William W.Kibler
[See also: ANGLO-NORMAN LITERATURE; BIOGRAPHY;
HISTORIOGRAPHY]
Meyer, Paul, ed. L’histoire de Guillaume le Maréchal, comte de Striguil et de Pembroke, régent
d’Angleterre de 1216 à 1219. 3 vols. Paris: Renouard, 1891–1901. [Vol. 3 includes introduction
and abridged translation into modern French.]
Duby, Georges. William Marshall: The Flower of Chivalry, trans. Richard Howard. New York:
Pantheon, 1985.
Painter, Sidney. French Chivalry: Chivalric Ideas and Practices in Mediaeval France. Baltimore:
Johns Hopkins University Press, 1940.
GUIOT DE PROVINS
(fl. ca. 1180–1210). After much success at numerous seigneurial courts, this early
trouvère participated in the Third Crusade and then, disillusioned, retired to a monastic
life that left him no less disenchanted. Five chansons d’amour are attributed to Guiot
with reasonable certainty, and late in life he wrote a pious allegorical summing-up, the
Armeüre du chevalier. His most important work is the 2,686-line Bible Guiot (completed
ca. 1206), a verbally brilliant and unusually personal satire criticizing feudal figures and
mores but directed especially against ecclesiastical powers and monastic orders.
Samuel N.Rosenberg
[See also: ÉTIENNE DE FOUGÈRES; HUGUES DE BERZÉ; TROUVÈRE
POETRY]
Guiot de Provins. Guiot de Provins: Œuvres, ed. John Orr. Manchester: Manchester University
Press, 1915.
GUIRAUT RIQUIER
(fl. 1254–92). The most prolific troubadour after Cerveri de Girona, Guiraut Riquier of
Narbonne left 105 compositions in all genres, mostly vers and cansos (love songs). The
poems are dated 1254–92 in a section of troubadour MS C (B.N. fr. 856), which purports
to be a copy of the troubadour’s own autograph book. Guiraut began his career in the
court of the viscount of Narbonne, traveled to the Castilian court of Alfonso X the Wise,
and returned to the courts of Rodez, Comminges, Astarac, and Narbonne, where he died
in 1292. In that year, he lamented that he had come “among the last,” meaning perhaps
among the last of the troubadours. We have the melodies of forty-eight of his songs. The
love songs, dedicated to a lady whose name is concealed by the senhal, or sobriquet, Belh
Deport (“Good Conduct”), lack passionate conviction, but his series of six pastorelas are
a notable development in the genre: he wove them into a continuing narrative in which he
encounters the same shepherdess repeatedly over a period of twenty-two years. Among
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