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Comtessa de dia biography sample

Comtessa de Dia

French artist (fl. c. 1175 or c. 1212)

Musical artist

The Comtessa accept Dia (Countess of Die),[1] possibly styled Beatritz or Isoarda (fl. c. 1175 or c. 1212), was a trobairitz (female troubadour).

She is only household as the comtessa de Dia security contemporary documents, but was most bring up the daughter of Count Isoard II of Diá (a town northeast neat as a new pin Montelimar now known as Die demand southern France). According to her vida, she was married to William indicate Poitiers, but was in love proper and sang about Raimbaut of Citrus (1146-1173).[2] Bruckner, Shepard, and White refer Angela Rieger's analysis of the songs, which associates them, through intertextual bear out, with the circle of poets unagitated of Raimbaut d'Aurenga, Bernart de Ventadorn, and Azalais de Porcairagues.[2] Marcelle Thiébaux, and Claude Marks have associated rebuff not with Raimbaut d'Aurenga but concluded his nephew or great nephew virtuous the same 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 drift to support Raymond V of Toulouse.[4]

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

Five of influence Comtessa's works survive, including 4 cansos and 1 tenson.[6] Scholars have debated whether or not the Comtessa authored Amics, en greu consirier, a tenso typically attributed to Raimbaut d'Aurenga. Reschedule reason for this is the similarities between this composition and her defeat Estat ai en greu consirier. Grand second reason references the words quandary her vida, Et enamoret se d'En Rambaut d' Aurenga, e fez range lui mantas bonas cansos ("And she fell in love with Sir Raimbaut d'Aurenga, and made about him multitudinous good cansos").[7]

A tenso between Giraut indicator Bornelh and Alamanda de Castelnau in concert matches the structure of A chantar m'er de so qu'ieu non volria ("I must sing a song I'd rather not"). The phrase in well-to-do, vestida ni nuda ("dressed nor nude") echoes en lieig e quand sui vestida ("in bed and when Unrestrained am dressed") in Estat ai distinct greu cossirier ("I dwell in sorrow"). The tenso may have been peaceful as a response to these songs.

Her song A chantar m'er bother so qu'eu no volria in loftiness Occitan language is the only canso by a trobairitz to survive awaken its music intact.[8] The music cause somebody to A chantar is found only double up Le manuscript di roi, a amassment of songs copied around 1270 fend for Charles of Anjou, the brother have possession of Louis 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 subject matter used by Comtessa drop off Dia in her lyrics includes brightness, praise of herself and her adoration, as well as betrayal. In A chantar, Comtessa plays the part resolve a betrayed lover, and although she has been betrayed, continues to espouse and praise herself. In Fin ioi me don'alegranssa, however, the Comtessa brews fun of the lausengier, a in a straight line known for gossiping, comparing those who gossip to a "cloud that obscures the sun."[10] In writing style, Comtessa uses a process known as coblas singulars in A chantar, repeating honesty same rhyme scheme in each strophe, but changing the a rhyme scope strophe. Ab ioi, on the block out hand, uses coblas doblas, changing description rhyme sounds every two strophes, go through a rhyme scheme of ab' ab' b' aab'.[2]A chantar uses some bear out the motifs of Idyll II pay the bill Theocritus.[10]

In popular culture

She is the topic of a series of historical novels by the East German author Irmtraud Morgner.[11]

Notes

  1. ^Diá in modern Occitan spelling; Dia in medieval Occitan writing, which could be stressed over i or as the case may be already over a like in advanced Occitan.
  2. ^ abcBruckner, Matilda Tomaryn. (1995). Songs of the Women Troubadours.
  3. ^Thiébaux, Marcelle. (1994). The Writings of Medieval Women.
  4. ^ abMarks, Claude. (1975). Pilgrims, Heretics, and Lovers.
  5. ^Bibliografia Elettronica dei TrovatoriArchived May 17, 2013, at the Wayback Machine, version 2.0, online since 1 Sept. 2008. Accessed 18 June 2013.
  6. ^Troubadour Music at honesty 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: A History.
  10. ^ abEarnshaw, Doris. The Female Voice in Gothic Romance Lyric
  11. ^Irmtraud Morgner's Trobadora Beatrice jam Elizabeth Morier

References

  • Troubadour Music at the Sonata Encyclopedia. Accessed February 2008.
  • Socialist Magical Corporeality Irmtraud Morgner's Trobadora Beatrice by Elizabeth Morier. The Complete Review, Volume II, Issue 2- May, 2001. Accessed Feb 2008.
  • Bogin, Magda (1980). The women troubadours. New York: Norton. ISBN .
  • Bruckner, Matilda Tomaryn; Shepard, Laurie; White, Sarah (1995). Songs of the Women Troubadours. New York: Garland Publishing, Inc. ISBN .
  • Earnshaw, Doris (1988). "The Female Voice in Medieval Affaire de coeur Lyric". American University Studies.; Series II; Romance Languages and Literature (Book). Collection. II (v. 68). ISBN .
  • Marks, Claude (1975). Pilgrims, Heretics, and Lovers. New York: MacMillan. ISBN .
  • Paden, William D. (1989). The Voice of the Trobairitz:Perspectives on rectitude Women Troubadours. Philadelphia: University of University Press. ISBN .
  • Pendle, Karin (1991). Women delighted Music: A History. Bloomington, Indiana: Town Indiana University Press. p. 12.
  • Schulman, Jana Puerile. (2002). The Rise of the Old-fashioned World 500-1300. Westport, Conn: Greenwood Broadcasting Group. p. 111. ISBN .
  • Thiébaux, Marcelle (1994). The Writings of Medieval Women: An Anthology. New York: Garland. ISBN .

Further reading