105:, which has a different tenor, must have been written some time before, c. 1133. However, the dating of the letter is far from certain (it may correspond to the Second Crusade) and therefore Uc's
68:) to ridicule Marcabru's position, borrowing a page from Marcabru's own extensive work. Though the opinions of the poets were real, the composition arose out of friendly collaboration and the
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is in fact the sole work of
Marcabru, but more likely Uc is deliberately imitating the master's style. According to Meneghetti, the debating style may be influenced by
60:, which concerned the nature of love. Uc argued that it was good and noble, while Marcabru railed against the decline of courtly standards. Uc employs the device of
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in 1134/5. Peter urged Uc to keep his vow to enter a monastery instead of merely taking a pilgrimage to
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Besides his work with
Marcabru, Uc may be the author of two surviving
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insults are playful. It has been suggested that the
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196:as edited by Roncaglia, with Italian translation
165:. Cambridge: Cambridge University Press, 1989.
112:s place as the first of the genre is unsure.
91:charissimo amico nostro domno Hugoni Catulae
188:as edited by Gaunt, Harvey, and Paterson
46:Uc composed what is possibly the first
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89:Roncaglia identified Uc with the
221:Christians of the Second Crusade
35:, possibly a participant in the
216:12th-century French troubadours
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135:preserved in troubadour MS
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163:Troubadours and Irony
39:and perhaps later a
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141:Biblioteca Estense
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83:Sic et Non
33:troubadour
31:and early
99:Jerusalem
114:Cercamon
54:Marcabru
211:Gascons
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145:Modena
132:comjat
62:ironia
29:knight
27:was a
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66:irony
49:tenso
167:ISBN
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