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Bonfilh's stanzas (2, 6 and 8)〔W. D. Paden and F. F. Paden (2007), ''Troubadour Poems from the South of France'' (Cambridge: D. S. Brewer), 221–22.〕 Guiraut, I sing to make my heart rejoice And for love of one who keeps me happy, And because I like honor and joy and youth; But I'd never sing only for money, Nor do I seek it; I'd rather give it to you, For I give generously, all for the love of my lady, Who is clever and worthy and pretty and gay. Because she smiles so sweetly to me, I sing. Since you're leaving love to deliver a sermon, Set speech aside and put on a white robe (blanc vestimen'' ),〔That is, the habit of a Cistercian. Jewish Occitan pronunciation blended ''e'' and ''i'', so that ''vest blanc'' was pronounced as ''vist blanc'', which Guiraut, as is apparent in stanza 7, mistook for ''vilan vestimen'', "rustic clothing".〕 Guiraut, and we'll have a spitting contest (),〔Pun on Latin ''disputatio'' (debate) and Occitan ''espudar'' (to spit). As noted, Jewish Occitan pronunciation blended ''e'' and ''i''.〕 For my lady declines to worship a cross. If there were any love or courtesy in you, You wouldn't think it foolish to use the word ''tu''. Since love wants lovers to call each other ''tu'', You've simply no reason to stew. I leave this ''tensó''; I'll answer you no more, Since reason fails you and you speak villainy. I let it drop out of respect for my lord Bertran Of Opian, who is prosperous in love. Bonfilh or Bonfils (meaning "godson") was a Jewish troubadour from Narbonne. He is the only known Jew who wrote in the troubadour language, Old Occitan, and style. His only known work is a ''partimen'' (debate) with Guiraut Riquier, ''Auzit ay dir, Bofil, que saps trobar'' ("I hear tell, Bonfilh, that you know how to compose"). It has been suggested that Bonhilh may have been a poetic invention of Guiraut and not a historical person, or that he was the same person as the Jewish poet Abraham Bedersi.〔Susan L. Einbinder (2008), ''No Place of Rest: Jewish Literature, Expulsion, and the Memory of Medieval France'' (Philadelphia: University of Pennsylvania Press), 21–22.〕 There is a lacuna in the only surviving manuscript version of this song that lasts from the middle of the third stanza through to the middle of the fifth. The seventh stanza is also missing the ending of its final line. Each stanza has eight lines, but the last two are ''tornadas'' of four each. The poem starts off amicably, but ends on bad terms, with Guiraut resorting to antisemitism (he names Bonfilh as having hurt Jesus). Riquier poses a polylemma for his debate partner: does Bonfilh sing out of fear, because a lady makes him do it, "to ply the ''joglar'''s trade" (that is, for money), or to advance his fame? Bonfilh's responds that it is out of joy and for his lady that he sings. He also reproaches Guiraut for using the formal second-person pronoun ''vos'' with his lady, while he, Bonfilh, uses the familiar and intimate ''tu''. This is unusual, however, as the troubadours universally use ''vos'' with ladies (even those of low rank, as in ''pastorelas''). It is not a Jewish custom, as the fourteenth-century ''Roman de la Reine Esther'' by Crescas Caslari puts ''vos'' in the mouth of the king, Assuérus, when addressing Esther. Both Guiratu and Bonfilh submit their ''partimen'' to Bertran d'Opian (''fl''. 1229–42), a knight of Narbonne, for judgement. He was known to Guiraut. ==Notes== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Bonfilh」の詳細全文を読む スポンサード リンク
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