Who were the troubadours? So were these poets and musicians

Who were the troubadours? We have met this likeable figure in many films and novels, and her image, half romantic, half mischievous, is one of the most remembered when it comes to the Middle Ages.

That's how it is; When evoking the medieval world, these ardent singers come to mind who wandered from court to court and from village to village, sweetening with his song the hard life of the peasants or the boredom of the nobility.

But what is truth (and myth) in all this? In this article we will try to get a little closer to this world that today seems so far away and that, nevertheless, laid the foundations of modern western poetry.

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Differences between troubadours and minstrels

First of all, we must start by clarifying the difference between minstrels and minstrels.

The former used to be of high birth. In the Full Middle Ages the aristocracy began to cultivate a delicate education, which was precisely what differentiated them from the common people.

Nobles wrote poetry and composed songs, and often played instruments. They could do it out of mere distraction, out of prestige, and even out of a sincere love of the arts; but they never used it as a means of subsistence. This is the main difference between these minstrels, cultured and refined, and the very diverse minstrels.

The minstrels used to come from the common people (often from its lower strata). They did use their talents to earn their bread, either in the form of currency or in exchange for a certain maintenance. There were not a few minstrels who were hired by feudal lords or municipal authorities to entertain the public in specific festivities, such as the festivities of a particular saint or the banquet of a wedding.

In any case, it is important to remember that, usually, the minstrel did not compose, but interpreted the works of the troubadours. However, this does not mean that he reviewed the source of it: in the Middle Ages the concept of copyright did not exist, and pieces were transmitted orally, often without knowing their exact origin and also changing some elements to suit the consumer.

It is very important to remember this: we cannot imagine the medieval artist as an artist of today. Art was something universal and individuality did not exist. Yes, of course, we have received names and works of famous troubadours, which we will review in the last point.

The birth of modern poetry

Before the troubadours and minstrels, all poetry was in Latin, the language of the culture. Of course, at the popular level there was always a poetic manifestation in the vulgar language, but no cleric or gentleman would have thought of composing in a language other than the language of the Church. It is in the twelfth century when everything begins to change.

But, first of all, let's point out: what is the vulgar language or the Romance language? They are those languages ​​spoken by the people, some derived from Latin, others from other linguistic branches. They are Spanish, Catalan, Galician, French, Portuguese, German, English ...

Gradually, this language of the people (which no longer used Latin to communicate), became stronger and was claiming its place in literature. The troubadours picked up this witness and raised the Romance language to true poetry.

The first troubadour compositions were written in the language of Oc, originally from southern France (from the region known as Occitania). Fashion prevailed, so it was very common for troubadours from other latitudes to use this language, and not their own, to compose.

The poetry of the troubadours marked the beginning of modern western literature, since the Romance language was revalued and made capable of expressing elevated feelings. In the 13th and 14th centuries, very important authors such as Dante or Petrarca collected this heritage; So, The Divine Comedy of the Florentine one it became the first great work written in vulgar language.

From then on, the great epics and songs of love and death will no longer be sung in Latin. This would be released to the universities and scientific writings, which would continue to use it well into the 18th century.

Courtly love

The Full Middle Ages is the time of courtly love, and troubadours are closely related to it.. But what is courtly love?

The term is relatively recent. It appeared in the 19th century to refer to all this poetry and gallantry practiced by the troubadours and their ladies. In the Middle Ages, the term "Fin'amor" was used, that is, Fine Love, Pure Love, to distinguish it from "Fals Love" or Bad Love.

Fin’love was practiced in high places. It was about a platonic love relationship between a married lady and hers who was loyally in love with her, who composed for her. This lover, turned troubadour, dedicated poems and songs to him, already praising her white complexion or her abundant hair, already expressing her suffering for not being able to be with her. These love songs are the most refined and exquisite example of marvelous medieval lyricism, unfortunately still very little known.

But, as always, not everything is gold that glitters. It is true that most of these relationships were strictly circumscribed to morals and honor. chivalrous: a lady could not sleep with her lover if she did not want to be immediately branded as adulteress. However, there were no few exceptions, and it is known that carnal pleasures was one of the awards offered by some ladies in exchange for the one in love with her remaining faithful and celibate for love of her.

The Church and the troubadours

At this point, we ask ourselves a question: did the Church tolerate these loving manifestations, however platonic they were? Yes and no. Obviously, Christian morality condemned adultery. On the other hand, the ideal of courtly love was based on chastity, since the lover rejected the sexual act out of love for his lady.

In this sense, we are witnessing the birth of a new feminine model: the woman as an object of adoration, almost a sacred element, a religion. The relationship established between her and the troubadour inevitably reminds us of the relationship of vassalage of the feudal regime: she is the master, the lord, the owner; the lover, the vassal who serves him and who puts all his worth at his service.

The Church accepted troubadour poetry as long as it spoke of "high" concepts.: that is, the lives of saints and heroic deeds (such as the famous Cantar de Mio Cid), due to its high educational and moral content. It was certainly well seen for a nobleman to cultivate poetry to "elevate his soul."

However, his attitude towards minstrels was quite different. These acrobats who wandered from city to city, often amusing people with obscene songs, were considered the essence of the devil itself, and ecclesiastics advised not to be fooled by them, much less receive them at home.

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Some examples of famous troubadours

We cannot end this article without briefly reviewing some of the most important troubadours of the Middle Ages. Here are some names.

Marcabrú (s. XII)

Originally from the Gascony region (although, due to his humble origins, little is known about his life), this troubadour also performed his own compositions. His work contains a strong morality, placing False Love as a hoax, a perversion. Only the End'love has a place, only the End'love is exalted and worthy of being felt.

William of Poitiers (1071-1127)

Considered the first of the troubadours, Guillermo was born into a noble family. Restless and with a complex personality, he acquired a reputation as a libertine and a blasphemer; his work contains both mystical and obscene elements. He also cultivated the courtly poetry so fashionable at the time, and all this makes him one of the most important troubadours of the Middle Ages.

Jaufré Raudel (s. XII)

He was also born a nobleman and soon part of the Eastern Crusade, from which it seems that he would never return. There he fell in love with the Countess of Tripoli, of whom he is told that he fell in love with her without even seeing her... this impossible, distant and almost mystical love, makes Raudel one of the greatest representatives of Fin’love.

Bernart de Ventadorn (s. XII)

Genealogically, it corresponds to the time of the last troubadours. Bernart de Ventadorn is of humble origin, although his origin and his biography are uncertain. His style is direct and straightforward, pierced by a charming sincerity. All of his work revolves around Fin'love and its importance in human life. Some critics consider him the best of medieval troubadours.

Bibliographic references

• The Chaplain, A. (2020) Love (courteous). Madrid: Akal.
• Herrero Masari, J.M (1999). Jugglers and troubadours. Madrid: Akal.
• Various Authors (1986). Medieval Romanesque Lyric, Murcia: University of Murcia.
• • Various authors, (2003) Reasoned Dictionary of the Medieval West. Madrid: Akal.