See also:trouvere, was
See also:born at
See also:Arras . His patronymic is generally modernized to La
See also:Halle, and he was commonly, known to his contemporaries as
See also:Adam d'Arras or Adam le
See also:Bossu, sometimes simply as Le Bossu d'Arras . His
See also:Henri de le
See also:Hale, was a well-known
See also:citizen of Arras, and Adam studied grammar,
See also:theology and
See also:music at the Cistercian abbey of Vaucelles, near
See also:Cambrai . Father and son had their
See also:share in the
See also:civil discords in Arras, and for a
See also:time took
See also:refuge in
See also:Douai . Adam had been destined for the
See also:church, but renounced this intention, and married a certain
See also:Marie, who figures in many of his songs, rondeaux, motets and jeux-partis . Afterwards he joined the
See also:household of Robert II., count of
See also:Artois; and then was attached to
See also:Charles of
See also:brother of Charles IX., whose fortunes he followed in
See also:Palestine and Italy . At the
See also:court of Charles, after he became
See also:king of Naples, he wrote his Jeu de
See also:Robin et Marion, the most famous of his
See also:works . He died between 1285 and 1288 . Adam's shorter pieces are accompanied by music, of which a171 transcript in
See also:modern notation, with the
See also:original score, is given in Coussemaker's edition . His Jeu de Robin et Marion is cited as the earliest French
See also:play with music on a secular subject . The pastoral, which tells how Marion resisted the knight, and remained faithful to Robert the shepherd, is based on an old chanson, Robin m'aime, Robin m'a . It consists of
See also:dialogue varied by refrains already current in popular
See also:song .
The melodies to which these are set have, the,character of folk-music, and are more spontaneous and melodious than the more elaborate music of his songs and motets . A modern adaptation, by
See also:Julien Tiersot, was played at Arras by a
See also:company from the
See also:Opera Comique on the occasion of a festival in 1896 in
See also:honour of Adam de le Hale . His other play, Le jeu Adan or Le jeu de la Feuillee (c . 1262), is a satirical drama in which he introduces himself, his father and the citizens of Arras with their peculiarities . His works include a Conga, or satirical farewell to the city of Arras, and an unfinished chanson de geste in honour of Charles of Anjou, Le roi de Sicile, begun in 1282; another short piece, Le jeu du pelerin, is sometimes attributed to him . The only MS. which contains the whole of Adam's
See also:work is the La Valliere MS . (No . 25,566) in ,the Bibliotheque Nationale; Paris, dating from the latter
See also:half of the 13th century . Many of his pieces are also contained in
See also:Douce MS . 308, in the Bodleian Library,
See also:Oxford . His Euvres completes (1872) were edited by E. de Coussemaker . See also an article by Paulin Paris in the Histoire litteraire de la France (vol. xx. pp .
638-675) ; G . Raynaud, Recueil
See also:des motets
See also:francais des XIIe et XIIIe siecles (1882); Canchons et Partures des Adan delle Hale (Halle, 1900), a critical edition by Rudolf Berger; an edition of Adam's two jeux in Monmerque and Michel's Theatre frangais au moyen dge (1842) ; E .
See also:Langlois, Le jeu de Robin et Marion (1896), with a
See also:translation in modern French ; . A . Guesnon, La Satire a Arras au XIIIe siecle (1900); and a full bibliography of works on the subject in No . 6 of the Bibliotheque de
See also:bibliographies critiques, by Henri
See also:Guy .
ADAM OF BREMEN
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