XX. Domna, dels angels regina,
Esperansa dels crezens,
Chan de vos lenga romana;
Quar nuls hom just ni peccaire
De vos lauzar no s deu traire,
Can sos sens miels l’ aparelha
Sobre totas flor’ s olens,
Ni londana ni vezina.
Fost a dieu obediens
Cre ver e sap tot l’ afaire
Que us dis l’ angel saludaire,
Que consebras per l’ aurelha
Dieu que enfantes vergina.
Ans que fos l’ enfantamens
Et apres tot eissamens,
Vai e ven rais quan solelha
Per la fenestra vezina.
Domna, vos etz l’ aiglentina
Entre las flamas ardens;
Que s moillet en la sec’ aire,
Mas natura s meravelha
Com romazest enterina.
Quar si ns vols a bon port traire
Ni ‘l tempier que ns estorbilla
Lectoaris et enguens,
La velia oing e sana;
Dossa, pia, de bon aire
Quar perdutz es qui s fonilla,
Pos la mortz l’ es trop aizina.
Manda ‘l filh e prega ‘l paire,
Ab l’ espos parl’ e conselha
Com merces nos si’ aizina.
https://en.wikipedia.org/wiki/Peire_de_Corbiac
Peire de Corbiac or Corbian was a Gascon cleric and troubadour of the thirteenth century. His most famous works are a religious piece, the Prière à la Vierge (prayer to the Virgin), and his “treasures“,
Lo tezaurs (c. 1225).
https://archive.org/details/letresordepierr00latigoog
Peire was born at Corbiac near Bordeaux to a poor family. He was educated at Orléans in the Scholastic tradition. His nephew was the troubadour Aimeric de Belenoi, whose vida refers to him as maestre (master, teacher) and Peire elsewhere calls himself maistre. Certainly Peire’s Tezaur is didactic in nature: his purpose in writing was to convince the wise that though he was poor in material terms he was richer still. Composed in 840 alexandrines, the Tezaur is an encyclopaedic compilation of all that the troubadour knew. The work displays a great breadth of knowledge. He expends 547 lines narrating the chief events of the Old and New Testaments, then discusses the seven liberal arts, medicine, surgery, necromancy, mythology, the lives of the ancient Greeks and Romans, and those of the contemporary French and English.
Peire was familiar with the work of Venerable Bede, of John de Holywood, and of Chrétien de Troyes. He also provides the modern historian with several pieces of crucial information not found elsewhere. He refers to dancing the Sanctus, Agnus, and the Cunctipotens, showing that the liturgy was performed. The Tezaur also contains the first mention of contrapointamens, a century before its appearance in Latin as contrapunctus, today’s counterpoint. The Tezaur had a lasting influence in the Late Middle Ages. The Jew Emanuele da Roma wrote the Ninth Meḥabbereth, a Hebrew poem based on the Tesoretto of Brunetto Latini, itself based on the Tezaur of Peire.
Peire was a religious man, as the dedicatory first verse of his Tezaur attests: it contains a dedication to Jesus and Mary and a statement of Trinitarian faith:
sobre totas flors olens,
noirissa del vostre paire,
ni londana ni vezina.
et apres tot eissamens,
receup en vos carn humana
intra.l bels rais, quan solelha,
per la fenestra veirina.
car si.ns vols a bon port traire
ni tempest que.ns destorbelha
Lady, rose without thorn,
sweet above all flowers,
dry rod bearing fruit,
earth bringing forth fruit without toil,
nurse of thine own Father,
in the world no woman is like to thee,
Lady, virgin pure and fair
before the birth was
received human flesh in thee
Jesus Christ our Saviour,
the fair ray enters when the sun shines
through the window-pane.
brighter than the other stars,
the sea and the wind buffet us;
for if thou wilt bring us to a fair haven,
ship nor helmsman fears
not tempest nor tide