I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
Edition: Simon Gaunt, Ruth Harvey and Linda Paterson 2000; notes: Linda Paterson. – Rialto 24.i.2003.
A (32v), C (174r-v), E 152, I (119v-120r), K (105v-106r), R (5r), a1 (306), d (306v-307v).
Previous editions: Jean-Marie-Lucien Dejeanne, Poésies complètes du troubadour Marcabru, Toulouse, 1909, p. 184 (XXXVIII); Maurizio Perugi, Saggi di linguistica trovadorica, Tübingen, 1995, pp. 59-72; Simon Gaunt, Ruth Harvey and Linda Paterson, Marcabru: A Critical Edition, Cambridge, D. S. Brewer, 2000, p. 478.
Versification: a7’ b7 a7’ b7 c7 d7 e7’ (Frank 430:6). Nine coblas alternadas (‘b’ and ‘c’ rhymes) and one tornada of two lines. While Frank also sees the form as coblas alternadas, previous editors including Dejeanne thought it consisted of coblas doblas. For discussion of this and the question of manuscript transmission see the «Analysis of the manuscripts» in our edition, p. 474. Marcabru’s poem is the only one of this rhyme scheme to have alternating rhymes (‘b’ and ‘d’) and heptasyllables. BdT 63.7a (Bernart Marti) has the same basic rhyme scheme, as do BdT 63.4 (attributed in E1 to Bernart Marti and in E2 to Pons de la Guardia, anon. in V), and BdT 461.197 to which it is related thematically.
Potential elements for dating this song are are references to Guiscart / Richart, and an intertextual relationship with BdT 112. 2 and BdT 461.197. Unless one could decide the authorship of BdT 112.2, which seems unlikely, these poems offer no additional clues.