XXIX - L’autrier, a l’issuda d’abriu

Summary

4 MSS: A (31^r) Marcabruns, I (119^r) Mareabras, K (105^r) Marcabrus, d (305^v) Marcabrus

Analysis of the manuscripts

The MS tradition is uniform,. The absence of a line in stanza II, together with the scheme of incomplete cohlas doblas which indicates that a stanza is missing after the isolated stanza III and before stanza IV’ (see Lewent, ‘Beiträge’, p, 434), confirm that all MSS derive from a faulty archetype: see also the notes to lines 19 and 21. The abrupt ending suggests that the song as transmitted niay be incomplete in this respect too. IK are united in error in line 29, while the opposition between A and IK in line 9 suggests that A offers a cleaner text (see note to line 9). I contains minor isolated errors in lines 17 and 27.

Versification and melody

Frank, Repértoire, 55.2: 8a 8a 8a 8b 8a 8b. Five coblas doblas; the stanza following stanza III is missing in al MSS.

Following Spanke (Marcabrustudien, p. 21), who saw Marcabru’s poem as a contrafactum of ‘Ecce letantur omnia’, Fernandez de la Cuesta (Cançons, p. 59) prints the music of the latter for our song.

Previous scholarship

Appel, ‘Zti Marcabru’, pp. 437-38, 448-49; Bee, Xe problème’, p. 42; Bee, Lyrique, I, pp. 119–36; Bloch, Etymologies, pp. 110–11; Chambers, Introduction, p. 58; Cholakian, Troubadour Lyric, p. 81 note 59; Fernandez de la Cuesta, Canpns, p. 59; Franz, Marcabru, p. 20; Gaunt, Troubadours, pp. 54, 63–64; Harvey, Marcabru, pp. 17, 37; jeanroy, Poésie lyrique, II, p. 290; Köhler, Sodologia, pp. 195–215; Köhler, ‘Pastorela’, p. 36: Lawner, ‘Marcabrun’, pp. 496–97; Léglu, ‘Identifying the toza’, pp. 132–34; Paden, ‘Reading pastourelles’, pp. 4–5; Paden, Medieval Pastourelle^1, p. 40, II, pp. 539-40; Roncaglia, ‘Due schede’, pp. 133-34; Schulze-Busacker, ‘L’exorde’, pp. 227–28; Spanke, Marcabrustudien, pp. 21, 59; Thiolier-Méjean, Poésies, p. 295; Zink, Pastourelle, p. 31.

Studies involving this poem have either concentrated on lines 19-30 as examples of the poet’s condemnation of aristocratic adultery, degeneration of the noble bloodline and the sequestration of married women, or, in the context of the debate on the nature and origins of the pastorela, have alluded to this song while focusing on poem XXX.

Previous editions

Dejeanne; Paden, Medieval Pastourelle.