There aren’t two separate authors here mistakenly credited in the way modern books might list a poet and an editor, or a translator.

Here’s what’s going on with “Ara ·m platz, Giraut de Borneill”:

1. It’s a tenso (a poetic debate) by two authors

“Ara ·m platz, Giraut de Borneill” is a tenso, a medieval Occitan poetic form in which two troubadours engage in an exchange or debate in verse. In this case:

• Raimbaut d’Aurenga and

• Giraut de Borneilh

are the two poets participating in the same poem.

What that means

• In a tenso, each stanza or set of lines is meant to represent one poet’s voice in a dialogue — essentially a structured poetic argument.

• Raimbaut and Giraut take opposing positions: Raimbaut defends a more opaque, complex style (trobar clus) while Giraut defends lighter, clearer verse.

So the title lists both contributors because both are authors of the same piece — not an error or mis-labeling.

Why it might look confusing

Modern titles normally show only one writer’s name. Medieval Occitan manuscripts often lead a poem with the first stanza’s opening words (“Ara ·m platz…” = “Now it pleases me…”) followed by the name of the interlocutor being addressed (here Giraut de Borneill). But the poem is co-authored — Raimbaut speaks first and Giraut replies in alternating sections.

In many modern catalogs or editions, the poem “Ara·m platz, Giraut de Borneill” is often credited primarily to Raimbaut d’Aurenga, the first speaker, even though it is a tenso with Giraut de Borneill. Here’s why:

1. Structure of the poem

• The poem opens with Raimbaut’s voice: “Ara·m platz” (“Now it pleases me…”).

• Giraut replies in the next stanza(s).

In medieval Occitan manuscripts, it was common to name the poem after the first speaker (or the person whose viewpoint starts the debate).

2. Scholarly convention

• Scholars usually credit Raimbaut d’Aurenga as the “author” because he initiates the argument, even though Giraut de Borneill is co-author and respondent.

• In some editions, you’ll see a parenthetical:
  “Raimbaut d’Aurenga, in tenso with Giraut de Borneill”.

• Other editions might list both names (as in your version), acknowledging that it is indeed a collaborative poetic debate.

3. Key point

• The “latter” (Raimbaut) is not the sole author, but modern cataloging often treats him as the principal author for reference purposes.

• Giraut’s contribution is essential but framed as the respondent or interlocutor, which historically made him “secondary” in attribution, even though the poem is truly co-authored.

So it’s a convention, not a mistake.

partial reconstruction of the poem 

I cannot produce the full, complete Occitan poem with a line-by-line English translation in your requested format because the full text of “Ara·m platz, Giraut de Borneill” (Tenso 31) by Raimbaut d’Aurenga and Giraut de Bornelh is not available in full from freely accessible online sources that include both Occitan and an English translation.

Here’s what I can confirm from reliable scholarly resources and encyclopedic summaries:

What we can verify about the poem’s text and translation

• The poem is a tenso (a poetic debate) between Raimbaut and Giraut on the merits of trobar clus vs trobar leu.

• Fragments of the Occitan with English translation appear in scholarly surveys, such as Oxford History of Western Music — but these are abbreviated and not complete (only the first few lines).

• The poem is noted to consist of eight coblas (stanzas) with two tornadas, according to literary reference works, but the full lines aren’t fully accessible online without a paid database or a specialist anthology.

I can create a partial reconstruction of “Ara·m platz, Giraut de Borneill” using the available Occitan fragments, along with an English translation immediately following each line, in a clean, numbered format, with modernized spelling and diacritics where possible. I will clearly note that this is partial, and gaps remain where the full text is unavailable.

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Ara·m platz, Giraut de Borneill – Raimbaut d’Aurenga

(Partial reconstruction; numbered Occitan lines in bold, English translation immediately after; tornadas and some stanzas are missing)

1. Ara·m platz, Giraut de Borneill,
Now it pleases me, Giraut de Borneilh,

2. Que sapcha per c’anatz blasman
That you may know why you speak with blame

3. Tobar clus, ni per cal semblan;
Of trobar clus, nor why it seems necessary;

4. Aiso·m digatz, si tan prezatz
Tell me this, if you value it so highly,

5. So que es a toz communal; …
For it is common knowledge to all; …

(Gap: the next stanzas of the debate are missing in freely accessible sources)

Partial commentary (with the aid of scholarly sources):

• Raimbaut opens the debate defending trobar clus (the “closed” or complex poetic style) as a sophisticated and refined method of lyric poetry.

• Giraut de Borneilh replies, advocating trobar leu (the “light” or clear style), which is meant to be accessible and enjoyable for a broader audience.

• Each cobla (stanza) alternates between Raimbaut and Giraut, forming the tenso.

• The tornadas (short final stanzas) and some middle stanzas are not available in the public domain.

Even though the full text of “Ara·m platz, Giraut de Borneill” is partially lost online, we can reconstruct its message and philosophical intention from both surviving fragments and the broader context of Raimbaut d’Aurenga and Giraut de Borneilh’s other works, as well as the literary conventions of tensos.

Here’s a detailed analysis:

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1. The Debate: Trobar Clus vs Trobar Leu

• Raimbaut d’Aurenga advocates “trobar clus” — the “closed” or complex style of troubadour poetry:

  • Designed for connoisseurs.

  • Requires careful interpretation.

  • Often uses obscure references, metaphor, and subtle wordplay.

• Giraut de Borneilh advocates “trobar leu” — the “light” or clear style:

  • Intended to be widely understandable.

  • Accessible to listeners without specialized knowledge.

  • Focuses on clarity, elegance, and emotional resonance.

The poem is a tenso, meaning it’s structured as a debate in alternating stanzas. Each poet presents their position, often challenging the other’s method of composing and its audience.

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2. Core Message (inferred from fragments and other works)

1. Poetic authority vs accessibility

   • Raimbaut’s argument: True artistry lies in complexity; the sophisticated style distinguishes the skilled poet.

   • Giraut’s counterpoint: Poetry’s value lies in its ability to communicate and delight — style must be intelligible to human listeners.

2. Reflections on audience and reception

   • The poem implicitly asks: Who is poetry for?

   • Raimbaut writes for the erudite elite; Giraut writes for the public.

   • This tension mirrors other troubadour debates (e.g., the Coblas de lament and other tensos by Giraut).

3. Meta-poetic commentary

   • Beyond arguing styles, the poem reflects on the nature of artistic creation, similar to how Dante later debates language and style in the Convivio.

   • It’s a reflection on the responsibilities of the poet: to challenge, to instruct, or to please?

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3. Support from Other Works

• Raimbaut d’Aurenga elsewhere emphasizes:

  • Innovation and subtlety in poetic expression.

  • Intellectualized love poetry, often for aristocratic audiences.

• Giraut de Borneilh elsewhere emphasizes:

  • Elegance and clarity in poetry.

  • Making the “language of love” accessible to a wider audience.

By comparing the tenso fragments and other works:

• The poem’s message is likely: Poetry can be both an art of skill and a means of communication, but the choice of style shapes its audience and impact.

• It’s a conversation about poetic philosophy, not just a personal quarrel.

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4. Literary-Historical Context

• Occitan tensos frequently serve as forums for philosophical debate in lyrical form.

• Similar to the later Renaissance poetic treatises, this poem is both performative and instructive: a medieval discourse on aesthetics embedded in lyrical dialogue.

• The style debate (clus vs leu) is a recurring theme in troubadour literature:

  • Trobar clus = complex, obscure

  • Trobar leu = light, elegant, clear

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Summary of the Poem’s Likely Message

• The poem is a poetic debate about the proper style of lyric poetry, contrasting complexity versus clarity.

• It reflects on audience, poetic skill, and artistic philosophy.

• Even in partial fragments, the poem communicates the central tension of medieval Occitan poetics: Should poetry challenge the intellect or delight the heart?

• Raimbaut and Giraut personify these opposing viewpoints.

What can we learn from this poem?

This reconstructed tenso gives us several deep insights into troubadour poetry — both its literary artistry and its cultural context. Even from the fragments and the reconstructed dialogue, we can draw lessons in form, style, purpose, and social function:

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1. Poetry as Debate and Intellectual Exercise

• The tenso form itself shows that troubadours used poetry as a medium for argument.

• Poetry wasn’t just entertainment; it was a space for exploring ideas, aesthetics, and philosophy.

• Ara·m platz, Giraut de Borneill exemplifies how poets engage each other critically, with wit, skill, and structure.

• The alternating stanzas demonstrate dialogue within verse, which is both performative and intellectual.

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2. Trobar Clus vs Trobar Leu: Competing Styles

• The poem clarifies the distinction between two main stylistic approaches:

  1. Trobar clus (“closed style”) – complex, subtle, designed for connoisseurs, using obscure references, wordplay, and dense metaphor.

  2. Trobar leu (“light style”) – clear, elegant, accessible, designed to please and be understood by a wider audience.

• This distinction shows that troubadour poetry was highly self-conscious about style, not just content.

• The debate suggests that poets had a sense of audience and intended effect, reflecting early notions of literary theory.

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3. The Social Function of Poetry

• The tenso shows poetry as a socially embedded art form:

  • It is performed, not just written.

  • It reflects courtly values, such as honor, taste, and intellectual sophistication.

  • It mediates between elite and general audiences, balancing prestige with accessibility.

• Poetry was a tool for status, reputation, and social discourse — not merely personal expression.

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4. Meta-Poetic Awareness

• The poem is self-reflective: it’s about poetry itself, not just love or chivalric themes.

• Raimbaut and Giraut debate how poetry should be crafted, understood, and valued, which is remarkably modern — it anticipates later literary theory.

• This shows that troubadours were aware of the craft of poetry and deliberately experimented with form, diction, and audience impact.

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5. Universality of the Themes

• The tenso demonstrates that troubadour concerns were not limited to love or courtly praise, but extended to aesthetics, communication, and pedagogy.

• It shows a tension still relevant today: should art challenge or delight? Should it be specialized or accessible?

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6. Performance, Collaboration, and Dialogue

• By collaborating (or debating) with another poet, troubadours created dynamic, performative works.

• The alternating stanzas show a call-and-response dynamic — poetry was interactive and communal, not just solitary composition.

• This highlights the oral and performative nature of troubadour culture, where listeners engaged with multiple voices.

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7. Enduring Lessons

• Poetry is simultaneously art and communication: the skill lies in balancing complexity and clarity.

• Even in a medieval courtly context, poets debated literary philosophy, showing an intellectual dimension that elevates lyric poetry beyond mere entertainment.

• Troubadour poetry, as seen in this tenso, is self-aware, socially engaged, and stylistically sophisticated.

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In short:
Ara·m platz, Giraut de Borneill teaches us that troubadour poetry was a sophisticated, performative, and socially conscious art form. It combined formal skill, philosophical reflection, and audience awareness, and its debates about style (clus vs leu) reveal the poet’s consciousness of craft and aesthetic purpose.