A type of debate in poetry and music, used in the 12th and 13th centuries by the troubadours and trouvères. They are usually concerned with courtly love. Some 200 survive, about half with music.
| Music Encyclopedia: Jeu-parti |
A type of debate in poetry and music, used in the 12th and 13th centuries by the troubadours and trouvères. They are usually concerned with courtly love. Some 200 survive, about half with music.
| French Literature Companion: Jeu parti |
Old French name for a lyric genre which in Occitan is called the partimen. In dialogue form, it resembles the tenso, or tenson, but developed at a slightly later date and involves more formal control: whereas in the tenso the topic seems to arise spontaneously, in the jeu parti one speaker proposes a dilemma in the opening stanza and asks the second participant which of two sides he will take. That choice being made, the first speaker defends the option remaining. The sides in the argument are thus formally distributed, or parti. The speakers then defend their position in alternate stanzas. Exceptionally, a judgement is recorded in favour of one or the other, but usually, after three or so stanzas each, the discussion simply breaks off. There are a number of obscene jeux partis, but the majority deal with love in its courtly aspect, and great pleasure seems to be taken in the (?mock-)serious discussion of theoretical niceties. A good example is the Occitan partimen between the troubadour Gui d'Ussel and trobairitz Maria de Ventadorn on the question: Are two people who love each other equal, or should the man be subordinate to the woman? Gui, defending equality, in fact implies that women should do what men want them to. The tenso never became established in northern France, but some of the most famous trouvères (Gace Brulé and Thibaut de Champagne) wrote jeux partis. The majority, however, are associated with the trouvères of Arras. A. Langfors's edition of the French jeux partis (1926) contains 182 examples.
[Sarah Kay]
| Wikipedia: Jeu parti |
Jeu parti [Fr.; Provençal joc partit, “partimen”]. A debate or dialogue in the form of a poem. According to Guilhem Molinier, the author of Las leys d'amors, a 13th-century treatise on how to write poetry in the style of the troubadours, there is a clear difference between a partimen and a tenso: in a partimen the first speaker presents a problem with two possible solutions, leaving his opponent the choice of which solution to defend while taking it upon himself to defend the opposite side; thus, the participants each defend a theory not out of conviction but for the sake of discussion. The theorist admitted that the two terms were often used the wrong way.
Not only did the troubadours and trouvères not use the two terms as described, they also did not distinguish between the two genres. It is thus better to examine jeux-partis as they are grouped together in those troubadour and trouvère sources that present the poems by genre. A jeu-parti is a debate or discussion, usually between two authors who contribute alternate strophes. In some poems the debate is as described in Las leys d'amors. In others the discussion is in a question and answer form, or the first speaker presents his own opinion, immediately challenging his opponent to take a different point of view.
Jeux-partis deal with a variety of topics, but that of love, especially courtly love, occurs frequently. In most debates the opponents are addressed by name, many being well-known troubadours or trouvères; in other instances the poet introduces two apparently imaginary debaters, or initiates a debate between himself and an imaginary opponent. Each opponent usually contributes three stanzas and an envoi in which he appeals to someone to be his judge; in some poems the two participants appeal to the same person, but more often than not each participant chooses his own judge.
Some 200 Old French jeux-partis survive, about half of them with music. Their musical style is indistinguishable from that of trouvère songs in general; and since all of them are strophic, the music does not reflect the form of the debate.
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