Peire Vidal's Vida

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            <title>Chansonnier Provençal: A Digital Edition of Peire Vidal's Vida from MS K</title>
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                  <addrLine>Washington and Lee University</addrLine>
                  <addrLine>204 W Washington Street</addrLine>
                  <addrLine>Lexington VA 24450</addrLine>
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            <respStmt>
               <resp>transcription</resp>
               <resp>TEI coding and development</resp>
               <name>Mahoney, Alex</name>
               <name>Mann, Rebecca</name>
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            <publisher>Washington and Lee University</publisher>
            <pubPlace>Lexington, Virginia</pubPlace>
            <address>
               <name type="institution">Washington and Lee University</name>
               <street>204 W Washington Street</street>
               <name type="city">Lexington</name>
               <name type="state">Virginia</name>
               <name type="country">USA</name>
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               <p>public domain</p>
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               <bibl>Fraser, Veronica. The Songs of Peire Vidal: Translation and Commentary. Peter
                  Lang Publishers, New York. 2006. Book.</bibl>
            </listBibl>
            <msDesc>
               <msIdentifier>
                  <country>France</country>
                  <settlement>Paris</settlement>
                  <repository>Bibliothèque nationale de France</repository>
                  <idno>MS K</idno>
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                  <summary xml:id="scribes"> It can be assumed that there are multiple scribes
                     responsible for the transcription of the codex due to changing calligraphy
                     styles throughout the work, namely the differences in the capital letters. For
                     example, looking at the capital letter D’s, the ones on folio 11v are less
                     circular and have a more horizontal serif-type tail coming off of the letter. </summary>
                  <summary xml:id="MarginNotes">It is also evident that many different individuals
                     have studied the work, based on notes in the margins written in several
                     different handwritings. On folio 44r, notes in the margins appear to highlight
                     certain lines in pen ink much later than the original transcription. Similarly,
                     folios 119v and 120v have writing in the left margin in a different handwriting
                     that presumably came after the original transcription. On the other hand, folio
                     110r shows a note in the margin that appears to be written by the scribe
                     himself, indicating a mistake where he forgot to include a word.</summary>
                  <summary xml:id="section">The top of each page is marked with alternating "Q" and
                     roman numeral "IIII" in blue and red ink. The ink colors match the decorations
                     on each page.</summary>
                  <textLang>Occitan</textLang>
                  <msItem>
                     <locus>f. 27r</locus>
                     <title>Vida</title>
                  </msItem>
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                        <support>
                           <p>Parchment made of calfskin</p>
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                        <extent>188 manuscript folios</extent>
                     </supportDesc>
                     <layoutDesc>
                        <layout columns="2">
                           <p>In double columns.</p>
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                        <layout ruledLines="52">
                           <p>Most pages have approximately 50 long lines ruled in lead.</p>
                        </layout>
                     </layoutDesc>
                  </objectDesc>
                  <bindingDesc>
                     <p>The work is bound in Moroccan red leather with gold gilded decorations on
                        the cover and edges of each page.</p>
                  </bindingDesc>
                  <handDesc>
                     <p>The vida is written in multiple hands.</p>
                     <p>The calligraphy is done in Gothic style, with lettering that indicates that
                        it was written in Northern Italy.</p>
                     <p>The scribe was most likely very skilled in calligraphy because the letters
                        are very uniform throughout the page.</p>
                     <p>It can be assumed that there are multiple scribes responsible for the
                        transcription of the codex due to changing calligraphy styles throughout the
                        work, namely differences in the capital letters. For example, looking at the
                        capital letter D’s, the ones on folio 11v are less circular and have a more
                        horizontal serif-type tail coming off of the letter than the D’s on folio
                        27r.</p>
                  </handDesc>
                  <decoDesc>
                     <p>The vida text is written in red ink.</p>
                     <p>The rest of the folio has colored initials alternating blue and red.</p>
                     <p>One large historiated initial decorated in red, blue, and black ink, with
                        gold-leafed embellishments. This initial is inhabited by a human figure
                        representing Peire Vidal.</p>
                     <decoNote>
                        <title>Initial "Q" with Peire Vidal reciting his poem</title>
                        <note type="decoration-form">Historiated initial "Q," 10</note>
                     </decoNote>
                  </decoDesc>
                  <additions>
                     <p>There is a "7" written in black ink on the top right corner of the page.
                        This notation was added after the completion of the manuscript.</p>
                     <p>Throughout the manuscript there are differing notations and stamps. These
                        marks were done by many different individuals, as the handwriting differs
                        throughout.</p>
                  </additions>
               </physDesc>
               <history>
                  <origin><p>Written in <origPlace>Northern Italy</origPlace>in the <origDate
                           notBefore="1250" notAfter="1300">second half of the thirteenth
                           century</origDate></p></origin>
                  <provenance n="1">Vatican Library - Pope Clement XII</provenance>
                  <provenance n="2">Bibliothèque nationale de France</provenance>
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            <p>Text encoded for the <soCalled>Vida</soCalled> of Peire Vidal, which aims to create a
               digital edition for this specific Occitan manuscript.</p>
         </projectDesc>
         <editorialDecl>
            <p>We could not find the Unicode symbols for "small letter p with caron" or "small
               letter q with caron." Instead we used apostrophes as placeholders for these
               symbols.</p>
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         <change>"Pl's" changed to "Pl[u]s".</change>
         <change>"Q'" changed to "Q[ue]".</change>
         <change>"&#42863;stantinopuli" changed to "[Con]stantinopuli".</change>
         <change>"coquistar" changed to "co[n]quistar"</change>
         <change>"P'gana" changed to "P[er]gana".</change>
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         <div type="introduction">
            <head>Introduction</head>
            <p>This biographer portrays Peire Vidal as a boastful and courageous knight, so
               confident that he sought to conquer the Byzantine empire. His many travels and
               marriage to a Greek woman indicate that he was influenced by many cultures, which
               shows in the rest of his works. He was loved by all women, but it is evident that
               Peire Vidal prioritized power over love and even called himself emperor and his wife
               empress. This particular vida is most likely inaccurate since it was written
               approximately 50 years after Vidal’s death (Fraser 1). His story is embellished and
               glorified by the biographer.</p>
            <figure><graphic url="../images/export.jpg"></graphic>
               <head>
               <bibl type="figno">Figure 1.</bibl>
               <bibl type="figcap">Illustration of Peire Vidal from MS K.</bibl>
               <bibl type="figsrc">Public domain: http://gallica.bnf.fr/ark:/12148/btv1b60007960/f81.item.zoom.</bibl>     
               </head>
               <figcaption>Illustration of Peire Vidal from MS K.</figcaption>
            </figure>
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            <head>Peire Vidal's Vida</head>
            <p>
               <seg ana="#PeireVidal"><name type="person">Peire Vidals</name> si fo de </seg><w
                     ana="#Toulouse">tolosa</w> <seg ana="#PeireVidal">fills fo dun pelicer</seg>. E cantaua meill
               come del mon. E fo dels pl<ex>u</ex>s fols omes que mais fossen. Qel crezia
                  q<ex>ue</ex> tot fos vers so qe a lui plazia. Ni quel volia. E plus leu li
               avenia trobars que anuill home del mon. Et aquels qe plus rics sons fetz. E maiors
               fulias dis <w ana="#arms">dármas</w> e <w ana="#love">dámor</w>. E de mal dir
               dautriu. E fo <w ana="#x">X</w> vers cus <name type="person">cavaliers de sanct
                  &#231;ili</name> li tailla la lenga. Per so quel dona ad entendre quel era druz de
               sa muiller. E nus del baus sil fez garir e medegar. E qant fo garritz el sen anet
               oltra mar. De lai el amenet <w type="person" ana="#GreekWoman">una grega</w> qe
               ill fo donada a meuiller en cipri. E ill fo dat a entendre qela era neza del <w
                  type="person" ana="#emperor">emperador de <ex>con</ex>stantinopuli</w>. E
               qel per lei devia aver lémperi per rason. Don el mes tot qant poc gazaignar afar
               navili. Qel crezia anar lémperi co<ex>n</ex>quistar. En portava armas
               emperials. E fasia se clamar emperaire. E la muiller emperariz. E si <w ana="#x">X</w>
               entendia en totas las bonas domnas qe uezia. E totas las p<ex>er</ex>gana
               d’amor. E totas li dizon de far e de dir fo quel volgues. Don el crezia esser druz de
               to tas. E qe chascuna moris per el. E totas menaua <w ana="#x">X</w> rics destries. E
               portava ricas armas. Ecadreira emperial. El meiller cavallier del mon crezia estre.
               El plus amaz de domnas. <w ana="#xii">xii</w>. </p>
         </div>
         <interpGrp type="literary">
            <interp xml:id="PeireVidal">The opening line of the Vida is considered the most accurate
               source of information about Peire Vidal. The rest of the Vida is most likely
               fictitious (Fraser 1).</interp>
            <interp xml:id="Toulouse">Toulouse, central to the Languedoc region, was the hub of not
               only trade and politics but also Occitan literature in the 12th century. Vidal was a
               member of the merchant class, which was gaining power during his lifetime (Fraser 1). </interp>
            <interp xml:id="arms">Although Peire Vidal didn’t participate in the Crusades, the
               events surrounding the third crusade form the context for many of his songs (Fraser
               8).</interp>
            <interp xml:id="love">Peire Vidal spent a year in Palestine and travelled frequently to
               Muslim Spain, coming into contact with Arab culture. The Arab love poetry’s melody
               and themes influenced the poetry of Peire Vidal (Fraser 14-15).</interp>
            <interp xml:id="GreekWoman">This is the only mention of Peire Vidal having a wife
               (Fraser 27).</interp>
            <interp xml:id="emperor">This refers to Emmanuel Comnenus, the Byzantine emperor at the
               time (Fraser 27).</interp>
         </interpGrp>
         <interpGrp type="hand">
            <interp xml:id="x">This is presumably a space filler at the end of the line to justify
               the columns on the manuscript page.</interp>
            <interp xml:id="xii">This is the number of the vida.</interp>
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Chansonnier Provençal: A Digital Edition of Peire Vidal's Vida from MS K
Washington and Lee University 204 W Washington Street Lexington VA 24450
transcription TEI coding and development Mahoney, Alex Mann, Rebecca Washington and Lee University Lexington, Virginia
Washington and Lee University 204 W Washington Street Lexington Virginia USA

public domain

 Fraser, Veronica. The Songs of Peire Vidal: Translation and Commentary. Peter Lang Publishers, New York. 2006. Book. France Paris Bibliothèque nationale de France MS K It can be assumed that there are multiple scribes responsible for the transcription of the codex due to changing calligraphy styles throughout the work, namely the differences in the capital letters. For example, looking at the capital letter D’s, the ones on folio 11v are less circular and have a more horizontal serif-type tail coming off of the letter. It is also evident that many different individuals have studied the work, based on notes in the margins written in several different handwritings. On folio 44r, notes in the margins appear to highlight certain lines in pen ink much later than the original transcription. Similarly, folios 119v and 120v have writing in the left margin in a different handwriting that presumably came after the original transcription. On the other hand, folio 110r shows a note in the margin that appears to be written by the scribe himself, indicating a mistake where he forgot to include a word. The top of each page is marked with alternating "Q" and roman numeral "IIII" in blue and red ink. The ink colors match the decorations on each page. Occitan f. 27r Vida

Parchment made of calfskin

 188 manuscript folios

In double columns.

Most pages have approximately 50 long lines ruled in lead.

The work is bound in Moroccan red leather with gold gilded decorations on the cover and edges of each page.

The vida is written in multiple hands.

The calligraphy is done in Gothic style, with lettering that indicates that it was written in Northern Italy.

The scribe was most likely very skilled in calligraphy because the letters are very uniform throughout the page.

It can be assumed that there are multiple scribes responsible for the transcription of the codex due to changing calligraphy styles throughout the work, namely differences in the capital letters. For example, looking at the capital letter D’s, the ones on folio 11v are less circular and have a more horizontal serif-type tail coming off of the letter than the D’s on folio 27r.

The vida text is written in red ink.

The rest of the folio has colored initials alternating blue and red.

One large historiated initial decorated in red, blue, and black ink, with gold-leafed embellishments. This initial is inhabited by a human figure representing Peire Vidal.

Initial "Q" with Peire Vidal reciting his poem Historiated initial "Q," 10

There is a "7" written in black ink on the top right corner of the page. This notation was added after the completion of the manuscript.

Throughout the manuscript there are differing notations and stamps. These marks were done by many different individuals, as the handwriting differs throughout.

Written in Northern Italyin the second half of the thirteenth century

Vatican Library - Pope Clement XII Bibliothèque nationale de France

Text encoded for the Vida of Peire Vidal, which aims to create a digital edition for this specific Occitan manuscript.

We could not find the Unicode symbols for "small letter p with caron" or "small letter q with caron." Instead we used apostrophes as placeholders for these symbols.

 Marks cobla divisions. Marks line divisions. Marks Occitan abbreviations. "Pl's" changed to "Pl[u]s". "Q'" changed to "Q[ue]". "ꝯstantinopuli" changed to "[Con]stantinopuli". "coquistar" changed to "co[n]quistar" "P'gana" changed to "P[er]gana".
Introduction

This biographer portrays Peire Vidal as a boastful and courageous knight, so confident that he sought to conquer the Byzantine empire. His many travels and marriage to a Greek woman indicate that he was influenced by many cultures, which shows in the rest of his works. He was loved by all women, but it is evident that Peire Vidal prioritized power over love and even called himself emperor and his wife empress. This particular vida is most likely inaccurate since it was written approximately 50 years after Vidal’s death (Fraser 1). His story is embellished and glorified by the biographer.

Figure 1. Illustration of Peire Vidal from MS K. Public domain: http://gallica.bnf.fr/ark:/12148/btv1b60007960/f81.item.zoom.
Illustration of Peire Vidal from MS K.
view page image(s)
Peire Vidal's Vida

Peire Vidals si fo de tolosa fills fo dun pelicer. E cantaua meill come del mon. E fo dels plus fols omes que mais fossen. Qel crezia que tot fos vers so qe a lui plazia. Ni quel volia. E plus leu li avenia trobars que anuill home del mon. Et aquels qe plus rics sons fetz. E maiors fulias dis dármas e dámor. E de mal dir dautriu. E fo X vers cus cavaliers de sanct çili li tailla la lenga. Per so quel dona ad entendre quel era druz de sa muiller. E nus del baus sil fez garir e medegar. E qant fo garritz el sen anet oltra mar. De lai el amenet una grega qe ill fo donada a meuiller en cipri. E ill fo dat a entendre qela era neza del emperador de constantinopuli. E qel per lei devia aver lémperi per rason. Don el mes tot qant poc gazaignar afar navili. Qel crezia anar lémperi conquistar. En portava armas emperials. E fasia se clamar emperaire. E la muiller emperariz. E si X entendia en totas las bonas domnas qe uezia. E totas las pergana d’amor. E totas li dizon de far e de dir fo quel volgues. Don el crezia esser druz de to tas. E qe chascuna moris per el. E totas menaua X rics destries. E portava ricas armas. Ecadreira emperial. El meiller cavallier del mon crezia estre. El plus amaz de domnas. xii.

The opening line of the Vida is considered the most accurate source of information about Peire Vidal. The rest of the Vida is most likely fictitious (Fraser 1). Toulouse, central to the Languedoc region, was the hub of not only trade and politics but also Occitan literature in the 12th century. Vidal was a member of the merchant class, which was gaining power during his lifetime (Fraser 1). Although Peire Vidal didn’t participate in the Crusades, the events surrounding the third crusade form the context for many of his songs (Fraser 8). Peire Vidal spent a year in Palestine and travelled frequently to Muslim Spain, coming into contact with Arab culture. The Arab love poetry’s melody and themes influenced the poetry of Peire Vidal (Fraser 14-15). This is the only mention of Peire Vidal having a wife (Fraser 27). This refers to Emmanuel Comnenus, the Byzantine emperor at the time (Fraser 27). This is presumably a space filler at the end of the line to justify the columns on the manuscript page. This is the number of the vida.

Toolbox

Themes:

Chansonnier Provençal: A Digital Edition of Peire Vidal's Vida from MS K
Washington and Lee University 204 W Washington Street Lexington VA 24450
transcription TEI coding and development Mahoney, Alex Mann, Rebecca Washington and Lee University Lexington, Virginia
Washington and Lee University 204 W Washington Street Lexington Virginia USA

public domain

 Fraser, Veronica. The Songs of Peire Vidal: Translation and Commentary. Peter Lang Publishers, New York. 2006. Book. France Paris Bibliothèque nationale de France MS K It can be assumed that there are multiple scribes responsible for the transcription of the codex due to changing calligraphy styles throughout the work, namely the differences in the capital letters. For example, looking at the capital letter D’s, the ones on folio 11v are less circular and have a more horizontal serif-type tail coming off of the letter. It is also evident that many different individuals have studied the work, based on notes in the margins written in several different handwritings. On folio 44r, notes in the margins appear to highlight certain lines in pen ink much later than the original transcription. Similarly, folios 119v and 120v have writing in the left margin in a different handwriting that presumably came after the original transcription. On the other hand, folio 110r shows a note in the margin that appears to be written by the scribe himself, indicating a mistake where he forgot to include a word. The top of each page is marked with alternating "Q" and roman numeral "IIII" in blue and red ink. The ink colors match the decorations on each page. Occitan f. 27r Vida

Parchment made of calfskin

 188 manuscript folios

In double columns.

Most pages have approximately 50 long lines ruled in lead.

The work is bound in Moroccan red leather with gold gilded decorations on the cover and edges of each page.

The vida is written in multiple hands.

The calligraphy is done in Gothic style, with lettering that indicates that it was written in Northern Italy.

The scribe was most likely very skilled in calligraphy because the letters are very uniform throughout the page.

It can be assumed that there are multiple scribes responsible for the transcription of the codex due to changing calligraphy styles throughout the work, namely differences in the capital letters. For example, looking at the capital letter D’s, the ones on folio 11v are less circular and have a more horizontal serif-type tail coming off of the letter than the D’s on folio 27r.

The vida text is written in red ink.

The rest of the folio has colored initials alternating blue and red.

One large historiated initial decorated in red, blue, and black ink, with gold-leafed embellishments. This initial is inhabited by a human figure representing Peire Vidal.

Initial "Q" with Peire Vidal reciting his poem Historiated initial "Q," 10

There is a "7" written in black ink on the top right corner of the page. This notation was added after the completion of the manuscript.

Throughout the manuscript there are differing notations and stamps. These marks were done by many different individuals, as the handwriting differs throughout.

Written in Northern Italyin the second half of the thirteenth century

Vatican Library - Pope Clement XII Bibliothèque nationale de France

Text encoded for the Vida of Peire Vidal, which aims to create a digital edition for this specific Occitan manuscript.

We could not find the Unicode symbols for "small letter p with caron" or "small letter q with caron." Instead we used apostrophes as placeholders for these symbols.

 Marks cobla divisions. Marks line divisions. Marks Occitan abbreviations. "Pl's" changed to "Pl[u]s". "Q'" changed to "Q[ue]". "ꝯstantinopuli" changed to "[Con]stantinopuli". "coquistar" changed to "co[n]quistar" "P'gana" changed to "P[er]gana".
Introduction

This biographer portrays Peire Vidal as a boastful and courageous knight, so confident that he sought to conquer the Byzantine empire. His many travels and marriage to a Greek woman indicate that he was influenced by many cultures, which shows in the rest of his works. He was loved by all women, but it is evident that Peire Vidal prioritized power over love and even called himself emperor and his wife empress. This particular vida is most likely inaccurate since it was written approximately 50 years after Vidal’s death (Fraser 1). His story is embellished and glorified by the biographer.

Figure 1. Illustration of Peire Vidal from MS K. Public domain: http://gallica.bnf.fr/ark:/12148/btv1b60007960/f81.item.zoom.
Illustration of Peire Vidal from MS K.
Peire Vidal's Vida

Peire Vidals si fo de tolosa fills fo dun pelicer. E cantaua meill come del mon. E fo dels plus fols omes que mais fossen. Qel crezia que tot fos vers so qe a lui plazia. Ni quel volia. E plus leu li avenia trobars que anuill home del mon. Et aquels qe plus rics sons fetz. E maiors fulias dis dármas e dámor. E de mal dir dautriu. E fo X vers cus cavaliers de sanct çili li tailla la lenga. Per so quel dona ad entendre quel era druz de sa muiller. E nus del baus sil fez garir e medegar. E qant fo garritz el sen anet oltra mar. De lai el amenet una grega qe ill fo donada a meuiller en cipri. E ill fo dat a entendre qela era neza del emperador de constantinopuli. E qel per lei devia aver lémperi per rason. Don el mes tot qant poc gazaignar afar navili. Qel crezia anar lémperi conquistar. En portava armas emperials. E fasia se clamar emperaire. E la muiller emperariz. E si X entendia en totas las bonas domnas qe uezia. E totas las pergana d’amor. E totas li dizon de far e de dir fo quel volgues. Don el crezia esser druz de to tas. E qe chascuna moris per el. E totas menaua X rics destries. E portava ricas armas. Ecadreira emperial. El meiller cavallier del mon crezia estre. El plus amaz de domnas. xii.

The opening line of the Vida is considered the most accurate source of information about Peire Vidal. The rest of the Vida is most likely fictitious (Fraser 1). Toulouse, central to the Languedoc region, was the hub of not only trade and politics but also Occitan literature in the 12th century. Vidal was a member of the merchant class, which was gaining power during his lifetime (Fraser 1). Although Peire Vidal didn’t participate in the Crusades, the events surrounding the third crusade form the context for many of his songs (Fraser 8). Peire Vidal spent a year in Palestine and travelled frequently to Muslim Spain, coming into contact with Arab culture. The Arab love poetry’s melody and themes influenced the poetry of Peire Vidal (Fraser 14-15). This is the only mention of Peire Vidal having a wife (Fraser 27). This refers to Emmanuel Comnenus, the Byzantine emperor at the time (Fraser 27). This is presumably a space filler at the end of the line to justify the columns on the manuscript page. This is the number of the vida.