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YEARBOOK OF THE ALAMIRE FOUNDATION

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TENOR (TRANSLATION)<br />

Domine<br />

tant ai amé<br />

et desirré<br />

bon vin vin ferré<br />

et bon claré<br />

et bon clapé<br />

et les pastez<br />

bien enpevrez<br />

iteus est ma volentez<br />

qar tor jorz vueill assez<br />

DRINKING MOTETS IN MEDIEVAL ARTOIS AND FLANDERS 19<br />

Lord,<br />

I have so much loved<br />

And desired<br />

Good wine, mulled (or aged) wine,<br />

And good rosé (or spiced) wine,<br />

And good clapé,<br />

And well peppered<br />

pastries.<br />

Such is my wish,<br />

For always I want a lot.<br />

In light of the evidence of the French motets under consideration here, it appears that<br />

W2 was intended for someone whose sympathies lay with the Low Countries. In addition<br />

to the motets that praise cil de Gant, prefer Rhine wine over French and complain<br />

about the beer drinkers of Arras, two others also look away from France. In the<br />

motet Qant l’aloete s’esjoist en mai, 37 a country maid fends off the narrator’s advances<br />

by telling him slyly, A la tor de Tornai / sor la torete / serrai vostre sem plai (‘At the<br />

tower of Tournai on the turret I will be yours without any quarrel’). The place of<br />

rendez-vous is ludicrous; thus, the woman implies that their coming together is<br />

unlikely. Tournai was the diocesan seat of major Flemish cities, including Ghent,<br />

Bruges and Lille. 38 The epithet tor de Tornai calls to mind both a real and a figurative<br />

tower. It could refer to the largest of the five towers of Tournai’s cathedral of<br />

Notre-Dame, or to the city’s armorial seal, which consists of a silver tower with turrets<br />

on a red background. 39 In another motet in W2, Deduisant m’aloie ier mein, 40 the<br />

narrator comes upon a maiden along the banks of the Seine, near the vineyards of the<br />

abbey of Saint-Germain-des-Prés, an ancient and important producer of wine in Paris<br />

and the Ile-de-France. 41 After he greets her, she repulses him, saying that she is not<br />

37 MS W2, fols. 245v–246r. Text edited in STIMMING, Die altfranzösischen Motette, p. 96; music in<br />

TISCHLER, The Earliest Motets, 1, pp. 122–132.<br />

38 E. DE MOREAU, Histoire de l’Eglise en Belgique, Tome Complémentaire I, Texte: Circonscriptions<br />

ecclésiastiques chapitres, abbayes, couvents en Belgique avant 1559, Cartes des diocèses, archidiaconés,<br />

doyennés et paroisses par J. Deharveng, des chapitres, abbayes, prieurés et couvents par E. de<br />

Moreau en collaboration avec A. de Ghellinck, Brussels, 1948.<br />

39 My thanks to Dr. Ludovic Nys for pointing out the heraldry. See J.T. DE RAADT, Sceaux armoriés<br />

des Pay-Bas et pays avoisinants, 4, Brussels, 1898–1903, p. 47.<br />

40 MS W2, fol. 251v. The text is edited in STIMMING, Die altfranzösischen Motette, pp. 101–102; it is<br />

translated in G.A. ANDERSON, The Latin Compositions in Fascicules VII and VIII of the Notre Dame<br />

Manuscript Wolfenbüttel Helmstadt 1099 (1206), 1, Brooklyn, 1976, pp. 45–46; and the music is edited<br />

in TISCHLER, The Earliest Motets, 1, pp. 193–204.<br />

41 GARRIER, Histoire sociale et culturelle du vin, p. 46.

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