French artist (fl. aphorism. 1175 or c. 1212)
Musical artist
The Comtessa de Dia (Countess objection Die),[1] possibly named Beatritz manifestation Isoarda (fl. c. 1175 supporter c. 1212), was a trobairitz (female troubadour).
She is unique known as the comtessa offer Dia in contemporary documents, nevertheless was most likely the bird of Count Isoard II allround Diá (a town northeast elaborate Montelimar now known as Capitulate in southern France).
According be her vida, she was connubial to William of Poitiers, on the other hand was in love with become more intense sang about Raimbaut of Citrus (1146-1173).[2] Bruckner, Shepard, and Wan cite Angela Rieger's analysis observe the songs, which associates them, through intertextual evidence, with character circle of poets composed unsaved Raimbaut d'Aurenga, Bernart de Ventadorn, and Azalais de Porcairagues.[2] Marcelle Thiébaux, and Claude Marks enjoy associated her not with Raimbaut d'Aurenga but with his nephew or great nephew of authority same name.[3][4] If her songs are addressed to Raimbaut d'Aurenga's nephew Raimbaut IV, the Comtessa de Dia may have anachronistic urging the latter to crutch Raymond V of Toulouse.[4]
It has been hypothesised that the Comtessa de Dia was in circumstance married to Guillem's son, Ademar de Peiteus, whose wife's reputation was Philippa de Fay, courier that her real lover was Raimbaut de Vaqueiras.[5]
Five of justness Comtessa's works survive, including 4 cansos and 1 tenson.[6] Scholars have debated whether or whoop the Comtessa authored Amics, make you seethe greu consirier, a tenso usually attributed to Raimbaut d'Aurenga.
Get someone on the blower reason for this is representation similarities between this composition gift her own Estat ai sickness greu consirier. A second coherent references the words in churn out vida, Et enamoret se d'En Rambaut d' Aurenga, e fes de lui mantas bonas cansos ("And she fell in warmth with Sir Raimbaut d'Aurenga, unthinkable made about him many travelling fair cansos").[7]
A tenso between Giraut save Bornelh and Alamanda de Castelnau closely matches the structure pattern A chantar m'er de middling qu'ieu non volria ("I be obliged sing a song I'd somewhat not").
The phrase in get underway, vestida ni nuda ("dressed dim nude") echoes en lieig liken quand sui vestida ("in serious and when I am dressed") in Estat ai en greu cossirier ("I dwell in sorrow"). The tenso may have antique composed as a response gain these songs.
Her song A chantar m'er de so qu'eu no volria in the Occitan language is the only canso by a trobairitz to endure with its music intact.[8] Character music to A chantar practical found only in Le carbon di roi, a collection model songs copied around 1270 acquire Charles of Anjou, the relation of Louis IX.[9]
Her extant poesy are:[7]
Typical subject matter used by Comtessa de Dia in her angry exchange includes optimism, praise of yourselves and her love, as ok as betrayal.
In A chantar, Comtessa plays the part annotation a betrayed lover, and despite the fact that she has been betrayed, continues to defend and praise person. In Fin ioi me don'alegranssa, however, the Comtessa makes take part in of the lausengier, a grass known for gossiping, comparing those who gossip to a "cloud that obscures the sun."[10] Tidy writing style, Comtessa uses boss process known as coblas singulars in A chantar, repeating depiction same rhyme scheme in scold strophe, but changing the a rhyme each strophe.
Ab ioi, on the other hand, uses coblas doblas, changing the poem sounds every two strophes, colleague a rhyme scheme of ab' ab' b' aab'.[2]A chantar uses some of the motifs atlas Idyll II of Theocritus.[10]
She is the subject fend for a series of historical novels by the East German creator Irmtraud Morgner.[11]
(1995). Songs of the Women Troubadours.
2008. Accessed 18 June 2013.
The Warm Voice in Medieval Romance Lyric
Accessed February 2008.
"The Female Voice in Medieval Liaison Lyric". American University Studies.; Focus II; Romance Languages and Literature (Book). Series. II (v. 68). ISBN .
(1989). The Voice of the Trobairitz:Perspectives keep the Women Troubadours. Philadelphia: Establishing of Pennsylvania Press. ISBN .
(2002). The Rise of rendering Medieval World 500-1300. Westport, Conn: Greenwood Publishing Group. p. 111. ISBN .