Guilhem de Montanhagol [1] ( fl. 1233–1268) was a Provençal troubadour, most likely active in Toulouse, but known in the courts of Provence, Toulouse, Castile, and Aragon. [2] [3] Guilhem left behind seven cansos and six sirventes. [3] He also left behind one tenso (specifically, a partimen) with Sordello (perhaps suggesting a brief sojourn in Lombardy) and his total surviving output comes to fourteen pieces. [2] [3]
The meaning of Guilhem's name has been debated. "Montanhagol" means "from Montanhac", but it is not known which of the several places named Montanhac that could be. [4] For a long time it was thought that the correct form of the troubadour's name was simply "Guilhem Montanhagol", since the "de" (of) would be redundant. [5] Contemporary documents, however, clearly use "de". [5]
He was of humble birth. [2] According to his vida he was from Provence, though some modern scholars suspect he was a Toulousain. [2] [4] His vida records that he was "a good inventor (trobaire) of poetry, and a great lover." [4] His lover was a lady named Jauseranda from Lunel, the lord of which castle, Raymond Gaucelm V, Guilhem probably knew. [4]
His cansos are awkward, and he emulated the earlier troubadours, praising mezura (moderation) among all the virtues. [2] He stated that "from love proceeds chastity" (d'amor mou castitatz), which may mean no more than that love is necessary for fidelity. [3] [6] He has been viewed, most ardently by Cesare de Lollis, as a precursor of the Dolce Stil Novo and as an important link between Occitan and Italian literature through his work with Sordello. [6] [7] He has been credited with an innovative picture of courtly love blended with Christian morality, [6] and indeed he refers to noel dig de maestria ("a new saying of mastery"), though this is probably not an indication of any conscious reformation. [8]
Guilhem's political sirventes concern Toulousain and Spanish politics. [2] Writing in the aftermath of the Albigensian Crusade which devastated Languedoc, Guilhem was an opponent of the Papal Inquisition, though not of the Church itself. [2] He encouraged the gentle correction of the Cathars, but not their violent suppression by means of war. [3]
Guilhem was grieved in a planh written by his brother-in-law Pons Santolh. [3]
Guilhem de Montanhagol [1] ( fl. 1233–1268) was a Provençal troubadour, most likely active in Toulouse, but known in the courts of Provence, Toulouse, Castile, and Aragon. [2] [3] Guilhem left behind seven cansos and six sirventes. [3] He also left behind one tenso (specifically, a partimen) with Sordello (perhaps suggesting a brief sojourn in Lombardy) and his total surviving output comes to fourteen pieces. [2] [3]
The meaning of Guilhem's name has been debated. "Montanhagol" means "from Montanhac", but it is not known which of the several places named Montanhac that could be. [4] For a long time it was thought that the correct form of the troubadour's name was simply "Guilhem Montanhagol", since the "de" (of) would be redundant. [5] Contemporary documents, however, clearly use "de". [5]
He was of humble birth. [2] According to his vida he was from Provence, though some modern scholars suspect he was a Toulousain. [2] [4] His vida records that he was "a good inventor (trobaire) of poetry, and a great lover." [4] His lover was a lady named Jauseranda from Lunel, the lord of which castle, Raymond Gaucelm V, Guilhem probably knew. [4]
His cansos are awkward, and he emulated the earlier troubadours, praising mezura (moderation) among all the virtues. [2] He stated that "from love proceeds chastity" (d'amor mou castitatz), which may mean no more than that love is necessary for fidelity. [3] [6] He has been viewed, most ardently by Cesare de Lollis, as a precursor of the Dolce Stil Novo and as an important link between Occitan and Italian literature through his work with Sordello. [6] [7] He has been credited with an innovative picture of courtly love blended with Christian morality, [6] and indeed he refers to noel dig de maestria ("a new saying of mastery"), though this is probably not an indication of any conscious reformation. [8]
Guilhem's political sirventes concern Toulousain and Spanish politics. [2] Writing in the aftermath of the Albigensian Crusade which devastated Languedoc, Guilhem was an opponent of the Papal Inquisition, though not of the Church itself. [2] He encouraged the gentle correction of the Cathars, but not their violent suppression by means of war. [3]
Guilhem was grieved in a planh written by his brother-in-law Pons Santolh. [3]