{"id":85,"date":"2011-01-30T20:28:39","date_gmt":"2011-01-30T20:28:39","guid":{"rendered":"http:\/\/blogs.oulipo.net\/qc\/?page_id=85"},"modified":"2011-01-30T20:33:57","modified_gmt":"2011-01-30T20:33:57","slug":"chapitre-1-preliminaires","status":"publish","type":"page","link":"https:\/\/blogs.oulipo.net\/qc\/description\/chapitre-1-preliminaires\/","title":{"rendered":"Chapitre 1 : Pr\u00e9liminaires"},"content":{"rendered":"

<\/span>A<\/span><\/span><\/p>\n

<\/span>Caract\u00e9ristiques de la forme-sonnet<\/span><\/span><\/span><\/p>\n

<\/span>\u00a7 1 <\/span><\/span> On peut reconna\u00eetre \u00e0 la forme-sonnet <\/strong><\/span><\/span>quatorze<\/strong><\/span><\/span><\/span> caract\u00e8res<\/strong><\/span><\/span><\/p>\n

1 1 <\/span><\/span>On peut reconna\u00eetre \u00e0 la forme-sonnet <\/span>quatorze<\/strong><\/span> caract\u00e8res qui lui donnent une position particuli\u00e8re parmi les formes po\u00e9tiques attest\u00e9es. <\/span><\/p>\n

1 2 <\/span><\/span> <\/span><\/span>I-II-III <\/strong><\/span><\/span>Il s\u2019agit d\u2019une forme <\/span><\/span>savante (I)<\/strong><\/span><\/span>, essentiellement <\/span><\/span>\u00e9crite (II)<\/strong><\/span><\/span> et <\/span><\/span>r\u00e9cente (III)<\/strong><\/span><\/span> <\/span><\/span><\/p>\n

1 1<\/span><\/span> <\/span>Elle est inconnue de l\u2019Antiquit\u00e9 classique comme du Moyen-\u00e2ge europ\u00e9en et commence \u00e0 appara\u00eetre en Sicile aux d\u00e9but du 13<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle <\/span><\/span><\/p>\n

<\/span><\/span>IV<\/strong><\/span><\/span> <\/span><\/span>Sa <\/span><\/span><\/span>dur\u00e9e de vie (IV)<\/strong><\/span><\/span><\/span> est tr\u00e8s grande. Les premiers sonnets datent du treizi\u00e8me si\u00e8cle et il s\u2019en compose encore au d\u00e9but du vingt-et-uni\u00e8me. La forme-sonnet est une forme po\u00e9tique (<\/span><\/span><\/span>V) ancienne <\/strong><\/span><\/span><\/span>et<\/strong><\/span><\/span><\/span><\/span> contemporaine.<\/strong><\/span><\/span><\/span> <\/span><\/span><\/p>\n

<\/span><\/span>VI <\/strong><\/span><\/span> <\/span><\/span>Le sonnet est pr\u00e9sent dans la tradition po\u00e9tique d\u2019un grand nombre de langues. La forme-sonnet est <\/span><\/span><\/span>quasi-universelle (VI)<\/strong><\/span><\/span><\/span>. Les premiers sonnets , qui n\u2019\u00e9taient pas, comme nous le verrons, encore des sonnets, \u00e9taient siciliens, et le sonnet est rest\u00e9 pendant plusieurs si\u00e8cles pratiquement enferm\u00e9 en Italie. D\u00e8s la Renaissance, une premi\u00e8re vague d\u2019emprunts le r\u00e9pand en Europe\u00a0: des sonnets sont compos\u00e9s en espagnol, occitan, catalan, portugais, anglais, n\u00e9erlandais, allemand, entre autres. Le sonnet conquiert ensuite les langues slaves, scandinaves, le hongrois\u2026 . Une deuxi\u00e8me grande vague universalisante l\u2019am\u00e8ne \u00e0 coloniser la plupart des langues de l\u2019Europe.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

III 1 La quasi-totalit\u00e9 des langues o\u00f9 existe le sonnet sont des langues alpha-b\u00e9tiques. Mais on trouve, avant la Renaissance d\u00e9j\u00e0, des sonnets en h\u00e9breu et il en existe aussi en japonais et en chinois dans les ann\u00e9es vingt du vingti\u00e8me si\u00e8cle. <\/span><\/span><\/p>\n

<\/span><\/span>VII <\/strong><\/span><\/span>cons\u00e9quence\u00a0: la forme-sonnet a une <\/span><\/span>Vocation \u00e0 l\u2019universalit\u00e9 (VII)<\/strong><\/span><\/span><\/p>\n

VIII<\/strong><\/span><\/span> <\/span><\/span>La forme-sonnet, \u00e0 toutes les \u00e9poques et dans presque toutes les langues qu\u2019elle conquiert pr\u00e9sente une propri\u00e9t\u00e9 tr\u00e8s surprenante\u00a0: une immense productivit\u00e9. Elle a un tr\u00e8s grand <\/span><\/span><\/span>pouvoir multiplicateur (VIII)<\/strong><\/span><\/span><\/span>. Il s\u2019est \u00e9crit \u00e9norm\u00e9ment de sonnets.<\/span><\/span><\/span> <\/span><\/span><\/p>\n

<\/span><\/span>IX<\/strong><\/span><\/span> <\/span><\/span>On a compos\u00e9 dans la forme-sonnet certains des po\u00e8mes consid\u00e9r\u00e9s comme figurant parmi les plus beaux de la po\u00e9sie universelle. Il n\u2019est pas possible de ne pas tenir compte de ce fait dans une discussion de la forme. La forme-sonnet est une forme po\u00e9tique de <\/span><\/span><\/span>valeur exceptionnelle (IX)<\/strong><\/span><\/span><\/span>. Dans leurs langues respectives, bien des sonnets comptent parmi les <\/span><\/span><\/span>monuments les plus \u00e9lev\u00e9s de l\u2019art de po\u00e9sie (IX)<\/strong><\/span><\/span><\/span>. Ce trait est g\u00e9n\u00e9ralement reconnu. On peut l\u2019illustrer d\u2019une mani\u00e8re tr\u00e8s simple\u00a0: par une liste de noms<\/span><\/span><\/span><\/p>\n

<\/span><\/span>IX 1 <\/span><\/span>courte liste t\u00e9moin<\/span><\/span><\/span><\/p>\n

Du Bellay\tRonsard\tNerval \tMallarm\u00e9 <\/span><\/span><\/p>\n

Cavalcanti\tDante\t\tP\u00e9trarque\tRilke<\/span><\/span><\/p>\n

Gongora\tQuevedo\tCamo\u00ebns<\/span><\/span><\/p>\n

Shakespeare\tDonne\t\tHopkins<\/span><\/span><\/p>\n

<\/span>X<\/strong><\/span> <\/span>dixi\u00e8me caract\u00e8re\u00a0: un <\/span><\/span>myst\u00e8re formel (X) <\/strong><\/span><\/span><\/p>\n

Le sonnet est presque toujours pr\u00e9sent\u00e9 comme une forme fixe, \u00e9troitement contrainte. Cette affirmation se retrouve \u00e0 tout moment de son histoire et de ses migrations. Elle est tant\u00f4t mise \u00e0 son cr\u00e9dit, fait partie de son prestige\u00a0; tant\u00f4t au contraire on le lui reproche. Il est ind\u00e9niable que, de si\u00e8cle en si\u00e8cle, et de langue \u00e0 langue les sonnets conservent un air de parent\u00e9 (et la m\u00eame d\u00e9signation). <\/span><\/span><\/p>\n

XI <\/strong><\/span><\/span>Ils ont entre eux une <\/span><\/span>ressemblance familiale (XI)<\/strong><\/span><\/span>. Cependant, et c\u2019est la un trait qui distingue fortement la forme-sonnet d\u2019autres formes plus ou moins comparables (selon les crit\u00e8res pr\u00e9c\u00e9dents) comme le <\/span><\/span>ha\u00efku<\/em><\/span><\/span> japonais, la recherche de constantes formelles ne conduit \u00e0 aucun r\u00e9sultat probant. En particulier, le trait qui est, spontan\u00e9ment, offert toujours comme constant et caract\u00e9ristique, celui du nombre des vers du po\u00e8me, suppos\u00e9 \u00eatre, par d\u00e9finition, de 14, est une chim\u00e8re. Des sonnets de Hopkins ont 11 vers (10 <\/span><\/span>\u00bd<\/span><\/span> selon son propre d\u00e9compte\u00a0!). il existe des sonnets fran\u00e7ais ou italiens qui ont beaucoup plus quatorze vers. Il est vrai que le nombre 14 joue un r\u00f4le essentiel dans la forme, mais<\/span><\/span> <\/strong><\/span><\/span>il ne peut servir \u00e0 d\u00e9finir la forme. <\/span><\/span><\/p>\n

XI 1 Il y a des sonnets de plus de 100 vers chez Murtola, dans sa pol\u00e9mique avec Marino, au d\u00e9but du 17<\/span><\/span>\u00e8me<\/span><\/sup><\/span>si\u00e8cle\u00a0; 197 dans un sonnet du po\u00e8te milanais Carlo Porta, vers 1810, \u2026<\/span><\/span><\/p>\n

1 3 <\/span><\/span>Il est en fait impossible de trouver un trait (ou un ensemble de traits) de la forme-sonnet dont on puisse dire avec certitude\u00a0: tous les sonnets et seuls les sonnets le pr\u00e9sentent. Et on ne peut m\u00eame pas atteindre une telle \u2018fixit\u00e9\u2019 en se limitant \u00e0 une langue, \u00e0 une p\u00e9riode historique limit\u00e9e<\/span><\/span><\/p>\n

<\/span>1 3 1 <\/span><\/span>Les tentatives de ce genre sont nombreuses <\/span><\/span><\/p>\n

<\/span><\/span><\/span>XII<\/strong><\/span><\/span><\/span> La pratique de la forme-sonnet comme <\/span><\/span><\/span>jeu de langage (XII)<\/strong><\/span><\/span><\/span> est une <\/span><\/span><\/span>forme de vie (XII)<\/strong><\/span><\/span><\/span><\/p>\n

1 4 <\/span><\/span><\/span>XIII<\/strong><\/span><\/span><\/span> <\/strong><\/span><\/span><\/span>sans restreindre abusivement le champ de la forme et l\u2019appauvrir dangereusement. Et ce n\u2019est pas seulement le changement d\u2019\u00e9poque ou de langue qui am\u00e8ne une telle <\/span><\/span><\/span>variabilit\u00e9 formelle (XIII) <\/strong><\/span><\/span><\/span>; \u00e0 l\u2019int\u00e9rieur d\u2019une m\u00eame tradition, d\u2019une m\u00eame g\u00e9n\u00e9ration de sonnetistes, on le rencontre encore. C\u2019est pourquoi, au premier abord, le sonnet para\u00eet ressemble beaucoup au c\u00e9l\u00e8bre <\/span><\/span><\/span>Couteau de Lichtenberg<\/strong><\/span><\/span><\/span>. <\/span><\/span><\/span><\/p>\n

<\/strong><\/span><\/span><\/span>XIV Hypoth\u00e8se<\/strong><\/span><\/span><\/span> <\/span><\/span><\/span>de singularit\u00e9 (XIV)<\/strong><\/span><\/span><\/span>: la forme-sonnet est la seule forme po\u00e9tique de la tradition mondiale de po\u00e9sie \u00e0 pr\u00e9senter les treize traits qui pr\u00e9c\u00e8dent.<\/span><\/span><\/span><\/p>\n

1 5 <\/span><\/span><\/span>Le trait de <\/span><\/span><\/span>variabilit\u00e9 formelle<\/strong><\/span><\/span><\/span> est un <\/span><\/span><\/span>myst\u00e8re formel (X)<\/strong><\/span><\/span><\/span> de premi\u00e8re grandeur. Il demande, sinon \u00e0 \u00eatre \u00e9lucid\u00e9, du moins \u00e0 \u00eatre reconnu et d\u00e9crit. Le situation est paradoxale\u00a0: les variations sont immenses, et en m\u00eame temps le sentiment de parent\u00e9 est grand. Cela laisse \u00e0 penser qu\u2019il y a, dans la forme-sonnet, sinon des constantes, du moins des <\/span><\/span><\/span>quasi-constantes<\/strong><\/span><\/span><\/span> (le nombre 14 en est une, la plus \u00e9vidente), qu\u2019une \u00e9tude attentive devrait mettre en \u00e9vidence. <\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>1 5 1<\/span><\/span><\/span> <\/span><\/span><\/span>Un premier pas a \u00e9t\u00e9 fait dans notre \u00e9tude\u00a0de 1990 : <\/span><\/span>La forme du sonnet <\/span><\/span><\/span> <\/span><\/span>fran\u00e7ais de Marot \u00e0 Malherbe (recherche de seconde rh\u00e9torique)<\/span><\/span><\/span><\/p>\n

1 6 <\/span><\/span>Je vais tenter d\u2019aller plus loin dans ce cours. <\/span><\/p>\n

<\/span><\/span>B<\/span><\/span><\/p>\n

<\/span><\/span>Avant le sonnet<\/span><\/span><\/span><\/p>\n

<\/span>\u00a7 2 <\/span><\/span> La forme-sonnet est une des trois formes qui apparaissent dans la po\u00e9sie italienne <\/strong><\/span><\/span><\/p>\n

2 1 <\/span><\/span>La forme-sonnet est une des trois formes qui apparaissent dans la po\u00e9sie italienne dans le deuxi\u00e8me quart du treizi\u00e8me si\u00e8cle et qui repr\u00e9sentent chacune une part de l\u2019h\u00e9ritage formel de la po\u00e9sie lyrique des Troubadours.<\/span><\/p>\n

2 2 <\/span><\/span>Ces trois formes sont\u00a0: <\/span><\/p>\n

a \u2013 la <\/span>canzone<\/strong><\/span><\/p>\n

b- le <\/span>sonnet<\/strong><\/span><\/p>\n

c \u2013 la <\/span>sextine<\/strong><\/span><\/p>\n

2 3 <\/span><\/span>La <\/span>forme-m\u00e8re<\/strong><\/span> est la <\/span>canso<\/strong><\/span>, compos\u00e9e en proven\u00e7al dans ce qu\u2019on nomme aujourd\u2019hui occitanie \u00e0 partir de la fin du 11\u00e8me si\u00e8cle.<\/span><\/p>\n

2 4 <\/span><\/span>Description sommaire de la forme-canso. <\/span><\/span><\/p>\n

2 5 <\/span><\/span>La <\/span>canso<\/strong><\/span> est une forme po\u00e9tico-musicale qui se compose de deux \u00e9l\u00e9ments\u00a0: <\/span><\/p>\n

i un texte po\u00e9tique<\/span><\/p>\n

ii un texte musical<\/span><\/p>\n

2 6 <\/span><\/span>Le texte po\u00e9tique est compos\u00e9 d\u2019un nombre variable de <\/span>coblas<\/strong><\/span> (strophes), suivies, en principe, d\u2019une ou plusieurs <\/span>tornadas<\/strong><\/span> (envois). <\/span><\/p>\n

2 6 1 <\/span><\/span><\/span>La tradition manuscrite, lacunaire, de la lyrique des Troubadours, ne permet pas d\u2019affirmer que la pr\u00e9sence de <\/span><\/span>tornada<\/strong><\/span><\/span>s est obligatoire. Je l\u2019admets cependant. <\/span><\/span><\/p>\n

2 7 <\/span><\/span><\/span>Chaque <\/span><\/span>cobla<\/strong><\/span><\/span> d\u2019une <\/span><\/span>canso<\/strong><\/span><\/span> est caract\u00e9ris\u00e9e, en ce qui concerne son texte, par une double <\/span><\/span>formule<\/span><\/span><\/span> :<\/span><\/span><\/p>\n

i – une <\/span><\/span>formule m\u00e9trique<\/strong><\/span><\/span> qui indique le nombre de positions m\u00e9triques (syllabes) de chaque vers de la strophe. <\/span><\/span><\/p>\n

ii \u2013 une <\/span><\/span>formule de rimes<\/strong><\/span><\/span> qui note la succession des rimes dans la strophe. <\/span><\/span><\/p>\n

2 8 <\/span><\/span><\/span>Exemple\u00a01 : <\/span><\/span>canso <\/strong><\/span><\/span>de Bernart de Vent\tadorn, deux premi\u00e8res strophes<\/span><\/span><\/p>\n

E7 <\/span><\/span><\/span><\/p>\n

Ab joi mou lo vers e\u00b7l comens,<\/span><\/p>\n

et ab joi reman e fenis;<\/span><\/p>\n

e sol que bona fos la fis,<\/span><\/p>\n

bos tenh qu’er lo comensamens.<\/span><\/p>\n

per la bona comensansa<\/span><\/p>\n

mi ve jois et alegransa;<\/span><\/p>\n

e per so dei la bona fi grazir,<\/span><\/p>\n

car totz bos faihz vei lauzar al fenir.<\/span><\/p>\n

Si m’apodera jois e\u00b7m vens:<\/span><\/p>\n

meravilh’ es com o sofris<\/span><\/p>\n

car no dic e non esbruis<\/span><\/p>\n

per cui sui tan gais et jauzens;<\/span><\/p>\n

mas greu veiretz fin’ amansa<\/span><\/p>\n

ses paor e ses doptansa,<\/span><\/p>\n

c’ades tem om vas so c’ama, falhir, <\/span><\/p>\n

per qu’eu no\u00b7m aus de parlar enardir.<\/span><\/p>\n

<\/span> <\/span><\/span><\/span>traduction anglaise<\/span><\/span><\/span><\/p>\n

<\/span><\/span><\/span>E7,a<\/span><\/span><\/span><\/p>\n

With joy I take my pen in hand,<\/span><\/span><\/p>\n

with joy I write and end my song<\/span><\/span><\/p>\n

and if the end at least is good<\/span><\/span><\/p>\n

it seems to me I started well:<\/span><\/span><\/p>\n

therefore by the good beginning<\/span><\/span><\/p>\n

I have joy and jubilation,<\/span><\/span><\/p>\n

so that I welcome all good endings now<\/span><\/span><\/p>\n

and all good deeds I’ll welcome at the end.<\/span><\/span><\/p>\n

Joy overcomes and conquers me,<\/span><\/span><\/p>\n

it’s strange that I can stand it all:<\/span><\/span><\/p>\n

that I don’t speak and shout about<\/span><\/span><\/p>\n

the one who makes me joyous now:<\/span><\/span><\/p>\n

but true love comes, not so lightly<\/span><\/span><\/p>\n

without fear and with no doubting;<\/span><\/span><\/p>\n

we always fear that what we love may fail, <\/span><\/span><\/p>\n

so I don’t dare to stir myself to speak.<\/span><\/span><\/p>\n

2 9 <\/span><\/span>La <\/span>formule m\u00e9trique<\/strong><\/span> est <\/span><\/p>\n

<\/span>8 8 8 8 7 7 10 10 <\/strong><\/span><\/span><\/p>\n

<\/span><\/span>2 9 1 <\/span><\/span><\/span>Le compte des syllabes se fait jusqu\u2019\u00e0 la derni\u00e8re syllabe accentu\u00e9e <\/span><\/span><\/p>\n

2 10 <\/span><\/span>La <\/span>formule de rimes <\/strong><\/span>s\u2019\u00e9crit de la mani\u00e8re suivante\u00a0: la premi\u00e8re rime est not\u00e9e \u2018<\/span>a\u2019<\/strong><\/span> ; chaque fois qu\u2019on change de rime, une nouvelle lettre est introduite.<\/span><\/p>\n

2 11 <\/span><\/span>Donc, dans l\u2019exemple 1\u00a0:<\/span><\/p>\n

<\/span>a b b a c c d d<\/strong><\/span><\/span><\/p>\n

2 12 <\/span><\/span>R\u00e8gle 1\u00a0: <\/span><\/span>La <\/span><\/span><\/span>formule de rimes<\/strong><\/span><\/span><\/span> est la m\u00eame pour toutes les <\/span><\/span><\/span>coblas<\/strong><\/span><\/span><\/span> d\u2019une <\/span><\/span><\/span>canso<\/strong><\/span><\/span><\/span><\/p>\n

2 13 <\/span>La r\u00e8gle pr\u00e9c\u00e9dente vaut pour l\u2019esp\u00e8ce<\/span> des rimes, non pour les timbres<\/span> qui les r\u00e9alisent. Il peut \u00eatre le m\u00eame pour les autres strophes<\/p>\n

2 13 1 <\/span><\/span>ou certaines d\u2019entre elles seulement. Il y a tout un jeu sur les reprises et variations de timbres que je ne d\u00e9velopperai pas. <\/span><\/p>\n

2 14 <\/span><\/span>La suite des timbres est ici <\/span><\/p>\n

rime a\u00a0: <\/span>ens<\/em><\/span> <\/strong><\/span>rime b\u00a0: <\/span>is<\/em><\/span> rime c\u00a0: <\/span>ansa<\/em><\/span> rime d\u00a0: <\/span>ir<\/em><\/span><\/p>\n

2 15 <\/span>Exemple 2\u00a0: de Marcabru (<\/strong>strophes 1 et 2)<\/p>\n

2 16 <\/span><\/span><\/p>\n

E8<\/span><\/span><\/span><\/p>\n

A la fontana del vergier,<\/span><\/p>\n

On l’erb’ es vertz jost\u00b7l gravier,<\/span><\/p>\n

A l’ombra d’un fust domesgier, <\/span><\/p>\n

En aiziment de blancas flors<\/span><\/p>\n

E de novelh chant costumier,<\/span><\/p>\n

Trobei sola ses companhier,<\/span><\/p>\n

Selha que no vol mon solatz.<\/span><\/p>\n

So fon donzelh’ab son cors belh <\/span><\/p>\n

Filha d’un senhor de castelh;<\/span><\/p>\n

E quant ieu cugei que l’auzelh <\/span><\/p>\n

Li fesson joi e la verdors,<\/span><\/p>\n

E pel dous termini novelh,<\/span><\/p>\n

E quez entendes mon favelh, <\/span><\/p>\n

Tost li fon sos afars camjatz.<\/span><\/p>\n

<\/span><\/span>E8,a<\/span><\/span><\/span><\/p>\n

<\/span>2 16 1 <\/span><\/span>traduction anglaise<\/span><\/span><\/span><\/p>\n

Down by the garden-fountain, there <\/span><\/span><\/p>\n

where grass grows green to gravel-walk, <\/span><\/span><\/p>\n

beneath the fruit-tree, in its shade <\/span><\/span><\/p>\n

white flowers that charm us, in a plot, <\/span><\/span><\/p>\n

and with the season’s latest song, <\/span><\/span><\/p>\n

I met alone, companionless,<\/span><\/span><\/p>\n

the one who won’t converse with me.<\/span><\/span><\/p>\n

She was a shapely damsel, and<\/span><\/span><\/p>\n

the daughter of a castle’s lord,<\/span><\/span><\/p>\n

and when I thought the greenery<\/span><\/span><\/p>\n

and birdsong filled her quite with joy, <\/span><\/span><\/p>\n

as the new season was at hand,<\/span><\/span><\/p>\n

I thought that she would hear my pleas <\/span><\/span><\/p>\n

and her expression soon would change.<\/span><\/span><\/p>\n

2 17 <\/span><\/span><\/span>Formule de rimes et timbres des deux strophes dans l\u2019exemple 2<\/span><\/span><\/p>\n

<\/span><\/span>a \ta \ta \tb \tc \tc \td<\/strong><\/span><\/span><\/p>\n

iers\t\t\tors\t\t\tatz<\/span><\/p>\n

elh\t\t\tors\t\t\tatz<\/span><\/p>\n

2 18 <\/span><\/span>Le timbre des rimes \u2018b \u2018et \u2018c\u2019 n\u2019a pas chang\u00e9, mais le timbre de la rime \u2018a\u2019 n\u2019est plus le m\u00eame<\/span><\/p>\n

2 19 <\/span><\/span>Si les timbres des rimes sont les m\u00eames pour toutes les strophes, la <\/span>canso<\/strong><\/span> est dite <\/span>unisonans<\/strong><\/span>. C\u2019est le cas dans l\u2019<\/span>exemple 1<\/span><\/span>, pas dans l\u2019<\/span>exemple 2<\/span><\/span>. S\u2019ils changent de strophe en strophe, elle est dite <\/span>singulars<\/strong><\/span><\/p>\n

2 20 <\/span><\/span>Exemple 3<\/span><\/span> : d\u2019Arnaut Daniel (strophes 1 et 2 )<\/span><\/p>\n

2 21 <\/span><\/span><\/p>\n

E9- E9,a<\/span><\/span><\/span><\/p>\n

Quan chai la fuelha <\/span><\/p>\n

dels aussors entressims <\/span><\/p>\n

el freg s’erguelha <\/span><\/p>\n

don seca ‘l vais e’l vims, <\/span><\/p>\n

del dous refrims <\/span><\/p>\n

vei sordezir la bruelha: <\/span><\/p>\n

mais ieu sui prims <\/span><\/p>\n

d’Amor qui que s’en tuelha. <\/span><\/p>\n

2 21 1 <\/span><\/span><\/span><\/p>\n

When the leaf sings <\/span><\/span><\/p>\n

from the highest peaks <\/span><\/span><\/p>\n

and the cold raises, <\/span><\/span><\/p>\n

withering the kernel and willow, <\/span><\/span><\/p>\n

of its sweet refrains <\/span><\/span><\/p>\n

I see the wood grow dumb; <\/span><\/span><\/p>\n

but I’m close to love, <\/span><\/span><\/p>\n

whosoever might leave it. <\/span><\/span><\/p>\n

2 22 <\/span><\/span><\/p>\n

Tot quan es gela, <\/span><\/p>\n

mas ieu no puesc frezir <\/span><\/p>\n

qu’amors novela <\/span><\/p>\n

mi fa’l cor reverdir; <\/span><\/p>\n

non dei fremir <\/span><\/p>\n

qu’Amors mi cuebr’em cela <\/span><\/p>\n

em fai tenir <\/span><\/p>\n

ma valor em capdela <\/span><\/p>\n

<\/span>2 22 1 <\/span><\/span><\/span><\/p>\n

Everything is iced, <\/span><\/span><\/p>\n

but I cannot freeze <\/span><\/span><\/p>\n

because a love affair <\/span><\/span><\/p>\n

makes my heart lush again; <\/span><\/span><\/p>\n

I should not shake, <\/span><\/span><\/p>\n

because Love covers and hides me <\/span><\/span><\/p>\n

and makes me preserve <\/span><\/span><\/p>\n

my merit, and leads me.<\/span><\/span><\/p>\n

2 23 <\/span><\/span>La formule des rimes et les timbres des deux strophes de <\/span>l\u2019exemple 3 <\/span><\/span>sont<\/span><\/p>\n

<\/span>a\tb\ta\tb\ta\tb\ta<\/span><\/span><\/p>\n

<\/span><\/span>elha\tims<\/em><\/span><\/span><\/p>\n

ela\tir<\/em><\/span><\/span><\/p>\n

Les rimes de la premi\u00e8re strophe ont \u00e9t\u00e9 renouvel\u00e9es pour la seconde. <\/span><\/p>\n

2 24 <\/span><\/span>R\u00e8gle 2\u00a0:<\/span><\/span> La m\u00e9lodie d\u2019une <\/span><\/span><\/span>canso <\/strong><\/span><\/span><\/span>est la m\u00eame pour toutes les <\/span><\/span><\/span>coblas<\/strong><\/span><\/span><\/span>.<\/strong><\/span><\/span> <\/span><\/span><\/p>\n

2 25 <\/span><\/span>La musique assure l\u2019unit\u00e9 de la canso.<\/strong><\/span><\/span> <\/span><\/span><\/p>\n

2 26 <\/span><\/span>Les <\/span>cansos<\/strong><\/span> comportent un nombre variable de <\/span>coblas<\/strong><\/span> <\/span><\/p>\n

2 27 <\/span><\/span>Au moins deux. Une<\/span> <\/span><\/span>cobla<\/strong><\/span> isol\u00e9e, soit volontairement, soit par lacune de la tradition manuscrite se nomme <\/span>cobla esparsa<\/strong><\/span>. <\/span><\/p>\n

2 25 1 <\/span><\/span><\/span>Les termes techniques utilis\u00e9s pour la description proviennent en partie d\u2019un recueil tardif, du 14<\/span><\/span>\u00e8me<\/span><\/sup><\/span> si\u00e8cle, post\u00e9rieur \u00e0 l\u2019\u00e2ge du trobar, les <\/span><\/span>Leys d\u2019amors<\/span><\/span><\/span><\/p>\n

2 28 <\/span><\/span>Une <\/span>cobla esparsa<\/strong><\/span> est la premi\u00e8re strophe d\u2019une <\/span>canso<\/strong><\/span> <\/span>potentielle<\/span><\/span>. <\/span><\/p>\n

2 29 <\/span><\/span>Elle ne doit pas \u00eatre consid\u00e9r\u00e9e comme <\/span>close<\/span><\/span> mais comme virtuellement prolongeable en une <\/span>canso<\/strong><\/span><\/p>\n

<\/span>2 29 1 <\/span><\/span><\/span>tanka\/haiku<\/span><\/span><\/p>\n

2 30 <\/span><\/span>Une <\/span>canso<\/strong><\/span> s\u2019ach\u00e8ve en principe par un ou plusieurs \u2018envois\u2019, les <\/span>tornadas<\/strong><\/span>, qui contiennent des vers dont la f<\/span>ormule <\/strong><\/span>reproduit un segment final de la <\/span>formule<\/strong><\/span> de la <\/span>canso<\/strong><\/span>. <\/span><\/p>\n

2 31 <\/span><\/span>L\u2019envoi est une adresse, soit \u00e0 la dame d\u00e9dicataire du chant, d\u00e9sign\u00e9e sous son nom secret, le <\/span>senhal<\/strong><\/span>, soit \u00e0 un seigneur-m\u00e9c\u00e8ne, soit \u00e0 un autre troubadour, comme dans l\u2019exemple suivant, ou Bernard de Ventadour envoie sa <\/span>canso<\/strong><\/span> \u00e0 Rainbaud d\u2019Orange, sous le pseudonyme de \u2018Tristan\u2019<\/span><\/p>\n

2 32 <\/span><\/span><\/p>\n

E10-E10,a<\/span><\/span><\/span><\/p>\n

Can vei la lauzeta mover<\/span><\/p>\n

De joi sas alas contra\u2019l rai, <\/span><\/p>\n

Que s\u2019oblid\u2019 e\u2019s laissa chazer <\/span><\/p>\n

Per la doussor c\u2019al cor li vai, <\/span><\/p>\n

Ai! Tan grans enveya m\u2019en ve <\/span><\/p>\n

De cui qu\u2019eu veya jauzion! <\/span><\/p>\n

Meravilhas ai, car desse <\/span><\/p>\n

Lo cor de dezirer no\u2019m fon<\/span><\/p>\n

2 32 1 <\/span><\/span><\/span>When I see the lark break \u2028its wings against a sunbeam, \u2028forget itself, \u2028\tand fall \u2028from that sweet joy \u2028that pierces the heart, \u2028O\u2014my own could melt,\u2028envying all those I see rejoicing.<\/span><\/span><\/p>\n

\u2026\u2026.<\/span><\/p>\n

2 33 <\/span><\/span><\/p>\n

Tristans, ges non auretz de me, <\/span><\/p>\n

Qu\u2019eu m\u2019en vau, chaitius, no sai on. <\/span><\/p>\n

De chantar me gic e\u2019m recre,<\/span><\/p>\n

E de joi e d\u2019amor m\u2019escon.<\/span><\/p>\n

<\/span>2 33 1 <\/span><\/span><\/span>You\u2019ll hear nothing more from me, Tristan\u2014 \u2028I am broken, and I know not where I go.\u2028I have no more songs to sing.\u2028I hide myself from love and joy.<\/span><\/span><\/p>\n

<\/span>\u00a7 3 <\/span><\/span> La canso, forme ma\u00eetresse du <\/strong><\/span><\/span>trobar<\/strong><\/span><\/span><\/span> <\/strong><\/span><\/span><\/p>\n

3 1 <\/span><\/span>L\u2019Art des Troubadours se nomme le <\/span>trobar. <\/strong><\/span><\/p>\n

3 1 1 <\/span><\/span><\/span>\u2018trobar\u2019\u00a0: trouver. Les Troubadours sont ceux qui trouvent. Ce qu\u2019ils trouvent est le chant\u00a0: <\/span><\/span>chan<\/strong><\/span><\/span><\/p>\n

3 2 <\/span><\/span>Il s\u2019exprime en premier, disons primordialement, dans la <\/span>canso<\/strong><\/span>, qui est la forme reine de leur art. <\/span><\/p>\n

3 3 <\/span><\/span>La <\/span>canso<\/strong><\/span> a un sujet, th\u00e8me, contenu, sens unique, qui est l\u2019amour\u00a0: <\/span>Amors<\/strong><\/span>. <\/span><\/p>\n

3 4 <\/span><\/span>Amors<\/strong><\/span> inspire la <\/span>canso. <\/strong><\/span>La <\/span>canso <\/strong><\/span>ne parle, ne chante que de cela. <\/span><\/p>\n

3 5 <\/span><\/span>Qu\u2019est <\/span>Amors\u00a0?<\/strong><\/span> ce que dit, chante la <\/span>canso.<\/strong><\/span> Il n\u2019y a pas de d\u00e9finition de l\u2019amour selon les Troubadours, de la forme d\u2019amour qu\u2019ils inventent, disent et chantent, en dehors de la <\/span>canso. <\/strong><\/span><\/p>\n

3 6<\/span><\/span> <\/strong><\/span><\/span>Voil\u00e0 qui m\u00e9rite un axiome<\/span><\/p>\n

3 7 <\/span><\/span><\/p>\n

<\/span><\/span>AXIOME 1<\/span><\/span><\/p>\n

<\/span><\/span>La <\/strong><\/span><\/span>canso<\/strong><\/span><\/span><\/span> dit et chante <\/strong><\/span><\/span>Amors<\/strong><\/span><\/span><\/span> en le chantant<\/strong><\/span><\/span> <\/span><\/span><\/p>\n

3 8 <\/span><\/span>Les <\/span>cansos<\/strong><\/span> sont les plus importantes des compositions troubadouresques. Mais ce ne sont pas les seules. Les principales \u2018non-cansos\u2019 se nomment <\/span>sirventes<\/strong><\/span>. <\/span><\/p>\n

3 9 <\/span><\/span>R\u00e8gle 3 Les <\/span><\/span><\/span>sirventes<\/strong><\/span><\/span><\/span> parlent de tout ce qui n\u2019est pas <\/span><\/span><\/span>amors<\/strong><\/span><\/span><\/span> <\/span><\/p>\n

3 10 <\/span><\/span>R\u00e8gle 4\u00a0: tout <\/span><\/span><\/span>sirventes <\/strong><\/span><\/span><\/span>emprunte sa forme (m\u00e9lodie, formules de rimes et de m\u00e8tres)<\/span><\/span><\/span> <\/strong><\/span><\/span><\/span>\u00e0 une <\/span><\/span><\/span>canso<\/strong><\/span><\/span><\/span> pr\u00e9existante<\/span><\/span><\/span><\/p>\n

<\/span>3 10 1 <\/span><\/span><\/span>Le caract\u00e8re lacunaire de la tradition fait que la <\/span><\/span>R\u00e8gle 3<\/span><\/span><\/span> n\u2019est qu\u2019une hypoth\u00e8se.<\/span><\/span><\/p>\n

3 10 1 1 <\/span><\/span><\/span>La pseudo-\u00e9tymologie qui explique <\/span><\/span>sirventes<\/strong><\/span><\/span> comme \u2018au service de la <\/span><\/span>canso\u2019<\/strong><\/span><\/span> soutient l\u2019hypoth\u00e8se<\/span><\/span><\/p>\n

3 11 <\/span><\/span>Le <\/span>trobar<\/strong><\/span> pratique aussi un genre dialogu\u00e9, la <\/span>tenso<\/strong><\/span> (tenson). Il se joue \u00e0 deux g\u00e9n\u00e9ralement, parfois \u00e0 trois. <\/span><\/p>\n

3 12 <\/span><\/span>R\u00e8gle 5 La forme d\u2019une <\/span><\/span><\/span>tenso<\/strong><\/span><\/span><\/span> est la m\u00eame que celle d\u2019une <\/span><\/span><\/span>canso<\/strong><\/span><\/span><\/span> pr\u00e9existante<\/span><\/span><\/span><\/p>\n

<\/span><\/span>3 11 1 <\/span><\/span><\/span>Pour la m\u00eame raison que pr\u00e9c\u00e9demment cette r\u00e8gle n\u2019est qu\u2019une hypoth\u00e8se<\/span><\/span><\/p>\n

3 12 <\/span><\/span>Exemple 4 <\/span><\/span>: deux premiers \u00e9changes d\u2019une tenson entre Giraut de Bornelh et Raimbaut d\u2019Aurenga (Raimbaud d\u2019Orange)<\/span><\/p>\n

3 12 <\/span><\/span><\/p>\n

E11<\/span><\/span><\/span><\/p>\n

Era.m platz, Giraut de Bornelh, <\/span><\/span><\/p>\n

Que sapcha per c’anatz blasman <\/span><\/span><\/p>\n

Trobar clus ni per cal semblan. <\/span><\/span><\/p>\n

Aisso.m diatz\u2028 Si tan prezatz <\/span><\/span><\/p>\n

So que vas totz es comunal! <\/span><\/span><\/p>\n

Car adonc tuch seran egal.\u00b7 <\/span><\/span><\/p>\n

Senher Linhaure, no.m corelh, <\/span><\/span><\/p>\n

Si quecs se trob’a so talan! <\/span><\/span><\/p>\n

Mas me eis volh jutjar d’aitan <\/span><\/span><\/p>\n

Qu’es mais amatz <\/span><\/span><\/p>\n

Chans e prezatz, <\/span><\/span><\/p>\n

Qui.l fai levet e venansal, <\/span><\/span><\/p>\n

E vos no m’o tornetz a mal\u00b7<\/span><\/span><\/p>\n

Giraut, no volh qu’en tal trepelh <\/span><\/span><\/p>\n

Torn mos trobars quez om am tan <\/span><\/span><\/p>\n

L’avol co.l bon e.l pauc co.l gran. <\/span><\/span><\/p>\n

Ja per los fatz\u2028 Non er lauzatz! <\/span><\/span><\/p>\n

Car no conoisson ni lor chal <\/span><\/span><\/p>\n

So que plus char es ni mais val.\u00b7 <\/span><\/span><\/p>\n

Linhaure, si per aisso velh <\/span><\/span><\/p>\n

Ni mo sojorn torn en afan, <\/span><\/span><\/p>\n

Sembla que.m dopte de mazan <\/span><\/span><\/p>\n

A que trobatz,\u2028 Si no vos platz <\/span><\/span><\/p>\n

C’ades o sapchon tal e cal <\/span><\/span><\/p>\n

Que chans no port’altre chaptal.\u00b7<\/span><\/span><\/p>\n

<\/span><\/span>E11a<\/span><\/span><\/span><\/p>\n

\u00ab\u00a0Il me pla\u00eet aujourd’hui de savoir Guiraut de Borneil,\u2028Pourquoi vous bl\u00e2mez\u2028La po\u00e9sie \u00ab\u00a0ferm\u00e9e\u00a0\u00bb et selon quelle apparence.\u2028Et dites-moi\u2028Si vous estimez\u2028Tout ce qui est commun \u00e0 tous,\u2028Car alors tous les po\u00e8tes seront \u00e9gaux.\u00a0\u00bb\u2028\u2028\u00ab\u00a0Messire Linhaure, je ne me plains pas\u2028De voir chacun versifier selon son go\u00fbt;\u2028Mais je veux me juger moi-m\u00eame selon ce principe:\u2028Que chant est plus aim\u00e9\u2028Et plus estim\u00e9,\u2028Quand on le fait facile et simple.\u2028Ne m’en veuillez pas de cette d\u00e9claration.\u00a0\u00bb\u2028\u2028\u00ab\u00a0Guiraut, je ne souhaite pas que ma po\u00e9sie\u2028Retourne en telle cohue o\u00f9 l’on aime autant\u2028Le mauvais que le bon et le petit que le grand.\u2028Jamais les sots\u2028Ne la loueront,\u2028Car ils ne connaissent pas, et peu leur importe,\u2028Ce qui est plus pr\u00e9cieux et vaut davantage\u00a0\u00bb.\u2028\u2028\u2028\u00ab\u00a0Linhaure, si pour cette po\u00e9sie (difficile)\u2028Je veille et change mon divertissement en fatigue,\u2028Il semble bien que pour elle j’aie peur du bruit de la critique.\u2028Pourquoi faites-vous des vers\u2028S’il ne vous pla\u00eet point\u2028Que tel ou tel les sache tout de suite?\u2028La po\u00e9sie ne rapporte pas d’autre profit!\u00a0 \u2026<\/span><\/span><\/span> Traduction Jean Audiau et Ren\u00e9 Lavaud.<\/em><\/span><\/span><\/span><\/p>\n

3 13 <\/span><\/span>Le texte est monom\u00e9trique, en vers de 8 syllabes. La formule de rimes est <\/span>a b b c d d<\/strong><\/span><\/p>\n

<\/span><\/span>\u00a74 <\/span><\/span> Les trois axiomes de la <\/strong><\/span><\/span>canso<\/strong><\/span><\/span><\/span><\/p>\n

4 1 <\/span><\/span>En plus de l\u2019AXIOME 1 ci-dessus, la <\/span>forme-canso<\/strong><\/span> est soumise \u00e0 deux autres principes<\/span><\/p>\n

4 2 <\/span><\/span>AXIOME 2, <\/span><\/span>axiome de renouvellement <\/strong><\/span><\/span>: <\/span><\/span><\/p>\n

<\/span><\/span>Deux <\/strong><\/span><\/span>cansos<\/strong><\/span><\/span><\/span> distinctes ont des <\/strong><\/span><\/span>formules<\/strong><\/span><\/span><\/span> distinctes<\/strong><\/span><\/span><\/p>\n

4 3 <\/span><\/span>La diff\u00e9rence peut porter sur la m\u00e9lodie, la formule m\u00e9trique ou la formule de rimes, ou deux d\u2019entre ces constituants, ou les trois <\/span><\/p>\n

4 3 1 <\/span><\/span><\/span>On peut, en fait, consid\u00e9rer que cet axiome, en fait, r\u00e9sulte de la d\u00e9finition m\u00eame de la canso, est donc, en fait, un th\u00e9or\u00e8me qui s\u2019en d\u00e9duit\u00a0: <\/span><\/span><\/p>\n

4 3 2 <\/span><\/span><\/span>L\u2019amour doit \u00eatre nouveau toujours, neuf, <\/span><\/span>novel <\/em><\/span><\/span>; le chant par cons\u00e9quent doit avoir cette propri\u00e9t\u00e9. <\/span><\/span><\/p>\n

<\/span><\/span>4 3 3 <\/span><\/span><\/span>Donc, toute <\/span><\/span>canso<\/strong><\/span><\/span> doit avoir quelque chose de nouveau.<\/span><\/span><\/p>\n

<\/span><\/span>4 3 4 <\/span><\/span><\/span>Or, ce qui appartient en propre \u00e0 une <\/span><\/span>canso<\/strong><\/span><\/span>, c\u2019est sa <\/span><\/span>formule<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

<\/span><\/span>4 3 4 1 <\/span><\/span><\/span>Et cela seulement. Le \u2018contenu\u2019 est toujours le m\u00eame<\/span><\/span><\/p>\n

4 3 5 <\/span><\/span><\/span>Il s\u2019ensuit que toute <\/span><\/span>canso<\/strong><\/span><\/span> doit se distinguer de toute autre par sa formule. Toute <\/span><\/span>canso<\/strong><\/span><\/span> doit avoir une <\/span><\/span>formule<\/strong><\/span><\/span> originale. <\/span><\/span><\/p>\n

4 4 <\/span><\/span>Le nom <\/span>d\u2019axiome de renouvellement<\/span><\/span> traduit le fait qu\u2019un troubadour, au moment de composer une <\/span>canso,<\/strong><\/span> doit tenir compte de toutes les <\/span>cansos<\/strong><\/span> ant\u00e9rieures et ne pas reproduire une <\/span>formule<\/strong><\/span> d\u00e9j\u00e0 employ\u00e9e par un coll\u00e8gue. Le <\/span>trobar<\/strong><\/span> se renouvelle dans cesse et le nombre des <\/span>formules<\/strong><\/span> distinctes augmente. <\/span><\/p>\n

4 5 <\/span><\/span>On a conserv\u00e9 \u00e0 peu pr\u00e8s 2600 textes de troubadours. Les <\/span>formules de rimes<\/strong><\/span> que pr\u00e9sente le <\/span>R\u00e9pertoire m\u00e9trique des Troubadours<\/em><\/span> d\u2019Istvan Frank sont presque 900. C\u2019est dire la pertinence de l\u2019axiome de renouvellement. <\/span><\/p>\n

4 6 <\/span><\/span>Les <\/span>cansos<\/strong><\/span> ne sont pas de <\/span>valeur<\/span><\/span> \u00e9gale. Certaines sont consid\u00e9r\u00e9es comme m\u00e9ritant plus de gloire que d\u2019autres, parce qu\u2019elles chantent mieux que d\u2019autres <\/span>amors. <\/strong><\/span><\/p>\n

4 7 <\/span><\/span>Comment reconna\u00eetre la valeur d\u2019une <\/span>canso <\/strong><\/span>? par le nombre de celles qui l\u2019imitent, qui reproduisent un ou plusieurs \u00e9l\u00e9ments de sa <\/span>formule<\/strong><\/span>. <\/span><\/p>\n

4 8 <\/span><\/span>AXIOME 3, <\/span><\/span>Axiome du Pretz (<\/strong><\/span><\/span>prix)<\/strong><\/span><\/p>\n

<\/span><\/span>La valeur d\u2019une <\/strong><\/span><\/span>canso<\/strong><\/span><\/span><\/span> se mesure au nombre de <\/strong><\/span><\/span>cansos<\/strong><\/span><\/span><\/span> qui l\u2019imitent.<\/strong><\/span><\/span><\/p>\n

4 8 1 <\/span><\/span><\/span>En se limitant aux <\/span><\/span>formules de rimes<\/strong><\/span><\/span>, et en notant <\/span><\/span>P<\/strong><\/span><\/span> le nombre de textes qui ont la m\u00eame, les 5 plus importantes sont les suivantes<\/span><\/span><\/p>\n

E12<\/span><\/span><\/span><\/p>\n

Formule\t\t\t\tP<\/span><\/span><\/p>\n

<\/span>abbaccdd\t\t\t\t306<\/span><\/span><\/p>\n

ababccdd\t\t\t\t112<\/span><\/span><\/p>\n

abbacddc\t\t\t\t92<\/span><\/span><\/p>\n

abbaccddee\t\t\t\t70<\/span><\/span><\/p>\n

ababcddc\t\t\t\t37<\/span><\/span><\/p>\n

ababcdcd\t\t\t\t26<\/span><\/span><\/p>\n

ababccddee\t\t\t\t25 <\/span><\/span><\/p>\n

4 8 1 1 <\/span><\/span><\/span>Remarque\u00a0: le Pretz de la formule abababab n\u2019est que 6, celui de abbaabba, 9. C\u2019est peu<\/span><\/span><\/p>\n

<\/span>\u00a75 <\/span><\/span> Trobar clus, trobar leu<\/strong><\/span><\/span><\/p>\n

5 1 <\/span><\/span>Dans l\u2019<\/span>exemple 4<\/span><\/span> (cit\u00e9 en <\/span>3 12 <\/span><\/span>) Raimbaud d\u2019Orange et Giraut de Bornelh pol\u00e9miquent, \u2018tensonnent\u2019 sur un sujet qui est une constante dans l\u2019histoire de la po\u00e9sie\u00a0: la question de l\u2019obscurit\u00e9. <\/span><\/p>\n

5 2 <\/span><\/span>Il y a deux strat\u00e9gies, deux \u2018lignes\u2019 dans le <\/span>trobar<\/strong><\/span>, que les Troubadours eux-m\u00eames ont nomm\u00e9es\u00a0: l\u2019une est le <\/span>trobar leu<\/strong><\/span>, la \u2018parole claire\u2019, sans artifices, sans complications formelles\u00a0; l\u2019autre, le <\/span>trobar clus<\/strong><\/span>, et sa variante, le <\/span>trobar ric,<\/strong><\/span> la \u2018po\u00e9sie ferm\u00e9e\u2019, faite de recherches de rimes, de \u2018performances\u2019 combinatoires, d\u2019images inhabituelles. Le ma\u00eetre reconnu du <\/span>clus<\/strong><\/span> est Raimbaud d\u2019orange, et son disciple le plus fameux <\/span>Arnaut Daniel. <\/strong><\/span><\/p>\n

5 2 1 <\/span><\/span><\/span>Immortalis\u00e9 par Dante, dans la \u2018Comedia\u2019, d\u2019une mani\u00e8re spectaculaire\u00a0: il le fait parler 8 vers en proven\u00e7al. <\/span><\/span><\/p>\n

<\/span><\/span>5 2 1 1 <\/span><\/span><\/span>Au chant XXVI du Purgatoire. Arnaut est tout pr\u00eat de la rivi\u00e8re <\/span><\/span><\/p>\n

<\/span><\/span>5 2 1 1 1 <\/span><\/span><\/span>l\u2019arno\u00a0?<\/span><\/span><\/p>\n

sp\u00e9culation folle de dragoneti<\/span><\/span><\/p>\n

5 2 1 2 <\/span><\/span><\/span>qui, franchie, le m\u00e8nerait au Paradis. Mais il doit, cependant, \u00eatre puni, et souffrir parmi les \u2018luxurieux\u2019. Dans ne badine pas avec ses ma\u00eetres et ses rivaux, m\u00eame quand il leur rend hommage. <\/span><\/span><\/p>\n

5 2 1 2 1 <\/span><\/span><\/span>Il jette en Enfer Brunet Latin, dont le crime fut, lui florentin, d\u2019\u00e9crire en frzn\u00e7ais<\/span><\/span><\/p>\n

5 2 2 <\/span><\/span><\/span>Hommage \u00e9tonnant de la part d\u2019un po\u00e8te qui a tant fait pour \u00e9tablir sa version de l\u2019italien, le parler florentin, au d\u00e9triment des autres langues, particuli\u00e8rement la langue par excellence de la po\u00e9sie et de l\u2019amour en son temps, la langue des Troubadours, la <\/span><\/span>langue d\u2019oc<\/strong><\/span><\/span>. <\/span><\/span><\/p>\n

<\/span><\/span>5 2 2 <\/span><\/span><\/span><\/p>\n

E13<\/span><\/span><\/span><\/p>\n

Tant m\u2019abellis vostre cortes deman<\/span><\/span><\/p>\n

Qu\u2019ieu no me puesc ni voill a vos cabrire.<\/span><\/span><\/p>\n

Ieu sui Arnaut que plor e vau cantan ;<\/span><\/span><\/p>\n

consiros vei la passada folor <\/span><\/span><\/p>\n

e vei jausen lo joi qu\u2019esper deman. <\/span><\/span><\/p>\n

Ara vos prec per aquella valor\u2028que <\/span><\/span><\/p>\n

vos guida al som de l\u2019escalina, <\/span><\/span><\/p>\n

soventra vos a temps de ma dolor.<\/span><\/span><\/p>\n

E13a<\/span><\/span><\/span><\/p>\n

Tant me pla\u00eet votre courtoise demande <\/span><\/span><\/span><\/p>\n

que je ne veux ni ne peux me cacher \u00e0 vous. <\/span><\/span><\/span><\/p>\n

Je suis Arnaut qui pleure et vais chantant ; <\/span><\/span><\/span><\/p>\n

je vois dans ma tristesse ma folie pass\u00e9e <\/span><\/span><\/span><\/p>\n

et vois dans le plaisir la joie qui m\u2019attend. <\/span><\/span><\/span><\/p>\n

Je vous prie maintenant, par cette vertu <\/span><\/span><\/span><\/p>\n

qui vous guide au sommet de la pente, <\/span><\/span><\/span><\/p>\n

qu\u2019il vous souvienne \u00e0 temps de ma douleur.<\/span><\/span><\/span><\/p>\n

<\/span>5 2 2 1 <\/span><\/span><\/span>pas g\u00e9niaux, ces vers, mais linguistiquement comp\u00e9tents<\/span><\/span><\/p>\n

<\/span><\/span>5 2 3 <\/span><\/span><\/span>Les trois mots \u2018ieu sui Arnaut\u00a0\u00bb font allusion \u00e0 trois vers fameux du troubadour<\/span><\/span><\/p>\n

<\/span><\/span>5 2 4 <\/span><\/span><\/span><\/p>\n

E14<\/span><\/span><\/span><\/p>\n

<\/span><\/span>ieu sui Arnautz qu\u2019amas l\u2019aura<\/strong><\/span><\/span><\/p>\n

chatz la lebre con lob ou<\/strong><\/span><\/span><\/p>\n

e nadi contra suberna<\/strong><\/span><\/span><\/p>\n

E14a<\/span><\/span><\/span><\/p>\n

5 2 4 1 <\/span><\/span><\/span>je suis Arnaud qui amasse le vent \/ chasse le li\u00e8vre avec le b\u0153uf \/ et nage contre le courant<\/span><\/span><\/p>\n

5 3 <\/span><\/span><\/span>Exemple 5<\/span><\/span><\/span>, d\u2019Arnaut Daniel<\/span><\/span><\/p>\n

5 4 <\/span><\/p>\n

E15<\/span><\/span><\/span><\/p>\n

L’aur amara <\/span><\/p>\n

fa’ls bruels brancutz <\/span><\/p>\n

clarzir, <\/span><\/p>\n

que’l dous’espeis’ab fuelhs, <\/span><\/p>\n

e’ls letz <\/span><\/p>\n

becx <\/span><\/p>\n

dels auzels ramencx <\/span><\/p>\n

te babs e mutz, <\/span><\/p>\n

pars <\/span><\/p>\n

e non pars, <\/span><\/p>\n

per que m’esfortz <\/span><\/p>\n

per far e dir <\/span><\/p>\n

plazers <\/span><\/p>\n

a manhs per lei <\/span><\/p>\n

qui m’a virat bas d’aut, <\/span><\/p>\n

don tem morir <\/span><\/p>\n

si l’afans no m’asoma.<\/span><\/p>\n

<\/span>5 4 1 <\/span><\/span><\/span><\/p>\n

E15a<\/span><\/span><\/span><\/p>\n

<\/span>The bitter air <\/span><\/span><\/p>\n

makes those bough-laden woods <\/span><\/span><\/p>\n

barren, <\/span><\/span><\/p>\n

which the sweet one thickens with leaves, <\/span><\/span><\/p>\n

and the gleeful <\/span><\/span><\/p>\n

beaks <\/span><\/span><\/p>\n

of the wandering birds <\/span><\/span><\/p>\n

it keeps stammering and dumb, <\/span><\/span><\/p>\n

couples <\/span><\/span><\/p>\n

and single ones, <\/span><\/span><\/p>\n

therefore I endeavour <\/span><\/span><\/p>\n

to act and speak <\/span><\/span><\/p>\n

pleasantly <\/span><\/span><\/p>\n

to many for the sake of her <\/span><\/span><\/p>\n

who has cast me low from high, <\/span><\/span><\/p>\n

for whom I dread to die <\/span><\/span><\/p>\n

if my grievance isn’t eased.<\/span><\/span><\/p>\n

5 5 <\/span><\/span>Le <\/span>trobar clus<\/strong><\/span> ne dit pas autre chose que le <\/span>trobar leu<\/strong><\/span>, que ce que dit tout le <\/span>trobar, amors<\/strong><\/span>, l\u2019amour. Une de ses tactiques pr\u00e9f\u00e9r\u00e9es est le recours aux mots, aux sons, m\u00e8tres et rimes complexes ou rares, \u00e0 des cuisines savantes, \u00ab\u00a0confitures exquises aux bons po\u00e8tes\u00a0\u00bb (Rimbaud). <\/span><\/p>\n

5 5 1 pexa et irsuta Sola etenim pexa irsutaque urbana tibi restare videbis, que nobilissima sunt et membra vulgaris illustris. <\/span><\/span><\/span><\/p>\n

<\/span><\/p>\n

5\tEt pexa vocamus illa, que trisillaba, vel vicinissima trisillabitati, sine aspiratione, sine accentu acuto vel circumflexo, sine z vel x duplicibus, sine duarum liquidarum geminatione vel positione inmediate post mutam, dolata quasi, loquentem cum quadam suavitate relinquunt: ut amore, donna, disio, vertute, donare, letitia, salute, securitate, defesa. <\/span><\/span><\/span><\/p>\n

<\/span><\/p>\n

6\tIrsuta quoque dicimus omnia preter hec, que vel necessaria, vel ornativa videntur vulgaris illustris. Et necessaria quidem appellamus que campsare non possumus; ut quedam monosillaba, ut s\u00ec, no, me, te, se, a, e, i, o, u, interiectiones, et alia multa. Ornativa vero dicimus omnia polisillaba que mixta cum pexis pulcram faciunt armoniam compaginis, quamvis asperitatem habeant a\tdspirationis, et accentus, et duplicium, et liquidarum, et prolixitatis; ut terra, honore, speranza, gravitate, alleviato, impossibilit\u00e0, impossibilitate, benaventuratissimo, inanimatissimamente, disaventuratissimamente, sovramagnificentissimamente, quod endecasillabum est. Posset adhuc inveniri plurium sillabarum vocabulum, sive verbum; sed quia capacitatem nostrorum omnium carminum superexcedit, rationi presenti non videtur obnoxium, sicut est illud honorificabilitudinitate, quod duodena perficitur sillaba in vulgari et in gramatica tredena perficitur in duobus obliquis. <\/span><\/span><\/span><\/p>\n

<\/span><\/p>\n

7\tQuomodo autem pexis irsuta huiusmodi sint armonizanda per metra, inferius instruendum relinquimus. Et que iam dicta sunt de fastigiositate vocabulorum, ingenue discretioni sufficiant.<\/span><\/span><\/span><\/p>\n

5 6 <\/span><\/span>Mais l\u2019essentiel du style <\/span>clus<\/strong><\/span> est d\u2019ordre strat\u00e9gique.<\/span><\/p>\n

5 6 1 <\/span><\/span><\/span>strat\u00e9gie qu\u2019on peut reconna\u00eetre ailleurs que dans le <\/span><\/span>trobar<\/strong><\/span><\/span>, en d\u2019autres moments de la po\u00e9sie, un concept esth\u00e9tique fondamental. <\/span><\/span> <\/span><\/span><\/p>\n

5 7 <\/span><\/span>La clef de la mani\u00e8re \u00ab\u00a0clus\u00a0\u00bb est <\/span>l\u2019entrebescar<\/strong><\/span>, \u2018entrelacement\u2019. <\/span><\/p>\n

5 8 <\/span><\/span><\/p>\n

E16 \u2013 Bernart Marti lo Pintor<\/span><\/span><\/span><\/p>\n

C’aisi\u00a0vauc\u00a0entrebescant <\/span><\/p>\n

los\u00a0motz\u00a0e\u00b7l\u00a0so\u00a0afinant: <\/span><\/p>\n

lengu’entrebescada <\/span><\/p>\n

es\u00a0en\u00a0la\u00a0baisada.<\/span><\/p>\n

E16a<\/span><\/span><\/span><\/p>\n

<\/span>Ainsi je vais enla\u00e7ant <\/span><\/span><\/p>\n

Les mots et purifiant les sons<\/span><\/span><\/p>\n

Comme la langue s\u2019enlace<\/span><\/span><\/p>\n

A la langue dans le baiser<\/span><\/span><\/p>\n

<\/span>\u00a76 <\/span><\/span>La <\/strong><\/span><\/span>Sur-r\u00e8gle<\/strong><\/span><\/span><\/span> du <\/strong><\/span><\/span>Trobar<\/strong><\/span><\/span><\/span><\/p>\n

6 1 <\/span><\/span>Qui examine l\u2019ensemble des manifestations de l\u2019art des Troubadours, dont ce qui pr\u00e9c\u00e8de n\u2019est qu\u2019un expos\u00e9 rapide et sommaire, se rend compte qu\u2019un principe g\u00e9n\u00e9ral y est \u00e0 l\u2019\u0153uvre, que je nommerai la <\/span>E17 <\/span><\/span><\/span>Sur-r\u00e8gle du Trobar<\/strong><\/span><\/span><\/span><\/p>\n

6 2 <\/span><\/span>Toute caract\u00e9ristique du trobar est n\u00e9cessairement ni\u00e9e dans le trobar.<\/strong><\/span><\/span><\/p>\n

6 3 <\/span><\/span>D\u00e9veloppons un peu, en consid\u00e9rant 9 cas. La liste n\u2019est pas exhaustive. <\/span><\/p>\n

6 4 <\/span><\/span>(i) La <\/span>canso<\/strong><\/span> est d\u00e9di\u00e9e \u00e0 l\u2019<\/span>amors <\/strong><\/span>; chaque <\/span>canso<\/strong><\/span> dit l\u2019amour du troubadour pour une <\/span>dona <\/strong><\/span>(dame). <\/span>Mais<\/span><\/span> : Le <\/span>sirventes<\/strong><\/span>, qui a les m\u00eames caract\u00e9ristiques formelles s\u2019occupe d\u2019autre chose. <\/span><\/p>\n

(ii) Les r\u00e8gles de la <\/span>canso<\/strong><\/span> sont strictes\u00a0: un certain nombre de <\/span>coblas<\/strong><\/span>, sur la m\u00eame m\u00e9lodie, les m\u00eames formules m\u00e9trique et rimique. <\/span>Mais<\/span><\/span> : le <\/span>trobar<\/strong><\/span> conna\u00eet aussi le <\/span>descort<\/strong><\/span>, o\u00f9 ces donn\u00e9es changent de strophe en strophe<\/span><\/p>\n

(iii) Dans une <\/span>cobla<\/strong><\/span>, \u00e0 chaque vers porteur d\u2019une rime correspond, r\u00e9guli\u00e8rement, au moins un autre vers porteur de la m\u00eame rime\u00a0: <\/span>Mais<\/span><\/span> : dans la forme-canso apparaissent des cas o\u00f9 une rime, ou plusieurs, d\u2019une strophe n\u2019ont pas d\u2019\u00e9cho dans la m\u00eame strophe. Ce sont les rimes <\/span>estramps<\/strong><\/span>. <\/span><\/p>\n

(iv) Un des principes de la po\u00e9sie rim\u00e9e est qu\u2019on ne rime pas avec le m\u00eame mot. <\/span>Mais<\/span><\/span> : dans certaines formules de rimes un timbre au moins est support\u00e9 par un <\/span>mot-refrain<\/strong><\/span><\/p>\n

(v) La formule d\u2019une canso est, en principe, d\u00e9finie d\u2019une mani\u00e8re univoque\u00a0: elle a <\/span>une<\/span><\/span> formule de rimes associ\u00e9e \u00e0 <\/span>une<\/span><\/span> formule m\u00e9trique. <\/span>Mais<\/span><\/span> : nombreuses sont les <\/span>cansos<\/strong><\/span> qui peuvent \u00eatre analys\u00e9es suivant deux ou plusieurs formules. C\u2019est la <\/span>douloureuse question<\/span><\/span> , g\u00eanante<\/span> <\/span><\/span>pour les m\u00e9triciens<\/span>,<\/span><\/span> de la<\/span> <\/span><\/span>rime int\u00e9rieure<\/strong><\/span><\/span><\/p>\n

(vi) La m\u00e9lodie d\u2019une <\/span>canso<\/strong><\/span> comporte des r\u00e9p\u00e9titions m\u00e9lodiques co\u00efncidant avec les divisions du texte de la <\/span>cobla<\/strong><\/span> g\u00e9n\u00e9ratrice. <\/span>Mais<\/span><\/span> : des m\u00e9lodies n\u2019ont pas ce caract\u00e8re. C\u2019est l\u2019<\/span>oda continua<\/strong><\/span>. <\/span><\/p>\n

(vii) Dans une <\/span>tenso<\/strong><\/span> deux troubadours (ou plus) pol\u00e9miquent. <\/span>Mais<\/span><\/span> : certaines troubadours d\u00e9battent, dans la forme-tenso, avec eux-m\u00eames.<\/span><\/p>\n

(viii) la forme-canso suppose au moins deux strophes. <\/span>Mais<\/span><\/span> : certaines <\/span>coblas<\/strong><\/span> sont <\/span>esparsas<\/strong><\/span>, sans aucune suite. <\/span><\/p>\n

(ix) La <\/span>canso <\/strong><\/span>est aristocratique. L\u2019<\/span>amors<\/strong><\/span> n\u2019est pas pour les \u2018vilains\u2019, les paysans. <\/span>Mais<\/span><\/span> : un type de non-canso met en sc\u00e8ne troubadours et filles du peuple\u00a0: c\u2019est la <\/span>pastorela<\/strong><\/span> (pastourelle). Il a ses propres caract\u00e9ristiques formelles. Ainsi, il n\u2019emploie pas le <\/span>d\u00e9casyllabe \u00e0 rimes plates.<\/span><\/span> <\/span><\/p>\n

6 5 <\/span><\/span>FAIT ESSENTIEL 1\u00a0: La <\/span><\/span>sur-r\u00e8gle<\/strong><\/span><\/span> implique que dans chacun des cas cit\u00e9s, le trait d\u2019opposition \u00e0 la r\u00e8gle sera pouss\u00e9, si possible, \u00e0 l\u2019extr\u00eame\u00a0: <\/span><\/span>pour (1), signalons un cas particulier marquant\u00a0: Toute l\u2019\u0153uvre de Guilhem de Bergueda est compos\u00e9e de po\u00e8mes dont l\u2019<\/span>unique<\/span><\/span> th\u00e8me est la haine d\u2019un seigneur, qui \u00e9tait son ennemi mortel. Pour (iii), la <\/span>cobla dissoluta<\/strong><\/span>, o\u00f9 <\/span>toutes <\/span><\/span>les rimes sont<\/span> <\/strong><\/span><\/span>estramps<\/strong><\/span>. (v) Une <\/span>canso <\/strong><\/span>de Cerveri de Girona<\/span> <\/strong><\/span>est en vers monosyllabiques. Mais on peut la reconstituer en une \u00e9norme quantit\u00e9 d\u2019autres combinaisons avec rimes int\u00e9rieures. Etc. <\/span><\/p>\n

6 5 <\/span><\/span>FAIT ESSENTIEL 2\u00a0: Le <\/span><\/span>trobar<\/strong><\/span><\/span> disparu, la <\/span><\/span>sur-r\u00e8gle<\/strong><\/span><\/span> que j\u2019ai \u00e9nonc\u00e9e a continu\u00e9 \u00e0 agir sur ses descendants.<\/span><\/span> <\/span><\/p>\n

<\/span>\u00a77 <\/span><\/span>La \u2018translation\u2019 du <\/strong><\/span><\/span>trobar<\/strong><\/span><\/span><\/span> vers l\u2019Italie, qui se produit dans les ann\u00e9es 1220-1240<\/strong><\/span><\/span><\/p>\n

7 1 <\/span><\/span>La \u2018translation\u2019 du <\/span>trobar<\/span><\/span> vers l\u2019Italie, qui se produit dans les ann\u00e9es 1220-1240 <\/span><\/p>\n

<\/span>7 1 1 <\/span><\/span><\/span>Un des derniers grands troubadours, Sordel (Sordello) est italien. <\/span><\/span><\/p>\n

7 2 <\/span><\/span><\/span>a eu des effets d\u00e9vastateurs sur le <\/span><\/span>trobar<\/strong><\/span><\/span>. Elle a d\u00e9truit sa <\/span><\/span>coh\u00e9rence<\/span><\/span><\/span>. L\u2019importance de ce fait pour la compr\u00e9hension de la po\u00e9sie des h\u00e9ritiers siciliens et italiens des Troubadours a \u00e9t\u00e9 et est encore, \u00e0 mon avis, plut\u00f4t que sous-estim\u00e9e par les sp\u00e9cialistes, presque enti\u00e8rement m\u00e9connue. La filiation-transformation a \u00e9t\u00e9, m\u00eame quand elle n\u2019\u00e9tait pas excessivement minimis\u00e9e ou ni\u00e9e, \u00e9tudi\u00e9e de mani\u00e8re <\/span><\/span>locale<\/span><\/span><\/span>, a port\u00e9 sur tel ou tel aspect du traitement du <\/span><\/span>trobar<\/strong><\/span><\/span> par ses h\u00e9ritiers, jamais globalement. <\/span><\/span><\/p>\n

7 3 <\/span><\/span><\/span>Je suis \u00e9videmment incapable de la faire moi-m\u00eame. Je ne peux que signaler les probl\u00e8mes qui d\u00e9coulent de la reconnaissance du caract\u00e8re destructeur-reconstructeur de la translation. <\/span><\/span><\/p>\n

7 4 <\/span><\/span><\/span>Caract\u00e8re 1<\/span><\/span><\/span> \u2013 <\/span><\/span><\/p>\n

<\/span><\/span>Disparition de la musique<\/strong><\/span><\/span><\/p>\n

7 5 <\/span><\/span><\/span>Dans le champ po\u00e9tique sicilien-italien la m\u00e9lodie cesse de faire partie int\u00e9grante de la forme-po\u00e9sie. La po\u00e9sie, d\u00e9sormais est <\/span><\/span>\u00e9crite<\/span><\/span><\/span>. M\u00eame si la dimension orale demeure, comme pour toute po\u00e9sie<\/span><\/span><\/p>\n

7 5 1 <\/span><\/span><\/span>Les quatre \u00e9tats d\u2019un po\u00e8me <\/span><\/span><\/span>: La situation est en fait plus compliqu\u00e9e que la simple distinction oral\/\u00e9crit. Je pense que s’y ajoute une opposition interne\/externe; Autrement dit un po\u00e8me a quatre \u00e9tats distincts: deux \u00e9tats externes, l’un <\/span><\/span>\u00e9crit <\/span><\/span><\/span>(po\u00e8me sur la page) l’autre <\/span><\/span>oral<\/span><\/span><\/span> (po\u00e8me port\u00e9 par une voix). Les deux \u00e9tats peuvent \u00eatre pr\u00e9sents dans les ex\u00e9cutions et les lectures; l’un d’eux peut \u00eatre secondaire, ou m\u00eame omis (mais agit alors virtuellement). Il y a, et ce n’est pas le moins important, deux \u00e9tats internes; l’un est la voix de la po\u00e9sie dans la t\u00eate, que je nomme l’\u00e9tat <\/span><\/span>aural<\/em><\/span><\/span>; l’autre est la page mentale, que je nomme l’\u00e9tat <\/span><\/span>\u00e9Qrit<\/em><\/span><\/span>.. Il n’y a pas besoin de jouer la moindre com\u00e9die pour que dans la lecture silencieuse les quatre composantes interviennent (\u00e9ventuellement l’une contre l’autre). Je pense qu’un po\u00e8me qui n’est que sur la page, ou qui n’est que lu oralement n’existe pas. Il est immobile, oisif, inerte. Un po\u00e8me n’a de r\u00e9alit\u00e9 qu’une fois entr\u00e9 dans les t\u00eates; et alors il est un objet, un corps \u00e0 quatre membres, qui en plus ne restent pas les m\u00eames dans le temps. <\/span><\/span><\/p>\n

7 6 <\/span><\/span>Toute <\/span>canzone, <\/strong><\/span>tout <\/span>sonnet<\/strong><\/span>, tout <\/span>sextine, <\/strong><\/span>toute <\/span>ballata<\/strong><\/span>, n\u2019importe quelle composition en une autre forme a n\u00e9cessairement un \u00e9tat \u00e9crit. <\/span><\/p>\n

7 7 <\/span><\/span>Il s\u2019ensuit qu\u2019une attention devrait \u00eatre port\u00e9e \u00e0 la fa\u00e7on dont les <\/span>canzone,<\/strong><\/span> sonnets, sextines, etc.\u00a0figurent sur les pages, d\u2019un manuscrit, puis d\u2019un livre imprim\u00e9. <\/span><\/p>\n

7 8 <\/span><\/span>Comme la plupart des textes de la p\u00e9riode premi\u00e8re de la po\u00e9sie italienne n\u2019ont \u00e9t\u00e9 conserv\u00e9s que dans des manuscrits tardifs, il n\u2019est possible de faire que des conjectures. Mais il faudrait au moins reconna\u00eetre l\u2019importance du probl\u00e8me. <\/span><\/p>\n

7 9 <\/span><\/span>Hypoth\u00e8se <\/span><\/span>: <\/span>La version \u00e9crite remplace la musique dans son r\u00f4le de garant de l\u2019unit\u00e9 de la composition<\/strong><\/span>. <\/span><\/p>\n

7 10 <\/span><\/span>Caract\u00e8re 2 <\/span><\/span>\u2013<\/span> <\/span><\/span>La nature \u2018potentielle\u2019 de la strophe isol\u00e9e (esparsa)<\/strong><\/span> est oubli\u00e9e<\/span><\/p>\n

7 11 <\/span><\/span>Elle est con\u00e7ue comme autre chose qu\u2019une premi\u00e8re strophe possible d\u2019une <\/span>canso<\/strong><\/span> perdue ou \u00e0 composer, mais comme le <\/span>mod\u00e8le<\/span><\/span> possible d\u2019une forme. <\/span><\/p>\n

7 12 <\/span><\/span>Le lien entre <\/span>cobla<\/strong><\/span> et <\/span>canso<\/strong><\/span> est ainsi dissous. Les deux ont \u00eat\u00e9 \u2018traduites\u2019 de mani\u00e8re diff\u00e9rente, et ont donn\u00e9 naissance \u00e0 deux formes po\u00e9tiques distinctes, en apparence sans grands rapports. <\/span><\/p>\n

7 13 <\/span><\/span>Dans ces conditions, comme il n\u2019y a pas de prolongements suppos\u00e9s \u00e0 la strophe isol\u00e9e, comme elle est consid\u00e9r\u00e9e comme normalement unique, et comme la po\u00e9sie est rim\u00e9e, il ne doit pas y avoir de vers sans rime\u00a0; <\/span>pas de rime <\/span><\/span>estramp<\/strong><\/span><\/span>. <\/span><\/p>\n

7 14 <\/span><\/span>Caract\u00e8re 3<\/span><\/span> \u2013 Le jeu entre les deux principes, de <\/span>Renouvellement<\/strong><\/span> et de <\/span>Pretz<\/strong><\/span> cesse, au profit d\u2019un principe dominant d\u2019<\/span>Originalit\u00e9<\/strong><\/span><\/p>\n

7 15 <\/span><\/span>Le principe d\u2019originalit\u00e9\u00a0s\u2019exerce dans une situation d\u2019ignorance, de perte de m\u00e9moire du <\/span>trobar<\/strong><\/span>. M\u00eame les plus \u00e9rudits des po\u00e8tes italiens du treizi\u00e8me si\u00e8cle n\u2019ont qu\u2019une connaissance tr\u00e8s partielle de la tradition proven\u00e7ale. <\/span><\/p>\n

7 16 <\/span><\/span>Caract\u00e8re 4<\/span><\/span> – La <\/span>sur-r\u00e8gle<\/strong><\/span> agit, mais de mani\u00e8re sporadique, partielle, et est le plus souvent interpr\u00e9t\u00e9e de mani\u00e8re r\u00e9ductrice. <\/span><\/p>\n

7 17 <\/span><\/span>Caract\u00e8re 5<\/span><\/span> \u2013 La parent\u00e9 profonde d\u2019origine entre les diff\u00e9rents repr\u00e9sentants de la diaspora troubadouresque n\u2019est plus per\u00e7ue par les po\u00e8tes italiens<\/span><\/p>\n

<\/span>7 17 1 <\/span><\/span><\/span>et tr\u00e8s partiellement par les savants modernes<\/span><\/span><\/p>\n

7 18 <\/span><\/span>Caract\u00e8re 6<\/span><\/span> – Un ambition de \u2018sorpasso\u2019 et partant d\u2019effacement du<\/span> trobar<\/strong><\/span> est \u00e0 l\u2019oeuvre, qui oppose les h\u00e9ritiers fid\u00e8les <\/span><\/p>\n

7 18 1 <\/span><\/span><\/span>ou qui s\u2019efforcent de l\u2019\u00eatre, comme Guittone d\u2019Arezzo <\/span><\/span><\/p>\n

7 19 <\/span><\/span>aux \u2018novateurs\u2019, ceux qu\u2019on nomme les repr\u00e9sentants du \u2018dolce stil novo\u2019. Dante en est le plus parfait repr\u00e9sentant. <\/span><\/p>\n

7 20 <\/span><\/span>Caract\u00e8re 7<\/span><\/span> \u2013 L\u2019<\/span>Amors<\/strong><\/span> des troubadours, traduit en <\/span>Amore<\/strong><\/span> par Dante et les stilnovistes n\u2019est pas seulement falsifi\u00e9, affadi, pour des raison \u00e9thiques-th\u00e9ologiques<\/span><\/p>\n

7 20 1 <\/span><\/span><\/span>la condamnation de cette version profane de l\u2019amour par l\u2019archev\u00eaque de Paris en 1277 joue \u00e9videmment son r\u00f4le<\/span><\/span><\/p>\n

7 21 <\/span><\/span><\/span>Il est \u00e9galement victime d\u2019un contresens\u00a0touchant son caract\u00e8re contradictoire mais unitaire. Le <\/span><\/span>trobar<\/strong><\/span><\/span> fait se tenir ensemble, \u00e0 l\u2019aide du concept de <\/span><\/span>mezura,<\/em><\/span><\/span> les deux faces oppos\u00e9es d\u2019<\/span><\/span>amors<\/strong><\/span><\/span>, l\u2019amour sublime et l\u2019amour charnel. Dans la version sicilienne puis italienne, puis europ\u00e9enne de l\u2019<\/span><\/span>Amore<\/strong><\/span><\/span>, il y a au contraire presque toujours s\u00e9paration absolue, opposition irr\u00e9ductible. <\/span><\/span><\/p>\n

<\/span><\/span>C<\/span><\/span><\/p>\n

La <\/span><\/span>Canzone <\/strong><\/span><\/span><\/p>\n

<\/span>\u00a78 <\/span><\/span>La <\/strong><\/span><\/span>Canzone<\/strong><\/span><\/span><\/span> est l\u2019h\u00e9riti\u00e8re directe de la <\/strong><\/span><\/span>Canso<\/strong><\/span><\/span><\/span> <\/strong><\/span><\/span><\/p>\n

8 1 <\/span><\/span>Elle en pr\u00e9sente toutes les caract\u00e9ristiques, \u00e0 une exception pr\u00e8s, mais de taille\u00a0: la composante musicale a disparu.<\/span><\/p>\n

8 2 <\/span><\/span>Je ne vais pas faire l\u2019\u00e9tude formelle de la <\/span>canzone<\/strong><\/span>. Je vais donner 2 plus 1 exemple<\/span><\/p>\n

8 3 <\/span><\/span><\/p>\n

E18<\/span><\/span><\/span><\/p>\n

Guido Guinizelli<\/strong><\/span><\/p>\n

Al cor gentil rempaira sempre Amore<\/span><\/span><\/p>\n

come l’ausello in selva a la verdura;<\/span><\/span><\/p>\n

n\u00e9 fe’ Amor anti che gentil core,<\/span><\/span><\/p>\n

n\u00e9 gentil core anti ch’Amor, natura:<\/span><\/span><\/p>\n

ch’adesso con’ fu ‘l sole,<\/span><\/span><\/p>\n

s\u00ec tosto lo splendore fu lucente,<\/span><\/span><\/p>\n

n\u00e9 fu davanti ‘l sole;<\/span><\/span><\/p>\n

e prende Amore in gentilezza loco<\/span><\/span><\/p>\n

cos\u00ec prop\u00efamente<\/span><\/span><\/p>\n

come calore in clarit\u00e0 di foco.<\/span><\/span><\/p>\n

Foco d’amore in gentil cor s’aprende<\/span><\/span><\/p>\n

come vertute in petra prez\u00efosa,<\/span><\/span><\/p>\n

che da la stella valor no i discende<\/span><\/span><\/p>\n

anti che ‘l sol faccia gentil cosa;<\/span><\/span><\/p>\n

poi che n’ha tratto f\u00f2re<\/span><\/span><\/p>\n

per sua forza lo sol ci\u00f2 che li \u00e8 vile,<\/span><\/span><\/p>\n

stella li d\u00e0 valore:<\/span><\/span><\/p>\n

cos\u00ec lo cor ch’\u00e8 fatto da natura<\/span><\/span><\/p>\n

asletto, pur, gentile,<\/span><\/span><\/p>\n

donna a guisa di stella lo ‘nnamora.<\/span><\/span><\/p>\n

Amor per tal ragion sta ‘n cor gentile<\/span><\/span><\/p>\n

per qual lo foco in cima del doplero:<\/span><\/span><\/p>\n

splendeli al su’ diletto, clar, sottile;<\/span><\/span><\/p>\n

no li stari’ altra guisa, tant’\u00e8 fero.<\/span><\/span><\/p>\n

Cos\u00ec prava natura<\/span><\/span><\/p>\n

recontra amor come fa l’aigua il foco<\/span><\/span><\/p>\n

caldo, per la freddura.<\/span><\/span><\/p>\n

Amor in gentil cor prende rivera<\/span><\/span><\/p>\n

per suo consimel loco<\/span><\/span><\/p>\n

com’adam\u00e0s del ferro in la minera.<\/span><\/span><\/p>\n

Fere lo sol lo fango tutto ‘l giorno:<\/span><\/span><\/p>\n

vile reman, n\u00e9 ‘l sol perde calore;<\/span><\/span><\/p>\n

dis’ omo alter: \u00ab Gentil per sclatta torno \u00bb;<\/span><\/span><\/p>\n

lui semblo al fango, al sol gentil valore:<\/span><\/span><\/p>\n

ch\u00e9 non d\u00e9 dar om f\u00e9<\/span><\/span><\/p>\n

che gentilezza sia f\u00f2r di coraggio<\/span><\/span><\/p>\n

in degnit\u00e0 d’ere’<\/span><\/span><\/p>\n

sed a vertute non ha gentil core,<\/span><\/span><\/p>\n

com’aigua porta raggio<\/span><\/span><\/p>\n

e ‘l ciel riten le stelle e lo splendore.<\/span><\/span><\/p>\n

Splende ‘n la ‘ntelligenz\u00efa del cielo<\/span><\/span><\/p>\n

Deo cr\u00efator pi\u00f9 che ‘n nostr’occhi ‘l sole:<\/span><\/span><\/p>\n

quella intende suo fattor oltra cielo,<\/span><\/span><\/p>\n

e ‘l ciel volgiando, a Lui obedir tole;<\/span><\/span><\/p>\n

e con’ segue, al primero,<\/span><\/span><\/p>\n

del giusto Deo beato compimento,<\/span><\/span><\/p>\n

cos\u00ec dar dovria, al vero,<\/span><\/span><\/p>\n

la bella donna, poi che ‘n gli occhi splende<\/span><\/span><\/p>\n

del suo gentil, talento,<\/span><\/span><\/p>\n

che mai di lei obedir non si disprende.<\/span><\/span><\/p>\n

Donna, Deo mi dir\u00e0: \u00ab Che presomisti? \u00bb,<\/span><\/span><\/p>\n

s\u00efando l’alma mia a Lui davanti.<\/span><\/span><\/p>\n

\u00ab Lo ciel passasti e ‘nfin a Me venisti<\/span><\/span><\/p>\n

e desti in vano amor Me per semblanti:<\/span><\/span><\/p>\n

ch’a Me conven le laude<\/span><\/span><\/p>\n

e a la reina del regname degno,<\/span><\/span><\/p>\n

per cui cessa onne fraude \u00bb.<\/span><\/span><\/p>\n

Dir Li por\u00f2: \u00ab Tenne d’angel sembianza<\/span><\/span><\/p>\n

che fosse del Tuo regno;<\/span><\/span><\/p>\n

non me fu fallo, s’in lei posi amanza \u00bb. <\/span><\/span><\/p>\n

E18a<\/span><\/span><\/span> <\/span>trad. <\/span><\/span><\/span>Dante Gabriel Rossetti<\/strong><\/span><\/span><\/p>\n

<\/span>Within the gentle heart Love shelters him,<\/span><\/span><\/p>\n