Book contents
- Frontmatter
- Contents
- List of figures
- List of tables
- Acknowledgements
- Introduction
- Chapter 1 The first readers
- Chapter 2 The changing song
- Chapter 3 Enlightened readers
- Chapter 4 The science of translation
- Chapter 5 Recent readings
- Chapter 6 Conclusions
- Chapter 7 Epilogue
- Bibliography
- Manuscript sources
- Index
Chapter 4 - The science of translation
Published online by Cambridge University Press: 22 September 2009
- Frontmatter
- Contents
- List of figures
- List of tables
- Acknowledgements
- Introduction
- Chapter 1 The first readers
- Chapter 2 The changing song
- Chapter 3 Enlightened readers
- Chapter 4 The science of translation
- Chapter 5 Recent readings
- Chapter 6 Conclusions
- Chapter 7 Epilogue
- Bibliography
- Manuscript sources
- Index
Summary
Man weiss schon genugsam dass sie der Ausbund eines poetischen Zeitpunktes sind, der mit schoenen Geistern in einer Nation, die man fyr roh und barbarisch gehalten hatte, mit keiner geringen Anzahl derselben und von vornehmem Stamme, geschmyket war.
Johann J. Bodmer, Fablen aus den Zeiten der MinnesingerLes fondateurs de l'esprit moderne sont les philologues.
Ernest Renan, L'avenir de la scienceIn the last years of the nineteenth century a little book entitled Huit chants héroïques de l'ancienne France appeared, an anthology of eight songs spanning the twelfth to the eighteenth centuries whose theme was France at war. The editor of this unassuming collection was a student at the prestigious Ecole des Chartes and an up-and-coming scholar of medieval music; Pierre Aubry was soon to coin the term musicologie, thus becoming, strictly speaking, the first musicologist. In the preface of Huit chants, Aubry's guest author, philologist Gaston Paris, narrated the courage of the countless and nameless men and women who comprised ‘the invincible force of … a nation which has been fighting and singing for ten centuries’. Paris also provided a roster of known heroes including Roland, still the subject of French stage works and songs. Aubry opened Huit chants with two medieval crusade songs, the first simply entitled ‘Chant d'une fiancée’ (‘Song of a betrothed woman’). Its author was given as an anonymous trouvère (‘trouvère inconnu’) standing in for all brave French warriors and their longsuffering lovers at home.
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- Chapter
- Information
- Eight Centuries of Troubadours and TrouvèresThe Changing Identity of Medieval Music, pp. 155 - 204Publisher: Cambridge University PressPrint publication year: 2004