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Updated: September 28, 2025
This difference is further apparent in the attitude of minnesingers and troubadours towards the conception of "love."
The royal prisoner, weary of his long captivity, complained bitterly of the neglect of his people and friends, singing his woes in a song composed in the polished dialect of Provence, the land of the troubadours. "There is no man, however base, whom for want of money I would let lie in a prison cell," he sang. "I do not say it as a reproach, but I am still a prisoner."
The love of the troubadours and minnesingers, of the Arthurian tales, which show that love in narrative form, was, as we have seen, polluted by the selfishness, the deceitfulness, the many unclean necessities of adulterous passion. Elevated and exquisite though it was, it could not really purify the relations of man and woman, since it was impure.
You know that though I admire not your Petrarch, you with more courtesy laud our Provencal ballads, and you must hear Adeline sing one that you may prize them the more. The race of the Troubadours is dead, but the minstrelsy survives the minstrel!"
The songs of the Troubadours were in many cases taken directly from Eastern models. In early Arabian times it was customary for two shepherds to converse in music by intoning responsive phrases on their flutes; and it soon became customary for two minstrels to sing in like manner.
She is as natural and simple as a girl can be, and doesn't throw Greek roots at you, nor try to convince you of the difference between the songs of the troubadours and the sonnets of Petrarch. She doesn't care a rap whether Dante's Beatrice was a real woman or a principle; whether James the First poisoned his son; or what's the margin between a sine and a cosine.
Gardens of the Provins rose may still be found at Provins, though they are little cultivated now for commercial purpose; Provence, the land of the Troubadours, has therefore no claim whatever upon rose lovers, who are indebted instead to the airy little Acropolis of Champagne.
They were the troubadours of the North. They composed romances of chivalry, and Fabliaux, or amusing tales. They sang in a more warlike and virile strain than the poets of the South. Their first romances were written late in the twelfth century. About that time Villehardouin wrote in French a history of the conquest of Constantinople.
He compliments Pedro on his determination in one poem and in another tells his lady, "the king has promised me that in a short time, I shall have Miraval again and my Audiart shall recover his Beaucaire; then ladies and their lovers will regain their lost delights." Such was the attitude of many troubadours towards the crusade and they seem to represent the views of a certain section of society.
The first was that of the troubadours, writing in the Provençal language, hardly to be distinguished from their contemporaries of the South of France, giving expression in their verses to the ideas of love, gallantry, and valor which formed the base of the complex and artificial system of chivalry, repeating constantly the same fancies and thoughts in similar formulas of words, without scope or truth of imagination, with rare exhibitions of individual feeling, with little regard for Nature.
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