Planh: Difference between revisions
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}} |
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[[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'']] |
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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> |
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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/> |
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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]] |
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/> |
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==Chronological table of {{lang|pro|planhz}}== |
==Chronological table of {{lang|pro|planhz}}== |
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The following table lists |
The following table lists 45 {{lang|pro|planhz}}. |
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{{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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|- |
|- |
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!Composer |
!Composer |
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!PC<ref>The song's number in Alfred Pillet and Henry Carstens, ''Bibliographie der Troubadours'' (1933).</ref> |
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!PC |
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![[Incipit]] (i.e. title) |
![[Incipit]] (i.e. title) |
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!Date |
!Date |
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|[[Cercamon]] |
|[[Cercamon]] |
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|112,2a |
|112,2a |
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|''[http:// |
|''[http://trobar.org/troubadours/cercamon/cmn6.php Lo plaing comens iradamen]'' |
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|[[1137 in poetry|1137]] |
|[[1137 in poetry|1137]] |
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|[[William X of Aquitaine]] |
|[[William X of Aquitaine]] |
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|[[Giraut de Borneil]] |
|[[Giraut de Borneil]] |
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|242,65 |
|242,65 |
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|''[http:// |
|''[http://trobar.org/troubadours/giraut_de_bornelh/poem76.php S'anc jorn aqui joi e solaz]'' |
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|[[1173 in poetry|1173]] |
|[[1173 in poetry|1173]] |
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|[[Raimbaut d'Aurenga]] |
|[[Raimbaut d'Aurenga]] |
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Line 46: | Line 46: | ||
|[[Bertran de Born]] ? |
|[[Bertran de Born]] ? |
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|80,26 |
|80,26 |
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|''[http:// |
|''[http://trobar.org/troubadours/bertran_de_born/poem48.php Si tuit li dol el plor el marrimen]'' |
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|[[1183 in poetry|1183]] |
|[[1183 in poetry|1183]] |
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|[[Henry the Young King]] |
|[[Henry the Young King]] |
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|Bertran de Born |
|Bertran de Born |
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|80,41 |
|80,41 |
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|''[http:// |
|''[http://trobar.org/troubadours/bertran_de_born/poem15.php Mon chan fenisc el dol et ab maltraire]'' |
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|1183 |
|1183 |
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|Henry the Young King |
|Henry the Young King |
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|- style="background:#E6E6AA" |
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|- |
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| |
|Bertran de Born |
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|80,6a |
|80,6a |
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|[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]'' |
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|1186 |
|1186 |
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|[[Geoffrey II, Duke of Brittany|Geoffrey of Brittany]] |
|[[Geoffrey II, Duke of Brittany|Geoffrey of Brittany]] |
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|- style="background:#CCEEFF" |
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|[[Raimbaut de Vaqueiras]] |
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|392,4a |
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|''[http://trobar.org/troubadours/raimbaut_de_vaqueiras/raimbaut_de_vaqueiras_31.php Ar pren camgat per tostemps de xantar]'' |
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|c. 1190 |
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|anonymous lady |
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|- style="background:#FFB6B6" |
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|[[Guilhem de Saint-Leidier]] |
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|234,15a |
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|''[http://trobar.org/troubadours/st_didier/gsd10.php Lo plus iraz remaing d'autres chatius]'' |
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|c. 1190 |
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|Badoc |
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|- style="background:#E6E6AA" |
|- style="background:#E6E6AA" |
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|[[Folquet de Marselha]] |
|[[Folquet de Marselha]] |
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|155,20 |
|155,20 |
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|''[http:// |
|''[http://trobar.org/troubadours/folquet/folma17.php Si com cel qu'es tan greujat]'' |
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|[[1192 in poetry|1192]] |
|[[1192 in poetry|1192]] |
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|[[Barral of Baux|Barral I dels Baus]] |
|[[Barral of Baux|Barral I dels Baus]] |
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Line 70: | Line 82: | ||
|[[Gaucelm Faidit]] |
|[[Gaucelm Faidit]] |
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|167,22 |
|167,22 |
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|''[http:// |
|''[http://trobar.org/troubadours/gaucelm_faidit/poem50.php Fortz causa es que tot lo major dan]'' |
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|[[1199 in poetry|1199]] |
|[[1199 in poetry|1199]] |
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|[[Richard the Lion-Hearted]] |
|[[Richard the Lion-Hearted]] |
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Line 76: | Line 88: | ||
|[[Giraut de Borneil]] |
|[[Giraut de Borneil]] |
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|242,56 |
|242,56 |
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|''[http:// |
|''[http://trobar.org/troubadours/giraut_de_bornelh/poem77.php Planh e sospir e plor e chan]'' |
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|1199 |
|1199 |
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|[[Aimar V of Limoges]] |
|[[Aimar V of Limoges]] |
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Line 94: | Line 106: | ||
|[[Lanfranc Cigala]] |
|[[Lanfranc Cigala]] |
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|282,7 |
|282,7 |
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|''[http:// |
|''[http://trobar.org/troubadours/lanfranc_cigala/poem25.php Eu non chan ges pes talan de chantar]'' |
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|1210s |
|1210s |
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|Berlenda |
|Berlenda |
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Line 100: | Line 112: | ||
|[[Giraut de Calanso]] |
|[[Giraut de Calanso]] |
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|243,6 |
|243,6 |
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|''[http:// |
|''[http://trobar.org/troubadours/guiraut/gucal11.php Bels senher Deus, quo pot esser sofritz]'' |
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|[[1211 in poetry|1211]] |
|[[1211 in poetry|1211]] |
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|[[Ferdinand of Castile (died 1211)|Ferdinand, ''infante'' of Castile]] |
|[[Ferdinand of Castile (died 1211)|Ferdinand, ''infante'' of Castile]] |
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Line 106: | Line 118: | ||
|[[Gavaudan]] |
|[[Gavaudan]] |
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|174,3 |
|174,3 |
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|''Crezens fis verais et entiers'' |
|''[http://trobar.org/troubadours/gavaudan/gavaudan03.php Crezens fis verais et entiers]'' |
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|[[1212 in poetry|1212]] |
|[[1212 in poetry|1212]] |
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|his anonymous lady |
|his anonymous lady |
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|[[Daude de Pradas]] |
|[[Daude de Pradas]] |
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|124,4 |
|124,4 |
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|''[http:// |
|''[http://trobar.org/troubadours/daude_de_pradas/poem17.php Be deu esser solatz marritz]'' |
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|[[1220 in poetry|1220]]–[[1230 in poetry|30]] |
|[[1220 in poetry|1220]]–[[1230 in poetry|30]] |
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|[[Uc Brunet]] |
|[[Uc Brunet]] |
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|[[Sordel]] |
|[[Sordel]] |
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|437,24 |
|437,24 |
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|''[http:// |
|''[http://trobar.org/troubadours/sordel/sg26.php Planher vol En Blacatz en aquest leugier so]'' |
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|[[1237 in poetry|1237]] |
|[[1237 in poetry|1237]] |
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|[[Blacatz]] |
|[[Blacatz]] |
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|[[Bertran d'Alamanon]] |
|[[Bertran d'Alamanon]] |
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|76,12 |
|76,12 |
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|''[http:// |
|''[http://trobar.org/troubadours/alamano/ba15.php Mout m'es greu d'En Sordel quar l'es faillitz sos sens]'' |
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|1237 |
|1237 |
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|Blacatz |
|Blacatz |
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Line 154: | Line 166: | ||
|[[Peire Bremon Ricas Novas]] |
|[[Peire Bremon Ricas Novas]] |
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|330,14 |
|330,14 |
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|''[http:// |
|''[http://trobar.org/troubadours/bremon/poem20.php Pus partit an lo cor En Sordel e'n Bertrans]'' |
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|1237 |
|1237 |
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|Blacatz |
|Blacatz |
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|[[Aimeric de Belenoi]] |
|[[Aimeric de Belenoi]] |
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|9,1 |
|9,1 |
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|''[http:// |
|''[http://trobar.org/troubadours/aimeric_de_belenoi/aibel12.php Ailas, per que viu lonjamen ni dura]'' |
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|[[1242 in poetry|1242]] |
|[[1242 in poetry|1242]] |
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|[[Nuño Sánchez]] |
|[[Nuño Sánchez]] |
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|[[Paulet de Marselha]] |
|[[Paulet de Marselha]] |
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|319,7 |
|319,7 |
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|''[http:// |
|''[http://trobar.org/troubadours/paulet_de_marselha/poem6.php Razos no nes que hom deja cantar]'' |
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|1268 |
|1268 |
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|[[Barral II dels Baus]] |
|[[Barral II dels Baus]] |
Revision as of 11:40, 11 June 2024
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
References
- ^ 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.
- ^ Patricia Harris Stäblein, "New Views on an Old Problem: The Dynamics of Death in the Planh", Romance Philology 35, 1 (1981): 223–234.
- ^ 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.
- ^ John Stevens, "Planctus", Grove Music Online (2001). Retrieved 21 August 2019.
- ^ Stephen Manning, "Chaucer's Good Fair White: Woman and Symbol", Comparative Literature 10, 2 (1958): 97–105.
- ^ 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.
- ^ 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.