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• W1978172360 abstract "The Gap or Boasting Song in the Works of Guilhem de Peitieus, Raimbaut d'Aurenga, Peire d'Alvernhe and Peire Vidal Veronica Fraser The gap or boasting song has an important place in the troubadour lyric, enabling the poet to celebrate his own talent and prowess as master composer and singer, lover and sometimes warrior. It is an extravagant and exuberant display, which challenges rival poets and lovers to reach the same level of perfection. The humorous and mocking tone of the gap entertains the audience, while poking fun at some of the conventions of fin'amor. The four poets I have chosen for this study all make a substantial use of the gap motif, boasting of their exceptional performance in the areas of trobar, domnejar and ardimen.1 I have identified twenty-nine boasting songs, quite evenly distributed among the four poets: six for William of Poitiers, seven each for Raimbaut d'Orange and Peire d'Alvernhe and nine for Peire Vidal. One could say that William of Poitiers invented the genre, which appears in six out of his existing eleven songs, but the boasting motif is also found in other medieval literary works, most notably the chanson de geste, where it relates primarily to boasts of physical prowess and outstanding courage in armed combat. Chrétien de Troyes also makes use of the Old French verb gaber in the romances of Cligès, Lancelot and Perceval. The boasting theme is also found in Norse sagas as well as in the Celtic tradition.2 The Occitan gap may be considered a genre or a motif, according to the extent to which the poet makes use of the boasting elements. When these occur throughout the song, constituting the primary message of the piece, the poem may be designated an entire gap, an example of the gap as genre. Walter Pattison, the editor of Raimbaut d'Orange, describes the gap as a playful genre, mixing humor and boasting (60). Erich Köhler has described the gap as a preliterary genre, since the custom of boasting exists independantly of and prior to its literary manifestation (325). Other scholars, such as Fechner, see the gap as a motif (21), whilst Martin de Riquer considers it a modality of the sirventes (58). [End Page 47] In the corpus I have studied the gap occurs most often as a motif, found in only one or two coblas. In the canso the boast often appears in the opening cobla and is concerned primarily with the theme of trobar, superiority in composing verse. The other two boasting themes, domnejar, the art of love, and ardimen, the art of combat, occur most often in the sirventes. I propose that the complete gaps constitute a sub-genre, a category of the sirventes, in a similar way to the crusading songs. The corpus I have chosen provides five examples of complete gaps, two in the works of Raimbaut d'Orange and one in each of the other three troubadours. The remaining twenty-four songs are partial gaps, in which the boasting motif occurs in less than half the coblas. The play element is an important feature of the boasting songs. The poet aims to entertain his audience by poking fun at another poet, at himself or at the tradition of fin'amor. The tone is humorous and mocking, exaggerated and competitive. Gabar in Occitan means to boast, but it also has the connotation in some contexts of to mock or to deceive.3 My own study of the gap will be limited to those songs where the boasting element is most in evidence and where it is clear that the poet is claiming superiority in one or more of the three domains, either seriously, humorously or ironically. Sometimes the boasts would illicit a response from a fellow poet, usually a critical or negative comment aimed at bringing the braggart down to size. Boasting can be undesirable, even dangerous, and is often shown to be the antithesis of the courtly ideal of mezura, the need for the lover to show restraint and caution. To boast or not to boast is part of a lively debate, indicating that the gap tradition had..." @default.
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• W1978172360 date "2009-01-01" @default.
• W1978172360 modified "2023-10-17" @default.
• W1978172360 title "The <i>Gap</i> or Boasting Song in the Works of Guilhem de Peitieus, Raimbaut d'Aurenga, Peire d'Alvernhe and Peire Vidal" @default.
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• W1978172360 doi "https://doi.org/10.1353/ten.0.0000" @default.
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