religion, piety, and spirituality. Even in his more profane works, however, one can detect the moralising influence of Marcabru, with whom in whose old age he was possibly acquainted. One of Marcabru's late songs is a satire of an early one by Peire d'Alvernhe. Marcabru's complexity was also imparted to Peire. On the topic of courtly love, Peire, who had abandoned the religious life early, came to abandon the claims of fin'amor ("fine love") later. When Peire espouses love of the Holy Ghost over cortez' amors de bon aire ("well-spirited courtly love") he is the only troubadour to ever use the term "courtly love". Marcabrunian influence can be seen here too. In a later Crusade song, Peire defended Marcabru's abandonment of the carnal amar. He advocates gran sabers ni purs ("great and pure wisdom") through bon'amor ("good love"). Along with Bernart Marti, Bernart de Venzac, and Gavaudan, Peire was part of a "Marcabrunian school". Nonetheless, as mentioned above, Bernart Marti attacked Peire for claiming superior spiritual status: E quan canorgues si mes Pey d'Alvernh'en canongia, a Dieu per que.s prometia entiers que peuys si fraysses? Quar si feys, fols joglars es per que l'entiers pretz cambia. Peire's aesthetic philosophy esteemed the "whole song" (vers entiers), which is what he termed his completed pieces, denigrating all others' works as incomplete and imperfect. Nonetheless, from Marcabru Peire picked up a notion of the trobar braus as a legitimate format for "rough" themes. One anonymous song of the Fifth Crusade, Lo Senhre que formet lo tro, written between Spring 1213 and July 1214 has been attributed to Peire d'Alvernhe, but the dating makes that impossible. In a tenso between a Bernart (probably Bernart de Ventadorn) and an unnamed Peire, perhaps Peire d'Alvernhe, the latter argues that "it is not becoming for ladies to make love-pleas; it is fitting that men plead with them and beg their mercy." By far, however, Peire's most famous work is Chantarai d'aquest trobadors, a sirventes written at Puivert (Puoich-vert) in which he ridicules twelve contemporary troubadours ("a poetical gallery") and praises himself. It has been conjectured that this piece was first performed in the presence of all twelve of the ridiculed poets in late Summer 1170 while an embassy bringing Eleanor, daughter of Henry II of England, to her Spanish groom Alfonso VIII of Castile sojourned at Puivert. If the above date is not accepted, it can be