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En la saison que toute riens s'enclineballade by Hymbert de Salinis SourcesChantilly: Bibliothèque du Musée Condé 564, fol. 46 (3/1).FacsimilesGÜNTHER, Ursula. 'Zwei Balladen auf Bertrand und Olivier du Guesclin', Musica Disciplina, XXII (1968), p. 44.Editions1. GÜNTHER, Ursula. 'Zwei Balladen auf Bertrand und Olivier du Guesclin', Musica Disciplina, XXII (1968), p. 29.2. French Secular Compositions of the Fourteenth Century, music edited by Willi Apel, texts edited by Samuel N. Rosenberg, Rome: American Institute of Musicology, 1970. Corpus Mensurabilis Musicae 53/I, p. 83. 3. French Secular Music. Manuscript Chantilly, Musée Condé 564, Second Part, edited by Gordon K. Greene, Monaco: Editions de L'Oiseau-Lyre, 1982. Polyphonic Music of the Fourteenth Century XIX, p. 74. 4. Early Fifteenth Century Music, edited by Gilbert Reaney, [n.p.]: Hänssler-Verag, American Institute of Musicology, 1983. Corpus Mensurabilis Musicae 11/VII, p. 67. Literature1. GÜNTHER, Ursula. 'Der Gebrauch des tempus perfectum diminutum in der Handschrift Chantilly 1047', Archiv für Musikwissenschaft, XVII (1960), p. 286.2. GÜNTHER, Ursula. 'Die Anwendung der Diminution in der Handschrift Chantilly 1047', Archiv für Musikwissenschaft, XVII (1960), pp. 12-14. 3. GÜNTHER, Ursula. 'Bemerkungen zum älteren französischen Repertoire des Codex Reina', Archiv für Musikwissenschaft, XXIV (1967), p. 243. 4. WILKINS, Nigel. 'The post-Machaut generation of poet-musicians', Nottingham Medieval Studies, XII (1968), p. 54. 5. GÜNTHER, Ursula. 'Unusual phenomena in the transmission of late fourteenth-century polyphonic music', Musica Disciplina, XXXVIII (1984), pp. 95, 101. 6. KOEHLER, Laurie. Review of Gordon K. Greene (ed.), p. 636. TextEn la saison que toute riens s'enclinede resjouir apres le tems d'iver. en un jardin aloye a le serine a part ouquel trouvay un olivier. Dessus avoyt un noir aigle posant. Quant l'aperchu, vi une grant merveille. car a deus becs soustenoit en estant un escu blanch a la barre vermeille. Cis oliviers tenoit de sa rachine une pierre - ne l'en puet nus sachier - laquelle avoyt la coulor cristalline. Tant blanche estoyt que me fist merveyller. que l'olivier estoyt senefiant celui qu'amours si doucement treveille. qui en armes, con l'aigle, va portant un escu blanch a [la barre vermeille.] EmprFs [je] di que la pierre desine une dame et que molt fait apreyer de sens, d'onnor et, pour ce, d'amour fine l'ame rachine portee au vergier. Ensi vous ay declarT de l'amant et de la flour sur toutes non pareille. liqual porte avec l'aigle volant un escu blanch [a la barre vermeille]. TranslationIn the season when everything submitsto rejoicing after winter time. in a garden I went at evening time. There I found an olive tree. Above, there was a black eagle, resting. When I saw it, I saw a great marvel. for in its beak, motionless, it held a white shield with crimson bar. This olive tree held in its root a stone - none could know of it - which had a crystalline colour. So white was it that I was astonished. for the olive tree signified he who Love torments so sweetly. who in arms, like the eagle, bears a white shield with crimson bar. Afterwards I say that the stone stands for a lady, and that it is greatly inflamed by good sense and honour, and, for this reason. the soul of the root in the orchard dies of love. Thus I have explained to you the story of the lover and the flower, above all without peer. who bears, with the flying eagle. a white shield with crimson bar. Text revision and translation © Robyn Smith |
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