"LAS DONAS E LAS FEMNAS, LAS TOZAS AVINENS" WOMEN IN LA CANSO DE LA CROZADA La Canso de la Crozada, the epic narrative ofthirteenth-century war and destruction in Southern France, challenges the modern reader to see both sides of a real war and both sides of a literary struggle to expand the boundaries of an established genre, the chanson de geste. The story, which relates the events dating from 1208 to 1219 of the Catholic church's crusade against the Cathar heretics and their aristocratic protectors, istold by two authorswith two different points of view, two different reasons for writing, and, ultimately, two different stories, which, together, are known as La Canso de la Crozada (or. in French, La Chanson de la Croisade albigeoise).1 In examining this textmodern scholarshave compared its disparate messages and the poetic quality of its two authors and considered its place in the literature of the time. One aspect, however, has escaped the attention of most scholars: namely, the role of women. Compared to most epic accounts, the Canso allows women to appear with relative frequency, giving them an active role and a voice. In this article 1 shall analyze the passages in which women are mentioned in order to compare the two authors, their attitudes about women, the narrative function of women in their texts. and. finally, their attitudes about the genre adopted for their subject. Little is known about the two authors ofthe Canso. The first poet introduces himselfin the text: "Maestre Guilhelms la fist a Montalba on fo" (9, 26). His name is Guilhem de Tudela, a clerk from Navarre protected by Count Baudoin. He is openly hostile towards the heretics (2, 4-9) and a staunch supporter ofthe crusaders, attributing their success to divine intervention (56, 44-46, 57). He states that he began writing in 1210 (9, 24).2 His part of the poem, 2749 verses, recounts the events from the initial invasion of 1209 to the Batttle of Muret in 12 13.3 The continuator of his poem remains anonymous: no mention ofhis name is made in the text, but it has been surmised that he was a clerk from Toulouse, possibly even the troubadour. Peire Cardenal.4 He continueswhere the otherpoetleft off, with the Battle of Muret, and ends with the arrival of Louis, son of the King of France, Philip Augustus, in Toulouse in 1219. His portion of the text amounts to 6,811 verses, or roughly threequarters of the entire work. The anonymous poet is clearly sympathetic to the cause ofthe South and supports the house ofToulouse. WOMEN IN CANSO DE LA CROZADA He deplores the destruction ofcities and land, the death ofso many people, and the French presence on land rightfully belonging to Southerners. That does not, however, mean that he espouses heretical religious ideas. His theology is quite orthodox, except for his hatred ofthe Bishop ofToulouse, whom he sees as acollaborator. Even though the Canso is written by two different authors, the plot, which is arranged chronologically, continues without interruption, ending with a sense of true closure.5 The only outward sign of the shift from one poet to the other is the abrupt change of political perspective and the transformation ofthe rhyme schemefrom cablas capcaudadas to cablas capfinidas.6 Both authors followthe basic lines ofthe chanson degestemodel in crafting their respective sections of the Canso. They develop the typical motifs and formulas of the genre: descriptions of arms, knights, battles, the siege of cities, mobilization of troops, one-onone combat using swords and other weapons, insults and threats, prayers, pursuit ofthe enemy, meetings ofwar councils and ambassadors .7 Guilhem de Tudela explains that the specific model for his poem is the Canso d'Antiocha: "Senhors. esta canso es faita d'aitai guia / Com sela d'Antiocha" (Lords, this song is composed according to the same form / As that of Antioch) [2. 1-2], which was a well known chanson de geste about the first Crusade.8 Thus. Tudela builds his poem on a textwhich supplies the form and melody for his own. a text which is couched in a generic tradition with well-defined themes and particular modes of expression, such as...