Abstract
The sirventes of the troubadour era has been broadly studied, but there are not overall explanations concerning the evolution of the sirventes genre in the Catalan-speaking lands of the fourteenth and fifteenth centuries. This paper propounds a catalogue of sirventesos concerning its historical development, the troubadour models, rhetorical and grammatical treatises, and genre assignment in rubrics. Our catalogue contains thirty-one Catalan sirventesos , including twenty-eight extant items and three items lost. In some cases the literary motifs of the sirventes cross boundaries in a process of poetic hybridization with other moral genres which borrow out themes, images and rhetorical strategies from the sirventes . In order to reflect this complexity, our catalogue also includes an annex with twenty-seven texts that are not properly sirventesos but, due to their idiosyncrasy, can be placed in the periphery of the genre.
Highlights
The sirventes of the troubadour era has been broadly studied, but there are not overall explanations concerning the evolution of the sirventes genre in the Catalan-speaking lands of the fourteenth and fifteenth centuries
This paper propounds a catalogue of sirventesos concerning its historical development, the troubadour models, rhetorical and grammatical treatises, and genre assignment in rubrics.Our catalogue contains thirty-one Catalan sirventesos, including twenty-eight extant items and three items lost
In some cases the literary motifs of the sirventes cross boundaries in a process of poetic hybridization with other moral genres which borrow out themes, images and rhetorical strategies from the sirventes
Summary
El sirventès trobadoresc ha estat definit canònicament com un tipus de poesia política i moral, amb elements de sàtira personal. La segona idea relativa al contingut del gènere que recullen tots els tractats és que un sirventès pot blasmar o castigar els malvats del món, amb possibilitat de lloar els dignes i mostrar-los com a exemple (Doctrina) i d’educar els ignorants (Leys, segona redacció en prosa). 3. El primer autor que utilitza el procediment del contrafactum, Bertran de Born, que esdevé modèlic, s’inicia en el sirventès amb “Seigner En coms a blasmar”, on imita la forma, precisament, d’un altre sirventès, “Eu non cuidava chantar”, de Guillem de Berguedà, i no pas d’una cançó o un vers, com recomanen els tractats posteriors. Amb força, el sirventès polític i el moral, que lamenta la decadència dels usos socials però que també incorpora referències de l’àmbit del regiment de prínceps, mentre que cal llegir els poemes satírics ad hominem com a maldits, tal com fan els tractats. Quant a la imitació formal, tan característica del sirventès trobadoresc, cap dels vint-i-vuit sirventesos catalans pren la rima exacta d’un poema conegut, català o occità; només, en alguns casos, el patró mètric
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