Peire Raimon de Tolosa: differenze tra le versioni
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'''Peire Raimon de Tolosa''' o '''Toloza''' ([[floruit|fl.]] 1180–1220)<ref name="Aubrey17">Aubrey, 17.</ref> è stato un [[trovatore]] proveniente da una famiglia di [[Borghesia|mercanti]] di [[Tolosa]]. Viene variamente riferito come ''lo Viellz'' ("il Vecchio") e ''lo Gros'' ("il Grasso"), sebbene questi appellativi qualcuno li crede riferiti a due persone diverse.<ref name="Aubrey17"/> D'altra parte, ''lo Viellz'' potrebbe riferirsi al suo appartenere a una generazione più antica di trovatori.<ref name="Egan">Egan, 77.</ref> Di Peire Ramon sopravvivono diciotto poesie e una ''[[canso]]'' con melodia.<ref name="Aubrey17"/>
Peire Ramon's name (as ''Petrus Raimundus'') appears in two documents of Toulouse, dated to 1182 and 1214.<ref name="Aubrey17"/> According to his ''[[Vida (Occitan literary form)|vida]]'', he became a jongleur and travelled to the court of [[Alfonso II of Aragon]], who bestowed great honour on him.<ref name="Egan"/> The earliest datable work by Peire Ramon is a ''[[planh]]'' written on the death of [[Henry the Young King]] in 1183.<ref name="Aubrey17"/> According to his ''vida'' Peire passed "a long time" at the courts of Alfonso, [[William VIII of Montpellier]], and a certain "Count Raymond", which could refer to either [[Raymond V of Toulouse]] or, more probably, [[Raymond VI of Toulouse|Raymond VI]].<ref name="Aubrey17"/><ref name="Egan"/> He also spent time in Italy ([[Lombardy]] and [[Piedmont]]), at the courts of [[Thomas I of Savoy]], [[Guglielmo Malaspina]], and [[Azzo VI of Este]].<ref name="Aubrey17"/> Azzo's daughter Beatriz was the addressee of one of Peire's poems.<ref name="Aubrey17"/> Eventually Peire settled down with a wife in [[Pamiers]] and there he died.<ref name="Egan"/>▼
▲Il nome di Peire Ramon
Peire was reputed as a singer and composer of ''cansos''.<ref name="Egan"/> His work is characterised by themes of nature. His style was [[hermetic]].<ref>Aubrey, 18.</ref> He imitated the troubadours [[Cadenet (troubadour)|Cadenet]] and [[Arnaut Daniel]] and was in turn imitated by [[Bertran de Born]], especially as regards his use of natural imagery.<ref>Aubrey, 21.</ref> Bertran went so far as to copy almost a whole stanza from Peire's "No.m puesc sofrir d'una leu chanso faire."<ref>Kastner, 27.</ref> In "Us noels pessamens", Peire even anticipates the [[Tuscan language|Tuscan]] poet [[Dante Alighieri]].<ref>Lewent, 106. The passage in Dante being referred to is ''[[Divine Comedy|Inferno]]'', V, 121 ff.</ref> Peire is complaining about a mistress who first beckoned him and then broke her promise to him when he says:▼
▲Peire
{{quote|So ormai a dismisura cosa<br />fa la donna mia, senza mentire,<br />poiché mi fa qui a sé venire<br />
e ciò che lei promette non mi dona;<br />chi il grande bene non è avvezzo<br />ad avere, meglio sa l'affanno<br />sopportare, e ciò è bello e buono,<br />ché più pena gli darebbe la sciagura<br />quando della sua felicità si sovviene.||Desmezura conosc hueymai<br />Que fai ma dona, ses mentir,<br />Pus que a se·m fetz aissi venir,<br />E so que·m promes er m'estray;<br />Que qui non a vezat aver<br />Gran be, plus leu sap sostener<br />Afan, que tals es belhs e bos,<br />Que·l maltraitz l'es plus angoissos,<br />Quan li sove·l benanansa.<ref>Lewent, 106<!-- "For he who is not accustomed to have much luck, is more capable of suffering misery than one who is noble and high in rank; for misfortune grieves the latter more if he remembers (former) good fortune."//--></ref>|lingua=oc}}<!--
Peire's sole surviving melody is florid like Cadenet's and less [[melisma]]tic than Daniel's.<ref>Aubrey, 225 and 268.</ref> His style employs an uncommonly high number of large intervals, including [[tritone]]s. The poem with the melody is built on an innovative metaphor:
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