Cadenet. 1166-1239

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Cadenet.


I.

Longa
sazo ai estat vas amor
Humils e francs, et ai fait son coman
En
tot quan puec; qu’ anc per negun afan
Qu’ ieu en sofris, ni per
nulha dolor,
De lieys amar non parti mon coratge
Vas qui m’ era
rendutz de bon talen,
Tro qu’ ieu conoisc en lieys un fol
usatge
De que m dechay, e m’ a camjat mon sen.


Agut
m’ aura per leyal servidor,
Mas tan la vey adonar ab enjan,
Per
que s’ amor no m platz dezerenan,
Ni m pot far be qu’ ieu en senta
sabor;
Partirai m’ en, qu’ aissi m’ es d’ agradatge,
Pus qu’
elha s part de bon pretz eyssamen;
E vuelh alors tener autre
viatge,
On restaure so que m’ a fag perden.


Be
sai, si m part de lieys ni m vir alhor,
Que no l’ er greus ni so
tenra a dan;
E si cug ieu saber e valer tan
Qu’ aissi cum suelh
enansar sa lauzor,
Li sabria percassar son domnatge;
Pero lays
m’ en endreg mon chauzimen;
Quar assatz fai qui de mal
senhoratge
Si sap partir, e lunhar bonamen.


En
patz m’ en part, mas quan cossir l’ error,
E ‘l dan qu’ ai pres e
‘l destric, lieys aman,
Ni quo m’ agra trobat ses cor truan,
Que
m feira ben e m tengra en doussor,
No m puesc mudar que non sia
salvatge;
Mas conort mi, qu’ auzit ai dir soven,
Qu’ ades pass’
om premiers per lo folhatge,
E pueys tanh be qu’ om s’ an
reconoissen.


Ai!
cum cugey fos dins d’ aital color
Cum m’ aparec deforas per
semblan;
Et en aissi cum ilh a beutat gran,
E cum val mais
guardes genser s’ onor;
Et en aissi cum es de belh estatge,
Agues
en si mais de retenemen;
Et en aissi cum es d’ aussor
paratge,
Contra son pretz temses far falhimen.


Ja
non degra far beutatz son estatge,
Ni remaner en domna
autramen,
Si non guardes s’ onor e son paratge,
E non agues en
se retenemen.

II.

Amors
e com er de me!
Ja sui tornatz en l’ afan
De que m’ alarguetz
antan
En aissi del tot lo fre,
Per vezer si ja poiria
Be ni
gen viure ses vos;
Be ni gen no, mas viuria
Seguramen cum que
fos,
Aissi cum vey viur’ assatz,
Ses vos e ses vostr’ ajuda,
De
ricx e d’ alezeratz
Qu’ an la vergonha perduda.


De
tot autre guerrier cre
Que s pot hom defendr’ ab bran,
O metre
l’ escut denan
Savals entre lui e se,
O s’ estrem’ om de sa
via,
O s met en un luec rescos,
O ‘lh val fors’ o gualhardia,
O
gienhs, o defensios,
O castelhs, o fermetatz,
O amics, o bon’
ajuda,
Mas selh que vos guerreiatz
Val menhs on plus s’
esvertuda.

Ai! de mon cor, quar no ve
De lai on remas
antan
Amors, a vos o deman,
Ma domna per qu’ el rete,
Vau
vezer si ‘l me rendria;
A l’ anar suy ieu cochos,
Mas al tornar
cum seria!
Be faria d’ un dan dos.
Mais me notz A DIEU
SIATZ,
Que DIEUS VOS SAL no m’ ajuda:
Dona, si no fos
comjatz,
Bona fora la venguda.

Tres
letras de l’ A B C
Aprendetz, plus no us deman:
A, M, T; quar
atretan
Volon dire com: AM TE.
Et ab aitan de clercia
Auriam
pro ieu et vos.
Empero mais ieu volria
O e C
mantas sazos,
Pueys s’ ieu dizia: “diguatz,
Dona, vos faretz
m’ ajuda?”
Ieu crey que vos seriatz
De dir oc
aperceubuda.

Bona domna, tart m’ ave
Qu’ ieu vos digua mon
talan,
Et aquo pauc e duptan,
E per tot so no m recre;
E
quar vostra companhia
Es tota d’ omes gilos,
Us amicx se
tanheria,
Dona, entre me e vos;
Quar ieu tem e vos duptatz,
Per
que y aura ops ajuda;
E per que non comensatz,
Bona domna, es
perduda.

L’ anars, bona domna, m platz
Vas vos per respieg
d’ ajuda;
Pero quan m’ en sui tornatz,
Ieu trob ma pena
creguda.

Lauzengier, benastr’ aiatz,
Quar m’ etz de tan
bon’ ajuda,
Qu’ ab vostre mentir m’ onratz,
E vertatz non es
saubuda.

III.

Ab leyal cor et ab humil talan,
Venc
vas amor per mostrar mos greus mals
Qu’ ieu ai sufertz grans e
descominals,
Per lo dous ris e l’ amoros semblan
Que m fetz mi
dons al prim esguardamen,
Quan pres mon cor e mon fin pessamen,
E
suy mi mes el sieu ric senhoratge.

A vos, amors, vuelh mostrar
en chantan,
Quom pres mi dons, ni per que, ni per quals,
Ni on
me mes sos homs fis e leyals;
A pauc de be suy pres e malanan,
On
m’ a tengut senes tot chauzimen,
Non sol un an, ans crezatz
certamen
Seran complit set ans al prim erbatge.

Tot suavet,
amors, mi venc denan
Mostran els huelhs guays semblans e
cabals,
Et ab merce, quar non es hom carnals
Que ja pogues
desviar mon talan,
Per lo sieu ris que m fes tan doussamen,
Que
m fon avis merce n’ agues breumen;
Quar m’ o cugei conosc que fis
folhatge.

Qu’ ieu la triey, segon lo mieu semblan,
Per la
melhor de las autras reyals;
Et a tengut mon cors en sos
ostals,
Ab son ric pretz, sobr’ els autres prezan:
Si quo ‘l
solelhs sobr’ autr’ alumnamen
Nos ren clardat, ben puesc dir
eyssamen
Qu’ ilh es clardatz, e rent alumenatge.

Lo dous
cossir del belh cors benestan,
Agreuia mout mas dolors e mos
mals
Que de plorar rendon mos huelhs venals
Per sa beutat que
m’ es tot jorn denan;
Que per semblan m’ auci en pessamen,
Per
que conosc qu’ aucir m’ a planamen

Si
‘n breu vas me non domda son coratge.

E doncs, amors, fessetz
per me aitan,
Qu’ en ben voler siatz ab me enguals,
Que m
destrenguatz mi dons d’ aitan savals
Que ‘l sapcha bo, e m’ en
fassa semblan;
Quar ieu l’ am mais de nulha ren viven;
Et avetz
mi fag alegr’ e jauzen
Quan ieu de lieys aurai pres senhoratge.

A
Mon Dezir, t’ en vai chanson breumen,

E
di ‘l, si ‘l play, que per son chauzimen

Li
sapcha bo que ieu l’ am d’ agradatge.

IV.

S’ anc fui
belha ni prezada,
Ar sui d’ aut en bas tornada;
Qu’ a un vilan
sui donada,
Tot per sa gran manentia;
E murria,
S’ ieu fin
amic non avia
Cuy disses mo marrimen,
E guaita plazen
Que mi
fes son d’ alba.

Ieu sui tan corteza guaita,
Que no vuelh
sia desfaita
Leials amors a dreit faita;
Per qu’ ieu sui guarda
del dia
Si venria,
E sel qui jay ab s’ amia
Prenda comjat
francamen,
Baizan e tenen,
Qu’ ieu crit quan vey l’ alba.

Be
m plai longua nuegz escura,
E ‘l temps d’ ivern on plus dura,
E
no m’ en lays per freidura
Qu’ ieu leials guaita no sia
Tota
via;
Per tal que segurs estia
Fins drutz quan pren jauzimen

De
domna valen,
Del ser tro en l’ alba.

S’ ieu en un castelh
guaitava,
E fals’ amors y renhava,
Fals sia ieu si no celava
Lo
jorn aitan quan poiria;
Car volria
Partir falsa drudaria
D’
entre la corteza gen;
Guait ieu leialmen,
E crit quan vey l’
alba.

Ja per guap ni per menassa,
Que mos mals maritz
me fassa,
No mudarai qu’ ieu no jassa
Ab mon amic tro al
dia;
Quar seria
Desconoissens vilania,
Qui s partria
malamen
Son amic valen
De si, tro en l’ alba.

Anc no vi
jauzen
Drut que ‘l plagues l’ alba.

Per so no m’ es gen,
Ni
m plai quan vey l’ alba.

//

Alba:

(106,14) S’anc fui belha ni prezada

Cansós:

(106,1) Ab leial cor et ab humil talan

(106,2) A! cu⋅m dona ric coratge

(106,3) A home meilz non vai

(106,4) Az ops d’una chanso faire

(106,5) Ai, dousa flors ben olenz

(106,6) Aitals cum ieu seria

(106,7) Amors, e com er de me?

(106,8) Ans que⋅m jauzis d’amor

(106,10) Be volgra, s’esser pogues

(106,12) Camjada s’es m’aventura

(106,13) De nuilla re non es tant grans cartatz

(106,16) Meravilh me de tot fin amador

(106,17) No sai qual cosselh mi prenda

(106,18) Oimais m’auretz avinen

(106,18a) Plus que la naus qu’es en la mar prionda

(106,19) Pos jois mi met en via

(106,20) S’ieu ar endevenia

(106,21) S’ieu ueimais deserenan

(106,22) S’ieu pogues ma voluntat

(106,23) S’ie⋅us essai ad amar

(106,25) Tals renha dezavinen

Cadenet és el nom amb què és conegut un trobador que compongué la seva obra en la primera meitat del segle xiii en l’entorn de la cort de Raimon V de Tolosa. Segons Martí de Riquer, la seva vida es podria situar dins del període que va de 1166 a 1239.

https://ca.wikipedia.org/wiki/Cadenet_(trobador)

//

https://en.wikipedia.org/wiki/Cadenet_(troubadour)

Cadenet (c. 1160 – c. 1235) was a Provençal troubadour (trobador) who lived and wrote at the court of Raymond VI of Toulouse and eventually made a reputation in Spain. Of his twenty-five surviving songs, twenty-one (or twenty-three) are cansos, with one alba, one partimen, one pastorela, and one religious piece represented.
Two of his melodies survive.

During Cadenet’s childhood Raymond V of Toulouse and Bertrand I of Forcalquier went to war over the Vaucluse. Cadenet’s father was killed in battle fighting for the count of Forcalquier and the castle of Cadenet was destroyed. Cadenet was taken captive or as a hostage to the court of Toulouse, where he became known after his birthplace, a term which also mean “juniper grove” (cade is Occitan for “juniper“). He rose to prominence in the court under the patronage of several prominent families with close connections to the Cathar movement. According to his late thirteenth-century vida, . . . et el venc bos e bels et courtes e saup ben cantar e parlar, et apres a trobar coblas e sirventes. He became a devoted attendant of the count and countess of Toulouse.

His cansos celebrate love but also criticise the feudal lords for their less admirable behaviour. He was only full of praise for lauzengiers, the spies and eavesdroppers who forced lovers into ever more secrecy. He wrote one sirventes criticising Raymond Roger Trencavel for his poor manners on a visit to the court of the count of Toulouse in 1204. This sirventes is a useful source for the relationship between Toulouse and the Trencavel on the eve of the Albigensian Crusade, as it was written for a contemporary audience and dealt with personal issues. Cadenet also wrote a famous early alba, S’anc fu belha ni prezada, whose music (air) and lyrics are still preserved. The music is of the style of an oda continua hymn. In some of his writings, modern researches have thought to detect the influence of Cathar doctrine. His famous Lo ben e lo mal (The Good and the Bad) divulges a deep sense of guilt towards God and a desire to swap evil and good:

Ben volgra s’esser pogues

tot lo mal qu’ai fait desfar

eˑl be que non ai fait far

Ai! com m’en fora ben pres

siˑl bes fos mals e mals fos bes…

Tant mi sent vas Dieu mespres

qu’eu me cugei deseperar.


I would like, if it could be,

To destroy all the evil which I have made

And do all the good which I have not done

Ah! because it would be pleasing to me

If the good were evil and the evil good. . .

So guilty I feel towards God

That I believe I might despair.

Elsewhere the learned Cadenet borrowed a Classical metaphor, that of the “boat of love, ploughing through the rough weather” from Ovid, and wrote Plus que la naus q’es en la mar prionda / Non had poder de far son dreg viatge. Cadenet elsewhere employs simile and metaphor to compare a beautiful but difficult woman to a pretty flower without seed:

Car es delida

leu flors, on mieills es florida;

q’ela se fraing per nïen

qand so qe mostra desmend.

After the Crusade and the Inquisition, Cadenet took refuge in Spain (either Castile or Aragon, c. 1230), where he had an influence on the court of Alfonso X of Castile. Alfonso’s cantiga Virgen, madre gloriosa adapts metric elements from Cadenet’s alba. Late in life, after an unhappy falling in love with a novice nun, sources differ as to whether he entered either the Order of the Temple or the Order of the Hospital. He appears to have been serving with the Order in Palestine when he died around 1230, though other sources place him in the Hospitaller establishment at Orange in 1239.

The first modern critical edition of Cadenet’s work was published by Carl Appel in German as Der Trobador Cadenet in 1920.