Comtessa de Dia

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The Comtessa de Dia (Countess of Die),^[1] possibly named Beatritz or Isoarda (fl. c. 1175 or c. 1212), was a trobairitz (female troubadour).

She is only known as the comtessa de Dia in contemporary documents, but was most likely the daughter of Count Isoard II of

It has been hypothesised that the Comtessa de Dia was in fact married to Guillem's son, Ademar de Peiteus, whose wife's name was Philippa de Fay, and that her real lover was Raimbaut de Vaqueiras.^[5]

Five of the Comtessa's works survive, including 4 cansos and 1 tenson.^[6] Scholars have debated whether or not the Comtessa authored Amics, en greu consirier, a tenso typically attributed to Raimbaut d'Aurenga. One reason for this is the similarities between this composition and her own Estat ai en greu consirier. A second reason references the words in her vida, Et enamoret se d'En Rambaut d' Aurenga, e fez de lui mantas bonas cansos ("And she fell in love with Sir Raimbaut d'Aurenga, and made about him many good cansos").^[7]

A tenso between Giraut de Bornelh and Alamanda de Castelnau closely matches the structure of A chantar m'er de so qu'ieu non volria ("I must sing a song I'd rather not"). The phrase in it, vestida ni nuda ("dressed nor nude") echoes en lieig e quand sui vestida ("in bed and when I am dressed") in Estat ai en greu cossirier ("I dwell in sorrow"). The tenso may have been composed as a response to these songs.

Her song A chantar m'er de so qu'eu no volria in the

Her extant poems are:[7]

• Ab joi et ab joven m'apais
• A chantar m'er de so qu'ieu non volria
• Estât ai en greu cossirier
• Fin ioi me don'alegranssa

Typical subject matter used by Comtessa de Dia in her lyrics includes optimism, praise of herself and her love, as well as betrayal. In A chantar, Comtessa plays the part of a betrayed lover, and although she has been betrayed, continues to defend and praise herself. In Fin ioi me don'alegranssa, however, the Comtessa makes fun of the lausengier, a person known for gossiping, comparing those who gossip to a "cloud that obscures the sun."^[10] In writing style, Comtessa uses a process known as coblas singulars in A chantar, repeating the same rhyme scheme in each strophe, but changing the a rhyme each time. Ab ioi, on the other hand, uses coblas doblas, with a rhyme scheme of ab' ab' b' aab'.^[2] A chantar uses some of the motifs of Idyll II of Theocritus.^[10]

In popular culture

She is the subject of a series of historical novels by the East German author Irmtraud Morgner.^[11]

Notes

References

• Troubadour Music at the Music Encyclopedia. Accessed February 2008.
• Socialist Magical Realism Irmtraud Morgner's Trobadora Beatrice by Elizabeth Morier. The Complete Review, Volume II, Issue 2- May, 2001. Accessed February 2008.
• Bogin, Magda (1980). The women troubadours. New York: Norton.
  ISBN 9780393009651
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• ISBN 0-8153-0817-5
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• Earnshaw, Doris (1988). "The Female Voice in Medieval Romance Lyric". American University Studies.; Series II; Romance Languages and Literature (Book). Series. II (v. 68).
  ISBN 0-8204-0575-2
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• Marks, Claude (1975). Pilgrims, Heretics, and Lovers. New York: MacMillan.
  ISBN 0-0257-9770-0
  .
• Paden, William D. (1989). The Voice of the Trobairitz:Perspectives on the Women Troubadours. Philadelphia: University of Pennsylvania Press.
  ISBN 0-8122-8167-5
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• Pendle, Karin (1991). Women and Music: A History. Bloomington, Indiana: Bloomington Indiana University Press. p. 12.
• Schulman, Jana K. (2002). The Rise of the Medieval World 500-1300. Westport, Conn: Greenwood Publishing Group. p. 111.
  ISBN 978-0-313-30817-8
  .
• Thiébaux, Marcelle (1994). The Writings of Medieval Women: An Anthology. New York: Garland.
  ISBN 0-8153-1392-6
  .

• "Authenticity and Interpretation". theavidlistenerblog.com. 23 July 2020.