Medieval Troubadour Culture in the Crown of Aragon
Who Were the Troubadours?
The troubadours were often sons of noble families associated with convents (though not professed as monks) who lived in royal courts, composing songs in the vernacular tongue.
Provençal Poetry and the Crown of Aragon
After the conquest of Valencia by James I, the Valencian lands became part of the Crown of Aragon.
Provençal poetry was the most important in Europe from the eleventh to the thirteenth century. Early authors used this language not only for its prestige but also because the kings of Aragon were the natural lords of territories in the south of France.
Troubadours and Minstrels
The troubadours were the authors of both the lyrics and the music of their compositions, which were intended to be performed for an audience. Those responsible for spreading these compositions were the minstrels, who often accompanied themselves with musical instruments.
Courtly Love: A Medieval Aristocratic Game
Courtly love was a game bound by amorous conventions practiced by aristocrats in medieval courts. This love reflected the two basic pillars of medieval feudal society:
Pillars of Courtly Love
- Vassalage Relations: Faithful love for the lady mirrored the oath vassals made to their lord. Thus, troubadours addressed their verses to a lady (midons – my lord, often used for the lady), who was typically the wife of the lord to whom they had sworn allegiance.
- Religiosity: Especially Marian devotion. Medieval society was very religious, and the Virgin Mary was much revered. For troubadours, the woman was seen as a source of goodness, reflecting the veneration of Mary, the mother of Jesus.
Dangers and Key Figures in Courtly Love
However, this love could transcend purely spiritual admiration. Sometimes, the husband (gilós – jealous one) might not accept this situation, and the lovers were in danger if their relationship was discovered, often due to slanderers (lausengiers). Our greatest poet, Ausias March, belongs to the fifteenth century.
Troubadour Poetic Forms
Common poetic forms included:
- Cansó: A poem praising and idealizing the lady.
- Sirventés: Used for moralizing, political propaganda, or satire.
- Planh: A lament for the death of a prominent figure.
- Pastorela: Depicting a meeting between a knight and a shepherdess.
- Escondit: An apology or excuse offered to the lady, often concerning the secrecy of their love.
- Alba: A lament by lovers separating at dawn after spending the night together.
Notable Troubadours and Trobairitz
The main troubadours included Guerau de Cabrera, Guillem de Cabestany, the eventful and turbulent Guillem de Berguedà, and especially Cerverí de Girona (also known as Guillem de Cervera). A favorite of James I, he is considered the most important of our troubadours. We must not forget the female troubadours, known as trobairitz, notably the Comtessa de Dia and the Queen of Majorca.
Poetry Between Troubadours and Ausias March
Our Provençal poets continued using the established poetic language and adhered to the codes of troubadour poetry well into the fifteenth century. In the late fourteenth century, a process of de-Provençalization began regarding the poetic language, alongside a growing Italian influence concerning themes. Among these poets was Jordi de Sant Jordi, a Valencian knight and comrade-in-arms of Ausias March. His work retains troubadour characteristics, but his more human and sincere attitude, along with a sad and nostalgic tone, shows Italian influence. He is considered the greatest poet before Ausias March.