Peire Salvatge








Senher, reys qu’enamoratz par


non deu estar


ab cor felo


contra flors, ans deu arbirar


cum puesca far


ab bon resso


culhir las flors en aissel mes


on l’estius es,


e las flors naysson plus espes,


els culhidors sian d’aital valensa


qu’en pueg ni en pla, en serra ni·n boysso,


no laisson flors de sai Monbaulo.



English translation [LP]

I. My Lord, a king who appears to be in love should not dwell on his anger against flowers, but should rather take thought as to how he should gloriously pick the flowers during that summer month when the flowers grow most abundantly, and [how] the pickers should be so valiant that in hill and plain, mountains and woods they leave no flowers from here to Montbolò.


Italian translation [lb]

I. Mio Signore, un re che si mostra innamorato non deve ostinarsi nella sua rabbia nei confronti dei fiori, ma deve piuttosto pensare a come potrebbe a sua gloria raccogliere i fiori nel mese d’estate in cui i fiori nascono più copiosamente, e [come] i raccoglitori dovrebbero essere così valorosi che in collina e in pianura, sulle montagne e nei boschi, non lascino nessun fiore da qui a Montbolò.




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

Mss.: C 382v (Resposta de peire saluagge), I 149v (Responsa de peire saluaie).

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. 82; Martín de Riquer, «Un trovador Valenciano: Pedro el Grande de Aragón», Revista valenciana de filologia, 1, 1951, pp. 273-311, p. 306.

Other editions: Carl August Friedrich Mahn, Die Werke der Troubadours, in provenzalischer Sprache, 4 voll., Berlin, 1846-1886, vol. III, p. 166; Manuel Milá y Fontanals, De los trovadores en España, Barcelona 1861, p. 400; Martín de Riquer, Los trovadores: historia literaria y textos, 3 voll., Barcelona 1975, vol. III, p. 1597.

Versification: a8 a4 b4 a8 a4 b4 c8 c4 c8 d10’ b10 b10 (Frank 111:5), -ar, -o, -es, -ensa. A cobla and a tornada are almost certainly missing: see the Rialto edition of BdT 57.3, Notes. For the probable model (BdT 215.1), see the edition of BdT 57.3, Versification.

Analysis of the mss.: CI almost certainly both lack the second cobla and a tornada and probably share an error in 12. Apart from in 12 C needs no correction, whereas I has a line missing (9), two hypometric lines (1 and 11), and other errors in 4, 5 and 7. – The incomplete piece is the third in the cycle of five compositions (BdT 57.3, BdT 325.1, BdT 357.1, BdT 182.2, and BdT 182.1; see the edition of BdT 57.3 on Rialto) and appears in both mss. in the correct chronological position after the coblas of Pere of Aragon, to which it is a response, as signalled in the rubrics.

Variants: 1 Senher] Totz  I; 2 degrastar I; 3 acor I; 4 flor I; 5 posca(m) or posca(n) I; 6 raison I; 7 la flor I, aquel I; 8 quan lestiu I; 9 missing I; 10 detal I; 11 ni plan ni selua ni b. I; 12 laissa flor d. sa I; monmelio C, momelion I.

Notes: The cobla is the surviving part of a response to the coblas of Pere III of Aragon, BdT 325.1 which the King composed in Barcelona in the summer of 1285 after the invading French army of Philip III had crossed the Pyrenees during the so-called Aragonese crusade. On 13 July, during a general mobilisation, Pere arranged for various knights and Peire Salvatge to come together in a specified place to plan their campaign against the invaders (ad inferendum malum inimicis), the troubadour’s rôle being to compose a song for propaganda purposes; on 30 July in Barcelona the King granted him a salary for the upkeep of his family, which can be seen as a reward for the verses Peire Salvatge composed in answer to the King’s (see Riquer 1975, pp. 1591-1592, and for further details of this troubadour, Joaquín Miret y Sans, «Notes biogràfiques d’en Pere Salvatge y fr. Romeu Sa Bruguera ab mostres de la Biblia catalana rimada de la XIII centuria», in Congreso de historia de la corona de Aragón, dedicado al rey d. Jaime i y a su época, Barcelona 1909, part I, pp. 148-150). Shortly afterwards, possibly between mid-July and mid-August, the Count of Foix and an Anonymous troubadour also intervened in the cycle on the side of the French invaders: see the editions on Rialto of BdT 182.2 and BdT 182.1. – Line 4, flors: the French, whose heraldic emblem was the fleur-de-lys. See the edition on Rialto of BdT 57.3, 5 and the notes. – Line 6, ab bon resso: literally ‘with good fame’. – Line 8: reference to summer corresponds with the historical circumstances: see above. – Line 10: Jeanroy reads Elhs, wrongly. – Line 12: Jeanroy reads flor, wrongly. – He proposes to emend melio to Molio, which he claims to refer to a peak overlooking the Coll de Molló, between Port-Vendres and Collioure, on the boundary of Catalonia and Roussillon. I have been unable to locate such a peak, but suspect the trisyllabic melio is unlikely to be connected to Molló, the town in the Pyrenees by the French border on the Coll d’Ares. Riquer (p. 306) does not comment on this but rejects identification of Monmelio with the Montmeló of the province of Barcelona (in the 1975 edn, p. 1598, he says it cannot be identified with Montmeló del Vallés because this is too near Barcelona). He presumes the scribes deformed the name of Montbolò, the castle of Vallespir which appears in Desclot as Montbauló (see Bernat Desclot, Llibre del rei en Pere, in Ferran Soldevila, Les quatre grans cróniques, Barcelona 1973, ch. LXXII, p. 458). What is clear is that the troubadour is referring to a place on the border of Roussillon and Aragon.

[LP, lb]

BdT    Peire Salvatge

Songs referring to the crusades