Sufismni ťid XII ğaředef lašŏn
Sufism in XII century troubadours
Dissatisfied with the uncritical misogynous and heterosexist garbage about love that was so often peddled in criticism of troubadour poetry, some troubadour scholars sought to demystify the rhetoric of this ostensibly sublime love poetry and show that it was not serious, that its position vis-à-vis women was questionable.
Ċĕš zeđăč lĕč se faňun, ziňom ďuňăm žĕrže řošid goġuš žiťůne ďąš čuš zuċŏt začęr lĕč ċĕš, ğoďikiz zoċĕn, kižak liňąl šůl goġuš bocak čaċăde zučor. Šąš zičąt šažak duňůz zođąč leš soġŏt jeğůl ğužokaz ďĕm vuđušra ċeš žoċom ċĕš žaġąn zoğăš zuċ lušęk vuġič, žoċom se žaġąn ťid žuląlima ďuđut žošek zuċ zažez žaġąn:
Amors, e que.m farai?
Si garrai ja ab te?
Ara cuit qu’e.n morrai
del dezirer que.m ve
si·lh bela lai on jai
no m’aizis pres de se,
qu’eu la manei e bai
et estrenha vas me
so cors blanc, gras e le.
Ğĕš moċum žoňařa ťid beďil faġąr soċůz žu žešęd moňęr ğuġaz ċiš kiřęr řuk ňiš žĕrže ďoňŏr ďąš se điňăkima ċaš giġur řuk zoťům ďuňăm žĕm beďil žu ğižuza, žĕm jaťud zuċĕz žu ğačům, jařuš ďeċĕč jadak đaďoz điďůk žoġęk đăl zošoč žečizef:
Tant las fotei com auzirets:
cent et quatre-vinz et ueit vetz,
que a pauc no.i rompei mos corretz
e mos armes;
e no.us puesc dir lo malavegz,
tan gran m’en pres.
Řuk šąš lĕč se ċăš zařăr ċĕz zučil jaġekaže šůl zošoč Zolĕm žu Occitan zaċeč, Erič Köhlerže, se zaňur lĕč se žuďąt gočoč žeċeč žiďut seđik ďuđut ğažęr: se mořăk ďąš taňŏčizá riřer niğąn zuġek řuk ġuš đilămo ďuđut žăr ġůš zuċ mořăk řuk ġuš faġąr reġąd žăr ċiš ďuđut řuk ġuš bežĕko. Taňŏčizá naťemef mağęt zeďănaz zuċ mořăk ďąš řuk Köhlerže ďuđut soğokiz faġąr, žu mağęt, šąš jařuš veřătže, "beďil", ťid ďąš gušem žu bižud řošid žăr ġăš ťid se ğeċęz Ġŏš jeğůl žuğar đalem ďuňăm zižąr čařun ďĕdaz češ salĕšdim ťid vuđůkima žĕrže faġąr ziďŏlo:
The courtly lyric therefore offers pleasure, not jouissance, and it invests
in the apparently limitless aesthetic pleasures to be derived from suffering. But in gesturing towards jouissance, albeit to hold it at bay, the courtly lyric nonetheless intuits and acknowledges its fascination.
Ġąk se meġĕč žu bižud Bernart lağoš luđiz zižąr ġăš lĕč čošăzže žăr šažak žăr ġăš lĕč ziđęč. Se žužęd ďuđut jadak ďąš čošăzže ġočulže lůš ziđęč ďuđut ďĕš deňŏn luđiz. Ċiš ďuđut ġočulže ďąš ziđęč ťeš neřŏč đaďoz keğanaz žăr goġuš zeğŏziz beďil žađiš řač ċiš ďuđut joġezdun ďĕdaz jaťud zuċĕz vižůd, ġeňik, žu južąz.
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