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But Richard recovered himself quickly, crying, "Have at you again, Don Pedro." So they brought fresh spears, and down went De Vaqueiras on his back, his horse upon him.
None the less, such visits must have taken place: Sancho I. had French jongleurs in his pay during the twelfth century and the Portuguese element in the five-language descort of Raimbaut de Vaqueiras shows that communication between Provençal poets and Portuguese or Galician districts must have existed.
Two by two he saw them from afar as they went with romping and laughter into the tall woods behind Storisende to fetch back the May-pole with dubious old rites. And as they went they sang, as was customary, that song which Raimbaut de Vaqueiras made in the ancient time in honor of May's ageless triumph.
"And when you went to Soissons to take the cross, I did not intend may God forgive me to cross the sea, but to increase your fame I took the cross and made confession." The count lost his life, as Villehardouin relates, in a skirmish with the Bulgarians in 1207. Raimbaut de Vaqueiras probably fell at the same time.
The third day Pedro de Vaqueiras, a knight from Santiago, encountered him in his silver armour, when he rode a horse white as the Holy Ghost. By a chance blow the Spaniard bore him back on to the crupper. There was a great shout, "The Count is down! Look to the castle, Poictou!" Dame Jehane turned colour of ash, for she remembered the leper's prophecy, and knew that De Vaqueiras loved her.
Count Manfred II. and Albert, the Marquis of Malaspina, engaged in tensos with Peire Vidal and Raimbaut de Vaqueiras respectively and are the first Italians known to have written in Provençal. Genoa produced a number of Italian troubadours of whom the best were Lanfranc Cigala and Bonifacio Calvo.
The descort of Raimbaut de Vaqueiras is written in five dialects, one for each stanza, and the last and sixth stanza of the poem gives two lines to each dialect, which Babel of strange sounds is intended, he says, to show how entirely his lady's heart has changed towards him. The ballata and the estampida were dance-songs, but very few examples survive.
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