Editing Troubadour (section)

===Arabic===
The sixteenth century Italian historian Giammaria Barbieri<ref>{{Cite journal |last=Dainotto |first=Roberto M. |date=2006 |title=Of the Arab Origin of Modern Europe: Giammaria Barbieri, Juan Andrés, and the Origin of Rhyme |url=https://www.jstor.org/stable/40279344 |journal=Comparative Literature |volume=58 |issue=4 |pages=271–292 |doi=10.1215/-58-4-271 |jstor=40279344 |issn=0010-4124}}</ref> was perhaps the first to suggest Arabian (also ''Arabist'' or ''Hispano-Arabic'') influences on the music of the troubadours.<ref>{{cite journal|title=The Diminutives in the "dīwān" of Ibn Quzmān: A Product of Their Hispanic Milieu?|journal=Bulletin of the School of Oriental and African Studies, University of London|volume=52|issue=2|year=1989|page=241|last1=Abu-Haidar|first1=JA|doi=10.1017/S0041977X00035448|s2cid=162509292 }}</ref> Later scholars like J.B. Trend have asserted that the poetry of troubadours is connected to Arabic poetry written in the Iberian Peninsula,<ref>{{cite journal|last1=Veldeman|first1=Marie-Christine|year=2001|volume=28|issue=2|pages=87–100|journal=Equivalences|title=Egypt, or the quest for syncretism and spiritual wholeness in Lawrence Durrell's Avignon Quintet|doi=10.3406/equiv.2001.1233}}</ref> while others have attempted to find direct evidence of this influence. In examining the works of [[William IX of Aquitaine]], [[Évariste Lévi-Provençal]] and other scholars found three lines that they believed were in some form of Arabic, indicating a potential Andalusian origin for his works. The scholars attempted to translate the lines in question, though the medievalist Istvan Frank contended that the lines were not Arabic at all, but instead the result of the rewriting of the original by a later scribe.<ref>{{cite book|last1=Malkin|first1=Peter|title=Provence and Pound|page=[https://archive.org/details/provencepound0000maki/page/326 326]|publisher=University of California|year=1979|isbn=978-0520034884|url=https://archive.org/details/provencepound0000maki/page/326}}</ref><ref name="Beech1992">{{cite journal|title=Troubadour Contacts with Muslim Iberia and Knowledge of Arabic: New Evidence Concerning William IX of Aquitaine |journal=Romania|year=1992|pages=14–26|last1=Beech|first1=George T.|volume=113|issue=449|doi=10.3406/roma.1992.2180}}</ref>

Scholars like [[Ramón Menéndez Pidal]] stated that the troubadour tradition was created by William, who had been influenced by [[Moorish]] music and poetry while fighting with the [[Reconquista]]. However, George T. Beech states that there is only one documented battle that William fought in the Iberian Peninsula, and it occurred towards the end of his life. Beech adds that while the sources of William's inspirations are uncertain, he and his father did have individuals within their extended family with Iberian origins, and he may have been friendly with some Europeans who could speak the Arabic language.<ref name="Beech1992" /> Regardless of William's personal involvement in the tradition's creation, [[Magda Bogin]] states that Arab poetry was likely one of several influences on European "courtly love poetry", citing [[Ibn Hazm]]'s "[[The Ring of the Dove]]" as an example of a similar Arab tradition.<ref>{{cite book|last1=Bogin|first1=Magda|last2=Bogin|first2=Meg|title=The Women Troubadours|year=1995|publisher=WW Norton|pages=46–47|isbn=978-0393009651}}</ref>

Methods of transmission from Arab Iberia to the rest of Europe did exist, such as the [[Toledo School of Translators]], though it only began translating major romances from Arabic into Latin in the second half of the thirteenth century, with [[Expurgation|objectionable sexual content]] removed in deference to the [[Catholic Church]].<ref>{{cite book|year=1997|isbn=978-0415609845|title=Routledge Encyclopedia of Translation Studies|editor=Mona Baker and Kirsten Malmkjaer|page=553|chapter=Spanish tradition|publisher=Routledge}}</ref>