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46-54. Are also cited in the Breviari d’amor (see Le “Breviari d’amor” de Matfre Ermengaud, V, ed. Peter T. Ricketts, Leiden 1976, lines 30995-31001, and Die Troubadourzitate im Breviari d’Amor, ed. Reinhilt Richter, Modena 1976, p. 309 no. 144).
Edition: Simon Gaunt, Ruth Harvey and Linda Paterson 2000; notes: Ruth Harvey. – Rialto 15.xii.2004.
A 27v, C 174r, D 188v, K 102v, N 270r, R 5r, a1 299, z 2.
Previous editions: Jean-Marie-Lucien Dejeanne, Poésies complètes du troubadour Marcabru, Toulouse 1909, p. 144 (XXXI); Vincent Pollina, «Si cum Marcabrus declina»: Studies in the poetics of the troubadour Marcabru, Modena 1991, p. 47.
Versification: a7’ b7 a7’ b7 c7 c7 d1 a7’ (Frank 371:1); nine coblas unissonas, with a tornada of four lines. In fifth and eight lines of each cobla, ai and hoc respectively appears as referains.
We follow previous commentators in understanding line 74 to refer to Viscount Eble II of Ventadour. If our interpretation of line 79 is correct, Marcabru is criticising Eble for his tight-fistedness and the song would have been composed before Eble’s death in 1147. – This song has been studied chiefly for the light it sheds on Marcabru’s dualistic conception of love and the ‘schools’ of love-poetry, including the much- discussed reference to the troba n’Eblo.