The Art of the Troubadours

Radio Record, Volume VI, Issue 25, 30 December 1932, Page 3

The Art of the Troubadours

Told from IYA by

Mr.

GEORGE

O'HALLORAN

The story of what befell an amorous troubadour, whose incautious addresses to the beautiful lady of the castle aroused her lord’s suspicions, with tragic results. An Incident in a Series of Talks on

OU will no doubt have often wondered at the complacency-the extreme complacency-with which the barons of Provence regarded the prolonged presence-at their castles of poets who were openly addressing their ladies in verse which was often amorous to a degree. No gentleman here in New Zealand would tolerate such a state of things for a momént. But we have to bear in mind that it was the very height of fashion among the higher classes of Provencal society to show the greatest hospitality to any troubadour of note, and to feel honoured by his company. It was at that: day almost unthinkable for any baron to be so far out of the fashion as not to have a troubadour of renown sitting at his table day after day-just \as unthinkable as that a wealthy man of to-day should possess a fine mansion without the addition of a more or less handsome library. The chief difference lay in the fact that the form of library in Old Provence walked about the barony on two legs, with his hands in his pockets, if he had any; and giving orders to the servants just as he pleased.. Up to a point, and on account of his talents, he was distinctly pampered-a circumstance which sometimes led to awkward and indeed, tragic situationis. Nevertheless, it is due to the troubadour to state that the drift of his poetry from the eternal subject of warfare to the equally eternal subject of love was a most natural reaction; and it was this reaction. which liberated the womanly ideal, thereby raising woman from the very low status she had hitherto occupied. ‘ Now, although these great and powerful barons were so complacent toward the amorous troubadour, complacency can he niuched

too far, and you will surely think so when you hear what befell Guillem de Cabestanh. _ This same Guillem was the son of a poor knight of Provence, whose father could not find him a suitable job, such was the state of the labour market for young nobles at the time. So the young Guillem was obliged to take up the post of court servant at the q}. castle of the mighty baron, Sir "y _ Raimon de Ros- , . silho. A a Sir, Raimon S =e sf ; i ty TRS Ae was so. well AN Re pleased with the Stas demeanour and I Teety maz IS eS fair countenance it of the young 3 7 > noble that he b. ~ ‘Sex quickly advanced A) 3 Guillem to be , page to his lady, ' the beautiful

Margarida, and probably gave him a rise in his wages. It seems that the Lady Margarida was quite as pleased with the angel-faced page as was her husband, but in quite a different way. And before very long she said to the good-look-ing young fellow one day: "Tell me, Guillem, if a lady were to show you semblance of love, would you dare to love her ?" Now Guillem, who knew his manners, did not attempt to beat about the bush by using some. such foolish phrase as ""This is so sudden," but replied frankly that he certainly thought he would. "By St. John," chirruped the lady, "a good and noble answer. Thou shalt be put to the test." By degrees the flame of love was awakened in

the breast of Guillem, who was moved to the making of verses addressed to this beautiful lady of the castle. Intrigue developed inevitably, and "the tell-tales, whom God hates," says the chronicler, brought the mats ter to the ear of mighty Sir Raimon de Rossilho, the husband. "The baron was ill-pleased and hot with rage," continues the chronicler-' as any self-respecting baron might be-"through having lost his young friend Guillem, but chiefly because of the shame of his spouse." OW this baron, thinking himself to be something of a diplomatist, refrains from crushing young Guillem there and then, without rhyme or reason given, with a stroke of his battle-axe or his sword, which should cleave the deliquent from crown to brisket. No. He decides to remain quiescent until he can convict the lady and the lover more tellingly. , One day, a little later, the young troubadour goes out with his sparrow hawk for some sport, and is secretly followed by the jealous baron, armed to the teeth. They meet face to face in a lonely part of the wood, and the Lord Raimon begins to cross-examine Guillem, asking him if there is any special lady to whom he addresses his son Guillem is driven to a subterfuge and boldly asserts that the lady off his songs is the sister of Baron Raimon’s wife. The baron is immensely; relieved, and is even so accommodating as to offer to help the young troubadour in.his love quest. The baron further insists that they both tide together at once to the castle of the lady of (Continued on page 24)}

‘The Troubadour’s Art

(Continued from page 3.) Tarascon (the sister-in-law of the Baron Raimon); and this lady, with ‘that sharp perception in sentimental matters for which women are justly credited, immediately smells the correct rat, and acts up to the occasion. The Baron Raimon is delighted, and on returning to his own castle he proceeds to inform his wife of what has taken place. We can almost imagine the baron’s lady exclaiming: "How you do surprise me!" The immediate danger then is surmounted in that way. But the luck of the young troubadour cannot be expected to last indefinitely. In the exuberance of his relief he composes a very amorous set of verses and sings them in the presence of the baronial court. They are of course really addressed to Raimon’s lady under a fictitious name, but the baron, who up to this moment seems to have been a ‘very stupid baron, at length wakes up completely and suspects rightly to whom the song is addressed, Jealousy flames up in his baronial heart-which is not to be wondered at. He again makes occasion to meet the young troubadour in a lonely spot in the wood, and there slays him. Most of us woulg think that was enough in itself, But the baron thinks otherwise. He therefore cuts off the young fellow’s head, tears out his heart, and returns to the castle. Here he contrives to have the heart roasted and served up for dinner like the most innocent joint. He next per-' suades his wife to partake of it. She accepts a helping and eats. As soon as she has consumed her portion, the ferocious baron tells her the secret of the meat, asking her at the same time how she enjoyed its flavour. In order to convince his lady of the genuineness of his statement, at this very moment the husband produces the severed head of the lady’s lover. The lady’s reply to the brutal question of her husband as to the flavour of the meat she has eaten. is a lesson in dignity unsurpassed in romantic records, She replied thus: "It was so good and savoury," she said, "that never other meat or drink shall take from my mouth the sweetness which the heart of Guillem has left there." On this reply, the husband rushes at her with drawn sword, but she swiftly evades him and throwing herself from a balcony to the ground beneath is instantly killed. This romantic tragedy, became not only a national but an international question of the day. ‘The news of it ereated consternation and disgust everywhere; "and," says the chronicler, "all the friends of Guillem and the lady, and all the courteous knights of the neighbourhood, and all those who were lovers, uniteq to make war against Raimon." Matters did not stop there, Alfonso, the King of Aragon, actually invaded the feudal territories of the murderous Baron Raimon. seized his strongholds. took Raimon prisoner, and kept him in close confinement of his life. ven this aid not finish the affair, for King Alfonso of Aragon caused the whole of the offending baron’s possessions to be distributed samong the relatives of the two Gerd Jovers,