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    Freud and the Gift of Flowers. Reisen I. Historico-naturalis et Archaeologica ex Dale Street. Catola would like to have it all ways; he even includes a marcabrunian complaint of the decline in social virtue. Marcabru displays more consistency, yet his contexts read like a catalogue of vices: trickery, betrayal, deceit, indiscretion, inconstancy, and addiction.

    The first is to the second as a worm is to a bad apple. In these poems, Marcabru condemns the love as well as the general wickedness practiced by the nobility, and shows no concern with presenting an ideal of virtuous love. Much of the lyric is made up of vitriolic attacks on adulterous husbands and wives, condemnation of false affection as deceitful.

    It is presented primarily as something legitimate in contrast to the illegitimate products, spiritual and physical, of adulterous love. His purpose in mentioning it here, however, is to claim that there are scarcely any ladies who are blancha. Marcabru continues in this vein, devoting two stanzas to criticizing adulterous husbands and there is one more stanza denouncing both genders as mad del fol drut e de la druda.

    The next three references to love are by the unmodified designation, amors. It is defined as lost and separated from joy, ignored by evil nobles, and it is the love, born of nobility, for which Marcabru speaks.

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    In each case, the context here determines the identification of Amors with virtuous love. In the same way, once we have named our subject, we subsequently refer to it with less specific pronouns. The important point to note is that Marcabru, in his later sirventes and unlike the earlier , always identifies the moral position of the love in question with a modifier fina, falsa, blancha, amars, etc. He does not need to do this in his early lyrics, because at that time he only had one conception of love as evil.

    Only later did he develop the moral dichotomy of virtuous and evil kinds of love. We find amistat fina in line As long as Marcabru has lived no reprobate has ever shared love with him, vv. But the poem is following the same pattern of identifying the love in question here as amistat fina before referring to it as amors. In that case we should understand that he is saying that no reprobate is capable of sharing virtuous love with him or that no such love can be found. But if, as the available evidence suggests, this dichotomy does not appear in lyrics prior to about , then these sirventes may well date from a later period.

    In two opening references to amors vv. Nonetheless, the vocabulary throughout the rest of the poems follows the strictly maintained dichotomy. Marcabru, in addition to the outright moral invective of the sirventes, developed another method of presentaing his understanding of virtuous and evil love. Five lyrics feature extended use of a negative narrative persona usually engaged in a dialogue. By presenting their persona as the narrator, Marcabru allows us inside their fractured world and he causes them, by their own words as it were, to condemn themselves.

    But the term here is employed as wantonly as the troubadours whom Marcabru complained were destroying his distinctions. The two personas the lover in poem 25 and his amia in poem 26 that Marcabru creates may be identified as coming from perspectives of evil loving. The persona of the jilted lover is presented in the first Estornel or, Starling lyric, which is entirely his narration: a message to his amia and a complaint on her falseness.

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    In many respects this lyric reads like the early sirventes that condemn Amors as evil. Only let her lie supine beneath me, so she binds and ties me up, vv.

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    This love service is primarily the means whereby he may get the amia in bed again. The lover has no problem accepting what Marcabru says about Amors when his girlfriend betrays him; but when it comes to regulating erotic passion he lacks the requisite self-control. Thus the mistress cannot be completely blamed for not remaining faithful to this fellow. First, she justifies her conduct as following from her philosophy of loving: she never promised to be his alone.

    My pledged perfect affection has gone elsewhere, vv. Of the two occurrences of Amors in her speech, one is definitely related to sexual desire.

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    She represents what he has always condemned. Because of the former, it is easy to see why, in his later lyrics, Marcabru was so anxious to maintain distinctions between virtuous and evil love. He had established an ideal love, only to have his new conception twisted in the minds and mouths of others. It became confused with the concupiscent Amors that he ever condemned. By giving it lip service, they could hide their lustful motives beneath a veneer of virtue. He saw no inherent goodness in the Amors that he heard extolled in the lyrics of his day and observed being practiced by immoral courtiers.

    It would be natural then for him to condemn this evil by the only name it was called: Amors. At this time, Marcabru displays a keen interest in a Reconquista led by Alfonso in But Alfonso, it seems, could not endure this vitriolic firebrand for long. The need for security in a world out of sympathy with his uncompromising condemnation of the practices of love must have led Marcabru to rethink his ideas, and to contemplate the need of presenting a positive ideal.

    As Marcabru matured, we may postulate, he is less concerned with direct condemnation of fornication. Instead, he develops a remarkable ability to present the perspective of immoral persons. His own moral stance never wavers, but he has gained a new subtlety in expression.