Who Were The Troubadours? Characteristics Of These Poets And Musicians
Who were the troubadours? We have encountered this friendly figure in many films and novels, and his image, half romantic, half mischievous, is one of the most remembered when talking about the Middle Ages.
That’s how it is; When evoking the medieval world, these ardent singers come to mind who wandered from court to court and from town to town, sweetening with their song the hard life of the peasants or the boredom of the nobility.
But what is true (and myth) in all this? In this article we will try to get a little closer to this world that today seems so far away and that, however, laid the foundations of modern Western poetry.
First of all, we must begin by clarifying the difference between troubadours and minstrels
The first ones used to be of high birth. In the Middle Ages the aristocracy began to cultivate a delicate education, which was precisely what differentiated them from the masses.
Nobles wrote poetry and composed songs, and often played instruments. They could do it for mere distraction, for prestige, and even for a sincere love of the arts; but they never used it as a means of subsistence. This is the main difference between these cultured and refined troubadours and the very diverse minstrels.
The minstrels used to come from the common people (often, from their lowest strata). They did use their talents to earn their bread, whether in the form of currency or in exchange for a certain amount of support. There were quite a few minstrels who were hired by feudal lords or municipal authorities to entertain the public at specific celebrations, such as the festivals of a particular saint or at a wedding banquet.
In any case, it is important to remember that, usually, the minstrel did not compose, but rather performed the works of the troubadours. However, this does not mean that it reviewed its source: in the Middle Ages the concept of copyright did not exist, and pieces were transmitted orally, often without knowing their exact origin and also changing some elements to suit the consumer.
It is very important to remember this: we cannot imagine the medieval artist as a modern-day artist Art was something universal and individuality did not exist. Yes, we have received, of course, names and works of famous troubadours, which we will review in the last point.
The birth of modern poetry
Before the troubadours and minstrels, all poetry was in Latin, the language of culture. Of course, at a popular level there was always a poetic manifestation in the vulgar language, but no clergyman or gentleman would have thought of composing in another language that was not the language of the Church. It is in the 12th century when everything begins to change
But, first of all, let’s clarify: what is vulgar language or Romance language? They are those languages spoken by the people, some derived from Latin, others coming from other linguistic branches. They are Spanish, Catalan, Galician, French, Portuguese, German, English…
Gradually, this language of the people (who no longer used Latin to communicate), became stronger and claimed its place in literature. The troubadours picked up this witness and elevated the Romance language to true poetry
The first troubadour compositions were written in the language of Oc, originally from the south of France (from the region known as Occitania). Fashion prevailed, so it was very common for troubadours from other latitudes to use this language, and not their own, to compose.
The poetry of the troubadours marked the beginning of modern Western literature, since The Romance language was revalued and made suitable for expressing elevated feelings In the 13th and 14th centuries, very important authors such as Dante or Petrarch collected this heritage; So, The Divine Comedy of the Florentine it became the first great work written in the vulgar language.
From then on, the great epics and songs of love and death will no longer be sung in Latin. This would be left to universities and scientific writings, which would continue to use it well into the 18th century.
courtly love
The Middle Ages is the time of courtly love, and troubadours are closely related to it But what is courtly love?
The term is relatively recent. It appeared in the 19th century to refer to all this poetry and gallantry practiced by troubadours and their ladies. In the Middle Ages, the term “Fin’amor”, that is, Fine Love, Pure Love, was used to distinguish it from “Fals Amor” or Bad Love.
Fin’amor was practiced in high places. It was about a platonic love relationship between a married lady and her faithful lover, who composed for her. This lover, turned into a troubadour, dedicated poems and songs to her, now praising her white complexion or her abundant hair, now expressing his suffering for not being able to be with her. These love songs are the most refined and exquisite example of wonderful medieval lyricism, unfortunately still very little known.
But, as always, not all that glitters is gold. It is true that most of these relationships were strictly limited to morality and chivalric honor: a lady could not sleep with her lover if she did not want to be immediately branded as an adulteress. However, there were quite a few exceptions, and it is known that carnal pleasures were one of the rewards offered by some ladies in exchange for their lover remaining faithful and celibate for love of her.
The Church and the troubadours
At this point, we ask ourselves a question: did the Church tolerate these manifestations of love, no matter how platonic they were? Yes and no. Obviously, Christian morality condemned adultery. On the other hand, the ideal of courtly love was based on chastity, since the lover rejected the sexual act out of love for his lady.
In this sense, we are witnessing the birth of a new feminine model: the woman as an object of worship, almost a sacred element, a religion. The relationship established between her and the troubadour inevitably reminds us of the vassalage relationship of the feudal regime: she is the master, the lord, the owner; the one in love with her, the vassal who serves her and who puts all her worth at her service.
The Church accepted troubadour poetry as long as it spoke of “elevated” concepts: that is, lives of saints and heroic deeds (such as the famous Cantar de Mio Cid), due to their high didactic and moral content. Without a doubt it was well seen for a nobleman to cultivate poetry to “elevate his soul.”
However, his attitude towards minstrels was quite different. These mountebanks who wandered from city to city, often entertaining people with obscene songs, were considered the essence of the devil himself, and ecclesiastics advised not to be fooled by them, much less welcome them into their homes.
Some examples of famous troubadours
We cannot finish this article without briefly reviewing some of the most important troubadours of the Middle Ages Here are some names.
Marcabrú (12th century)
Originally from the Gascony region (although, due to his humble origins, little is known about his life), this troubadour also performed his own compositions. His work contains a strong morality, placing Fals Amor as a deception, a perversion. Only Fin’amor has a place, only Fin’amor is sublime and worthy of being felt.
William of Poitiers (1071 – 1127)
Considered the first of the troubadours, Guillermo was born into a noble family. Restless and with a complex personality, he acquired a reputation as a libertine and a blasphemer; His work contains both mystical and obscene elements He also cultivated the courtly poetry so fashionable at the time, and all this makes him one of the most important troubadours of the Middle Ages.
Jaufré Raudel (12th century)
He was also born noble and soon left for the Eastern Crusade, from which it seemed he would never return. There he fell in love with the Countess of Tripoli, of whom it is said that he fell in love with her without even seeing her… This impossible, distant and almost mystical love makes Raudel one of the greatest representatives of Fin’amor
Bernart de Ventadorn (12th century)
Genealogically, it corresponds to the time of the last troubadours. Bernart de Ventadorn is of humble origin, although his origin and biography are uncertain. His style is direct and simple, pierced by a charming sincerity All of his work revolves around Fin’amor and its importance in human life. Some critics consider him the best of the medieval troubadours.
