The Medieval Lyric
To read Peter Dronke's book is to want immediately to read again the lyrics about which he writes so perceptively. His understanding of human nature combines with an extraordinary bird's-eye view of Western European culture in the middle ages (and familiarity with the languages) to present the poetry of the time in beguiling context. He shows the men and women who sang and played in medieval Europe as the heirs of both a Roman and a Germanic lyric tradition, united but differentiated from country to country; he introduces the scholars and musicians from the Byzantine world and the Paris schools, the German courts and Italian city-states, and he brilliantly presents their work, both sacred and profane. The melodies are given for twelve of the lyrics discussed, a small but satisfying repertoire and an important reminder that music was for a medieval audience an essential complement to the lyric.
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Ajuda alba Amiga Amor Arabic Archpoet become beloved Cantigas cantigas de amigo Carmina Burana Chastelain de Couci Christ composed court courtly dance dance-songs Dante dawn delight discussed divine edition English Escarnho fantasy feel finest flowers French Galician Gennrich genre German girl give Guillaume Hadewijch heart heaven Hugh Primas human love hymns imaginative Jacopone kharjas king lady language Latin lines love-lyric love-songs lover manuscript Marcabru Martin Codax Mary medieval lyric melody Middle Ages Minnesinger muwashshah Nachlass never night Notker opening passionate perhaps play poem poet poet's poetic poetry praise Provencal Raimbaut de Vaqueiras range refrain religious lyric rhymes Romance scholars secular seems sense sequence singing song soul stanza strophe strophic strophic form survives sweet theme thirteenth century thought tradition troubadour trouvere twelfth century vernacular verse Virgin vision vols Walter of Chatillon Walther Widsith woman women words