Razo 8.

And in :
Le corps s'en va, mais le coeur vous demeure."

And in :
On doit le temps ainsi prendre qu'il vient :
Tout dit que pas ne dure la fortune.
Un temps se part, et puis l'autre revient :
On doit le temps ainsi prendre qu'il vient.

Je me conforte en ce qu'il me souvient
Que tous les mois avons nouvelle lune :
On doit le temps ainsi prendre qu'il vient :
Tout dit que pas ne dure la fortune.

Which is much what Bernart de Ventadour has sung :
"Per dieu, dona, pauc esplecham d'amor"
"Va sen lo temps e perdem lo melhor"

And Campion was the last, but in none of the later
men is there the care and thought of En Arnaut, for the
blending of words sung out; and none of them all
succeeded, as indeed he had not succeeded in reviving and
making permanent poetry that could be sung. But none
of them all had thought so of the sound of the words
with the music, all in sequences and set together as
had En Arnaut of Ribeyrac, nor had I think even Dante
aligne his Alighieri when he wrote "De Eloquo".

And we find in Provence beautiful poems, as by
Vidal when he sings

"Ab l'alen tir vas me l'aire"

And by the Vicount of St. Antoni,

"Lo clar temps vei brunezir
E'ls auzeletz esperdutz,
Que'l fregz ten destregz e mutz
E ses conort de jauzir.
Donc eu que de cor sospir
Per la gensor re qu'anc fos,
Tan joios
Son, qu'ades m'es vis
Que folh' e flor s'espandis.
D'amor son tug miei cossir ......

Razo

J. 9

and by Bertrans de Born : in "Dompna puois di me ", but these people sang not so many diverse kinds of music as En Arnaut, nor made so many good poems in different fashions, nor thought them so carefully, though En Bertrans sings with more vigour, it may be, and in the others, in Cerclamón, Arnaut of Marvoil, in de Ventadour, there are beautiful passages. And if the art now in France, of saying a song -- disla sons, we find written of more than one troubadour -- is like the art of En Arnaut, it has no such care for the words, nor such ear for hearing their consonance.

Nor among the Provencals was there anyone, nor had Dante thought out an aesthetic of sound; of clear sounds and opaque sounds, such as in "Sols sui" an opaque sound like Swinburne at his best; and in"Doutz brais" and "L'aura amara" a clear sound, with staccato", and of heavy beats and of running and light beats, as very heavy in "Can chai la fueilla". Nor do we enough notice how with his drollery he is in places nearer to Chaucer than to the Italians, and indeed the Provencal is usually nearer the English in sound and in feeling, than it is to the Italian, having a softer humour, not a bitter tongue, as have the Italians in ridicule.

Nor have any yet among students taken note enough of the terms, both of love terms, and of terms of the singing; though theology was precise in its terms,

editor of Arnaut, who has shown I think great profundity
in his arrangement of the poems in their order, and has
really hit upon their sequence of composition, and the
developments of En Arnauts trobar; and lastly to
Rene Lavaud for his new Tolosan edition.

Arnaut Daniel

RAZO.

En Ar. Daniel was of Ribeyrac in Perigord, under Lemosi,
near to Hautfort, and he was the best fashioner of songs in the
Provençal, as Dante has said of him in his Purgatorio (ii, 140)
and Tasso says it was he wrote "Lancillotto", but this is not
known for certain, but Dante says only "proze di romanzi". Nor
is it known if Benvenuto da Imola speaks for certain when he says
En Arnaut went in his age to a monastery and sent a poem to the
princes; nor if he wrote a satire on Boniface Castillane; but
here are some of his canzos, the best that are left us; and he
was very cunning in his imitation of birds, as in the poem "Autet",
where he stops in the middle of his singing, crying: "Cadahus,
en son us", as a bird cries, and rhyming on it cleverly, with no
room to turn about on the words, "Mas pel us, estauc clus", and
in the other versets. And in "L'aura amara" he cries as the birds
in the autumn, and there is some of this also in his best poem,
"Doutz brais e critz".

And in "Breu briseral", he imitates, maybe, the rough singing
of the joglar engles, from whom he learnt "Ac et no l'ac"; and
though some read this "escomes", not "engles", it is likely enough
that in the court of En Richart there might have been an English

- 2 -

joglar, for En Bertrans calls Richart's brother "joven re Engles",
so why should there not be a joglar of the same, knowing allitera-
tions. And he may, in the ending "piula", have in mind some sort
of Arabic singing; for he knew well letters, in Langue d'Oc and
in Latin, and he knew Ovid, of whom he takes Atalanta, and may
be Virgil; and he talks of the Palux Lerna, though most copyers
have writ this "Uzerna", not knowing the place he spoke of. So
it is as like as not he knew Arabic music, and perhaps had heard,
if he not understood the meaning, some song in rough Saxon letters.

And by making song in _rimas escarsas_ he let into Provençal
poetry many words that are not found elsewhere and maybe some
words half Latin, and he uses many more sounds on the rhyme, for
as Canello or Savaud has written, he uses ninety-eight rhyme
sounds in seventeen canzos, and Peire Vidal makes use of but
fifty-eight in fifty-four canzos and Folquet of thirty-three in
twenty-two poems, and Raimbaut Orenga uses 129 rhymes in thirty-
four poems, a lower proportion than Arnaut's. And the songs
of En Arnaut are in some versets wholly free and uneven the whole
length of the verset, then the other five versets follow in the
track of the first, for the same tune must be sung in them all,
or sung with very slight _f_ orderly changes. But after the
earlier poems he does not rhyme often inside the stanza. And in
all he is very cunning, and has many uneven and beautiful rhythms,
so that if a man try to read him like English iambic he will very
often go wrong; though En Arnaut made the first piece of "Blank

- 3 -

Verse" in the seven opening lines of the "Sols sui"; and he, maybe,
in thinning out the rhymes and having but six repetitions to a
canzone, made way for Dante who sung his long poem in threes. But
this much is certain, he does not use the rhyme _-atge_ and many
other common rhymes of the Provençal whereby so many canzos are
all made alike and monotonous on one sound or two sounds to the
end from the beginning.

Nor is there much gap from "Lancan vei fueill'" or "D'autra
guiza" to the form of the sonnet, or to the receipt for the
Italian strophes of canzoni, for we have both the repetition and
the unrepeating sound in the verset. And in two versets the
rhymes run _abab cde abab cde_; in one, and in the other _abba cde
abba cde_; while in sonnets the rhymes run _abab abab cde cde_; or
abba abba cde cde. And this is no very great difference. A
sonneto would be the third of a _son_.

And I do not give "Ac et no l'ac", for it is plainly told
us that he learnt this song from a jongleur, and he says as much
in his coda:

Miells-de-ben ren
Sit pren
Chanssos grazida
C'Arnautz non oblida.

"Give thanks my song, to Miells-de-ben that Arnaut has not for-
gotten thee." And the matter went as a joke, and the song was
given to Arnaut to sing in his repertoire "E fo donatz lo cantar
an Ar Daniel, qui et aysi trobaretz en sa obra." And I do not give
the tenzon with Trucs Malecs for reasons clear to all who have

- 4 -

read it; nor do I translate the sestina, for it is a poor one,
but maybe it is interesting to think if the music will not go
through its permutation as the end words change their places in
order, though the first line has only eight syllables.

And En Arnaut was the best artist among the Provençals,
trying the speech in new fashions, and bringing new words into
writing, and making new blendings of words, so that he taught
much to Messire Dante Alighieri as you will see if you study
En Arnaut and the "De Vulgari Eloquio"; and when Dante was older
and had well thought the thing over he said simply "il miglior
fabbro". And long before Francesco Petrarca, he, Arnaut, had
thought of the catch about *aura*, *laura*, l'aura, and the rest of
it, which is no great thing to his credit. But no man in Proven-
çal has written as he writes in "Doutz brais": "E quel remir"
and the rest of it, though Ovid's Atalanta's flight from Hippomenes
where he recounts in the tenth book, had written:

" cum super atria velum

"Candida purpureum simulatas inficit umbras."

And in Dante we have much in the style of:

"Que jes Rozers per aiga que l'engrois".

And Dante learned much from his rhyming, and follows him in *agro*
and *Meleagro*, but more in a comprehension (and Dante has learned
also of Ovid: ("in Metamorphoseos")

" Velut ales, ab alto

"Quae teneram prolem produxit in aera nido"

- 5 -

although he talks so much of Virgil.

I had thought once of the mantle of indigo as of a thing
seen in a vision, but I have now only fancy to support this. It
is like men slandered Arnaut for Dante's putting him in his Purgatory, but the Trucs Malecs poem is against this.

En Arnaut often ends a canzono with a verset in different
tone from the rest, as markedly in "Si fos Amors". In "Briu bri-
saral" the music is very curious, but is lost for us, for there
are only two pieces of his music, and those in Milan, at the Am-
brosiana(in R 71 superiore).

And at the end of "Doutz brais", is a verset like the verset
of a sirvente, and this is what he wrote as a message, not making
a whole sirvente, nor, so far as we know, dabbling in politics or
writing of it, as Bertrans de Born has; only in this one place
in all that is left us. And he was a joglar, perhaps for his
living, and only composed when he would, and could not to order,
as is shown in the story of his remembering the joglar's canzono
when he had laid a wager to make one of his own. "Can chai la
fueilla" is more like a sea song or an estampida, though the edi-
tors call it a canzono and "Amors e jois", and some others were
so little thought of, that only two writers have copied them out
in the manuscripts; and the songs are all different one from
another, and their value nothing like even. Dante took note of
the best ones, omitting "Doutz brais", which is for us, perhaps
the finest of all, though having some lines out of strict pertin-
ence. But "Can chai la fueilla" is very cleverly made with

- 6 -

five, six, and four and seven. And in "Sols sui" and in other
canzos verse is syllabic, and made on the number of syllables,
not by stresses, and the making by syllables cannot be understood
by those of Petramala, who imagine the language they speak was
that spoken by Adam, and that one system of metric was made in
the world's beginning, and has since existed without change.
And some think if the stress fall not on every second beat, or
the third, that they must have right before Constantine. And the
art of En Ar Daniel is not literature but the art of fitting words
well with music, well given a lost art, and if one will look to
the music of "Chansson doil motz" or to the movement of "Can chai
la fueilla" one will see part of that which I mean, and if one
will look to the falling of the rhymes in other poems, and the
blending and lengthening of the sounds, and their sequence, one
will learn more of this. And En Arnaut wrote between 1180 and
1200 of the era, as nearly as we can make out, when the Provençal
was growing weary, and it was to be seen if it could last, and he
tried to make almost a new language, or at least to enlarge the
Langue d'Oc, and make new things possible. And this scarcely
happened till Quinicello, and Guido Ca' alcanti and Dante; Peire
Cardinal went to realism and made satirical poems. But the art
of singing to music went well nigh out of the words, for Metastasio
has left a few catches, and so Lorenzo di Medici, but in Bel
Canto in the times of Durante, and Piccini, Paradeis, Vivaldi,
Caldara and Benedetto Marcello the music turns the words out
of doors and strews them and distorts them to the

- 7 -

tune, out of all recognition; and the philosophic canzoni of
Dante and his timesmen are not understandable if they are sung,
and in their time music and poetry parted company; the canzone's
tune becoming a sonata without singing. And the ballade is a
shorter form, and the Elizabethan lyrics are but scraps and bits
of canzoni much as in the "nineties" men wrote scraps of Swinburne.

Charles d'Orleans made good roundels and songs, as in "Dieu
qui la fait" and in "Quand j'oie la tambourine" as did also Jean
Froissart before him in:

Reviens, amy; trop longue est ta demeure:
Elle me fait avoir peine et doulour.
Mon esperit te demande a toute heure.
Reviens, ami; trop longue est ta demeure.

Car il n'est nul, fors toi, qui me sequerre,
Ne secourra, jusques a ton retour.
Reviens, ami; trop longue est ta demeure:
Elle me fait avoir peine et doulour.

And in:

And in:

On doit le temps ainsi prendre qu'il vient:
Tout dit que pas ne dure la fortune.
Un temps se part, et puis l'autre revient:
On doit le temps ainsi prendre qu'il vient.

Je me comforte en ce qu'il me souvient
Que tous les mois avons nouvelle lune:
On doit le temps ainsi prendre qu'il vient:
Tout dit que pas ne dure la fortune.

Which is much what Bernart de Ventadour has sung:

"Per dieu, dona, pauc esplecham d'amor"
"Va sen lo temps e perdem lo melhor".

- 8 -

And Campion was the last, but in none of the later men is there
the care and thought of En Arnaut Daniel for the blending of
words sung out; and none of them all succeeded, as indeed he had
not succeeded in reviving and making permanent poetry that could
be sung. But none of them all had thought so of the sound of
the words with the music, all in sequence and set together as
had En Arnaut of Ribeyrac, nor had I think even Dante Alighieri
when he wrote "De Eloquio".

And we find in Provence beautiful poems, as by Vidal when
he sings:

"Ab l'alen tir vas me l'aire"

And by the Viscount of St. Antoni:

"Lo clar temps vei brunezir
E'ls auzeletz esperdutz,
Que'l fregz ten destregz e mutz
E ses conort de jauzir.
Donc eu que de cor sospir
Per la gensor re qu'anc fos,
Tan joios
Son, qu'ades m'es vis
Que folh' e flor s'espandis.
D'amor son tug miei cossir ......"

and by Bertrans de Born: in "Dompna puois di me", but these
people sang not so many diverse kinds of music as En Arnaut, nor
made so many good poems in different fashions, nor thought them
so carefully, though En Bertrans sings with more vigour, it may
be, and in the others, in Cerclamon, Arnaut of Marvoil, in de
Ventadour, there are beautiful passages. And if the art now in
France, of saying a song -- disia.sons, we find written of more

- 9 -

than one troubadour -- is like the art of En Arnaut, it has no
such care for the words, nor such ear for hearing their conson-
ance.

Nor among the Provençals was there anyone, nor had Dante
thought out an aesthetic of sound; of clear sounds and opaque
sounds, such as in "Sols sui" an opaque sound like Swinburne at
his best; and in "Doutz brais" and "L'aura amara" a clear sound,
with staccato; and of heavy beats and of running and light beats,
as very heavy in "Can chai la fueilla". Nor do we enough notice
how with his drollery he is in places nearer to Chaucer than to
the Italians, and indeed the Provençal is usually nearer the
English in sound and in feeling, than it is to the Italian, hav-
ing a softer humour, not a bitter tongue, as have the Italians
in ridicule.

Nor have any yet among students taken note enough of the
terms, both of love terms, and of terms of the singing; though
theology was precise in its terms, and we should see clearly
enough in Dante's treatise when he uses such words as _pexa_,
_hirsuta_, _lubrica_, combed, and shaggy and oily to put his words
into categories, that he is thinking exactly. Would the Age of
Aquinas have been content with anything less? And so with the
love terms, and so, as I have said in my Guido, with metaphors
and the exposition of passion. Cossir, solatz, plazers, have
in them the beginning of the Italian philosophic precisions, and
amors qu'inz el cor mi plou is not a vague decoration, by the
cup.

- 10 -

time of Petrarca the analysis had come to an end, only the vague
decorations were left. And if Arnaut is long before Cavalcanti:

Pensar de lieis m'es repaus
E traigom ams los huoills crancs,
S'a lieis vezer nols estuich.

leads toward "E gli occhi orbati fa vedere scorto", though
the music in Arnaut is not, in this place, quickly apprehended.
And those who fear to take a bold line in their interpretation
of "Cill de Doma", might do worse than re-read:

"Una figura de la donna mia"

and what follows it. And for the rest any man who would read
Arnaut and the troubadours owes great thanks to Emil Levy of
Freiburg i/b for his long work and his little dictionary (Petit
Dictionnaire Provençal-Français, Karl Winter's Universitatsbuch-
handlung, Hamburg, and to U.A. Canello, the first editor of
Arnaut, who has shown I think great profundity in his arrangement
of the poems in their order, and has really hit upon their sequence
of composition, and the developments of En Arnaut's trobar; and
lastly to René Lavaud for his new Tolosan edition.

Heidelberg