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Added another planh to the table. I couldn't work out how to get the yellow colour in this row so if someone else knows how to do it that would be very helpful!
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{{redirect|Planch|the botanist|Jules Émile Planchon}}
{{redirect|Planch|the botanist|Jules Émile Planchon}}
[[File:BnF_ms._854_fol._133_-_Cercamon_(2).jpg|thumb|[[Cercamon]], [[troubadour]] and author of the earliest known ''planh'']]
[[File:BnF_ms._854_fol._133_-_Cercamon_(2).jpg|thumb|[[Cercamon]], [[troubadour]] and author of the earliest known ''planh'']]
A [[Literary genre|genre]] of the [[troubadour]]s, the '''{{lang|pro|planh}}''' or '''{{lang|pro|plaing}}''' ({{IPA-all|ˈplaɲ|Old Occitan}}; "lament") is a funeral lament for "a great personage, a protector, a friend or relative, or a lady."<ref name=Schulze>Elisabeth Schulze-Busacker, "Topoi", in F. R. P. Akehurst and Judith M. Davis, eds., ''A Handbook of the Troubadours'' (Berkeley: University of California Press, 1995), pp. 421–440.</ref> Its main elements are expression of grief, praise of the deceased (eulogy) and prayer for his or her soul.<ref name=Schulze/><ref name=Stäblein>Patricia Harris Stäblein, "New Views on an Old Problem: The Dynamics of Death in the {{lang|pro|Planh}}", ''Romance Philology'' '''35''', 1 (1981): 223–234.</ref> It is descended from the medieval [[Latin]] {{lang|la|[[planctus]]}}.<ref name=Paden>William D. Paden, "Planh/Complainte", in W. W. Kibler and G. A. Zinn, eds., ''Medieval France: An Encyclopedia'' (New York: Garland, 1995), pp. 1400–1401.</ref>
A [[Literary genre|genre]] of the [[troubadour]]s, the '''{{lang|pro|planh}}''' or '''{{lang|pro|plaing}}''' ({{IPA-all|ˈplaɲ|Old Occitan}}; "lament") is a funeral [[lament]] for "a great personage, a protector, a friend or relative, or a lady."<ref name=Schulze>Elisabeth Schulze-Busacker, "Topoi", in F. R. P. Akehurst and Judith M. Davis, eds., ''A Handbook of the Troubadours'' (Berkeley: University of California Press, 1995), pp. 421–440.</ref> Its main elements are expression of grief, praise of the deceased ([[eulogy]]) and prayer for his or her soul.<ref name=Schulze/><ref name=Stäblein>Patricia Harris Stäblein, "New Views on an Old Problem: The Dynamics of Death in the {{lang|pro|Planh}}", ''Romance Philology'' '''35''', 1 (1981): 223–234.</ref> It is descended from the medieval [[Latin]] {{lang|la|[[planctus]]}}.<ref name=Paden>William D. Paden, "Planh/Complainte", in W. W. Kibler and G. A. Zinn, eds., ''Medieval France: An Encyclopedia'' (New York: Garland, 1995), pp. 1400–1401.</ref>


The {{lang|pro|planh}} is similar to the {{lang|pro|[[sirventes]]}} in that both were typically [[contrafacta]]. They made use of existing melodies, often imitating the original song even down to the rhymes. The most famous {{lang|pro|planh}} of all, however, [[Gaucelm Faidit]]'s lament on the death of King [[Richard the Lionheart]] in 1199, was set to original music.<ref>John Stevens, [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000021905 "Planctus"], ''Grove Music Online'' (2001). Retrieved 21 August 2019.</ref>
The {{lang|pro|planh}} is similar to the {{lang|pro|[[sirventes]]}} in that both were typically [[contrafacta]]. They made use of existing melodies, often imitating the original song even down to the rhymes. The most famous {{lang|pro|planh}} of all, however, [[Gaucelm Faidit]]'s lament on the death of King [[Richard the Lionheart]] in 1199, was set to original music.<ref>John Stevens, [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000021905 "Planctus"], ''Grove Music Online'' (2001). Retrieved 21 August 2019.</ref>
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Elisabeth Schulze-Busacker identifies three types of {{lang|pro|planh}}: "the moralizing {{lang|pro|planh}}", in which the expression of grief is a point of departure for social criticism; "the true lament", in which personal grief is central; and "the courtly {{lang|pro|planh}}", in which the impact of the death on the court is emphasised.<ref name=Schulze/> [[Alfred Jeanroy]] considered that the common denunciation of the evils of the present age was a feature that distinguished the {{lang|pro|planh}} from the {{lang|la|planctus}}.<ref>Stephen Manning, "Chaucer's Good Fair White: Woman and Symbol", ''Comparative Literature'' '''10''', 2 (1958): 97–105.</ref> In the conventions of the genre, the subject's death is announced by the simple words {{lang|pro|es mortz}} ("is dead"). By the 13th century, the placement of these words within the poem was fixed: it occurred in the seventh or eighth line of the first stanza.<ref name=Schulze/> It is perhaps an indication of the sincerity of their grief that the troubadours rarely praised the successors of their patrons in the {{lang|pro|planh}}.<ref name=Paden/>
Elisabeth Schulze-Busacker identifies three types of {{lang|pro|planh}}: "the moralizing {{lang|pro|planh}}", in which the expression of grief is a point of departure for social criticism; "the true lament", in which personal grief is central; and "the courtly {{lang|pro|planh}}", in which the impact of the death on the court is emphasised.<ref name=Schulze/> [[Alfred Jeanroy]] considered that the common denunciation of the evils of the present age was a feature that distinguished the {{lang|pro|planh}} from the {{lang|la|planctus}}.<ref>Stephen Manning, "Chaucer's Good Fair White: Woman and Symbol", ''Comparative Literature'' '''10''', 2 (1958): 97–105.</ref> In the conventions of the genre, the subject's death is announced by the simple words {{lang|pro|es mortz}} ("is dead"). By the 13th century, the placement of these words within the poem was fixed: it occurred in the seventh or eighth line of the first stanza.<ref name=Schulze/> It is perhaps an indication of the sincerity of their grief that the troubadours rarely praised the successors of their patrons in the {{lang|pro|planh}}.<ref name=Paden/>


There are forty-four surviving {{lang|pro|planhz}}.<ref name=Schulze/> The earliest {{lang|pro|planh}} is that by [[Cercamon]] on the death of Duke [[William X of Aquitaine]] in 1137. The latest is an anonymous lament on the death of King [[Robert of Naples]] in 1343. The {{lang|pro|planh}} was regarded by contemporaries as a distinct genre and is mentioned in the {{lang|pro|[[Doctrina de compondre dictatz]]|italic=no}} (1290s) and the {{lang|pro|[[Leys d'amors]]}} (1341).<ref name=Paden/>
There are at least forty-four surviving {{lang|pro|planhz}}.<ref name=Schulze/><ref>Élisabeth Schulze-Busacker, ‘La Complainte des morts dans la littérature occitane’ in Claude Sutto (ed.), ''Le Sentiment de la mort au moyen âge: Études présentées au Cinquième colloque de l'Institut d'études médiévales de l'Université de Montréal'' (Montréal: Aurore, 1979), 230–48.</ref> The earliest {{lang|pro|planh}} is that by [[Cercamon]] on the death of Duke [[William X of Aquitaine]] in 1137. The latest is an anonymous lament on the death of King [[Robert of Naples]] in 1343. The {{lang|pro|planh}} was regarded by contemporaries as a distinct genre and is mentioned in the {{lang|pro|[[Doctrina de compondre dictatz]]}} (1290s) and the {{lang|pro|[[Leys d'amors]]}} (1341).<ref name=Paden/>


==Chronological table of {{lang|pro|planhz}}==
==Chronological table of {{lang|pro|planhz}}==
The following table lists 42 {{lang|pro|planhz}}.
The following table lists 45 {{lang|pro|planhz}}.


{{legend2|#E6E6AA|great person or patron|border=1px solid #AAAAAA}}<br>
{{legend2|#E6E6AA|great person or patron|border=1px solid #AAAAAA}}<br>
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|-
|-
!Composer
!Composer
!PC<ref>The song's number in Alfred Pillet and Henry Carstens, ''Bibliographie der Troubadours'' (1933).</ref>
!PC
![[Incipit]] (i.e. title)
![[Incipit]] (i.e. title)
!Date
!Date
Line 28: Line 28:
|[[Cercamon]]
|[[Cercamon]]
|112,2a
|112,2a
|''[http://www.trobar.org/troubadours/cercamon/cmn6.php Lo plaing comens iradamen]''
|''[http://trobar.org/troubadours/cercamon/cmn6.php Lo plaing comens iradamen]''
|[[1137 in poetry|1137]]
|[[1137 in poetry|1137]]
|[[William X of Aquitaine]]
|[[William X of Aquitaine]]
Line 34: Line 34:
|[[Giraut de Borneil]]
|[[Giraut de Borneil]]
|242,65
|242,65
|''[http://www.trobar.org/troubadours/giraut_de_bornelh/poem76.php S'anc jorn aqui joi e solaz]''
|''[http://trobar.org/troubadours/giraut_de_bornelh/poem76.php S'anc jorn aqui joi e solaz]''
|[[1173 in poetry|1173]]
|[[1173 in poetry|1173]]
|[[Raimbaut d'Aurenga]]
|[[Raimbaut d'Aurenga]]
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|[[Bertran de Born]] ?
|[[Bertran de Born]] ?
|80,26
|80,26
|''[http://www.trobar.org/troubadours/bertran_de_born/poem48.php Si tuit li dol el plor el marrimen]''
|''[http://trobar.org/troubadours/bertran_de_born/poem48.php Si tuit li dol el plor el marrimen]''
|[[1183 in poetry|1183]]
|[[1183 in poetry|1183]]
|[[Henry the Young King]]
|[[Henry the Young King]]
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|Bertran de Born
|Bertran de Born
|80,41
|80,41
|''[http://www.trobar.org/troubadours/bertran_de_born/poem15.php Mon chan fenisc el dol et ab maltraire]''
|''[http://trobar.org/troubadours/bertran_de_born/poem15.php Mon chan fenisc el dol et ab maltraire]''
|1183
|1183
|Henry the Young King
|Henry the Young King
|- style="background:#E6E6AA"
|-
|[[Bertran de Born]]
|Bertran de Born
|80,6a
|80,6a
|[http://trobar.org/troubadours/bertran_de_born/poem31.php A totz dic qe ja mais non voil]
|''[http://trobar.org/troubadours/bertran_de_born/poem31.php A totz dic qe ja mais non voil]''
|1186
|1186
|[[Geoffrey II, Duke of Brittany|Geoffrey of Brittany]]
|[[Geoffrey II, Duke of Brittany|Geoffrey of Brittany]]
|- style="background:#CCEEFF"
|[[Raimbaut de Vaqueiras]]
|392,4a
|''[http://trobar.org/troubadours/raimbaut_de_vaqueiras/raimbaut_de_vaqueiras_31.php Ar pren camgat per tostemps de xantar]''
|c. 1190
|anonymous lady
|- style="background:#FFB6B6"
|[[Guilhem de Saint-Leidier]]
|234,15a
|''[http://trobar.org/troubadours/st_didier/gsd10.php Lo plus iraz remaing d'autres chatius]''
|c. 1190
|Badoc
|- style="background:#E6E6AA"
|- style="background:#E6E6AA"
|[[Folquet de Marselha]]
|[[Folquet de Marselha]]
|155,20
|155,20
|''[http://www.trobar.org/troubadours/folquet/folma17.php Si com cel qu'es tan greujat]''
|''[http://trobar.org/troubadours/folquet/folma17.php Si com cel qu'es tan greujat]''
|[[1192 in poetry|1192]]
|[[1192 in poetry|1192]]
|[[Barral of Baux|Barral I dels Baus]]
|[[Barral of Baux|Barral I dels Baus]]
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|[[Gaucelm Faidit]]
|[[Gaucelm Faidit]]
|167,22
|167,22
|''[http://www.trobar.org/troubadours/gaucelm_faidit/poem50.php Fortz causa es que tot lo major dan]''
|''[http://trobar.org/troubadours/gaucelm_faidit/poem50.php Fortz causa es que tot lo major dan]''
|[[1199 in poetry|1199]]
|[[1199 in poetry|1199]]
|[[Richard the Lion-Hearted]]
|[[Richard the Lion-Hearted]]
Line 76: Line 88:
|[[Giraut de Borneil]]
|[[Giraut de Borneil]]
|242,56
|242,56
|''[http://www.trobar.org/troubadours/giraut_de_bornelh/poem77.php Planh e sospir e plor e chan]''
|''[http://trobar.org/troubadours/giraut_de_bornelh/poem77.php Planh e sospir e plor e chan]''
|1199
|1199
|[[Aimar V of Limoges]]
|[[Aimar V of Limoges]]
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|[[Lanfranc Cigala]]
|[[Lanfranc Cigala]]
|282,7
|282,7
|''[http://www.trobar.org/troubadours/lanfranc_cigala/poem25.php Eu non chan ges pes talan de chantar]''
|''[http://trobar.org/troubadours/lanfranc_cigala/poem25.php Eu non chan ges pes talan de chantar]''
|1210s
|1210s
|Berlenda
|Berlenda
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|[[Giraut de Calanso]]
|[[Giraut de Calanso]]
|243,6
|243,6
|''[http://www.trobar.org/troubadours/guiraut/gucal11.php Bels senher Deus, quo pot esser sofritz]''
|''[http://trobar.org/troubadours/guiraut/gucal11.php Bels senher Deus, quo pot esser sofritz]''
|[[1211 in poetry|1211]]
|[[1211 in poetry|1211]]
|[[Ferdinand of Castile (died 1211)|Ferdinand, ''infante'' of Castile]]
|[[Ferdinand of Castile (died 1211)|Ferdinand, ''infante'' of Castile]]
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|[[Gavaudan]]
|[[Gavaudan]]
|174,3
|174,3
|''Crezens fis verais et entiers''
|''[http://trobar.org/troubadours/gavaudan/gavaudan03.php Crezens fis verais et entiers]''
|[[1212 in poetry|1212]]
|[[1212 in poetry|1212]]
|his anonymous lady
|his anonymous lady
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|[[Daude de Pradas]]
|[[Daude de Pradas]]
|124,4
|124,4
|''[http://www.trobar.org/troubadours/daude_de_pradas/poem17.php Be deu esser solatz marritz]''
|''[http://trobar.org/troubadours/daude_de_pradas/poem17.php Be deu esser solatz marritz]''
|[[1220 in poetry|1220]]&ndash;[[1230 in poetry|30]]
|[[1220 in poetry|1220]]&ndash;[[1230 in poetry|30]]
|[[Uc Brunet]]
|[[Uc Brunet]]
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|[[Sordel]]
|[[Sordel]]
|437,24
|437,24
|''[http://www.trobar.org/troubadours/sordel/sg26.php Planher vol En Blacatz en aquest leugier so]''
|''[http://trobar.org/troubadours/sordel/sg26.php Planher vol En Blacatz en aquest leugier so]''
|[[1237 in poetry|1237]]
|[[1237 in poetry|1237]]
|[[Blacatz]]
|[[Blacatz]]
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|[[Bertran d'Alamanon]]
|[[Bertran d'Alamanon]]
|76,12
|76,12
|''[http://www.trobar.org/troubadours/alamano/ba15.php Mout m'es greu d'En Sordel quar l'es faillitz sos sens]''
|''[http://trobar.org/troubadours/alamano/ba15.php Mout m'es greu d'En Sordel quar l'es faillitz sos sens]''
|1237
|1237
|Blacatz
|Blacatz
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|[[Peire Bremon Ricas Novas]]
|[[Peire Bremon Ricas Novas]]
|330,14
|330,14
|''[http://www.trobar.org/troubadours/bremon/poem20.php Pus partit an lo cor En Sordel e'n Bertrans]''
|''[http://trobar.org/troubadours/bremon/poem20.php Pus partit an lo cor En Sordel e'n Bertrans]''
|1237
|1237
|Blacatz
|Blacatz
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|[[Aimeric de Belenoi]]
|[[Aimeric de Belenoi]]
|9,1
|9,1
|''[http://www.trobar.org/troubadours/aimeric_de_belenoi/aibel12.php Ailas, per que viu lonjamen ni dura]''
|''[http://trobar.org/troubadours/aimeric_de_belenoi/aibel12.php Ailas, per que viu lonjamen ni dura]''
|[[1242 in poetry|1242]]
|[[1242 in poetry|1242]]
|[[Nuño Sánchez]]
|[[Nuño Sánchez]]
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|[[Paulet de Marselha]]
|[[Paulet de Marselha]]
|319,7
|319,7
|''[http://www.trobar.org/troubadours/paulet_de_marselha/poem6.php Razos no nes que hom deja cantar]''
|''[http://trobar.org/troubadours/paulet_de_marselha/poem6.php Razos no nes que hom deja cantar]''
|1268
|1268
|[[Barral II dels Baus]]
|[[Barral II dels Baus]]

Revision as of 11:40, 11 June 2024

"Planch" redirects here. For the botanist, see Jules Émile Planchon.
Cercamon, troubadour and author of the earliest known planh

A genre of the troubadours, the planh or plaing (Old Occitan [ˈplaɲ]; "lament") is a funeral lament for "a great personage, a protector, a friend or relative, or a lady."[1] Its main elements are expression of grief, praise of the deceased (eulogy) and prayer for his or her soul.[1][2] It is descended from the medieval Latin planctus.[3]

The planh is similar to the sirventes in that both were typically contrafacta. They made use of existing melodies, often imitating the original song even down to the rhymes. The most famous planh of all, however, Gaucelm Faidit's lament on the death of King Richard the Lionheart in 1199, was set to original music.[4]

Elisabeth Schulze-Busacker identifies three types of planh: "the moralizing planh", in which the expression of grief is a point of departure for social criticism; "the true lament", in which personal grief is central; and "the courtly planh", in which the impact of the death on the court is emphasised.[1] Alfred Jeanroy considered that the common denunciation of the evils of the present age was a feature that distinguished the planh from the planctus.[5] In the conventions of the genre, the subject's death is announced by the simple words es mortz ("is dead"). By the 13th century, the placement of these words within the poem was fixed: it occurred in the seventh or eighth line of the first stanza.[1] It is perhaps an indication of the sincerity of their grief that the troubadours rarely praised the successors of their patrons in the planh.[3]

There are at least forty-four surviving planhz.[1][6] The earliest planh is that by Cercamon on the death of Duke William X of Aquitaine in 1137. The latest is an anonymous lament on the death of King Robert of Naples in 1343. The planh was regarded by contemporaries as a distinct genre and is mentioned in the Doctrina de compondre dictatz (1290s) and the Leys d'amors (1341).[3]

Chronological table of planhz

The following table lists 45 planhz.

  great person or patron
  other troubadour
  lady
  friend

Composer PC[7] Incipit (i.e. title) Date Mourned
Cercamon 112,2a Lo plaing comens iradamen 1137 William X of Aquitaine
Giraut de Borneil 242,65 S'anc jorn aqui joi e solaz 1173 Raimbaut d'Aurenga
Guillem de Berguedà 210,9 Cousiros chan e planh e plor 1180 Pons de Mataplana
Bertran de Born ? 80,26 Si tuit li dol el plor el marrimen 1183 Henry the Young King
Bertran de Born 80,41 Mon chan fenisc el dol et ab maltraire 1183 Henry the Young King
Bertran de Born 80,6a A totz dic qe ja mais non voil 1186 Geoffrey of Brittany
Raimbaut de Vaqueiras 392,4a Ar pren camgat per tostemps de xantar c. 1190 anonymous lady
Guilhem de Saint-Leidier 234,15a Lo plus iraz remaing d'autres chatius c. 1190 Badoc
Folquet de Marselha 155,20 Si com cel qu'es tan greujat 1192 Barral I dels Baus
Gaucelm Faidit 167,22 Fortz causa es que tot lo major dan 1199 Richard the Lion-Hearted
Giraut de Borneil 242,56 Planh e sospir e plor e chan 1199 Aimar V of Limoges
Pons de Capduelh 375,7 De totz caitius sui eu aicel que plus ???? Azalais, wife of Ozil de Mercœur
Guillem Augier Novella 205,2 Cascus plor e planh son damnatge 1209 Raymond Roger Trencavel
Lanfranc Cigala 282,7 Eu non chan ges pes talan de chantar 1210s Berlenda
Giraut de Calanso 243,6 Bels senher Deus, quo pot esser sofritz 1211 Ferdinand, infante of Castile
Gavaudan 174,3 Crezens fis verais et entiers 1212 his anonymous lady
Aimeric de Peguilhan 10,30 Ja no cugei quem pogues oblidar 1212 Azzo VI of Este and Boniface of Verona
Aimeric de Peguilhan 10,48 S'eu chantei alegres ni jauzens 1212 Azzo VI of Este and Boniface of Verona
Daude de Pradas 124,4 Be deu esser solatz marritz 1220–30 Uc Brunet
Aimeric de Peguilhan 10,10 Ara par be que Valors se desfai 1220 Guglielmo Malaspina
Aimeric de Peguilhan 10,22 De tot en tot es ar de mi partitz ???? bona comtessa Biatritz
Sordel 437,24 Planher vol En Blacatz en aquest leugier so 1237 Blacatz
Bertran d'Alamanon 76,12 Mout m'es greu d'En Sordel quar l'es faillitz sos sens 1237 Blacatz
Peire Bremon Ricas Novas 330,14 Pus partit an lo cor En Sordel e'n Bertrans 1237 Blacatz
Aimeric de Belenoi 9,1 Ailas, per que viu lonjamen ni dura 1242 Nuño Sánchez
Aimeric de Peguilhan ? 10,1=330,1a Ab marrimen angoissos et ab plor 1245 Raymond Berengar IV of Provence
Rigaut de Berbezilh attr. 421,5a En chantan (ieu) plaing e sospir 1245 Raymond Berengar IV of Provence
Bonifaci Calvo 102,12 S'ieu ai perdut, no s'en podon jauzir 1250–65 his anonymous lady
Bertran Carbonel 82,15 S'ieu anc nulh tems chantei alegramen 1252–65 P. G. (prob. Peire Guilhem de Tolosa)
Pons Santolh 380,1 Marritz com hom malsabens ab frachura 1260 Guilhem de Montanhagol
Raimon Gaucelm 401,7 Cascus planh lo sieu damnatge 1262 Guiraut d'Alanhan, burgess of Béziers
Anonymous 461,234 Totas honors e tug fag benestan 1266 Manfred of Sicily
Bertolome Zorzi 74,16 Sil mons fondes a meravilha gran 1268 Conradin and Frederick I of Baden
Paulet de Marselha 319,7 Razos no nes que hom deja cantar 1268 Barral II dels Baus
Anonymous 461,107 En chantan m'aven a retraire 1269 Gregorio de Montelungo
Guilhem d'Autpol ? 206,2 Fortz tristors es e salvatj'a retraire 1270 Louis IX of France
Guiraut Riquier 248,63 Ples de tristor, marritz e doloiros 1270 Amalric IV of Narbonne
Joan Esteve 266,1 Aissi quol malanans 1270 Amalric IV of Narbonne
Mahieu de Quercy 299,1 Tan sui marritz que nom puesc alegrar 1276 James the Conqueror
Cerverí de Girona 434a,62 Si per tristor per dol ni per cossire 1276 James the Conqueror
Cerverí de Girona 434,7e Joys ni solatz, pascors, abrils ni mais 1276 Raimon de Cardona
Joan Esteve 266,10 Planhen ploran ab desplazer 1289 Guilhem de Lodeva
Raimon Menudet 405,1 Ab grans dolors et ab grans merrimens ???? Daude de Bossaguas
Raimon de Cornet - Aras quan vey de bos homes fraytura 1324 Amanieu VII of Albret
Anonymous 461,133b Glorios Dieus, don totz bens ha creysensa 1343 Robert the Peace-Maker

References

  1. ^ a b c d e Elisabeth Schulze-Busacker, "Topoi", in F. R. P. Akehurst and Judith M. Davis, eds., A Handbook of the Troubadours (Berkeley: University of California Press, 1995), pp. 421–440.
  2. ^ Patricia Harris Stäblein, "New Views on an Old Problem: The Dynamics of Death in the Planh", Romance Philology 35, 1 (1981): 223–234.
  3. ^ a b c William D. Paden, "Planh/Complainte", in W. W. Kibler and G. A. Zinn, eds., Medieval France: An Encyclopedia (New York: Garland, 1995), pp. 1400–1401.
  4. ^ John Stevens, "Planctus", Grove Music Online (2001). Retrieved 21 August 2019.
  5. ^ Stephen Manning, "Chaucer's Good Fair White: Woman and Symbol", Comparative Literature 10, 2 (1958): 97–105.
  6. ^ Élisabeth Schulze-Busacker, ‘La Complainte des morts dans la littérature occitane’ in Claude Sutto (ed.), Le Sentiment de la mort au moyen âge: Études présentées au Cinquième colloque de l'Institut d'études médiévales de l'Université de Montréal (Montréal: Aurore, 1979), 230–48.
  7. ^ The song's number in Alfred Pillet and Henry Carstens, Bibliographie der Troubadours (1933).

Further reading

  • Jeanroy, Alfred. La poésie lyrique des troubadours. Toulouse: Privat, 1934.
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