Peire rey dʼArago








Peire Salvagg’, en greu pessar


me fan estar


dins ma maizo


las flors que say volon passar


senes gardar


dreg ni razo;


don prec a sselhs de Carcasses


e d’Ajanes


et als Guascos prec que lor pes


si flors mi fan mermar de ma tenensa.


Mas tals cuja sai gazanhar perdo


que·l perdos l’er de gran perdecio.






E mos neps, que sol flors portar,


vol cambiar,


don no·m sap bo,


son senhal, et auzem comtar


que·s fai nomnar


rey d’Arago.


Mas cuy que plass’o cuy que pes,


los mieus jaques


si mesclaran ab los tornes:


e plass’a Dieu que·l plus dreyturiers vensa,


qu’ieu ja nulh temps per bocelh de Breto


no layssarai lo senhal del basto.






Si midons qu’es ab cors cortes


ples de totz bes,


Salvagge, valer mi volgues,


e del sieu cors me fes qualque valensa,


per enemicx no·m calgra garnizo,


ab sol qu’ieu vis la sua plazen faisso.



English translation [LP]

I. Peire Salvatge, the flowers that intend to come over here without right or reason are seriously disturbing me in my own home; so I beg those of the Carcassès and the Agenais, and I beg the Gascons, to show concern if flowers cause me loss of territory. But there are those who think to win an indulgence here when the indulgence will bring them great perdition.
II. And my nephew, who usually wears flowers, intends to change his emblem, to my displeasure, and we hear it said that he is having himself called King of Aragon. But whether anyone likes it or not, my jaques (Aragonese coins or weapons) will mix (do battle) with the tornes (coins from Tours). Please God let the more just man win, for I will never renounce the emblem of the rod for a Breton wine-cup.
III. If My Lady, who with a courtly heart is full of all good qualities, Salvatge, desired to help me and wished to grant me some personal favour, I would need no armour against enemies, as long as I could see her lovely face.


Italian translation [lb]

I. Peire Salvatge, i fiori che intendono venire qui senza diritto o motivo mi lasciano profondamente inquieto a casa mia, per cui prego quelli del Carcassès e dell’Agenais, e prego i guasconi di manifestare (la loro) preoccupazione, se dei fiori mi infliggono una perdita del territorio. Ma ci sono quelli che pensano di lucrare un’indulgenza qui mentre l’indulgenza sarà per loro causa di grande perdizione.
II. E mio nipote, che di solito porta i fiori, si propone di cambiare il suo blasone, cosa che disapprovo, e si sente dire che egli si fa chiamare re d’Aragona. Ma che piaccia o no, i miei jaques (monete aragonesi o armi) si uniranno (combatteranno) con i tornes (monete di Tours). Vi prego Dio, fate che vinca il più giusto, perché io non rinuncerò mai all’emblema della barra per un calice bretone.
III. Se la mia signora, che ha il cuore cortese pieno di tutte le buone qualità, Salvatge, volesse aiutarmi e concedermi qualche favore personale, non avrei bisogno di armatura contro i nemici, fino a quando potessi vedere il suo bel viso.




Text: Linda Paterson, Rialto 15.iv.2013.

Mss.: C 382r (Mo senher en . p . reys darago), I 149v (Lo reis peire darragon).

Critical editions: Alfred Jeanroy, «Les “coblas” provençales relatives à la “croisade” aragonaise de 1285», Homenaje ofrecido a Menéndez Pidal. Miscelánea de Estudios lingüisticos, literarios e históricos, Madrid 1925, pp. 77-88, on p. 81; Martín de Riquer, «Un trovador Valenciano: Pedro el Grande de Aragón», Revista valenciana de filologia, 1, 1951, pp. 273-311, on p. 304; Irénée M. Cluzel, «Princes et troubadours de la maison royale de Barcelone-Aragon», Boletín de la Real Academia de Buenas Letras de Barcelona, 27, 1957-1958, pp. 321-373, on p. 351.

Other editions: François-Juste-Marie Raynouard, Choix des poésies originales des troubadours, 6 voll., Paris 1816-1821, vol. IV, p. 217; Carl August Friedrich Mahn, Die Werke der Troubadours, in provenzalischer Sprache, 4 voll., Berlin, 1846-1886, vol. III, p. 165; Manuel Milá y Fontanals, De los trovadores en España, Barcelona 1861, p. 399; Martín de Riquer, Los trovadores: historia literaria y textos, 3 voll., Barcelona 1975, vol. III, p. 1596.

Versification: a8 a4 b4 a8 a4 b4 c8 c4 c8 d10’ b10 b10 (Frank 111:4), -ar, -o, -es, -ensa. Two coblas unissonans and one tornada. For the probable model (BdT 215.1), see the edition of BdT 57.3, Versification.

Analysis of the mss.: As in the case of BdT 57.3, C requires no correction, and is taken as base. Aside from indifferent variants and flexional variations I contains errors in 7, 8, 9, 17, 27 and 29 and inferior readings in 11, 12. For the variant in 30 see the note. – Both mss. preserve the full two coblas and tornada. Despite the chronology (see below), both C and I place these at the head of the cycle. Riquer plausibly suggests that the scribes may have considered it a fault of courtesy to put Pere’s piece after those of a simple cleric of Béziers.

Variants: 1 saluatz I; 3 flor q(ue) I; 6 dreitz I; 7 on deu prec sel de c. I; 8 e al genes I; 9 eal gascon I; 10 se flor mi uol I; 11 que tal se c. g. I; 12 p(er)do(n) lier d. g. da(m)pnation I; 13 Emon n. q. flor sol p. I; 14 se fa caniar I; 16 lo seu s. causem c. I; 17 que se fan clamar I; 18 reis darragon I; 19 Maqi qel plai aqui quel p. I; 20 l. meuzaches I; 21 lor] seu I; 22 euoilla deu I, dreiturel I; 23 que ia n. tepm p. busel I; 24 no(n) lasserai I; 25 Ese midon alcor cortes I; 27 saluatz I, ualgues I; 28 cor mi uolgues far I; 29 ennemic no calgrai I; 30 ni desplegas pen(n)ol ni confalon I.

Notes: This piece is the second in a cycle of five having the same versification and tune: see p. 2 of my edition of BdT 57.3 on Rialto. It was composed in 1285 during the so-called Aragonese crusade, when King Philip III of France’s army had already crossed the Pyrenees and the King of Aragon was in Barcelona (= dins ma maizo, say, 3-4), where orders had been given that peasants in Vallés and the Llobregat should take wheat to the city in preparation for a possible siege (Riquer, «Un trovador Valenciano», pp. 297-298). Riquer argues that the King of Aragon had heard the pro-French coblas of Bernart d’Auriac as the enemy advanced into Spain, and re-used the same poetic and musical form as a way of countering the enemy’s propaganda. For details of the further development of the cycle, see the notes to the editions on Rialto of BdT 357.1, BdT 182.2, and BdT 182.1. – Line 7, a sselhs: for the doubling of s- after a monosyllable in ms. C see François Zufferey, Recherches linguistiques sur les chansonniers provençaux, Geneva 1987, pp. 144-145. – Lines 8-10: in accordance with the Treaty of Corbeil (1258) all that the kings of Aragon possessed north of the Pyrenees was the Roussillon, the lordship of Montpellier, and the suzerainty of the viscounty of Carlat in Rouergue. Gascony was in English hands from 1152 and the Agenais from 1279 (sic: a misprint, 1379, in Jeanroy). Pere is appealing for assistance to King Edward I of England, an appeal resting on the old alliances between Aragon and England against France (see Jeanroy, p. 87, and Riquer, «Un trovador Valenciano», p. 304). – Lines 11-12: I’s dampnation loses the wordplay on perdo (pardon, indulgence) and perdecio (material loss and spiritual perdition). – Line 13: Charles de Valois, the French rival to the throne of Aragon, was the son of Philip III of France and Pere’s sister Isabella, and therefore Pere’s nephew (Jeanroy, p. 87). – Lines 20-21: Jaca was the principal mint of the kings of Aragon (Jeanroy, p. 87). – Jeanroy (followed by Riquer) emends to sos, referring to I seu. – There may be some wordplay here on jaques, both an Aragonese coin and a type of weapon (PD ‘sorte d’arme’, and SW, IV, 249, 2), and tornes, a coin from Tours, suggestive of tornei, ‘tournament’. – Line 23: PD bosel ‘flacon, récipient probablement en bois où l’on mettait le vin’. Jeanroy, p. 88, thought this should refer to a heraldic emblem and, mystified, was tempted to emend to auzelh. Riquer 1975, p. 1597, suggests it may be linked to the vain hope of the Bretons. He also cites Desclot’s account of the retreat of the French through the Col of Panissars: «E puys prenien de la terra del peu de la muntanya, e portaven-se’n hun bocet ple e tenien lur carrera; e dehían que·l perdó havían guanyat» (chap. 145; ed. Coll, IV, p. 162), though it is unclear how this helps to interpret the present passage. Cluzel, p. 352, n. 6 interprets the reference to mean that Peire will not abandon his throne in expectation of a problematic return. – Line 24, basto: the heraldic rod or bar seen on the coat of arms of Aragon (los palos, see Alfred Jeanroy, «Un sirventés historique de 1242», in Mélanges Léonce Couture. Études d’histoire méridionale dédiées à la mémoire de Léonce Couture (1832-1902), Toulouse 1902, p. 115-125, p. 123 and BdT 365.1, 12 (which also refers to the singular), my edition. – Line 28: the translation of del sieu cors as «de su cuerpo» is probably too explicit: compare mos cors ‘moi’ (PD); Jeanroy ‘de sa personne’. Jeanroy reads cors in ms. I. – Line 29: Jeanroy reads enemic in ms. I. – Line 30: ms. I’s version, ni desplegas pen(n)ol ni confalon, responds to vv. 2-3 of BdT 57.3 (Bernart d’Auriac, see my edition on Rialto), vol desplegar / son gonfano.

[LP, lb]

BdT    Peire III dʼArago

Songs referring to the crusades