5 mal e genzic] ma genzic (-1) 7 mal la uic, 14 fa·n] san 15 e plaz me (+1) 16 aur et et a. (+1) 18 e·ls] sobrels (+1) 19 estanta rat (+1) 25 e an] can 30 moraill 31 taraill 32 Bertoni read ‘noil’ ricavato da ‘nos’, which looks right 33 line missing 34 cil p. 37 engles. et espagniol (+4) 39 enquerram 44 anen pren dimercapdan 45 los] lo 48 rei 49 mansrei 54 crezutz 55 en] eu 57 qu with titulus above the ‘u’ 67 nas uas with ‘nas’ crossed out by the same scribe 68 tem 69 d. e (inserted above the line) na
English translation [LP]
I. My heart is bitter and angry, for I see
trickery on the rise and merit losing protection, so that I am on the point
abandoning joy; but to vex and spite anyone who dislikes me feeling great joy, I
shall sing, and too bad for anyone who does not want war and pain, through which
one recognises a fast friend.
Italian translation [lb]
I. Il mio cuore è amareggiato e furioso,
perché vedo crescere l’inganno e il merito perdere protezione, così che sono sul
punto di abbandonare la gioia; ma canterò per irritare e indispettire quelli a
cui non piace che io abbia una grande gioia, e tanto peggio per chi non vuole la
guerra e la sofferenza, attraverso cui si riconosce un vero amico.
Text: Linda Paterson, Rialto 6.xii.2015.
Ms.: a1 517 (enper ceual doria).
Critical editions: Francesco Torraca, Studj su la lirica italiana del Duecento, Bologna 1902, p. 211; Giulio Bertoni, «Studi e ricerche sui trovatori minori di Genova», Giornale storico ella letteratura italiana, 36, 1900, pp. 1-56 and 459-61, on p. 24; Giulio Bertoni, I trovatori minori di Genova, Dresden 1903, p. 1 (Italian translation), p. 37; Giulio Bertoni, I trovatori d’Italia, Modena 1915, reprinted Rome 1967, p. 307 (Italian translation).
Other editions: Vincenzo De Bartholomaeis, Poesie provenzali storiche relative all’Italia, 2 voll., Roma 1931, vol. II, p. 189 (text Bertoni 1915); Alfredo Cavaliere, Cento liriche provenzali, Bologna 1938, p. 443 (Italian translation); Martín de Riquer, Los trovadores: historia literaria y textos, 3 voll., Barcelona 1975, vol. III, p. 1377 (text Bertoni 1915, Spanish translation); Carlos Alvar, Textos trovadorescos sobre España y Portugal, Madrid 1978, p. 244 (st. V: text Riquer 1975, Spanish translation).
Versification: a7 a3 a7 a7 a7 a7 a7 a7 a7 (Frank 6:10), -ic, -ancs, -art, -alh, -an, -utz, -erm; seven coblas singulars with two tornadas, one of four lines and one of two; derivative rhymes in stanzas VII-IX. The BEdT indicates BdT 27.3 (Frank 6:9), a canso by Arnaut Catalan, with different rhymes and coblas doblas, as the metrical model.
Notes: Perseval Doria composed in both Occitan and Italian, and in his youth he was an important figure supporting Frederick II’s aims in Provence, having the position of podestà of Arles in 1231 and Avignon in 1233 and 1237. After apparently spending 1239-1241 in Genoa he became podestà of Parma in 1243, and seems to have been in Manfred’s service by March 1255, when he was excommunicated along with other associates of the young Hohenstaufen. In October 1258 he was nominated general vicar of the Marca d’Ancona, the duchy of Spoleto and Romagna, and in Manfred’s service he headed a vast army which set out to attack the Guelfs but in 1264 drowned crossing a river called Nera di Narco (see Bertoni 1900, pp. 4-10, and Bertoni 1915, pp. 89-93). His sirventes in praise of Manfred was composed in Italy when Richard of Cornwall and Alfonso X of Castile were vying for the title of King of the Romans. Both had been elected by different bodies in 1257 without their election having been recognised by the Church. War in Italy was in prospect, but while each announced his imminent arrival, neither was actually making a move (see stanza V). Alfonso, despite having gathered a powerful army in which Aragonese and Navarrese were also serving, held back because of the threat of a Muslim incursion into his lands, and the Spanish princes were asking him to stay to defend his territories in Spain and not pursue vague hopes elsewhere (De Bartholomaeis, pp. 189-190). Since Manfred is referred to as king (v. 48) the piece must postdate his coronation as King of Sicily on 11 August 1258. As Stefano Asperti has amply demonstrated in his important article «Miei-sirventes vueilh far dels reis amdos (BdT 80,25)», Cultura neolatina, 58, 1998, pp. 165-323, in 1258 a widely-publicised announcement was made to the effect that Alfonso would be arriving imminently from Spain to wage war against Richard of Cornwall and claim his right to the imperial throne. Asperti cites in extenso the sources for this in Matthew Paris and Rolandino da Padova, as well as many allusions in Occitan and Italian lyrics. Miei-sirventes vueilh far dels reis amdos, wrongly attributed to Bertran de Born, he dates from the spring of 1258, and sees reflecting a period of high political tension and heightened emotions and expectation, to be followed by Perseval Doria’s more sceptical sirventes at the end of 1258 or the beginning of 1259 (in accordance with the dating proposed by Bertoni 1900, p. 10 and De Bartholomaeis, p. 190). Miei-sirventes refers to Alfonso’s recruitment drive for sodadiers, but Asperti (p. 273) explains that he never managed to gather enough support from the Castilian-Leonese nobility, which was one of the factors hindering the pursuit of his claims, and Richard suffered from similar problems of gathering a large enough army. – The single ms. is defective, lacking a line in st. IV and, apparently, three lines at the end of st. VII, with several faults of scansion, and some garbling (44 in particular). Line 37 shows the insertion of an extra four syllables by someone evidently intending to add to the historical commentary (presumably by pointing out that Alfonso X was also seeking the imperial crown). We follow Bertoni 1915’s indications of lacunae and his corrections except in 21 (B e.il pros cavalier), 23 (e.il), 28 (B tanbor), 32 (no) and 35 (qe.il): for the ms. forms see Ruth Harvey and Linda Paterson, The Troubadour Tensos and Partimens: A Critical Edition, 3 voll., Cambridge 2010, vol. I, pp. xxii-xxiii and n. 23; this notwithstanding we follow his correction to reis in 48 to avoid ambiguity. In 18 Bertoni reads cauion, but there is no dot over the third minim. His corrections to tambors (28), om in 45 and Miels in 55 are unnecessary. We read qu’eu in 57 slightly differently from Bertoni but the sense is unaffected. – Line 22: Riquer unaccountably prints c’un, though the MS is clear. – Lines 29-30: previous editors evidently found these lines perplexing: Bertoni 1903 ‘quando si dà la scalata alle mura delle castella’, Bertoni 1915 ‘quando si sale verso i castelli vicino alla cinta’, Cavaliere ‘quando si sale verso i castelli vicino alle mura’, De Bartholomaeis ‘quando si monta su’ castelli, presso alle mura’, Riquer ‘cuando los castillos son atacados cerca del muro’, none of which is satisfactory. The castel here is a type of siege-tower or belfry on wheels, built with several platforms to the same height as the walls of a besieged town (unattested in this sense in the dictionaries). See the Chanson de la croisade contre les Albigeois, ed. Eugène Martin-Chabot, 3 voll., Paris 1931-1961, 162.90-92, E en la bela plassa, entre·ls murs e·ls fossatz, / Bastic castel e gata, gent garnitz e obratz / E de fer e de fust e de cors atempratz (vol. II, p. 148, and n. 2). Compare 203.82-84 (vol. III, pp. 180-181), Vec vos que ve la gata e·l castells e·l careitz; / On mais la menaran, on mielhs la lor tolretz;/ E si ve a la lissa, lor e la gata ardretz, and BdT 392.32, 106-113: per los murs a fendre / fan engenhs e castels, / e calabres tendre, / gossas e manganels, / fuec grezesc acendre, e fan volar cairels; de jos / traucan murs ab bossos (The Poems of the Troubadour Raimbaut de Vaqueiras, ed. Joseph Linskill, The Hague 1964, p. 207). – Line 32: neither no·il nor no·is seems possible, ·il having no referent and no reflexive form of faill or falh is attested in the lyric on COM. Bertoni prints no; no·i is closer to the ms. – Lines 37-39: Bertoni observes that these lines allude to the Church’s preference for the claim of Richard of Cornwall. – Line 43: the kings are Alfonso X of Castile and James I of Aragon. – Line 55: for Mieil-d’amor as a senhal see Torraca, p. 213 and Bertoni 1915, p. 542. – Lines 55-70: these lines repeatedly play on words ending in -ferm. – Line 58: Riquer prints n’en, wrongly.