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• W1975175431 abstract "62Reviews Rozos and TroubadourSongs. TransL by William E. Burgwinkle. Garland Library of Medieval Literature. Series B. Volume 71. New York: Garland, 1990. 324 + bri Pp. $48.00. William Burgwinkle's Razos and Troubadour Songs is far more than just a translation of the Old Occitan razos and the poemswhich theywere composed toaccompany. Bymeansofhis introduction and notes, the author makes his own interpretations ofthese texts clearand,inmanyinstances,shedsnewlightnotonly onthe attitude ofthebiographerbutalso onsome ofthe premises of courtly love. Burgwinkle begins by pointing out the semantic richness of the Latin word RATIONE(M), from which Occitan razo derives . Hedescribes thepurposeofthe razosasfollows: toensure the survival of the songs and of the cultural practices they document , even as they deformed them (xvii-xviii). He discusses the question of their performance, pointing out that the texts themselves give no unequivocal answer to whether theywere meant to be read or heard. While not disputing the widely accepted notion that the troubadour biographies can be divided into two distinct genres, namelyvidas and razos, he remarks that in the mss. both arereferredto asrazos (xviii) and admitsthe existenceofcertain hybrid texts, which he does not include because they have already been translated by M. Eagan for this same series. Although Burgwinkle stops just short of calling Uc de Saint Circ the' biographer, he offers compelling arguments in support of this hypothesis. As he suggests, much of the preoccupation with moneyand thecynicism aboutlovewhichpervade the razos canbe explainedifwe accept thatvirtually all ofthemwerewrittenbyUc de Saint Circ, who, by his own admission, never really loved any woman, and who was, moreover, as we now know, convicted of usury in the later years of his life. Burgwinkleviews the typicalrazo scenario as consisting ofa poet and a lady, both in search of prestige, which each is in a position to bestow on the other. This Köhleresque analysis of things, which does indeed hold true for the bulk of the razos is, according to Burgwinkle, not very convincing, especially when applied to poets who are themselves verypowerful lords (xxvii). The authorgoes onto offertwo explanations, bothvalid,astowhy men of the nobility tried their hand at troubadour lyric and cast theirversesinthesame termsasthemajorityofpoetswhohonestly Reviews63 needed the moneyor social advancement: first, theywere flexing their poetic muscles and proving that they were as skillful and subtle with words as their subjects; second, they were seeking political allies (cf. Martin de Riauer,LaLittérature provençale a la cour d'Alphonse II d'Aragon ). Burgwinkle correctlyclassifies the razos as an intermediary stage in the development of prose ratherthan an outrightrevolutionarystance (xxxi). He acknowledges that the razos do tend to color the lyrics on which they comment and respects the decision ofeditors like Padenwho exclude them so thatthe poems can speakforthemselves; nevertheless , it is, as Burgwinkle reminds us, thisvery defect in the razos (xxxi) which makes them so valuable. The translations of the razos are uniformly excellent. Burgwinkle alertsus to the fact thathe has made no attempt to do literary translations. What he obviously has tried to do is to capture, in idiomatic English, the verve of the original Occitan. I found particularly successful his rendering of desmesuratz as unstable (p. 17), oimolt Ii voliagran mal as had it in for him (p. 66 et passim), of is sollasset as had a good laugh (p. 69), of braus as obnoxious (p. 112), of complir as to come through with (p. 124) and of enansar donas e dezenansar as make or break a lady's standing (p. 248). In very few instances does he settle on an English expression that either lacks the punch of the original or appears to miss the point. In this category, I would place: treatment (instead of treason) for trdimen (p. 17), took offense for tene so ad esquern (p. 38), which he otherwise translates more accurately as tookit asajoke; wasweakened (insteadofwascompletelyrotten) foreratotrotz(p. 66) andhe took out his song (rather than he performed his song for her) as the equivalent of retrais lison cantar (p. 212). In general, Burgwinkle showsarefreshingmixture ofconsistency and flexibilityin his choice ofwords. Iwish onlythathe had stuckto stanza forcobla rather thanvarying itwith verse (pp. 50, 107, 130, 235, 265 twice, 269) and poem* (p. 266). There are two spots I found where Burgwinkle failed..." @default.
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• W1975175431 date "1992-01-01" @default.
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• W1975175431 title "<i>Razos and Troubadour Songs</i> (review)" @default.
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• W1975175431 doi "https://doi.org/10.1353/ten.1992.0002" @default.
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