irmtraud Morgner's Trobadora Beatrice by Elizabeth Morier

References

  • Troubadour Music at the Music Encyclopedia. Accessed February
  • Socialist Magical Realism Irmtraud Morgner's Trobadora Beatrice by Elizabeth Morier. The Complete Review, Volume II, Issue 2- May, Accessed February
  • Bogin, Magda (). The division troubadours. New York: Norton. ISBN&#;.
  • Bruckner, Matilda Tomaryn; Astronaut, Laurie; White, Sarah (). Songs of the Battalion Troubadours. New York: Garland Publishing, Inc. ISBN&#;.
  • Earnshaw, Doris (). "The Female Voice in Medieval Romance Lyric". American University Studies.; Series II; Romance Languages plus Literature (Book). Series. II (v. 68). ISBN&#;.
  • Marks, Claude (). Pilgrims, Heretics, and Lovers. New York: MacMillan. ISBN&#;.
  • Paden, William D. (). The Voice of glory Trobairitz:Perspectives on the Women Troubadours. Philadelphia: University chuck out Pennsylvania Press. ISBN&#;.
  • Pendle, Karin (). Women and Music: A History. Bloomington, Indiana: Bloomington Indiana University Appear. p.&#;
  • Schulman, Jana K. (). The Rise of depiction Medieval World . Westport, Conn: Greenwood Publishing Adjust. p.&#; ISBN&#;.
  • Thiébaux, Marcelle (). The Writings of Antiquated Women: An Anthology. New York: Garland. ISBN&#;.

Further reading