Who were the troubadours? Characteristics of these poets and musicians

A summary of what the troubadours were like and what they did, a characteristic figure of the Middle Ages.

Who were the troubadours? We have encountered this likeable figure in a multitude of films and novels, and his image, half romantic, half mischievous, is one of the most remembered when talking about the Middle Ages.

So it is; when we evoke the medieval world, we think of these ardent singers who wandered from court to court and from village to village, sweetening with their singing the hard life of the peasants or the boredom of the nobility.

But what is there of truth (and myth) in all this? In this article we will try to get a little closer to this world that today seems so distant and yet laid the foundations of modern Western poetry.

Differences between troubadours and minstrels

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

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

The nobles wrote poetry and composed songs, and often played instruments. They might do so for mere distraction, for prestige, and even for a sincere love of the arts; but they never used it as a means of subsistence. This is the main difference between these cultured and refined troubadours and the very colorful minstrels.

The minstrels tended to come from the common people (often from their strata). (often from their lower strata). They did use their talents to earn their bread, either in the form of currency or in exchange for a certain amount of sustenance. Many minstrels were hired by feudal lords or municipal authorities to entertain the public at specific celebrations, such as the feast of a particular saint or at a wedding banquet.

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

It is very important to remember this: we cannot imagine the medieval artist as a modern-day artist.. Art was something universal and individuality did not exist. Of course, the names and works of famous troubadours have come down to us, 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 culture. Of course, at the popular level, there was always a poetic manifestation in the vulgar language, but no cleric or knight would have thought of composing in a language other than the language of the Church. It was in the 12th century that everything began to change..

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

Gradually, this language of the people (which no longer used Latin to communicate), became stronger and claimed its place in literature. The troubadours took up the baton and elevated the Romance language to true poetry..

The first troubadour compositions were written in the language of Oc, which originated in the south of France (in the region known as Occitania). The 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 it revalued the Romance language. the Romance language was revalued and made suitable for expressing lofty sentiments.. In the 13th and 14th centuries, very important authors such as Dante and Petrarch took up this inheritance, The Divine Comedy became the first great work written in the vulgar language.

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

Courtly love

The Middle Ages is the time of courtly love, and the 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 to distinguish it from "Fals Amor" or Bad Love.

Fin'amor was practiced in high places. It was a platonic love relationship between a married lady and her faithful lover, who composed for her. This lover, who became a troubadour, dedicated poems and songs to her, either praising her white skin or praising her white hair.either praising her white complexion or her abundant hair, or expressing his suffering for not being able to be with her. These love songs are the most refined and exquisite example of the marvelous medieval lyricism, unfortunately still little known.

But, as always, not all that glitters is gold. It is true that most of these relationships were strictly circumscribed to morality and chivalrous honor: a lady could not sleep with her lover if she did not want to be immediately branded an adulteress. However, there were quite a few exceptions, and it is known that carnal pleasures were one of the rewards offered by some ladies in exchange for her lover 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 amorous 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 refused 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. the relationship of vassalage of the feudal regime: she is the master, the lord.She is the master, the lord, the owner; the lover, the vassal who serves her and puts all his worth at her service.

The Church accepted troubadour poetry as long as it spoke of "lofty" concepts: i.e., lives of saints.that is to say, lives of saints and heroic deeds (like the famous Song of Mio Cid), for its high didactic and moral content. Undoubtedly, it was well regarded for a nobleman to cultivate poetry to "elevate his soul".

However, their 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 himself, and the ecclesiastics advised not to be fooled by them and much less to receive them at home.

Some examples of famous troubadours

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

Marcabru (12th century)

Originally from the region of Gascony (although, because of his humble origins, little is known of his life), this troubadour also performed his own compositions. His work contains a strong morality, by situating the Fals Amor as a deception, a perversion.a perversion. Only Fin'amor has a place, only Fin'amor is sublime and worthy of being felt.

William of Poitiers (1071 - 1127)

Considered the first of the troubadours, William was born into a noble family. Restless and with a complex personality, he acquired a reputation as a libertine and 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 (XIIth century)

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

Bernart de Ventadorn (12th century).

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

Bibliographical references

• El Capellán, A. (2020) El amor (cortés). Madrid: Akal.
• Herrero Masari, J.M (1999). Juglares y trovadores. Madrid: Akal.
• Varios Autores (1986). Lírica románica medieval, Murcia: Universidad de Murcia.
• • Varios autores, (2003) Diccionario razonado del Occidente Medieval. Madrid: Akal.