Information about the work and context of creation
The first song -cansó- Fin ioi me don ́ alegranssa (Polite joy gives me happiness) is about happiness, about celebration. The coblas or stanzas are two, of eight verses each, and a farewell part -or tornada- of four verses, according to the following scheme: I and II ababccdd; the dismissal ccdddd.
In this composition, she shows the authority of her voice in the contempt she shows for slanderers, an attitude she shares with her contemporaries the Andalusian poets Nazhum ibn Al Qalai and Hafsa ar-Rakuniyya.
With Estat ai greu cossirier (I have been very distressed), we are without doubt before the most famous female "cansó", the most emblematic and passionate of the Countess, the most collected in anthologies, and the one that has allowed us to see the gallantry, realism and refined sensuality that Beatriz uses.
The "cansó" consists of three octosyllabic coblas, whose metrical scheme is as follows: for I and II the rhyme would be abbacddc, and for III eaaefggf.
As mentioned at the beginning, this is a declaration of love by the trobairitz, who expresses her ardent intentions with great spontaneity. Our poetess begins by alluding to the state of "anguish" in which she finds herself, a feeling of pain that is rooted in the medieval tradition of considering amorous passion, or being in love, an illness. It is an illness that dulls the spirit, the appetite, that leaves one without strength, that makes one suffer, causes sadness or pain, and which will only be extinguished when the lover feels reciprocated by the force of love. Our trobairitz is currently feeling "distressed" by the loss of her knight whom she says she has previously "had", understood here in feudal language, whom she has possessed for her amorous enjoyment.
Already in the third verse, let’s remember that the trobairitz is a lady married to a nobleman who openly declares that "I have loved him without measure" and she even lashes out against herself, expressing, moreover, that she has not loved him enough and, for this reason, she states "I have lived in error" and ends with a curious phrase: "both in bed and dressed". There are authors who simply point out that the author has always lived in error, both by night and by day, but this metaphor could go further, and it could be explained within the coded language of courtly love. The poetess finds herself in the "drutz", the last degree of amorous passion, where the sexual fusion of the beloved couple takes place. This image would come to explain that the lady has not only loved her knight carnally, but that she feels a superior feeling, a true love, not exclusively sexual.
As it can be seen, in this first stanza, the trobairitz openly exposes her feelings of passion and anguish. It seems, indeed, that the lady has to argue to convince, to get the attention of the gentleman. That is to say, it is not only an unambiguous exposition of her state of mind and her feelings of love addressed to a specific addressee, but also, as a woman composer, she has to leave a record of her literary talent, of her validity as a trobairitz. Is this another merit in her amorous venture or simply in her creative work?
This authoritative and gallant position that the Countess assumes leads her to show not only her passion and veneration for love, but also to display the social virtues that come with her class: refinement, careful education that places her as a distinguished and noble lady. We must not forget that, as a courtly cliché, love generally only took place between the upper classes, or when one of its components belonged to an upper class. We can therefore deduce that the Countess's talent is a response to a literary task that dignifies her as a cultured and noble lady, but which, in turn, serves as a social merit to aspire to and seduce her beloved.
Then, in the second stanza, the Countess uses her dashing and lively language again, expressing her desire in a straightforward manner, in "cómo querría una tarde tener a mi caballero, desnudo, entre los brazos" (how I would like to hold my knight, naked, in my arms an evening) and continues with the "drutz" stating: "y que él se considerase feliz con que solo le hiciese de almohada" (and that he would be happy with me being his pillow), we see that in these desiderative verses, not only is the longing expressed, but the lady, once again, takes on an active role, being the one who embraces the knight and who is used by him as a pillow. He is the one who leans physically on the beloved and she expects him to be happy in this situation. This galantry is not only seen in the exposition of her amorous and carnal feelings, being a married noblewoman, but, as a composer, she places herself in a position of authority, she perfectly assumes the role of troubaritz, as a fine educated lady of the court who in an active role, creates verses to enjoy the pleasures of love, taking the initiative in this.
In this second stanza, she alludes to a literary character "Floris de Blancaflor", Floris and Blancaflor were heroes of a popular medieval tale, and who could here represent the "sehnal" of his friend, whom she passionately addresses to let him know that she would do anything for him, her most precious thing: his eyes, his heart, his reason, his love and his life. These are, curiously enough, common terms in courtly poetry in the flattering moment of the poet who offers everything to his lady, again, cunningly, and knowing this courtly game, our trobairitz assumes her role perfectly.
The third stanza begins with a structure which is typical of "chansons de trobairitz" (troubadour songs), since the allusion to the "friend" is expressed, unlike in "chansons de femme" (a popular parallel genre), with an archetypal structure, almost always making use of a preceding vocative ("beautiful friend, kind and good"). In this way, the troubaritz appeals to the attention of their knight, and what's more, she asks herself a rhetorical question "when will I have you in my power?” We clearly find ourselves with the attitude of a lyrical "I" which assumes the courteous role of the troubadour, who yearns and fearlessly asks for what he desires: "know that I would have a great desire to have you instead of the husband". She shows her carnal desire for her friend.
https://webs.ucm.es/info/especulo/numero32/conddia.html (09/02/2022)
The works of Countess of Die are part of the troubadour poetry, which includes other outstanding troubaritz, such as Tibors, Castelloza, Azalais de Porcairagues and Marie de Ventadour. They also have in common with the Andalusian poetesses, their contemporaries, a bold poetic voice.
Indications
She can be included in different subjects:
Spanish language and literature, when studying courtly love in the Middle Ages.
Valencian language and literature, when studying courtly love in the Middle Ages, and as a referent for other Catalan trobairitz such as the Queen of Mallorques.
Music, as an example of medieval profane monody, together with the exemplification or activities of other male and female troubadours. «A chantar m'er de so q'ieu no volria» It is the only poem by the Countess of Die whose original music has been preserved: https://youtu.be/m2B00v5pD3k (17/06/2023).
History, in the medieval cultural sphere, with the splendour of female creation in the 12th century.
Universal Literature when dealing with troubadour poetry.
The bibliography that was consulted to create this sheet for work is:
BADIA, Alfred Les trobairitz. Poetes occitanes del segle XII, 2007, Horsori, Barcelona.
Martinengo, Marirì (1997). Las Trovadoras, poetisas del amor cortés. Translation by: Rivera Garreta, M.ª Milagros and Mañeru Méndez, Ana. Madrid: Edit. horas y Horas la editorial.
https://webs.ucm.es/info/especulo/numero32/conddia.html (09/02/2022)
«Les trobairitz» dins de Troubadours and European Identity: The Role of Catalan Courts http://www.trob-eu.net/ca/les-trobairitz.html (17/06/2023).