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Tribolet was an obscure troubadour, known only for one song, the obscene Us fotaires que no fo amoros. The song's rubric was read as t'bolet by Giulio Bertoni, who identified its composer as Tremoleta, but Alfred Jeanroy suggested the reading "Tribolet", which is widely accepted. He also suggested that the composition attributed to him is a parody of a piece now lost. The song is preserved in one chansonnier (G, folio 128) dating from the final third of the thirteenth century, the same period in which the song may have been written.

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  • Tribolet (en)
  • Tribolet (it)
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  • Tribolet was an obscure troubadour, known only for one song, the obscene Us fotaires que no fo amoros. The song's rubric was read as t'bolet by Giulio Bertoni, who identified its composer as Tremoleta, but Alfred Jeanroy suggested the reading "Tribolet", which is widely accepted. He also suggested that the composition attributed to him is a parody of a piece now lost. The song is preserved in one chansonnier (G, folio 128) dating from the final third of the thirteenth century, the same period in which the song may have been written. (en)
  • Tribolet (... – ...; fl. XII-XIII secolo) è stato un oscuro trovatore, noto solo per una canzone, l'oscena Us fotaires que no fo amoros. La rubrica della canzone veniva letta come t'bolet da Giulio Bertoni, il quale identificava il suo compositore in Tremoleta, ma Alfred Jeanroy suggerisce la lettura, ampiamente accettata, di "Tribolet". E ancora propone che la composizione attribuita a lui sia una parodia di un brano adesso perduto. La canzone si conserva in un canzoniere (G, folio 128) databile all'ultimo terzo del XIII secolo, lo stesso periodo in cui la canzone potrebbe essere stata scritta. (it)
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  • Tribolet was an obscure troubadour, known only for one song, the obscene Us fotaires que no fo amoros. The song's rubric was read as t'bolet by Giulio Bertoni, who identified its composer as Tremoleta, but Alfred Jeanroy suggested the reading "Tribolet", which is widely accepted. He also suggested that the composition attributed to him is a parody of a piece now lost. The song is preserved in one chansonnier (G, folio 128) dating from the final third of the thirteenth century, the same period in which the song may have been written. The phrase "the one he loves" (le qui ama) found in the ninth and eighteenth verses has caused some confusion, since le seems masculine: "the one [man] he loves." On this reading, it appears that the composer is a frustrated homosexual, who has plenty of sex with women but misses sex with the man he desires. It has been argued that an overt expression of homosexuality would have been impossible in a medieval court setting; the poet, however, may mean merely to hint at it. Francesco Carapezza, however, argues that just as celes ("any woman") is an aberrant form of the usual celas, so le is just an unusual form of feminine la, in which case the poem is a comic exaggeration of heterosexual lust. According to C. H. Grandgent, the masculine form le may indicate influence from Old French, and François Zufferey has catalogued other instances of the normal masculine lo replaced by le in Old Occitan. (en)
  • Tribolet (... – ...; fl. XII-XIII secolo) è stato un oscuro trovatore, noto solo per una canzone, l'oscena Us fotaires que no fo amoros. La rubrica della canzone veniva letta come t'bolet da Giulio Bertoni, il quale identificava il suo compositore in Tremoleta, ma Alfred Jeanroy suggerisce la lettura, ampiamente accettata, di "Tribolet". E ancora propone che la composizione attribuita a lui sia una parodia di un brano adesso perduto. La canzone si conserva in un canzoniere (G, folio 128) databile all'ultimo terzo del XIII secolo, lo stesso periodo in cui la canzone potrebbe essere stata scritta. La frase "quello che ama" (le qui ama) trovata nei versi nono e diciottesimo ha causato una qualche confusione, poiché le sembra maschile: "colui [l'uomo] che lui ama". In base a questa lettura, sembra che il compositore sia un omosessuale frustrato, il quale esagera nel copulare con le donne, ma manca di farlo con l'uomo che desidera. Francesco Carapezza ha argomentato, tuttavia, che proprio come celes ("ogni donna") è una forma anomala dell'usuale celas, così le è proprio una forma insolita del femminile la, nel cui caso la poesia è un'esagerazione comica della brama eterosessuale. Secondo C. H. Grandgent, la forma le come maschile potrebbe indicare un'influenza dall'antico francese, e François Zufferey ha elencato altri esempi del normale maschile lo sostituito da le nell'antico occitano. (it)
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