En la saison que toute riens s'encline
ballade by Hymbert de Salinis
Sources
Chantilly: Bibliothèque du Musèe Condè 564, fol. 46 (3/1).
Facsimiles
GÜNTHER, Ursula. 'Zwei Balladen auf Bertrand und Olivier du Guesclin', Musica Disciplina, XXII (1968), p. 44.
Editions
1. 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, Musèe Condè 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.
Literature
1. 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.
Text
En la saison que toute riens s'encline
de 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.]
Emprès [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 declaré 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 submits
to 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