Información básica

Identificador
BEdT 242,046
Lengua
Occitano
Género | Forma
Pastorela
Estrofismo
Coblas unissonans
Rima
a b c b d d a e e f f e e f f
Estructura métrica
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
Comentarios

Ocho coblas unissonans de 15 versos y cuatro tornadas; dos de cuatro versos y dos de dos.

Edición base

Página(s)
348-359; núm. 55

Ediciones en línea

Manuscritos

Manuscrito
Folio(s)
16r-v
Manuscrito
Folio(s)
14r-v
Manuscrito
Folio(s)
17r-v
Manuscrito
Folio(s)
9r-v
Manuscrito
Folio(s)
15v-16r
Manuscrito
Folio(s)
5v-6r
Manuscrito
Folio(s)
8r-v
Manuscrito
Folio(s)
174
Manuscrito
Folio(s)
105
Manuscrito
Folio(s)
82r
Manuscrito
Folio(s)
68v-69v
Manuscrito
Folio(s)
35
Manuscrito
Folio(s)
23r
Manuscrito
Folio(s)
5r-6r

Otras ediciones y estudios

Página(s)
377-384; núm 56
Referencia bibliográfica
Página(s)
74-89, núm. 5

Texto

I
Lo dolz chans d’un auzel,
Que chantav’en un plais,
Me desviet l’altrer
De mo chamin e·m trais
E josta·l plaissaditz;
On fo l’auzels petitz,
Plaisson en un tropel
Tres tozas en chantan
La desmezur’e·l dan
C’a pres jois e solatz;
E vengui plus viatz
Per melhs entendre·l chan
E dissi lor aitan:
“Tozas, de que chantatz
de que vos clamatz?”


II
E cobret so mantel
La maier, que saup mais,
E dis: “D’un encombrer
Que mou dels rics savais.
Per qu’es jovens delitz;
C’aissi com pros es guitz
Ab bo pretz, que·l chabdel
E·l cresch’e·l par enan,
Se son mes a so dan
Li peior dels malvatz;
Que, si vos alegratz
Ni·n faziatz semblan,
Ilh vos aguizaran
Com ja joi non aiatz,
Si ges lor etz privatz.”


III
“Toza, ges tan isnel
No son vas bos assais
Com foron li primer,
Can aondava jais
E chans era grazitz.
Qu’eu eis, don sui marritz,
No trop sol qui m’apel
Ni·m quera ni·m deman;
Ans fui raubatz ogan
Entre tres reis prezatz
Si que l’us dels renhatz
M’o vai contrarian,
E parec al ferran
Que m’era gen donatz
E fo mal prezentatz!”


IV
“Senher, d’avol fardel
Se chargu’e d’avol fais
Qui rauba soldader
Ni s’en vest ni s’en pais,
E·l locs es molt aunitz
On el es acolhitz.
Aital lairo fradel
Ple de mal e d’engan
Si ja·l sofre ni·l blan
Nulh’alta poestatz,
Greu pot esser onratz,
Que be leu se diran
Cilh que non o sabran
Qu’el eis n’es encolpatz
O·lh n’eschai la meitatz.”


V
“Ami, el tems novel
Soli’om esser gais;
Er no vol om verger;
Entro que·l fruchs l’engrais,
Ni no platz chans ni critz.
Totz lo mons es marritz
E plus li jovensel
Que nulh conort no fan;
Qu’eu vi que per un gan,
Si lor fos enviatz,
Se mesclav’us barnatz
Que durava tot l’an;
Er vos escondiran
Lor daufas amistatz,
Pos qu’en fo·l pretz triatz.”


VI
“Senher, li fort chastel,
Don la maleza nais,
E li mur e·lh terrer
De tort e de biais
An tolt dos e convitz;
Qu’er non es om garnitz,
Si no fai manganel
Que pas sobre l’anvan,
Don ira pois cridan
Us vilas enrabiatz
Tota la noch: ‘Velhatz,
Qu’eu ai auzit mazan!’
Et adonc levaran.
E vos, si no·us levatz,
Seretz ochaizonatz.”


VII
“E que·m val, si·m revel,
Amia, ni m’irais?
Cudatz vos que·lh derrer
Se metan en eslais
Per aitals colps petitz;
Ni joves endurzitz,
Pos que·l tir a la pel,
Se venha melhuran
Per pauc colp de verjan
Ni que·s fassa viatz
C’us vers prozom preiatz
Se don a parsonan?
Doptara pois l’afan
E·s tenra per grejatz,
Si gaire·lh demandatz.”


VIII
“Si·l senher de Bordel,
Amics, no·n sofre·l fais
E no·s da consirer
Com del tot non abais
Lo mons, fos o peritz!
Que, pos jois er falhitz,
Re tot l’als non espel
A bo pretz benestan,
Ni ja lai non iran
Ni Deus ni fes ni patz
O·l senher renh’iratz;
Ca lui s’azesmaran
Cilh qu’entorn lui seran,
E, pos que jois li platz,
Alegran s’en totz latz.”


IX
“Toz’, eu m’irai laissan
De chantar mais ogan,
S’a mo Sobre-Totz platz,
Qu’eu no sui enastratz.”


X
“Senher, li dui Bertran
Sai be que vos diran
Que·us etz mal conselhatz,
Si del chan vos laissatz.”


XI
“Toza, totz dezonratz
Es c’ama dezamatz.”


XII
“Senher, sofretz en patz;
C’aissi seretz amatz!”
 

    I
    The sweet song of a bird singing in a hedge drew me from my path the other day and led me towards it, and beside this hedge where the small bird was a group of three damsels were singing a song complaining of the outrage and the harm which joy and good company have suffered. And I approached more swiftly, the better to hear this song, and I said to them: ‘Damsels, of what do you sing or of what do you complain?’


    II
    And the eldest, understanding better than the others, gathered up her cloak and said: ‘Of a disorder sown by the worthless nobility, which has destroyed generosity and youth. For, just as the excellent man is a guide to noble reputation, which he directs, increases and advances, so are the worst among these recreant men bent upon its undoing. For if you feel delight and show this in the way you look they will take care to stop you from having any joy, if you are ever in their company.’


    III
    ‘Damsel, less eager are they by far to test their courtly qualities than men once were when joy abounded and song was welcomed. For I myself can find no one to summon me or seek me out or ask for me, and this saddens me. Instead, I was robbed this year midway between the lands of three kings of great renown so that one of these kingdoms persists in showing me hostility, and this became clear from the grey horse, a gracious gift, but an ill-fated present!’


    IV
    ‘My lord, anyone who robs a man of the possessions he has earned and who uses them to clothe and feed himself burdens himself with a base load and a weight of shame, and any place which ever welcomes this man is greatly dishonoured. Little honour can come to any high ruler who ever tolerates or favours such a villainous thief, full of evil and deceit, for those who are ignorant of the facts may well say to themselves that the ruler himself bears the blame for the crime or that half the blame falls upon his head.’


    V
    ‘Sweet girl, not so long ago people used to be joyful; now nobody wants an orchard until he can grow fat on the fruit, and nobody delights in song and the sounds of festivity. All the world is dreary and most of all the young men, who offer no comfort [for this sorrow]; for I have seen a time when, for a [mere] glove that was sent to them, they would engage in knightly feats of arms which lasted the whole year. Now they will conceal from you their petty loves, since no renown is to be had from loving.’


    VI
    ‘My lord, the strong castles from which this evil stems, and the criss-cross of walls and earthworks, have ousted gifts and feasting; for now no man is equipped unless he sets up a mangonel that overtops the parapet, so that some rabid churl will then go around all night crying: "Stand by, for I have heard a great noise!", and then they will get up, and you, if you do not get up, will be blamed.’


    VII
    ‘And what good does it do me, sweet girl, to gainsay them or grow angry? Do you think that these laggards will become more active for such paltry blows, or that hardened youth will begin to improve because his skin feels the light stroke of the rod, or that he will grow joyful? For [even] a truly excellent man of great reputation, if he addresses you as an equal, will later fear the burden and think himself ill-used if you make a small request of him.’


    VIII
    ‘Friend, if the lord of Bordeaux does not take the burden upon himself and if he gives no thought to preserving the world from total ruin, let him perish indeed! For, once joy has failed, nothing that is left brings to fruition any quality which furthers fair renown, and neither God, nor faith, nor peace will ever venture there where the lord 's rule is joyless; for those who are in his company will follow his example and if he delights in joy they will rejoice on all sides around him.’


    IX
    ‘Damsel, I shall sing no more this year if my Above-All agrees to this, for fortune does not smile on me.’


    X
    ‘My lord, I know well that the two Bertrans will tell you that you are ill advised to give up singing.’


    XI
    ‘Damsel, [I give up singing,] for that man is dishonoured who loves unloved.’


    XII
    ‘My lord, suffer in peace; for so will you be loved.'

     

    (Sharman, The "cansos" and "sirventes")

    Música conservada

    Música conservada
    No