Na Castelloza (fl. early 13th century) was a noblewoman and trobairitz from Auvergne.
According to her later vida, Castelloza was the wife of Turc de Mairona, probably the lord of Meyronne.[1] Turc's ancestors had participated in a Crusade around 1210 or 1220, which was the origin of his name (meaning "Turk").[1] She was reputed to have been in love with Arman de Brion, a member of the house of Bréon and of greater social rank than her, about whom she wrote several songs.[1] Her vida records her to have been "very gay", "very learned", and "very beautiful".[1] While little more is known about Castelloza’s life, her name “appears to be composed of castle and the common suffix ~os, which normally indicates quality or abundance of the noun to which it is joined. The name might then mean ‘lady worthy of a castle’ or ‘lady possessed of a castle or castles.'” [2]
As a trobairitz, Castelloza was responsible for producing poems and Cantigas (monophonic songs) throughout her career. Her works (primarily written in Galician-Portuguese) maintain the characteristics of the Canso, often referencing themes of love and courtship. The canso was a popular style among troubadours, often describing a male speaker pining after a ‘cruel female beloved.’ Castelloza continues this song structure from her perspective, expressing the challenges and conflict she, as a woman, faces. “In each of her songs, Na Castelloza takes up a posture that is simultaneously offensive and defensive: she regularly signals and defends her anomalous role as a woman who declares and serves her love by singing.”[3] This is apparent throughout her work; an example being ‘Mout avetz fach lonc estatge…’ (To Her Lover Gone Away). An excerpt translation of this poem highlights the following;
“My handsome noble-natured dear,I’ve loved you since the day you pleased me.How great a fool I am is clear.For you held back, while such love seized meThat I not once have turned away.Though you repay my good with illI’ll stand my ground and love you still,For love so has me in its swayThat I now doubt my life can offer.”[4]
Castelloza maintains this perspective throughout her lasting work, describing the pain and betrayal of unrequited love while acknowledging her commitment to absolute fidelity.
Only three - perhaps four if recent scholarship is accepted - of her songs (all cansos) survive, all without music.[5] This, however, makes her at least the second most prolific of trobairitz in terms of surviving works: only Beatriz de Dia certainly has more, with four cansos to her name.[6] The subject of all her poems is courtly love.
Compared with Beatriz de Dia, Castelloza is a more conservative poet. Her persona throughout her works is consistent and though she raises the tension between conditional and unconditional love she always remains committed to absolute fidelity.[7]
One scholar, Peter Dronke, has seen Castelloza's songs as forming a lyric cycle.[8]