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Updated: May 5, 2025
The poem is interesting for its repetition of the word lavador or piscina, used as an emblem of the crusade in which the participants would be cleansed of their sins. "Pax, etc., -Marcabrun composed the words and the air. Hear what he says.
But in comparison with Marcabrun, Peire d'Auvergne worked out the idea with a far more delicate poetical touch.
He was no singer of love and the three of his chansos that remain are inspired by the misogyny that we have noted in the case of Marcabrun. Peire Cardenal's strength lay in the moral sirventes: he was a fiery soul, aroused to wrath by the sight of injustice and immorality and the special objects of his animosity are the Roman Catholic clergy and the high nobles.
Marcabrun knows the technical terms cortesia and mesura, which he defines: mesura, self-control or moderation, "consists in nicety of speech, courtesy in loving. He may boast of courtesy who can maintain moderation." The poem concludes with a dedication to Jaufre Rudel Lo vers e·l son vueill envier A'n Jaufre Rudel outra mar. "The words and the tune I wish to send to Jaufre Rudel beyond the sea."
Marcabrun was the author of one of the earliest of these, composed for the benefit of Alfonso VIII. of Castile and possibly referring to his expedition against the Moors in 1147, which was undertaken in conjunction with the kings of Navarre and Aragon.
Two or three causes may have combined to favour the development of obscure writing. Marcabrun asserts, possibly in jest, that he could not always understand his own poems.
From the time of Henry II. to that of Edward I. England was in constant communication with Central and Southern France and a considerable number of Provençals visited England at different times and especially in the reign of Henry III.; Bernard de Ventadour, Marcabrun and Savaric de Mauleon are mentioned among them.
Peire travelled, in the pursuit of his profession, to the court of Sancho III. of Castile and made some stay in Spain: he is also found at the courts of Raimon V. of Toulouse and, like Peire Rogier, at Narbonne. Among his poems, two are especially well known. In a love poem he makes the nightingale his messenger, as Marcabrun had used the starling and as others used the swallow or parrot.
These invectives may have been the outcome of personal disappointment; the theory has also been advanced that the troubadour idea of love had not yet secured universal recognition, and that Marcabrun is one who strove to prevent it from becoming the dominant theme of lyric poetry. His best known poem was the "Starling," which consists of two parts, an unusual form of composition.
Next in point of time is the troubadour Cercamon, of whom we know very little; his poems, as we have them, seem to fall between the years 1137 and 1152; one of them is a lament upon the death of William X. of Aquitaine, the son of the notorious Count of Poitiers, and another alludes to the marriage of Eleanor of Aquitaine, the daughter of William X. According to the Provençal biography he was the instructor of a more interesting and original troubadour Marcabrun, whose active life extended from 1150 to 1195.
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