Abstract

Not least among the many enigmas attending the origins and development of the first vernacular lyric in the European Middle Ages is the existence of at least twenty women poets who lived in southern France from about the mid-twelfth to the mid-thirteenth century and who participated in the highly conventionalized poetic system created by the troubadours, those humble poetlovers who sang to their beloved as domna, the superior lady. In periods when the tides of feminism are high these women's voices have insistently claimed our attention, as we try to understand their songs and puzzle over their very existence. Their poetic inventions require us in particular to pay close attention to the subtle, even elusive, concept of voice—its relation to the identity of the poet and the poem's speaker, the elements that characterize its expression, the multiplicity of images created by different voices, and so on. If we are willing to listen and analyze carefully, the trobairitz have much to teach us about the way women poets enter into and find their place in a traditional poetic system created by male poets. Their songs demonstrate with intricate complexity the way poetic fictions play with cultural, literary, and social definitions of man and woman, masculine and feminine; their poems offer valuable warnings about the pitfalls involved in generalizing women into woman