Trobairitz


The trobairitz were Occitan female troubadours of the 12th and 13th centuries, active from around 1170 to approximately 1260. Trobairitz is both singular and plural.
The word trobairitz is first attested in the 13th-century romance Flamenca. It comes from the Provençal word trobar, the literal meaning of which is "to find", and the technical meaning of which is "to compose". The word trobairitz is used very rarely in medieval Occitan, as it does not occur in lyrical poetry, grammatical treatises or in the biographies of the trobairitz or troubadours. It does occur in the treatise Doctrina d'acort by Terramagnino da Pisa, written between 1282 and 1296. He uses it as an example of a word the plural and singular of which are the same.
Trobairitz composed, wrote verses, and performed for the Occitan noble courts. They are exceptional in musical history as the first known female composers of Western secular music; all earlier known female composers wrote sacred music. The trobairitz were part of courtly society, as opposed to their lower class counterparts the joglaressas. Although troubadours sometimes came from humble origins—Bernart de Ventadorn might have been the son of a castle's baker—the trobairitz were usually nobly born. The most important trobairitz were Alamanda de Castelnau, Azalais de Porcairagues, Maria de Ventadorn, Tibors, Castelloza, Garsenda de Proença, Gormonda de Monpeslier, and the Comtessa de Diá.

Position in medieval society

Throughout the 13th century, women of the court were expected to be able to sing, play instruments, and write jocs partis, or partimen. The cultivation of these womanly skills may have led to the writings of the trobairitz.
The trobairitz may also have arisen due the power women held in southern France during the 12th and 13th centuries. Women had far more control over land ownership, and Occitan society was far more accepting of women than were most other societies of the time. During the Crusades many men were away, which left women with more administrative responsibility, and thus, power. Nevertheless, this society was not "feminist", nor was fin' amor, which exalted women while at the same time circumscribing many aspects of their lives and behavior.
There is difficulty in labeling the trobairitz as either amateurs or professionals. The distinction between these two roles was complicated in the medieval era, since professionals were generally lower class, and amateurs had as much time as professionals to devote to their craft. Joglaresse were lower class, professional composers far less respected than the trobairitz.
Both troubadours and trobairitz wrote of fin' amors, or courtly love. Women were generally the subject of the writings of troubadours, however: "No other group of poets give women so exalted a definition within so tightly circumscribed a context of female suppression." The tension between the suppression of women present in the poetry of the troubadours and similar themes in the poetry of the trobairitz is a major source of discussion for modern commentators. Trobairitz poetry pertaining to love tended to offer a less idealized conception of the subject than the poetry of their male counterparts, with a more conversational and less flourished style of writing intended to more closely emulate a more grounded vision of relationships. The trobairitz wrote in the canso and tenso genres. Besides cansos and tensos, trobairitz also wrote sirventes, planh, salut d’ amor, alba, and balada. Judging by what survives today, the trobairitz wrote no pastorelas or malmariee songs, unlike their troubadour counterparts. Furthermore, in keeping with the troubadour tradition, the trobairitz closely linked the action of the singing to the action of loving. Comtessa de Dia demonstrates this in her poem Fin ioi me don'alegranssa, stating that "Fin ioi me dona alegranssa/per qu'eu chan plus gaiamen," translated as "Happiness brings me pure joy/which makes me sing more cheerfully."

Attribution

The number of works attributed to the trobairitz is estimated at thirty-two songs, but ranges anywhere from 23 to 46. There are a number of reasons why an exact number is not known. In the courtly love tradition it was common for poems to be written as an exchange of letters, or a debate, as in a tenso. Some of these may have been originally written by one poet; however, some were originally an actual exchange of epistles, later gathered together in a manuscript. Some of these were between men, and some were between a man and a woman. Some modern editors attribute these solely to the man who originated the exchange, and some attribute them to both the man and the woman involved. There is a long history of attributing these solely to men, even when all evidence points to the contrary.
Since poetry was highly stylized, it is difficult to determine when a poet speaking as a woman actually was a woman, or a man speaking as a woman. This adds to the difficulty of attribution, especially of anonymous writers. There is some debate as to whether or not the poems by the trobairitz represent genuine feminine voices, since they worked within the highly circumscribed conventions of the troubadours. Matilda Bruckner suggests that the trobairitz "spoke in her own voice as channeled through the voices of many others". By manipulating the strict constructs of troubadour lyric, the trobairitz were able to create their own "fictions of the female voice".
There is one notable instance where clear attribution is given to a woman, Bieiris de Romans, but the subject of the poem is another woman, Na Maria. In the poem "Na Maria" Beatritz expresses her love for Maria in the traditional fin' amors style, both in terms of physical longing and courtly admiration. This poem, if not clearly marked as by a woman, would be assumed to be by a man. Some controversy surrounds the works of the Bieiris de Romans, as scholars have suggested that her canso expresses "lesbian desire." The troubadour would typically speak to the domna ; the fact that the lyrical dialogue takes place exclusively between one woman and another is an extreme rarity.

List of trobairitz works

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