AN EDITION OF SOî>IE OF THE

CANT I GAS D'ESCAimHO E PE MALDI2ER

DISSEETATIOK

Presented in Partial Fulfillment of the Eequireioents for the Degree Doctor of Philosophy in the G raduate School o f The Ohio S ta te U n iv e rs ity

By

FLORENCE VIRGINIA PHILLIPS, B . A ., M. A.

The Ohio S ta te U n iv e rsity

1955

Approved by:

A dviser Department of Romance languages PEÏÏPACE

This edition of some o f the caatlfias d*escarnh‘e de

maldlzer is the result of a.n interest in Portuguese trouhaxlour

poeti'^'- developed, in a sense, as a by-product of studies in

Provençal which were directed by Professor A. H* Schütz, It is

largely because of his in sp iratio n , his encouragement, and his

capable assistance that th is work has been completed in this field

of literary Investigation relativ ely neglected since the appearance

of the "marginal notes" by th e very erudite Portuguese scholar,

Carolina Michaelis de Vascouce lles.

%ile there are problem s yet to be resolved, the intention

o f the work, to make a v a i l a b l e some o ld P o rtu g u e se s a t i r i c a l poems

in a readable form, with tran slatio n s, has been fulfilled*

It is hoped, however, later that all the deficiencies (for which the w riter assumes c o m p le te r e s p o n s i b i l i t y ) can be r e c t i f i e d

so that these amusing and inform ative, but lit tie-known oantjgas may eventually be published.*

For this reason, i t is considered desirable to add as

Appendix II, nine cantlfras wliich are neither annotated nor

translated to stake a claim to them since they contain certain

elements of the eacarnho-maJLdizer ly rics discussed in the chapters

i l i i i on. n a rra tiv e Themes and V ersif Ic a tio n .

In addition to expressing my appreciation of Professor

Schutz's assistance, I wish to thank also Professor Ramon Rozzell and Professor Jose Manuel Blecua of Zaragoza, Spain, who both helped me in the preparation of my thesis with, their advice and suggestions* TABL3 OF COUTEIITS

IKTEODUCTION ...... 1

SELECTION AND PROCEDURE...... 1 8

CHAPTER I Narrative Themes of the cgintigas d'Escaraho e de M a ld lz e r* ...... 2 3

CH-'iPTER I I Literary Value ...... 4-2

CHAPTER I I I Definition of the Genre and Analysis of Versification 4-9

1. The Arte de Trobax and the Leyg d*Amors .... $ 0 2. Terms not defined in the Arte de Trohar .... 71 3 . Classification of the cantlgas d'escarnho e de maldlzer ...... 7 3 4". Examples of the Poetic Devices Palavra Pepduda. Dob re , Hozdobre ...... 75 5» Verse and Strophic Patterns of the cantinas d'escarnho e de maldlzer ...... 7 5 6 . I n d e x ...... 8 0

TEXTS ...... 8 9 Estevam da Guarda: Biography and cant ira s GV $04—910» ...... 90

Don Lopo Lias: Biography and cantigas CV 945-902, 9^4 ...... 1 2 0

M art im So a r e s ; Biography and cantigas CV $65-978» ...... 194-

Gil Peres Conde: Biography and cant.lga CB 1521...... 2 5 1

Johan Vaasq^uiz: Biography and cantigas _CB 1545» 1547—1549 ...... 2 5 6

GLOSSARY...... 2 6 8

iv coîiCLusiOîr 317 APPEICDIX I Index to CantIgas edited by Michaelis de Vasconcellos, Lang, Hobllng and rlunes ...... 320

APPEITDIX I I Cantigas GB 1505, 1507, 1508, 15IO, 1527, ]J2 8 , 15^3- 1344, 1553. i ...... 337

BIBLIOGRAPHY 354 IHTRODUCœiOK

"Ca ben trobajiios d'escamho" the Portuguese troubadour sings of his ability to satirize. % ile the cantigas d'escarnho e de maldlzer represent approximately only a fifth part of the total number of old Portuguese lyric poems (including the Cantigas de

Santa Maria by Alfonso X), the extremely rich synonymous vocabulary, escarnir, escarneeer, chufar, apoer, desdizer, desloar, dizer mal, fazer .jogo. apodar, trobar de mal dizer, attest a native talent and zest for jesting akin to the Spaniard’s delight in the burl a.

The number of types of the cantigas d’escarnho e de mal dizer defined in the metric treatise on old Portuguese poetry, the Arte de Trobar,^ further testifies to this predilection for ridicule»

In th e m ald ize r l y r i c s , someone i s openly mocked; in th e escam ho poems, the satire is achieved by the use of ambiguities or double m eanings.

These songs of "open" or "hidden" satire were composed 2 during the period of 1185 to I 38 5 » and are preserved in the following

Cf, Chapter III on versification. The Arte de Trobar will be quoted and explained. All the phases of escarnho and maldizer w ill be defined.

2 Carolina Michaelis • * de Vasconcellos states in G-roeber’s Crundriss der romanischen Philologie (Strassburg, 1892-1893)» II, 1 4 3 , that at least one song may have been composed during the reign of Sane ho I (1185-1212) and that the closing year of this period was probably either 1350 at the death of Alfonso XI o f Castile or about 1 3 5 7 at the death of Alfonso IV of Portugal. 2 codices; the Cane 1 oneiro da A.iuda.3 now in the library known by the name of Ajuda in Lisbon; the Oancionelro da Yatlcana. Codex 4803# ^ the Vatican library in Rome; and the Cancioneiro Coloccl-Brancuti. now called the Cancioneiro da Biblioteca Nacional, and in the possession of the Biblioteca Bacional in Lisbon# Portugal* In addition# there are conserved in the National Library in Stockholm» Sweden, the loose pages of the cantigas de amigo of Martin Codax and the single folio page of a tenson between Don Affonso Sanches and Vasco Margins de

Besende*

The origin and the formation of these collections have been outlined by Jose Filgueira Valverde in the chapters entitled "Lirlca

Medieval Gallega y Portuguesa,” in the Historla General de las literaturas hlsosmicas desde sus orlTgenes al l400. I, 434—642#

The .iograr (professional slnger-musician-jugglor-poet - usually of low birth) and the trobador (the most polished poet) gave to the nobles or ir patrons, who protected them, loose sheets or cademos of their compositions* These were kept in the libraries of the titled men of the realm, many times with the name of the author and perhaps even with explanatory notes*

The compilation of the lyrics into cancioneiros under the name of a common author or of a genre of poetry was the work of patrons .and of scholars* Places favorably disposed to this task were the ecclesiastical court of Campostela, the Castilian court of

Alfonso 2, and the Portuguese court of Dorn Denis* Partial copies of

3These codices will be abbreviated hereafter as CA, CT, CB, respectively* 3 these were prestmably made for the wealthy, titled lovers of literature and for the scholars of the Renaissance* Finally, with the hegemony of Italian poetry and the predominahce of Spanish literature in the peninsula, the collections were forgotten*

During the years, references were made to the Crallego—

Portuguese cancioneiros by Don iSigo de Santillana, Duarte if Runes of Leon, and others*

The relationship of the various cademos and cancioneiros was solved by Carolina Michaelis de Vasconcellos and published in

Volume II of the critical edition of the Cancioneiro da Aluda and was included in the study mentioned above by Jose Filgueira Valverde*

The diagram ezplaining the genesis of the Cancioneiro da

Yatlcana and the Colocci~Brancut3, is quoted as follows from "Lirlca

Medieval Gallega y Portuguesa" (cf, page 2*)

^Théophile Braga in the introductory pages of his critical edition of the Cancioneiro da Vaticana (Lisbon, 1875), gives the names of the collections and by whom they were mentioned, as does Carolina Michaelis de Vasconcellos in her edition of the Cancioneiro da A.1uda (Halle, 190^), II, 111-1)4. Gsmtlgas de Martim Codax

n i TenBOn A.1tida AJffonso Sanches

Tavola Yatlc a n a Colocc IflTlq. Colocc 1«-Srancutl

Rotu3)us y cuadernos s u e lto s , pre-alfonslT es, principalm ente de poetaa gallegoa, castellanos y leonesee. Cantigas de amor* Perdidos. Copia y coapilacio^n de los anteriores, con dlvlsio'n generica y no tac ion musical* Poss iblemente: livro das Trovas del Rey D* A ffonso. citad o an la B ib lio te c a de D. Duarte y que habia comp 11 ado un poeta de Montemor* Perdido* A^ Copia inacabada de las Cantigas de Amor de la poslble compilacion anterior* Cancioneiro da Aluda* Conservado* B Rotulus y cuadernos sueltos de los tres géneros* reunidos en la corte de Alfonso X* Perdidos* cl Cancioneiro personal del Eey Don Deni's* Posslblemente; Livro das trovas del Eel Don Denis, num. 38 la Biblioteca de D, Duarte* Perdido* fio^tulos 7 cxiademos de la opoca de don D enis, Incorporando "cantigas de aiaigo" populajlstas* Conservado un cuadorno: Cantigas de Martin Codaz, 63 ' Copia de y que reun^a el cancioneiro del rey y loo cuadernos sueltos* Perdido* pi Hotulos y cuadernos sueltos, postalfonsiTes, de ambos reinos: el Conde de B arcellos* P. iffo n so S a c h e z , S stevan da Guarda, Alfonso XI* etc* Perdura copia antigua de une; hoja suelta de una ten son entre P. Affonso Sachez e Tasco MartiTns d.e Resende. P^ Possible compliacion de estos rotulos con algonos elementos de los codices inmediatamente anteriores* iPlbro das Cantigas do Conde de Baxcellos? legado por este en su testamento al rey de Castilla* Perdido* p3 Copia d e l a n te rio r , incrementada con obras de trobadoros de l a escuela galaico-castellana* 6Libro das Trovas del Rei. nim* ?8 de la Biblioteca de D. Puarteî Perdido* B Apografo del siglo XIV* Cancionero de D* Mènera de Cisneros, v is t o por e l Marques de S a n tilla n a , entre l4 0 0 y l4 l4 , y citado p or el en el famoso Proemlo* Perdido* plj, p3 Ejençlares de P^ llevados a Roma* EL primero fue visto, entre 1521 y 15571 jpor Duarte Nunes de Leon, y sli^lcT de original para une de los apografos romanes; el segundo sera el manuscrlto original del otro; un tercero servir in al humanista Colocci para componer su Tabla oIn dice de autores# P erdidos los tr e s codices* Apografo de , e s c r ito en Roma, a comienzos del XIV, por orden de Angelo Colocci (Co^d* Vat* 4805)* Cancioneiro da Vaticana* Conservado* Apografo de , coetàieo del anterior y de igual procedencia* Cancioneiro Colocci-Brancuti, hoy en la Biblioteca ïïaclonal de Lisboa* Conservado* Copia moderna del Cancioneiro da Vaticana* Cancioneiro de un Grande de SsnaSia, u tillz a d o por Vamhagen, hoy perdido* Otra cop ia modema* Probablement e quemada en 1851 por José de Eigueiredo*

The Vatican manuscript, probably early sixteenth century,-^ is a book of 210 folio sheets which are numbered and which contain

1205 poems composed by some l47 authors. Two persons were responsible f o r the com p ilation, one who cop ied the songs and one who added th e names of the poets and who numbered the poems* The handwriting is

^Ernest Monaci, II Canzoniere Portoghese della Biblioteca Niem eyer, 1875 )» I ta lia n .

The Colocci-Brancuti cancioneiro contains 355 folios with poems numbered to l662 and is preceded by a fragment of a Gallego-

Portu^ese poetics called the Arte de Trobar. According to Jose

Joaquim Funes, it was discovered by chance by Professor Corvisieri, about 1875* near Isei, Italy, in the library of Count Paulo Antonio

Brancuti of Cagli. It was later studied and copied, in part, by Enrico

Molteni to complete the Vaticana. It owes its name to the humanist,

Angelo Colocci, who, in the sixteenth century, was perhaps the first to stu dy i t and one of i t s l a s t owners, and to Count B rancuti. It finally came into the possession of the National Library in Lisbon,

Portugal, February 26, 1924.

Reconstituting a Cancioneiro Qeral gallaico portugues,^

Carolina Michaelis de Vasconcellos numbers the poems as follows:

Part I (AMOE) ÇB 1—337» followed by CV 1 (respective 2) — 57»

CB 338-372 and CV 61—226. ^ 3^3"3^5 corresponds to CV 58—60.

Part II (AMIGO) CB 626 — 1299 or CV 227- 903. Part III

(BSCAKNH’E MAL DIZER) CB I 3OO - 1675.^ One h a lf i s CV 904- to 1110 and the other half is CB 374 to 442 and W 1111-1205.

The caption "Aquy se começan as cantigas d'escamh*e de maldlzer-'* follow s the name o f Johan Soares de Payva whose poem i s

^CA, I I , 210.

^1675 (This number is derived from the so-called Tavola Colocciana, an index to the Colocci-Brancuti manuscript, which lists 1675 poem s.) 7

numbered C% 937* satires of two poets precede this caption,

those of Estevam da G-uarda, Ç7 90^ - 93^ and Johan Fernandes

D'Ardeleiro, CV 933“93^« -hnong the poems numbering from CV 90*f to

1205, the following are cantigas de amor: GV 93^, 1044, 1059, 1060,

106l, 1138, 1139» (The songs numbered GV 62 to 79 attributed to

A lfonso JS^ can be classified more exactly as satirical* The poetry

of Martim Moxa, numbers CT 472 and CT 502—4 are indicated as

cantigas de mal dizer by Jose Joaquim N u n es*9 In the Cancioneiro

Colocci-Brancutl,the satirical poems number from GB 472 to 476 and

con tin u e from CB 1500 t o 1578* S in ce Π4 5 5 is called a humorous

song of e s c a m h o , It can also be grouped with the above poems*

Scattered throughout the cancioneiros are poems, which are

partly satirical, for example CT 37î

E ha huma entre as suas ( JoSo Garcia de Guilhade) cantigas d*smor que e literalmente sem Igual: e a 14a ( CV 37), principia como una verdadeira cantiga de maldizer, assumindo urn ton mais terno a partir do verso 11*

CA 38, the cantiga da garvala has been considered as a cantiga de

escam eo.3.2 qb 144 carries the caption "Esta cantiga fez Martin

8cesare de L ollls, "Cantigas de Amor e de Maldlzer di Alfonso el Sabio Re di Castlglla," Studj di Filologrla Romanza (1887), II, 3^-66, ^Cantigas d'amor dos Trovadorea Galego-Portugueses (Coimbra, 1932) , X3CT*

^954, II, 330* ^^Oskar Nobling* "As Cantigas de Joâo Garcia de Guilhade," Rom* For* . XXV, 645*

I^siza Paxece Machado, "A Cantiga de Garvala (I)," Rev* de Port. (1948), XIII, 2 5 8 . 8

Soares com'em maaeira de tenzo com Paay Soarez et e d'escarnho*”

07 21 5 by Pero Laxouco, CV and ^71 by Alvaro Gomes de Sarrla must

be designated as cantigas de maldlzer from their nature*

Grouped together in the Vaticana and in the Coloccl-Brancuti

cancioneiros there are 398 cantigas d'escarnho e de maldizer* To

anyone uninitiated in the numbering of either of the manuscripts or

the diplomatic editions by Emesto Monaci and Enrico Molteni, it

is a little confusing to arrive at a total* The poetry of Estevam

da Guarda, which should follow the caption, "Aqui comeg am as cantigas

d'escarnho et de maldizer,” precedes it* The numbering of the

manuscripts is frequently incorrect, for example, as on folio 273

th ere a re two poems marked as I 3OO* There are two numbers for songs

in the Vaticana and Ooloccl-Brancutl diplomatic editions*

The poets who wrote this type of song exclusively are listed

by Carolina Michaelis de Vasconcellos as: Dorn Josep, Joan Fernandes

d'Ai’deleiro, Don Lopo Lias, Pero Martins, Picandon, Ayras Peres

Vuiturom, Gil Perez Conde, Feman Soares Qulnhones, Diego Pezelho,

Martin Anes Marinho, Garcia Martins, Alvaro Gomes de Sarrla, jogral,

Joam, jograr, Joan Velho de Pedragaes, Affonso Fernandes Cub el,

Estevam Fernandes Barreto, Joan Romeo de Lugo, Fernan Rodrigues

Redondo, Affonso Soares, Garcia Perez, and Caldeirom*^3

Other authors of escarnho-maldlzer lyrics are; Estevam da

Guarda, Joharn Soares de Payva, Fernan Rodriguis de Calheyros, Don

Fernan Paez de Talamencos, Martin Soares, Nunc Fernandes Torneol,

^3carolina Michaelis de Vasconcellos, CA, II, 2 1 3* 9

Pero Garcia Btirgales, Hoy Qaeymado, Joan Bobeyra, Don CrOnçal'Banea

do Vinhal, Don Johan d'Avoin, Joao Soares Coelho, Roy Paes de Ribela,

Joan Servando, Lourenço jograr, Conde Don Pedro de Portugal, Johan

de Gaya, Pero Barroso, Johan Baveca, Johan Ayras, Don Affonso Lopes

de Bayam, Keen Rodriguis Tenoyro, Joan Garcia de Guilhade, Affonso

de Cotom, Pedri'Amigo, Pero d'Ambroa, A lfonso X, Peman Velho,

Tasco Perez Par dal, Don Peman Garcia Esgaravunha, Ayras Runes,

Rodrigu'Anes Redondo, Pero de Vivyaes, Payo Gomes Charinho, Pero

da Ponte, Pero d'Armsa, Don Denis, Johan Vaasq.ulz, Don Roy Gomes de

Breteiros, Affonso Mendez de Besteyros, Stevam Paiam, and Runes

(possibly Joan Runes Camanês),^^ In a ll, there are sixty-seven

poets who composed satirical poetry*

Critical editions of the amor and amigo songs were made and

published in 1928 and 1932, respectively, by Jose Joaquim Runes*

It might be assumed that there would ultimately be a third edition

comprising the Rgeamho-maldizer lyrics* Whether Runes ever intended

to publish one is not known*

Rodrigues Lapa states that there is an urgent need for such

a work in Llcoes de Llteratura Portugueea: "Ha portante urgente necessidade da edigSo total das tenjBes e das cantigas de escamho

e de mal-dlzer**^^ More recently Professor Eugenio Asensio of Lisbon,

Portugal, made a similar statement"Bs muy necesaria una edicion

^^Crestomatia Arcaica. 3e&*, (Lisboa, 19^3)» 5^K>-5^1*

15p. 184*

^■^Letter to the author, February 28, 1955* 10 de 1 r s cantigas de escarnio e de maldizer. Se ha desculdado el estu d lo de e sto s poemas» lo s mas c a stiz o s y lig a d o s a la actualidad.*^

!Zhe critical edition of the Cancioneiro da Vaticana by ©leophilo

Braga, which contains a large portion of the cantigas d'escarnho e de maldlzer (CV 904 - 1205), has been severely criticized as Inadeqpiate and inaccurate by those who have made a study of the cancioneiros.

Epiphanie Dias, in **jleitrSge zu einer kritischen Ausgabe dee vatikaniBchen portugiesIschen Liederbuches,” speaks of it as super­ f i c i a l ;

...Dadurch bin Ich zur Erfcenntnis gekommen, dass Braga's ¥erk das gute, welches es enthalt, den Monad's Ausgabe begleiten den unschatzbaren Anmerkungen, den Konjekturen von Coelho, und den Ausgaben von Moura and Vamhagen zu verdauken hat, im ubrigen aber als eine sehr oberflachliche Arbeit zu bezeichnen ist*^7

Carolina Michaelis indicates that his edition does not at all answer the demand of such a text because it brings in the content of only one song-book and because the form of the text is uneq.ual and lack in g in meaning»^ ®

Eugenio Lopez-Aydillo•s criticism is more specific:

La labor del llustre crftico lusitano, aparece aqu^ muy de8igu al y precipitada; la celerid ad con que compuso esta edlcio^n crftica del fame so codice de la Biblioteca Vaticana, dado a conocer por Monaci en la edicion diplo- matica de Halle, fue sin duda la causa de que Braga hubiera incurrido en notorios errores que restan autoridad a los juicios y opinlones que consigna en dicha introduceIcm.

l?2BPh (1887), XI, 42.

l®Groeber's, on. c it.. 175* 11

Muchos de e sto s errores han, sido pu estos de m an ifiesto repetIdas veces y , consecuentemente» apenas se concede toy valor a esta disertacio^n prellminar que al tlempo de su publicacio'n, y aim en aSos posterlores, fue tenida, en muy alto concepto* La restitueion del teito adolece del mismo vicio original: es pobre y fantasticôL y esta pidiendo una piadosa revlslcm. En cuanto al glosario es en la mayorfa de los casos inaceptable; recordemos la la peregrina version de coteyfe —capa de pesuonto. para eeïïalar hasta que punto fue precipitada la labor del, por otros tftulos, ilustre escritor lusitano*^?

The earliest editing of any satirical lyrics, or the poetry

grouped under the heading of escarnho-mal-dizer. was done by Friedrich

Dies as a part of his "Uber die erste portugiesische Eunst- und

Hofpoesle,“ Bonn, 1863* The poems edited were CV 1037 - 1042. Two

years later, W. G-ruzmacher included CV 1039 in his "Zur gall ischen

Liederpoesie," Jahrbuch fur romanische und ehglische literatur.

Leipzig, I865, VI, 351*361*

The Paneloneirinho de trovas antigas colllaldas de um grande

cancioneiro da Biblioteca do Vaticano, listed in the Prefazione.

page I T , of the diplomatic edition of the Vaticana, contains CV 1026,

1077. 1144, 1189, 1205.

Also in the Prefazione. page iv, it is stated that Theophilo

Braga's Amadis de Paula contains ^ 1080.

With the poems edited in the series of articles entitled

"Eandglossen zum altportugiesischen Liederbuch" which appeared in

Zeitschrlft fur romanische Philologie during the years from I896 to

1905, Carolina Michaelis de Vasconcellos added very precious historical

1 9 " L o s C ancionero8 Gallego-Portuguesea como Fuentes Histdricos," Eg (1923), LVII, 320-21. 12 data* biographies, vocabulary, and sources relating to the lyrics published therein and concerning other songs of the cancioneiros»

The edited cantigas d'escarnho e de maldizer are: CA 37» 38* ÇB 4^37»

465, 466, 471bis* 1501. 1504, 1509. 1511, 1513, I5l6, 1517, 1518,

1520. 1522, 1523. 1524, 1525, 1526, 1531, 1532* 1546, 1547, 1558,

1559, CV 37, 64, 69, 74. 77. 79, 466, 982, 999, lOOl, 1002, 1004,

1008, 1013, 1020, 1022, 1024, 1025, 102?, 1029, 1046, 1047, 1053»

1054, 1055» 1056, 1057» 1058. 1066, 1070, 1076, 1084, 1096, 1103,

1118, 1130, 1131, 1158. 1163, 1166. 1167, 1168, 1170, 1171. 1176,

1177, 1195, 1196, 1197. 1198, 1199. 1203.

Appearing in Senhora Michaelis de Vasconcellos* Cancioneiro da A.iuda, V ol. I I , a re the following: OT 455» p . 471; SK 503,

P* 473; 2 1 504, p. 471; C7 937» P* 566; 999, p* 522 (only one strophe is given); IOO6, p. 537; 1008 (incomplete), p. 523; 1010, p. 63O;

1021, pp. 653-54; 1104, pp. 645-46; II05, p. 647; H I6, p. 536;

1189, p. 452; CB 1514, p. 543; 1515, p. 653; 1550, pp. 420-21;

1558, pp. 562-63; 1559. P» 562; 1572, p . 541; 1573» P* 542; 1577» p . 535.

In Lusitania (Lisboa, 1924—25), II, 7“25, in an article e n title d "Era v o lta de Sancho II," Carolina Michaelis de Vasconcellos has ed ited the Gesta de M aldizer. CV 1080; the romance of I 6 sy lla b le verses with feminine rhyme, 2 1 1088; and CV 1124.

Oskar Eobling* s "As Cantigas de Joan Garcia de Guilhade" includes the following escamho poems: Ç3 150I , 1502, 1503, CV 1097»

1089, 1099» 1100, 1101, 1102, 1103, 1105» 1106, 1107, 1108, 1109, 1110. 13

This e d itio n was w ritten f i r s t as a d isse r ta tio n at Bonn with the

title Die Lieder des Trobadors D. Joan Garcia (13. Jahrhundert)

K ritisch e .Ausgabe mit Anmerkungen and B in leitim g (Erlangen, 1907)»

It was published in the same year at Erlangen and later was printed in Bomanische Forschtmgen (1908). XXV, 641-719»

In Test! basso-latini e volgarl della Spagna by Ernesto

Monaci are found ÇY 937 999* This book has not been examined by the writer of the present study*

Henry Roseman Lang gives critical texts, notes, and vocabulary in Das Liederbuch des Konigs Denis von Portugal, for CB 1553» 153^»

1535» 1536, 1537. 1538. 1539. 1540, 1541, 1542. CT 963 and GB 470 are found in his article "The Eescort in Old Portuguese and Spanish

Poetry" appearing in Beitrage zur romanischen Philologie, Pestgabe fiir Gustav Groeber (Halle, Niemeyer, 1899)» 484—506. He explains along with other lyrics 1049, in "Old Portuguese Songs," Bausteine zur romanischen Philologie, Festgabe fur Adolfo Mussafia (Halle,

Niemeyer, 1905), 27-45»

Also, in a critical edition of the Cantigas d'el Rey D. Denis.

Alvaro Julio da Costa Pimpao presents his version of the fallowing escarnho poetry: CB 1536, 1537, 1539, 1542*

Armando Cotarelo Valledor's "Los Heimanos Eans Marino, Poetas

Gallegos del siglo X II I," Boletfn de la Real Academia SspaSola (1933)»

XX, 5“32, gives a critical text with notes of ^ 1154. He also published the Cancioneiro de Payo Gomez Charinho almirajite y poeta

(Madrid, 1934)» There has not been a copy available for this study*

We presume from the length of the following two articles: Ik-

Ajaancio Landjfn Carrasco» "El Almirante Poeta," Mares (Madrid, A p ril,

1 9 ^ )1 aSo I , rnrm* 2 , 10-11, and G abriel Menendez Rodriguez, "Payo

Goinez Charinho, el almirante Poeta," Spes (Pontevedra, September, 1944), aSo XI, mm. 117» 2-4, that they contain only biographical data and th at there are no te x ts of poems given .

There has been appearing currently in the Revista de Portugal

(first supplement issued in February, 194-7, XI, an edition by Elza

Paxeco Machado and Jose Pedro Machado with the title Cancioneiro da

Biblioteca Ifaclonal. It has also been published separately; only four voltuger; h.-ve been printed so far. This edition is paleographic, with variants indicated, and annotations which are principally transcriptions of former editions with the commentary and criticism of them. According to the SxplicacHo, I, 10, Coment^los of a literary, linguistic, historical, and biographical nature are to be added, and a glossary.

A number of anthologies of Gal1ego-Portuguese literature include some of the satirical songs belonging to the cancioneiros.

One of these is Silvio Pellegrini's Ausvahl altportugiesischer lieder

(Halle, Niemeyer, 1928), uitli ^ 63, 77» and 03 456,

Perhaps the most important of the books of selections from old Bbrtuguese literature is the Crestoiaatia Arcaica by Jose Joaquim

Nunes, now in its third edition (1S43)* Ih this last edition, there are 03 435, 963. 974, 981, 988, 1010, IOI3, IO31, 1024. 1043, 1046,

1054, 1055, 1080, 1088, 1124, CB 1521. 1522, 1525, 1534, 1536, 1547,

1551. 1552. 1558. 1573* 15

It Is the purpose of this dissertation to present an edition of some of the cantigas d*escamho e de maldizer with the hope of continuing at a later date to make available a complete critical tezt of all these songs. To have a definitive text, properly annotated, it would be necessary to study more carefully such historical sources as the Portugaliae Monument a H istorica. Monarchia Lusitania by P.

Praacisco BrandSo, Eistoria de Portugal by Alexandre Eerculano de

Carvalho e Arajo, ColleccSco de livros inedltos de historia Tjortuguesa.

Historla da AdminlstracSo Publica em Portugal nos Séeulos XIX a and church documents, many of which are not to be found in the United

S ta te s ,

The diplomatic editions of the canctonmiros. II Canronlere

Portoghese della Biblioteca Vaticana, by Ernesto Monaci, and the complementary work, II Canzoniere Portoghese Colocci-Brancuti. by

Enrico Molteni are helpful and excellent reproductions but not absolutely infallible.

It was unsatisfactory, too, to have to work with the variants by Jole Euggieri published la Archivum Bomanlcum (I927), XI, 4-59-510, with the title “Le Variant! del canzoniere portoghese Colocci-Brancuti.“

No adverse criticism of Euggieri is intended but he could have aided scholars in the field by giving the complete verse or strophe. The following example illustrates the present writer's dilemma, 07 9IO

(the first strophe) is written as follows in the diplomatic edition by Monaci; Meu tano fiz portal uijz pedir ql mha reanha raadre del rei deu hu caualeiro oficlal seu pois me no ual dante tal ruizir 16

ca se uou y eletw meu uogado Benpre me dlz q esta en T>argado de ta l gu isa q me no podere#

The variants by Bnggleri for this strophe are: "v* 2 reinha 4# ruizi^g/

juiz ir 5* w>u7 non 7* poder^ podoir.” It may be assumed from the directions given that relnha replaces reanha in line 2, etc. Line 1, however» has a form that is peculiar —■» tano# Is it a Jj» or is it a

^ that looks like a jb7 In line 6, is en bargado written as one wordT

Is the word order the same? What is the percentage of typographical errors?

The only way to find out is to look at the manuscript. There­ fore, with the help of Professor Eugenio Asensio of Lisbon, Portugal, the writer obtained a microfilm of the Cancioneiro da Biblioteca

Uacional (Colocc 1-Brancuti), A microfilm, also, was made of the

Vaticana so that proper collation of the texts could be made. Since the cantigas are often imperfectly written and difficult to decipher, it is necessary to have both manuscripts to conjecture a plausible form.

Authorities like Oskar Nobling, Carolina Michaelis de

V ascon cellos, and Henry Lang, do not always agree on what a reading should be, Por example, the interpretation of _CA 235^® by Carolina

Michaelis de Vasconcellos is "ja - quant'esto me fazia vlverj* and by Oskar Nobling it is: ja quant‘esto me faz ja viver,"^^

I , 235.

cit. , 671, 1?

It has not always been easy to find the data concerning the published critical texts or other information about the songs because the bibliographical tools for Portuguese studies are not too plentiful*

One exception should be noted, Silvio Pellegrini's indispensable book

Eenertorio BibliografIco della Prima Lirlca Portoghese (Modena, 1939)*

Some articles to which reference has been made are in Journals not listed in The Union Catalog of Serials* Two of these mentioned previously are Mares and Sues.

Because of the lack of a dictionary or even a grammar based explicitly on the language of the Portuguese troubadours, the present work has been based on the studies cited above by Carolina Michaelis de Vasconcellos, Henry Lang, Oskar Nobling and Jose Joaquim Nunes*

When these sources failed, there was the problem of finding the dictionaries usually consulted for this era* Two of these; J* do

Santa Bosa de Viterbo's Elucidario das ualavras. termos e frases qua antigamente se usaram (1863) and P* D* Haphael Bluteau's Vocabulario portuguez e latino (1712-21) are rather rare books* The first was obtained through Interlibrary loan and the latter was examined at the Library of Congress, in Washington» D* C.

Frequently it is impossible to be sure of a meaning intended by a poet, because the allusions are so topical* Since the authors of such satirical poems as the escarnho type, are prone to deal with double meanings, they set for the explicator many problems râised by such Intentional ambiguities* SZLBOriON AKD PR0CEDT3EE

The poems (cantigas cl'escamho e de maldlzer) selected for

editing represent samplings from the Cancioneiro da Yatlcana and the

Cancioneiro Coloccl-Brancuti» They are nnmbered as follows: CT 9(A—

910 inclusive, CT 9^5-962. 964-978, Π1521, 1545, 1547, and 1549.

CB 1505, 1507, 15O8, 1510, 1527» 1528, 1543, 1544 and 1553, are

Included but without commentary or vocabulary as Appendix II*

S e le c tio n

In general, no particular criterion for this choice was

involved, beyond the interest of the individual poems and the attempt

to follow the example of Carolina Michaelis de Tasconcellos* No effort was made to effect a proportionate representation of different authors • captigaa or to erhaust the songs of a particular poet*

The lyrics of Martim Soares were chosen, however, because of his reputation among the other troubadours. The rubric to jCB l44 contains the following statement: “Martim Soares was from Elba de

Limia in Portugal and he composed better than all those who composed and he was so judged among the other troubadours.“ CB 144 and l45 are not included^as they appear in the appendices of the Cancioneiro da Ajuda. I, and more recently were edited by Elza Paxeco Machado and JoBG Pédro Machado in the Cancioneiro da Biblioteca Nacional*

Although _gr 965 is found in the Cancioneiro da Ajuda, II, it was

18 19 not excluded because Carolina Michaelis de Vasconcellos said she

was transcribing it in the same imperfect state in which it was

found in the manuscript and that she emended only the orthographical

inconsistencles#

Don Lopo Lias (or Diaz) was decided upon because he was a

troubadour who devoted himself exclusively to escarhho-maldizer

poetry* His deacort CV 96J was omitted because of its being a part

of H* R* Lang’s study, "The Descort in Old Portuguese and Spanish

Poetry* "

Certain poems which were considered representative from the

c adernq of Estevam da Guarda and sev eral which have been published

only in the diplomatic edition by Enrico Molteni bring the total to

fifty-four. Two of the lyrics, CD 1521 and 15^7» were published in

the Crestomatia Arcaica by Nunes and Π15^9 was transcribed in the

in trod u ction o f the Cantigas d*Amigo by the same author, but no

translations and no metrical or grammatical comment were given there for any one of the three.

Procedure

Since it is impossible to establish the primacy of either

the Vaticana manuscript or the Coloeci-Prantuti, the text of the cantigas common to both has been based on the former as the more reliable. Emendations,where necessary, of course, have been made with reference to the Colocci-Brancuti*

An attempt has been made to maintain the orthography of the manuscripts* Double consonants, frequently used - X£» and are 20 kept* Eveil though there are many superfluous h’s» as in the case o f ^ fo r £ t ^ for jL, ^ for u, hum for um, htta for %a, the original spelling is conserved*

Y is equal to j, in such words as assy, boy, soffry; ^ is equivalent to in veio, ajades. la# Since no particular difficulty is involved, the % has been kept throughout, in spite of the fact that Carolina Michaelis de Vasconcellos recommends ln**Licoes Practicas de Portugue8 Arcaico” giving the y the exclusive function of the semi- consonant in diphthongs such as feyto. cuyd*, noyte. etc,^ However, the replacement of by J seems absolutely necessary to avoid ambiguity and to make the reading easier* For the same reason the v is substituted for u in such words as ouuer - ouver. leue - leve. etc*

For the conjunction jg, there are both the latin _gt and the sign 7* The Latin form jet has been allowed to stand and z reso lv ed to

The placing of the tilde is regularized in words where the vowels are nasalized* BSa is used for all three forms: boS. boa. boa* The diacritical marks are used only when it is a question of distinguishing words, for example, e from The different pronun­ ciation of the future and the pluperfect has been Indicated as follows; eustara - cuetara*

Punctuation, which is, of course, of particular importance in poetry, since it Is closely related to rhythm, has been added to

iRev. de Port. (19^), Till, )4j$* 21

clarify the meaning of the text* It represents the Interpretation

of the editor*

As Is the prevalent custom In editions of Provençal lyrics,

translations have been provided# These are as literal as possible,

30 fax as is consistent with clarity and good English* A few of

the cantigas have also been put into versa*

A complete glossary with verse references follows the texts

o f the poems and tran slation s* To sim p lify these references and

notes, the following abbreviations w ill be used;

1. ^ —— Caneioneiro da A.juda, edigao crftica e commentada, by Carolina Michael is de Tasconcellos (Halle, Niemeyer, 1904.), 2 vols.

2. CA^C* - Glossary to the Oancioneiro da A.iuda. Revista Lusitana ( 1923), XXIII, 1-95*

3* OB —— Cancioneiro da Biblioteca JTacional (Colocci-Braacuti) in the Biblioteca Hacional in Lisbon, Portugal*

4* ON — — Cancioneiro da Biblioteca Hacional. paleographical edition by Elza Paxeco Machado and Jose Pedro Machado (Lisboa, Portugal, 194-9), 4- vola* (In progress of being published)*

5* M-CE •— II Ganzonlere portoghese Colocci-Braacuti. by Enrico Molteni (Halle, Niemeyer, I88O).

6. f^CV — II Ganzoniere laortoghese della Biblioteca Vaticana, by Ernesto Monaci (H a lle, Niemeyer, 1875)*

7* Cancioneiro da Vatlcana. Codex No* 4803, the Vatican Library, Rome.

8* Braga - Cancioneiro oortuguez da Vatlcana, ediçSo crftlca, Imprensa Nacional (Lisboa, 1878)*

9* B~CB — **Le Variant! del :anzonlere portoghese Cclocci-Brancuti n e lle p a rti comuni a l Codice Vaticano 4803," in Archivum Romanlcum (1927)» XI, 4-39-310* 22

10. CD “—- Das Llederbuch. des Konlgs Denis von Portugal, by Henry Eosemen Lang (Halle* Hlemeyer* 1894).

11. Rend* - "Randglossen zim altportugiesischen Llederbuch*' in Zeitschrlft fw roaanische Philologie, by Carolina Mlchaelie de Tasconcellos. Article number, volume, and page will be given in the appropriate places.

12. Rluteaur- Yocabularlo -portuguez e latino antorlzado com exemploa do8 melhores escrltores portuguezes e latinos, by P. D. Raphael Bluteau, (Coimbra, Collegio das artes da companhla de Jesu, 1712-21), 6 Vols., 2 Vols. Supplement.

13« Plgoelredo - Kovo Diclonarlo da lingua -portuguesa. by Candido de Pigueiredo, 5a edigao (Lisboa, Portugal, 1939)i 2 V o ls.

14, Moraes - Grande dicion^io da ifngua portuguesa, lOa edigao revista, muito aumentada e actualizada (Cozxfluencia, Lisboa, 1949). 7 Tols.

15# Vieira - Grande diccionarlo portuguez ou thesouro da lingua Twrtttgueza, by P. Domingos Vieira (Porto, I871)» 5 Vols*

16. Viterbo- Elucidarlo das palavras. termes e frases que antlgamente se usaram, by J . de Santa Rosa de Vite^rbo (L isbon. 1864), 2 V ols. CHAPTER I

Narrative Themes of the Cantigas d*Escarnho e

de Maldlzer

Like the imagery of a tapestry relating the story of medieval days, the canclonelros reveal to us here in vivid color, there in somber shades, the lives of the troubadours who wrote them, their surroundings, the courts at which they sang, the clothes they wore, the food they ate, the battles in which they fought, their loves, their hates, and even their fates* And like a tapestry, they must be studied to search out bits of information hidden among more obvious details; one part must be pieced together with another to tell more completely an incident unrecorded in history or lost in some dark archives long since forgotten* Only by patiently scrutinizing the threads of the woof, filling in the faintly pictured backgrounds with the narrative of the chronicles of the period, can we bring the whole to life again*

Carolina Michael!s de Vasconcellos began such an investiga­ tion of the cantigas d'escamho e de maldizer and published the data in a series of articles she called "marginal notes" in

Zeitschrlft fur romanische Philologie from I 896 to 1905* (She had planned to writ© thirty-three articles, the titles of which are

23 24 given in the note below,^ but only fifteen appeared in print*)

Assiduously ssarching through all kinds of historical documents, fitting together the cantigas addressed to or referring to one person, in groups or cycles of two or as many as fifteen poems,

she contributed the most precious information we have for the

study of these songs and many fascinating stories*

Among these narratives was the so-called ama dispute, a controversy which the troubadour Joao Soares Coelho began by addressing his love poem, "Atal vej*eu aqui ama chamada*.." (CA

166) to a young mother of low social standing* A most noteworthy portrait of a woman who performs all the household duties is painted*

The good manners that she has learned consist in knowing how to

spin, to weave, to fashion shirts and trousers* Never has there been a mother of her kind who lives a more worthy life* She knows how to wash, to make good cheese cakes, to grind meal and to knead

it* She understands all about milking*

I* Der Ammenstreit, II* Sin Mantel-lied, III* Vom Mittagessen hiepanischer Monarchen, IT. Penna-veira. V* Ein Seeman mocht'ich warden, TI* Sine tea — Hon ven al Malo. TII* Sine Jerusalempilgerin und andre Ereuzfahrer, Till* Tell’Affonso de Meneses, IX* Volf-Dietrich, X* Das Zwiespaltslied des Donifazio Calvo, XI* Im Hordoesten der Ealbinsel, XII* Romanze von Don F_ernan,d,o. XIII* Don A rrigo. XIT* Guarvaya. XT. Tasco M artins de Resende. XTI# Der Sang von der Wachtel, XTII* Grafen-Enkelinnea, XVIII* Grune Augen, XIX* Oh plno plnot pino florldol XX* Zebrareiter, XXI* Frauen- und Madchenlieder - Cantos de le d in o , XXII* S erra n ilh a s. XXIII* ^ un tiempo cogi flores. XXIT. Cantigas de vilao. XXV* Fllcken-lieder, X3TI. Provençalisches und Altfranzoslsches, XXVII. Sel d is a l m ai. XXVIII* Malos e Mai as , XXIX. T ristan und Iso ld e und andre bretonische Stoffe, XXX* Livros de Llnhage.m, XXXI* Die Apokryphen der altportugiesischen Litteratur, XXXII* Langzeil- Gedichte und a l le r l e i M etrisch es, XXXIII* Der Fado * (CA, V ol. I I , 986 .) 25

Esta ama, cuj'e Joan Coelho, per boas manhas que soub'aprender, cada u for* achara bom conselho, c a sabe bem f l a r e bem te c e r , e t a l h i nniy bem b rag as e cam lsa, e Aunca vistes molher de sa gaisa que mais limpha rida sabha fazer

antre todas as m lheres preçadas que nos sabemos em nosso logarl Ca la v a bem e fa z bSas q u e ija d a s e sabe bem moer e am assar, e sabe muito de boa leiteiral^

Contrasted with this homely woman is the lovely noble lady who, according to the troubadours opposing Coelho, must be the inspiration of their talents; she does not weave nor does she stand over a cradle before a fire#

non tecem donas, nem ar vi tear berg'ant'o fog’a dona mult'onrada.3

Rodrigues Lapa considers the details of this dispute important because, through them, we can see the endeavor on the part of Joao Soares Coelho to free himself from the restraint of tradition#^

If the troubadour wished to dedicate a poem to some woman who was not nobly bora, what did it matter so long as she was beautiful and good#

A different story, a tale of a “cloak,” is told as Carolina

Michael!s de Vasconcellos tried to solve the Identity of the composers

^ZRPH. XX, 150#

3 lb id # , 1 5 4 .

^iccSes de Literature Fortuguesa, 1 7 6 * 26

of a ten son (CB 512) between a Don Vasco Gil and a king, Don

A lfonso#

The cantiga CB 1512 is as follows: Don Vasco Gil had left

his cloak in the hands of King Alfonso for safekeeping# He probably

had surrendered his cloak to his monarch for his protection in camp,

on the chase, or perhaps for moral protection on a nocturnal adventure.

When Don Vasco received it back, it was changed, apparently re­

furbished# He asked the king if someone borrowed a cloak and did not

receive it back in the same condition as he gave it what punishment

the Llvro de Leon might inflict upon him* The king answered him that

he had studied scholastic tracts and had learned from the maestres

(scholars) that no one should evor rob another of his cloak. He

had not learned, however, that he would be a thief who repaired a

cloak. The word thief made Don Vasco say that he would never call

the king a robber but that he (the king) must have been some kind

of conjurer to turn cendal (taffeta) to penna (fur)# The monarch

then referred to an instance when a king of Portugal liad put on

slyly a Hospitaler’s cloak in some kind of similar jug^ery# (See

Hand. II, Vol# XXV (1905). 131-132).

The references in this little episode to the Llvro de Leon

(a book of statutes), the cloak, the maestres* the Portuguese King,

all revealed the identity of Don Vasco Gil as a vassal of King

Alfonso X, the king as King Alfonso the Wise, the Portuguese king

as Don Affonso, who died in 1207#

The "Amber" of the cantigas. a perfect heroine for a "modem historical novel" is the soldadeira Maria Perez. One of the most 27 compelling figures of the cantigas d'escamho. she is the subject of fifteen songs (perhaps even more): 0 7 6 4 , 9 8 2 , 1 0 7 0 , 1 1 2 9 » I I 31 #

1 1 7 6 , 1 1 9 6 , 1197. 1 2 0 3 , 0 3 4 7 1 ^ , 1504, 1 5 0 6 , 1 5 0 9 . 1513, 1546. She is calumniated by king, troubadour, and cleric in some of the most obscene language found in the collections* Dau^ter of an hidalgo,

Don Pedro Johan de Guimaranes and Azenda Pelaez,^ she is usually designated as Marla Balteira. The course of her colorful career is

traced from its hei^ t, when her favor is sought by many, to Its lowest point, when old, ugly, unloved, like the "belle Hëaulmière" of François Villon, she has become a go-between living off the

services of others. This closing scene is written by Joao Vasques

(Johan Vaasquiz) in ^ 1545» 154?» and 1548, and included in this present edition.

Maria, to her sorrow, is going to live on the street of

Moeda Velha in Santiago de Compostela with her servant (maneeba).

B na Moeda Velha vay morar. Dona Maria Levs, a seu pesar.

What worries her most is not the fact that she is a sinner but that

she is old:

...m a is v e d e -lo que mays pesa: Soy velh'av. cauelamJ

Even as her star is falling, Maria sells her favors only to those who have money and scorns the penniless in the most insulting terms*

A. Martifnez Salazar, "La Edad Media en G ali-ia, Uma Gallega celebre en el siglo XIII," Eeviata OrAlea de Historia y Llteratura Esuafiolae Portuguesas e Si snano-Amerlean as (1897)» II » 301* 28

Qjiando me d e o sta v a , Ben vyu ca non andava Ren na mha esmolleyra*

Menenàez Pidal, in Poesfa Jnglaresoa y Jgglarea.^ points out the amazing fact that, while Maria probably gained entrance into the royal court because of her singing and dancing, not one of the eleven troubadours who wrote about her referred to her artistic a b i l i t i e s *

It is Mene^ndez Pidal who gives the most novelistic presentation of the Balteira story"^ as he finds it in the cantigas* Carolina

Mlchaelis de Vasconcellos, in addition to discussing the documents discovered by Martinez Salazar, analyzes the Individual cantigas

(with the exception of the songs of JoSo Vasques) in her article

“Eine Jerusalempilgerin und andre Kreuzfahrer,*’® Eugenio Lopez-

Aydillo takes the historian's point of view in his "Una Aventura

C alan te d e l Hey S a b io ."9

Linked with the Balteira cycle because of one common element, a pilgrimage, is that of Johan Fernandes, the deformed Moor* The troubadours, Martim Soares, Suy Gomez Briteyros, Jo%o Soares Coelho, and Alfonso de Cotom (see cantigas CV 975, 9?8, 1012, 1013, 11^9,

1 5 ^ 3 8 nd 15^ ) derided the Moor in a "tomeio de malediciencia,"^®

^P. 223.

7 lb id *. 224- 2 3 6 .

Q ^nd^vii. XXV ( 1 9 0 5 ) , 5 3 3 * 5 6 0 *

9"Loe Gancioneros Gallego-Portugueses como Puentes H istoricos," , LXVII (1 9 2 8 ), 4-10-13*

I I , 3 2 3 . 29 which was dated about 1241 to 1244 since there are allusions to

Frederick II and Pope Innocent IT and the Mongol invasion of

Europe in JoSo Soares Coelho * s sirventes C7 1013:

veemo'-lo emperador levantado contra Eoma e Tar taros vTtir;

Carolina îüchaëlis de Tasconcellos designates mal-talhado as meaning corcunda (hunchbacked)^^ probably because of a comparison of Johan to Alfonso de Cotom in ^ 1149 in which both are called mal-talh ados;

A mi don preit* — e non e desguisado — dos mal-talhados, e non erran i; Johan Fernandes, o Hour*outroesi nos mal-talhados o vejo contado* E pero nos mal-talhados semos no's 0 que visse Pero da Pont* en cos semelhar lh*ia muy peor talhado*^^

E lza Pajceco Machado^3 identifies this poor Mouro as the

Johan Fernandes alluded to in the rubric of the cantiga de vil%o

CT 1043» This vilHo, once known as Ticente Domingos, was the tailor and cook for the bishop Don Domingos Jar do of Lisbon, and it was for the bishop that Don Denis made the man a favalelro* These facts, which make the dating of the song fairly simple, also make it difficult to consider these two men as one and the same. Since

Domingos Jardo was bishop of Lisbon only from 1289 to 1293, 91 1043

lllbld., 320. iZlbid*. 462.

Cantiga da Garvaia (II)”, Rev, de Port. (I949), XIV, 349, 30 had to be written during that period. Martim Soares* born about

1210,1^ would then have been composing his songs about the Moor*

Gy 975 and 9 7 8 i when he was seventy-nine years old*

From the poems we know that Johan was a Moor, that he had an unfaithful wife (CV 1012), that he did not like to fight on the frontier (CB 15^ 3 )» that he had apparently made a pilgrimage and was baptized (CV 1013)* The rubric to Martim Soares* cantiga d * 6 scamho CV 975 implies that Johan was tormented because he looked like a Moor, The troubadour tells Johan to take the Moor away who is hiding in the inn* What he means probably is that Johan himself should go away.

In the cantiga CV 978 Johan is ridiculed because of his short saia, a kind of tunic which was worn during that era. Since he went about without his cloak, the shortness of his saia revealed his misshapen body*

The tale of a traitor, Alvar Rodrigues, is told by the troubadours, Estevam da Guarda and Don Pedro, o Conde de Portugal

(CV 905* 9 0 6 , 9 2 2 , 9 2 3 , and 1037). AJ.var Rodrigues, evidently once a man of importance because he owned a large vineyard near Valada and was squire and chief huntsman of the king, had his head shaved and was exiled to the lands across the seas. Presumably, he had lost favor with the king because of some act of treason.

^Apedro A. d* Azevedo, "0 Trovador Martim Soarez 0 Seu Fiiho Joao Martfnz ," Rev, Lus., V, 125* 31

Alvar Rodrlguis, monteyro mayor sabe bem qu'a-lhi el-rey desamor porque Ihe dlzem que he mal fey to r; na ssa terra est’e cousa certa, ca d l2 qua se quer h y r, et per hu for levara cabega descuberta* ( CT 1037}

(Alvar Rodrigulz, chief huntsman, knows well that the King dislikes him because they tell him /the king/ he is an evil doer; in his land, this is a certainty for it is said that he wishes to go away, and wherever he may go, he will have his head uncovered / his head shaved/ }•

Alvar was also ridiculed because of a young servant he had in his household* He guarded this youhg "mouro pastorinho" from hunger and thirst and gave him shelter, but he kept him for evil purposes*

The longest cycle by any author and, at the same time, the most enigmatic is the series of the "zevrSes" songs by Don Lopo

Lias, one of the earliest of the troubadours* In the article

"Wolf-Dletrich," Carolina Michaelis de Vasconcellos made a cryptic statement about "the offence or scandal (Aergernis) Don Lopo was able to create, repeated with deliberate importunlty,"^ in his satirical, songs about a group of Gal.ician knights of uncouth appearance* She apparently intended to continue her investigation of these knights because one of the proposed "marginal notes" was given the title

Ze b r a r e ite r (XX)*

l ^Rand* IV (1902), XXVI, 69* 32

In the Cancioneiro da A.iuda^^ and In the ”Wolf-Dietrich" story^*^ she sketched the few fa c ts th at are r ea d ily discerned by a quick glance at the cantigas 07 9^5*956 inclusive; there were four brothers from Lemos who were ridiculed for their ungainly appearance, their red saddlecloths, and their squeaking saddles; a knight gave a silken dress (brlal) to a lady as a Christmas gift*

Three persons are named in the cycle in addition to the author;

Rodrigo, Ayras Moniz, and Ayra lougo# The cities mentioned are

Lemos, home of the kni^ts; Benavente, where the lady received the b r ia li and Orzelhon, the cen ter of some unknown troubadours* The brlal was supposedly from Seville — "aquel brial de Sevilha*" The fame of the knights and the story of the brial. and the "creaking saddle" was spread from G a lic ia to Leon*

Carolina Michaelis de Vasconcellos was able to identify only one o f the three persons s a tir iz e d in the poems* He was Ayras Moniz d'Asme, an author o f two c a n tig a s. CB 6 and 7 CSAi 316- 317)*

Provavelmente de orlgem portuguesa, Asme, ou S* Lour eng o d*Asme flea ao pe de Brmesinde, na Mala (prov* Minho* ) Pertencem-lhe duas cantigas de mestria 6-7—Ca 316-317)" No Indice de Colocci o nome d'este auctor nao se registrou* Uin Ayras Moniz foi rldicularlzado por D* Lopo Lias na canti^ Ç7 955. ...18

"D. Lono Lias (Diaz) a que ainda agora me referi, o guerreiro trovador, riu-oe, como insistencia cruel, de quatre cavalleiros, in- fangSes de Lemos. todos elles irmSos, um com o nome de Ayras Moniz, 08 quaes andavam sempre mal gulsados; e fez entrar na ball a as zebras em que costumavsm cavalgar, as sellas rangentes, as esteiras vermelhas que Ihes serviam de xairal, um brlal de seda, e outras alfalas suas, insolitas ou menos pr^as da occaslao, alludindo tambem a trovadores, que ja se haviam pronunolado no mesmo sentido, e menclon^o so sitlos hlstorlcamente memoraveIs de Benavente e Orzelhon (Galllza e LeSo)*" I I . 527.

I I . 525 I 8 lb ld * 33

We are certain that Don Lopo Lias was making fun of four kni^ts who were badly dressed# Ihe rubric heading the poems conveys

this information# "Don Lopo Lias trobou a huas cavaleyros de Lemus

e eram quatre irmSos e andavam sempre mal gulsados e poren trobou-

Ihis estas cantigas#" We can only surmise what is intended by the

gift of the dress, the creaking of the saddles, the search for

Eodrigo, his being lost, the knights’ lack of skill in jousting, and

the broken truce between the infancon and his tormentor, Don Lopo#

One of the principal problems to solve in order to know the

story is the meaning of zevron# Starting with the premise in the

rubric th at the knights "andan sempre mal g u lsa d o s," we fin d a

possible hint for its significance in the following meaning of

zebro; "0 mesmo que bol ou novilho" (cf. ïigueiredo) and gebo

"o mesmo que g ib oso. Pop# mal e sujo#" ( c f . Cahdldo de Piguelredo

Grande Dicion^io da Lingua Portuguesa. 1951)# Could there be a

confusion of gebo and zebro? If so, it might be possible that

zebro means uncouth sin ce the troubadour begins the cycle o f poems

by jeerin g at the rude cloth in g worn by the in f ancon, mangas grossaa

do ascarf. and the red saddle cloth, esteyra vermelha#

Jose Joaquim N u n e s,B a m o n Menendez P i d a l J o a q u i m da

^9«Tentativa de Id en tif icag%o do animal chamado zevro nos documentos medievais," Aead^ia das sciencias de Lisboa (1926), XVI, 427- 36.

20“Zebra, cebra," The Romanic Review (1938), XXIX, 74- 7 8 # 34

Silvelra,^^ Panlo MerSa,^^ ümé^rico Castro and Leo Spitser^ hare written articles to clarify the meaning of zevro; the conclusion reached was that the animal is the onager or wild ass* Relating the meaning to the cancioneiro« Runes indicates that the word zevro is used in the figurative sense of cuckold *’comudo”« •’Has cantigas d’eecarni# e mal dizer, nos. 950 a 9 5 2 u s a -s e zevron como s u h s ts n tlv o , sinonimo de cavaleiro, guer-me porem parecer que em sentido figurado talvez de cornudo."^^

There might be one other possibility that these Infançoea were called zevron riders because they, like some miastrels^^ at the wedding of Robert of Artois, rode on oxen covered with scarlet cloth*

The brial. (French bllaut ) a kind of tunic worn by both men and women of the twelfth and thirteenth centuries, was a dress-like garment, quite full, reaching to the feet. The brial given to the dona was new and made of a kind of very fine silk cloth* It is described as a brial de Sevllha. possibly because it was made there or because of the way it was fashioned*

As a part of a note mentioning the brial de Sevilha. Carolina

Michaelis de Vasconcellos referred to the cantiga CV '796, which, she

^^••Estudos sobre o vocabulario Portugues," HEF (1948), II, 220-247*

22(t^ Palavra zevro." Rev. Lus. (1925), XXV, 284.

Palabra Zebro." M (1928). XV, 173-179*

^Z ebro, onager," ^ (1928), XV, 375-376*

TentâtIva," 4 3 5 *

^^Menendez Pidal, op, c it., 9 9 * 35 said, explains what kind of dross the brial was* "Mieder ein andres

Gadicht (CV 79^) klart daruber anf, was fur ein Oberkleid der Prauen— brial gewesen sein

This song, a composition by the poet Pero Moogo, was translated by Aubrey P« G* Bell*

You went, my dau^ter, to the dance And tore your dress there by mischance. Follow, follow the water clear. For the deer to drink Is wont to come here. Follow, since, hither comes the deer*

My daughter, to the dance you went; Your dress was in the romping rent* Follow, follow the water clear. For the deer to drink is wont to come here.

You to re your d ress th ere, new and b r ig h t, That you made in my despite. Follow, follow the water clear, For the deer to drink is wont to come here*

You tore your drees there as you played That against my w ill you made* Follow, follow the water clear. For the deer to drink is wont to come here*

In the Diccionarlo de la Real Academia Esoenola (Madrid, I726), the proverb "Eompese el b ri^ , mas vale bien que mal,” is cited with the Latin maxim, ”Heu pereat ipsa vestis; honor evaserit.” To cut a woman's dress was one way of dishonoring her. A note taken from R.

Mene'ndez Pidal'a La Leyenda de los Infantes de Lara (Madrid, 193^), substantiates the Latin maxim;

% and. II (19053, XXV, 139*

28"The H ill Songs of Pero Moogo," MI..R (1922). XVII, 259. 36

• • • Probert, p^* Icellui Breton, avoit menace la chambrière de Inl couper la robe par dessus le cul (a* 1468)» Durài (Romancero I* p%* 44-0)» dice: Ta en les sigloe anteriores al XIII y XIV se castigaba a las rameras cortandoso las faidas y echandolas pu5>licamente de los pueblos* (p* 87)

Another motif ocurring throughout the cycle, except in ^ 94?

and ÇV 9^8 where the augnentative is used (selegon) is the sela*

Obviously, the sela and the egoa are used to refer to a woman. These

symbols are not uncommon in the cantigas d'escamho:

S cada que vos andardes senlheira se vol-a besta mal enselada andar, guardade-a de xi vos derramar, ca pela besta sodes soldadeira; (CV 1109)

cavalgades pela fast'aqui, e cavalgades de noyt'outro asy, e sospeytam que por mal cavalgades» (CV 986)

The satirical vers (song) of William of Poitiers offers an

example of sela with an equivalent slgnificance®

Dos cavalhas ai a ma sselha ben e gen bon son e adreg per armas e valen, »*»^9

%e two horses are two young women and the sela refers to William*

Can it be assumed then that the sela cantarlhada. refers to the fremosa dona?

It is rather difficult to fill in the narrative because there

are so many gaps in the information found in the poems. These details we do know: a knight gave h is w ife or a young lad y a garment fo r a

Christmas gift; he treacherously killed her; at that time her brial was cut and her cloak carried off; Lopo Lias and some troubadours of

^9oarl Appel, Provenzallsche Chrestomatie (Leipzig, 1 9 0 7 )» 94» 57 Orzelhon sang satirical songs about the brlal. the sela. and the infançon; there was a wedding and a tournament, probably a part of the wedding celebration; the zevroes. one of whom was Ayras Moniz, looked for Rodrigo to kill him; a beautiful girl laughed at the saddle*

The cycle is probably nothing more than a kind of burla or parody about the four knights from Lemos* After the one brother gave the maiden the dress or tunic, he was deceived by her* To shame her, the brial was cut and she was killed* The zevron brothers were ridiculed not only because of their actions involving a woman of questionable character _/the sela ( ?_}/ but because they were not well dressed nor were they adept at riding or skilled in the use of arms.

They were laughed at by everyone, including the king and a beautiful girl* The scandal reached such proportions tlxat it was woven into songs by all the troubadours of Orzelhon* Finally, Don Lopo agreed not to sing any more about the dress or the saddle; however, since the truce did not mention the mare, he composed a final song about this animal*

Along with the narratives, there are songs in which the poets

Jest about each other's talents* Martim Soares, in a series of poems

CV 971 * 9 7 2 , 9 7 3 * ond 97 ^» mocks the Jograr Lopo* Although a member of the household, of King Ferdinand III and a composer of amigo and amo.r songs, Lopo's talents do not stretch to playing the ci tola well or to singing. His musical deficiencies, however, do not keep him from accompanying the King during the reconquest of Murcia and Seville* 38

Lopo sings and plays so poorly, according to Martim Soares, that Instead of receiving the usual gifts, he is given three punches*

There is one song which says that Lopo is paid not to sing*

This type of ridicule is a sport indulged in by many troubadours*

CV 1009, 1010, 1011, 1022, 1 0 3 4 , 1104, 1 1 0 5 , 1 1 0 6 , 1 1 0 7 , 1 1 1 7 , 1 1 7 9 are a].l examples of such jesting* The troubadours are not too original in their ways of expressing their dlspleasui'e at hearing the horrid sounds issuing from the _citola or the singer. Joao Garcia de Guilhade

Is going to break the citola over Loureuço's head*

Ves, Lourenç(o), ora m’assanharey, poys mal i entenças, e ti farey o cltolon na cabeça quebrar* (CV 1104)^

Lopo i s tre a te d in e x a c tly the same fashion*

Hu ch*o far an todo quebrar na cabeça o c ito lo n l

The musicians do not sing well, or they scratch or scrape the citola; the troubadours do not know how to compose; their poems do n o t rime o r they are unequal. These seem to be the "formula" for their accusations*

Only once or twice do we find a troubadour with something original,

Johan. d*Avoyn in CV 1010 te lls Lour eng 0 th a t he Imows as much about composing as an ass does about reading;

ben tanto sab es tu que e trobar ben quanto sab'o asno de leer,

One poet is mocked because he has Injured his voice by his evil habits* V/hen he was young, he had a very beautiful voice and he

^®Oskar ÎTobling, "As Cantigas de D* Joan Garcia de Guilhade," Rom, Forsch. (19O8), XXV, 696, 39 sang very well*

vy-lhe sempre mentre fny pastor rauy boa voz e vy-o cantar ben; mays a r d ire y -v o s per que o p e rd e u .. .

Pero Perez, a squire, receives a cudgeling but not because of his singing* Believing himself dishonored, he attempts to strike his enemy, a peon, but he is struck instead* This kind of "slap-stick" humor must have been considered very funny in medieval days.

Along with these sirventes .joglarescs and the cyclic cantigas. there are songs which cannot easily be classified. There are some which are political in natui'e, some which might be considered heretical, some in which there are references to medicine, astrology, tax collectors, magistrates, and ao on. There are also parodies of amigo and amor songs*

CB 1 5 0 7 and. 1 5 0 8 by Tasco Perez Fardai are both addressed to a Don An sur who, probably, by some underhanded means, has gained the favor of the king* He is warned that political advantages such as his, easily come by, are Just as easily lost*

Another poet, Gil Perez Conde, composed a poem ^ 1521 about a porter who refuses to l.et him enter the house of the king* This particular song recalls a similar Instance In the Himado del Paiaclo by Pero Lopez de Ayala* When. Pero Lopez de Ayala arrives at the door, he finds new porters there who consider the palace theirs and w ill

not let him enter*

Pallo porteros nuevos, que nunca conosçi Que todo el palacio quieren tener per sy* Sy llego a la puerta disen, quien esta y? 40

Sennores digo yo, que en mal dia nasçy, Grant tienpo ha que cuydaba esta corte saber, Agora me paresçe que non se que faser: Querria sy pudiese al rey fabler o ver: Disen: estad alia, ca ya non puede ser*31

There are numerous personal sirventes addressed to escudelros,

Infançoes. cavaleiros, and donzelas not specifically named, and others who are probably nicknamed such as Pero Rodriguez Grougelete, (CV 97^) and Albardar (07 9 6 0 )* A squire wants to become a knight; an infançon of Castile, who is mean and stingy, carries with him a golden bed

(07 9 6 3 ); a. Certain young woman is a prostitute; a cavalier, taken prisoner in the battle of Jaen, tries to buy his way out of prison and has to pay more than he is worth* Pero Rodriguez Grougelete is told, not very subtly, that his wife is unfaithful to him* Albardar

is an e stride iro whose escapades lead to being hidden in a chest*

07 97? with the rubric "Esta cantiga fez d'escarnho a h&a donzela** is the type which is rather indecent and scarcely merits

translation* Carolina Michaelis de 7agconcellos, enumerating the works of Pernan Garcia Esga.ravunha, makes a very appropriate statement

that suits both this and CB 1575 "uma das vilanias que aquelles barbaros guerreiros se deleitavam*'*32

Gil Perez, Conde, mentioned above, censures God for having stolen away his sweetheart to make of her a nun (CB 152?)î

ca mi filhou Deus mia senhor*

^BAE, 1711, 4 3 8 *

^O A . I I , 3 5 0 . k l

He suggests indirectly that He leave the lovely young women and take the old ugly ones and put them behind the convent wall*

F aria m'eu que vos vos fazod es leizar velhaa feas e as fremosas e maneebas filha-las por esposas# (CB 1528)

How did society look upon the physician during this period?

Don Fernando tells clearly enough in ^ 1505* He is suffering from a fever so grave that he is afraid of dying* Yet, he is afraid to risk his life by calling In a fiTslco (physician)*

%e parodies of amor and amigo poems are perhaps the most amusing of all the cantigas d'escamho e de maldlzer* In Martim

Soares' composition directed to Alfonso de Cotom (C7 9^6) a ll the latter's bad habits are listed: shooting dice, drinking, fornication, quarreling* What a life he leads 1 Yet he is happy to go his way, to do just as he pleases* There are the prostitutes who will speak well of him, his habits, and his follies* The comic effects are gained by the use o f the formula so commonly used in the lo v e songs:

"eu ando coytado," "eu muy gram aabor de nwrar," "caer en bon prea e onrrado seer," and "de mi ben dizer"#

We have limited our discussion of the themes to the poems of this edition with the exception of the citing of the "ama" dispute and the "cloak song". As suggested in the introduction the scope of all the topics in the genre as a whole is much vaster than those indicated here* CHj'iPTER I I

Literary Value

The vulgarity, or perhaps ve should say the lustiness of the cantigas d*escarnho e de maldizer may he a reflection of the turbulent age when they were composed* The troubadours lived a very rough and dangerous life» and, in some sense, their bantering verses are an expression of their realistic attitude toward It* Portugal was in the process of forging Itself into a nation* There was continual strife because of the struggle to regain the country from the Moors.

There was, almost at all times, a movement of people into and across the country — the crusaders stopping on their way to the Holy Land and the pilgrims going on what was perhaps a perilous mission to the shrine of St, James of Campostela* Friction among the heirs to the throne kept the country in a constant state of warfare* People who face death momentarily do not usually heed the niceties of speech.

As for the few poems that are openly lewd in detail and description, there is no doubt that they have no aesthetic qualities*

However, they do have a documentary value as Henrique de Vilhena maintains in A Expressao Comoral das ISmoçoes no Cancioneiro:

Artisticamente, essas poesias obscenas nao tern valor; literariam ente valem como documento revelador da certa crueza ou rudeza maJ.compostas; ent%o, ha expressao dos f a c to s se x u a is , de que os mesmos f id a lg o s , eilguns, se nSo eximian, e ate um rei, Afonso X de Leao e Castila, o S ab io , 0 das Cantigas de Santa Maria (vejam laf)l ^3

Excepting the so-called objectionable lyrics then, let us examine some other types* Hoy Paez de Elbe la wrote quite an amusing little dawn song, "Maria genta, Maria genta da cintada". Its simplicity,

its naiveness, its piquancy give the flavor of popular, nationalistic origin* Henry Lang has caught the essential spirit of the poem in his translation. Since it is characteristic of the so-called indigenous poetry, it is quoted here:

Bonnie Mary, bonnie Mary, In your kirtle fine, V/here ever did you stay last night, or who has fed the kineî Up, open to meI

I and another lassie, we tarried on the plain, And loving laddies met us, and robbed me of my grain* TJp, open to me I

Where I was kept a - l i n g r 'i n g , th e f e a s t was lo n g and gay And loving laddies met us, and snatched ray oats away. Up, open to mej2

It is daring in a mildly jesting way, but not offensive* It is couched

in the language of the shepherdess "quen poz ceveda" (who has fed the

kine), "rapazes com amores furtan ceveyra" (loving laddies robbed me

of ray grain), "hu eu m»oj aquestes noyte ouvy gram cea" (where I was

kept a-lingr*ing, the feast was long and gay). It has a lilting

rhythm to which the refrain contributes*

There is originality in the mordant sarcasm of cantiga C7 1062*

The poem was written to a bishop of Tiseu, native of Aragon, whose

reddish coloring due to his gastronomic vices is so aptly compared to

2 “Old Portuguese Songs", Baustelne zur comanischen Philologie, Festgabe fur Adolfo Mussafia (Halle, Memeyer, 1905), 4-2* 44

"mad." apples, scarlet cloth, the spwlous rose, and ripe mulberries, and whose treachery is seen in his green eyes* It is the uniqueness of the conç)arison and the symmetry of the construction of the poem that make the raillery so hilarious and so pungent*

Very concisely and ironically G-il Peres Conde, tn CB 1515* advises a very poorly endowed artist that the three things he needs are wit, a voice, and the ability to leam verses*

The Portuguesa troubadour had an acute sense of caricature*

His abilities are displayed in the portrait of the donzela coytada d'amor (the love-sick damsel). She is bearded, bushy-browed, wrinkled- faced, eyes set high and deep like caverns in her face, teeth fang­ like, abdomen huge and swollen* Her body is thiclc and squat* She is

the counterpart of the berrana of Juan Ruiz*

The sheer sense of rhythm found in a song like that of Femam

Soarez on the love of Pero Cantone, a love "so pleasant, so vicious,

so delicate, so cold, so lively, so base," (CB 1553) designates it

as a piece of literature*

If we consider diversity of expression and form, where can more variety be found than in the cantigas d^escamho e de maldlzer?

There is not the monotony of expression found in the Cancioneiro da

A.1uda where the endlessly recurring formulas such as "como jago coitado,"

"como ando coitado," "se me qui se r valer," "quero-vus eu ben" make

the reading slightly wearisome. In the satirical lyrics there is not

the sameness of theme* While the poems are principally cantigas de maestria, it is among these satirical songs that is found the only

g e sta de m aldizer, a parody of the epic* There is even one romance* ^5

It is evident, therefore, from the specific illustrations given here that there are cantigas which, both artistically and tech­ nically, may be classified as literature.

There is no denying the importance of these lyrics as a source of informatioh. It is in these poems that we can find the relationship of one troubadour to another, the facts about their lives, their patrons, the attitude of the patron to the poet and vice-versa*

Here we have the language of the people* The contrast between the real and the ideal can be most plainly seen* Since the songs were composed by poets of all social ranks, they are an excellent mirror of feudal life.

Historically, this poetry offers a picture princii')ally of the thirteenth century* Often the incidents woven into the narrative are insignificant and minor in importance, but they help us to see both the growth and the decadence of a people. Historians have utilised them for clarifying and verifying facts about peninsular happenings*'

Perhaps the easiest way to demonstrate the value of the cant leas d'escamho e de maldizer from both an historical and literary point of view is to give a short "explication de texte" of one of the poems* Here is a cantiga de refram (a refrain song) by Estevam da

Guards*

^Cf. Eugenio Lopez-Aydillo, "Los Cancioneiroe Galiego-Portugueset como fuentes historicos," gS (1923)» LTII, 3^~37* 4 6

C7 932 Pero el rey ha defeso que juiz non filhe peyto do que par ant'el ha preyto vedea o que ey apreso: "quen s*ajudar quer do alho faz barata d'alg'e da-lh'oJ“

Pero que he cousa certa que el rey pos tal defesa ond'a bon julz non pesa, dizen que per encoberta: "quen s * ajudar quer do alho faz barata d'alg'e da-lh*oJ"

Pero en tod* ome cabe en que a sen e cordura que s'aguarde tal postura, vedes que dis quen o sabe: " quen s'ajudar quer do alho faz barata d*alg*e da-lh'ol"

Bn prata ou en retalho . 0 non trobas en bisalho*

The present w riter's translation is:

In spite of the fact that the king has forbidden that the judge receive bribes from those whose lawsuits he hears, look what I have learned: By honest men, he setteth not an onioni Although this thing is certain that the king has forbidden anyone to bribe a good judge, they say secretly: By honest men, he setteth not an onion!

In spite of the fact that every man is capable of being sensible and discreet enough to observe such a decree, you see they say who know:

Variants: ^ In the margin Colocci has written to^nel and gged. V . 1 , ÇT Pero el rey ha defeso cue: v. 2 . ÇV ui.jz non filhe peyto Braga preyto: v, 3» Braga omitted; v. 5» qugs auidar qr do alho faz: v, 6. Braga alqu'e: v* 7 . CB cousa he: v. 9» Ç7 julz: V . 1 0 , OB Dizen 0 7 dlzeu Braga digu* eu: v, 1 1 , OB oueus: v, 1 3 , 07 cabeen: v. l4, 07 que assen ecordura guess: v, 15» 07 agr^ de tal pestura vedes: CB Que ssagar de tal pestura: v* l6. _C7 que diz que o ssabe guess: v. 20* 07 ou ontrobas CB Ou endobrias Braga ou em trobas ou bisalho. 47

By honest men, he setteth not an onion. Honor and profit lie not in one Ecick.

Obviously Estevam da Guarda was satirizing man’s susceptibility to corruption through bribery. During the reign of King Denis there had been certain reforms made in Portuguese jurisprudence, which probably find an echo in this poem. Bribery was an offense legislated against according to the statute in Las Siete Part Idas del Rey Don

Alfonso el Sablo; “Partido III, Tftulo XXII, Ley XXIV: ’Maiamente yerra el judgador que judga contra derecho a sabiendas, et otrosi el que], da algo o gelo promote porque lo faga.

While we may be interested in the timeliness of the lyric, we are immediately aware how skillfully the theme is developed. Bstevam da Guarda builds his poem on a tripartite basis* The king’s decree is considered from the respective viewpoints of the judge, of the litigant, and of every man; all thi’ee are equally capab] e of being c o rru p te d .

That same division of three is carried out in the wording of the strophes. Bach stanza repeats the Pero (L. 1, 7* 13) and vedes.

There is a reiteration of idea in defeso (L. l), nos tal defesa (L* 8 ) ,

&nd tal nostura (L. 13)* There is only a slight change of meaning in the expressions: ey anreso (I.. 4), dizen que per encoberta (L. 10), diz quen o sabe (L. l 6 ) just enough to give the necessary variety.

The symmetry is completed by the clevei’ use of homely proverbs

^ 1 1 , 6 7 6 . 4 8

in the refrain and in the filnda to suminarige the theme, Althongh

the flavor of a maxim is sometimes lost in translation, our only means of conveying the significance of the words is to put them into

the nearest equivalent English. Perhaps we can clarify the reference

to a.io by quoting a Spanish expression and citing its meaning. Andar

en el a.io is to enter into a shady deal. We associate garlic a.io

(alho) with an odor which is unpleasant just as "double-dealing" is.

It is because of the pictiu'esqueness of these proverbs, the expressions

one might hear "the common man" use that the cantigas de maldizer constitute a rich and varied lexical source.

The composition was written to be sung and, with that in view,

Estevam selected words which have o or _i vowels so that the tone is pitched high. Por the refrain and for the fIlnda or conclusion, the vowel most used is a so that the lyric ends on a deeper and more

solemn note. Thus, not only the words but the music Itself has a comic effect.

The lexical, richness with its nearness to the people, the

factual data, and the artistry of the poet — all combine to give this

type of poetrj' its worth* CHAPTER I I I

Definition of the Genre and Analysis of Versification

Certain cantigas of a satirical nature, tensons or sinrentes. in which the tronhadour criticizes his fellow iausician. 8 * ability to rime and to versify, disclose some information about poetic technlnues*^

However, the fragmentary document entitled Arte de Trobar. found at at the beginning of the Cancioneiro Coloccl-Brancuti manuscript, is the only source for the definition of the cantigas d*escarnho e de maldizer as well as for the explanation of standard nomenclature

(dobre, mozdobre. nalavra perduda, etc*).

In attempting to define our genre» we are immediately struck by the sim ilarity of certain poetic devices to those used by Provençal,

troubadours* The lik e n e s s e s seem e v er more ap p aren t when we n o tic e

that such eminent scholars as Friedrich Dioz, Carolina Michaelis de

Vasconcellos, Henry R, .hang, and, more recently, Rodrigues Lapa use

a double terminology, Portuguese and Provençal, in their studies on

the cantigas*

It Is, then, profitable to compare the Arte de Trobar and the

^“Lieder mit wichtigen Andeutungen uber die Technik der Dichtkunst sind Vat* 3 6 1 , 9 4 9 , 9 6 5 , 9 6 8 , 971-74, 1000, 1007, 1009, 1 0 1 0 , 1020-24, 1032- 3 5 , 1042, 1 0 5 7 , 1 0 7 9 , 1086, 1 0 9 2 , 1097, H 0 > 7 . 1134, 1186." Carolina Michaelis de Vasconcellos and Théophile Braga, "Geschichte der portugiesichen litteratur." Groeber's Grundriss dcX romanigchen HrHologle. II, Part II, 1 9 7 ,

4 9 50

Leys d*Amors in order to eaçjlain the nature of the cantigas d*escarnho e de maldizer, its poetic devices, and the rules governing composition*

If any justification of such comparison is needed besides the clari­ fication of definitions, we can find it in the fact that not only- some of the cantigas d*escarnho e de maldizer correspond to the

Provençal slrventes but that another genre, the cantiga d'amor is 2 said to have been inspired by the Provençal school*

1* The Arte de Trobar and the Leys d*Amors

The Arte de Trobar, as quoted here, Is from the edition of

Elza Paxeco Machado and Jose Pedro Machado published by the Revista de Portugal in 19^7î the Leys d*Amors from the Gatien-Arnoult edition found in the Monuments de l a litté r a tu r e romane (Toulouse. l 8 4 l) , and the Joseph Anglade edition in the Bibliothèque Méridionale (Toulouse,

1919» M il to XX).

I* Part 3 which contains Las Leys d*Amors 9 canftulo^

Cantigas d'escameo som aque- B deu horn tractar en aytale las que os trobadores faz en que- dictatz. de sen. o de lanzors. 0 rendo dizer mal d'algue m em elas damors. o descondig o de maldig e dizen Iho per palavras cubertas general, por donar castier als que alam dous entendymentos pera mal vat z. o desquem . per donar Ihe lo non entenderen.. . »ligeyra- solas e deport, o de planch, per mente; e estas palavras chamam os grand desplazer quom ha motas clerigos heouivocatio. E estas vetz. (Gatlen-Amoult, I, 8.) cantigas se poden fazer outrosy de

^Istvan Prank, "Les Troubadours et le Portugal," Melanejea d'etudes portugaises offerts à M. Georges LeGentil (Lisbonne, 19^9), 215-216. 51 meestria o de rrefran* E» poro Dels noms equivocz* Et anayssi que alguuns dlzem que h a hy al— equlvocatlos se fay en respieg du ^ S sis cantigas de ioeuete d*erteyro meteya vocable sign if lean diver sas estas non son mais ca d'escaroho causas o diverses faytz o cascu nen ha outre entendimento; pero daquetz sinonimitatz fay lo contrarl er dizen que outras ha hy de segon que auziratz ades* (Ibld» « risabelha; estas ou seeran II» 3^.) d* escamho ou de mal dizer e chamaa Ihes asy porque r lj en ende a vezes os homens» mays non som cousas en que sahedoria nen outro ben aia* (15-l6)

Terms common to these two selections are maldizer"—-maldig

and heouivocatio-—eoulvocatlos» But, first, let us define the

cantiga d’esceirnho according to the Arte de Trobe^ so that the

parallel words are clearly understood* The escamho poem, according

to this document, is a composition in which the troubadour speaks ill

of someone by means of equivocal words so that the meaning w ill not

be easily understood* In addition, the author of the treatise

identifies with this poetry the .loguete d'arteiro^ and the cantiga de

risabelha*^ The .Ioeuete d*artelro is bantering song, based on a

word play* The risabelha poem may have either a double meaning or

be a song of maldizer. (see page 53) but it has only one purpose#

that of making one laugh*

Variants listed in the Machado edition are loguete d'ertevro and de logr*e d'artelro* Carolina Michaelis de Vasconcellos uses the form .loguete d'arteiro. cf. op* cit*. 198, as does Rodrigues Lapa in Licoes de Llteratura Portuguesa. Epoca Medieval. l64.

^See Carolina Michaelis de Vasconcellos' note 1 of the o p * c i t * . 198: "So lese ich wo Molt en i ri soelha druckt « vahrend Braga risoe^ha und Monaci rifoelha lesen w ill, das unmogLiche Wort fur ein Dlminut* von rlftto haltend (ein seiches ware rifSozlnho oder, da nur form ref ram existierte refranzelho* ) Die Berechtingung deizu finde ich in den nachfolgenden worten 'porque riem ende as vezes os homens**" Lapa adopts rieadilha. op* cit*. l64* 52

The Leyg d*Amors does not actually define maldig as a type of composition but rather states the purpose of it and it is in actual statement of purpose that the sim ilarity of the two treatises lies. The composition devoted to maldig general (general satire) is written to punish the evil doers; that dedicated to desquern (raillery) is intended to entertain and divert*

The two documents are alike then to this extent-—the Portuguese risabelha and the Provençal poem, composed to give Joy and diversion, have a common pur]iOGe. The poem devoted to maldig general finds a closer parallel in the cantiga de maldizer which will be defined in

Canftulo 71*

The equivalence of the terms hequlvocatlo and equlvocatios is obvious* As they are defined, they have this common factor, that the term applies to a word having a double significance* The Arte de Trobar states that hequivocatio is applied to ambiguous words which have an intentional double moaning* Equivocattos. according to the Levs d*Amors, "consists in the same word meaning various things or actions, contrary to the synonym." An example cited as an eQUlvocatlos is the proper name Edouard. This name may be used to refer to Edouard, son of the king of England; to the son of the king of Castile; or to the son of the king of Navarre.

In a subsequent pert of this chapter we shall define maestria and refram and shaJJ. give examples of the cantiga d’escarnho. .ioguete d*artelro, and risabelha* 53

Ca-plt\illo vj°

Cantigas de mal dizer son aquelas Definition du Slrventec ...... que fazen os trobadores mais descuber- ...e deu tracter de repreheuisio. tameute; en elas entran palavras que o de maldig general, per castiar queren dizer mal e non auer[ai^ outro los fols e los malvatz* .... entendimento senon aquel que querem (Gatien-Amoult, I, 3^0*) dizer chaSmen [t^ e outrosey as todoB fazen dizer mais* (I 6 -I 7 ) Definition de la Retroncha*,... Retroncha es us dictatz ayssl generals coma vers, que pot tractar de sen. de ensenhamen. damors* de lauzors. o de repren- demen. per castiar los malvatz... (Catin—Amoult, I, 3^*)

The cantigas de maldizer. defined in the Arte de Trobar. are those which the troubadour writes with the explicit intention of speaking ill and they have no purpose other than that* In them the poet uses words which are slanderous* The latter part of the definition has been translated into modern Portuguese as follows:

**Tambe'm todos as fazem dizer* (Outrossim todos as preferem .) (Bern assim as fazem todos cantar.)"^ As can be seen from the variation in these three translations, the meaning of this part of the definition is not clear*

The Levs d*Amors associates two types of compositions with maldig. the sirvente's and the retroncha* In the excerpts quoted from the Provençal treatise the definitions state that such poems take as subjects blame and ridicule and have as their Intent the punis liment of the foolish and the evil doers*

■^KLza Paxeco Machado and Jose Pedro Machado, "Problèmes do Cancioneiro da Biblioteca Uacional (V), Versao em llnguagem modemi- zada dos fragraentos da Arte de Trovar que precedem os textos em Verso," Rev, de Port. (19^9). XIII, 3^5* CaDltulo vljO

Outras cantigas fazem os Tensos es contrasts o debatz# trobadores gue cham am tençoens en lo quad cascus mante e razona porque son feitas per maneira alcun dig o alcum fag* £t aquest de rrazon que hu um a ia contra dictatz algunas vetz procezilh outro en que diga aquelo que por per novas rimadas e adonz pot haver ben tever na prima cobra e outro oxx* o tre n ta cobias o may* et rresponda Ihe na outra dizend'o alcunas vetz per cobias* et aquest contrayro* Estas se poden fazer conte de *vl* cobias a * 7 * am doas d*amor, ou d'amigo, ou d*escar- tomadas en lasquals devo jutge nho, ou de mal dizer pero que ellglr. l.equals dlflnlsca lor plag* deuen de sear de mee stria • £ e lor tenso* , * * (Gatlen-Amoul t , destas poden fazer quantas cobras I» 344. ) qulseren, fazendo cada hRu a sua par te ; se hy ouver d'aver fijnda, Partlmens es questios ques ha faze n anbos senhas, ou duas duas, dos membres contrarls* le guals ee ca nom conuem de fazer cada huu donatz ad autre per chauzir* e a mays cobras nem mays fll n das per sostener cel que volra elegir* que o outro* (17-18) e pueysh cascus razona e soste lo membre de la questio* lo quai haura elegit* £n totas las autras cauzas cant al compas* e cant al jutlamen* m cant a l so* es sem- blans a tenso* (Gatien-Amoult, I , 344*)

The two poetics are describing a type of composition which

each designates as a tenson* The Arte de Trobar defines the tenson

as a poem which the troubadours compose in the manner of a discussion,

one poet sta-ting th at which seems rig h t to him in the f i r s t strophe

and the other answering him to the contrary in the succeeding strophe*

The tenson can be about love, friendship, or satire ambiguously or

openly sta te d , but i t must be composed in the form of a song of

meestria (see page 7 1 )• It may be comprised of as many stanzas as

the debaters wish, each troubadour inventing an equal number of stanzsis*

There may be one or two concluding strophes (filndas); however, the

one troubadour should compose no more than his fellow disputant*

The Provençal treatise defines the tenson as a discussion or 55 debate In which each poet maintains and discusses some problem or action* It may have twenty to thirty strophes or more, or it may have six to ton depending upon the procedure followed* There are two tomadas in which the two composers elect a judge to terminate their argument*

As we read further in the Leys d*Amors, we find in the definition of the partlmen (often confused with the tenson) that the procedure outlined for the debate is very like the stipulations set dovm. for the Portuguese toneon* Each troubadour chooses the side of the question which he wishes to sustain*

Capitule Ix

Outra maneira ha hy en que Sirventes es dictatz ques t robam dois homens e que chaman servish al may de vers o de chanso seg u ir e chaman Ihe asy porque en doas cauzas de una. cant al couen de seguir cada hthi outra compas de la s co blas. la u tr a cant cantiga, a sson ou en palavras al so* e deu hom entendre cant ou en todo* E este seguir se a l compas* sos as saber que tenga pode fazer £n todalas maneiras; lo compas solamen* ses am las a hüa silba e a sson doutra acordansae* daquelas meteyahaa cantiga e fazer Ihe outras dictios* o dautras semblans ad palavras tam iguaes, como as aquelas per acordansa* (Oatienr- outras, pera poder en elas Arnoult, I, 3^0*) caber aquel som meesmo* E este seguir he de maor sahedoria, porque toma nada das palauras da cantiga que segue. Outra maneira y ha de seguir a que chaman pal aura, por palaura e porque conuen o que en esta maneira quiser seguir, que faça a cantiga nas rrimas da outra can tig a que segue e selau yguaes e de tantas aillabas huas corne as outras, pera poderem caber en aquel ssom meesmo* E outra maneira hy ha de seguir en que nom segue as palaurae* Eazen as das outras rimas iguaes daquelas pera poderen caber no ssom, mays outra daquela 56 caatlga que seguen non deuen de tomar ou m eter*..•: fazen Ihe dar aquelle entendimento meesmo per outra maneira; e» pera mayor sahedoria, pode(n] Ihe dar aquelle meesmo en outro entendimento per aquellas palauras meesmas; assy he a melhor maneira de seguir, por­ que da ao r ref ran outro en­ tendimento per aquellas pala­ uras da cobra a concordaren com el* (18-20)

The seguir is a poem which borrows from another song its melody or its words, or both. Occasionally, this type of composition may duplicate even the rhyme words and the same measure of another

text* The sinrentes borrows its melody and its metric form from the vers (verse) or the chanson (song), but it does not necessarily borrow the rhyme. While the technical designations seguir and

sirventes are not the same, the fundamental ideas of construction

are equivalent* Carolina Michaelis de Vasconcellos confirms this

parallel: "(note 8*) Der Gattungsname Seguir bezieht sich also

ausscliliesslich auf die Form von Gedichten, die nach fremder Melodie

zu singen und nicht auf Ihrea Inhalt, wie beim Sirventes der Provenzalen

der Fall war.”^

II. The Foui’th in which there are six cauitulos

Canitulo Primo

Os talhos das cantigas que dam Ayssi mostra ques compas*...Coiiq)aa os trobadores* E fazer eguaes e es mezura que pauza* dever: e

^"Geschichte der Portugiesischen Litteratur," Groeber's Grundriss der Romanische Philologie, II, Part II, 197* 57 de quantas maneiras quiseren e pauc ni trop: no lauza. E per so teueren por bem, pero os mays dos en rim veray* cant es be compassatz. talh o s en que fazen as cantigas de no deu haver mays ni mens, so es meestria sam estos; a cobra de pauc ni trop: mas dreytu^riera 8 Linq] ue palauras, pero quen a mezura, (Gatien-Amoult, I, 12#) quiser fazer a tanto que iguale estas p3er« meter en essa auundo, Cobla vol dir ajustamen* ou alongad [as] , as si huas outras, Qpar al mens ,V, hordes compren. que aeian guisa de tantas sylla^ Li qual es seme fan una clauza» bas c omen quis [e^ . Outra Que sen complit e perfiez pauza. maneira quanto as outras cantigas Et ai plus naut.xvj, nabrassa. a, e que estas podem seguir, Et amb aguestz dautres nenlassa. de ma [ij s sillabas as de, ...... Qui son en loc de bloc mes pero que to [d] o deuan de seguir De quatre sillabas o très yguaes, mays en todo la mays da 0 mens, enpero sil compas. cobra quiseren. fazer yguaes, pero Mays principals fay son amas. ma[i] s deuen seer as dahy todas Am quatre siJlabas ses plus. com[p] en as das o u tras c a n tig a s, Adonx plus breus sia cascus. deuen ser rimadas e yguaes, por­ Dels autres ajustatz a lor. que d'outra guisa non poderlan (Gatlen-Amoult, I, 199«) te la s no ssom que ben fo sse . E os trobadores podem fa z e r as cantigas ou de quatre, ou de sels, ou de oyto, ou de mays, se quiseren. Moys e stes ssom os olhos meesmos melhores pera seer mays ar eston e non fazen enfadare ende os homens. E estas cobras podere[m] fazer de quaes talhos quiseren, como uos la direi por quantas que for. E as cobras deuem de seer todas tr è s en Una rrima; ou som de senhas, e se fazem de quatre ou de mays; podon seer en hîla rima, (21-22)

The text of the Arte de Trobar is very obscure, but one fact is definitely indicated: the talho or forma^ has a significance slmilpj!' to compas or mesure of the Leys d* Amors. “Di tu tto ques to è il capitolo jiuoscuro. A quel che pare tal.ho significava quasi ml sura

?The modernized text by Elza Paxeco Machado and Jose Pedro Machado replaces talho with formas. Of, "Problemas do Cancioneiro da Biblioteca Kacional (VII)”, Rev, de Port. (19^9)i XIV, 65. 58 e si applicava cosl al verso corne alla cobra: cf» compas delle

Leys. The verse and the strophe should be balanced and harmonious.

This statement of the Arte de Trobar is in accord with the requirement in the Le;v;E d'Amors fo r cpmpas "e pauc n i tro p ".

The roles for the number of verses (palavras) are fairly clearly stated. The cantina de meestria is usually composed of strophes with five verses, according to the Portuguese theorist. This is an interesting fact for two reasons. First, the Provençal treatise specifically uses the numb er five as the minimal number of lines

(bprdos) in a strophe — sixteen is the maximum number. Second, the cantiga de meestria more nearly approaches the Provençal style of writing. "Die ersten helssen cantigas de meestria m e i s t e r-

1 i e d e r, und sind die frulieren eigentlich hofischen nach provenz.

Style relativ kunstvoll gebautea."^

The songs may have as few as three strophes, or they may have four, or six, or eight, or more according to the need of the trouba­ dour. Those of three strophes are considered best because they do not weary the listener*

The Portuguese author concludes his chapter on the talho with rules for rhyme. A cantiga of three strophes may have the same

rhyme throughout, or it may have different rhymes; it may be made of

Û iMonaci, Drnesto, "13 Trattato di poetica portoghese esistente nel canzoniere Colocci Brancuti," In Memorla di Napoleone Calx e Ugo (1886), 420.

^Carolina Michaelis de Vasconcellos, op, c jt., 195. 59 fou r or more*

The poem compoGed w ith the same rhyme throughout corresponds to the Provençal form knoxm as coblas unlssonans*

As cobras deven de seer todas tres en üa rima ou som de senhas* Esta solene verdade, que o sr* De la Pallee invejaria, parece iaculcar certa predilecçUo teorica pelas coblas unlssonans. preceito da metrlca provençal, que incltava o trovador a manter em todas as estrofes a mesma serle de rimas* 0 artlsta galego-português pouco se preocupou com Is so e preferlu o regime de tolerâncla, conliecido pelo nome de rlms slngulars*^^

Ca-pit o l o I jO

Porque alguuns trobadores, Dels rims ordinals e prlraieramen pera mostraren moor meestria dels rlms dlssolutz en autra maniera raeteron en ssas cantigas que rimas d is s o lu ta s . Tracta t havem fezeron huna p alau ra que non del rlms estramps et accoi'dans* rrlmasse con as outras e et ara devem tractar dels rims chaman—Ihe nalaura nerduda» B ordinals* et aytals ordes can. se esta palaura pode meter o tro- fay per doas coblas so es que la bador no comeco ou no meyo ou una cobla respon a lautra per na clma da cobra en quai logar acordansa* e denan de^ina de lor quiser, pero que, se a meter en no havia acordansa* adonx aytal hua cobra, deue a meter nas ou­ rim son dig dissolut* segom quom tras, en cada hua delas, en aquel pot ays si vezer* (Gatlen-Amoult, lugar. E esta palaura deue de I , 164*) seer [d^ moor meestria, ou er pode meter senhas palauras en Cada cobra que rriraen huas [coi^ outras, ou se er quiser, en cada cobra de senlias r rimas* E outrosy poden meter na cobra 1 palaura pepduda duas vezes per esta maneira. ( 22- 2 3 )

The Portuguese troubadour may place In his song one verse that does not rhyme with the others* The verse may be in the beginning or

In the middle of the strophe; however, if he uses the verso In one

^%odrlgues Lapa, Llgôes de Llteratura Portuguesa. Epoca Medieval (Coimbra Editora, 3a ediçâo, 1952), 19^, 6o strophe, he must duplicate the line In the subsequent strophes. The palavra perduda of the first strophe may rhyme with that of the succeeding strophes. The poet may use even two palavras perdudas.

(See modernized version for clarification of the old Portuguese text.) 11

The Provençal poet uses "verses which find their correspondence in rhyme in the same position in succeeding stangas."^^ These verses are called rimas dissolutas. Por the Portuguese and the Provençal, then, the device is the- same, although the nomenclature has been changed.

Capitolo lij°

Outro8sy fezeron os trobadores Ays si meteysh quos fay per algunas cantigas a que disinaron bordos se pot far per coblas. atehudas e estas poden seer tarn Esta cobla es apelada capflnida, ben de meestria, come de rrefran. per so quar en ayssl quo fenish 3 ch?jaaron Ihe at ehudas, porque la us bordos e per aquela meteyssha conuen que a prestomeyra pal.aura dictio sillaba o oratio comensa le da cobra non acabe rrazom per sy, sequens bordos. et en anyssi vezetz mays tern a prima palaura da outra que en aquesta cobla hom garda cobra que uen apos e la de entendi- orde. SOS assaber lo cap. e la fi* raento e fa ra tendo sen. S toda e per so ha nom capflnida* et a Cantiga asy deue d'yr ata a aquest retornamens de dictios se filndar e aly deue d'enssartar e fay per major expressio de sentensa, concluir o entendimento todo do et en ayssi en partida se fay per que ante non acabou nas cobras. orde. e en partida per sentensa. (23-24) et en ayssl entendata de las autras coblas seguens que son parcial s. Encaras mays devetz saber ques pot far per autra maniera, sas assaber can la seguens cobla comensa per aquel meteysh bordo. ques pauzatz tots derniers en la precedenz cobla. o can 11 duy bordo dernier de la primiera cobla. son repetit en la segonda. (Gatien- Amoult, I, 280.)

^^"Problema (VIII)'», Rev, de Port., XIV, 99 .

^^Henry Lang, "Las Formas Sstro'ficas y Termines Metricos del CancloneIro de Baena," Estudios Eruditos in Memorlam de Adolfo Bonilla y San Mart3%"(Madrid. 192? J. 1 , 520. 6l

The device atehuda (atIda 3 is described in the Arte de

Trobar in this way: the significance of the first strophe is not completed in its last verse but is carried over to the following one»

This process may continue through all the strophes even to the f 1Inda.

(the concluding strophe)» In other words, each part of the cantiga is so lini-ced together that the whole cantiga really forme one single sentence»

The Provençal rule treats of the verse as well as the strophe.

The tern capfInit is applied to the verse when the syllable, word, or phrase ending one line is repeated at the beginning of the following.

If the last line of the strophe is repeated as the first line of the succeeding one, then the strophe is capflnida»

While the method of linking one strophe with another differs in both poetics, the principle involved is the same» Costa PimpSc,

in commenting on the adoption of ataf inda by the editors of the

edition of the Cancioneiro da Biblioteca Nacional. instead of atehuda. notes the fact that the device is related to the Levs.

No capl'tulo III, 08 editores do Cancioneiro, baseando-se no manuBCrito, substituem a forma geralmente adoptada de atafinida por atehuda. Efectivamente, no codice le-se ate huda e atehuzdas, mas o conceito exposto naquele capiTtulo adapta-se ao das capfinidas das Leys e, no mesmo texto, se diz: 3 toda a cantiga ay deue dyr ata filndar»».

13"Probleraas (Till)," Rev, de Port». XIV, 99»

^^eviev; of the Cancioneiro da Biblioteca Nacional, antygo ^olo^i Brancuti in "Noti'cias e Crfticas BibliograFicas" Biblos ( 1 ^ 8 )T XXIV ,“ 1 7 2 . 62

Capitolo llijO

As fijudas som cousa que os E quar ayssl havem p a rlâ t de to r­ trobadores sempre husaron de peer nade, devetz saber quen tôt dictât en acabamento das sas cantigas, pot hom far una o doas segon ques pera concludiren, e acab aran estât dig* tomadas**.,* ...... melhor e[n] elas as rrazones que encaras devetz saher que cascuna disseron nas cantigas, chamando tom ada deu es ser del compas de Ihis fiinda, porque quer tanto la raeytat de la cobla derriera dizer come acabamento de rrazon* vas la fi. can la cobla es de bordos S esta fijnda podem fazer .. de parios so es en nombre par e can h%a, ou de duas, ou de tr e s , ou son en nombre non par la dicha de quatre palauras, 3 se for a meytatz creysh d'un bordo, et en cantiga de meestria, deue a fiinda ayssl quo pot creyssher otra la rrimar corn a prestumeyra cobra, raeytat, en ayssl pot mermar quis e 80 for de rrefram deue de rrimar toi* E pauzat quom pauze doas corn o rrefran, E como quer que tom adas* ges per so non es de digam que a cantiga deue d'aver n é c e ssitâ t que am doas sian dun huna delas e taes hy ouue que compas quar algunas vetz pot hom Ihe fezeron duas ou très, segun— pauzar quis vol la una tomada* do sa voontade de cada huÛ deles; plus longa de bordos, que lautra, e taes hy ouue que as fezerom sera segon que sera vist ad aquel que fiindag, pero a flinda he mays fara lo dictât,, (Gatlen-Arnoult, conçrimento, (24) I . 338*)

The flinda, which is that part of the song which comes at the

end and summarizes the discussion of the poem, may be of one, two,

three, or four verses* If the poem is a cantiga de meestria, the f iinda must rhyme with the last strophe* If the composition is a

Cantiga de refram, the f1inda rhymes with the refrain. The troubadour may invent two or three filndas according to his wish. There are

cajitigas, however, without a concluding strophe, but the filnda makes

the song more p e rfe c t.

As for the Provençal poet, he, too, may compose one or two

tomadas (concluding stanzas). The tornada follows the mesure of that

of the last half of the preceding strophe. If there are two tomadas,

it is not necessary that both have the same number of verses.

The filnda and the tornada are alike in function and form: 63 both are used to complete a poem; both are modeled after the strophe immediately preceding*

Capltulo yQ

Outrosy uos querenos mostrar Equivocz es un meteys motz que auer seer dobre « Dobre [l^ e Engals e d'accens et de votz dizer hua palaura cada cobra Que divers signiflCB.tz pauza, duas vezes ou ma^'-s, mays deb en Segon que par en esta pauza* [n] a meter na cantiga muy gardada- Trenta sola et plus me costa mente* E conuen, como a mete- Le rompemens de ma costa ren en htla das cobras, que asy Due l'autre jorn prezi costa o metan nas outras todas* E se La forest qu’es en la costa* aquel dobre que meteron na hSa (Joseph Anglade, II, 113*) meteren na [sj outras, poden no hy meter en outras palauras, pero sempre naque], talho e daquela manera que o meteren na prima* E outrossy o deue [n] de meter na filnda per quela manera* ( 2 5 *}

Dobre, as a poetic artifice in the Portuguese cantiga. is the repetition of the same word or fommi.a two or more times at a designated place in the strophe* It is fitting that the device be used throughout

the entire composition*

The words, similar in accent and sound but different in meaning, are cal] ed rims equivocz when they are used as rhymes* Baslcadly dobre

and rlms eaulvocz are alike although the technical terms and the procedure followed are different* ”0 dobre consistia em repetir a palavra en dois o mais lugares de cada estrofe, E aquilo a que os provençals chamam rims equivocz*"^^

Capitolo vjO

Mozdobre he tanto corne dobre, D erivâtius es can le motz fin a ls quanto he no entendimento das de] bordo se nreii e*s dishen d'un

^^Rodrigues Lapa, op* c it.. I 9 O* 64 palavras, maya na palavras autre mot final par creyshemen. E desuayran se, porque mudan os aysso se pot far per diversas manieras, tenpos* E como vos ia dlxi do (Joseph Anglade, II, 112.) dobre, outrossy o mozdobre en aquela guisa e per aquel a mar­ nera que o meteren en hua cobra, assy o deue [n3 y meter nas outras e na f j.jnda pera seer mays com- primento*

Mozdobre (palavra re p e tid a ) is the same as dobre as f a r as the intent is concerned, but the words vary as they change tense* The device consists, then, in the repetitionnot ofthe exact word, but one derived from it* The infinitive form of the verb can bechanged to the future, etc*

A rhyme word is termed derivatlus when it is used to build another rhyme, for example, port. porta* Rodrigues Lapa confirms the relationship of mozdobre (mordobre) and rims equivocz* "No mordobre* dava-se a repetiçao da palavra, mas nas suas derivaçîes, u tilizando-se geralmente diversas formas verbals* Era o que em tecnica provençal se chamava rimas derivatlus (rims dérivâtius)*^^ The expression mozdobre is a very curious compound since it is a combination of moz motz and dobre* How can mos be explained phonetically, if it does not originate from Provençal?

Ill, Part five which contains two chapters

Os tenpos chaman ou trobadores Pel temps del verb* T ist del quando falan nas cantigas no tenpo gendre* devem tractar del temps* passado ou no presente en que estam, Temps es mezura delmovemen de la s ou no que ha de v ijr, ca cada huu cauzas movablas. 0 temps as pro-

190 - 1 9 1 . 65 d estes tr e s tenpos• ou os dous» ou prietatz de significar caoza todos tres, non poden escusar os preeen o passada o endeveni— trobadores que no fa la n en elos na doyra*•««Segons cors de nature cantiga quo fazen» ca» se falarem no son mas tre s temps* le nrezens* contra sy ou contra outrem, conuen le -preterit* el futurs* Enpero de falar on al^u destes tenpos en lo verb son *v* temps* le E, porem, se en algSu deles come— prezens* le -preterltz. inroerfagz* gar a cantiga* non conuen que de- le -preteritz nerfagz* le nreteritz poys falen no outro em aquela ra- -pluBQue-perfagz* el fu tu rs ***. zon» nen per aquel entendimento, Le nrezena* slgnifica caoza ques ca, en outra guisa, descordaria o fay ara de nrezen. coma veu ami* entendemento, darrazon de cantiga* tu amas» cel ama* Pero, como uos là dixi, poden n o Le preteritz imoerfagz mostra e meter no mosdobre. porque dam en slgnifica cauza ques passada e el cada tenpo seu entendemento* comensada mas non ges acabada (2?) coma yeu amava* tu aaavas* cel amava* Le preteritz nerfagz slgnifica cauza passada non ha gayre e compllda coma yeu amey et hay amat* tu amlest et has amat* cel amet et ha amat*

Le futurs slgnifica cauza ques avenir so es cauza endeveni- doyra*... (Gatlen-Arnoult» II, 228-'2ho* See p. 24-9 f o r sequence*)

Both the Leys d*Amors and the Arte de Trobar mention three

tenses and designate them as past, present, and future* Each interprets

the meaning of the past as that which has taken place, the present, as

that which is happening now, and the future as that which is to come*

The Leys d*Amors names five tenses of the verb, outlines their uses,

indicates the grammatical significance of the time expressed in each,

and illustrates the forms*

The Arte de Trobar. in addition to stating the tenses, discusses

sequence of tense* If a song is begun in one tense, it is not fitting

that another tense be used with the same import* The tenses may be varied by means of mozdobre provided each tense is given Its proper 6é signif icance,

The Leys d'Amors outlines very elaborately its tense system, in far much too detail to be given here. From the excerpts quoted here, it can be seen that, in a very generalway, the twodocuments are alike. At least, they have in common thedefinition of temns - tenpos: the division of time into past, present, and future; and sequence*

Capitolo 1.1*^

0 outrossy as cantigas, com eo disse, fazeren em rimas longas ou breves, ou en todas mesturadas. E por esto conuen de uos mostaremos quaes ssom as r rimas longas ou as breues* Pero que todas non uos podemos m ostrar conpridamente, porque ssom muytas e de muytas maneras; per 0 que todas las rrimas se acaban en estas vogaes que seian as prestu- meyras, todas ssom longas, conuen a saker, as que sse acaban no .A* ou no * 0 * ... A polo .a., ou no .o., polo . 6 ., ou qualquer das outras uogaes que ponhan en cabo da rima, pola prestomeyra sij3aba,[h]e la per sy, E as outras rrimas todas que se acaban en leteras breues, todas sson curtas, porque conven que o trobador que trob ar quiser, se começa en longas ou per curtas sy llab as, que per e lla s a(s] acabe. Pero que pode as meter na cobras das huas e das outras, se qui­ ser, a tanto que, per qual guisa as meter en hüa cobra, que per tal. guisa as raeta nas outras, Pero conuen que, como as meter, que assy as rrimar: longas com longas e curtas _/com curtas^. (27- 28)

The Portuguese cantigas are made with a long or short rhyme

(masculine or feminine) or with both, Tiie author of thepoetics

ex]]lains that he is not able to show all.the illustrations of what 6? is long and what Is short because there are too many* (There are many illu s tr a tio n s and rules fo r rhyme, in the Leys d'Amoi's, too many to quote*) The rhymes are short if they end in short letters* The interpretation of long rhyme is not too clear* Sven the modernized version does not help much* "....ernbora todas as rimas sejam longas se nelas as vogais sao derradeiras, a saber as que acab am no A ou no

0* A que acaba por a, ou por o, ou por e, ou qualquer das outras vogais que ponham no fini da rimas, na ultima sillaba, la esta de per si*"^7

The masculine verse must find its correspondence in the subsequent strophes; so also must the feminine* Or the cantigas may be composed with both rima breve and rima longa; the breve rhyming with breve, the longa with longa*

IV. Part VI which contains three chapters

Os erros son tantos e de tanta[aj Ay^si comensa la quinta partz maneras que os homens poden fazer de vicis e de figuras. Entre no trobar, que non posso falar en lasquals devem ysshamen tratar todos tan conpridamente, pero con- domat* Oonx dels vicis devem uen que vos traute ende alguns* tractar prlmieramen. dels quads ( 2 9 ) tractem per e sta manors* (Gatieu-Arnoult, III, 1*)

Both tracts exp,la in that there are errors to be treated next.

The Portuguese author states that there -ire many ways in which a poet should not compose, that it is not possible to speak about all

^7"Problema (x)," Rev, de Port* (19^9). XIV, 198 * 68 of them fully, and that it is, therefore, fitting that he give only some of them* Again, he implies that he is compiling his set of rules from another source or sources*

Cap itolo i.1

Erro acharom os trobadores que De la segonda sageta. Apelada e ra h 0.a palavra a que cacofeton, cacenphator. La segonda sageta es que se non deue m eter na can tig a, Gacenphaton* e vol dire cacen— que he tanto come palavra fea e phaton aytant coma mala aspra e soa mal na boca e algunas uezes laia sonoritat ques fay an una tange en ela cacoIrian, on lixo dictio cant a la votz* que non couem de se er metudo en (Gatlen-Arnoult, III, 26*) boa cantiga. ( 2 9 )

Cacofeton or cacenphaton which is the concurrence of harsh sounds or syllables should be avoided* The phrasing of the definitions is not exactly Identical, but the essence of the two is the same*

Capltulo iijO

Outrossy erro he meter, a Vocal ni m no deu hom pauzar denan palaura, uogal depos uogal. Non vocal en diversas d ic tio s coma: eatendades que sse entendedea que dona a cor, vostre nom hay, quar sse entende vogal depos uogal, sse a totz. agradiva etz: ni r denan r; as uogaes son de senlias natnras; ni ^ am diptonge os amb autra con- no sse deuen meter duas uezes hGa sonan denan ses tot meja denan _r, apos outra sse hua uogal he mayor; coma qui dits; Le buous ranque.ia. meter, sse dela duas uezes quiseren per far razo: Phellps revs es: fazer sillaba. Pero algu'us as ni diptonge denan autre diptonge zneten na cantiga dando; Ao. Eo* que comense por vocal, no deu hom ao* e (oj , duas consoanças a cada pauzar, quar trop engendro gran hua desta[s] vogaes. È assy poden hyat, *...... meter cada hGa delas duas vezes, e non vos posso esto mays declarer, A, e, i, o, u son vocal* senon como ome cada hQu fiihar en (Joseph Anglade, op. cit*. 3 6 , 39.) Bseu entendimento as leteras Vogaes* Soo estas jh^ an que escritas son; A.S.y.O.V. ( 29 - 3 0 )

(Corrected version of Capitolo li.j) 18 C utrossi erro e meter [et^ a

3 8 Rodrigues Lapa, Revii’w of "A mar gem da poetica trovadoresca by Celso Ferreira da Cvuiha in Resenas.” NREH (1954). VIII, 8 3 * 69 palavra vogal depos vogal. Non entendades.. que se entende vogal depos vogal, se as vogaes son de senhas naturas; mais non se deve meter duas vezes ua apos outra, se ûa vogal e (esto es, si la misma vocal, si es vocal unlca), maiormente se dela duas vezes quiseren fazer sflaba (esto es, si la sflaba final de la palavra se pronuncia independientemente de la vocal sigulente, constituyendose por lo tanto dos sflabas), pero [aunqu^ algaüs as meten na cantiga, dando ao a, jo e e duas consoanças a cada ua de s tas vogaes; e assi poden meter cada ïïa delas duas vezes»** Oqiere declr: hay que évitai* los encuentros de la misma vocal; pero a algiuiOB no les parece mal violar este precepto, fundados en una pro nunc iacIon diferente para cada una de las vocales. Se alude evidentemente a casos como do orne, esse ecQ. da aima, en los cuales, en efecto, la vocal final de la palavra.se pronunciaba mas o menos cerrada, de manera que su GOnsoança e ra d is tin ta de la vocal sigulente*

As can be seen from the corrected text, the error of hiatus, for the Portuguese poet, consists in the coming together of the two identical vowels In successive words* The error is not considered too grave if the vowels have a different pronunciation*

The rules in the Provençal text involve details not mentioned in the Arte de Trobar; vowel before vowel is not to be used: m before a vowel, _r before _r, diphthong before diphthong, etc*

In this chapter and the preceding chapter, Camille Chabaneau had remarked certain parallels. While he did not indicate the specific items, he suggested the possibility of comparison.

Les doctrines de la terminologie des Leys d*Amors paraissent aussi avoir ete connues (peut-etre par le Compendi de Castellnou) et adoptees quelque temps, du moins, en Portugal. C*est ce qu'on peut induire d'un petit traite de poétique dont un fragment nous a ete conserve en tê te du chansonnier rece'iiment p u b lie , en 70

partie, par M* Molteni (il canzoniere uortoghese Coloccl- Brancuti. Niemeyer, 1880} Cf* par ezanple le dernier chapitre avec Leys I , 22; l'a v a n t d ern ier avec Leva I I I , 26.19

It was partly this suggestion that induced the present writer to extend the collation of the Leys d'Amors and the Arte de

Trobar* The comparison of the two texts does disclose striking similarities of principle and of detail, if not always in nomen­ clature. Certain forms are exactly alike such as cacofeton— acen-phaton, division of tennos— temps. and hiatus. Some words are of Provençal origin: tenso and moz of mozdobre. The Portuguese author speaks several times of choosing from a number of rules,

V/hlle the order in which the devices are defined is not the same in both documents, the subjects discussed in the Arte de Trobar can be found in the Leys d'Amors*

The purpose of this comparison, however, was not to establish

sources, but to clarify terminology. Without the definitions of

the standard nomenclature, whether it be Portuguese or Provençal, any analysis of versification could not be understood. It is ab solutely necessary to know how nearly synonymous the Portuguese and Provençal terms are. Examples of poetic devices, types of cantigas. and verse forms do not have much slgnlficaiice if one does not know what is being illustrated.

sur l'Histoire de Languedoc," Histoire générale de Languedoc, T, 180. 71

2* Terms not defined in the Arte de Trohar

All the cant1gas, whether amor, amigo. escarnho, or maldlzer. are divided into two general categories; meestria (maestria) and refram (cf. Part III, Chapter T. of the Arte de Trobar).

A cantlga de maestria is a poem which does not have a refrain.

Of the fifty-four songs of this present edition, twenty-seven are cajitigag de maestria. One hundred seventy-nine cantigas d'escamho e de maldjger out of two hundred ninety-six in the Canclonelro da

Vatlcana are de maestria. Sixty-six of this class out of one hundred four poems edited by Carolina Michaelis de Vasconcellos, Oskar Nobling, and Henry Lang are 6antigas de maestria (see Appendix I).

A cantiga de refram is a poem with a refrain. The refrain w ill vary in number of lin es from one to six . About tw o-thirds of more than two thousand poems are refrain songs.Tw anty-seven out of the fifty-four of this present edition have a refrain.

Among these refrain songs four have a parallelistic pattern;

-Q7 9^5» 9^9* 950, and 95^* The parallelistic poem,^^ an indigenous form of poetry, is one in which the first distich is reneated with

2 0Carolina Michaelis w de Vasconcellos, op. c it., 195* 2X ^Paralelfstlca. Por este nome, criado por Storck urn dos e sc rito re s alema.es que com mais amor se dedicaram ao estudo da nossa 1.ite ratura e depots adoptado por D, Carolina Michaelis, que tambe^m e, a meu ver, talvez com mais propriedade, Ihes chamou bailadas encade- adas, sao designadas aquelas cantigas de estrutura verdadelramente popular, cujas estrofes, na sua quasi totalidade, compostas de dois versos apeiv&s, reproduzem a mesma idea e ate as mesmas palavras, simplemente alteradas na colocaçao ou substitueras no fim dos versos por outras slnonlmas, mas, na sua termina;So diferentes das ^ue Ihe correspondem nas anteriores e exigidas pela rima; Jose Joaquim Nunes, Cantigas d*Amigo, T, ^37~^'*'38* 72

slight alteration, but without any extension of thooigïit, only the rhyme word becomes another* - - o and a — £ are the rhyme assonances

that are preferred*

C7 9^5 illustrates the parallelistic type* It will be observed that the significance of the strophes is not changed by the

alteration of the words* The rhyme, however, is not based on assonance*

Da esteyra vermelha cantarey,

e das mangas do ascari farey,

e o brial hy ementar vol-ey,

e da se la que Ih 'e u v i rengelhosa

que ja Ih'ogano rengeu ant’el rey,

ao zevron, e poys ante sa esposa*

Da esteyra cantarey des aqui,

e das mangas grossas do a s c a ri,

e o brial ementar vol-ey hy,

e da sela que Ih’eu vi rengelhosa

que ja Ih'ogano rengeu ant'el rey,

ao zevron, e poys ante sa esposa*

Another type of refrain song is ze.iel* This kind of poem is

composed of "a monorhymed t e r e e tc . c a lle d the mudanza. follow ed by

the vuelta of one line or more rhyming with the introductory strophe

that contains the theme and that corresponds to the cabeza of a glosa*

The simplest form of the strophe is the four-verse rh^/ming a a a b. 73 c, £ c b, and so on, the b rhyme remaining constant throughout the poem.wZZ ÇB 1553 this present edition is like a zejel with the rh^rme scheme A A b b b a, £ £ £ a A* e tc , (The symbol A in d icates the r e f r a i n ,)

3* Classification of the

cantigas d'escamho e de maldiser

The captions or rubrics which head the cantigas. especially

those of a satirical nature, may be intended to aid in estab] 5 rhiing

iliC (jiffeience between the escarnho and the maldlzer songs. With the heaxling "Esta outra cantiga fez d*escarnho" the manuscripts lis t _CV 975*

977, end Œ ll6, CV 9 6 8 . 9 6 9 , 1000-100? inclusive, ÇB 15C4, 1510-lA,

I 5A3 , 15^ , 3-nd 1561 are classified as "d’escarnh’e de maldizer,"

Songs with the rubric "cantigas de maldlzer" are 07 937 » 9^1» 95&-9&0

inclusive, 965, 9&6, 998, and 1.088 (which Carolina Michael.is de

Vasconeelles classifies as a romance), There is one "gesta de maJ-

dizer" ÇV 1080.

As a subdivision of the escarnho songs, the compiler of the

Arte de Trobar defined .loguete d 'a rte iro * The v;hole cycle by Don

Lopo Lias on the infancies zevrZes, CV 9^5-95^, presents excell eht

examples of this type. The allusions s.re of the burl a t^me; the author

^^Dorothy G, Clarke, A Chronological Sketch of Cast_ilj,_ffl. Versification together with a List of its Metric Terms (University of California, Berkeley, 1952), 373* 74 banters with the Inf ancon, about his saddle cloth, his ascari sleeves, the dress, a creaking saddle and, finally about his mare* Throu^out there is a consistent use of ambiguous terms*

CB 1553 la sn example of the cantiga de rlsabelha which is an escarnho song intended only to be amusing* A quickly moving rhythm, achieved by an ingenious use of the coordinate conjunction

^ (and), makes this lyric about Pero Canton's love for a bottle stopper very entertaining*

There is one poem C7 1043 called a cantiga de vilâo which is defined in the Arte de Trobar (Part I, Chapter VIII) as a song without slanderous language and composed of unequivocal words. This type of lyric was patterned on those sung by the peasants*

According to the rubric to ÇV 963, it is composed in the measure of a descort* This poem, along with ÇV 1025, can be found in the study on the descort by Henry Lang (cf* page 10 of the Intro­ duction)*

One poem to which we can apply the name segulr is _CV 949*

Ton Lopo L ias in the opening verse t e l l s us th at he i s composing the poem with a melody "de negrada" (?)• Carolina Michaelis de Vasconcellos

transcribes this phrase as ”de Negrada" assuming that Hegrada was a

troubadour*^3 Rodrigues Lapa believes it to mean "Moorish" The

rubrics to CV 1043 and CV IO63 point out the fact that they are

seguirea*

23^ , II. 662*

24pas Origens da Poesia Lfrica em Portugal. 18. 75

Of the thirty tensons in the cancioneiroo, twenty are satirical; CV 920, 1009, 1010, 1011, 1020, 1022, IO 3 2 , 1035. HC4,

1 1 0 5 , 1158, 1186, ÇB 465, W , 1501, 1 5 0 9 , 1512, 1550, 1551. Ten of these poems have as their r^o n. subject or argument, the ability of the jograr or trobador as a poet or musician*

4-. Examples of the Poetic Devices Palavra Perduda,

Dobre . Mozdcbrg

An example of palavra perduda is found in CV 9^3• lin e s

a and £:

Cavaleyro, con vossos cantares a

mal avil(t)astes os trobadores, b

e poys assy per vos son vençudos; c

CV 912 contains several examples of dobre; rlc ’ome, Cea. and Mlnho*

These expressions are not repeated in successive strophes but as

the final words of verses two and five of their respective stanzas*

Tn Estevam da Guards' s poem ÇV 906 there are examples of mogdobre*

Affajiar andaffanou, percalzar and percalzou are used in rhyme

posilions*

5 . Verse and Strophic P atterns of the

Cantigas d ’esca-rnlio e de m aldizer

Por the pui'jJüse of indicating verse p a tte rn s, sy llab ica tio n ,

strophic forms, and rhyme schemes, a metric index has been set up for 76 the poems of this edition which has adapted from Istvan Frank's

Renertolre Me%rique de la Poesie des Troubadours (Paris, Champion,

1953» 2 Vole,) As a control to give a more consiste tabulation

(thiswriter's poems represent only about one-fourth of four hundred cantigas d'escamho e de maldizer). there has been added Appendix I, a similar index of the poems edited by Carolina Michaelis de Vasconcellos,

Henry Lang, Oskar H obling, and Jose Joaquim Nunes*

The syllabic count is based on the actual number of syllables in the verse* E da sela cue Ih'eu vi rengelhosa is an eleven-syllable, feminine line, while e das mangas grossas do ascarf^ is a ten-syllable, masculine line*

The versa of the cantigas d'escarnho e de maldlzer varies from three to sixteen syllables (see CV 1088) in a song with feminine rhyme* However, by far the most characteristic is the decasyllabic line with the primary accent on the tenth syllable and a movable secondary accent* The Provençal verse, on the contrary, has a fixed accent on the third or fourth syllable,

There are very few poems where the caesura falls consistently on a fixed syllable throughout* CV 906, for example, illustrates the

shift of the secondary accent:

Alvar Boir^guis, / veg'eu agravar

porque se se ^ t'/a q u i mengua d'andar;

^•Spriedrich Liez, Uber die erste nortugiesische Kunst- und H ofuoesle. 38* 77 k , e ten que Ih’ya/melhor alen mar 4 . que Ihe vay aqtyr/ini nag eu et criou;

et, por ^8to,/diz que se quer tornar

hu gran tempo/servlu et affanou#

Quite commonly the troubadours used decasyllabic oxytones with hendecasyllabic paroxytones as in CV 905» 972 » 97^» 978» CJB 1507 and 15^3* Another combination was a mixture of decasyllabic oxytones

and paroxytones, as, for example, Ç 7 9^5 and CB 1505#

In the hendecasyl 1 able verse as well as in the decasyllabic,

the secondary accent may be on the third, fourth, or fifth syllable# 4 Ifostro senhor, / com' eu ando coytado

con estas manhas/que mi quisestes dar.. jgB 1528

e pago-me m^yto/dos dados jogar

desy ar e§Ymuy gram sabor de morar 4 por estas ruas/e vyv end ' apart ado ^ 9^6

4 Faria m'ou/o que vos vos fazedes

Leixar v^lhas feas/, e as fremosas

e manclbas/filhal~as por esposas# ^ 1528

The cantiga CV 958 has an unusual combination of four ten-

syllable verses with two longer lines of twelve syllables and two

short lines of five syllables# The four decasyllabic verses are

monorhymed and have a fém inine caesura a fte r the f i f t h s y lla b le w ith

the exception of the third line* Verses five and seven have an inner

rhyme* The feminine caesura after the fifth syllable divides the 78 lines into hemistiches. The syllabic stracture of this poem is given in Friedrich Eanssen's study on the verso de arte mayor,

"Zur spanischen und portugiesiachen M etric,” in Verhandlungen des deutschen wissenschaftlichen VereinsCSantldgo de Chile, 1898—1902),

Bd. IV, 1 7 2 .

The cantigas CV 9^9» 950 1 and 952 also have an inner feminine rhyme* In CV 9^9 and 95 0 there is a feminine caesura after the seventh syllable and in CV 952 after the sixth syllable* Rodrigues Lapa, in a. note, in Das Origens da poesia ifrlca em Portugal, indicates the structure of CV 950, in particular, the third strophe: ”Pornos em verso de I 3 sflabas (Spanish counting), porcpe a 5& e ultima estrophe, que nao tern ja paralellsmo, — e isto e uma circunstancia talvez digna de nota — indica, pela ausonela da rima interior, que o verso e efectivam ente l^ -c fla b o * ”^^

The octosyllabic verse is the next most favored by the Portuguese composers of the cantigas de maldlzer* Masculine rhyme is preferred for this verse pattern as for the decasyllabic. There is often a secondary accent toward the middle of the verse; but, at times, there seems to be none whatsoever*

Hmi cavaleyro se comprou'

pera quit a r - se de Jaen*. 07 9^7

Pero Perez se remeteu

por dar unha punhada* CV 9 7 O

26p* 27 6 , 79

While the seven-syllable, masculine verse is often used for the sole measure of a poem, verses of shorter lengths are found only in combinations with other patterns — at least, in so far as the poems of this present edition and those found in Appendix I are concerned. There are variations in strophic patterns as well, as in length* The zejel. parallelistic songs, the gesta de maldizer* and the romance have already been mentioned in Part 3 of this chapter*

The most characteristic strophic structure of the cantigas de m aestria is the seven-verse strophe with the rhyme scheme abbacca of abbaccb* There are a few’’ examples of slight variations of rhyme such as ababccb*

The cantigas de maestria with f 1indas conform to the rhyme of the last .strophe in accordance with the rule stated in the Arte de

Trobar* Exceptions to this rule can be observed by consulting the

Appendix I* (See also the study of Celso Ferreira da Cunha, "As Piindas das Cantigas de Paay Goines Charinho," Cu] tura (19^9)» I* 135“ 1^^* )

The troubadour seems to have p referred to compose h is re fra in song with a two-verse strpphe and a one-verse refrain. There are numerous examples of poems, however, composed of three verses, one of which serves to divide a two-line refrain*

The rhyme of the cantigas d*escarnho o de maldizer is pre­ dominantly masculhig. There are a few instances of imperfect rhyme, principally, an -ar with an -al* The pattern of rhyme set in the first strophe is usually adhered to throughout the following ones.

The rhyme, whether masculine or feminine, seems to he largely verbal 80

endings» The ozytones or masculine rhymes are usually —ar. -Ir, -ou.

-eu. -_i, -ey> etc» The paroxytones are -eyto. -ada. -Ida. -la. -asse.

etc»

Basically, the strophic and verse patterns, syllabication,

and rhyme schemes of the cantigas d^escaiuho e de maldlzer do not

differ from the cantigas d'aaigp and the cantigas d'stmor» There seems

to be a decided preference, however, for the cantiga de maestria rather

than f o r the c a n tig a de re f r?\ru

6» Index

The poems are classified under the two headings of cantigas

de maestria and cantigas de refram» The syllabic count is, as above

mentioned, given according to the actual number of syllables in the

verse. Feminine verses are marked thus (')•

The symbol 2 x (2 + 1 ) means th a t the ].yrlc Is composed of two

stro o h e s, each having two v e rse s and a o n e -lin e re fra in » The rhyme

scheme and syllabication are indicated as: a a B 7 7 7

In the example given, the rhyme of the first strophe Is and the

second ava» The refrain is eyra. The symboj is as follows: a:in, ava;

B: eyra»

The following abbreviations will be used:

c.d. cobias Tobias c» s, ...... cobias singulares c,u* cobias unlssonans d. ...» dobre 81

. f ...... f lln d a m * d * ...... mozdobre p.p» ...... paiera ^perduda 8 ...... , sirventes ten ...... tençon Braga ...... See Introduction, Selection and Procedure, p. 21* M ...... " » ' " p* 21. Rand...... " " " p. 22. Hunes, Cr.A. •...... José Joaquim Nunes, Cresto~ matia Arcaica, ediçâo (Lisboa, 19^5)- CD ...... See Introduction, Selection and Procedure, p» 22* ON ...... " " ' " p. 21* H ussafia «...... Adolfo lîussafia, "Sull 'antica raetrîca portoghese, ossor-* vazioni," in Sltzxingsberichte der kaiflerlich en Akademtc oer wissensch.aften phil, hist. E lasse. Bd. CXXXIII, I 896 NoblIng ...... Üskar Nobling, "As Cantigas de Joan Garda de Gull hade , " Rom. Porsch» XXV, 641-719» Solalinde •...... o. Antonio J* Solalinde, Anto- logta de Alfonso X el Sablo, Coleccio'n Austral, 2a ediçSo (1 9 4 3 ). I H D E X

DE MA3STP.IA

1. 3 b b a c c a a; ou, a 10 10 10 10 10 10 10 b: en, i r c; e, ar

2, a b c b d d b a: ares, elhos, etes, eres 10» 10» 10»10» 10 10 10» b; ores I-III; ados II-IV g : a r, or, on, er

f . d b d; er 10 10» b: ados

3* a b b a c c a a: ura, ado 1 la 11» 10 10 11» 10 10 11» b: or, ar, on c: a l, i , ar

4. a b b a c C b I—a: i : b: ir; c;eu; 10 10 10 10 10 10 10 II and III: a: lu. al b; or, er, c: ey, as

5 . a b b a c c a a; I-II , ou ; I I I , en 10 10 10 10 10 10 10 b: I-II , ar ; I I I , ou c; I. il; XII, i

6, a b b a b b a CB I 507 V. Ferez Fardai a; edes 13 • 10 10 11» 10 10 11» b: ar % 7 . a b b c c a CV 905 Stevam da Guaxda a: ada 11» 10 10 10 10 11» Braga; 3 x 6 b: ol, on, er G; ar 8» a b b a c c a 07 910 Stevam da Guarda a: ir, a, or 10 10 10 10 11 * 11 * 10 Braga; 3x7.* c.s. b: eu, ey, em c; ado, ia, eito

a b a b c c a 07 972 Martim Soares a; ado 11 * 10 11 * 10 10 10 11 » Braga; 3x7: c .u . b: e r c; a r

10* ababccb 07 9 7 5 Martim Soares a: i 10 11 » 10 11 * 10 10 11 » Braga; 3^7: c .u . b; edes c; a r

11* ababccb 07 976 Martim Soares a: e r , a l 10 11 » 10 11 » 10 10 11 » Braga; 2 x 7 b: iga, ia c; i , en

12* a b a b c c a ÇB 151O Feman G* Ssgaravunha, a: ente, ado, ia, esse 11» 10 11» 10 10 10 11» M-OB:4x7; c ,s . b: er, ir, al, en c; eu, iu, ou, on

1 3 * a b b a c c a 07 978 Martim Soares a: aron, ante, ado 11» 10 10 11» 10 10 11* Braga; 3 x 7; c . s . bî 1, al, er c: on I os, en l4. a a a a b b a b b a 10 10 10 10 6 » 6 » 5 6» 6» 5 07 958 B, Lopo L ia s a: a l , ey Braga; 2 x 10; c . s . b: ada, ado l5* a b a b b a 07 988 Martim Soares a: eyro 1 1 * 10 1 1 » 10 9 1 1 * Braga.; 1 x 6 b: er (Fragm ent) 00

1 6 . a b b a c c a 07 908 Stevam da Guarda a: a 8 8 8 8 8 8 8 Braga; 3 % 7 : c .u . b; on c; i 1 7 . a b a b c c b CV 967 Martim Soares a: ou, ar, or 8 8 8 8 8 8 8 Braga; 3 % 7: c.s. b ; en, i , ou c ; a l , e r , e r

18. a b a b c c a CT 973 Martim Soares a: on 8 8 8 8 8 8 8 B raga; 2x7; c .u . b; e r c; a r

1 9 . a b b a a b CB 1521 Gil Peres Conde a; ey, en, ou 8 8 8 8 8 8 M-CB; C r.A .; 3^6; c . s . b; e r , a r , y

2 0 . a b a b c c b CV 970 Martim Soares a; eu , on 8 7 ’ 8 71 3 8 7 ‘ Braga; 2 x 7« c.s. b; a d a , ado c; a r , ou

2 1 . a b a b c c b CB 1527 Gil Peres Conde a; a r , ou, eu 8 8 8 8 8 8 8 M-iPB; 3 x 7 b: on, i a , o r II--8 » 8 » 8 » c: or, II-III er

2 2 . a b a b c c b CV 971 Martim Soares a; ar, ou, en 7 7* 7 7 ' 7 7 7 ' Braga; 3 x 7 b: as se, ado, isse c; on, a r , o r II , V. 6 o m itted

2 3 * a b a b b a CV <^66 Martim Soares a: ado, 0 s o , alho 1 1 » 11 1 1 » 11 11 1 1 » Braga; 3x61-4 b; I-III ar; II er

f . b c b c b; e r 10 11 10 11 c: ia

24. a b b c c a CB 1528 Oil Peres Conde a; adre, esse, estes. 11 » 1 1 » 1 1 » 1 1 » 1 1 » 1 1 » M-CB; 4x6; b; I-III ia, II asse, Tf~ one line missing. c; astes, estes, ida, ades 25* a b b a c b b _ÇB D. Roy Gomes de B reteyros a; ado 11* 11* 11* 11* 8» 11* 9* M-OB; 1 x 7 b; ando c; eyto (Fragm ent}

26. a b a b c c b b 6 7 8 8 5* 6* 7 6 07 959 D. Lopo Lias a; in Braga; 1 x 8 b: a l c : esse

27. a a a a b a 07 960 D. Lopo L ias a; es 8 8 8 8 8 8 Braga; 1 x 6 b; ia (Fragment)

CMTIGAS DE REFRAM

1 . a a b c C B 07 909 Sstavam da Guarda a; on, a, er 10 10 10 10 10 10 Braga; 3 x (-t+ 2) b B; un c C; ey, al, eu

2 . a b a b b A A 07 962 D. Lopo Lias a A; ia 10 * 1 0 » 1 0 » 10 » 10 » 10 » 10 » Braga; 2 x (3 ^2). c.u. b: ado

3» a a a b a B 07 906 Sstevam da Guarda a: a r 10 10 10 10 10 10 Braga; 2 x (5 r 1 ) b B; ou

4. a a a B B 07 953 ^opo Bias a: i, ar, eus 10 10 10 10 10 Braga; 3 x (3+2) B: en 00 I I I - a: ey 5 . a. a a BB 3 C7 969 l^iartim Soares a; en, a l 10 10 10 10 10 10 Bra^a; 2 x (3 + 3 ) B: a

6 . a D b t'l C 0 CB 3.545 Joan Vasques a; er, ir, ur 10 10 10 10 10 10 } ' x (4 + 2) + 2 ; Î.^GB b; an, er (Ill-ey) C; a r

f . c c c; ar 10 10

7 . a a a B A B CV 945 D. Lopo L ias a A; ey; 1 10 10 10 11' 10 11» Brega, 2 x (3-+3) B; osa

8. a A a b A B CB 1543 D. Roy Gou'=‘s B reteyros a A; a r 10 10 10 11* 10 11» M-CB; 2 X (1+ 1+ 2+2) b B; ada

9. a a. a B B B CV 947 D, Lopo L ias a; al, an, 1 8 3 8 8 8 8 Braga; 4 x (3 + 3): c .s . B; ou

10. a a a b B B 3 CV 948 D. Lopo L ias a: on 8 8 8 8 8 8 8 Braga; 3 x (4 + 3); c .u . b B: al

11. a a a b b C C CV 904 Stevam da Guarda a: i, os, er S 8 8 8 8 8 8 Braga; 3 x (5+2) b; am C; ar

12, a a B B B B CV 946 D, Lopo L ias a; al^' -ar, eyro, ente 8 3 9* 9» 9* 9» Braga; 3 ( 2 + 4 ) 3 : e l a I I - I I I 8 ' 8 »

Co ■^Imperfect rhyme. Cf. Dorothy C. Clarke, "InQDerfect Consonance and Ac cons tic Equivalence in Cancionero T e rse ," BÎI.A, LOT (19^9), 1114-1122. 13. a a a BB B 07 951 B. Lopo Lias a: ar, en, ir, er 7 7 7 7 7 7 Braga; 4 z (3 + 3 ); c .s . B| iu

14. a a b c c 3 B 07 955 D, Lopo Lias a; on, a l, ar 7 7 7 7 7 7 7 Braga; 3 z (3 + 4) b: I-ar; en B: en C: o r

1 5 . a a D a a b C D C C D 7 8 7 1 7 7 7* 8 3 8 7 7 C_7 95^ D. Lopo L ias a: a l , 1 » on, an Braga; h x (61 5) b: edes, osa, ia, ades C: oa L: ey

1 6 . a b a b G C C 957 D. Lopo L ias a: en, TI-III, or 7 7 7 7 2 7 8 Braga; 3 % (^ + 3) b: inl'ia, ido, Ill-ir, erra C: i r

1 7 . B B B 07 95^ L, I-opo L ias a; ao, ouço 6 • 6 • 6 • 6 • 5 * Braga; 2 z (2 + 3); c.s, B; e l a

18 . a a B CB 1547 Johan Vaasques a; ia, ava 71 7 1 71 M-CB: 2 z (2 + 1 ); c .s . B ; eja’a

1 9 . a a B CB 1548 Johan 7 aa.5qu.es a: ava, esa, Ill-ada, uda 1 1 * 1 1 * 7 M-CB: 3 % (2 + 1) 3 : sm

20. s a B CB 1549 Johan 7aasques a; edes, ades 12' 12* 12* I4-C3: 2 z ( 2 + 1 ) B: ia

21. a a ab a B C7 97^ Martim Soares a: a r , on 8 8 3 7» 8 7* Braga; 2 z (5 +1 ) b B; an ta 22, A A b b b a c c c a A d d d a A 11» 11» 11» 11» 11' 11» 11» 11» 11» 11» 11» 1.1 » 11» 11» 11» 1] »

e e e a A f f f a A 11 * 11» 11» 1] « 11» 11» 11» 11» 11» 11»

CB 1553 Femsn Soares a A; on, e M-CB: 5 X (4+ b : ao c : io d : ade s e: ado f: ente

2 3 . s a a B C B C CV 9^9 D. Lopo Lias a; ar, ey, 1 13 13 13 8 9' 7 7 Braga.; 3 x (3 + 4); c.s, B: on C: ilh a (Inner rhyme)

24,aaaBBCC CV 950 D, Lopo Lias a: ada, ida, osa (oda) 13» 1 3 ' 13’ 7« 7' 7 ‘ ?' Braga; 3 x (3 + 4) B: edes C: ades

2 5 . a a a B B C C CV 952 D. Lopo Lias a; on, ouço 13 13 13 7* 7' 7 ’ 7 ‘ Braga; 2 X (3 + 4) B; el a C; ada

26. a B B CV D, Lopo Lias a: edes, ades Qf Ot Ç, 9 Braga; 2 x (2 + 2); c .s . B; ol

DSSCQEg g a a b d c e b d a; ade 9 o 7 7 4 6 4 4 6 b: ar, al CV 9^4 D. Lopo Lias c ; el Braga; 1 x 9 d: ou ei er (Fragrient) TEXTS

89 Biography of

ESTEV/J^l DA GUAEDA

Eotev da Giiarda, kno’rfn in Portugaeae history as “servant and vassal" of King Denis, was brought from Aragon in 1281 as a page of Qjieen Isabel» He was "privado del Key Denis" according to the rubric preceding the poem _C7 220. He was protected by this king and his son, Don Affonao IV. He was called escrivao de puridade (private secrctary)to the monarch and served as such for a long time* In 133-5 he is mentioned as eychao mor (head steward) and still later he is referred to as escancao mor (head cupbearer)* In 1320 he represented the king and acted as procuraclor in an agreement between father, Don

Denis, and son, Don Affonso IV. He received a gift of property In

Torres Vedras, Febniary 10, ] 322, in appreciation of the services he had rendered the king* "Em gal.ardao de imjiitos serviços que déclara ter-lhe prostado Estevam da Guarda, fes-lhe doap%o, em 10 de fevereiro de 1 3 2 2 , de varies casaes e uma casa em Torres Vedras, que urn certo

Garcia Mai'tins do Oasal tinha da coroa em parte da quantia da sua soldada*"^ According to Carolina Michaelis de Vasconcellos, he was still living in 13^7 suid probably assisted the Coiuit of Barcellos in

the OTganizRtlon of the cancioneiro* She bases this conjecture on

■^•Henrique da Gsma B a rm s , Hi s t o r l a da Admi n i s t r a ç'ëo em Portugal- noe Seoul os XII a XV. 2nd e*d, (Lisboa, 1885^1896 ), VIII, 2?1.

90 91 the advantageous position his verses occupy in the collection#

Jose' Joaquim Nunes believes he was burled in the monastery of S. Vicente de Pora In J.isbon because of an inscription there with the words: **Oshos de Estevam da guarda E da sua molher Dona Sancha***

The rubrics to his poems are very informative and helpful in deciphering their meaning even if they do not disclose details of his life# The following is an example: "Esta cantiga foi feita a hut! vilEih-o rico que avia nome Eoy Pafez e fese~o Eom Afonso j filho del rey Dorn Denis, cavaleiro a rogo de Miguel Vivas, eleito de Viaeu sen privado, porque casou com hu% sa sobrina e era calvo e el en pero fel hu% caperon grande de marvy con pena veir? e con alfreses aberto per deante e ancliava^ce pelas costas pelos orabros todo arredor e de branco em ciina do caparon Ihe parece a pena veira." (CV 9^7)

(This song was made to a rich vilaao who was named Roy Fafez » and

Dom Afonso, son of king Dora Den is , made him a cavaleiro at the request of Miguel Vivas, chosen bishop of Viseu, his favorite, because he married his niece; and he was bald and he, therefore, made a hat of marvy cloth with fur and with ornaments* It was open in front and spread out on the sides over the shoulders all around and the fur on top of the hat seemed to be white*) Besides 1 earning about the unusual hat, we also discover that there were marriages between commoners and noble ivomen* Henrique da Gama Bsrros mentions the fact that such marriages were few In number, in a reference to t h i s poem# 92

Dev lam ser pouco viilgares entre os fidalgos os casamentos com mnlheres nSo nob res, por q_ne taes enlaces repugnavam necessarlamente ao preconceitos e costumes de uma nobreza altiva 6 ciosa das suas tradlçoes; com tudo mais raras vezes era o cassmento de mulher nobre com vill%o; pelo menos so encontramos nos nobiliarios um tmlco exemple de cases d’es ses, bem claro, ao gual po demos ajuntar outro que se depara d'um antigo cancioneiro*^

CV 9 0 5 > 9 0 6 , 9 0 7 » 9 2 2 , and 923 are devoted to Alvar

Hodriguis, squire and chief huntsman, whose stoiy will be told with the cantigas edited here*

There a-re several songs which are concerned with legal practices; he satirizes the professor of law with a "bad sense of

law", a judge "who could not hear", a cavalier who entered a "bill

of exceptions", a judge "who was not to be bribed"#

It is supposed that JoSo Soares Coelho, Buy Quemado, Ayras

Peres Vuiturom, and Pero da Ponte poke fun at Estevam da Guarda

though their poems CV 995. 997. 1014, IOI5 , IO8 3 , 1084, and II94

are addressed only to a Don Estevam.

The information concerning Estevam da Guarda is given in

biographical sketches in Randglossen I, ( 1 8 9 6 ) XX, 190-193; in the

Canclonelro da A.juda, II, 217 , 249 . 37® . 5®6-589; and in the intro­

duction to the Cantigas d'Amigo, I, 316-31®* There is a discussion

of Estevam da Guarda's cantigas and those ridiculing the troubadour

himself in Theophilo Braga*s critical edition of the Cancioneiro

da Vaticana. Ixvii end Ixxi-lxxii#

2 da Gama Barros, op. c it.. Ill, 395# ESTEVJÜ-1 DA GUAEDA 93

— I—

Eraga: 169 CV 90 ^ (CB 1300)

A hG corretor o que vy

vender panes, que conhoçi

con penas veyras, diss'asey:

"Da molher sson de Don Foam."

5 Et disso-m*elj "Vedes quant * am 5

el et aguesta sa molher;

an o master, an 0 m e ste rl"

E dise’eu; "Ficara en cos

sem estes panos do voir (V) gros;

10 mais, poys que os trajedes vos 10

a vender et par sseu talon."

Et dlSEO-m'el; "Sey eu de pram

per ela quanto vos disser*;

an o master, an o mesterl"

15 E dieG'eu; "Grav'e de creer 15

que elos, con mengua d'aver,

mandem taes panos vender

por quan pouco por elos dam."

Et disso-m'el; "Per com'estam,

2 0 el et aquesla sa molher; 20

an 0 master, an o mester." 94

Variants: Œ tornel is written in the margin* v. 1* a hu coiretor M-CT a hu correcor aque; v. 2* M-CV pauos; v. 3» CB co' penas veira; V. 5* ÇV dlssamel; v. 9* M-CV pauos do ugros CV panos do u’gros; V. 12. Braga disse-m'el; v. 13» 2 1 «ju-âto ues dlssei^aW M-CV quSto uez disse*(raao); t * 13» CV greue de qeer; v. l6 * CV dau* CB ela; V, 1?» CB caes; v . 18* CT p o r qnâ pouco por e ls dam; B raga d is s e -m 'e l; T* 19» CB Tomestam; v . 20. CV et z aï^sta ssa molh* * (Braga transcribes the refrain in the first stroiihe as; an o master, an o mester; in the second and third as; an-o mester, sn-o master.)

Versification: Cantiga de refram. 3 % (64-2). el e aguesta sa molher is repeated in the first and third strophes. With the repeti­ tion of this phrase and E dlsso-m'el in the fifth line of each stanza, there is given the effect of a three-verse refrain*

a a a b b C C a:i, os, er 8 8 8 8 8 8 8 b; em C: er

Translation:

I said this to a merchant whom I saw selling garments trimmed

with precious furs, that I recognized: "They belong to the wife of

Don Foam." And he said to me: "See how much they have, he and

that wife of his; they need it, that they doI"

And I sa id : "She w ill be s trip p e d down to h e r p e ttic o a t

without these clothes of precious furs; all the more, since you bring

them to sell, and with her permission." And he said to me: "I know

for certain how much they might ask you for it; they need it, that

th ey doI"

And I said: "It is hard to believe that they, with so little

money, order such clothes sold for so little as they give for them."

And he said to me: "It is according to what condition they axe in;

he and that wife of his; they need it, that they del" 93

N otes:

V* !♦ corretor! Braga supposes that Estevam da Guarda was ridiculing th e v ilS o . Roy E a fe z , whose name i s found in th e ru b ric to CV 92? snd who was made a cavaleiro by the son of Dom Denis# Estevam da

Guarda na cançao 92?i apoda o vilSo rico que casara, com a sobrinha do bispo valido, e a quern o rei dera dom; na cançao 904- allude a sordidez do mesmo vilao." (izvi-vii).

Carolina Michaelis de Vasconcellos does not conjecture any relationship of this poem with CV 92?* Her comment is that the lyric narrates the sale of used furs; ’’Derselbe Dichter erzahlt ein anderrual vom Verkaufe gebrauchter nannos und uennas veiras durch

einen Makler." (Rand, IV, XXV, 1?0.)

V. 3» penas veyras: "The two-colored skins of an extremely small

and therefore costly European rodent related to the ermine and otter

— i t may be m u stela l u t r e o l a »"

Penna veira, d. h# die zwiefarbigen Felle eines ausserst kleinen und darum kostbaren, dem Hermelin und Norz verwandten osteuropaischen Nagetiercbes—os sei mustela lutreola oder nicht— , d. b. sie blieben so wenig wie Grauwerk, Zobel und selbst Hermelin fur Konige und Pürsten durch ein Sondergesetz reservlert, sondern wurden aller Art ohne andre Beschrankung als der vom Geldbeutel des Raufers gesteckten in den Handel gegeben, (Rand. IV, XXV, 170,)

V, 5» 12, 19* dlsso: gd# sing, pret, of dizer. "E menos usado que

disse." Nobling, 703#

V, 7» 1^» 2 1 . mester: (fr, mestier. ministeria influido formalmente

por mestere de mysteria): necessidade, précisa© (C^.G,) Locution:

aver m ester, to need. See also v , 715* 96

8, c o s;

Sa. coa équivale a en cuerpo, este es, cou solo el vestido habituai a just ado al cuerpo, sia arroadura,. .En el portugues actual significa la parte de vestuario* especialmente de las calzas, cou la cual se clSe a la cintura, y tira de paSo sobre la que se ajustas los puSos y el collarino. (ïopez- Àydillo, 530.) Stripped to the petticoat.

V. 9* velr (?) gros: Is the form veir. ver or vair? I assume

the word is vair (Latin varius) from French. It would seem that

vair (Y) gros is the opposite of menu vair. a very fine fur.

Vair (s.m .) Le mot vair vient du mot varie* La fourrure de l'e^cureuil gris du nord estant grise et blanche, cette fouriure s’appelait dos de gris quand on n'utilisait que les dos, vair quand dos et ventres étaient alternes. On l'appelait menu vair quand la fourrure était très fine. Au Moyen Age, les manteaux des rois, des presidents à mortier, des conseilleurs à la cour, étaient doubles de vair. (Maurice Leloir, Dictionnaire de Costume. Paris, 1951 .) 97 -II-

B raga: 169 ÇV 905 (OB 1 3 0 0 )

D>ua gram vtnha que tern en Valada

Alvar Rodriguiz non pod’aver prol*

Yedes porgue; ca el non cura sol

de a (juerer per sen tempo cavar; 25

5 6 a mays d’ela jaz por adubar,

pero que tern a mourisca podada.

El s ’entende que a tern adubada,

pois Ih'a podaron; e tern semrazon,

ca tan menguado ficou 0 to rzo n 30

10 que a cepa non pode bem deytar;

ca en tal tempo a mandou podar

que sempre Ihe ficou decepada.

S’enton, de cabo, non for rechantada,

nenhum proveyto non pod’end’aver; 35

15 ca per aly per u a fez reer

ja end’o nembr’esta para secar.

E mays valria Ja para queymar

que de jazer como jaz mal parada* 98

Variants: v. 2. CB irodlguict rrodigu.it; v«7« ^ têtëde CY tentende; v. 8. GV podaroz. ssen rrazo; v* 10* M-CY copa Braea copa; v* 13* Se cô ÇB Se nô de cabo no for irechantada Braea S’enton; v. 15* ^ creer; v* l6* ÇV la endo nëbresta B raga j a en dezem br’; v* 17* ÇB v a lir ia *

Versification; Cantlga de maestria* 3 ^ 8

a b b c c a a: ada 11» 10 10 10 10 11» b: ol, on, er c; a r

Translation; Alvar Eodriguis can bave no profit from a vineyard

which he has in Valada* You see why; because he does not even pay

attention to cultivating it in the right season, and the greater

part of it remains to be tilled even though he has the Moorish one

pruned*

He thinks he has it tilled since they pruned it for him;

but he is wrong because the twig remained so small that the vine is

not able to bud rightly, for he ordered it pnmed at such a time

that it remained without shoots*

If.finally, it might not be replanted, he can have no

profit from it; since there where it was scraped, the branch is

about to dry up* And it would be better to bum than to lie as it

lies undeveloped* 99

îlo te s;

V. 1. vinha; The vineyard as a symbol is a very old one; for

example, it is used in The Song of Solomon, I, 6: "they have made

me the keeper of the vineyards; but mine own vineyard, have I not

kept.'*

In this poem, it is my opinion that the vineyard is a

symbol for a woman. There are plays on the verbs» adubar, cavar,

podar, and the nouns, cepa. tor%on, and membr* *

Valada: a small town to the south and west of Santarem

and located on the river Tagus.

V. 2. Alvar Eodriguis: Alvar is mentioned as a squire and chief

huntsman in GV 1037 by Count Don Pedro of Portugal. For further

details, see ÇV 906.

V. 6 . mourisca podada; Eugenio Ldpez-Aydillo translates this

expression "morisma podada" indicating that the vineyard was cut as

a result of a Moorish raid. (See op. c it., Uote 3* P» 50^»)

"GV 905 Estas destrucciones brutales de la propriedad del enemigo,

fueron repetidamente practicadas durante la Edad Media, destruyendo

casas, cortando vinas y arboles." He further comments on the

persistence of the raids saying that it may be deduced from Estevam

da Guarda*s cantlg:a d'escamho. (The sentence which I quote from

him is incomplete, probably because of a typographical error.)

" ....la persistencia de estas correrias desvastadores de los moros,

que se deduce de cierta cantiga de escarnio en que el poeta Estevam 100 da Guarda se burla de un Alvar Eodriguis poeeedor de una gran vina que se ve obligado a dejar en yermo por que de ordinario la tiene

(a s

a mourisca; “uva mourisca, casta de uva, redouda, e de pelle grossa e dui'a." (Vieira) A kind of grape*

V. 1 3 * S^enton, de cabo. non for rechantada: the reading of the

Vatican is as follows: se cô de cabo no for rrechantada; the

Coloccl-Erancuti is: Se no de cabo no for irechantada* Since the verse requires eleven syllables, it is not possible to transcribe se c5 as se como. With the meaning of de cabo being, evidently, deuola de isto (H. Brunswick, Dlcclonario da antiga linguagem portugueza, Lisboa, I 9 IO), enton would seem to fit more logically the sense of the phrase. It is for that reason that the inteiv pretation of Braga is being used.

V. 15* reer ^ raer: (< radere)* Temio antiguado, raspar, tirar.

(H. Brunswick, op* c lt. ) 101

-III-

Braga: 169 ÇV 906 (CB 1 3 0 1 )

Alvar (Eodriguis) vej'eu agravar, 40

porque sse ssent'aqui mengua d ' aiidar;

e ten que Ih'ya melhor alen mar

que Ihe vay aquy hu naçeu 0 c r lo u ;

5 e, por esto, diz que sse quer to mar

hu gran tempo serviu e affanou* 4-5

Ten el que faz dereyt'en se queyxar,

poys Ihe non val servir e afanar;

nen pod'aqul consselho percalzar

10 com*alen mar per servir percalçou;

por en, quer ss’yr a sseu tempo passar 50

hu gran tempo serviu e affanou* 102

Yariaata: ÇB Tomel is written in the margin, v. 1. ÇV Aluar vegeu agrauar; y* 2. ÇV miguadamldar CB mSguadSdar Braga mengua d'avindar; v.4, CB nasceu crieu; v, ZT ÇY tepa, ^ mo e fanou; V. 7* CB dyte; v. 9» ÇB g c a lc a l; v . ],2. CY ten pa.

Versification: Cantlga de ref ram* 2 x 4-1 ). Cobias unissonans*

a a a b a B a; ar 10 10 10 10 10 10 b B: ou

Translation: I see Alvar Rodriguiz displeased because he feels here

a need to go away; and he believes it was better abroad than it is

for him here where he was born and grew up; and, for that reason,

he says that he would like to return where he served and worked

diligently for a long time.

He believes that he is rl^ t in complaining since it is not

worthwhile for him to serve and work; he is not able to win advice

as he won abroad through serving; therefore, he wants to go and

spend his time where he served and worked diligently for a long

tim e . 103

ITotes:

V* 1. Alvar Rodrlguls! As previously Indicated in the commentary to GV 9 0 5 1 Alvar is also satirized in GV IO 3 7 * In the rubric to the latter song, we are told that Alvar was an escudeiro (squire) and that he went abroad and that it was said he had gone "the

Moorish way»" The first verse of the poem tells us that Alvar was also a chief huntsman — "Alvar Hodriguis, monteiro mor."

Putting the information of the two poeias together, I think it quite probable that Alvar Eodriguis, like many other people of this era, had not actually gone on a crusade but had paid someone to go in his place. There is a similar instance in the Balteira songs. Pero P’Ambroa is ridiculed (CY 1195) because he was a so- called "false pilgrim." Eatavam da Guarda, it seems to me, is making fun of Alvar because he has to go abroad now as a penalty for some wrong he has committed»

Theophilo Braga, in commenting on this particular poem

(GY 9 0 6 ) implies, too, that probably Alvar Eodriguis had not actually made the pilgrimage but had paid someone to go in his stead. "Era ainda entao em Portugal frequente a monomania da c ru z a d a , e quern nao p o d ia i r d ire c ta m e n te , como sabemos p e lo t e s t a - mento de el-rei D. Biniz, a Palestine, pagava a quern o fizesae»"

(Gancioneiro da Yaticana, Intro duct ion, Ixv i )

Alvar had a good reason to leave Portugal — he had had his head shaved ("levara cabeça descuberta") and he had lost favor in

the eyes of the king ("el entende que faz al rey pesar"). We are 104 also told he wanted to find a place of refuge ("quer hir sa guarida huscar" )•

Carolina Mlchaelis de Vasconcellos believed that Alvar was a merchant with special privilege of a knight.

No. 9 0 6 , 9 0 7 » 1037 beziehen sich, dem Auschein nach, auf einen Handelsraaim, wozu ich bemerke, das mit der Levante (oder rait Plandem) HandelgeschSfte betreibende portugieeische Kaufherren ipso facto Rltterrechte hatten. Ir alem mar wird in den betreffenden Schrlftstucken mit transmarinare wiedergegehen. (Rand. V II, XXV, n . 1 , 555*)

The fact that the monteiro moV could have special rights can be substantiated by the similar relationsliip of William Twici (or

Twety) v/ho was associated with a certain John Cyfford in the house­ hold of Edward XI. (See No. 4, p. 505 of Paul Meyer's "Noticeset

E x tr a its du Ms* 8336 de la Bibliothèque de Sir Thomas Phillipps a. Cheltenham," Romania (I 8 8 8 ) , X III.)

Estevam da Guarda continues h is r id ic u le of Alvar Rodriguis

in ÇV 922 and 932* In. these songs the subject of the satire is

Alvar's "mouro pastorinho."

V . 3 » 10. alen mar; Alen — alende from aA illic ende meaning do

Ultramar (see above note and GA-G-. ) beyond the sea. This expression

occurs in ÇV 143, 5 and 6, and in the rubric; in ÇV 1057, 11» (See

a lso U ltram ar-Lieder. Rand. VII, XXV, 549-557*) 105

- 17- Sraga; 169 ÇV 907 (ÇB 1 3 0 2 )

A molher d*Alvar Hodrigaiz tomou

tal queyame quand ss'el f o y d*aquen;

et a le(i)zou que, per mal nen per ben,

des que veo, nunca ss’a el chegou; 55

5 nen quer chegar, se d'el certa non lie,

jurando-lhe ante, que, a boa fe,

non na er le(l)xe como a leyxou*

E 0 cativo, per poder que ha,

non na pode d'esta seyta partir- 60

10 nen per meaças, nen pela ferir­

ai a, por en, nenhuma ren non da*

Mais se a quer d'esta sanha tyrar,

a boa fe, Ihe conven a jurar

que a non le(l)ze en nenhum tempo ja. 65 106

Variants: v, 1 , ÇV a molh' daluar rroïz ÇB irôiz Alvar Roiz tornou; v, 3» ^dezou por mal ne por ben; v. 5* ÇV se del ctâ nô he ÇB des tcâ non he Braga nem quer chegar se d'el; sancta non he; Epiphanie Bias, "Beitrâge zur einer kxitischen Ausgàbe des vatikanischen port. Lied.*" ZRPh. XI, 5^, suggests: "nunca s'al el chegou, nem quer chegar, se d'el certa non he." V, 6 * ÇV uirandolhe anT ÇB boa; v. 7* Œ lexou; v. 9» ÇV seyta party; v. 11. ÇB irë; v. 13* ÇV auirar ÇB aiurar*

Versification: Gantiga de maestria; 2x7* Coblas singulares* a b b a c c a a; ou, a 10 10 10 10 10 10 10 b; en, i r c: e , a r

Translation: Alvar Rodriguis' wife made such a complaint when he went away and left her; that, for ill or for good, since he returned,

she never went into unto him nor does she want to, if she is not certain of him; swearing to him that, truly, he may not leave her

as he left her*

And the wretch, because of the power she has, cannot make

her change this opinion now either by threats or by striking her*

She does not pay any attention to it* But if he wants to release

her from this anger, truly, it is proper for him to swear he will

not leave her ever* 107

ÎTotes;

V. 1* A molher d.'Alvar Sodrlguls; Is she the "mourisca podada" of

the poem CY 905Î

V, 2 . d*aquen. adv* d ’aorul (Nunes, C an tig as d*Amigo, XXXYII, 1* 5 )

from here*

V, 4. vgq: (ve n lC v H t"Das -o von veo heruht auf Analogie zu

schv/achen Verben wie bel vielen andern Verben ( qui so usw. )." Huber,

4401. 34» sing. prêt. ind., he returned.

V. 5* Could this verse be; nen quer chegar-ae d'el - sancta non he-—Î

V. 7» 9* na; "L wurde zu n in folgenden Fallen; Endet das v/orher-

gehende Wort, an das sich der Artikel In, (los. las) bzvr. das

gleichlautende unbetonte Personalpronomen anlehnt, auf n, so tritt

progressive Assimilation ein, d. h. lo, 1^ wird zu no, ..."

See lines from C^i I, 3233”323^ . e non // na veer. (See ^ 250,

H u b e r.) 108

—V*

Braga; 169-170 ÇV 908 (ÇB 1303)

En preyto que dom Eoam ha

con hun meestre, ha gran. caston;

e o meestre presse pon

o de que o dereyt’esta

5 tan contraire» par quant’eu vi, yo

que, se Ih’outrem non accorr’i,

o m eestre dequeera.

Mais se decae quem se ra

que ja derelto nen razon

10 for demandar nen deffensson 75

en tal meestre, que non da

en seu fe it’ajuda de ssi;

mais levara, per quant’ey,

quera Ih’o dereito sosterra»

15 Ca o meestre entende ja 80

se decaer, que Ih'e cajom,

antr’os que Icterados som,

onde vergonha prendera

d'errar seu dereito assi

20 e quem e sto v i r des a l i 85

per malandante o terra»

Esta cantiga de cima foi feita a hun maestre de leys que era

manco d'uma perna e çopegava d'ela muito» 109

Variants; R-GB (in ^ la rutirica precede la cantlga; ma fu evidente- mente scritta dope, come dimostra I'esse disposta snl margin© superiore del foglio e non sulle righe*) Seldiss is written in margin. (See Rotes.) V. 1. Braga dom Joam; v. 2. Braga gram questom casto; V. 3* OT pressopom Brag;a presopon; t . ^ coitaro pregt; v. 7* Braga decaera; v. 11. 07 tdeestre; v. 12. ÇV au*ida Eu ssen feit aiuda; v. 14. CB deireto sosteira; v. 1?. jŒ Autr os; v. 19. CT deato

Versification: Cant iga de maestria. 3 s: 7* Coblas unissonans. abbacca a:a 8888888 b: on c; i

Translation: There is in the lawsuit which Don Foam has with a law professor a large-headed cane; and the professor takes hold of it.

Because of that his “right” is so contrary, so far as I saw, that if some one does not help him, the professor will fall.

But if he falls who will it be that might ask justice or ri^ t or protection in such a professor who does not help himself in his own action; rather will he persuade, so far as I have heard, whoever will sustain his “right” for him.

For the magistrate knows that it is a disgrace if he should fall among those who are lawyers whereat he w ill be ashamed at his

“right” going as it is; and whoever m i^t see this from now on will hold him for a “poor stick”.

This song above was made to a professor of laws who was lame

in one foot and limped because of it very much. 110

H ôtes:

Sel dies; This expression., which is found in the margin of this poem and others, comes from the first words of Petrarch’s Canzone XV in the Vita de Mi La-ura, Colocci used this means of indicating the sim ilarity of rhyme pattern*

A. Colocci hat die Liederbucher, welche er besass, mit zahreichen und sehr intéressanten Randnoten versehen, die s ic h 2* T, auf Worthedeutungen, z* T* auf romanische Verslehre beziehen. Br sucht in Port, das Prinzip der D reiteiligheit als Beweis provenzalischen Ursprungs und beachtet darum besonders auch die Strophenzahl und Reimordnung, urn Strophe, Antistrophe und Bxoden zu entdecken. Ich habe seinen Theorien einen Aufsatz gewidmet. Hier sel nur vorvreg gesagt, dass die s ibyll ini sche, an die 100 Mai wiederkehrende Formel “seldiss,” nach deren Sinn ich lange geforscht, einfach auf die Anfangsworte von Petrarca’s Canzone XV in V. di M. L> verweist, mit deren Bau einige 100 portug. Gantigas ungefahr ubereinstimmen." Carolina Mlchaelis de Vasconcellos, Ceschichte der Portugleslschen Iiitterat'ir. Groeber’ s Crundriss. II, 197*

The Canzone XV in Vita de Mi Laura follows;

S'i’l dissi mai; ch’i'venga in odio a quella a

Del cui amor vivo, e senza’l qual morrei a

S’i’l dissi; ch’e’miei di sian pochi e rei, b

E di vil signoria 1*anima ancella; a

S’i’l dissi; contra me s'arme ogni stella a

S dal laio lato sia c

Paura, e gelosia c

E l a neralca mi a c

Più feroce ver me sempre, e più bella. a Ill

V , 2, caston: pala, funda; chaton d'vme bague; ol. caston (A. 3 3^7)*

(Lexicon Uanuale ad scriptores mediae et infimae latin itatis, ed. by W.E. Maigne d'AmiSt Paris, 1866.)

castSo: s. m. (do fr. ant, caston) Eemate de metal, marfim,

etc.; que se poe na extremidade dos bastoes, bengalas, etc, (Moraes)

castao, m. pi* -3es, head of a cane or stick, made of silver, gold, ivoiy, etc, (H. Mlchaelis, ITovo Llcionarlo da Lingua Portusuesa

e Ingle sa. ITev; York, 19^5»)

Evidently the professor of law is trj'^ing to secure his right by sustaining it with money (silver or gold-headed cane), Ve might call him the man with a "bad right" (as Prof. A.H, Schütz suggested).

There is quit© obviously a play on the word derelto meaning .justice

and dereito meaning right foot as the rubric sug^:ests. The pun, then,

is continued throughout the poem with o derelto sosterra — who will

sustain his right; se decaer — if he should fall; errer aeu dereito -

- his right going as it is; per mal andante — "poor stick,"

V. 4. o.; "_0, a, os, ^ emprega-se na qualidade de pron. demonstra-

tivo propriamente dicto. (Epiphanio Lias, SgntaxeHistoVica Portuguesa.

7 8 .)

V» 7» dequeera^: (de+• queer = caer-f-a). Queer - c a e r (See ^ 180,

Edwin B, V/illiems, Erom Latin to Portuguese. University of Penn­

sylvania Press ( 1 9 3 8 ) and. Rey, I,us., XXIII, I 5 .

V, 21, iralaiidante! "infel.iz" (Leite de Vasconcellos, Textos

Arc ai COG, J>b. e'diçao, 180,) The Provençal te I'm is mal an an. malenan. 112 meaning unhappy* See Emil Levy, Provensalische Supplement—Worterbuch,

(L e ip z ig , 1 9 0 7 )» V. It may be paraphrased "poor stick*"

Rubric: Cant iga de cima;

Na nibrica das cantigas ÇV 908 e 104-1 acba-se empregada a formula: esta cantiga cima. o que quer dizer: supradicta* 0 critico italiano, porem, explica cima por monte, comparando taes versos de maldiser, que attribue a rusticos serranos de Portugal, com as satyras primitivas do mundo latino, reconhe- cendo nellas invendSes de satyros rusticos boçaes (roszi abilatori del boschl)j Excuso dizer que a expressao cantlga de cima e empregado a miudo, com relagao a generos variados, embora todos fagam parte do cancioneiro de hurlas* (ÇA, II» 42 *) 113

- 71-

3rag a ; 170 ÇV 909 (ÇB 1304)

Hun cavaleiro me diss'en baldon

que me queria poer eiceiçom

Huy agravada, como home cru;

e dixi-lh'enton, como vos direy: 90

5 "Se mh’a poaerdes, tal vo-la porrei

que a ssençades ben ata ao cuuj"

E dlsso-m'el; "Eiceiçom tenh'eu ja

tal que vos ponha que vos eustara

mais que quanto val aqueste meu muuj" 95

10 E dixi-lh'eu: "Pol-lû non tenh'eu en al*

Se mh'a poserdes, porrel-vo-la tal

que a sençades ben ata ao cuul"

"Tal eleiçom vos tenh'eu de poer,"

diss'el a min, "per quanto voss'aver 100

15 vos custe tanto que fiquedes nuuJ"

E dixi-lh'eu: "Coraçon de judeu,

se mh'a poserdes, tal vos porrei eu

que a ssençades ben ata ao cuul"

Esta cantiga de cima foi feita a hun cavaleyro que Ihe

apoinham que era puto* 114

Variants: B.->C3 (anche qui la rubrlca precede in ^ la cantlga). !Domel Is written in the margin, v. 1» Braga dise'em baldom; V. 2. ÇV eiteiçom ^ icelçom Braga citagSo; v* 3* ^ criul; v. 6. GV ani; V. 8* CV potiha; v. 9» 21 nmn CB q omitted mini; t. 13# GB eiceiçom ÇV exeloo; v. l4* ÇV p qdo uossauer; v. 15 GV mui; V* 1 7 * CY prezeu CB p^ rei eu; Bubric ÇV apoiham.

Versification: Cantlga de ref ram. 3 x ( 4 + 2 ) . a a b c C B a: on, a, er 10 10 10 10 10 10 b B: wx c C: e l , a l , eu

Translation; A cavalier said to me angrily that he wanted to place a b ill of exceptions against me, like a harsh man; and I said to him then, as I shall say to you; “If you should place it against me,

I shall put it to you in such a way that you will feel It up to the bungj"

And he said to me, “I have such a b ill of exceptions now that it may put you where it w ill cost you more the N however much this mule of mine is worthJ" And I said to him, “Then I don't value it at all. If you should place it against me, I shall put it to you In such a way that you will feàl it up to the bungl"

“Such a bill I have to place against you," he said to me,

"however much your wealth, it may cost you so much you w ill be baxeJ"

And I said to him, "Heartof a Jew, if you lodge it against me, . ..

This song was made to a cavalier whom they iaçuted was pu to. 115

N otes:

V. 1. cavalelro: The cavalier was considered inferior to an infancon

and superior to an esendero> It was, however, possible for a man of

Inferior class to receive the order of cavallaria» Henrique da Gama

Barros, on. c it.. 3^3» tells us who were excluded from the rank of cavalelro. From this negative view point, it can be established who were cavalelros.

Eram excluidos da dignidade de cavalleiro; 1. o homem pobre, se aquelle que o havla de armar cavalleiro nao Ihe assegurava antes os meios de viver a lei de cavallaria; 2. o que nao tinha robustes necessaria para manejar as armas; 3* o que exercia pessoaimente a industria de commerciante ou trabalhava em officio vil; 4-. o traidor ou aleivoso, conhecido ou julgado como tal; 5» o condemnado a morte, se Ihe nao eram perdoadas a pena e a culpa; 6. o que uma vez tivesae escarnecicio da honra de cavalleiro entendendo-o comprehendido n'esta causa de exclusSo tanto aquelle que fazla outrem cavalleiro, sem ter o direito de conferir a dlgnidade, como aquelle que a acceitava nao possuindo os requisitos necessaries, ou faltando ao respeito devido ao acto. E por isso mesmo que a nobreza, ou ella proviesse do nascimento ou dos merecimentos proprios, devia ser o unico titulo legittmo para ganhar a honra da cavallaria, era prohibido formalmente obtel-a por compra ou outro modo semelhante.

en baldon: En baldon is used in an adverbial locution in

Berceo with the meaning liberalmente. con bizarrfa:

Espendie sos averes, dabalos en baldon quiquier que 11 pidiesse, el non dizrie de non. Milagros de San Domingo

The significance here, however, is probably the same as a baldon

con audacia. (See Glos^io de las Gantigas de Santa Maria, edlcion

de la Real Academia Espanola (1889)# III, 63?.)

V. 2. eiceiçom: The following Titulo das citacoens CCXX -presents I l 6 a similar form of the word eiceicom; eiciçom and indicates its legal meaning:

Item he custume que sse algomas das propon eiçiçon alguma contra seu contento e dela flea uençudo este que a proposas que pague as custas aa outra parte mays nom Ihy paguara senom do tempo que a eicicom foy negada como quer que ante da negaçon contendessen per alguum tempo eohrela eicicom. (Portugaliae Monumenta historien. Leges et Consuetudlnes I, Lishoa, 1888, 32 7 *)

The modem term exceucao is defined by Vieira as: "Temo de Jurisprudencia. Todos os meios appostos a uma demanda judiciaria particulai-ment© a forma do processo." 117 -VII-

Braga; 1?0 ^ 910 (eg 1305)

Meu dauo f iz por tal julz pedir 105

qual mh'a reiuha madre d*el-rei deu,

hun cavalelro oficial seu*

Pols me non val d*aate tal julz ir

5 ca, se vou y e levo meu vogado,

senpre me diz que esta enbargado 110

de tal gttisa que me non pod'oir*

Por tal julz nunca mais sera

desemhargad*este preyto que ey*

10 Hem a reinha, nem seu filh'el-rey,

pero lh*o manden, nunca m*oira; II 5

ca ja me disse que me non compria

d*ir per d*ant’el pols m’oir non podia

mentr'embargado estever com'esta*

15 Mais a reinha, pois que certa for

de qual julz ena sa casa ten, 120

terra, per razon - esto sei eu bera-

de poer hi outro julz melhor;

e assi posa'eu aver meu dereito,

20 pols que d'i for este juiz tolhelto

a me deren qualquer outr'oidor* 125

Esta cantlga foi feita a h% julz qua non ouvia ben* 118

Yai’iants; v. l.Çytano f iz portai uijz; v, 2. ÇV reanha; v. 4-, ÇV r u i z i r ; V. 5* ÇB non; v. 7* ÇV podere; v. 8 . ÇV nüca la mais aj V. 9» ^ Desaubargad; v. 11 ÇV Ihomandeu ÇB Ihemanden; v. 12* ÇV 9p râ ÇBsp^a; v . 1^. ÇV momarû moime nS; v . l 4 . ÇV mi t r i b arcad CB bargad; v. 15* ÇV aremha; v. 1 8 . ÇB suiz; v. 20. toUieiro; T* 21. CB tolheiro; c. 21, ÇB ouer oidor; Hubric CV ouu*ia.

Versification: Cantlga de maestria. 3 % 7* Coblas singulares.

a b b a c c a a: ir, a, or 10 10 10 10 1 1 ' 1 1 ' 10 b: eu, ei, em c: ado, la, eito

Translation: My injury was caused by asking for such a judge as the

Queen Mother (of the king) gave to me — an official cavalier of hers;

after all, it avails me nought to go before such a judge. Because

if I go and take my lawyer, he always says to me he is hindered in

such a way that he cannot hear me.

This litigation that I have will never be dispatched by such

a judge* Though either the queen or her son, the king, order him to,

he will never hear me; seeing that he said to me that it was of no

use for me to go before him^since he could not hear me while he would

be hindered as he is.

But the queen, since she should be sure of such a judge as

she has in her house, consequently, will have to place there another

better judge — I know this well. And thus I can have my right since

this judge would be taken from here and they would give me some other

h e a r e r .

This song was made to a judge who did not hear well. 119

ÏTotes ;

Carolina. Mlchaelis de Vasconcellos suggests that the poem was written in retaliation for some verse teasing Estevam da Guarda about his not being able to see. "Auch konnte das Gedicht 910i in welchem Estevam da Guarda einen auditor verlacht, der nicht zu horen vermochte, eine R&che fur etwelche Vexierverse sein, in den en man

Him vorgeworfen hatte, nicht sehen konnen." (Sand. I, XX 192, Sote 2.)

V. 2. reinha. madre; The Queen is Dona Beatrice, mother of Don Denis.

"Wenn das Lied CV 910, in welchem von der rainha madre del rei die

Eede ist, sich auf D, Beatriz und D. Denis bezieht, so 1st es vor

1300 enstanden*" (Rand. I, XX, 192*)

Rubric: ouvia: The word play is on hear (olr, ouvia. olra) and hearer, meaning judge. It will be noticed that there is a repetitious use of some form of oir throughout the poem. Biography of

DOIT LOPO LIAS

While the poetry of Don Lopo Lias does not disclose any biographical infonaation, it does express his personality* He must have been the great "punster" of his day if we judge him in the light of his songs about the zevron brothers* His speciality was

the egcarnho poem — there are no amor or amleo lyrics left by him*

While the products of his art are very enigmatic, they are skillfully composed* He is in a sense somewhat akin to Peire Vidal in that he belongs to the same "famille d'esprit,"

Ihere is one poem which is addressed to a Dom Lopo Lias in

the Cancioneiro da Vatic ana, a Dom Lopo who was blind in one eye but who was able to use the remaining one to good advantage* Joham

Borneo of Lugo, composer of the poem, CV 1145, sings of one of his vices — that he was a gambler (.iogador)» According to the rubric,

this Dom Lopo lived in Lugo; "Esta cant iga de cima fez Joham Romeo

a un cavaleyro que morava em Lugo, a don Lopo Lias, que era cego

d'hum olho."

If, as Carolina Mlchaelis de Vasconcellos points out the possibility,^ Dom Lopo Lias and. Dom Lopo Dias are one and the same,

then the planh or endecha, CV 575» by Pero da Ponte, attests the

^Sand, IX, XXVI, 6I- 7 1 ,

120 121 bravery and greatness of the author

poys que dom Lopo Dias mort•e o melhor dom Lopo, a la ffe que nem ja mays nom sera

Another poem ÇV I I 6 5 , also by Pero da Ponte, mentions a Dom Lopo in

whose house there were a thousand cavaleyros»

Dom Lopo Dias, nicknamed Cabega Brava, was one of the nobles

of Biscaya, He fought in the battle of Las Havas at Tolosa and in

the engagements against Alcantara, Baeza and Câceres, He was later

banner-carrier for ELng Ferdinand. If Cabega Brava were Dom Lopo

Lias, he was one of the earliest of the troubadours,

Mene^ndez Pidal gives the following information about the

date of the death of Don Lopo Lias.

La fecha de la muerte de don Lope, que hasta ahora anda muy dudosa (Zelt, f . r. Phll, . X3CVI, 65; Cane, A.1, II, 455* n, 3*) se fija asi: Lupus Dldaz de Paro. Alferlz domini regis, confirma un diploma dado en Toledo el ].y de oct, 1 2 3 6 ; en otro de 15 de enero 1237 se dice; Mortuo Luno Didaci d^e Paro Alferiz domini regis; signe vacante la alferecia hasta que en 2 de sept, de 1237 hallamos al hijo del difunto; Didacus Lupi de Faro. Alferiz domini regis. Memorias de San. Fem. . por don M. de Manuel Hodr?güiz, 1 8 0 0 , paginas 428-4" 3 8 * 31 dia exsnto de la muer te lo da el Kobiliario portugues. 31 morreo ZV de nov. era de MCCLZ0 Q e quatre annos.^

2 Poesia Juglaresca y Juglares, n. 2, 203-204, 122

-VIII-

E rag a : 177 CY 9^5 (ŒB 1 3 3 8 )

Don Lopo Lias trobou a hthis cavaleyros de Lauras e eram quatro

IrmSos e andavan serapre mal guisados, e por en trobon-lhls estas c a n tlg a s .

Da esteyi’a vermelha cantarey*

e das mangas do ascarl farey,

/g o brial hy enmentar-vol-ey/,

e da sela que lh*eu vi rengelhoaa

5 que ja lh‘ogano rengeu ant*el-rey, I 30

ao zevron, e poys ante sa esposa*

Da esteyra cantarey des aqui,

e das mangas grossas do ascarl,

e o brial enmentar-vol-ey hy,

1 0 e da sela que Ih'eu vi rengelhosa 135

/que ja Ih'ogano rengeu ant'el-rey,

ao zevron, e poys ante sa espoB ^ 7

Variants: R-GB (il nome dell'autore segue la rubrica, ed è di mAnc del Colocci) In the margin is written cogedo monostlcho# Rubric e ra ; V . 2, ÇB ascar; v* 3» refrain line is missing in ms.; v* 4 . GB renghilhosa; v* 6 . OV esterra ^ esteira; v. 7* J2C g°ssas; v. 8 . CV enmotaruoley ^ eu mantaruoley; v. 11 and 1 2 . Refrain lines are missing in ms. 123

Versification: Cant Isa de ref ram. 2 z (3‘i~3)» a a a B a B a: ey, 1 10 10 10 11» 10 11 « B: osa

Translation: Don Lopo Lias composed for some cavaliers of Lemos; and they were four brothers who went about always dressed uncouthly; and, therefore, he composed for them these songs*

I shall sing about the red straw-plaited saddle mat and I

shall make a song about the ascarf sleeves; and I shall mention to you there the tunic and about the creaking saddle, which I saw, that

one day this year creaked with the zevron before the king and then before his wife*

7. shall sing about the straw-plaited saddle mat forthwith

and about the huge ascarf sleeves; and I shall mention to you there

the tunic and about the creaking saddle, which I saw, that one day

this year creaked with the zevron before the king and then before h is w ife*

(See notes for double significance of the mangas. sela.and b r j al* ) 124

N otes:

Rubric; Lemus (Lemos): '*1. en la provincia de la CoruSa, ayuntar* miento de Rianjo y feligresia de Sta. Eulalia de Arano." (Pascual

Madoz, D lccion^io Geografico-EataAiTstlco-Eisto'rico de Esuàîla y sus

-posesiones de Ultramar. (1897)$ 129*)

T* 1. esteyra: Carolina Michaëlis de Taaconcellos comments as follows: "as esteiras vermelhas....serviam de xairel,” (ÇA, II, 527»)

V. 2* mangas (mangas grossas): It is said that the expression:

"tener ancha la manga, ser de manga anclrf? is quite a common one. It is given in a Catalan dictionary as meaning "a person with no scruples."

"Ser de la mànega ampla: no tenir escrupols; (A*Criera, Trésor de _1a Llengua de les Tradlclons 1 de la cultura popular de Catalunya,

(B arcelo n a, 1946 ), X, 6 3 ,)

It was also suggested that possibly here the meaning of mangas is not necessarily "sleeves" but rather "a kind of purse."

ascar if: Lopez-Aydillo believes that the a^carf refers to a piece of clothing rather than to a type of cloth (cf. Moraes).

Las prendas usadas por los hidalgos eran la saya, bien corta que larga, el jaqueton, casaca corta con sus mangas y el manto. Don Lopo Lias cita as mangas de ascarl. lo que parece que el ascarl era una prenda parecida a la casaca y no un cierto paSo como supone Braga, (op. cit_., 530-531.}

3* vol—ey; Cf. CY 7^8 direl—vol* eu. vol is equivalent to vos»

(See Huber, § 3^2.) 125

V. sela reagelhosa; The motifs; sela rengelhosa and brial

(for brial, see notes to v. 5* » ÇT 9^7) which are scattered throngh-

out this cycle of poems (CV 9^5-95 6 inclusive) are cryptic, topical

elements that may never be solved. Since the poet insists so much

on the creaking saddle, the satisfied (?) saddle (sela -pagada). the perfidious saddle (s_el_a alelvosa). the editor is led to compare

these poems with that of William IX of Poitiers in which he speaks

of two horses suited to his saddle.

Dos cavalhs ai a ma sselha ben e gen, bon son e adreg per armas e valen, e no'ls puesc amdos tener, que I'us l'autre non cossen. ( a . Jeanroy, Les Chansons de Guillaume IX, P a r is , 1 9 2 7 , 1 .) *

The reference to selle needs to be considered in explanation

of I'Asne Rove by Louis Thuasne (of. v. 6. o zevron).

rengelhosa; This term seems, from the content, to be an

adjective which is probably based on the infinitive renger c ran g er

with the suffix, Ihosa. It, evidently, has the meaning que renge

or creaky, creaking.

V. 5» el-rey; Provided Don Lopo Lias (Dias) known as Cabeça Brava,

who died between 12^6 and 12 3 8 , is the author of this cycle, the

king spoken of here could be King Ferdinand III of Castile who

reigned from 1217 to 1252; or it might possibly be Alfonso IX of

Castile who reigned from 1188 to 1230.

V. 6 . 0 zevron; Jose Joaquim Nunes, in a note to his article,

“Tentativa de Identif icagao do animal chamado zevro nos documentes 126 mediev a i s indicates that the word zevron is used probably to mean "cuckold”: "Has cantigas d'escarnio e mal—dizer nos 950 a

952 usau-se zevron como «ubstantivo sinonlmo de cavaleiro . quer-me porem parecer quern am sentido figurado talvez de coruudo." (Boletlm da Segunda Classe da Academia das Sciencias de Liaboa, 1925t XX7* ^35»)

With a related and possibly obscene meaning, there is an allusion in "Le Petit Testament" of François Villon, line 92, to the zebra or I'Asne Rove which Louis Thuasne compares to a passage from Schwob;

II y a dans ce vers une allusion à un fait particulier que nous ignorons, mais sans doute aussi une equivoque obscene, si on le rapproche du passage suivant:

Sans Belle (n,b, ) ou hast, a tout le frain Avecques mon borgne poulain L’aultrier chevauchoie une mule Qui va mieulx quant elle reçu]e Que quant elle avance la main. Schwob, Le Parnasse satyrloue. 66, (François Villon, OEuvres, édition critique avec notices et glossaire, II, 18.)

Americo Castro (cf. "La Palabra Zebro," EFE. XV (1928), 1?>179) believes the zebro to be the onagro or wild ass just as Leo Spitzer does. The note by Spitzer is found in XV (1928), 375-3?6, and is entitled "Zebro, onager." 127

•IX-

Braga; 177 CV 9 ^ (ÇB 1339)

Tercer dia ante Fatal

de leçia (î) Ihy f o j d a r

bun brial a mha senhor bela; l40

e ao zevron renge Ih'a sela;

5 e brial a mha senhor bela,

8 ao zevron renge Ih'a sela*

Sey eu hun tal cavaleyro

que Ihi talhou en janeyro 1^5

hun b r i a l a mha senhor b e la ;

10 e ao zevron renge Ih'a sela;

Je brial a mha senhor bela,

e ao zevron renge Ih'a selsy^/

Filou-lh'o manto caente; 150

e talhou-lh’o en Benavente

15 hun brial a mha senhor bela;

e ao /zevron renge Ih'a sela;

e brial a mha senhor bela,

e 8.0 zevron renge Ih'a selaV^ 155 128

Variants: C3 To^nel is written in the margin* v* 2, ÇB de leçla CV de leçla Braga o infançon (This line is short two syllables.) V. 6. CV rengilha; v. 7» canlrô; v. 10* _ÇV cao; v. 11 and 12, the refrain lines are omitted in the ms.; v. 13* CV fioulho; v. 3,6. CV cao, the remaining part of the refrain is omitted as are v. 17 and 18*

Versification: Cantiga de ref ram. 3 (2 + 4). Cobias singulares. a a B B B B a; al, eyro, ente 8 8 9' 9’ 9’ 9' B; ela

II-III 8 » 8 »

Translation: The third day before Christmas it was a delight for him to give to my lady fair a tmilc; and the saddle creaks with the zevron: and the tunic for my lady fair while the saddle crsales with the zevron.

I know a certain cavalier who cut my lady’s tunic in Jenuai'y; and the saddle creaks with the zevron: the tunic for my lady fair while the saddle creaks with the zevron.

He took away the warm cloak and cut my lady’s tunic in

Benavente; and the saddle creaks with the zevron; and the tunic for my lady fair while the saddle creaks with the zevron* 129

B o tes:

V* 1* Tercer dia: In annotating the verse Dlz que oje tercer dia

(CD. 1 6 7 3 )» Henry Lang made the following comment;

Zu 0.1e tercer dia vgl. CB 44, 1, d*o.i*a tercer dia; V* 9^» 1: Tercer dia ante natal; 9^0, 5î Demays dlzla oue tercer dia Bn cas de Don Corral o barges virla* Der ausdrack bezeichnet einen in den urkonden erwâhnten termin; so z* B. Foros de Saatarem (Ineditos de H* P* IV, p. 5^1); Costume he, se ando em preyto dante os alvazijs, que se me demandarem prazo de tercer dia, e ave-lo-a; Ib. p. 557î Costume he que de força nem de ferIda nom deve aver tercer dia. (CD, 1 3 2 )

natal: ”0 dia 25 de Dezembro, em que se comemora o nascimento do Menino Deus ou Jésus Cristo." (Moraes)

Natal rhymes with dar and is, therefore, an example of imperfect consonance. (Cf. Dorothy C. Clark, "Imperfect Consonance and Acoustic Equivalence in Cancioaeiro Verse," FMLA, LXIV, 1114-1122,)

V. 2. de le d ic a (7) or de Luc^a (7): The preposition de, if it is so intended, makes the postulation of this expression difficult.

Does it mean, as it has been translated, joyfully: or should the sentence be read; "from Leçia (Luc^a) he went to give"7

V . 3* senhor; The poets, by designating the lady senhor. pretend to establish the same allegiance to her as existed between vassal and lord. (Bote the feminine possessive.) This is the courtly term from Provençal. See Alfred Jeanroy, La Poesie Lyrique des Trouba­ dours (Toulouse, 1 9 3 4 ) , I I , 1 3 1 .

brial; The significance of the brial is quite elusive, as is the taking away of the warm cloak. The brial is a Christmas 130 gift for the wife of one of the zevroes» (See Rand » IX» 6 9 .)

The cloak (manto)was supposedly worn in public to cover the brial»

“Brial fr» blla.lt. bllaut» Em publico, a dama cobria~o com o manto»" (Elza Pazeco Machado, "A Cantiga da Garvaia II," Rev» de

Port». XIV, 3 50»)

Cutting the skirts of a woman was one way of shaming her for unseemly actions; the following notes, one taken from R,

Menendez Pidal * s La l.eyenda de los Infantes de Lara (Madrid, 193^) and the other from Manuel Mila y Pontanals’s Be la noesla heroicar-

•poTiular castellana (Barcelona, 1874) cite examples:

•..Probert, pag» 1 3 2 : icellui Breton avoit menace la chambriere de lui couper la robe par dessus le cul (a» l468)» Dur an (Romancero I, p ^ . 440), dice: Ta en los siglos anteriores al XIII y XIV se castigaba a las rameras cortandose las faldas y e ch adolas prb liea- mente de los pueblos» (87)

cortar las faldas por vergonzoso lugar corresponde a leyes promulgadas en el s» x iii, como ej. (segun nota que debemos a B.J, Puiggarf) en los estatuos de S. Luis: et si soient despouillees (las ^rostitutas) jusqu'à la cote ou au -pelicon y en la Cronica de Ultramar (Aut« esp» p» 71) se halla la expresion cortar los panos sobre la cinta. (212)»

There may be some remote connection between the cutting of

the brial given as a Christmas gift and the mantel m autaillie, a mant]e with the magic properties of revealing unfaithfulness in a woman» According to the fabliau. Du Mantel M autaillie', one Saturday

of Pentecost, King Arthur was assembling his court when a young man

appeared bringing a marvelously beautiful mantle» Queen Guinevere

wa.s requested by the king to put it on* IVhen she did so, she found,

much to her shame, that it would not fit her but rolled up about 131 her body. Because of its magic properties, it would, fit only a c h a ste woman.

V, ]4. Benavente: A city of Portugal on the river Tagus, not far from Salvaterra, “Villa de Portugal em Biba Tejo, pouco distante de

Salvaterra, Eesende imagina ser a de que faz mençSo Antonio Pio na

3 via m ilitar, chamandolhe Arltlum Praetorium. fazendo por a lii caminho de Lisboa para Merida,“ (Bluteau) 132

—X**

B raga: 1?8 CV 9^7 (Π134-0 )

Emaentar quer'eu do brial

que o infançon por Natal

deu a ssa molher, e fez mal*

A gram trayzon a matou:

5 que Ihi no janeyro talhou 160

brial e lh*o manto levou.

0 infançon, cSo d’alvan (?)

de muytes e omezian,

se for d* ant'el rey, Ihy d ir^

1 0 ca fremosa dona matou; 165

que Ihi no Janeiro ^talhou

brial e Ih'o manto Iqyoxu/

Brialhesta. (?), vay-te d'aqui,

hu for Lopo Lias, et dy

15 que faça cobras per mi 170

ao que a dona matou:

que Ihi no janeyro g/talhou

brial e Ih'o manto levou_jy 133 Ben t'ajudaxaîi d'Orzelhon,

20 quantos trobadores hy son 175

a escarnir o infançon

ca fremosa dona matou:

que Ihi no janey/ro talhou

brial e Ih'o manto levou^y

Variants; GB In margin there is written to^nel* v. 5* ÇB la ueyro; 7* ^ cao daluam cao dalica Braga 0 infançon ca ond'a liçam; V. 3 0. CV matou; v* 11, Refrain incomplete — quelhi no ianeyro is all that appears in ms.; v. 3 2. ÇB Brial esta appears where refrain line should be; v. 17» CV Only quelhi no ianeyro is all that is given of refrain ÇB only quelhi in ms.; v. I 9 . CV benta uidara dorzelho; V. 21. CV o Jnfanzd; v. 23» Refrain incomplete ŒB quelhi CV quelhi no l a ney. 13^

Versification; Cantina de ref ram* 4 % (3 -+-3)* Cobias singulares* a a a B B B a: al, an, i 8 8 8 8 8 8 B: ou

Translation: I wish to mention the brial which the noble gave to his lady for Christmas and he did wrong. Treacherously, he killed her for he cut her gown in January and carried away her cloak*

The noble, a cursed dog in the opinion of many, and a murderer, if he will come before the king, they will say that he harmed the beautiful lady for he cut her govm in January and carried away her cloak*

Dishonorer of the Brial (?), go away from here where Lopo

Lias will be and tell him to make poems for me addressed to the one who harmed the lady; for he cut her gown in January and carried away h er cloak*

As many troubadours as there are in Orzelhon, they will help you mock the noble who harmed the beautiful lady; for he cut her goivn in January and took away the cloak* 135

H ôtes;

7. 4. matou: Prom the phrase a gram traygon and the word omezian. it is natural to conclude that matou means killed# There is no reason given in the cycle why the zevron killed his wife*

V. 7 and 8* 0 infançon, c2o d'alvan de muytos e omezian.

These two verses are not quite clear* In verses 3^ and 3^ o f ÇT 9 5 6 , the two words c5o (dog) and alVSo (a kind of b rial) appear again. AlVSo also signifies "white". The context of both songs, this and 956# implies that cgLo d'alvSo is a kind of imprécation*

Omezian is given in Moraes as meaning inimigo or adversario*

V* 1 3 . Brialhesta; This word seems to be used as a vocative*

It is a conpound of brial with (i ?) esta. Can it be from gesta meaning cantar? Or from gesta meaning carried?

V . 1 5 . cobras; This meaning given in the Arte de Trobar is stronhe*

However, it may be that the poet uses the word in the sense of the

Provençal cobla* In such a case, the word would have the meaning of comic and ne.lorative •poems*

V . 19* Orzelhon; A stronghold of old Castile between the Pisuerga and Hbro Elvers* "Orzelhon, Orsellon — galliz-portug. Form fur

Orcejon (in den la t. Texten des M ittelalters Orcelionem, Orcilionem,

Orzilionem) — 1st eine feste Burg A ltkastiliens, zwichen Pisuerga und Ebro, nicht allzuweit von Haro." (Rand. IX, XX7I, 70*) 136

-XI-

Braga: 178 CV 948 (ÇB 1341)

A mi quer mal o infanzon, 180

a imii gran co r e sen. razon,

por trobadores d'Orzelhon,

que Ihi cantam a seu brial;

e pesa-a*en e e mi mal;

que Ih’escarniron seu b rial, 185

que era nov'e de cendal.

Quant08 oj'en Galiza son,

ata an terra de Leon,

10 todos com o brial, icolhonl

dizen e fazen-o mui mal; 190

e pesa-m 'eii o e mi mal.;

,/que Ih*escarniron seu brial,

que era nov’e de cendalj^/

15 E sseu irmao, 0 zevron,

que Ihi quer mal de corazon, 195 porque Ihi reng*o selegon,

e sse Ihi renge, noh m’en cal;

e pesa-m ’en _/e e mi mal.:

2 0 que Ih'escarniron seu brial,

que era nov'e de cendal^ 2 0 0 137

Variants: To^nel wtittgn in margin* v* 1, infançon; v* 2, CV corte Braga et; v. 3 . GV dorzelhou; v* 6. CV scarulron sen; V* 9* ÇB t e i r a ; v* I 3 l4. Refrain omitted; v. I 6 . CV qlhi qr mui gm mal de corazo — too long by two syllables Braga que Ihi quer muy gram mal de corazon; v. 18* CV nC mencal Braga non. ment ' a l ; V. 1 9 , 20 and 21. Only e pesame of refrain repeated in either _CV o r GB

Versification: Cantlga de ref ram* 3 % (^'*“3) Cobias unisBonans»

aaabBBB a: on 8 8 8 8 8 8 8 b B; al

Translation: The noble dislikes me wholeheartedly and unjustly because of the troubadours from Orzelhon who sing about his tunic;

and it troubles me and hui'ts me that they scoffed about his brial

that was new and of sendal*

As many as are in Galicia today as far as Leon, all speak

of the brial, a plague on iti and they do an evil dead; yet it

troubles me and hurts me that they scoffed about his brial that

was new and of cendal.

And his brother, the zevron. whom he wholeheartedly dislikes

because the saddle creaked with him; and if it creaks, it does not

worrj»- me; and it troubles me and hurts me because they scoffed about

his brial that was new and of cendal* 138

N otes;

T . 1 , quer mal; querer bem (opposite querer mal) ”pode reger

objecto Indirecto ou directo (segulndo entSo a aualogia de amar»”

(Nobling, L* 9i 6 6 3 .)

T* 2. a mui gran cor: Exclamatory expression* (See de grem cor:

"sehr gerne" CD* )

V. ].0* colhon: "coleo - nem zu coleus, Eode, nach; span* co.jon*

prov* colhon* neb en de:a Primltiv colh (coleus )* afrz. colllon neb en

coil (-coleus j. rum, coiu ( coleus). ital. coglione" (G, Groeber,

"Vulgarlateinische Substrate romanischer W orterin Archiv fur

la teinische Lexikographie und Grammatik, (1884), 1, 549*)

Two substantives in which one functions as an adjective is

a rare construction* It is no doubt intended as an exclamation here

as well as in V, 4, 11, 18 of ^ 949» (See also v, 4, ^ 949»)

V. ].8 * mon m* en cal; "Da formula cert ameute popular, non mihi inde

calet provem as portuguesas non m'en cal e non m * en chad, no sentido

de: e c o is a da qual nao me vem c a lo r , que nao me a.quenta, nem me

afreuta, que me deixa indiferente; mas nSo directamente, como se ve

de som inicial _ch e de estar isolada, impessoal mesmo na linguagem

arcaica*" (CA* G*) It does not matter to me* 139

-XII-

B raga; 178 OV 949 (CB 1342)

Bn este son de negrada farey hS cantar

d*unha sela canterllada liada muy mal,

Bst'e a sela pagada; e direy do brial:

Todos icolham, colham, colhon!

5 con aquel brial de Sevilha, 205

que a d u ss•0 i n f ançon

aqui por maravilha.

Bn este son de negrada htl. centar farey

d'uS. sela canterllada, qu'e mi ant‘el rey.

10 Bst'e a sela pagada, e do brial direy: 210

Todos Icolham, colham, colhon!

j/con aquel brial de Sevilha,

que aduss’o infançon

aqui por maravilhajy

15 Logo fui maravilhado polo ascari; 215

6 as [s] y fui espanta^do polo soçeri (î),

viend'o brial talhado; e dixi-lh'eu assy:

Todos ^icolham, colha^, colhon!

con aquel brial de Sevilha,

20 que aduss’0 in fan ço n 220

aqui por maravilliSj^/ l 4 0

Variants: v. 1. CV farey (.) hu cantar; v* 2. CV canterlhada mui mal cnaterllada liada mui mal Braga canterlhada / mui mal; 7» 3» Brag;a Este; v, 4. CV tod® colham colham colha Braga colhon, colhon, colhon; v. 5» ® trial de sevilha: v, 9* ^ canterlhada / q ml antel rey; v. 10. Braga Este; v. 11. CV tod? colhon colha colhan; v, 12, I 3 . l4. Refrain, omitted from ms.; v. 18. Ç7 todus • remaining part of refrain omitted.

Versification: Cantlga de ref ram. 3 ^ (3’^^)» Cohlas singulares. aaaBCBC a;ar, ey,i 13 13 13 « 9' 7 7' B; on C: ilh a Inner rhyme: a: ada

Translation: I shall compose a song in this somber melody about a

very badly cinched, sloping saddle; let the saddle be settled (that

Is, discussed no more) and I shall sing about the tunic: "everyone,

a plague on the tunic from Sevilha, which the noble. In an extra­

ordinary fashion, brought here."

I shall compose a song in this somber melody about a very

badly cinched, sloping saddle which is before the king; let the

saddle be settled and I shall sing about the tunicj "Everyone, a

plague on the tunic from Sevilha.which the noble, in an extraordinary

fashion, brought here."

Then I was astonished by the ascari cloth, and I was startled

by the company seeing the tunic cut; and I said to him thus: "Every­

one, a plague on the tunic from Sevilha, which the noble, in an

extraordinary fashion, brought here." 141

Notes :

V* 1. son de negrrada; Carolina Michaëlis de Yasconcellos said that it was not possible to consider denegrada as an adjective*

She believed that Negrada was the name of a poet, "Nao e possivel considerar denegrada como adjectivo, Confesso todavia ignorar quern fosse este Negrada.” (CA. II, 662,)

It is Rodrigues Lapa's opinion that it refers to a Moorish melody,

Qae era urn son de negrada? Evidentemente uma melodia mourisca a que o trovador, adaptava a sua letra. Os m inaturistas do Rei Sabio, quando pintavam os mouros, por exemple no Livro dos jogos e no codice escorialense T ,j,i, das Cantigas de Santa Maria, faziam-nos inteira- mente negros, (Das Origens da poësia ifrlca em Portugal. 18)

V, 2 , c a n te r lla d a ; The meaning of this word, along with its source,

is very puzzling. One hypothesis is that canterllada has been built on cant(h)eriu8,

Cant(h)erius "kastrierter hengst" (seit Plautus) 1st im It. ein lehnwert und stammt wolh aus derselben sprache, aus der auch lastesel entlehnt 1st. Bei Vitruv kommt es bereits in der übertragenen bed, dachsoarren vor, vgl, ahnlich fr, poutre. chevron. usw. (Walther von Wartburg, Prsnzosisches Etymoligisches Worterbuch, Leipzig, 1940, II, 227*')”

Cantherius is based on canthus meaning angle or .corner.

There may be a kind of triple pun on the word, involving the shape

of the saddle, i, e ,, in the form of a chevron or Inverted V; the

pejorative meaning of chevron = zevron-comnare so, cabrcm whose

meaning requires no comment; and the movement of the saddle indicated

hy canterllada, cantering, and rengelhosa, creaking. 1^2

V, 4 . colham, colham, colhonI : The linking of these words (colham is evidently a variant of colhon) is very similar to the expression of Rabelais in the sentence; "C'est bien chien chie chante pour les discours»*' L* Sainean comments as follows on this usage: "C'est

là un exemple de cumul par juxtaposition d'elements successifs* Le point de depart et la tendance ewdiémique peuvent seuls dégager ces

locutions proverbiales devenues inintelligibles»" (La Langue de

Rabelais. Paris, 1922, I , 350.)

V» 11» ^ I EthicaJ. dative.

V* l 6 # socerjf ( î ) : The accen t has to b e as in ascar if and a s s if:

possibly, then, soceri is based on some Latin root with an Arabic

prefix in -jf*

»...el arabe no influyo en el sistema fonologico espaHol y mmr poco en la morfologlfa ...... Unicamente nos dio el sufijo -1 de adjectives y gentilicios, conservado generaimente en voces arabigas (cequi, baladi, mui ad if) y rara vez en palabras de otro origen (alfonsif). (Rafael Lape sa, Historia de la . lengua espanola. 2a edicion, Madrid, 1942, ICTp-lOS»)

Can the word be based on the root soc- from seq(u)~ and be related

to sociar. associar? For purposes of my translation, I have used

company< but it remains an enigma. 143 -XIII- Braga: 178 CV 950 (Π134.3 )

D'esto son o b zevrSes de ventura mingupjda;

ergen-ese nos arç^es da sela canterllada

e dand’os nadi^es; e dlss’a ben talhada;

"Maa sela tragedes, 225

5 6por que a non odedes (?) ?

Maa sela levades,

ipor que a non atades?"

D'esto son os zevroes de ventura falIda;

ergen-B se n os arçoes da sela, com'e podrida, 2 3 O

10 e dand'os nadi^es; e disse Ih'a valida:

"Maa s e la trag e d es

j^por que a non odedes (?) î

Maa sela levades,

ipor que a non atades?]^ 235

15 Direy-vca que Ih'aveo en dia d'essa voda

ao lançar do touçc da sela rengelhosa,

f e r l u do cuabouço; e d l s s e - l h 'a frem osa:

"Maa s e la trag e d es

^ipor que a non odedes (?) î 240

20 Maa sela levades,

ipor que a non atades?^/ 144

Variants; v, 2, GV ergensseu9 ÇB Ergensseiç; v. 3* i^rafra dando os; V, 5* 3raaa omits complete verse vg; v* 8. ÇB falhada; v* Q. Braga erguem-cse nos arçSes / da sela com'empodrida; v, 15* Braga substitutes ouço for av3o: v. l6« CB for do; v« 17» Braga arcabouço ÇB fermosa. Refrain not completely repeated; maa sela tragedes is all that is given in second and third strophes#

Versification; Cantlga de refram» 3 z (3^C obias singulares#

aaaBBCC a; ada, ida, osa 1 3 » 1 3 » 1 3 » 7’ 7' 7' 7’ (oda - imperfect) B; ed es C; ad es

Prose Translation:

About this, the zevroes are unfortunate, they rise in the

arches of the sloping saddle end swaying; and the maiden fair said;

"You bring an evil saddle, why do you not tie it? You carry an

evil saddle, why do you not fasten it?"

About this, the zevfSes are ill-starred; they rise in the

arches of the saddle, which is spoiled, swaying; and the beauty

said; "You bring an evil saddle, why do you not tie it? You

carry an evil saddle, why do you not fasten it?"

I shall tell you what happened to him on the day of that

wedding; upon the throwing of the lance from the cresJcing saddle, he

injured his posterior; and the lovely one said; "You bring an

evil saddle, why do you not tie it? You carry an evil saddle,

why do you not fasten it?"

Translation in verse;

Bor this are the brothers ill-fated,

Higti in the stinnips, saddle weighted. 145

Galloping; and the lady fair stated;

"Sorry saddle you bring.

How do you endui'e it?

Sorry saddle you wear,

I'/hy n o t se c u re i t ? "

Por this are the brothers ill-starred.

High in the stirrups, saddle marred.

Galloping; and the lady fair stated:

"Sorry saddle you bring.

How do you endure it?

Sorry saddle you wear,

%y not secure it?"

Upon the v;edding day, when it occurred.

Throwing his lance, saddle creaking, he injured

(Most unmanly) his rump; and the lady fair stated:

"Sorry saddle you bring.

How do you endure it?

Sorry saddle you wear.

Why not secure it?" 146

N otes:

Can this cycle be a parody on some chanson de geste such as

La Leyenda de los Infantes de Lara where Dona Lambra is dishonored on her wedding day by the killing of the cocinero ba.jo el manto, where there is also a toumaiaent, and a Rodrigo?

V , 3 1 1 0 , 1 7 . ben talhada, velida. f remosa: These expressions all mean bela. See Nunes, Cantlgas de Amigo. D ili, v. 14- and 15* In this poem (07 898) all, three expressions occur just as in this poem.

V. 5* odedes (?) from audlre (to hear), or adedes (?) from adir

(to tie, to fasten.)

adir. v, t, Ajuntar-se, ]igar-se. (Vieira). The parallel construction of maa sela tragedes, ma,a aela levades would make plausible a similar equivalent for nor que a non atades in nor que a non adedes.

V . 15* av^o; Pret. perf, 3 do sing, of aviir. Aviir

V, 1 7 . cuabouço: I am inclined to think that the poet was emusing himself by playing with expressions commonly used with regard to the sport of jousting. Instead of employing area- meaning chest, he used a feminine form of cuu in combination with bouço. that is, cuj^]^ a bouço. 14-7

-XIV-

E r a ^ a : 179 ÇV 951 (GB 1344)

Os zevr^es foi'on 'buscar

Rodrigo polo matar;

mais ouvyu-lhes el cantar 245

as selas, per que guariu.

5 Polas selas que Ih'olu

renger, por essas, guariu*

iron Ihis guarira por ren,

a torto que Ihis ten; 2 5 O

mays renger’ om per seu ben

10 as selas, por que guariu.

Polas selas que lh*oiu

renger, por essas, guariu*

Non I h is p o d era g u a r ir , 2 5 5

ca os non vira viir;

1 5 mays oyu-lhes el ganir

as selas, por que guariu*

Polas selas que oiu

renger, por essas, guariu, 2 6 0 148

B fforon Ihi meter

20 çiada polo prender,

mays oyu-lhis el renger

as selas, por que guariu.

Polas selas que lh.*olu 2 6 5

renger, por essas, guariu.

Variants; To^nel is written in margin, v. 4, ^ guarnj; v, 5* ÇV quelhoyo; v. 6 . ÇV guaryo; v. 7* £1 ten; v. 9 . jTV reng»om p seu bë ,CB reng*em; v. 10. ÇB guamj; v. 13» pod*a; v. l4. ÇV vijr; T. 1 5 * Œ garnir; t, i 6 . ^ guarnj; v. ] 8 . Ç7 griu; ^ garni; V . 1 9 . ÇV fforo Ihi met* çiada Braga foram-lhi meter / cilada polo prender; v. 20. GB prander; v, 24. reng* 149

Versification; Cantiga de ref ram» 4 x (3+3)« Cobias singulares. a a a B B B a; ar, ren, ir, er 7 7 7 7 7 7 B: iu

Translation; The zevrSes had gone to look for Rodrigo in order to k ill him; but he heard their saddles sing, wherefore he escaped*

Because of the saddles which he heard creaking, because of them, he escaped.

He would by no means have escaped from them, considering the wrong he has done them; but someone creaked the saddle for his benefit, wherefore he escaped* Because of the saddles which he heard creaking, because of them, he escaped*

He could not have escaped from them for he had not seen them coming; but he heard the groaning of the saddles, wherefore he escaped* Because of the saddles which he heard creaking, because of them, he escaped*

They had gone about setting an ambush for him; but he heard the creaking of their saddles, wherefore he escaped. Because of the saddles which he heard creaking, because of them, he escared* 1 5 0

Notes:

V* 2, Rodrigo: Apparently he is one of the zevron brothers#

Carolina. Michaelis de Vasconcellos includes the name Rodrigo Ayr as as well as Rodrigo in the following note: "Die Namen Rodrigo,

Rodrigo Ayras, Ayras Moniz and Ayras Louço (î) werden gennant,"

(Rand. IX, XX7I, Note 5» &9*) Whence Rodrigo Ayras? The name

Rodrigo Ayras does not appear in any of the poems in the cycle#

V. 3» 15» 21# Ihis, Ihes: Ethical dative.

V. 5 and 6. The spelling of the preterites oiu and guariu has been regularized to conform with the refrain as it is found in the strophes

II, III, and IV.

V. 8. a torto. ten: "aver, teer torto — procéder mal. fazer agravo" (Vieira).

V, 1 5 . ganir: (b. ]at, gannire) "Dar ganidos, falando—se de caes#

Cemicar." (Moraes). to groan, to complain, to lament.

V# 2 0 . ç ia d a: " s . f . A n tig a fcTrma de c i l a d a , com o 1 synocopado*

Logar encoberto junto de algum passo." (V ieira), Ambuscade# 151

-X7-

Bra^a: 179 CV 952 (GB 13^5)

Ora tenho guysado de machar (?) 0 zevron;

non and* encaval.gado, nen trager selegon,

nen sela, mal pecado; nen Ih'oyrey o son;

ca ja non trag*a sela 2 7 0

5 de que rilu a bela,

a sela canterllada,

que rengeu na çiada.

Val-mi, Sancta Maria, poys a sela non ouço

a que renger soya ao lançar do touço. 2 7 5

10 Matar-sse—m'la hun dia, ou ele ou Ayras Louço;

ca ja non tra/g* a sela

de que riiu a bela,

a sela canterllada,

que rengeu na çiada_./

Variants: v. 1, _CV demachar Braga desmanchar; v. 2, Braga and'eu cavalgado, nen trag'en; v. 3» ÇB peccado; v. 5» ÇV run; v. 7» Braga cilada; v. 11. ÇB and ÇV only ca ja non tra- of refrain repeated. V . 32 and I 3 . Refrain lines omitted. 152

Versification: Cantiga de refram» 2 x (3 t 4). Coblas singulares* a a a S S C C a: on, ouço 13 13 13 7 7 7 ? Bi e la II— C; ada 14« 14» 14» Inner rhyme: a: ado, la

Translation:

Now I have prepared to strike the zevron: I do not ride to War, nor do I carry a pack saddle, nor any saddle, unfortun­ ately; nor shall I hear the sound* I do not carry the saddle at which the fair one laughed, the sloping saddle which creaked in the ambuscade*

Help me. Holy Mother! Now I do not hear the saddle which used to creak when the lance was thrown; he might k ill me one day, either he or Ayras Louço* For I do not carry the saddle at which the fair one laughed, the sloping saddle which croaked in the ambuscade* 153

ITotes:

T . 1. machar (î): Does the infinitive come from the French term hache? Moraes indicates that the machado (a kind of axe) was a part of the arms of the Portuguese. "0 machado da armaria portuguesa e sempre o de guerra.” Is the inference that the zevron is to be struck with an axe?

V . 8* poys la: Usually the form is poy-la.

V. 9* soya (sola); Imperfect, sing. Indicative of the verb

8 0 er. See CD, 330*

touco; Enrique de Leguina y Vidal, Glosarlo de Voces de

Armerfa (Madrid, 1912), lists the Spanish word tocho and defines it as palo redondo.

In an article by Fritz Kruger, "Cosas y palabras del noroeste iberico,” HRFH. IV (1950), 249, touco is given as a "vara alta e grossa." From these two definitions, we can interpret the word as a kind of lance.

There are a number of the recurring themes of the cycle in this poem; trager selegon, oirey o son, riiu a bela.

çiada and a sela canterllada» 154

-ZVI-

B ra g a : 179 ÇV 953 (ÇB 1 3 4 6 )

Sela aleyvosa, ea mao dia te vi*

Por tea cantar ja Rodrigo perdi;

riiur-ss'el rey e mha esposa do mi*

Leixar-te quero, mha sela, por en;

5 e hirey en ousso, e baratarey ben* 285

Sela aleyvosa, polo ten cantar

perdi Eodrlgu'e non o poss’achar;

e per ende te quero /eu/ leixar.

Leixar-*te quero, mha sela, por en;

10 l_s hirey ea ousso, e baratarey ben^// 290

Des oy mays non tragerey * . .

esteo nen arçôes, se mi valha Deus;

e vencerey os en /.^m ig u s meus*

Leixar-te quero, mha sela, por en;

15 /s hirey en ousso, e baratarey ben^// 2 9 5

Variants; v* 3* ÇV runsselrey CB mussel Rey; v* 5* Braga osso; V. 6, ÇV ten; v. 8. Short a syllable; v, 9* CV ma; v* 10. Refrain omitted in ms*; v* 11. Short three syllables; verse needs a rhyme in -eus: v. 3 3* ÇV euencey os enmugus Œ euencerey os enmigus; V. 14. CV lexar; v* 3 5* Refrain line omitted in ms* 155

Versification; Cantiga de ref ram* 3 ^ (3^2). Coblas singulares» a a a B B a; i, ar, ey (eue) 10 10 10 10 10 B: en

Translation;

Perfidious saddle, on an evil day I saw you. By your song

I lost Rodrigo and the king laughed, and my wife, at me. Therefore,

I want to let you go, and I shall ride bareback (without a saddle) and I shall dispose of the affair.

Treacherous saddle, by your song I lost Rodrigo and I cannot find him; for that reason I want to let you go. Therefore,

I want to let you go, and I shall ride without a saddle and I shall dispose of the affair,

Prom today on, moreover I shall not carry props nor bows, so God help me. But I shall conquer my enemies. Therefore, I want to let you go, and I shall ride without a saddle and I shall dispose of the affair. 156

E b te s:

V* 3» oha: ml a - posaeeslve adjective; unaccented form used before the substantive#

V. II# Des oy mays non tragerev #.,. This line is short three syllables# ‘^here is needed in the verse a word which would rhyme with Deus and meus#

V# 12# esteo estelo • Peça de madeira, ferro, metal, etc* com que se sustem ou empara quai que r coisa# (Moraes)# Prop#

V# 5t 10, 15# em ousso - em osso# Sem sella ou albarda, sobre o pello do animal# (VieIra) Bare-back# 157

- 2 7 I I -

S ra g a: 179 0% 934 (ÇB 1 3 4 5 )

Ao la n ç a r do psu>

(ena sela) deu do cuu mao,

a quebrou-lh'a selai

E assy diss*a bela:

5 “Bengeu-lh'a selaj" 300

Ao lançar do touço

deu do cuabouço (?),

e quebrou-lh'a selai

S assy dlss*a bela:

10 “Rengeu-lh'a selai" 305

Variants: ÇB Tomel written in margin* v. 2. CT and ^ ena aela would make the line too long by four syllables; v* 4* CV casay; T. 3* jÇB rengen; v* 6* _GV rouço; v. 7* Sraga do arcabouço; v* 9* QV cassy* 158

Versification; Cantiga de ref ram» 2 x (Z+3)* Cobias singulares. a a B B E a; ao, onço 6 6 6 6 5 B; e la

Prose Translation:

Upon throwing the spear, he made an awkward posterior movement

and broke the saddlel And the fair one said; "The saddle creaked w ith him l"

Upon throwing the lance, he jolted and broke the saddlel

And the fair one said, "The saddle creaked with himt”

Translation in verse:

On throwing the spear.

He gave such a bolt

The saddle d id j o l t I

And said the one dear,

"The saddle we hearI"

On throwing the lance.

He fell with a clap.

The saddle did snapj

Said the lass, at a glance,

"The saddle did dancel" 159

N otes:

T* 1* Tjao (uaa) ; <-palu meaning stick. This expression along with that of the second verse do cuu mao seem to have been used to deride the zevron for his exceeding awkwardness in the sports of that period. It is also possible that there is a double meaning iiopHed which may be entirely vulgar.

V . 2. dar do cuu mao: "Par de cu. cafr de cu = cafr batendo com as nadegas no chao, ficando sentado." (Moraes) This expression, then, means to fall hard on the buttocks.

V . 7* cuaboupoi See 0 ^ 950, v* 17; from the repeated use of this term, it would seem that the troubadour intentionally coined the word, building it in the same way as arcabouço is formed. It is the opinion of the writer he is using it to gain a comic effect, especially in view of the verse which follows saying he broke the saddle. l6o

-3 V III-

Braga: 179 ÇV 955 (ÇB 1348)

Ayras Monir.• o zevron,

leizad'o selegon

e tornad’ao altar dar (?)•

Andaredes hy melhor

5 ca na sela, rengedor* 3^®

Andaredes hy mui ben

e non vos rangera per ren.

Tolhede-lh'o peytoral,

apertade-lh'o atafal,

10 e non vos rangera per ren. 3^5

Andaredes hy melhor

ca na sela, rengedor.

Andare/des hy muy ben

e non vos rangera per T & n J

15 Podedes en bafordar 320

e o tav’lado brltar,

e non vos rengera per ren.

Andaredes hy melhor

ca na sela, rengedor.

20 j^ndaredes hy mny ben 325

e non vos rengera per r e n j l6 l

Variants: ÇB Toi-nel is written in margin, v. 2. ÇB Lexado; v. 3* Braga alb ar don; v. 8. ÇB Tolhedhelo; v. 10, Braga per al; v. l4. CV andare is all that appears in ms. of refrain; v. 17. Braga e ar; V. 18. CV and ^B mui melhor, the word mal malces one syllable too many; v, 20, 21. Refrain omitted in CV and CB.

Versification: Cantiga de ref ram. 3 ^ ( 3 Cobias singalares,

a a b C C B B a: on, al, ar 7777777 b: ar (I), en B; en C: o r

Translation:

Ayi’ss Moniz, zev ro n , l e t go the sad d le and tu rn to the

pack saddle. You will ride better there than in the creaking

saddle; you will ride there very well and it wil] not creak for

you uselessly.

Take from him the breast plate (poltrel ). make fast the

crupper; and it will not creak for you uselessly. You will ride

better there than in the creaking saddle; you will ride there very

well and it will not creak for you uselessly.

You can joust and break the scaffold; and it will not creak

for you uselessly. You will ride better there than in the creaking

saddle; you will ride there very well and it will not creak for you

u s e le s s ly . 162

H ôtes;

The word play in this poem continues that of the preceding ones, especially _CV 95^» There is evidently a hidden significance

In the difference of two types of saddles, the sellagSo. which was h l^ in front and low behind, and the albarda. which is a pack saddle* According to Tieira, the sella^So was a saddle often used by clerics. Along with the saddle, the harness of the horse is mentioned — the breast plate and the cruppei’*

Apparently with the proper saddle and harness, the sport of throwing the "wand", one of the jousting games, could be done with the right finesse. This metaphor may have some hidden meaning, no doubt, which is In keeping with the zevron and the sela canter­ lla d a *

V , I. Ayraz MonizÎ a troubadour from Asme in the province of Minho*

(See chapter on Narrative Themes,32.)

V . 3» alb ar dar; Used as a substantive* The rhyme pattern of this strophe is not consistent with II and III* The corresponding verses in II and III become a part of the refrain*

V* 15. bafordar: i. e tirar lanças por alto jogando. CV 63, 955,

355» 309; Script. 3^9* — Cast, bofordar. bohordar. franc* bohorder.

A etymologia e escura. (ÇA, II, 63^ . )

V. 16* 0 tav'lado brltar: Carolina Michaelis de Vasconcellos indicates that tav'lado is a threa-syllable word: "Enteweder is nem zu streichen. 163

Oder tavlado zu setzen (wie auch In 955)*" (Eand. V., XXV» 280» n o te to V . 2 7 o f 07 6 3 .)

Lançar a tavlado. ferlr. b rltar. quebrantax tavlado slgni- ficava derribar tun audiame atirando lanças, geralmente a cavallo*

Este ezercicio e do bafordo, duas das boas manhas que uertencem a fIdalgo, eram praticadas em todos os regozljos publlcos, especial- monte em bodas principescas. Has nupcias do suas filhas, o Old

Campeador mandou construir sete tablados que foram quebrantadoB antes de jantar, segundo a lenda registada no Foema del Old.

V . 1 6 0 2 o 2 2 4 9 . (C A .II, 6 3 4 .) 164

-XIX-

Braga: 179-180 Ç7 956 (GB 1 )4 9 )

0 infançon. ouv*atal

tregoa comigo dès Fatal,

que agora oyredes:

qua Ihi non disseese mal ))0

5 da sela, nen do brial*

Mays aquel d ia v ed es,

ante que foss’unha legoa,

começel

aqueste cantar da egoa, 335

10 que non andou na tregoa,

e, por en, Ihi cantor/ ey»

Bon negu'eu que tregoa dey hi

ao brial, a sazon,

e aa rengelhosa; 3 4 0

1 5 e de pran andaron hy

as mangas do ascari —

mays non a rabicosa*

Ante que /foBaJJvmha. le g o a ,

começei 3^5

20 aqueste cantar da egoa,

que non andou na tregoa,

e, per en, Ihi cantarey. 165

Dey eu ao infançon

e a seu brial tregoa, 3 5 0

2 5 ca mh'a pedia,

e ao outre zevron

a que renè'o selegon*

Mays logo n'aquel dia,

ante que foss'unha legoa, 355

3 0 /çom eçey

aqueste cantar da egoa

que non andou na tregoa,

e, por en, Ihi canterey^t/

Do infançon vilan, 3^0

35 affam ado corne can ,

e a /sel^canterllada,

e a seu brial d'alvan,

tregoa Ihi dey eu de pran*

E pois Ih'a ouvi dada, 3^5

40 ante que foss'unha legoa,

/com eçey

aqueste cantar da egoa,

que non andou na tregoa,

e, por en, Ihi cantarey^^/ 3 7 0 l66

Taxiants; v* 2. cregoa; v. 3» oytedes; v* 31* Lacks one syllable; by making cantey future in conformity to the refrain of the succeeding strophes, the deficiency can be rectified. Braga cantey; y* 15* Braga e de pran hy andaron; v. 38* C7 foBS* omitted in ms*, necessary for syllable count as well as meaning; Braga legoa; v* 20* Braga egoa; v. 23* OV en; v* 24. CV ca Œ ea; v. 2 7 * Braga a qoem reng'o selegon; v. 3 5 * Œ ta ; V. 3^. Œ cancerllada; v. 3 8 . en; v. 39* CV oulo ÇB oooj.

Versification: Cantiga de ref ram. 4 x (6+5*). Cobias sirgulares. a a b a a b C D C C D a: al, 1, on, an (II—on) 78777783877 (Ill-oa) b: edes, osa, la, ada C: oa D; ey

Translation:

Since Christmas, the noble had an agreement with me such as you will now hear; that I would not speak ill of the saddle, nor of the brial. But that day, you see; before I travelled a league, I began that song about the mare* Since it (the mare) did not enter into the agreement, therefore, I shall sing about that to him.

I do not deny that I gave a truce to the brial, in season,

1*0, Christinas, and to the creaking saddle, and naturally the ascari sleeves were a part of the agreement, but not the tailed-one. Before

I went a league, I began that song about the mare. Since it did not enter into the agreement, therefore, I shall sing about that to him,

I gave to the noble, and to his brial a truce, because he asked me for it, and to the other zevron. to the one who creaked the saddle. But then on that day, before I went a league, I began that song about the mare* Since it did not enter into the agreement, therefore, I shall sing about that to hliÿ. l6?

To the noble, the Icnave well known aa being a aconndrel, and to the sloped saddle and to his brial. I gave a truce immediately.

And when I had given it to him, before I went a league, I began that song about the mare* Since it did not enter into the agreement, therefore, I shall sing about that to him* l68

E o t e s ;

It can be seen from the following comment by Jose Pilgueira

Yalrorde that it is his opinion Don Lopo Lias (Dias) was making fan of the infancoes: in particular, the four gentlemen from Leraos who were dirty and uncouth.

Pero no fueroxsclamente los juglares quienes pusieron en solfa a los infanzones: un trovador, Don Lope Difaz, el sehor de Vizcaya, tomo por su cuenta a los Caballeros de Lemos, cuatro hermanos, sucios y mal portados (CV 9^5 a 9 5 5 )» Uno ajusto con el ^oeta treguas de Uavidad, pero don Lope Dfaz no se resigno al silencio y compueo la ultima de sus c^tigas a la yegua del caballero. (07 9 5 6 )* "Lirica Medieval Galle^a y Portuguesa," H istoria General de laËliteraturas his-panicas desde bus orifgenes al l400, I , 583.

In this song, the poet mentions all the things he has been

satirizing; the saddle, the govm, the sleeves of ascari cloth,

the creaking saddle — all these he has agreed in his truce to

omit from his songs. However, since the knight’s mare was not

named in the agreement, he composes a final song to this animal#

V . y . l egoa; Marcabru, in the poem, Dirai vos sens duntan sa uses

ega. trega, and lega as rhyme words just as Don Lopo Lias;

Mors a uzataze d'ega que tot Joru vol c'om la sega e ditz que no*l dara trega —EscoutatZ"— maa que p u ej de l e g ’en le g a , sia dejus o dianatz.

V. 17. rabicosa; Based on the \rord rabo from rapum meaning

t a l l (a C aud a, cabo ou colla dos quadrupèdes - Vieira) and cosa.

couga (?). the term is perhaps very similar to the name applied to

the rabbit in the Roman de Renart. couard» 169

V* 35* -Ca^ (ego); This epithet was used by Don Lopo Lias in

CV 9 ^7 » 7* 7 *. to describe the infançon#

V* 37* brial d*alvan ( alvao ) ; See 07 9^7* 7*

V* 39* dada; “After ter and havei*» the past participle usually remains invariable but it may agree with the object when the latter precedes the verb#* (Joseph Dunn, A Grammar of the Portuguese

Language, 4 4 l) . 170

-XX-

Braga: 180 957 (ÇB 1350)

Oatrossy fez este cantar de maldlzer aposto a hSa dona qae

era mai meninha fremosa e fogiu ao marldo e a el prazia-lhl.

Muyto mi praz d'vmlia ren

que fez dona Marinha;

non quer (a) seu marldo ben;

(e) soub’essa pastor mha

5 fogir. 375

Mai aja quen non servir

dona fremosa que foglrl

Ela fez end'o melhor—

a Deus seja gracido—

10 molhersinha tarn pastor, 38O

saber a seu marldo

f o g ir .

Mai aja quen non servir

y dona f remosa que foglrj.7

15 Qdal 4 . . . meu sahor 3^5

averem ambos guarir (?)

e ben toste mha senhor

gu arir.

20 Mai aja quen non servir 390

/dona fremosa que fogirj^/ 171

Variants: Rubric; ^ e muj fremosa e el prazia; To^nel written in margin; v, 3" lo^ig one syllable; v. 4* CV sou bassa pastormha Braga nastorinha: v* 4. long one syllable; t. 6. Œ ala; v* 10, CV molherc inha ca JŒ tarn Braga com pastor; v* l4. Refrain omitted in ms*; Strophe three seems to be defective — v, 3.5 is short two syllables and the rhyme words of v, l6 and l8 do not harmonize — guarlr is masculine with rhyme ending in -jr. terra is feminine with rhyme ending of erra: v, 1 5 * CV - ^ saber; v* 18* CT velrassa noesa tira ^ uerrassa a ossa trra; v. 21* Refrain omitted in ms*

Versification: Cantiga de ref ram* 3 ^ (4-f*3)* Cobias singulares* a b a b C C C a ; en , o r , or 7 7* 7 7* 2 7 8 b: inha, ido, (III- Ir­ regular ir, erra) C; Ir

Translation:

Moreover he made purposely this satirical song to a lady who was a very pretty little maiden and she fled from her husband and it

pleased him (Doh Lopo L ias)*

I am very pleased with one thing which Dona Marlnha did;

she did not like her husband (very) well and that young maiden was

able to flee. Confound the one who does not serve (love) the fair

maiden who flees#

She made the best of it — thanks be to God — the wench,

so youhg, was able to flee from her husband. Hay he have ill

fortune who does not serve (love) the fair maiden who flees*

wish is to have both (of them) recover. And very soon

my lady w ill finally return to her land. May he have ill fortune

who does not serve (love) the fair maiden who flees* 172

B otes:

This is a poem with a touch of the mal mariage» In addition, there are found a number of the courtly terras used in the love poems: pastor, pastormha. senhor with the feminine possessive mha, and serv ir*

V* 1* ren: In d e fin ite pronoun meaning something* "Alguma causa"

(Nunes, Cantigaa de Amigos. XII, ?)•

V* 6* s e r v ir : To court a la d y . "Gortejar uma dama." (Nunes,

Cantigas de Amigo. CCXCIX, 14)*

V . 10* pastor: "Ant. rapaz ou rapariga," (Moraes)

pastor, pastorinha; Pastor is used here to mean a young girl

or maiden.

Belege fur die ui^rungliche Bedeutung diese zwelgeschlechtigen Wortes sind unnutz /^ e r H i r t kommit ubrigens im Liederbuche nicht_vor, nur die HlrtiUj^ Dass es im Portugleslschen jedoch den /bartlose^y Jungling und das junge Madchen im allegemeinen bezeichnet, und auch adjektivlsch fur jung benutz wird, 1st weniger bekannt und iSsst jedenfalls — wenn es, wie ich denke, ein portug. Eigentumlichkeit 1st — auf besondere Wlchtlgkeit und Auadehnung des Hirtenlebens schliessen. fiymd. I, XX» 212.)

V . 10* Verse is given as : molherginha tarn pastor. (Rand. I,

XX. 213.) 173

-XXI-

Braga: 180 GV 958 (CT 1351)

Ontrossy trobou a bSa dona que non avya prez de niui salva; e el disse que Ihi dera de seue dinheyros por preyt’atal, que fezesse por el al^La cousa; e pero non quis por el fazer nada e por en fez estes cantares de maldlzer,

A dona fremosa de Soveral

a de ml dinheyros por preyt'a l,

que vehess'a ml, hu non ouvess*al,

hun dla talhado a cas de dom Coral* 395

5 e e perjurada,

ca non fez en nada,

e baratou mal*

Ca d'esta negada

sera penhorada 400

10 que dobr'o aInal*

Se m*ela crever, cnydo-m'eu, dar-lh'ey

o melhor consselho, que oj*eu sey

de ml meu aver; e grazir-lh'o-ey.

Se mb'o non der, penhora-la-ey 405

15 ca mh'o ten forçado

e de corp'alongado,

non Ih'o sofrerey

mays polo meu grade

dar mb'a ben dobrado 4l0

20 o s in a l que lh*eu dey* l? 4

Variants: v* 2 , Braga dinheyrus; t. 8. Braga vegada; v, 10. CV final OB smal; v. 11, Braga creyer; v, 15* CV ca mo ÇB en mho; v, l6, Braga alargado; v. 20. CV filheu ÇB quelhen.

Versification: Cantiga de maestria» 2 x 10 Coblas singnlares. aaaabbabba a: a l , ey 10 10 10 10 6* 6» 5 6» 6* 5 b; ada, ado

Translation:

Moreover he composed for a lady who had a reputation of being untru stw ortt^ , and he said th at he had given her h is money because of a certain agreement that she would do something for him. But she did not want to do anything for him and therefore he made these satirical songs*

The fair maiden from Several has some of my money because of a certain agreement that she would certainly come to me one day assigned to the house of Don Coral» And she falsely swore because

she did not do anything; but she bargained badly» Because of this

denial, she shall be obliged to double the security»

If she would believe me - it is my opinion - I shall give

her the b est advice I know today and I s h a ll thank her fo r my money;

if she does not give it to me, I shall be obliged (to make her do it);

for she has forced me, by holding her body aloof» I shall not suffer

it , but because I want it , she shall give me doubled the security I

gave to her» 175

Translation in verse:

The fair maid from Several

an agreement made fo r my "wherewithal!"

that she, one day assigned, would call

alone at the house of Don Coral.

And she falsely swore

fo r she did noth ing more

that beat the score.

Because of her negation

she'll have to pay the hesitation

at le a s t a double more#

I think to give her, if she believe,

the best advice I can today conceive

about the money I ' l l thank her to r e c e iv e .

For if my favor I should not retrieve

then I shall be constrained—

this maiden fair aloof

forces upon me the proof—

I s h a ll no more be pain ed ,

she must pay double

the token of my trouble. 176

ïïo tes;

CY 958 > 959 an'i 960 a ll concern the same young woman who wag given l6 soldos to go to Don Coral's house*

V . ].* Soveral ( Sobral ) r There are a number o f p a rish es i n Portugal with this name. However, the poem CY 959 which is also about this same young woman mentions Baguyn* Perhaps the village would be in the same geographical locality, in the province of Pontevedra,*

V* 2 . din heyros; The amount of money agreed upon was l 6 sold os according to CY 959» v* 3*

V. 3* hu non ouvesse al; Literally "where there should be nothing else." The locution is used in other tenses as ; u al non a. of*

Nunes, Cantigas de Amigo. CIV, 10, meaning certamente. sem duvlda*

V* h, Don Coral; This person is mentioned in _CV 959» v. Q and

960, V» 6* In footnote 2, Carolina Michaelis de Yaaconcellos makes the following suggestion about his identity; "Der Name kommt in alten Texten vor (Diego Corral). z.B. in der Cron. Alf. Cap, 52*

Vielleicht gelingt es, ihn nachzuweisen." (Hand. IX, XXYI, 69.)

V* 9* 11* penhorada. penhora; (Penhorar) “embargar Judicialmente o uso do8 bens para segurança ou pagamento da dlvida," (Yieira)

V. 3 0* 0 sinal; "Dinhelro ou objecte que um dos contratantes deixa em poder do outro para segurança da sua obrigaçao." (Yieira), Money or an object given for security* 177

V* 10, 20* sinal: peça, traste movel, ou semovente* “Mando mecum unum sinal, quod* meliorem habuerimus*^ Doc, das Bentas do Porto de 1216* dardes de loitosa o milhor sinal, que houverdes*” Prazo de Pendorada de IW^, "Por colhelta d'el-Rei dar cinquo soldos, e luytosa de cada pessoa o malhor sinal." Prazo de l^ ^ * (Viterbo)

V* 11. c^rever: See Huber, ^390» the conjugation of the "Eonjunktiv des Futurs: II* (in alphabet. Reihenfolge)* aduzer fuhren; adusser — aver haven: ouver — creer glauben: crever* •

V. 3.6, alongsuio; "Afastado, longe, distante," (Hunes, Cant 1 gas d«Amigo. XLI, 9*) 1?8

- 2X1I-

Braga: 180 ÇÏ 959 (m 1352)

A dona de Baguyn,

que mora no Soveral,

dex e sex soldes a de min,

E dey-lh*os eu por preyt’atal 4l5

que m h * o s ar d esse,

ond*al non fezesse

86 non veheese falar

mig*en cas don Corral,

Variants: v, 3* ÇB dez e sey Braga ha; v, 5» Braga m*os; V , 8 , CV ml g e n e n cas d o n Corral CB Coiral Braga m lg u * e n cas / / d e d o n C orral, 179

Versification: Cantiga de maestria* 1x8* (Fragment of a poem), ababccbb a: in 6 7 8 8 5* 6» 7 6 b: a l c: esse

Translation:

The lady from Bagain who lives in Soveral has l6 soldos of mine* And I gave them to her with the certain agreement that she would return them to me were she not to do something - If she were not to come to speak with me at Don Corral’s house* 180

H ôtes:

See CV 958 and 07 960» This cantina (CV 959) is a continuation o f CV 958.

V* 1* Baguyni "Ltigar da Galicia en la paroquia de Jorge Mogor,

termine municipal de Marin, prov* de Pontevedra.” (Enciclouedia

Universal llustrada Suropeo-Americana. )

V . 3» soldos; ”A paga do soldado, e official militar; o pre d o 8

soldados; o que o rei ou o publico da aoe sacerdotes e quaesquer que

servem o publico.” (Vieira).

V . 5* Part. adv. ainda mais ou outra vez. (Nunes, Cantigas

de Amigo. CCIV, 3») Again.

V . 8* m i g * : c o m ig o "As formas arch, mego, tego. sego: migo. tigo.

sigoi nosco. VOSCO, cederam o lugar as formas que podemo s c h a m a r

pleonasticas; comigo. coatigo. somslgo, comnosco. comvosco.”

(Epiphanie Dias, Syntaxe Eistorlca Portuguesa. 70.)

en cas don Corral; En cas (de) - "im Hause von, bel, zu."

(Huber, f 429») See ÇA, line 9005 for same omission of de. See also

CV 958, V . 4. for Corral» 181

-XXIII-

Braga; 180 ç v 960

Saben em Morraz (î) e en Silves ^20

meu preyt*e seu; e non Ihls peg

aue a de ml, mays [h] a d*un mes,

hun sold*e dous e dez e tree*

De mays d iz ia que ter ce r d ia

en cas de don Curral, o burgjjijes, 425

Variants; R-OB (in CB manca il numéro); 1. Braga Monserraz CB eu molraz e en siluez; v* 2, ^ sen ÇV preyte seu enô; v* 3» ÇV dûmes ^ damies Braga mez; v , h , hü sold e dog e dez e tr è s Braga tl sold*e dous e dez e trez; v* 5* ÇV d iz ia ÇB diria Braga diziam ; t * 6* ÇB cuirai Braga Burguez; Strophe is incomplete. 182

Versification: Cantiga de maestria. 1x6. Fragment a a a a b a a: es 6 8 8 8 8 8 b; ia

Translation;

They know in Morraz (?) and in Silves my agreement and hers and may it not trouble them that she has had from me for more than a month one soldo and two and thirteen; moreover it was said that the third day in the house of Don Curral, citizen*.* 183

Notes:

V* I* Morraz (?): If this name place is Monserraz as Theophilo

Braga apparently believed, then it is the name of the celebrated mountain and monastery in the province of Barcelona# See Snclclo— pedia Universal llustrada Enroneo-Americana#

V* 2# Silves: “Gidade do Algarve, duas legoas do Oceano, antlgamente muy populosa, Corte do Reyno de Portugal# Ho je he da Rainha# Suas armas sa3 hS escudo em branco, coroado. Poy fundada por huns povos anti^issim os, chamados Curates. Tres vezes a ganharao perderao os Mouros; no anno de 1242, fo y reconqul- stada por D. Payo Peres Correa; el Rey B. Affonso III a mandou povar de novo#" (Bluteau)

pes; present subjunctive of pesar. third person singular#

V , 3» hun sold'e dous e dez e tres; Bex e sex, cf. ÇV 9 5 9 , v . 3 .

V* 5* tercer dia« See tercer dia ante natal of CV 946, v, 1#

V. 6. don Curral 0 burgrues: Burgees, burgues, vecino de algun

pueblo, pertenciente a la clase media, (G-losario de las Cantigas

de Santa Maria#) In the Cronica del Rey Bon Alfonso Becimo. BAE,

LS7I, 4l, (see v# 4, CV 958), this man is named Biego de Corral, 184

-ZXIT-

Braga; I 8 OI 8 I CV 961 (ÇB 1353)

Esta cantiga fez como respondeu hun, escudeyro que non, era ben fidalgo e querla seer cavaleyro* E el non o tiinha por dereyto,

e diss'assy:

"Escudeyro, poys armas que redes

d ized 'ora con quen comedes*"

"Don reman, de comer mi eu sol,

ca assy fez sempre meu avol (?)."

5 "Poys armas tanto desejades 430

buscad’ante con quen comhadesl"

"Don Jeman, de comer mi /eu sol,

ca assy fez sempre meu avol (? )*2/

Variants; v. 1. CV EscudejTO poys armas queredes; v* 3* Braga Don Femand’a; v, 6. Bra^ comades; v. 7* ÇV Refrain line consists of only do f emàde comer ml Braga Don Fernand ' a* 185

Versification: Cantiga de ref ram» 2 x (2't'2). Coblas singulares* a a B B a: e&es, ades 9* 9* 9 9 B: ol

Translation:

This song he made how he was answered hy a k n i^ t, who was not a good noble and wanted to be a cavalier* And be did not have the ri^t» and he said thus:

"Squire, since you wish arms, say now with whom you eat*"

"Bon Jeman, I eat alone for my grandfather always did so*"

"Since you want arms so much, look beforehand w ith whom you may eat."

"Bon Pernsn, I eat alone for my grandfather always did so*" 186

N otes:

This poem seems to be a corollary of the Spanish proverb»

"Dime do^nde comes, con quie^n comes y lo que comes, y te dire^ quien eras." (Francisco Eodrfguez Marin, 12.600 Refranes MsCs, Madrid,

1930. 8 8 .)

V/hile it was possible for an escudeiro (squire) to become a cavaleiro. the implication is, in this song, that the Soulre did not have quite the proper background.

Rubric: Escuydevro: Se os fidalgos pobres, para os quaes o sustento de cavallos e armas era um dispendio excessive e os que comettiam acçôes indecorosas, deixavam de ser nobres, sous fllhoe (moços ou donzeis ate aos quatorze, e escudeiros em seguida) gozavam de menos c r é d ite ain d a, no caso de, che- gados a idade compétente de vinte e cinco, nSo poderem entrar na ordem dos cavalleiros, por escassez de fortuna ou por desdouro no brasio. NSo faltam dizeres de escarnho que respirem profundo desdem por nobres envilecidos. Verdade e que, alem dos cavalleiros e escudeiros de linhagem, havia outres de origem plebeia - vlllSes cuja importancia e cujos bens Ihes permittiam ter armas e cavallos, e que sujeitos a serviço militar de cavallaria nos fossados annuaes e por is so isentos de certos tributes, eram considerados como aristocracia popular* Mas como forman excepçâo, e como as ambigSes d'esses équités a nlebe deviam ser bem diverses, somente criticos nruito escrupulosos poderao ficar indecisos sobre a categoria dos que apparecem designados com o simples titulo de escudeiro." (j£4, II, 621*)

fidalgo: In Las Slate Part Idas. Part Ida II, Titulo XXI»

Ley II, 199t there is explained what is meant by fidalgo; "Et por este sobre todas las otras cosas cataron que fuesen homes de buen linage, porque se guardasen de facer cosa por que podiesen caer en verguenza; et -porgue estes fueron escoyidos de buenos lo gares et algo, que quiere tanto decir en lenguage de EsnaSa como bien, nor 187 eso los llamaron fi.ios dalgo que muestra atanto como fl.los de bleu,"

(The underliniag Is the writer's#)

V. 3» ml: Ethical dative#

V, 4 . avol (7): avo s# m# ( avlol-g) "Palavra respeitosa com que as vezes se trata homem multo idoso e nao parente#** (Moraes) grandfather, so-called ‘•uncle**.

V» 6» comhades / comedatis 2d# person plural present subjunctive# 188

-XX7-

Braga: 181 ÇV 962 (CB 1354)

Esta cantiga fez a htla dona fremosa que a casaron seus parentes mal por dinheyros#

Se m*el rey dess'algo, ja m'iria

para mha terra, {ej de bon grade; ^35

e sse chegasse, compraria

dona fremosa de gran mereado;

5 Ca ja venden — a Deus louvado —

como venderon dona Luzia

en Orzelhon ora n'outro dia# 440

Eu, cuytado, non chegaria

por comprar coipo tan ben talhado

10 e astroso que a vendia;

porque mi non envyou mandado

fora de cachas encarregado, 445

en que coraprara dona Luzia

en o Orzelhon do que a vendia.

Variants: v# 2. ÇB teirla Braga pera; v# 7# Braga en Orzelhon n'outro dia; v. 11. ÇV p^ q minô enuyou raâdâdo; v. 12. ÇB cairegado; V . 13» ÇV enq oprara ÇB conprara; v. l4. ÇV eno Braga en o Orzelhon# 189

Versification: Z z (5't2). Cobias imissonans,

a b a b b A A A a: ia 10 ' 10 ' 10 ' 10' 10 ' 10 ' 10 ' b: ado

Translation;

This song he made to a fair maiden whom her parents sold

fo r money*

If the king would give me something, indeed I should go to

my land willingly; and if it so happened, I should bu;^’' a fair

maiden in a big business affair because they are selling (them) —

may God be praised — as they sold Dona Luzia the other day in

Orzelhon*

I, unliappy one, should not succeed in buying such a well

formed, ill-starred person as was sold because he did not send me

out, entrusted secretly, wherein he had bought Dona Luzia in

Orzelhon from the one who was selling her. 190

N otes;

Carolina Michaelis de Vasconcellos indicates by the following

that this song is about a mal mariee; “Gredichtet warden die Lieder

auacheinend zu Orzelhon (auch die in CT 9 6 2 verspottete Bella mal maridada war daher)*“ (Band* IX, XX7I, 69*)

While on the surface the song seems to allude to the practice

of purchasing the bride, Eugenio Lopez-Aydillo does not believe that

that is the particular inference in this case.

No ere emo 6 que la cantiga aluda a la vieja p r^tica del matriminlo por compra que uerseveraba todavia en los siglos XIII y XI7. revelada en algunas frases de las cartas dotales (Santa Rosa de Tlterbo. Elucidarlo; Lisboa. 1798; artijculos compra de como y mar ido conocudo Levy Marfa Jordao en el articulo Le mongeugabe portugais publicado en la Eeinie Historique de Droit français et étranger (tomo 7; pag. 101- 120; Paris, 1859) cita varies documentos portugueses de les siglos XIII al XV en que se encuentran las frases pro compra corporis, por arras e por compra do meu corpo. referiendoso a la dote otorgado por el marido a la nrujer. Tambien se replte la formula en un documente de venta de una heredad in 1 3 2 1 , por Marfa Lopez al Prior del Monasterio de Plveiro, en Galicia; , • • todo o erdamento que a min dera meu marido . , . por arras e por compra do meu corpo» (Boletfn de la Comisio'n de Honumentos de Orense; t, I, I 898, p ^ , 35* ) 00. c it.. note 1, 5 0 1 .

V. 1 . D a tiv e , in d ir e c t o b je c t,

V, 4 , mereado: Negoclo, asunto, contrato, Alonso Zamora Vicente,

Poema de Pem ^ Gonzalez (Madrid, 1946), 88,

V. 7* Orzelhon: See ^ 94?» v, I 9 *

V. 10, astroso: "Infeliz, desgraçado, e que nasceo en ma estrella,”

( V ie ir a ),

V, 12. cachas ; Eugenio Lo^pez-Aydillo gives the following information on 191 c a c h a s; majgaos de c u c h lllo ( î )

“fora de cachas encarregado** (CT 962)» Port, act*; mi tad de im fruto o de cualquier cosa. Aoerca de este vocàblo dice E q u ila z : "Aixaque e l P. A cala 'calcha* p o r co rresp o n d en cia arA)lga de caho de cuchlllo, entiendo que aquella voz no es mas que corrupclon de la lat* 'capulus*, contracta 'caplua*: el cabo o empuSadura del cuchlllo en Nebrija, Sobre la conversion de la pd en ch, cf, ancho de *amplus*. Vid, Slmonet, 'Glosa,' in v. 'calcha' y Diex y Dohkln etc*: 'cacho* *“ Op» c it.j 5 7 5 »

Cacha is defined by Moraes also as meaning the action of hiding, dissimulation. (Acçao de ocultar, dissimulaçao*) Does the phrase mean, theri “secretly"7 192

-XKTI-

Eraga: I8 l ÇT 9 6 4 (ÇB 1 3 5 6 )

E s t'o u tro c a n ta r fe z a h%a dona caaada que avj>a preço con hSu seu homen que avya nome J fra n c o .

A dona Marla soydade,

A dona Maria soydade,

Ca perdeu aquel jograr, 450

Eizendo del ben; e el non 0 achou,

5 que nerJiun preyto d'el fosse mover

nen ben nen mal, e triste sse tomou*

Variants: R-GB (In Œ alia r. ]. del3.a rubrica è sottolineato cantar, ed in rapporte a questa parola è notato nel margine inferlore cantar et cantiga idea») Braga omits one verse A dona Maria soydade» V. 3* Braga perd'en aquel Jogi'al*

Versification: Descort; fragment: "Fragmente tambien de un desccrdo parodiatico pudiera ser el outro cantar (CV 964) que fez a hSa dona cas ada que havi!a nrelto con hEun seu homen que havya nome Franco, quiza la propria Balteira, desdeSosa de Pero Garcia." Jose^ Filgueira Valverde, "Formas Parodicas en la ifrica medieval gallega," Las Ciencias ( 1 9 0 8 ), IV, 924. 193 Translation;

This other song he made to a married woman who had an agreement with a man of hers who was called Franco.

Dona Marla is longing. Dona Maria is longing, because she lost that juggler saying good of him; but he did not find it so for no agreement with him m i^t bring to light either good or bad; and she became sad.

Mote;

An attempt has been made to set up this cantiga in the form of a descort since it has been suggested it may be such.

A dona Maria soydade, a dona Maria soydade, ca perdeu aquel jograr dizendo d'el ben; e el non a achou, que nenhum preyto d'el fosse mover nen ben nen mal; e triste sse tornou.

Versification:

© a b c d c f b d a: ade 9' 9' 7776446 b: ar, al c: el dj ou e:el f; er Biography of

IIAETIN SOARES

Martin Soares is and was a name as common as our “John Smith," and, for that reason, it is difficult to establish his true identity.

However, one very precious bit of information about him is given in

the rubric to a poem found in the Colocci-Brancutl manuscript

(CB l44); "Este Martin So are z foy de Riba de Limha en Portugal et

trobou malhor ca todo'los que trobaron et assi foy julgado antr'os

outros trobadores." The cantleas OB l44 and 145, 151 to 174, and

CY 9 6 5 to 9 7 8 are attributed to him,

Prom these songs it is ascertained that Roy Gomez de B riteiros,

Joao Soares Coelho, Alfonso de Coton, Rodrigu'Eannes Redondo, Pero

Amigo , and Pero da Ponte were contemporaries of his.

From documents naming his wife. Dona Marla Soares, and his

son, JoSo Martinz, it may be assumed that he probably lived in

Santarera or, at least, in Rio-Menor. Jo3o Martinz* name appears

in the noblliarios with the designation of troubadour, but there

is no mention of his father.

Pedro A. d'Azevedo, from these documents, attempts to

establish the dates of Martin Soares's birth and death as follows:

Suppondo que Joao Martinz tlnha em 1 2 6 9 vinte e cinco annos, nascera em 1244, quando se preparava a revoluçao contra D. Sancho II. Suppondo ainda que sua m3,e contava antSo 20 annos e tendo ella morrido em I 502 aproximadamente, teria vivido

194 195

72 annos» Partindo d*estes numéros incertos e acreditando que Martim Soarez tlnha mais 10 annos que sua molher D* Maria Soarez temo-lo como nascldo em 1210, o que concorda corn a idea do sr. Lang de el pertencer a camada mais antiga de trovadores de que possulmos poesias* Em resumo: Martim Soarez nasceu nos principles do seculo XIII, senao nos fins do anterior, e f^leceu pelo tempo da revoluçSo ou pouco depoia (?) • .

Carolina Michaelis de Vasconcellos believed that he was already of age in 1220* In addition to that fact, she said that he belonged to the family Soeiro Meendes» “Martim Soares war ein

Sohn des Soeiro Pires da Maya und atammte somit, als Urenkel, von

D. Soeiro Meendes, o bSo. der eine Schwester der Konigin Therese

zur Frau gehabt hatte*“ Unfortunately, her proposed article

entitled “Grafen-Enkellnnen,“^ in which she intended to discuss more fully Martim Soares and his family, was never published»

While the cantigas d*escarrih*e de maldizer of this great

troubadour may seem, at a first glance, rather vulgar, yet there

is in their earthiness a certain sparkle which indicates ho had a

definite .joie de vivre»

^“0 Trovador Martim Su^ez e seu fllho Joao Martinz,” Rev. Lus. (1898), V, 117»

^and. I, (1896), XX, n. 1, 201.

3lbid.. 201. 196

-XXVII-

Braga» l 8 l ; CA, II, 651-52 H 965 (ÇB 1357)

Sst'outro cantar fez de maldizer a hun cavaleyro que cuydava que trobava rauy ben a que fazia nniy bons sons, e non era assy*

Cavaleyro, con vossus cantares

mal avll [^tj astes os trobadores; 455

e poys assy per vos son vençudos,

busquen per al servir sas senhores.

5 Ca vos vej'eu mays das gantes gâar

de vosso bando por vos so trobar

ca non eles, que son trobadores* 460

Os aldeyaos e os concelhos,

todo'lus avedes por pagadus;

1 0 tamben se chaman per vossus quites,

como se fossem vossos com prados,

por estes cantares que fazedes d’amor, 465

en que Ihis acham os filhos sabor

e 03 mancebos que teen soldados* 197

15 Benqulsto sodés dos alfayatea,

dos peliteyrus e dos m[ojedores*

Po v o s80 bando son os trompeyros 4yo

e os jograres dos atambores,

porque Ihis càbe nas trombas vosso son;

20 para atambores ar dizen que non

achan no nmnd'outroa sôes melhores*

Os trobadores e as molheres 475

do vossus cantares son nojados—

a htia, porque eu pouco daria

2 5 poys ml dos outras fossen loados—

ca eles no saben que xi van fazer*

Qperen bon son e boo de dizer 480

e os cantares fremosos e rlmados*

S tod'aquesto e mao de fazer

30 a quen os sol fazer desiguados»

Variants; CB cÔged in margin* Eubric; GV L* 1. dizer (q) a QV L . 3 * boos soôs; V. 1* ÇA Cavalleiro, con vossos; v* 2* ÇV avllastes; V* 3 . ÇV ueneud?; v* 5« 2 A vus ÇV mays mays das gâtes gaar; v. 8 * Ç_4 aldeaos; v. 9# ÇA todo'-los pagados; v. 10* ÇA tan beu vossos; V* 12, two syllables too long; v. 1 5 * Ç4 Ben-quisto _ alfalates; v , 1 6 . ÇV medors ÇA peliteiros; v* 17* ÇV da os^^peyre ÇB Do Braga d'a; v* 39, CB troubas; v. 2 3 , ÇA vossos; v* 24, ÇV ahuâ ÇA blank, suggestion of substantive anqjp; v, 26, ÇV nâ ÇB në; v. 2 7 * bo5; V* 3 0 * Ç% àqnus ^ designad 9 Braga desguisados* 198

Versification: Cantiga de maestria» 4 i y + 2* a, c# palavra perduda. a b c b d d b a: ares, elhos, etes, eres 10 » 10 » 10» 10 » 10 10 10 » b: I-III, ores, II-IV, ados c: udos, ites, eyros, ia d; ar, or, on, er

Translation: This other satirical song he made to a cavalier who thought that he composed very well and that he made very good tunes; but it was not so*

Knight, with your songs you disgrace the troubadours; and since they are thus outdone by you, let them look for someone else to serve their ladles. I see you attract here more people to your faction, by your composing, than they who are troubadours*

The villagers and the members of the council, you have them all satisfied; they call themselves free as if they were bought by you because of these songs which you make about love in which their sons and their servants find pleasure for themselves*

You are liked by the tailors, the furriers, and the millers; the trumpeters and the drummers belong to your faction because your music is suitable to their horns; for drums they say that they do not find better music in the world*

The troubadours and the ladles are annoyed by your songs— in the first place, as for me, I would give little that they be praised by others — but they do not know what they are going to do. They want good music and words and the songs beautiful and rhymed*

And all that is difficult to do for one who is accustomed to make them u n eq u al• 199

N otes;

This poem is translated as follows by E« Menendez Pidal;

Con ellos, vos, caballero, afrentais a los trovadores, pues agradais a las gentes. Los concejos y los aldeanos todos os estiman, pues sus hijos y sus jomaleros gustan de eaos cantares de amor que vos haceis* Sois bienquisto de los curtidores, de los molineros, de los sastres; tambien son de vuestro partido los tromperos y los juglares de atambor, porque vuestros sones les cabe en las traapas y no hallan cosa ma delicada para los tambores, Pero los trovadores y las damas, cuyo juiclo estimo algo mas que el de aquellos otros que os alaban, se enojan, a eual mas, de vuestros can­ tares, versos hermosoe y rimados, y todo esto es diffcil de concebir para el que suele hacer cantares desiguales* (Poesia JuaLaresca y Juglares. 211*)

V . 1, Gavaievro; It is believed that the gentleman to whom t h i s poem is addressed is Sueir^Eannes, a poet, who Is also satirized in

07 111?, 11?0, 11?9, 118^, s-nd Π14-3* (See Poesia Juglaresca y

Juglares, 211, and ÇA, II, 651*)

vos sus: "Auf jeden Pall wird man aus den S ohre ibungen mit u den Schluss siehen durfen, dass auch In jenen Fallen, wo o, geschrieben

1st, u zu lesen bzw* aussusprochen ist; nosso nossu. (Huber, ^ 155,

8 2 .)

V . 3» vencudos; Second a n d third conüugation udo ending. (Ibid. , ^ 3 ? 1 . )

V . 6 . bando; germ, bandvja. "E vocabulo que conjecturalmente intro- duzo no verso (CA) 939^ por desengando." (ÇA. G-. )

Jose Joaquim Nunes defined the term as -partido. faccao.

(Cantigas d'Amlfu , DIX, l4. ) 200

V# 7» ca non ± than, as in CV 239: "Melhor o fezo ca o non disse.'*

(H aber, ?>3 2 0 , l4 6 .)

V. 9* todo*lus z todolUB - Assimilation of s. 1; form is equal to

todos los. (Ibid.. ^207. 104.)

V. l4. mancebos; "Mancebo(from manciplvua).servldor por soldada,

criado." (Vieira) servant.

V. 20. -pera = nara ; See Huber, ^428, 237.

V . 24. a hga; As indicated in the variants, Carolina Hichaelis de

Vasconcelloe suggested ano.io. "Urn subs tant ivo como anolo — ano.lo

seinria bem." (CA II, 652.) Pigueiredo defines the term, however,

as ju n ta m en te . do mismo temno»

V* 26. ZÊ B%o as formas do dativus commodl. mas ou menos

pleonastico, do reflexivo da 3& pessoa," (Hobling, 664.)

V . 3 0 . desiguados: The significance o f deslgual is given i n Hand. I ,

XX, 2 1 7 , as "uneben, ungleich." Since this is the adjective form,

it means, then, unequal, variable in quality. 201

-ÏXVIII-

Braga; 182 ÇV 966 (ÇB 1358 )

Esta outra caatiga fez a Affons’Saues de Coton; foy de maldizer aposto en q,ue mostrava, dizendo mal de ssy, as manhas que o outr'avya, e diz assy:

Uostro Senhor, corn*eu ando coytado

con estas manhas que ml quisestes dar; 485

son rauy gran putanheyr/bj afficado,

e pago-me muyto dos dados jogar;

5 des y ar ey rauy grand sabor de morar

per estas ruas e vyvend'apartado*

Pod'ora meu ben, se foss'avegoso (?), 490

caer en bon prez e onrrado seer;

mays pago-m'eu d'este foder astroso

10 e d*estas tavemas e d'este bever*

E poys eu jaraays non posso valer,

quero m'andar per u seja viçoso* 4 9 5

E poys eu entende que ren non valho,

nen ey por outra bondad£eJ a catar;

15 non quer'eu perder este fodestalho (î),

nen estas putas, nen este entençar;

nen quer'ir per outras fronteiras andar 500

perdend’o v i ç 'e dando mi grara trabalho* 202

Ainda eu outras manhas avya,

20 porque eu non posso ja muyto valer;

nunca vos entre na tafularia

que Ihi non aja algun. preyt'a volver, 505

porque el poys en gran colta seer

e fugir guarir na putaria,

2 5 E poys quando me vej'eu meu lezer

merendo logo, e poys vou mha vya;

e lelx'i putas de mi ben dizer 510

e de mhas manhas e da mha fo ly a*

Variants: Rubric: R-GB *'di fianco alla rubrica il Colocci ha nuovamente scritto ffonse anes dove la prima letters è caduta per la rifllatura del margine,” ÇB moetrada; In the margin is written ggedo* V* 6. ÇV tuas ÇB e uyuanda; v. ÇB Podera Braga avejoso; V* 8* ÇV ontrado ŒB omrado; v, l4, ÇB bonbada Braga ey; v. 1 6 » ÇV estëntÇçar; v. 1 7 . ÇV frôterras ŒB fronteiras; v. I8 . ÇV uince Braga o vinç*e; v. 21* ÇV naraffula(b)ria Œ nataffularia; v* 22* ÇB p'eytalvolver; v* 24. Braga fu j'ir guarir na; v* 25* ÇV ueien; V . 2 6 . ÇB nou* 203

Versification; Cantlg:a de maestria» 3 ^ 6 + 4*

a b a b b a a: ado, oso, alho, la 11' II 11» 11 11 11' b: I-III ar, II-IV er

f.baba b; e r 11 1 1 ' 11 1 1 ' a: i a

Translation;

This other song he made to Affonso Ean.es de Coton; it was

purposely satirical in that he (the troubadour), by speaking ill

of himself, showed the habits that the other had, and it is said

th u s:

Heavens1 how distressed I am with these habits which you

have attributed to me; I am a very eager whoremonger, and I am

very contented shooting dice; besides, I have very great pleasure

in dwelling in these streets and living on my own*

It could be to my advantage, if I were careful, to fall

into good repute and to be honored, but I am satisfied with this

evil fornication and with these taverns and with this drinking*

And since I can never be worth anything, I want to go around where

I may be given to vice*

And since I know that I am worth nothing, nor do I have

another good quality to search for, I do not want to lose this

brothel, nor these prostitutes, nor this disputing, nor do I want

to go to other frontiers (battlefields) losing my vigour and giving

myself great trouble*

I have had even other inclinations, because I can never 2C4 be worth much; I never enter into a gaming house that there is not

some quarrel to settle, wherefore, I shall be in a very sad plight

and shall flee to safety in the brothel*

And then when I am taking my ease, I lunch and go my way;

and I let the prostitutes speak well of me, of my habits, and of

my fo lly *

N otes:

H i^ly amusing because of the teimiuologj'’ used relating to

Affons* Eanes de Co ton who is anything but a "gentleman," the poem

is an interesting parody of the amor song* Here Martim Soares

praises Affonso who has neither urez nor boas manhas nor bondade#

All the formulae of the typical amor song are utilized, the invoca­

tion so to speak. Nostro Senhor: the expression of unhappiness,

com* eu ando covtadn ; the reputation, urez. honra. bondade; the usual

sabor de morar* Instead of the lamenting vivo muit*aloagado de vos,

there is the comic contrast guero m*andar per u se.ja viçoso*

Hamon Menendez Pidal summarizes the cantiga as follows:

Diosj y cu^to me apenan estas maSas que has querldo darmeJ Soy putaSero, jugador de dados, tabernario; nunca entro en la tahureri'a que no revuelva pendencia, y cuando a llf me veo apurado, huyo a la mancebiTa, donde bendicen mi locura las mas astrosas rameras; podrfa cobrar buen prez y honra; mas como nada valgo, deseo morar a mis anchas en estas tierras, sin querer andar por las fronteras perdiendo mi holgora y dandome grandes trabajos* (PoeelV Juglaresca y Juglares. 199-200.)

R u b ric: Affonso Eanes de Coton was from La CoruSla* A p p aren tly , a t

one time, he was a soldier, even though deformed, and he was distinguished

for his cantigas de maldizer* In a satire written by King Alfonso X 205

(ÇV 63), it is told that Coton wag killed in a tavern quarrel by

Pero da Ponte, who was drinking with him* Pero da Ponte supposedly stole his compositions and made quite a name for himself because of them*

Coton*3 portrait in this cantiga is very similar to that of

Cuillem Figueira in the razo, or biography, of the Provençal poet;

"No f 0 horn que saubes caber entremis baros ni entre la bona gen; mas mout se fez grazir als arlotz et als putans et als hostes et als tavemiiers," (Jean Boutiere and A. H* Schütz, Biographies des

Troubadours (Ohio State University Press, 1950), 1?3*)

V , 3» sonr sSo (I am) See Jose Joaquim Nunes, Conrpendio de

G-ramatica Hlstorica Portuguesa (4.a ediçao, 19^5 )t l47*

V* 7 * avegoso (?) avagoso (?) "Avagoso - cuidadoso, solfcito, zeloso* — A terceira, scolher pessoas e alimaria autas e despostas naturaimente e avagosas naquello que quer fazer." (Herbert Palhano,

"A Fzpressao Lexico-gramatical do Leal Conselheiro," Rev* de P ort..

(Suplemento 1949), XIV. 105-180.)

V . 11. v ico so : "alegre, sa tisfe ito " (Jose Joaquim Nunes, Cantigas, d’Anigo. COCO, 10.)

V* 15* fodestalho (7) : - from foder4-stallium (?). Putaria (?)*

V , l 6 . entençar: "altercar, disputar (de tencao ou tentione )" Jose

Joaquim Nunes, Crestomatla Arcaica. 5 ^3 • The infinitive is used as a noun* 206

V . 1 7 * fronteiras : **0 territorio ocupado em Espanha pelos arabes.”

(Jo s e Joaqnlm Nunes, C an tig as d*Ajnlf;o, CGXSI, l 4 . )

V . 21. VOS! Ethical dative. 207

-XXIX-

Braga: 182 ^ 967 (ÇB 1358 )

Esta outra cantiga fez a hun cavaleyro que foy cativo e deu por sse quitar mayor aver que pode, que tiinham og homeefn^s que non val la el tanto*

Hun cavaleyro se comprou

para quitar-sse de Jaen

hu Jazia prea'e eustou

pouco, pero non mercou ben; 5 1 5

5 ante toniio que mercou mal,

ca deu por ssy mays ca non val;

e tenho que fez hy mal sen*

Tan pouco soub'el de mercar

que nunca eu tan pouco vi; $20

10 ca se quitou de sse comprar

e tan grand‘engano près’y

que, pero s'ar quiser vender,

ja nunca podera valer

o meyo do que deu por sy* 525

1 5 De sse comprar ouv'eJ sabor

tan grande que sse non guardou

de mercar mal; e fez peyor,

porque s'ante non consselhou; 208

ca diz agora ssa molher 5 3 0

2 0 que este mercado non quer

caber, poys el tan mal mercou.

Variants: Rubric; CB eden • , • tijnhan _CV timha os homees; V. 3» ÇV merou; v. 7* ÇB sobel Braga fez el; v, 1 1 , ÇY psy Braga pens'y; v* 12. _CV ^ jgo ear "^rra vender OB quiera E-CB qira; v, l4* CV omeyo do pi" q deu; v, 2 1 , 07 m'çou* 209

Versification: Cantiga de maestria» 3 % Coblas singulares, a b a b c c b a: ou, ar, or 8 8 8 8 8 8 8 b; en, i, ou c; al êr, er

Translation:

This other song he made to a k n i^t who was a captive and he gave more money than he was able to free himself, since people maintained that he was not worth so much#

A knight bou^t himself to set himself free from Jaen where he lay prisoner; and he was worth little , yet he did not bargain well.

On the contrary, I am of the opinion that he bargained poorly because he gave for himself more than he is worth and I contend that he did not act sensibly.

He knew so little about bargaining that I have never known

(seen) so little ; for he freed himself by buying himself and was so greatly deceived that should he wish to sell himself again he would never be worth half of what he gave for himself*

He had such a great desire to buy himself that he did not keep from making a bad bargain and he did worse because he did not get advice before; for his wife now says she does not want to take

this merchandise because he bargained so badly. 210

N otes:

Hubric; pode: J>d. sing* pret. Ind. of noder*

V. 2. Jaen; Ciudad perteneciente al antiguo reino da Andalucla, situada al sur del ri^o G-uadalquivir, en la falda del monte llamado del Castillo, entre el cerro y mantaSa de Jabalcuz, al SO., y al rfo Guadalbullon al E ., que pasa muy cerca de la capital, Sitio de las conquistas de 1152, 1225, I 23O, y 12^5 —46." (Djccionarlo de Historia de Esnana. Madrid, 1952.)

Carolina Mlchaelis de Yasconcellos dates this poem about

1246 b ecau se of th e re fe re n c e to J a e n . (CJ\ I I , 334"*)

V. 4 and 5. mercou; < mercari. "Termo antigaado. Contractar, fazer

de quaiquer modo venlaga, ou contracte licite." (Vieira)

V. 5. ante: — antes

V. 5 and 7» tenho que: Infinitive with que is defined as follows;

teer que : ser ou estar de opiniao que, crer (C^. C.), to believe.

V. 6. mays ca; = mays (mais) do que. See on. c it., 124—125.

V. 6 and l4. Reflexive.

V. 12. puiser: The Yaticana ms. has the future of the verb querra,

while the Colocc1-Brancuti has a variant form queira. However, the

sense of the sentence implies the condition which would, in the

w riter's opinion, require the future subjunctive quiser*

V» 18. consselhou aeonselhar. "Tomar conselho ou pedir conselho."

( V ie ir a )

V. 21. caber; "Ant. Tomar, receber." (Moraes) 211

-XXX-

Braga; 182 CV 9 6 8 (ÇB 1 3 6 0 )

Esta outra fez a hua escudeyro de pequeno logo e dlziaaj-lhl

Albardar; e fez—Ih'estes cantares d'escarnh’e de maldizer, e diss* a s a y :

Ouv’Albardar caval' e seendeyro,

e cuydava cavaleyro seer;

quand*eu soub‘estas novas primeyro, 5 3 5

maravilhey—m*e o non quys creer.

5 Eiz dereyto ca non vi fazer,

des que naçi, d*albardar cavaleyro»

Variants; v* 1. ÇB sendeyro ÇV Ouvalhardar cauale seendeyro; V * 2 . ÇV je om itted, therefore, minus one syllable; v. 3* short one syllable quando (?) eu7; v . 4 . ÇV m e n o n o ; v» 5 » One syllable short. 212

Yersification; Cantiga de maestria, 1x6, Fragm ent,

a b abb a a; eyro 1 1 ' 1 0 1 1 ' 1 0 9 1 1 ' b: e r

Translation:

This other (song) he made to a squire of little importance

and they called him Albardar and he made these satirical songs and

he said thus:

Albardar had a horse and a nag (?) and he believed (himself)

to be a knight; when I first discovered these news, I was surprised

and did not want to believe it, I did right for I have not seen,

since I was born, a knight act as a saddler. 213 iTotes;

It seems that the term albardar meaning "to saddle" and used in the poem as the name of the squire is the basis for the troubadour’s punning* Perhaps the squire did not possess horses nor arms to become a knight and in reality performed only the work of saddling* The verb, albardar. "to saddle" and the noun, albarda, "buffoon" (Moraes) lend themselves to a play on words*

Prom the poem which follows, it is quite possible to conceive that the intention of both poems is only vulgar*

V. 1. seendeyro; "Quartïîo man, cavallo que nao e de marc a nem pode servir para a gueira." (Vieira)

caval* e seendeyro; Albardar, like the Caballero In E lena y Marfa had both a horse and a nag*

Quando no tien que despender, to ma se luego ajogar; e joga dos yeses o tres, que nunca gana una vez; quando to ma a perder, ayna sal el su aver: joga el cavallo t el rrocin c elas annas otro sy el manton, el tabardo e el bestido r el calçado; (R. Menendez Pidal, "Elena y Marfa," EEE. I (l^l4), 59»)

V* 2* cuydava; Third person, imperfect indicative of cuidar which means pensar (Jose Joaquim Uunes, Canti^-as d’Amlgo. )

V. 5» Eiz dereyto; The locution fazer dereito - "procéder justamente, com jufzo." (Ibid*. VI, L*l6*) Nunes points out in a note that 214

Berceo also used this locution in 490d«: "Facie inui grand derecho»

e t c . ."

V. 5 and 6. fazer d * albardar = hacer de albardar. to act as a saddler* 215

-2QLXI-

Braga; 182 ÇV 969 (ÇB 1361)

Quand. ' M baràar fogia d'aalen,

Orrac'Ayrae o ascondeu mui ben; 5^0

E el na area Ihi fez atal ren

per que nunca hy outr'ascondera

5 Per quant'! fez Albardar, nunca ja,

Orrac'Ayras hy outr'ascondera*

Polo guarir muyto fostee de mal 5^5

sen; e cham 'eu sempre nome M oyr'A l-(7)

bardar; e el de mays Ihi fez a area tal

10 per que nunca hy outr'ascondera*

Fer quant'! fez Albardar, nunca ja

Orrac'Ayras hy outr'ascondera. 550

Variants; v. 2. ÇB Oiracayras; v* 3» OB axcha; v. 6. ÇV outl ÇB out" scondera; v, 8 and 9* ÇV sen e chamou semp no moyralbardar / r el demyslhi feza area tal ÇB moyrabaldar; v, 10. ÇV q; v. 11* CV Only per quanti fezia given of refrain in ms.; v. ]2. Omitted* 216

Vers if ication; Cantiga de refrain» 2 x ( 3 ' + '3 ) « Coblas slngulares* a a a B B B a ; e n , a l 10 10 10 10 10 10 B: a

Translation;

When Albardar fled from the frontier» Orraca Ayras hid him veiy well. And he did such a thing in the chest wherefore she will never hide another there* Albardar did so much there, Orraca

Ayras never will hide another there.

You were very foolish to save him; and I call him always by the name of the Moor, Albardar; and moreover, be made the chest such that she will never hide another there, Albardar did so much there, Orraca Ayras will never hide another there. 217

N otes:

V* 1. aalen: "ADV* ( ad+ 111 ia + Inde» ) "Da parte de la, mais adiajxte, do lado fronteiro." (Jose Joaquim Nunes, Caatlfras d*Amigo»)

V# 2» ascondeu: Third person, preterite indicative of asconder

"esconder, occultar*" (Vieira)

V . 3* el na area Ihi fez atal ren; Orraca Ayras has hidden Albardar in a chest and he has done something in the chest. Just what the who] e incident is about is not clearly indicated in. the poem. However, it does remind one of the "lover in the chest" stories:

A Buddhistic story similar to this of the lover in the chest (from Boccacio) is given by Benfe^, I, ^55t from the Tibetan Lebensbeschreibung von Sakyamuni by Schiefner in the Mémoires de 1*académie de St. Petersburg par divers s a v a n ts . VI, I 8 5 1 , 297 9-s follows: "A cripple who fre­ quently visited a man's wife under the pretext that he came to make a cap for her, is one day, owing to the unexpected return of the husband, stuck In a chest: this is stolen by thieves. The cripple makes water whilst the thieves are carrying him away, they thihk there was a glass of water in it, etc." Lee A. Collingwood, The Decameron. Its Sources and Analogues (London, 1909)» 152.

ren: cousa (Vieira)

V . 7 5:id 8 . de mal sen; "doido, louco" Jose Joaquim Nunes, Cresto­

matla Arcaica. 592*

V , 8 and 9* The word Albardar has to be divided in order that the v e rs e s 7» 8 , and 9 rhyme. A similar division by D. Dinis is given

by Jose Joaquim Nunes in his Crestomatla Arcaica. cxxxi; "D. Dinis

chega ate, numa das suas cantigas (a n.® 13^ do G. da Vaticana), a

dividir a palavra, metendo parte num veroo, parte noutro, dizendo 218 assim ;

Ca viv*em t a l cuidado. Come quern so fre d o r e de mal aficado que nom pode maior, se mi nom v a l a que em f o r ­ te ponto vi, ca ja de mort— t' el prazer e nenhum pavor.

cham'eu sempre nome moyr*Albardar (T) The sense of this phrase is not very clear. Can it be as we interpret it; I call him always by the name the Moor Albardar? ¥e have to assume that the ms. form chamou is incorrectly copied, that the form is cham'eu and that no means nome. There is a form moiro meaning Moor (Vieira). 219

-XXXII-

Bra^a; 182 CV 970 (ÇB 1362)

Esta outra fez a hun escudeyro que era pelejador, e pero hu cuydava el ferir, ferian el.

Pero Ferez se remeteu

por dar hunha punhada,

e non a deu mays recebeu

hunha grand*orelhada;

5 ca errou essa que quis dar 555

mais nS-no quis 0 outr'errar

de cima da queixada.

Ouvera el gran coraçon

de seer vingado,

1 0 e do seu punho d'un peon 5 ^ 0

que o [hja desonrrado;

e non Ihi deu ca 0 e rro u .

Pero Ferez hi ficou

con seu rostro britado.

Variante: v. 1. ÇB remeten; v. 2. ÇB ponhada; v. 5* ÇB eirou; v. 6 . CB quis o outre irar Braea mays non o qui s enterrar; v. 9* ÇB s e i r — the v e rse i s short a syllable; it might be changed de seer ben vingado; V. 10. ÇV edo seir punho dû peon; v. 31. ÇV desontrado; v. 12. CB eirou; tr. I3 . short a syllable; E Pero Perez hi ficou (7); v . l4 , CV bricado. 220

Versification; Cantiga de maestria. 2 3; 7* Coblas slngulares* a b a b c c b a: eu, on 8 7 < 8 7 « 8 8 7 * b; ada, ado c : a r , ou

Translation;

This other song he made to a squire who was a brawler, and when he thought to strike someone, that person struck him*

Pero Perez stepped back in order to land a punch, but he

did not give one but received a hard box on the ear; seeing that he missed this that he wanted to give, he did not want the other

to miss one more on top of the jaw.

He had had great courage to be avenged with his peasant's fist on the one who dishonored him, but he did not give it to him for he missed it. Pero Perez remained there with his face banged up, 221

N otes;

Rubric; el: The pronoun is used as an accusative in the phrase cuydava el ferir, ferian el* El is similarly used, in CD, 1370 and

CD. 2 0 3 0 .

V* 6* no-no ; *,"statt enno, enna finden sich auch die Schreibungen em-no. em-na und eno. ena: non lo non-no (sabe CA. 2876 er weiss) es nicht, nono (das man vielleicht mit n^-no transkribieren kann);,.'*

(Huber, ?250.)

V. 8. Ouvera;- Pluperfect of the verb aver»

V* l4. rostro! "Rosto. cara, semblante*” (Vieira) See also Jose

Joaquim Nunes, Cantjgas d'Amigo. CXXXII, l6* 222

-Z X 2III-

B raga; 1 8 2 -1 8 3 CY 971 1 3 6 3 )

Outrossy fez estes caatares aposto a hun jograr que dlzia

Lopo e citolava mal e cautava peyor, e sson estes:

Toy a citola tenprar 5^5

Lopo que citolasse;

e maudaron-lh•algo dar

en. tal que a leixasse.

5 Z el cantou loga'enton,

e ar deron-lh’outro don 5 7 0

en tal que sse calasse*

Hu a citola tenprou,

logo Ih'o don foi dado

1 0 que a leixasse, el cantou;

e diss'xm sseu malade 5 7 5

"Ar de-lh'alg*a quen pesar,

Hon sse cal endoado*"

15 E consselhava eu ben

a quen el don pedisse* 580

Disse-lh’o logu’e per ren

seu cantar non oysse (?)*

"Ca e s t 'e \ ay meu senhor,

20 0 jograr braadador,

que nunca bon son disse." 5 8 5 223

Variants: R-CB (In ÇB al v* 1 è sotto lineato qitola. parola scritto nuovamente nel margine inferiore); v. 5» GV loguentou ear deroulhout*^ don; V* 6. Braga ca deron-lh* outro don; t . 9» GV logolho doo fo id ad o Braga doî; v. 10. Braga e el canton; v. 11. CB edissunsen: v. 12. CV ardelhalgaquè pesar; v. 1 3 . missing; the strophic form is one of seven verses with the rhyme a h a b jc c h» (Braga does not indicate a missing line); v. 18. ^ sen cantar no oy sol*

Versification: Cantiga de maestria» 3 % 7» Goblas singnlares*

a b a b c c b a: ar, on, en 7 7* 7 7' 7 7 7' b: asse, ado, isse (ol) c: on, ar, or

Translation:

Likewise, he made these songs purposely to a juggler who

was called Lopo and he played badly on the citola and he sang worse;

and they are as follows;

Lopo was tuning his citola in order to play on it and it was

ordered that he be given something not to play. But then he sang

and he was given another gift so that he would he silent.

%en he tuned his citola. the moment he was given a gift

that he stop that, he sang; and a servant of his said; "Ifhomever

he bores, give him something. , . . He is not silent unrewarded.*'

And I advised well whomever he asked for a gift. I said to

him then not to hear his song. "For this one is, indeed, sir, the

shouting juggler, who never produced good music." 224

H ôtes:

fi. Mene^ndez Pidal summarizes the series of poems which

Martim Soares has w ritten about Lopo (GV 971-974 inclusive) as fo llo w s:

Lopo peor que el gaitero de Bujalance, en cuento se pon^a a templar la cftola recib^a un don para que no comenzase a cantar, pero e'l can tab a j recibia en seguida otro don para que callage; y su criado aconsejaba que le diesen pronto el don, pues aquel juglar, gritador estridente, nunca se callaba de balde. Cuando Lopo se presentable con su citolon, debajo del brazo, a todos asustaba y hacfa hufr; si le convidaban, era garganton y triste durante la comida, pero aua peor era cuando, acababa esta, se ponfa a rascar el citolon y a cantar* Cierto infanzon, a cuya casa fue Lopo, manhole dar por todo don tres couces en la garganta, y mas merecfa el juglaron, segun lo mal que ejercfa su arte* (Poesfa Juglaresca y Juglares. 199.)

Rubric: Lopo; "This jograr, belonging to the household of King

Ferdinand III, tells in his cantigas de amigo that he accompanied

his king during his campaigns from sea to sea, that he left his

sweetheart in Galicia, and that he used to speak about her on

the pilgrimage to San Leuter." (Ibid*. 199*)

The ru b ric to t h is poem i s v ery s im ila r , as fi, Mene’ndez

PidaJ. observes, to some of the Provençal razos: particularly to

those of Aimeric de Peguilljm and HIfas Gairel*

V. 1. citola: • • cftola, cftula (de clthara), especie de guitarra ou gujterna. parecida a viola de arco, a Fiedel doa germanos* Esse era typico de modo tal que deu nome a urn executante, do sei'viço del rei Alfonso X* He cftqia, tambem foi derivado o verbo citolar, para designar o master principal dos jograes ea geral, e especialmente de alguns nossos conhecldos como Lourenço, Lopo, Juiao, Picandon* (ÇA, I I , 6 4 0 .) 225

V. 7* en tal que; "Loc* adv. Ant. Comquanto• “ (Figueiredo. ) Used with the subjunctive. See Spiphanio Dias, Syntaxe Hfstorica Portu-

^ e s a , 275.)

V. 11. malado; Criado. See Rand* I, XX, 70*

V. 1.4* endo^o: endoado* Unrewarded, free* Sxamplo given in Huber,

481, 2 6 9 ; ” Servi seia-or* endoado onde un ben nunc a nrendl (CA* 6470.)

Ich diente immer umsonst (dort), wo ich nie ein (etwas) Gates empfing."

V. 15* quen: Relative pronoun used without an antecedent. "Quen

so se usa sem antecederite." (Hobllng, 6 6 9 .)

V. 18* Seu cantar non oysse; This line does not conform in the ms.,

to the rhyme pattern expected, the rhyme ending being sol * Sol would

have to be the adverbial form from sola meaning only* The construction

non oy sol does not seem clear especially in the context that follows;

"I alone heard his song," doss not have much significance when used

with "who never produced good music." 226

-XXXIV-

Braga: I83 GV 972 (ÇB 1362^)

Con. alguen e ( k j Lopo deffiado,

a mey cuydar, ca Ihi vyroa trager

him citolon muy grande sobarcado,

con que el sol muyto mal a fazer;

5 e poy-lo ora assy vyron andar, 5 9 0

non mi creades, se o non sacar

contra alguen que foy mal dia nadoi

Por que o veen atal desaguisado

n3-no preçan, nen o querem temer;

10 mays tal passa cabo d'el segurado 595

que se Ihi Lopo cedo non raorrer,

ca Ihi querra deante citolar

e poys guarra a morte seu grado]

1 5 B poys Ihi Lopo ouver citolado, $00

se hi alguen chegar polo prender —

diz que e muy corredor afficado —

e de mays se cansar ou sse caer,

e hi alguen chegar polo filhar,

20 jura que alçara vos a cantar; 605

que non aja quern dulte, mal pecado (î)j 227

Variants; Sel àlssl written in margin by Coloccl* v. 1» CV equi B raga e 'q u l Lopo d e sfia d o ; v . b., ^ mal fa z e r; v , 9 , GV nono pzan neno ^rem temer Braga non o; v, 11* ÇB moirer; v. 12. CB queira; V. 13* ÇV a mSte sen grade CB guaira; v. l4* CV Lopouuer Braga Lop'ouver; v, 15» ÇV mi; v. 17» CV conedor officado CB coiredor acolado; v. 20. CV a cara ÇB al çara Braga jura que a cara vos a cantar; v. 21. ÇV pecado Braga que non aja quern dulde.

Versification: Cantiga de maestria. 3 % 7» Cobias unissonans,

a b a b c c a a: ado 1 1 « 1 0 1 1 » 10 1 0 10 1 1 » b: er c: ar

Translation:

Lopo has fallen out with someone here, in my opinion, for he

was seen to carry out under his arm a large citolon on which he is

accustomed to perform very badly; and since he was seen to walk along

thus, do not believe me, if he does not take it (his citola) out in

front of someone who was born on an evil day.

Since they see him at such an inopportune moment, they do not

esteem him, nor do they want to fear him, but such a one passes close

by assured that if Lopo should not die then, he will want to play on

the citola for him . . . and then he will earn after death his recompense.

And since Lopo would have played if, thereafter, someone

finally caught him, — it is said that he is a very stubborn runner —

and moreover if he tires or falls and someone finally gets him, he

swears he will get to the point of singing to you for there is no

one whom he fears, unfortunately. 228

Notes;

V, 1» deffiado: from dia + a + fidatu: desafiado. provocado para duelo (CA, C,) provoked

V, 2, Ihi; Dative of interest.

V. 3* sobarcado; Carried under his arm. This term la given as the past participle of the verb sobarcar defined as follows: "poner o llevar alguna cosa, que haga vulto, debaxo del arco del brazo, o sobaco." (Diccionario de la Real Academia Sspanola, 1739»)

V, 7* fov mal dia nado; This locution is frequently found in the canti,gas. Cf. CD 2009 and the Cantigas d ’Amigo. CCI, 20.

mal dia; em mau dia See loc, cit.

V, 8. desaguisado; "unpassend, toricht," (CD 1993)* Unsuitable,

ill-tim e d .

V, 9* nq-JuQ: See ÇV 970, v, 6.

ureçan: Third plural present indicative of preçar derived

from preço. therefore •prezar < pretiare (Nobling, 6 7 8 ), Appreciate,

esteem,

V , 1 3 . ppi.s que

V, 21, dulte; Third sing,, pres, subj. of the verb dultar. "duvidar,

temer, recear ( dubitare 7) Jose Joaquim Nunes, Crestomatia Arcaica. 363, 229

Braga: I 83 ÇÏ 973. (CB 1365)

Lopo jograr, es gar ganton,

e sees t r i s t ’ao coiner;

pero dous nojos per raeon

tenh'eu de eh’os homen sofrer; 61O

5 mays vas no citolon rascar,

des y ar filhas-t*a cantar,

e estes nojos quatro son!

Com'en verde fonçelegon,

cuidas tu hi a guarecer 6l 5

10 por nojos; mays non e sazon

de oh'os querer homen sofrer;

ca hiras hun dia cantar

hu ch'o faran todo quebrar

na cabeça o citolon* 620

Variants; v, 1. CY _es omitted Braga Lopo jograr garganton; v. 2, CV sees tristao Braga E se es; v. 3» ^ nol9 ; v, _CV tenheu dech9 nomë so fre r, ŒB home; v . 6 . CV desy ar filhasta cantar; V , 7« ^ nol9 ; V , 9* GV cui dis* 230

Versification: Cantiga de maestria* 2x7* Coblas unissonans* ababcca a: on 8 8 8 8 8 8 8 b: er g : a r

Translation;

Lopo jograr. you are gluttonous and you are sad while you are eating; yet I consider (these) two annoyances not unreasonable that one suffers because of you, but you start to scratch on the citolon. and in addition you begin to sing and these annoyances are fouri

Like the sickle in the green, you think to get by with annoyances (that people are willing to stand for you) but it is not

the season that one wants to suffer them from you; for one day you

are going to sing when someone will have your citolon completely broken over your head* 231

Notes:

V, 1. garganton, adj* "gargantao. devorador, comilSo, gulosa."

An augmentative form used probably with a pejorative significance and in harmony with citolon and foucelegon*

V* 2, sees ea. second pers. sing. pres. ind. See Huber, #378*

V. 4. sofrer: personal infinitive.

Der reine Objectsinfinitiv kommt vor 2) Nach zusammengesetzen verbalen Ausdrucken wie halten fur: ter nor bem, nor razom. por melhor sorte.

CA l4l Por deus tԤede por razon/ de vus querer de ml doer (sic) ou de me leixardes morrer ou de me queredes valor. Carolina Michaelis de Vasconcellos, "Der portugiesische Infinitiv," Romanische Forschtmgen (1893)i VII, 112-115.

c h 'qs: t e 4 os = chos. See Huber, ^329 and 332*

V. 8. Com'en verde foucelegon: This phrase may simply refer to the

fact that when the grass is green, the sickle cuts easily. Likewise

at certain times, petty annoyances may escape notice. However, in

season, or at certain periods, no one wants to be bothered with

another's faults.

foucelegon: ^falee + legone. legonis (?) The legon is probably

a kind of pejorative suffix of agency.

V. 11. querer: Personal infinitive, see v. 4 sofrer.

V. 13. c h 'o : t e f o = cho See t. 4 above. The object pronoun O;

seems to be redundant. Î32

-XXK7I-

Lraga; I 83 ÇV 97^ (ÇB 1366)

Foy htm dia Lopo jograr

a cas d'un infançon cantar,

e mandou-lh'ele, por don, dar

très couces na garganta.

5 E fuy Ih'escass*, a meu cuydar, 625

segundo com'el cantal

Escasso foy o infançon

en sseus couces partir enton,

ca non deu a Lopo enton

10 mays de tr e s na garganta. 63O

E mays merece o jagraron,

segundo com'el cantal

Variants: In the margin Colocci has written to^nel. v. 1. ÇV \m dia lopo jogral; V . 2. ÇV duu; v. 3» ÇV mandeu Ihele Braga mandou-lh' ol ; V , 4. ÇB guargâta; v. 10. ÇB guar^ta; v. 12. ÇB refrain incomplete - segundo cornel. 233

Versification: Cantiga de refrain» 2 x (5'+l)* Goblas singulares. aaabaB a: a r, on 8 8 8 7 > 87 > b B : anta

Translation:

Lopo I the jester, went one day to the house of a noble to

sing, and the noble ordered that he be given for a gift three blows on the mouth (throat)* And it was not enough, in my opinion,

according to the way he singsl

The noble was stingyin handing out his blows for he did

not give Lopo more than three. But the big jestermerits more

according to the way he singsl 2)%.

ÎTotes;

V* 3» ele: J1 is the more frequent form, , das sich in vortoniger

Stellung aus ele

dar; This word, which appears in the ms, at the end of the verse as a part of verse four, is necessary for the rhyme in verse

three. In addition, the syllable count of verse three should be,

in our opinion, eig h t, in harmony with one and two; while verse four, in a sense a fofrain line, hag the same number of syllables as segundo com* el canta.

The enjambement which is created by this emendation is not unusual (see ÇV13 ^ and CV 969), Other examples are given by

Jose Joaquim îîunes, in Crestomatia Arcaica. cxxxi,

V. 4. Jograron; jograr-hon (ao). The pejorative ^ is an echo of those used in CV 973* v. 1, 8, and l4* 235 -XXX7II-

Braga: I 83 ÇV 975 (ÇB 1 3 6 7 )

Esta outra cantiga fez d'escarnlio a hun que dizia Johan

Eernandiz e aemelhava mouro e jogavan-lh'ende e diss'assy;

Johan Eernandiz, hun mour’est'aqui

fugld'e dizeni que vo—lo avedes;

e fazed’ora tanto por ml, 635

se Deus vos valha, que o mo[irjeredes (?);

5 ca vo-lo hyr^ da pousada filhar

e se vos virdes no mouro travar —

sey eu de vos-que vos assanharedes*

Levad' o mour' e hide-vo s d •a q u i, 640

poy-l'a seu don*entregar non queredes;

10 e jurarey en que vo-lo non v l,

en ta l que vos con o mour'escapedes,

ca ey pavor d'iren vosco travar;

e quero m'ant’eu por vos perjurar 645

ca vos por mouro mao pelejedes.

15 Slquer meaçan-vos agor'aqui

por este mouro que vosco trajed e s,

e juran que se vos achan assy

mour’ascondudo, corn’est'ascondedes, 65O

si o qui se Mes hun pouqu ’ enpar ar,

20 ca vo-lo hIran so o mento c o rta r

de guisa que vos seiapr'en doeredesi 236

Variants: In the margin Colocci has written sel dis* v* 2, CY fugite; V* 4. ÇV moored.es Braga mour'edes; v. 6. CV tranar; T* l4. Braga has non for mao ; ÇV moutro; v. 19* i>V pouque parar; V. 20, CV senpndoeredee.

Versification: Cantiga de maestria, 3^7» Cobias unissonans* ababccb a: 1 10 11< 10 11* 10 10 11* b: edes c: ar

Translation:

This further satirical song he composed to one who was called

Johan Temandez and he appeared to be a Moor and they joked to him about it and it was said thus:

Johan Fernandez, a Moor has fled here and they say that you have him; now do likewise for me, if Heaven will help you, you will move him, for they are going to take him from the inn, and if you should see (that they) bear false witness against the Moor, I know this much about you that you will be angry*

Take the Moor and go away from h ers, since you do not wish to hand him to his owner and I shall swear that I did not see him with you, so that you may escape with the Moor, for I am afraid they will meet up with you; and I wish beforehand to swear falsely for you because you may fight with poor success for the Moor*

Although they menace you here now because of this Moor that you bring with you and they swear that if they find the Moor hidden with you as you hide this one, should you wish to protect him a l i t t l e , they are feoing to cut no more than your cloak so th a t you will always suffer because of it. 25?

îfotes:

The Moor, who is hiding, ie , in our opinion, Johan Fernandez himself* Johan was a person who looked Moorish (semelhava mouro)

and he was tormented because of it (.1 ogavan-lh'ende)* If he, the

Moor, were attacked, naturally he would be angry (que vos assan- haredes)* Martim Soares fears that they are goihg to fight with

Johan (vosco)* Finally, it is not the Moor who is to be shamed but

Johan himself because it is his cloak that is to be cut* The escarnho

or double meaning consists, then, in pretending to threaten the Moor

hiding under the protection of Johan while, in reality, the poet

intends to menace Johan himself*

Moreover, Martim Soares continues his joking about Johan

Fernandez in 5Ï 978 where he speaks of his saya, a tunic which is so

short that it is unbecoming, especially, when he does not wear his

cloak over It*

Rubric and v . 1. Johan Fernandez; See chapter on E arrative Themes,

29, for identification of the Moor*

V* 1 and 2* esta fugido: Fugido has the force of an adjective and

is used with estar* Since it is used in this way, it denotes the

resultant state of the subject. (Joseph Dunn, A G-rammar of the

Portuguese Language■, 371») This passive construction is interesting

in view of the fact that fugere does not take an accusative* "Fugere

hat im Portugiesischen nicht den Akkusativ, sondern den Genitlv oder

Dativ erhalten*” (Carl von Heinhardstoettner, Grammatik der Portu-

giesischen Sprache. Strassburg, 1878, 291.) 238

V. 2, 5i 10, 20. vo-lo ; - vos lo. Bee Huber, 20?.

V, 4. moyeredes; 2nd plural future indicative of mover.

V , 6 . virdes; Future subjunctive, second person plural, of veer to see.

Travar; The verb is used with the prepositions em and com with the following meaning: "Man konnte travar em alg. c. ou em alg. wledergeben m it'falsch Zeugnis erheben gegen*; travar com adg. mit

•jemand Strelt anfangen'." (Hand. I, XX, 214.)

V . 9, poy-lo ; poys lo. See Huber, ^207*

V . 12. iren; Personal infinitive following the substantive pavor.

See Carolina Michaelis de Vasconcellos, "Der Portugiesische Infinitiv,"

Romanische Forschungen, VII, 113-11 6 .

V. 1 5 . Slquer; "apesar de que, ainda que. A nao ser nesta locuçao, e muitorara a forma ^ para a conjuncceS-o se. (Hobling, 6 7 9 *)

V. 20. o manto c o rta r ; See v, 3 ., CV 946. I t seems th at the Moor would be disgraced if h is cloak were to be c u t. See _CV 9 7 8 , v. 11. 239

-XXXVIII-

Braga: 183-184 ÇV 976 (ÇB 1368 )

Esta outra cantiga fez a Pero Eodriguiz Grougelete d'esea

molher que avya prez, que Ihl fazia torto.

Pero Rodriguiz, da vossa molher

non creades mal que vos home diga; 655

ca entend‘eu d'ela que b e n v o b quer,

e quen end'al disser, dira nemiga;

5 e direy-vos en que Ih'o entend!,

en outro dia quando a fodi,

mostrou-xi-mi muyto por voes•amiga, 66O

Poys vos Deus deu b3a molher le a l,

non tenhades por nulha jograria

10 de vos nulh'ome d'ela dlzer mal;

ca Ih'oy eu Jurar en outro dia

ca vos querla melhor d'outra ren; 665

e por veerdes ca vos quer gran ben

non sacou ende mi, que a fo d ia.

Variants: Rubric; CV ^o rodug^z ÇB rodigiz . . . corto. R-CB (in relazione al v, 1 e notato nel margine inferiore del foglio il nome del trovatore), v. 1, CV Pe? 8 drigiriz; v. 3, ÇV quer»; v. 8 , CV U9 des deu boâ. 240

Versification: Cantiga de maestria. 2x7» Cobias singulares* ababcca a; e r, al 10 1 1 ' 10 1 1 ' 10 10 1 1 ' b; Iga, la c : 1 , en

Translation:

This further song he made to Pero Rodriguiz Grougelete about that woman who was esteemed (but) who did him wrong*

Pero Rodriguiz, do not believe evil about your wife that any one may tell you, for I know from her that she likes you very much — and whoever says to the contrary will say something vile — and I shall tell you wherein I learned it from her the other day when I did have her a-bed, she showed herself to me to be very much your friend*

Since Heaven gave you a beautiful, loyal wife, do not believe in jesting any slander about her from anyone, because I heard her swear the other day that she liked you better than any one else, (and) that you see that she likes you very much, she did not except me who foregathered with her# Z kl

Notes:

Eubric: Pero Eodrigralz Grougelete ie not mentioned elsewhere in the cantinas» The name G-rougelete seems to be a nickname. Just as Zsgaravunha, Par dal, etc* are (cf* CA, II, 3®3» !)• Is it a compound based on grou meaning: crane 7

avya urez; This locution, along with voHs'amiga. the verb entender. quer gran ben, boa molher leal, fazer torts is frequently used with reference to the senhor of the cantiga d*amigo» Obviously, the b?$a molher leal is not well esteemed and is not loyal*

fazia torto; The locution fazer torto means procéder mal, fa z e r agravo* See Jose Joaquim Nunes, Cantigas d*Amigo. CXXXIV, 2.

V* 4* end'al: "outra cousa diferente desta, o contrario d'isto*"

(Jose Joaquim Nunes, Gantigas d'Amigo. OCXC, 10.)

nemiga; "Maldade, iniquidade." (Ibid*, CGCXII, 19*)

V» 9« Jograrla; "Em sentido figurado Jograria gignificava brlnco* brlncadeire GV 9?é e 1121." (CA, II, n. 6 , 6 3 6 .) 242 -XXXIX-

Eraga: 184 GV 977 (ÇB 1 3 6 9 )

Esta outra cantiga fez d.'escarnho a hua donzela e diz assy;

Hunha donzela jaz aqui

que foy ogano hua dona seguir (?);

e non Ihi soube da terra sair (?). 670

S a dona cavalgou e colheu

5 Don Garalhote nas maaos e ten,

e non quer d 'e l as maos a b rir.

E pois a dona Garalhote viu 675

antre ssas m%os, ouv'en gran sabor

10 e diz: "Este, o ffalso treedor,

que m'ogano desonrrou e f e r lu ,

praz-me corn ol; pero tregoa Ihy dey

que o non mate, mais trosquia-1*ey 680

como quem trosquia falso treedor."

13 A tal dona, molher mui leal,

pois que Garalhote ouv'em seu poder,

muy ben soube o que d'el fazer*

E meteu-o logo en huS. carzer atal, 685

hu muytos presoa jouveron assaz;

20 e nunca hi tan fort'en preso jaz

que en sa la menos de morrer* 24-3

Variante: Rubric: ^ descaaho; v* 1* Verse probably defective for it is short two syllables and the rhyme pattern is not the same as in strophe II and III; v. 2. CV pue foy egano hua dona sepi R-CB doa sepr CB seg’r Braga foy ogano hua dona seguir; V , 4. _CV echoleu Braga e echou-l’i; v. 5* j%V maaes ÇB maas e rff Braga maaoa; v* 6, poyslo; v . 7. short a sy llab le; v* 8* CB adunha; v« 9* ^ macs; v,_10 ÇB o If as so Braga traedor; v, 11. CB desQonssou; v. 12. CV Paz me co el pero tregt^; v. 13» CB t'osaquiley Braga trosquiarey; v. l4. CV como que; v. 15» Ç7 a lra ; v. 1 7 * Short a syllable; v. 18. Braga en huG cerc*a tal; V . 1 9 . GB pses; v. 20. ^ fort* Braga tan fero preso jaz; v, 21. CB meles demo1re r.

Versification; Cantiga de maestria. 3^7* Cobias slngularesi

abbaccb a; 1, lu, al 10 10 10 10 10 10 10 b: ir, or, er (I-ou) c; en, ey, az

Translation: He made this other satirical song to a girl and it is

said thus:

A girl who is here who was going to follow a maiden; and she

did not care to leave this land (?)♦ And the woman rode and caught

Don Caralhote and has him in her hands. Now she has him prisoner,

that being very well, she does not want to lot him loose.

But when the woman saw Caralhote in her hands, she had

greatsatisfaction from it and said: "This, the false traitor,

though ha this year dishonored and injured me, I am pleased with

him. Thougli I gave him a respite, that he not be kl] led, yet I

shall clip liija just as a false traitor is clipped.

This certain very loyal woman, since she had Don Caralhote

in her power, knew very w ell what to do with him and put him then,

in prison where many prisoners had lain; but never does he so strong

in prison lie that he would not come out short of dead. 2 4 4

Motes;

The escarnho of this poem consists in the extended meaning

of Don Csuralhote and the word career*. It is an excellent example of

the cmdity of a few of the cant igas.

V. 2, seguir; As is ohvious from the variants; seni. segr. sepr,

the exact form of this word is not clear. The ambiguity of the

following verse does not help ascertaining what it might he.

V. 5» Garalhote; < caraculum. A very vulgar term personified in

this poem. î-îeyer-Lubke, W., Romanisches etymologisches Vforterbuch

'(Heidelberg, 1911)*

V , 1 3 . trqsquia^l'ey: The future of trosquiar with the direct object

lo. The term is defined in the Crlosario de las Cantigas de Santa

Marla; "Traquilar. esquilar. Segun el Dlucidario. trusquiar

sign if icaba ra,par. Hoy so dice en portugues; tosquiar y en gall ego

tosquear." The meaning is then in English: to shear, to clip.

V» 1 8 . carzer; "carcer, ant. 0 mesmo que carcere. Lugar em

que algueltn esta preso ou que e de s t inado a prisâo.*' (Vieira). Thia

term prison has a very vulgar extended meaning. 2^5

—XL—

Braga; 184 ÇÏ 978 (ÇB 1370)

Esta cantiga que se aqui acaba fez Martin Soares a hu% sa irni'Sa por que Ih i fez e la querela d'utî clerig o que a fo d ia, ca a terra e o clerigo no qui s a ela tornar ata que ela foy por el a ssa casa e o trouxe para a sua,

Johan Eernandez, que mal vos talharon

essa saya que tragedes aqui, 690

que nunca eu peyor talhada vyl

E se quer rauito vo-la escotaron,

5 ca Ihi talharon cabo do giron,

muito e corta, si Deus me pardon,

porque Ihl cabo do giron talharon, 695

E, porque vos Ihi talharon atanto

so o giron, vo-la talharon raall

10 Johan Eemandiz, ar dlrel-vos al,

poys que d'ela no tragedes o manto,

saya tan curta non conven a vos; "700

ca muytas vezes ficades en cos,

e faz vos peyor talhado ja quanto,

15 Non vos vestides de saya guisado,

poys que a certa queredes trager,

ante fazedes hi vosso prazerJ 705 246

Ca na corta sodes vos mal-taliiado

e a longa estar-vos-ia ben

20 ca mu.1 corta,eenhor, non conven

a VOS, que sodes cortes e casado*

Variants; Rubric; CV Estacantiga q sea q acaba fez martin reares a hua sa irmaa per qlhi fezela qrela duvT digo q a fodia caa firra e o d i ^ nS q^s ael.ato^nar at a TJ ela foy porel assa casa eo t” ouxe 4?a sua. V* 1, GB malu»; v. 4. Ç7 escotaro Machado sequer Braga encortarara; v, 5» Braga glboa; v, 6 , GV muit ecorta, short a syllable Machado muit { h je corta Braga si deus mi p e r don'; v. 7« Braga gibon; V* 8 # ÇB que vos Ihi thalarS; v. 9» GB thalaro; v. 10# OB fetiandez ardireyvoe CV dereluQ Braga derei-vos; v. 11, Machado verse italicized; v# 13# CV entos; v. l4, Braga talhad-o jaqueton; v« l6 # Braga a corta; v* 19# Braga estara-vos Ja ben; v, 20# CV senher 247

Versification: Cantipia de maestria» 3^7* Cobias singolares* abbacca a; aron, anto, ado 11* 10 10 11» 10 10 11' b: i , a l, er c; on, os, en

Translation;

This song which is finished here Martiin Soares made to his sister because she had a quarrel with a cleric who knew her carnally here, and the cleric did not wish to return to her until she went on his account to his house and brought him to hers*

Johan Fernandez, how poorly they have tailored this tunic which you wear here, one worse fashioned I have never seen! And, indeed, they cut it so much for you, that they snipped the end of the border so much and short, if Heaven may pardon me, since they cut the edge of the border*

And because they cut in this way only the border, they fashioned it badly for youJ Johan Fernandez, I shall say again to you some­ thing, since you do not wear over it a cloak, so short a tunic is not suitable for you, for many times you are partly undressed and

i t makes you a l i t t l e worse deformed*

You do not dress in a proper tunic since you wish to wear

this certain one before you do your pleasure therei For in the

short one you are badly shaped — and the long one is becoming to you ■— the very short one, sir, is not suitable for you who are genteel and married* 248

Notes:

Rubric: The cactiou of this poem does not seem to have a n y re la tio n

to the poem itself* Martim's sister is not alluded to nor is there

any cleric mentioned. Ifhy should a woman of a genteel family be referred to in such a heading and with such vulgar implications?

Martlm Soares's family was apparently one of nobility, for, according

to Carolina Michaelis de Vasconcellos (see the biography of Martim

Soares), Martim was a son of Soeiro Pires de Maya and descended,

therefore, as great-grandchild from D, Soeiro Heendes, o boo,

who had a sister of Queen Theresa as his wife*

As for the laxity of the clerics, there are abundant

documentary proofs to be found in all types of literary and legal

writings. (Ca, II, 62 3 *)

Clerlgo: "Flea todavia duvidoso se todos haviam tornado ordens,

ou se clerlgo (clerc) tern apenas o sentido de letrado ou escolar, ie,

e pessoa secular com aprendizagem theologica e literaria, mais ou

menos extensa, que costumava ajudar a ralssa, era habito-talar, (CA,,

I I , 6 2 2 .)

V, I* Johan Fernandez; See chapter on N arrative Themes, 29, fo r

Identification,

V* 2, sala: See Elza Paxeco Machado's "A Cantiga de Garvaia II,"

Rev, de P o rt*. XIV, 3^7~351 foi' meaning and etymology. 249

V , 4 . e SCO taro 11 ; The verb is from escotar; ’’Cortar, cercenar y recoger algvma cosa, y en cierta manera recortarla y ajustarla para que llegue à la medida que se pide, y se pone per obra; como escotar el vestido, el sayo, etc* Sale del Latino Curtare* Lat* Decurtare."

(Diccionario de la Real Academia EspaHola, 1 7 3 9 * )

V . 5 * giron; In Maurice Leloir’s Dictionnaire du costume, this term is defined as:"Partie du devant d'une robe, d'une juge ou jupon qri va de la ceinture au genou* Ce terme est surtout employe au figure."

Moraes defines it as; "Cercadura ou barra de cor diversa que se p3e nas roupas: glrao vermelho e veede*"

Trom this latter definition, we assume that theborder of the front part of the tunic was cut immodestly.

V* 11, d*ela; De used with tragedes meaning with. (Epiphanio Dias,

Syntaxe Historien Portuguesa, 227.)

o m ^tq; "Vestido que cobre como capa, pendente dos hombros, fol multo usado pelos reis, e ainda hoje o usam os cavalleiros."

(V ieira)

Apparently the cloak was worn over the saia almost at all

times. Jose Joaquim Nunes mentions the fact that the women usually

appeared with a cloak over the brial when in the presence of other

people* (Cantigas d'Amigo. Ill, 391*)

V . 1 3 . en co s: See CV 904, v. 3* 2 5 0

V . ja quanto; "urn pouco, algum tanto," (Nobling, 6 7 2 .)

V* 20, ca: Redundajit, repetition of ca in verse 18, Biography of

&IL HERE2 COKDS

According to Carolina M ichaelis de Vasconcellos (see Hand» V,

XXV, 301~311)» Gil Perez Conde, a knight as w ell as a poet, was

Portuguese, He was a brother-in-law of the troubadour Joao Soares

Coelho and also of JoSo Pires de Vasconcellos. Carolina Michaelis de Vasconcellos bases her information about his nationality on his poem ÇB I 526 where he said "porque falei de Portugal / onde ml soo natural," He is characterized as a mesnadero del rey (emissary of the king) in ÇB 1532* In the year I 2 6 9 , Alfonso X chose him among

thirty-three knights to whom he entrusted Alcazar de Baeza to be continually in charge of the defense of the borders with horses and arms.

She further says that Conde placed after Gil Perez can be

only a nickname. The heraldry books designate Gil Perez with the

Alcunha Peyioo which could possibly be the ancestral estate of his father. She believes him to be the son of Pero Gil, who appeared

in the Livro Velho with the appendage Pevoo,

Gil Perez Conde*s poems exist only in the one manuscript

C01occi-3rancu11 and are numbered from ÇB 1515 to 1532» Some of

them are characterized as war songs and allude to the Andalusian

campaigns»

251 252

- 311-

Grestomatla Arcalea. 391 ÇB 1521

Hon porteyro en cas del-Rey, ?10

qua me conhoce onde quer

que me vela, logo me fer

ou me diz; "Non vos tolherey.

5 Sempre por vos esto farey

cada que m’ouverdes mesterl" 715

Diz-m'el porque xi-mi quer ben;

"Qqeredes con el-Rey falar?

H non vos leixarey entrap

10 como quer que m'avenha enJ

Se VOS pormeter al^a ran, 720

non vo-lo farey recadarl"

"Des qu’esea guerra comegou,

porque aervlstes al-Rey hy,

15 non VOS terrmi a porta assy

com’ao que ora chegou» 725

Pero mh*o el-Rey non mandou,

non entraredes ja og'yl"

Variants: Poem is numbered 39^ In M-CB: v. 1. ÇB porteyra; v. 2, CP oude; v. 4. ÇB colherey; v* 13» GB gueira; v, 15» CB telra* 253

Versil'ication: Cantiga de maestria» x 6» Coblas singulares* a b b a a b a; ey, en, ou 8 8 8 8 8 8 b; er, ar, y

Translation;

A porter in the household of the King, who knows me wherever he would see me, attacks me then or says to me; "I shall not stop you. I shall always do this for you whenever you need mej"

He says to me because he esteems me: "You wisli to speak with the King? But I shall not let you enter whatever may happen to me because of itl If you promise something, I shall not have it taken from youl"

Since this war began, because you serve the King in it, they will not hold the door for you thus as for the one who arrived now* Since the King did not order me to, you shall not enter here todayI" Notes;

V. ] . porteyro; masc* oficlal del palaclo del rey encoxgado originariamente de introdncir las personas a la presencia del monarca, y luego de llevar las cartas reales, hacer los emplazamientos, ir en nombre del rey a efectuar las entregas o a reparar las injusticias sobre que habfa recai’do sentencla del tribunal de la corte,a dar y a recibir los castil]os, etc. (E. Menendez Pldal, Oantar del Mio Clcl. 1911, II.)

The portero of this cantiga refuses to permit the poet to

see the King just as the portero of the Riitiado del Palaclo by Pero

Lo"pez Ayala* (Cf. chapter on Narrative Themes.)

V. 2, onde quer que: = u quer que, wherever. See Huber, ^ ^02*

There is a proverb in which this locution occurs: Onde quer que fores, faze como vires.

V. 6 . cada que; cada vez que, todas vezes que. Each time that, whenever. See Epiphanio Dias, Syntaxe Historien Portuguesa. 293 *

ouverdes: Second pars. pi. future subjunctive of aver.

Aver,mestar» The locution means to need. "Haver necesaidade."

(V ieira ).

V. 7» zi; Ethical dative.

V. 10. como quer que; "De quaiquer modo que." (Jose Joaquim Nunes,

Crestomatia Arcaica. 557» See also Huber, ^501-5^2.

avenJia: Third pers. sing, present subjunctive of avTlr (aviir)»

"Advir, acontecer, succéder." (Vieira) 255 V. 15. terr^: Third pers. plural, future indicative of teer

( t e r ). See Huber, ^5 8 8 . Biography of

JOHiW VAASqUIZ

Johan Vaasqulz is the author of cajitl^as d'amigo ■ d'amor, and de maldizer» His love songs are included in the Candonelro da A.iuda and are numbered 2k2 to 2^5; his friendship songs in the

Vaticana. 37^ to 379; and the satirical poetrj’^ in the Colocci-Brancuti»

15^5 to 1551*

Carolina Michaelis de Vasconcellos directs attention to the fact that this troubadour' and Johan Vaasqulz de Talaveira may be the same person*^ However, Menendez Pida] surmises th at he must be Galician and from St. James of Compostela,basing his assumption on the fact that the cantiga GB 15^5 mentions the old street, Moeda Velha and the convent, San Martinho, which are both 2 in St. James.

This poet has to be associated with the troubadours of the era of King Alfonso X because of his satirical poem addressed to Maria Balteira, CB 134-6.

^OA, II, 419-420.

^Poesfa Juglaresca y Juglares, 24l,

256 257

-XL Il­ es 1545

Dlrey-vos ora que oy dizer

de Maria Leve — assy aja ben. —

pola manceba que bb desaven 73®

d'ela, e poys Ih'aJ.y non quer vyver,

5 ena Moeda Telha vay norar

Dona Maria Leve, a sen pesar.

Ca a ta l dona com'ela g uarir

non pod'aly se manceba non a. 735

E vedes que oy, amigos, ja

10 que poys que se I h 'a manceba quer byr,

ena Moeda Velha vay morar

/Dona Maria Leve, a seu pesar*/

Ca diz que morava aly mal e alhur 7^0

p o i-la manceba sigo non o u v er';

15 e contra San Martinho morar quer

pola manceba que xi-lh'ora vay

ena Moeda Velha vay /gorar

Dona Marla Leve, a seu pesar// 7^5

Ca non pod’a manceba excusar

20 Se na Moeda Velha non morar. 2 5 8

Variants; Colocci has written above the poem aged and tonel« The mrnber in the diplomatic edition is 4l8« v. 3» pola manceba ^ se desaT^è; v, 7» ca atal dona comela guarir; v« 12, Pefrain is omitted; V. l 6 . mSceba qjciD.horauay# v, 17* morar omitted from refrain; V, ]8* refrain verse omitted.

Versification: Cantiga de refrajn. 3 ^ (4-4 2) 2, Coblas singulares* a b b a C C a: er, ir, (III- ur, ay) 10 10 10 10 10 10 b: en, a, er C; ar

f , c c c: ar 10 10

Translation:

I shall tell you now what I heard said about Maria Leve— so

it may be on account of the servant who disagrees with her and since

she (the servant) does not wish to live there with her, Dona Maria

Leve, against her wishes, is going to live in the Moeda Velha,

For such a woman as she is cannot get along where she is if

she does not have a servant. And you see now, friends, that I heard

then, since the servant wants to go away, Dona Maria Leve, against

her wishes, is going to live in the Moeda Velha,

For it is said that she has been living there and elsewhere

in poor circumstances since she had not had the servant with her.

Because of her who is going away she wishes to live opposite Stint

Martin; Dona Maria Leve, against her wlslies, is going to live in the

Moeda Velha,

For she cannot excuse the servant if she does not live in

the Moeda Velha. 2 5 9

Notes :

V. ]. Marla Leve; R. Menendez Pldal b eliev es th at the Maria Leve of this poem, and of 1546, 154-7 • and 1548, all refer to Maria

Perez, th e Balteira (see chapter on Narrative Themes), even though the dona is referred to only once as Marla Perez Leve* "Del compo- stelano Joam Vaasquez se coplan cuatro composiciones seguldas en el

Cane. Co1occ1-Brancut1. y aunque tres nombran solo a una dona Marfa o Marfa Leve, y otra a Marfa Perez, creo que las cuatro debes refe— rirse a la Balteira." (Poesfa Juglaresca y Juglares, n, ], 2^1,)

The four poems are summarized as follows:

Primera (munero 1545): Marfa Leve se va, a su pesar, a morar a ]a calle de la Moneda Vieja en Santiago (Comp. Ferreiro, Hist, de Santiago, t. V, p ^ . 375), pues su manceba qui ere vivir a lll, y si non, se le despide. Segunda (num. 1546): El que qui era ver a Maria Perez en el sarao, ],leve dinero conslgo, pues sin el no adelantara nada. Tercera (num. 1 5 4 7 ): Cuando doSa Marfa Leve me denosto, bien vela que no tra fa nada en ml b o lsa. Cuarta (num. 1548): Marfa se confesaba soo velh*ay canelam. (Ibid ., 23I*)

R. Hene"ndez Pldal considers that the name Leve is a nickname fo r i t is used sim ilarly in CB 1549 where th ere is a SanchiPerez

Leve. (Ibid. , 23I.)

V* 3» se desaven: Third pers. sing, present indicative of desavii'-se.

"Desavir-se. ter desavença, contender." (Vieira)

V. 6, a seu pesar: The expression correspondswith a meu pesar given in the Crestomatia Arcaica as meaning contra minha vontade. (585)

V. 3.3 . alhur: "noutra parte" Jose Joaquim Nunes, Cantigas d*-Amigo,

XXVII. 26o

-XLIII-

Crestomatia Arcaica. 395-396 CB 1547

Ben vyu Dona Marla

Leve que non tra g ia

Ren na mha esinolleyrai 750

Qiiando me deostava,

Ben vjTi ca non andava

Ren na mha esmolleyral

Versification: Cantina de ref ram. 2 z (2 i-l), Cohlas singulares*

a a B a: la, ava 7 ' 7 ' 7* B; eyra 2 6 l

Translation;

Dona Maria Leve saw very well that I was carrying nothing in my pocketbookl

When she insulted me, she saw very well that nothing was going into my pocketbooki

Notes;

V, 1, Dona Marla: See ^ 15^5t verse 1»

V. 3* esmolleyra; "esmoleira. Bolsa ou alforge proprio para arrecadar as esmolas." (Vieira) It ie equivalent to the Spanish

"esmolneira. — limosnera, bolsa o escarce la pequeïïa, para dar

1 imo sna, " (Glos^io of the Cantigas de Santa Maria. )

V, 4* deostava: 'Third person, singular, imperfect indicative of deostar, "Deostar doestar (De dehonestar. da ^ e honesto)*

Dizer injurias, dizer doestos, vituperar, lançar emrosto, descompor de palavras que deshonram, desauctorisam, infaman." (Vieira).

Belated to 0. Sp* denostar. 262

-2LIY-

GB 1548

Maria Leve, hu se maenfestava,

direy-Tos ora o que confessava; 755

“S3o velh’ay, capelaml"

"Non. sey oj'eu mays pecado r burg u esa

de min; mays vede-lo que mays pesa;

S3o velh'ay, capelamJ"

"Senpr' e u pequey des que fuy fudada, 760

pero direy-vos o per que perduda;

S<5o velh'ay capelaml"

Variants: This cantiga is numbered 421 in M-CB. The first two strophes are found in Eodrigues Lapa's Lignes de Ljteratura Portuguesa. 172. Colocci has written in the margin tqnel,. V. 1* Lana Maria Leve; v. 4. Lana pecador; v. 5* ^ senpu. peqy; V. 6, ^ o p q perduda. 263

Versification: Cant if:a de ref ram, 3 ^ (2+ 1 ). Coblas singulares.

a a B a: ava, esa, III— ada, uda 11» 11' 7 B: am

Translation:

Maria Leve, when she was acicnowledging her sin s, I sh all

t e l l you now what she was confessing: "I am old, chaplainl"

"I do not know today a more sin(ful) Burguesa than myself,

but see what worries me more: I am old, chaplainJ

"I have always sinned since I was first seduced, but I

shall tell you now why I was ruined: I am old, chaplainl" 26k

Hôtes:

This canti/^a of Johaja Vaasqulz reiainds one of François

Villon’s Belle Heaulmiere who also regretted her old age:

Advls la'est que i'o y reg re ter La Belle qui fut heaulmiere, Soy jeune f i l l e so u sh aitter Et parler en telle maniéré: "Hal vieillesse felorme et fiere Pourquoy m'as si tost abatueî Qpi me tient, qui, que ne me fiere, Et qu'à ce coup ie ne me tue?" ( OBuy r e s de Franç ois V illon, c’a it ion d'Auguste Longon et Lucien Champion (P a ris, Champion, I932 ), 26*

V. 1. Maria Leve: See CB 15^51 verse 1»

se maenfestava: Third pers. sing., imperfect indicative of maenf es tar-se. "Maenf estar beichten (confess)." (Eand. VII, X3CV,

676. )

CB 1 50^, by Fern&m Vellio, begins with almost the exact words of this song. The excerpt of the poem quoted is from the edition of Carolina Michaelis de Vasconcellos.

"Maria Perez se maenfeston noutro dia, ca per gran pecador se sentiu ..." (IM d. ,558, )

V. 3» Soo; First pers. sing, present indicative of the verb seer.

See Huber, 37&*

V, 7‘ pequey: First pers. sing, preterite indicative of oecar.

"Pecar peccar, commetter pecado, cai’r em vicio." (Vieira)

o per que; "per que meio" (Hobling, 715*) 265

-XLV-

GB 15^9

Sancha Perez Leve, vos ben paxecedes,

e pero eu sey que nil vos mal queredes —

non xi m’obrida o amci* de Maria. 7^5

Bon doayr*avedes e mansso falades,

e pero eu sey que me vos desamades —

non x i m 'obrida o amor de M aria,

Variants: This cantina appears in Jose Joaquim Nunes' Cantinas d'Ami w . I. 2 4 7 . V. 4 . Nunes Bon doair'avedes e manso fa la d e s. 2 6 6

Versif ica.tion: Cantiga de ref ram. 2 x (2-hi), Coblas singulares. a a B a: edes, ades 12» 12» 12» B: ia

Prose Translation:

Sancba Perez Leve, you are beautiful but I know that you do

not love me — it does not make me forget the love of Maria,

You have courteous ways and you speak so ftly but I know you

do not love me — it does not make rae forget the love of Maria,

Translation in Verse:

Sancha Perez, gaily on you go,

But I know

111 w ill you bear me.

Can it be all because of Marie?

Your fac e, b e au tifu l to see,

Soft your voice,

But you do not love me.

Can it be all because of Marie? 26?

Notes;

V. ] • Sancha Perez Leve; Of* CB 15^5 1 v. 1. The word leve seems to he used as an epithet just as in the canti£;as with Maria

Leve and Maria Perez leve»

V* 3» m'ohrida: Third pers* sing, present indicative of obridar-ce,

Jose Joaquim Nunes defines th is Verb as esquecer-se in h is glossary to the Can t i gas d * Ami go, I I I , 652* Moraes quotes lJunes and gives the modern form as olvldar-se.

V* h, doayr* "doaire, graça," The modern form is donaire» GLOSSARY

2 6 8 Reference is made only to the first appearance of a word in the poems as they are arranged in this edition* Humerais indicate the verse in which, the word is to be found* The Roman numeral with the Arabic numeral — the first denoting the cantiga. the second, the verse — is the symbol used to refer to words found in the Ho tes accompanying the texts*

a ( ilia /m? ): art, def., f.s. (CA.G.); the, 27* a ( ilia z~m7 ) ; pron. demonstrative, f.s., aguela. a que (CA.G,); that 2 7 5 . a ( i l i a f m j ): pron. pess. atono, 3 f.e. (CA.G.); it, 25; her,5^* a (ad); prep, que indica varias relaçoes (rigueiredo); to, 1. aa: prep.fart, def,, f.s., to the, 3^0* a a le n : Cf. 2XXI, 1* abrlr (anerire); larger (Pigueiredo) Locution; ahrir as mHos de; to let go, 674. acaba; 3d. sing. pres, ind, of acahar, concluir (Pigueiredo); ends. Rubric, XL. achar (afflare); encontrar, dar com (CA.G.); to find* acham; Jd* sing. pres. ind., 451. achan; *' " " •' , 466* achqu; Jd» sing. pret. ind., 474. acorrer naccorrer; acudir com pressa, soccorrer, ajudar, prévenir, remediar (Vieira); to aid. a c o rre ; Jd, sing. pres, ind*, 7 1 » adubar (fr. adouber); cultiver, lavrar (Bluteau); to cultivate, 26. adubada. adj. part., cultivated, 28.

269 270 aduzer (ad4-cLucere ); ant* o mesmo que aduzir; trazer, introduzir (Vieira); to bring; adusse. 3d. sing, prêt» ind., 206. affamado% part, pass.; infamado, aviltado, deshonrado (Vieira); infanous, 3^0. affanar; trabalhar com afan (Vieira); to work hard, 47» affanou; 3

Affons*Sanes de Cotom: Cf. R ubric, XXVII. agora (hacthora): presentemente, n’este tempo, iimnediatamente (Vieira); now, 329 . agravar (aggravare): Mod. aggravar. molestar, offender (Vieira); to offend, 40. agravada: part, pass., 8 9 # a.iuda: s.f., adjutorio, reforço, auxilio (Vieira); h e lp , 77* ajudar (ad.jutare); auziliar, assistir, facilitar (Vieira); to help. a.iudaran. 3d. pi. fut. ind., 174. al (hispanisme) constracçao do art, def. cast. ^ com preposigao a us ado sobretudo na titulatura al-Rey (CA.G.); to the, 7 2 3 . al (do lat. pop. ale. por alid. allud) pron. indef. muito usado, ora como substantivo com valor de: a) outra coisa, 9 6 ; b) outra pessoa; ora com o valor de mais, diverse, 394 (CA.G.); another thing, else, otherwise. al bar dar; XVIII, 3* See also Alb ar dar. XXX, Rubric. alcar; levantar, erguer (Vieira); to|raise. algara. 34. sing. fut. ind., 6 0 5 . aldeyaq.s: PI. of aldeyao = aldeao; natural ou morador da aldea (Vieira); villagers, 46l. a]eivosa: affrontosa, falsa (Vieira); perfidious, 281. alen (alende from ad+lllic+ende); da parte de la (Vieira); Locution: alen mar, cf. Ill, 3 , 10. alfayetes: PI. of alfayete = alfalate. a.m., official que corta e faz vestidos (Vieira); tailors, 468. 271 al^o (.aliquod); algruna cousa, q^xialquer que se ja (Y ieira); something, alguen alfuem, pron, ind. (allquls. no. acc. allquern) pessao, individuo (Vieira); someone, 586, gl4ur (do provençal alhurs, fr. ailleurs, lat* aliorse deallorsum. alivorsum): adv. ant,, em outro logar, em outra parte (Vieira); elsewhere, 740. all (illic); n'aquelle sitio, n’aquelle occaslao (Vieira); Locution: des all (nor desde a ll): from now on, 85« alongado: Cf, XXI, l 6 , alvan: Cf. X, 7*

Alvar Rodriguls: Cf. II, 2* See also III, 1. ambos! pron. ind. tua e outro, dos juntos (Vieira); both, 5 6 8 . amiga: s.f. amada, companheira (CA.G.); sweetheart, companion, 6 6 0 . amor: s.m. pairao amorosa (CA.G.); love, 465. andar; passer de um logar para outro, caminhar (Vieira); to go away, to go, to walk, 4l. ando: 1 st. sing. pres, ind., 484, anda: 3<1» sing. pres. ind. , 2 6 8 . andaredes: 2dd. pi. fut. Ind., 309 * andava: 3d. sing, imp, in d ., 7 5 2 . andavan : 3<1* pl* iinp» ind., Rubric, VIII. andou; sing. pret. Ind., 3 3 6 * andaron: 3

aquen (forma abreviada de aouende): do lado de ca (CA,G.) Locution; d'aquen; cf, IV, 2.

ague8 ta (eccu-l- ista); ant, esta (CA.G.); this, 6 .

aoueste: pron, ant. este (Vieira); this, 95*

aquesto: neutro do dem, a.queste (eccu+ ista) (CA.G,); isto; this, 482,

aquy (eccu-ihic): adv. n'este lugar, n'este parte, n'este tempo (Vieira); here, 43*

,ar: adv, muito usado ate 1500 e cujo valor 4 novamente. tambem. outra vez, posteriormente e so raras vezes alnda assim. antes pelo contrario (CA.G.); again, 4l6,

area (area): especie de caixa grande com fechadura (Vieira); chest,

561 *

arçoes; pi, of arc%o (arcus, por causa da forma d’esta parte da sella) parte proveniente da sella tanto anterior como posterior segura o assento ao cavalleiro (Vieira); bov;s (of a saddle), 2 2 3.

armas ; instrumentos da ataque e defésa (CA.G.); arms, 426.

as ; pi. do art. def, f, a (CA.G.); the, 246. pi, do pron. pess. 3 P* â (CA.G,); them ascariT; Cf, VIII, 2. 273 asconder (abscondere) ant, esconder, occultar (Yieira); to hide, ascondudoi part, pass, in udo. 6$0. ascondedes; 2 d. pi, pres, ind,, 6 5 0 , ascoadera; 3<^» sing, fut. ind,, 5^2 . ascondeu! 3

la: 3<^* sing. imp. ind., 42. oeredes: 2d. pl. fut. ind., Cf. XXXVII, 4. ouvi; 1st. sing. pret. ind., 3^5» ouve: sing. pret. ind., 52 6 . ouvera: 3d. sing. plup. ind., 558. ouver*1 3^» sing. plup. ind., 741. ouverdesi 2d. pl. fut. sub,, 71 5 * ouTesse: 3^. sing. imp. sub., 394 * avereai! personal infinitive, 386 , a v il r ; See avenha. XLI, 719» aveo. XIII, 1 5 . aviltar (ad V vllltar); humilhar, maltratar (CA.G.); to disgrace. avlltastes : 2d. pi. pret. ind., 455* av o l; Cf. X}:IV, 4.

interjeçao de dor. Construida exclusivamente com o pron. pessoa. na forma nominativa, rcunca a moderna com a prep, de e a forma- obliqua dos pronomes. (CA.G.); ah, 583*

Avras Monlz: Cf. XVIII, 1. bafordar: jogar da lança (Hobling, v. 5 1 0 , 6 8 7 ); to throw a lance, to jo u st, 321* See also XVIII, 15*

Saguvn; Cf. XXlI, 1. baldon: Cf. VI, 1. bando; Cf. XXVII, 6. baratar mal; procéder mal (Kunes, Cantigas d'Amigo. CXLVII, 5); to bargain badly, 398 . baratarey ben: 1st. sing. fut. ind. of baratar procéder ben; to bargain well, 2 05. hela; adj. formosa, linda, bonlta (Vieira); beautiful, l40. Used as a substantive, 2 7 1, ben: como subst.; no sentido de virtude, excelencia moral; felicidade, favor, afeiçâo, amor (CA.G.); good, 251. See uer mal nen ner ben, ben: (bene): ben-talhada. well-formed, beautiful, 224. ben: adv., well, 121.

Benavente: Cf. IX, l4 . 275 benqulsto ! adj. que conseguiu a benevolencia de out rem; que caiTu em graça; estimavel (Vieira); well-liked, 468. ben-talhada: adj. formosa (Nunes, Cantigas d*Amigo); beautiiMl, 224. bever g beber: (blbere) engolir qualquer liquide (Figueiredo); to drink, 4 9 3 . bondad* (bonitate): quaildade do que e bom (Figueiredo); goodness, 4 9 7 .

boa; f. de boo (bona) (CA.G.); good, 5* bon; forma abreviada de bSo. em casos de proclise como o mui bon rei (CA.G,); 480.

bonn: p i. de bon: c f. XXVII, Rubric, braadador: (do tliema brada, do verbo b ra d a r, com o su ffix d o r) que brada, ou grita (Vieira); shouting, 584.

brlal: Cf. VIII, 3.

brialheste (?): Cf. X, 13#

britar: quebrar (Vieira); to break. brltado: part. pass, of britar. 564. Cf, britar 0 tavolado. XVIII, 1 6 ,

bur guest Of. XXIII, 6.

burguesa; fern, of burgues. 7 5 7 *

buscar; procurar (CA.G.); to look for, 243* busquen; 3d. pi, pres, sub., 457# buscade: imperative, 431*

ca (quam): Conjunçao comparutiva, usadd depois do 2e grau de adjectivos ou formulas de comparaçâo (CA.G.) do que; than, 46o.

ca (quia): conjunçao consecutiva, pois, visto que (CA.G.); because, fo r, 24.

ca (qui, quid): conjunçao integrants (que) empregada depois de verbos dicendi e sentlendi como creer. cuidar. dizer. entender. saber (CA.G.); that, 1 6 5 *

cabeça: s.f., a parte mais elevado do corpo humano, a qual contein o ceVebros, os org%os da vista, audiçao, etc., (Vieira); head, 6 2 0 . 276 caber: v. ant*, poder, pertencer a, tomar, receber (Vieira); to be suitable, to fit, to receive, 5 3 2 * cabe; 3^* siug. pres, ind., 4 7 1 #

Cabo (canut): subst. fim, extremidade(em cabo - no fim). Cf. II, 13. cabo de: junto de, perte de (Uobling, v. 3 1 3 » 6 7 8 ); near to, 595* cachas: Cf. XXV, 12. cada que; Cf. XLI, 6 . caente: adj. ant., o mesmo oue quente (Vieira); warm, I5 0 . caer (cadere): v. ant., ir abaixo por ter perdido 0 equilfbrlo (Vieira); 4 9 1 . caer-oe cafr; to fall, 6 0 3 * aa.iom (De ca.jom, e este de occasiom. antiga forma de occasi'ào ) casflo accidental, desgraça, desdita, desastre (Vieira); disgrace, 81*

calarse: deixar de fallar, n'So dizer palavra (Bluteau); to be silent cal (See locution: non m*en cal, XI, 18.) se c a ll 3^* sing. pres, ind., 3 7 8 *

cansar-8 6 (guassare); afadigar-se (Vieira); to tire, 6 0 3 ,

cantar (cantare); celebrar principalmente em verso (Vieira); to sing cantam: 3‘1* sing, pres. ind. , I 8 3 . cantarev: 1 st. sing. fut. ind», 1 2 6 . canton: 3

cantar: s.m*, cantico, cantiga, cancao (Vieira); song, 201. cantares. p i., 434.

cantlga: cançâo (Vieira); song. Rubric, V,

can); Cf. X, 7 and XIX, 33. c |o )

caoelam (caipellanus ): beneficiado titular d'uma capella (Vieira); chaplain, 7 5 6 .

C aralhote; Cf. XXXIX, 3*

c a rz e r: Cf. XXXIX, 18.

cas: See locutions: a cas de: Cf. XXI, 4, en cas don C orral: Cf. XXII, 8 . 277 casar; unirse pelo casamento o homem a mulher, a nmlher ao homen (Vieira); to marry casada, part, pass.. Rubric, XXVI» casadoI part, pass., 7 0 9 . casaron: 3'3-* pi. pret, ind.. Rubric, XXV. caston; Cf. V, 2.

Qatar; procurar alguma cousa (Viterbo); to procure, ^97» cativo; desventurado, miserable (Slosario de las Cantigas de Santa Maria): an adjective used as a substantive, wretched one, 59* cativo (cantivus ): captive, preso na guerra (Vieira); prisoner, Rubric, XXIX. cavaleiro: See VI, 1; also XXVII, 1* caval gar; ir a cavallo, montar, por sobre (Vieira); to mounts to rid e , 6 7 1 . eavalgado; part, pass., mounted on horseback, 2 6 8 . cavalo (cabalius); s.m., animal domestico, da familia dos solipedes, que se emprega para puzar e trsnsportar (Vieira); horse, 533* cavar (cavere); abrir com enxada, com sacho , sachola ou picareta a terra (Vieira); to cultivate, 2 5 . cede: adv. logo, breve (Xobling, v, 9 0 6 , 704); shortly, 596 . cendal; s.m., tecido fino de cobrir o corpo (Vieira); rich fine silken material, 18 6 . cena (o francez tern cen. A palavra vem do Lat, cipuus. palissada, tronco de arvore.) pe de vinha (Vieira); stock, twig, 31. certo. a, adj., convencido (Vieira); certain, 5 6 . a certa, used as a substantive, 704. chamar (clamare ); nomear (CA.C-. }; to name. Cham» (chamo): 1st. sing. pres, ind., 546. se chaman: 3

coita: s.f., ant. desgraça, dor (Vieira). Locution: en gran coita, in a sad plight, 506. colher (colligere ); recolher (Vieira) pejorative meaning, colheu: 3d. sing* pret. ind., 671. colham: Cf. XI, 10; XII, 4. colhon; com*: See come and como* come (quomodotet): enmregado com nomes e pronomes (CA.G.); like, as, 3 61.

começar (cumt-initlare); princiuiar, dax comêço a (Vieira); to begin, 428. comecel; 1 st. sing. pret. ind,, 33^* começoui 3d. sing. pret. ind., 7 2 2 .

comer ; tomar pela bocca, mastigando e engulindo (Vieira); to eat, 428.

com! go ( cum 4-mi cu por mecu); commigo (CA.G.); with me, 328 .

como ( quomodo); Adv. e conjunçao. (CA.G.), a s, lik e , e tc . Com* — segundo as leis formuladas por J. Vising (no tratado Quomodo in den romanischen snrachen nas dissertaçoes dedica&as a Tobler, 1 8 9 5 )» com' puede representar qualquer das tres formas usuals - come , coma, como. (CA.G.) Locutions: como ouer que: de qualquer modo que; however, 719* per como; segundo; according to, 19* 279 comprar (comparare); adquirir a preço de dinheiro (Yieira); to buy, 442. comprados; adj. part, used as a substantive, 464. comprou; 3d. sing. pret. Ind., 5 9 1 » comnara: 3^-. singl plup. ind., 446. coiorpraria: 1st. sing. cond., 4 3 6 . comprir: comprir (comulere): levar a efeito, reallzar (CA.G-.); to fulfill, to be of use. compria; 3&* sing. imp. ind,, II 6, con (cum) - com, prep, indlcativa de companhia, instrumente, ligaçao, (Figueiredo); with, 3 . concelhos: as pessoas que compoem a camara municipal de uma villa (V ieira); members of the council, 4 6 l. confessari declarar, manifestar (Vieira); to confess confessaya: 3d. sing. imp. in d ., 755» conhocer (cognoscere): a n t . , o mesmo que conhecer; te r noçSo de, saber de, ter relaçoes com (Figueiredo); to recognize, to know. conhoce; 3^' singi pres, ind., 714* conhoçi: 1st. sing. pret. ind., 2. consselhar: Cf. XXIX, 18. consselhava: 1 st. sing. imp. in d ., 579» consselhou; 34* singl pret. ind., 6 0 3 * consselho (consiliu): Hod. conselho: aviso, auzflio, remedio (Vieira); advice, 48. contra: de encontre a, em oposiçao (CA.G-. ),against, 592. Contra tern frequentemente significagSo local ( junta a, para, para com) opposite; near, 741« contralrq (Antiga fcTrma de contrario ): opposto, adverso , physica- ou moraimente (Vieira); contrarily, 70» conviir (convenire); fazer ajuste (Vieira); to be fitting, to be su itab le convent ; 34* sing. pres, ind., 7 0 0 » copegar, v. terrao popular; manque ja r, e rra r (V ieira); to limp. fjO-Pegava; 3d. sing. imp. ind., Rubric, V. cor (cor n): coraçao. (CA.G.); heart. Locution: a mui gran cor, wholeheartedly, I 8 I. 2 8 0 coraçon; s.m., terrao d'anatomia.. Orglo conoide, occo e muscular que, encerrado no peito, e o agente principal da circulaçâo do sangue (Vieira); heart. used in the locution; coraçon de .judeu — heart of a Jew, 102. Used also with the meaning; intenç^. intention, 558*

Coral; Cf. ZZd, 4. corpo (corpus n); parte material do homem @ do animal (CA.G.); body, ^07« corredor; s.m., o que esta exercitado a corredSr (Vieira); runner, 602* corretor (curatore. influenciado pelo fr. courtier (?)); agente comercial que serve de intenuediario em compras e vendas do mercadoi’ia s, em negocios de fundos, seguros , etc. (Moraes); a commercial agent who serves as an intermediary in buying and selling merchandise, 1, See also I, 1. corta; irr. part. pass, de cortar: o mesmo que cortado (Moraes); cut, 694 , cortar (cortare); trlnchar, talhar (Moraes); to cut, 6 5 2 , portes g cortSz (baizo lat. curtis) attoncioso nos seus discursos, maneiras e acçoes (Vieira); courteous, ?09. cos; Cf. T, 8 . couces; pi, of couce (calx)—pontape, pancada dada pelo homem com o pe, kick. Locution: dar couces — escoucear (Vieira); to kick, 624. coytado = coltado, adj. desgraçado, misero (Viterbo); unhappy, 484# crever; Cf. XXÏ, 11. creer (credere); ter alguma cousa por certa ou verdadeira (Vieira); to believe, 1 5 . creades: 2d. pi. pres, sub., 59 1 » crever; Cf. XXI, 11. crlar (creare): dar existencia a,, gerar, produzir (Vieira); to grow crio u ; 3d. sing. pret. ind., 4 3 . ciai (cinidu): adj., figuradaraente; cruel, austero, severo (Vieira); harsh, 8 9 » cuabouco; Cf. XIII, I 7 . 2 8 1 cuidar; pensar, julgar (CA.G.); to think culdo; 1st. sing. pres. Ind., 402. culdas; 2d. sing. pres. Ind., 6l5. cuydava: 3d. sing, imp. ind. Bubric, XXVII, Locution; a meu cuydar a meu ver, in my opinion, 587* cura; 3d, sing. pres, ind., ourar ; cuidar de; to take care of. curta (curta): ad j., f ,, que tern pouco comprimento, pequeno (Yieira); sh o rt, 7 0 0 * custar (custare): se comprado, ou vendido por certo preço, obter-se por dispendio, gasto (Vieira); to cost. eus tara; 3^-* sing. fut. ind., 9^. custe; 3ante): dénota anterioridade de logar, a frente (Vieira); in front of, 597* tiecaer r decalr: cafr, baixar (Vieira); to fall se decae; 3d* sing. pres, ind,, 73* deoueera: 3d* sing. fut. ind., cf. V, 7* decaer; 3d* sing. fut. subj., 81. decenada. adj., part, from deceuar; cortar inteiramente (Vieira); to cut, to trill, 33* deffenson—defensao (defensione ); protecçâo, amparo, apois dado contra 0 que ataca alguma pessoa ou cousa (Vieira); protection, 75. deffiado ; Cf. XZXIV, 1. d'el: contracçSo da preposiçao com o pronome pessoal 3™*> o qnal em portugues arcaica era mais vezes jel do que ele (CA.G-.), of him, 5 6 . d'ela; contracçâo da preposiçao ^ com o pron. pess. 3 f*« of her, from her. Rubric, V. demanda.r: pedir, preguntar (CA.G.); to ask, 75* deostar; Of, XLIII, 4. deostava; 3d* sing. imp. ind., 751. dereito. derevt* ; s.m., ant. forma de direito, justica (Vieira); ju s tic e , 6 9 * See Ilotes to V. fazer dereito; procéder ben (Nunes, Cr. ); to do right, 46, des : (des+ ex); desde, a partir de (CA.G.); from, 85* des a l i , des aqui des Jr a des 1 , 488 des ov: des que: desagulsado; adj., mal intencionado (Viterbo); unjustly, 593* 283 desamar (des + amar); cessar de amar, detestar (Vieira.); to dislike, desaoades; 2d* pi, pres, ind,, 7^7* desavir-se: ter desavença, contender, descordar (Vieira); to disagree. se desaven: 3^, sing, pres, 5nd,, 7 3 0 * dese.iar; ter desejo (Vieira); to want. dese.i’ades; 2d. pi, pres, ind,, 430. desemhargado» part, pass, do desembargar: termo forense, pSr desembargo, dispatched, II 3. desguisado (contranorae de guisado); imprdprio, inconveniente (CA. G-.), inopportune, 593» desigusdog, pi, of desiguado; que nS.o e igual (Vieira); variable in quality, 483» deeonrrado: part, pass, deshonrado; tirado a honra a alguem (Vieira); dishonored, ^ 61» desonrrar; v. tirar a honra a alguem (Vieira); to dishonor deaonrrou: 34. sing, pret. ind,, 6 7 8 . heus (Ueus): 0 Ser infinito (Vieira); God, 2 9 2 . deytar (de.iectare); lançar, botar (Vieira); to bud, 3I* dez; ten, 422. dia (d ie s )i s.m* , espaço do tempo entre a nascer e o por do sol (Vieira); day, I 38 . dlnheyros. pi, of dlnheyro (dinarlus ): toda especie de moeda de ouro, p ra ta , ou de l i g . (V ieira); money.Rubric, X2I. dizer (dicere); exprimir (Vieira); to express, to say, 480. d iz ; 3 4 * sing. pres. ind., 44. dizem; 3d, pi. pres, ind,, 53^* d ir a : 3d* sing, fut. ind,, 65?. diré^y; 1st, sing. fut. ind,, 90 . d ira n : 3d. pi. fut. ind,, l64. diga: 3d* sing, pres, sub,, 6 5 5 * d iz ia ; 3d» sing. imp. in d ,, 424. dizjam; 3d. pi, imp. ind., Rubric, XXX. dixl: 1st. sing, pret, ind., 9 0 , diss * Î 3d* sihg. pret, Ind., 3 * disse: 3d. sing, pret, ind,, cf. I, 5* 284

dlRF.er; ^d. sing. fut. sub., 1 3 . dissesse: 3^» sing, iap. sub., 33O. dizede: imperat ive, 427• dizendo; pres, part., 451. dizer; pers. Inf.. 6 6 3 » do: contracçao dg e do art. def. n. com funçôes de genitive, 9 ; contracçâo da prep, de e do pronome pessoal demonstrative do Que. 4 4 7 * doavre: Cf, XLV, 4, dobrar (duulare): duplicar (CA.G-.); to double, 401. doer (dolere): lastimar (CA.G.); to suffer. doeredes! 2d. pi. fut. ind., 6 5 3 * don (donum): davida, presente (V ieira); g i f t , 370* don (forma abreviada, procliftica de dono (dom'nu): empregada antes de nomes proprios de pessoas como titu lo nob il l^rciulco. (CA.G.);sir, mister, 4. dona (domina); Como feminio de don, dona e empregada diante de nomes propios como titulo, 1 6 5 . donzela; mulher moça solteira, qua servia a una senhora de distincçâo (Vieira); damzel, Rubric, XXXIX* dos: contracçao de preposiçao d^ e do art. def. m. pl., 468. dous (duos): dois (CA. G.), two, 423. dultar (dubitare 7): v ., duvidar, temer, recear (Xunes, _Cr. , 5 6 3 ), to doubt; cf. XZCXIV, 21. e (^ ); a conjunçao copulativa (See CA. G, for various uses.) and, 5 .

 (est): Bee seer. egoa (equa): s.f., a femea da especie cavallar (Vieira); mare, 335» eieelcom: Cf. VI, 1. el (ille): 1 ) art. def. m.; diante do subst. rei, e esuanhol (leones), the, 1 06. 2 ) pron. pess. 3^ . muito mas usado do pue e le , he, 5 t accusative, him; c f. XXVII, 1. 3) pron. dem, e l que (CA. G .) 2 8 5 ela (ilia): pron. pess. f. l) nom., she, 6 2 * 2 ) acc., her, 1 3 * ele (llle ): forma plena de _el, 27 6 . el es ; p i. p o rt, de e le . (CA. G-.); 276. elos; pers. pron., nominative (See H uber,325» ); they, l 6 . en; preposigSo que sei"ve para denotar différentes relaçoes d'um idea e outra (Vieira); in, 22. en ( i nde ); forma breviada de ende. pronome demonstra tiv o neutro; d 'e s to , d*Isso. d ’aguilo (franc. _en). Usado corn verbos que regem o genitivo (CA. G.); of this. Cf. nor en. ena; contracçao da prep. en com o artigo def. f.;in the. eninigus; Pl. of enmigu (eniraleu): inimigo (Hunes, _Cr. A.), enemies, 293* em PUSso: Cf. XVI, 5* en tal que; no caso que, sob condiçao que (CA. G.); on the condition th a t, so th a t, 568 . enbargado, part. pass, de embar^ar; impedido (Vieira); hindered, 110. encarregado. part. pass, de encarregar; encommendado a obrigaç'âo de fazer exe eut ar alguma cousa (Vieira); charged, 44-5. end'): d'isso (Hunes, Cantigas d’Amigo, III, 6 1 3 ); from it, 35. ende ) Locution: por ende. for that reason, 288. endoado; Cf. XDOLIII, 578. engano; Cf. XXIX, 11. enmentar. v .: termo antigo; anontar, conimemorar, fazer leinbrar (Vieira); to recall. enmentar-vol-ey; 1st, sing. fut. ind., 128. ennarar = emnarar (lat. barb, emnarare); defender (Vieira); to defend, 65 1 . entençar; Cf. XXVIII, I 6 . entender (intendere): saber, perceber, comprehender (Vieira); to know, to understand. 286

entende ; 1st. sing. pres. Ind., 496, entende: 3‘i» sing, pres, ind., 80. entendl: 1st. sing. pret. ind., 653. entender-se; conhecer-se, comprehender-se, saber-se (Vieira); to think. s * entende ; 3*^» sing. pres. ind., 28, enton ( in i- tunc ) ; adv. ant. ; n’aquelle tempo, n'aquella hora, n'aquelle caso (Vieira); then, 90* entrer ( intrare ): passar de fora, para dentro (Vieira); enter, yi8, entro; 1st. sing, pres, Ind., 504. entraredes; 2d. pi, fut. ind., 7 2 7 * entregar (integraxe); por em poder de outro alguma cousa (Vieira); to hand over, to give, 64l« enviar (inviare): remeter, mandar (CA. G.); to send envyou; 34, sing. pret. ind,, 444. er = ^ : (See Huber, ^422), again,58, erger-se; v. refl., levantar-se do assento em que esta sentado (Vieira); to rise ergen-sse: 34, pi. pres, ind,, 2 3 0 , errar (errare): practicar error (Vieira); to be wrong, 84. errou; 34, sing. pret. ind., 555* escapar (ex-t-cannare): ficar livre de perigo (Vieira); to escape eseanedes: 2d. pi. pres, sub., 643» escamho = escameo: (it. scherno); menospreço zombaria (Vieira); scorn, Rubric, XXX. escamir J escamecer: fazer escarneo, zombaria, mofar d'alguem (Vieira); to satirize, 1 7 6 . escarniron: 34, pi, pret. ind., I 8 5 ,

escass*) escasso): adj., insufficiente (Vieira); insufficient, scarce, 625, escotaron; Cf. XL, 4.

escudeyro: Cf. XXIV, Rubric.

esmolleyra: Of. XLIII, 3 ,

esnantado; part. pass, de espantar, assustado (Vieira); frightened, 2l6, 287 esposa (s-ponsa); a imilher ajustada para casar (Vieira); v/ife, I 31* essa ( j-psa)» adjective demons trat ivo que se référé pessoa ou cousa presente (Vieira)* Also demons tractive pronoun. That, 23 6 .

.essas: pi, of essa; those, 248. est * ; See este. esta, esto. esta: fern, of este ( iste ) ; adj. demonstr. ITa conversa; ao désigna a pessoa ou cousa presente ou proxima (Vieira); also demonstra­ tive pronoun; this, 6 0 , 201. estar ( stare ) ; verbo auociliar; perslstir, permancer, ficar, exist ir (Vieira); to be esta para — exprime a disposiçâo proxima (Vieira); to be about to , 37* e s ta ; 3^* sing. pres, ind,, 6 9 , estam: 3^» Pi* pres, ind,, 19 * estar-vos-ia,; 3<^* sing, cond, , 70?» e ste v e r: 3^. sing, fut, sub,, 118, estas; pi. of esta: these, Rubric, VIII,

^ s 1^; masculine demonstrative adjective and pronoun, see esta, 2 0 1, esteira (storea): s,.f,, empreitas ou tiras de esparto, junco, pal ma, taboa, etc., tecidas e cosidas umas as outras, para cobrir o sobrado (Vieira); saddle cloth woven of reeds. Of, VIII, 1, esteo s esteio: s,m., peça de madeira, ferro, metal, etc. com que se sustem ou ampara qualquer coisa (Moraes); prop, 292, estes; pi. of este; these, 9 * esto (Istu): isto, pro. dem, neutro. (CA. 0.); this, 85*

^t (_et): forma latina da conjunçao copulativa usada antes de vogais, mas tambem antes de consoantes (CA. 0.); and, 5» eu (ego): pron, pess. (Vieira); I, 8 , excusar ; desculpar, nao ter necessidade (Figueiredo); to excuse, 7^^* falar: significar por palavras, dizer (Figueiredo); to speak, 4l8, f alad es; 2d. pi, prey, ind,, 7 °^, falido, part, pass, do falir; falho, que faliu (Vieira); lacking, 229, 288 fazer; causar (Nîmes, Cant igas d’Ainlgo, III, 620); to make, to do, 4 7 9 . fazen; 3'^» pl* pres, ind,, 19 O. fa c a ; 3d. sing. pres, sub,, 17 6 , fazedes: 2d. pl. pres, ind,, 465. f a z ia ; 3d. sing. imp. ind., Rubric, XXVII. f e z ; 3 4 » sing. pret. ind., 3^* f i z : 3=1' sing. pret. ind., 1 0 5 » fa re v ; 1 st, sing. fut. ind., I 2 7 . fa ra n : 3d. pl, fut, ind., 6 1 9 , fezesse: sing. imp. sub., Rubric, XXI. Locutions: fazer de: cf. XXX, 5 and 6 , fazer dereito (See dereito ) fazer mal sen; procéder mal, do wrong, 597 * fa z ia to r to r Rubric, XXXVIII. fe (fide ) ; fidelidade, crença (CA. G.); faith. Locution: a boa, fe; sinceramente, sincerely, 57» feita, p?rt. pass. fern, of fazer: made, Rubric, V. feito (factum): acçSo, processo (Vieira);action, 77» f erir (ferire); bater, dar pancada a (Nobling, v. 8 1 9 , 7 0 0 ); to beat f e r : 3à.» sing, pres, ind., 7 1 2 . f e r i u : 3 1 * sing. pret. ind., 238 . ffalso; adj., enganoso (Figueiredo); false, 6 7 7 . fLcar; estar (Vieira); to be, to remain. i l cades; 2d. pl. pres, ind., 7 0 1 . fiquedes: 2d, pl. pres, sub., 1 0 1 . fic a ra : 3d, sing, fut. Ind., 8 , fic o u ; 3<1» sing, pret, ind,, 30» fidalgo; Cf. XXIV, rubric. f i l h a r , v . , termo antigo; tomar por força (Vieira); to take by force, f i l h ou; 3d. sing, pret, ind., 1 5 0 . filhar-se a = nor-se a , começar (Nunes, Cantigas d'Amigo); to begin filhas-t-a cantar; 2 d, sing. pres. ind., 612, f ilho (filius): o menino, a criança do sexo masculino, relativaraente ao pae ou a mâe (Vieira); son, ll4. f.l],ho 5 , p l ., ^ 6 6 .

Foo^m Cfulano); Po5o (Nobling, v. 877» ?03); jdr. So and So, 4. 289 f OderJ termo obsceno e popular; te r ajuntameato carnal com uma mulher (Yieira); to fornicate, 4f2. fo d ia ; 3i* sing, imp, in d ., 6 6 7 . fodi: 1 st, aing, pret. ind., 6 5 9 *

fodostalho (T); Cf. XXYIII, I 5 .

fOKir; fugir (provençal fugir) escapar-ne (Figueiredo); to flee, 375* fugid*: 2d. pl, imper., Cf. ZXZYII, 2. fogiu; 3*^» sing, pret, ind., Cf, XX, rubric.

folya (fr. folie): locura, tolice (CA. C.); folly, 3 1 1 .

fora (feras); distante (Yieira); away from, f orçado; part, pass, de forçaj; obrigado por força (Yieira); forced, 4o6.

forte (fortis); que tern força e vigor (Yieira); strong, vigorous, 687»

foucelegon; Cf. XXY, 8 .

fremosa =formosa (formosa); bella, bonita (Yieira); beautiful, I6 5 , fremosos, m. pl., 481.

f ro n te lra s ; Cf, XXYIII, I 7 .

fudada; part, pass, of foder with -uda ending, 7 ^0 . lSS,i£I (See f o g ir ); 5 0 7 .

gâar = ganhar (prov. guadanhar; frank, langobard. vaidan.jan). See Huber, ^ 3 6 ); to win, 458.

Galicia: Region de EspaSa que forma el extremo noroeste de la peninsula. Enciclopedia Universal Ilustrada Europea, Espasa-Calpe, 1 9 2 7 ), 187.

g a n ir; Cf, XIY, 15*

gargan ta: s . f . , termo vulgar, a parte anterior do pescoço (Vieira); throat, 624.

garganton; Cf. XXXY, 1. gentes: Pl. of gente (gens. gentis); multidao de pessoas de ambos os sexos — sempre no plural (CA. C.); people, 458.

giron: Cf. XL, 5 . 290

^ rac ld o; agra.de ci do (l'inné s, Cantigas d»Ami^^o, L3CXXÎI, 5): thankful, 379. grado: agradecimento, reconhecimento (Hunes, ibid*, XLII, l4); recompense, 5 9 9 » Locution; de bon grado. willingly, 435* gran: forma antetonica degrande. usada sempre antes de substantivo que começa por consoante (Nobling, v. 46, 665); large, 4^* grand*; antes de vogal; sao igualmente foVmaa antetonicas usadas sempre antes do substantive de; mao; mal boo; bon (CA. G-.), 601. grav'; difficil (Nobling, v. 7 6 8 , 6 9 9 ); difficult, 1 5 . grazir: •= graair (prov* grazir) ser grato a algo (CA. G-.); to thank grazir-lh'o-ev: 1st, sing. fut. ind., 4-04. gros; Cf. veir gros. I, 9* grossas! Cf. VIII, 2, guardar; vigiar, observar (Vieira); to keep from guardou; 3d. sing. pret. Ind., 5 2 7 * guarecer: salvar, curar (Nunes, Cantigas d'Amigo. CLXV, 15); to get by, 6 1 5 . guarir (got. war .i an); curar, curarse; mod. guarescer (Moraes); to escape guar r a; 3d. sing. fut. ind., 5 9 9 * g u a rlra ; 3d. sing, plup. ind. , 24-9» guariu: 3d. sing. pret. ind., 2 5 5* guerra; o acto hostil, por meio do qual se procura fazer mal ao inimigo a fim de o vencer (Vieira); war, 702. gulsa (allemS.0 w isa ); moda, forma (V ieira); way Locution; de tal gulsa; in such a way. 111. de gulsa que; de modo que (Vieira); so that, 653* guisados: pl. of guisado ; qrranjado, dispostos, preparados (CA. G-.); dressed, Eubric, VIII. b i: See 1 , y .

Horn - home (Nunes, Cantigas d *Amigo, XXV, 24); man, 8 9 * homen; See home . ru b ric , XXVI. 291 homeens; p l, of homem. men, R ubric, XXIX»

^ (uM); ant. onde (Vieira); where, ^3»

^ = um# See im, uma: also Huber, ^305*

hSa = uma. See uma, also Huber, ^305»

hun. See hE.

huus. P l. of hun. See Huber, ^ 3^6.

J;); (ibi ou hic ) la, alf, af, para la(Vieira); there, 26l . z)

_lnfançon; s.m., ant., titulo antigo de nobreza, inferior ao de rico-homen (Vieira); noble, 157* il moverse, dirigir-se de uma parte para outra (Vieira); to go. you; 1 st. sing, pres, Ind., 5 0 9 » vae» v ai. vav; 3d. sing. pres, ind., 4 3 . van: 3d. pl. pres, ind., 4 7 9 . hide : 2d. pl. imperative, 640. hire;y;; 1 st. sing» fut. ind., 284. h ir as: 2d. sing, futi ind., 6 1 8 . l a ( yb.) : 3<1» sing, imp, ind., 42. fu i, foi : 1 st. sing, pret., ind. foyI foe, ful; 3‘i* sing. pret. ind., 5 3 » fo r(^ : 3^-. pl. pret. ind., 243. i r l a ; 1 st. sing, cond,, 434. fo sse ; 1 st, sing. imp. sub., 3 3 3 » iren (personal inf.), XXXVII, 12.

irmaa = Irma, sister, Rubric, XL.

JLrmao (gei-manus ) : da-se o nome de irmao or irma aos f ilh o s do mesmo pae e da mesma mâe, ou do mesmo pae e mâe diversa e vice- versa (Vieira); brother, Rubric, VIII.

ja (Jam): desde logo, entao (Laudino Preire); then, 64. Locution: Ja que; adv. um pouco, now, 73°-737: conj., visto nue, seeing that. ja quanto: algum tanto, somewhat, 7 0 2 .

Jaen: Cf. XXIX, 2.

Jamals (prov. Jamais ); nunc a, em nenlium tempo (Vieira); never, 494. 292 janeyro ( .januarlus ) ; o prime iro mez do anno (Vieira); January, l60.

.jazer: estar de it ado, estar situado, to lie, to be 3 9 ; continuar, to continue, ■iaz; 3

.logar; tomar parte no jogade (Pigueiredo); to play a game, 487» .iogavan; 3^-« Pi* imp* in d ., E u b ric, XXÏVII Locution: .logar dos dados: to shoot dice, 487*

■iograr ( .joculare ) : jo g ra l, troy ado r de humilde e stirp e (CA, G. ); juggler, jester, 450. jograres. pl,, 471.

jo g ra ria ; Cf. XXXVIII, 9*

jograron; Cf. XXXVI, 11.

Johan P ern an d iz: C f. XL, 1*

judeu (Judaeus): 0 que professa a l e i de Moyses (V ieira); Jew, 102, See coraçon.

.iulz (judez ): o que julga, magistrado que administra ajustiça e faz executar as leis (Vieira); judge, 105.

jurar (jurare); assegurar, declarar ou promoter por juramento (Vieira); to swear jurando; part, présente, 5 9 . jura; 3d. sing. pres. ind., 605. ju ran ; 3d, pl. près, ind., 49, ju rare y : 1st. sing, fut. ind., 642. là (ilia): forma arcaica, 1 ) do art. def. f.; 2 ) do pronome conjunto da 3 p.f. depois de -s; noi-la (Cf. G A. G.) v o -la , 91 lancar (lancare); atirar corn força uma lança, um objecto qualquer (Vieira); to throw, 237* leal; (fr. loyal): que obedece as leis da honra e da probidade (Vieira); loyal, 66l . le c ia ; Cf. IX, 2. l egoa; (celt, leuca); medida itineraria, substituida hoje officialmente por kilometros (Vieira); league, 333* 293 leixar (lazare); ant., o mesmo que deixar, abandonar (Figueiredo); to leave, 2 8 7 * le lx * : 1 st, sing. pres, ind., ^ 1 0 . lexe g lelxe; 3‘i* sing. pres, sub., 58 . leix ad e ; 2d. pl. imperative, 30 7 » le ix a re v : 1 st. sing. fut. ind., 7 1 8 . lexou, levxoua leixou; 3d. sing. ,pret, ind., 54. le ix a sse ; 3

Lemus; Cf. T ill, Eubric,

Leon; En la Sdad Media comprendio las actuales prov. de Leon, Palencia, Y allodolid, Zamora y Salamanca. (E nciclopedia U niversal ), l 8 8 . leterados. pl. of leterado (lltteratus): quern tern lettras; diz-se dos advogados e jurisconsultes (Vieira); lawyers, 82, levar (levare); transportar, afastar, (Vieira); to carry, 109, lev o : 1 st. sing, pres. ind., 109 1evades; 2d. pl, pres, ind., 2 2 7 . levad*: 2d, pl, imperative, 64o, levara: 3

Ih ’ ) Ihe ); pronome pessoal atone da 3 pess. m. e f. com funçao de Ih is ) coraplemento in d ire cto , ou de dativo etico (commodi ) Ihes ) abstraido da composig&o (ill! illu , 1111 i l i a ) (CA. 0 .) Ik i, 2 9 ; 2^, 33; Ihes, 245: ih is , 249; Ihy. l45; IM. I 39 . liada, part, pass, de liar: ligar (Vieira); fastened, 202,

Ip (illu ) ; artigo definido masculine; usado depois de -s que Ihe e assimilado, (CA. G.), poy-lo, 6 7 3 » loados; termo. ant, louvados de louvar (laudare) gabar, elogiar (CA. G.); praised, 478. logo : (locus): termo ant., local, logar (Vieira); place, Eubric, XXX. logo: dentro de poco (Vieira); then, soon, 215• Isa i* : longa; adj. f . from longo. m, (longrus) extenso, no sentido do comprimento (Figueiredo); long, 70?* L o'p o; Cf. XXXIII, E u b r i c . louvado; See loados, 438. m* : forma abreviada de me antes de vogal sobretudo antes de _e, qi, eu. (CA. G.); me. machar; Cf. XV, 1. madre (matre): s.f., termo antigo; mae (Vieira); mother, 106. maenfestar; Cf. XLIV, 1. maenfestava: 3^* sing. imp. ind. m aestre; (See m eestre. ) Eubric, V. mais (m aeis): adverbio empregado como comparativo de muito: ou do longe, no sentido de nor mais tempo. (CA. G.); more, 38 . mais: conjuncçao adversativa (Xobling, v. 2 9 6 , 6 7 7 ); b u t, 1 0 . mal (male); contranome de bem, e como esse: a) adverbio, 3 1 » b) substantivo, 54; c) primeiro elemento de verbos compostos no quals, atono, esta em proclise, maldizer. XX, Eubric; d) primeiro elemento de nomes,mal-talhado, 7 ^8 ; ill, bad. Locution; mal pecado; por desgraça, unfortunately, 2 6 9 . malado ; Cf. XXXIII, 11 malandante : Cf. V, 21. maldizer: dizer mal de alguem, diff amar (Vieira); to speak ill of someone, to defame, Rubric, XX. malparada: em mao estado, 39 . manceba; s.f., mulher moça (Vieira); servant, 73i* mancebos; p l. of mancebo (maneIpum): joven, moça, servidor por soldado (Vieira); servant, 467» manco (mancus ): a d j., faJ,ta d'algum dos membres superiores ou inferiores} lame, Rubric, V. mandar: ordenar; mandar com infinitive équivale geralaente a fazer (V ieira); to order, to make. mandado: p a rt, p a ss., 444. mandem; 3^-* pl. pres. sub., 1 7 . mandou; 3d. sing. pret. ind., 32. mandaron; 34# pl. pret. ind., 587 . 2 9 5 manhas; p l. of manlia; hab ito , costume (Ikines, Cantigas d^Amlgo» LXIV, 9); habits, manners, Rubric, XXVIII. manto; s.m., vestido que cobre como capa, pendente dos hombros, foi muito usado pelos re is, e ainda hoje o usara os cavalleiros. (Vieira); cloak, 150* mansso; adv. com mansid^ (Vieira); softly, XLV, 4. m^ ou laau ( malus ) ; adj., quern tern alguma qual idade desagradavel ou nociva, fall ando das cousas tanto physicas como moraes. (Vieira); bad, ill, 225. maaos ): P l. of mao (manus ) ; Parte do corpo humano que termina o maos ) braço e que serve para o tacto , assim como para a prehensâo dos corpo s (CA. G-.); hands, 6^2, 674, mar (mare): grande massa de a^a salgada (Piguelredo); sea Locution: alen rnar. I I I , 42, maravilha (m iribilia); cousa que causa admiraçao (Vieira); wonder Locution: uor maravilha. in an extraordinary fashion, 207» maravilhar : excitar admiraçao extraordinaria (Vieira); to wonder,to admire maravilhado: part, pass., 2 1 5 » maravilhey: 1 s t. sing. p rê t, in d ., 53^»

Maria; Santa Maria, a Virgern; the Holy Virgin, XV, 274.

Maria Leve; Cf. XLII, 2. marido (maritus): o homen casado a respeito de sua mulher (CA. G.); husband. Rubric, XX. matar (mactare): tirar a vida, priver da vida (Vieira); to kill, 244, mate: 34. sing. pres, sub., 679 » mat ou: 34* sing. pret. Ind., 947* mays; See mais (a d v .), more, 38» mays ; a maior parte, a maioria (CA. S.); the great part of, 26, mayor (major);comparât ivo de grande (CA. C-. ); more. Rubric, XXIX. meaca = ameaça; palavra, acçâo ou gesto por onde se commina o castigo ou se adverte da future, pena* Pl. meapas; threats, 6I* me (iqe): forma conjunta da la pessoa do pronome pessoal (CA. G. ); me, 5» 296 melhor (melior); comparâtivo irregular de bem« (Vieira); better, 42. mengua (mlngua): s.f., insuffIcleacia, necessidade, carencla (Vieira); l i t t l e , 1 6 , need, 4 l. menguado- mingoado. part, pass* de mingoar, pobre, nSo abastado, incomplete; little, 3 0 * meninha - menina, donsela (Vieira); young lady, XX, Eubric* menos de; short of, 6 8 8 * mentr *: emquanto (Xobling, v. 1 5 2 , 6 7 0 ); while, 118. mere ado: 4 3 7 , Cf. XXV, 4. m ercar; See mereou: XXIX, 4. merecer (merere ); ser dig:io, fa l] sndo dag pessoas, v a le r (CA. G. ); to m erit merece; 3or mego (CA. G.); with me, 419.

Moeda Y elh a; Cf. XLII, 5* moedores: Pl. of moedor, pessoa que pisa, calca, moe (Vieira); millers, 469» molher* mulher (muller); Pemea da especie humana (Vieira); woman, w ife, 4. molheres. pl., 475» molhersinliamulherzinlia, diminutivo de mulher (Vieira); little woman, 380 . moral- (morari): habitar, residir (CA. G.); to inhabit, to live, 488. morava; sing, imp, ind. , 7^ 0 . mora: 3^» sing. pres, ind,, 413. morrer (morior. mori); ezcplrar, cessar de vivir (CA, G, ); to die, 59^. morte (mortem): s.f., fim, extincçâo (CA, G,); death, 599* mostrar (monstrare): fazer ver, indicar (CA, G.); to show mostrava; 34» sing, imp. ind.,E ubric, XXVIII, mostrou: 34» sing, prêt, ind,, 6 6 0 .

Morraz; Cf. XXIII, 1» mourisca: Of, II, 6, mouro (maurus): oriundo da Mauritania, saraceno, mouro(CA. G. ); Moor, R ubric, XXXVII. mover (movere ): fazer mudar de lugr-r (CA, G. ); to move, 452, moveredes. Cf, XXXVII, 4. mojrq: Cf. XXXI, 8» multo; adj., grande; much; pi. muitos, many, 6 8 6 ; adv., excessiva~ mente, bastante, profundamente (Moraes); very much, Eubric, V, muitos; pron. indef., many, 163. mundo (mundu) : te rra , contranome de ceo (CA. G.); world, 474* muu mu, s.m ., cavalgadura muar, mula ou macho, snima.lquadnipede* mule, 9 5 » 298

Muy: forma aatetonlca, so se encontra antes de adjectives, adverbios e p a rtic ip io s , ou palavras que fasem a fu n c ç ^ de adject ivo s ou adverbios (CA. G. ); very, 8 9 .

Aâ: Cf. IV, 7 , 9 .

PacLa; pron. indef. privaçSo total de algtuna cousa, cousa nenhuma (Vieira); nothing, 397» nadiaoes; pi, of mod. nsdega. Parte camosa, posterior, em que o coipo huinano se assenta. (Bluteau); buttocks, 224. nascer (nascor); vir a luz do mundo (Vieira); to be bom. nado: part. pass. (See Huber, ^ 373), 592. n a ç i; 1 st. sing. prêt. Ind., 43* naçeu: sing. prêt, infl,, 53^ Locution* foy mal dia nado. 592.

N atal: Cf. IX, 1. negada: fern. p a rt. pass, de negar: negation, 399 * negar: (negare): nao assentir; dar por falso o que outrem diz (CA. G.); to deny, negu* (nego); 1st, sing, pres, ind,, 338 » negrada: Cf. XII, 1. nembr* j membre (membrum); parte integrants d*um corpo ou d'um todo separada de todas as outras (Vieira); branch, 37» nemiga; maldade, vilega, palavra infamante (Nunes, Cantigas d*Amigo. CCCXIII, 1 9 ); slander, 65 7 . nen = nem (nee): adv., nSo; conj,, e n%o (Vieira); not, nor, 48, nenhum. a, adj. adjective quë expi'iine a f a l t a absolute do que (V ieira); no, not any, J;6. Locution: nenliuma ren no .1 ados. part. pass, pi, of no jar enfastiar, desagradar (Nunes, Cantigas d*Amigo. CCLVI, 28); displeased, annoyed, 4 7 6 , nojos, pi. of nojo (nausea): s.m., damno, mal dessabor, desgostos, enfado (Vieira); damage, 6 0 9 . nome (nomen ) : s.m ., palavra que désigna, uma pessoa ( CA. G. ); name, Rubric, XXVI.

non; antiga forma de nao (Vieira); no, not, 23* 299 no-no: Cf. XXXII, 6,

U ostro; Essa forma plena do pronome possessivo e empregado em Invocçôes ou r e fe r e n d a a Deus e Jesus Cristo. Em quaisquer outras express'Ses empregavaia or. trobadores nosso. (CA. G. ); Oui*, 484-. novo (novus): feito de ha pouco, em opposigao a velho (Vieira); new, 18 6 . novas : pi. of nova, s. f., noticia, novidade (Vieira); news, 535* nulho, a, pr. ind. nenhum. nenhuma (Hunes, Or. A. ): no, not any, 663, 66 2 . Eulho (nullum) e forma catelhana; a normal seria nulo: que talvez se occulte debaizo da graphia nullo. bastante usada nos codices italianos. (CA. G.) nunca (nunquam); en tempo algum, jamais (CA, G.); never, 55* locution: nunca ja. never, 5^ 3» nunca mais, never more, never again, 1 12, nuu (nudus ); a d j., que nao e sta vestido (V ieira); naked, 101

£ (illu ); art, def.ra. aVstraifdo de formulas compostas em que o 1_ do primitive 3^ estava entre vogais, como em de-lo, a-lo. ho je 2 3 7 , 9 2 ; pronome s possessives o seu, o meu, etc. (CA. G.); the. o (quo): 1 ) pronome demonstrativo m. aquele que, 6 9 ; 2 ) pron. dem. n .: aquilo que, aquilo de que; do que, 447, that which; o de que (See Huber, "ÿ3^7) relat. pron. whose, 6 9 ,

Ü (Illu): pron, pess. complemento 5 * i t , him, 8 6 , obrida: Cf. XLV, 3* odedes (?); Cf. XIII, 5, 12, 19. official: Pessoa que tern um officio, urn cargo, em emprego. (Vieira); “official, 107. ogsxLO (hoc anno): adv., termo antiguado, este anno (Vieira); this year, I 30.

U S'. ) o.je ) adv. ho je , today, 7 2 7 » oge ) q i, oy (hodie): forma aparentemente castelhana, usada por trovadores galizianos (e outros); (CA. G.); today, 29 I. 300

oldor = ouvldor Cauditor ); s.m ., a n t,, ju lz togado que ouve e sentenceia con outros as causas e pleitos que occorren nas audiencias; nas relaç?5es havie, ouvidores do civel, e do crime, que conheciam por acçao nova. (Vieira); judge, 1 2 5 .

-Qiy (audlre): perceter os sons, a voz, a palavra (Vieira); to hear, 111, ouço: 1st. sing, pres. Ind., 2?4. ovrev; 1st. sing. fut. ind., II 5 . o ir a : 3d. sing, fut. ind., 1 1 5 * ovredes; 2 d. pi. fut. ind., 3 2 9 . puviai 3d* sing. imp. ind., VII, Rubric, oiu; 3d. sing. pret. ind., 24?. 0UVU7 ; 3d.* sing. pret. Ind., 245. oysse: 3d-* sing. imp. ind. , 5 8 2 . odedes (f): 2nd. pi. pres, ind., XIII, 5*

ome = homem; vale de pron. indef., isto e, alguem (ifunes, Cant 1 gas d'Aiiigo. X]v7in, 5 ); one. 2 5 1 .

omezian; Cf. X, 8 .

ondV ) (unde); no sitio indica&o; no sitio de onde; pelo que; onde ) do quai; de quern (CA. G.); where Locution: onde puer que: wherever, ?11-?12.

onrradq; adj., que tera honra; honorable, 491.

ora (hac hora): adv. de tempo, agora, n'esta occasiao, ja (CA. G.); now, 4 9 0 .

orelhada; o mesmo nue bofetada (Moraes); box on the ear, 554.

os : pl. of o,: See singular article and pronoun,

outrem; outra pessoa (Vieira); another, ?1*

o u tr ' ) outra ) (^ te riA ): que nao e o mesmo (V ieira); o th er, another, 352* outrq )

outros; pl. of ^utro; others, 4?4, 4?8. outrus

outro3sy= outrosl, tambem, alem d'isto (Vieira); cf. XX, Rubric,

JBÊ&dda; Cf. VIII, 3.

pagadus : (See Huber, ^ 155. for form.) Pagados. pl. of pagado. adj. part., contentos, satisfechos (Hunes, Cantigas d'Amigo, LIII, 7); satisfied, 462. 301

T)a^£;ar-se; v. reflex*, satisfazer-se, contentar-se (Nobling, v. 107, 6 6 9 ); to be content, to be satisfied •pago-me: 1 st, sing, pres, ind., 487, panos, pi, of pano (panus); tecido, feito de fiode linho, algodao (Pigueiredo); c lo th , h abito (CA, G .); clo th es, 2, par (preposiçSo francesa proveniente de per) (CA,G,); by, 11, para (preposiçao) (See Huber, ^428); to for, 3 8 , parecer; v ,, apparecer (Vieira); to seem parecedes; 2 d, pi, pres. Ind,, 7^3 » parentes, pi. of parente (parens ); individuo aue, em relaçao a outro ou outros* pertence a familia (Vieira); relative, Rubric, ]QCV. partir: apartar (liunes, A.); to dissuade, 6 O; accommetter (Vieira); to let go (a blow), 6 2 8 . passar (passare): decorrer (Rigueiredo); to spend, 50. passa; 3^» sing. pres. Ind., 5 9 5 * pastor; Cf. XX, 10, pastorinha; Cf. XX, 4, pau (palu); qualpuer pedaço de madeira (Moraes); stick, 2 9 6 . pavor (pavor): termor com esjjanto ou sobresalto (CA. G.); fear, 644, pecado ; See mal-pecado, pecador: (pecator); que commette peccado. Home epiceno comotodos quanto8 acabam em -Sr (-ore). -es (~ense) e ante, ente, inte)♦ (CA, G .); sinner, 757* pecar (peccare); commeter peccado, transgredir as leis devinas e da Igreja (Vieira); to sin peouey;1st, sing, pret, ind,, cf, XLIV, 7»

pedir (pedire); demandar (Vieira); to ask, 105« pedla: 3

pel evador: batalhador, combatedor; f igliter, Rubric, XXXII.

pelejar, v ,, batalhar, combater, contender, guerrear (Vieira); to fig h t. pele.ledes: 2d. pi, pres, sub., 646. 302 pellteyros (B. Lat. joelletarios ) ; pi. of Tieliteyro. cartidor de pales (Laudino Brelre); furriers, ^6 9 »

•oenas ; See penas veyras. Cf • 1 , 3» penhoraf-la^ey; See penhorar, peixhorar; embargar judicialmeute o uso dos bens para segurança ou pagamente da divida, fazer-lhe bénéficies em cousa com que o tenba obrigado (Tieira); to oblige* penhora~la**ey; 1 st, sing, fut, ind., 4l5* penhorada.; fern, part., 400.

_pe^ (combinagSo da prep, per e do art. def. f. là»» assimilaç%o de r a _1 ) (CA. G. ); by th e, 6 1 ,

~peoa; peao, homem de pe (Vieira); foot-soldier, 5^0. peaueno, adj., nao grande, curto (Vieira); small, Rubric, XXX.

UGi' (francesa par); at raves de, por meio de, segundo (Vieira); by, through, by means o f, 1 3 . locutions: per aly por alii, por aquelle sitio, there, 3 6 . per d'ante) perante; na presença de, perdante ) in the presence of, II 7 . per ende: por isso, for this reason, 288» per como: 1 9 » per mal nen per ben; de boa ou ma ventade, quer queira quer nao, willingly or unwillingly, 5^* per quanto; por to do que ou pelo que, for all th a t, so f a r a s, 70. Cf. XXXI, 10. per razon; justamente, justly, 121. per ra n : 3 1 2 . per u: em qualquer lugar, wherever, 36. pera: Cf. XXVII, 20. oercalzar: alcançai' alguem em contas, conseguir algum emolumento, ganho. (Viterbo); to gain, to win, 48, percalzou; 3^.» sing. pret. ind,, 4 9 . perder (perdere): ser privado de, deixar de ter (CA. G.); to lose, 498. SSSlendo: part, pres,, 501 perdi ; 1 st, sing. pret. ind., 232. perdeu: 3^* sing. pret. ind., 450. perdoar: absolver de culpa (Vieira); to pardon. 3d, sing. pres, sub., 694. 303 perduda; fern. part. pass, en uda; molher perduda nrulher meretriz, prostitute, 7 6 1 , per.lurar Cper.lurare); jurar falso (Tieira); to swear falsely, to perjure, 643. perjurada. adj. part,, falsa, perjura; perjured, 3 9 6 . pema; s. f ., parte do corpo animal do jeolho ate ao pe ou entrando tambem a coxa (Vieira); leg, Eubric, V. pero (particule composta de per hoc): 1) negativo, vale nem por isso, a pesar disso; 2) e adversative na maioria dos casos: todavia, E ubric, XXXII. Vale embora, conquanto, seguido ie indicative. E precedida de mais, seguida da conju. que, 17* pero quetalnda ^ue (iTobling, v . 9 2 0 , 7 0 3 ) « 2 7 .

Pero Rodriguiz dro u g elete; Cf. XXXVIII, E ubric. pesar (pensare ): causa pena (Eunes, Can tlg as d*Amigo, XIV, 3 ); to trouble. pesa. 3(1. sing. pres. Ind., 184 . p e s. 3d. sing. pres, sub., 424. Locution; pesa-m'en, I am sorry (about it); 184. a seu pesar: Cf. XLII, 3» peyor (pejor): comparative de mao (Vieira); worse, Eubric, XXXIII. peytoral= peltoral: s. m., correia presa na dianteira das sellas, a que rodeia o peito do cavallo, para que a sella n%o corra para as ancas. (Vieira); poitrel, breast-plate of a horse, 3 1 3 *

PCdar (putare); cortar a rama das arvores e vinhas one Ihe e inutil (Vieira); to prune, to trim, 3^* podada, fern, part., II, 6, nodaron, 3d. pi. pret. ind,, 2 9 . poder (potere); potencia (Figueiredo); influence, power, 57* poder (potere ): ter possibilidade (Figueiredo); to be able poaso; 1st. sing. pres. ind., ]. 2 3 * pod* ) - 2 3 , pode ) 3d. sing. pres, ind., 3I. podedes; 2d. pi. pres, ind., 32O. podia: 3d. sing. imp. ind., 1 1 7 . pode; 3d. sing. pret. ind. podera; 3d. sing, piup. ind., 2 3 5 » podrida; adj., f ., apodrecida, inutil, worn, useless, 2 3 O. 304

•pger; Mod* x>or« (V ieira ) pen: 3^* sing- pres. Ind., 68. joc^a: 1st. sing. pres. sub., 94* norrei: 1st. sing, fut. Ind., 91» uoserdes: 2d. pi. fut. sub., 91*

•poy~lo; Qpando seguido do art 1 go o ou pronomes o, a, etc., estes toman a forma arc. ^o, j^a, etc., e aquele perde o b final: asslm; noi-lo. no1-la . nol-los. noi-las. (îTtines, Cantlgas d*Amigo. 111,663). poy-lo. 590. poy-la. 741,

•pois: conj. causal., visto que, por que (Vieira); seeing that, because, 29 conj., conclusiva: logo, portante, then adv., em seg(ulda, logo, then pola. nolas): 1) ligaçSo do art. definldo na sua forma arcaica polo. polos) com a preposiçao por. cujo r final foi assimilado a j,* 2) ligaçSo do pronome complemento da 3^ pessoa com a preposiçao por. (CA. G.); by the, on account of. (See also Huber, ^235.) polas - 247. por: em troca de (Hunes, Cantigas d*Amigo. GGCCXLIV, 9); in exchange f o r , 1 8 . Locution; por an (por end*, por ende): por Isso (Nobling, V. 35» 664); therefore, consequently, 50. por esto. for this reason, 44. por ren: por cousa nenhuma, de modo nenhum, by no means, 24$* porgue: conjuncçâo; vlsto que, pols que, uma vez que (See Huber, ^489), because, since, 4l* por ouS; why, 24. pormeter prometter (promlttere): dar palavra de fazer, dar ou nao fazer alguma cousa (Vieira); to promise. pormeter; 3d. sing. fut. sub., 720. porta (porta); s.f., peça de madeira ou de ferro, que se revolve sobre gonzos, para cerrar ou abrlr a entrada da casa, e d if lc lo (CA. G .); door, 724. portevro; Cf. XLI, 1.

POUCO (paucus); que e em pequena quantidade ou numera (Figuelredo); pouQU* l i t t l e , 1 8 , 651* pousada: s.f., casa onde pousa o viajante (Vieira); inn, 637. 305 pran. ( plane ) ; adverb io em regra precedido da preposiçSo no sentido de sem duvlda. evidentementei por certo. francamente (CA. G.); for certain, certainly, 12. prazer; s.m., cousa que da gSsta (Uunes, Cantigas d>Amigo, XI, 6) contentment, pleasure, 705. prazer: agradar (Vieira); to please praz: 3^» sing. pres. ind., 371* prazla: 3^* sing. imp. ind., Eubric, XX. precan: Cf. XXXIV, 9. preço; s.m., fama (Vieira); Eubric, XXVI. prender: (prehendere); tirar, tomar (Vieira); to take, 262. prendera; 3^. sing. fut. ind., 83. Locution: prender enganot Cf. XXIX, 11. presse, preso; s.m., pessoa que esta presa, 68, 593* debaixo de custodia (Laudino Freire) preito; 1) o mesmo que pleito, demanda, contenda (Viterbo); civil action, lawsuit, 66. 2) ajuste, convençao, contracto, composiçSo de pas e amigavel, (Viterbo); agreement, Eubric, XXI. prez (do prov. pretz, pretium): preço, valor (CA. G.); worth, Eubric, XXI. primeyro, a., adj. primeirg: aquelle de que se começa a contar ordinalm ente, (V ieira ); f i r s t , 53^* prol: proveito, sub. fem., 4 palavra bastante usada (Nobling, v. IO7O, 712); advantage, profit, 23. proveytg; (profecto): part, de proueio; vantagem, utilidado (CA. G.) advantage, 35* punhada; pancada corn a mSo fechada (Vieira); punch, 552. punho: (pugnus): s.m., a mao cerrada (Vieira); fist, ^6o* putas; p. f., prostltutas (Vieira); prostitutes, 499* putanhevTo: o frascario que fréquenta as putas (Vieira); whoremaster, pinq), 486. putaria; s.f., a casa onde ha putas (Vieira); brothel, 507* 306 puto: s.m., maacebo que se prostitue a vicio doe sodomitas (Vieira); pimp, Rubric, VI. nual. pronome e adverbio. (See Huber,^ 3^7); which, 106, such. qualquer. adm., adjective articular designando urn individuo inde- termindado da especie significada pelo subétantivo a que se junta (Vieira); whatever, 123. quam: adv. como (CA. G .); as, 18.

Quando; (See Huber, ^ 4 8 2 ), when, 53* quanto ( quantus ) ; que nxunero ou que quant idade d e ., que preço (F igueiredo); how much, 5 quantos, p l. as many, 1?5.

quatre : numéro; four, Eubric, V III.

que (qui ): o quai, a quai, os quaes, as quaes (Pigueiredo); which, th a t, 2 .

que (quod); que caracterlca e começa as oraçSes intégrantes (Pigueiredo); that, as a conjunction, l6.

que - ca (See Huber, ^ 3^5). than, 39*

quebrar; cassar (Vieira); to break, 298.

queixada =. queizo: parte ossea do corpo animal, onde estSo cravados 08 dentes (V ieira); jaw, 557*

guem; pron., a pessoa ou as pessoas que, o que (Pigueiredo), the one who, 73»

.querela, s.f., disputa, controversia (Vieira); quarrel. Rubric, XL.

querer: (quaerere): desejar (Pigueiredo); to want, 23. quero: 1st, sing, pres, ind.. 493* quer; 3^* sing, pres, ind., 44. queredes; 2d. p2. pres, ind., 717» querem: ' 3d, sin g. p res. in d ., 594. queria: 3*1» eing. imp. ind,, 88 . quis; 1st, sing, pret, ind., 33&» quisestes; 2d» pi. pret. Ind., 483. querra; 3d. sing. fut. ind., 397» quiser; 3d. sing. fut. sub., 323* quiserdes: 2d. pi. fut. sub., 631.

queymar; abrazar ou consumir por meio do fogo (Vieira); to bum, 38. 30? queyiar (questaxe): proromper an queixas, manifestar a dSr qua se experimentar, lamentar-se (Vieira); to complain, 46.

CLUeyxume; indignaçao (Viterbo); anger, indignation, 53* guitar-se; tirar-se, llvrar-se (Hobling, v. 565, 689); to get out, to free oneself, Eubric, XXTIII. se qultou: 3^» sing. pret. Ind., 60.

_quites (francos); livre, desobrigado (CA. I, v. ].40); free, 463* ra b ic o ss; Cf. ZIX, !?• raseax: rascax no cepo. expressSo desd^nbosa por tanger a citola (Hobling, V. 789, 700); to scrape, 61I. raz.on: s.f., antiga forma de razao (ratione). justiça, justice, 7^* recadar (recaoitare); disponer, prender (Vieira); to take, 72I. receber (reci-pere): tomar o que se da (Vieira); to receive. recebeu: 3'i* sing, pret. ind., 553» rechantada: part. pass, of re chantar. Chantar: plantar (Vieira); to plant again, planted again, 3^. r e e r t Cf. I I , 15. relnha (reglna): s.f., a mulher do rei (Vieira); queen. Cf. VII, 2. rei (por ree de rege): s.m., aquele que rege, raonarca (rigueiredo); k in g, 106. remeter-se; reportax-se, tomar a meter (Vieira); to step back se remet eu: 3d. sing. prêt. ind., 551. ren (rem, acus. de ras): ant. coisa. (Vieira); thing, 371» Locution; nenhuma ren , nothing, 62, Cfr. por ren. per ren per cousa alguma nulha ren absolutamente nada, absolutely nothing. rengedor (do verbo ranger, com o suffix dor): que renge; creaker, 310. ranger ranger : fazer produzir urn som aspero, e que faz arripiar o corpo (Vieira); to creak, to rasp, 248, rengera: 3d. sing. fut. ind., 312, rengeu; 3*1» sing, pret* Ind., I30. rengelhosa; Cf, VIII, 4, 308 resDon&er (respondere ): dar reposta vocal (Vieira); to answer resT>ondeu; 3^* sin g . p r e t. in d ., E ubric, XXIV, riir (ridere)î fazer urn certo movimento com a bocca, produzido pela idea de alguma cousa galante, gracejadora, e engraçada, to lau^; rir-se de ale. , to lau^ at someone. rilu: 3"1* Bing. pret. Ind., 271. riiU fs'el-rev. 283* rimados! part. pass, de rimar; que ter rima ou consoante (Vieira); rimed, 481. rostroï Cf. XXXII, 14-. rua,8, pi. f ., espaços entre as casas, nas povoaçBes, por onde se anda e passeia (Vieira); streets, 489* sa (sua): forma proclftica do pron. pess. 3 f* (GA.G. ); his, 13I. saber (sauere): ter noticia, ter conhecimento de alguma cousa (Vieira); to know, 381* sev! 1st. sing, pres. Ind., 12. saben; 3^. pi. pres, ind,, 420. soub» soubei 3^* sing, pret* ind., 37^* sabor: vontade, desejo (Nobling, v. 26l, 676); fancy, 385* sacar; tirar para fora (Vieira); to bring out sac an: 3<1* sing. fut. subi, 591* sacou: 3^. sing. pret. ind., 667* salr; passar de dentro para fora, apartar-se, to leave, to go out, 670 saia: 3

Saneta Marla; Holy Virgin, Holy Mother, 274.

San Martinho; Cf. Marla Leve. XLII, 2. sazon; tempo, ocasi%o (Nunes, Cantigas d*Amigo. CIV, l4); time. a sazon. in time, 339. sava: Cf. XL, 2. se (si por _si); conjuncgao condlcional (CA. G. ); if, 3^. 309

se sic. asslm: se Deus me valhal (CA. G-. )

secar: (seccare siccare): eûxugar, privar da humidade (Vieira); to dry up, 37*

seendeyro; Cf* 2XX, 1.

seer: 0 infinitive que e quasi sempre dissyllabe nos Cane, iyricos, se toma monossyllabe no futuro o condicional, (Nobling, V. 329^ 679); to be, 490. son (600); 1st. sing* pres* Ind., Cf. XXVIII, 3* sees: 2d. sing, pres, Ind., Cf. XXX, 2. 3^» sing, pres. Ind., 81. he (EST): 5^. sing. pres, ind., (See Huber, ^60 and 7’3?8), 5^» sodes; 2d. pi. pres, ind,, 468. era: 3d. sing. imp. ind,, 908* eram; 3

seguir (sequor. sequj); ir depois, acompanhar, to accompany, 669 *

segundo: prep,, conforme (CA. G.); according to, 626*

segurado, part, pass, de segurar: livrado de rlsco, perlgo (Vieira); s a fe , 595*

sela: (sella): cadereço em que se assenta o cavailleiro nas costae do cavallo (Vieira); saddle, 129,

selegoq: sellagHo, s.m., uma especie de sella que tern duas borrainas diante e arg%o muito pequeno, e raza atraz. Os cavalleiroE que n*ella andam c^m f ac liment e por detraz. (Vieira); a kind of saddle, 196* jsem: prep, (sine): designativa de falta, ezclusSo, excepç'âo (Pigueiredo); without, 9*

sem raz%o: rem motive, sem causa (Laudelino Freire), wrong, 29*

semell^r; parecer (CA. G. ); to seem semelhava; 3d. sing, imp. ind., E ubric, XXXVII* sempre, (semper): a toda hora, em todo o tempo (Vieira); always, 33. 310

(io prov, sen» que represen a o alemao Sian. Geslnntuog) sense, julzo (CA* G.); sense, judgment de mal sen : C f. 2ZXI, 7* 8 .

8_enJior: s.m ,, em relag So ao tirovador (vassalo, ome, ou ome-lege ) (CA. G .); s ir e , 583*

Senhor: Cf. Hostro. . 486.

senhor; Cf. IX, 3. senhores (w ith fem. a r t ic le sets ). 45?.

sentli'-se: achar-se, conhecer o que passa em si (Tieira); to feel se sent»! 3i» sing. pres. ind., 4l* sencades; 2d, pl. pres. sub., 92.

servir (eervire); fazer servigos, ser util (Tieira); to serve, 4?. servlu; 3i- sing, pret, ind., 45* servistes: 2d. pl, pret, Jnd,, 723*

servir: cortejax (Nunes, Cantlgas d*Amigo): to court, j?7^*

Sevilha; Cf, brial.

seu; pron* pess., 3m dele, deles. ;e usado substantivamente 3f* iela. delas. de si em diverses sentidos, de seu, de si. em particular, her, 11; his, 25*

seyta _selta; s.f., opiniao (Tieira); intention, opinion, 60.

slgo; (por sego, secum); influido por jsi; conslgo (CA. G.); with her, 741.

Sllves; Cf. XXIII, 1.

sin a l; Of. XXI, 10.

Biquer; Cf. XXXTII, 15*

30 = somente (Tieira); only, 697»

Bobarcado : Cf. XXXIT, 3 .

Soberal: Cf. XXI, 1.

Bocerl; Cf. XII, I6.

.sqer: (solere): estar acostumado, costumar (CA. G.); to be.accustomed. sol: 3^* slug* pres, ind., 483. .soya: 3<1* sing, imp, in d ., 275* 311 sofrer; aturar trabalhos, dores, affllcçoes, femes, injurias (Vieira); to suffer, 6lO sofrerey; 1st. sing. fut. ind., 408. sol; adv. somente, only, 24* soldes: Cf. mi, 3* soldados! pl. de soldado: salarie, salaries, 46?, son (8onus): tom (Vieira); sound, melody, 195. Pl.(song, Eubric, X3CVII. ( s3es soster: (sustinere): sustentar, segurar alguma cousa, para que riSo poBsaca?r (Vieira); to sustain. sosterra; 3^» sing, fut, ind., 79* soydade: s.f., termo antiquado, saudade (Tieira); longing, 448. osi) si: pron. reflex., 77* .asy) tafularia: casa de jogo (Vieira); gaming house, 504. tal ( ta ils): que tern certa qualidade (Pigueiredo); such, 32* taes (p l.), 17 Locution; tal que: de modo que, 9 ^ , talhar (fr. tailler); cortar, 145, 2 1 7 ; talhar um vestido: cortal-o a feiçâo do corpo do seu dono (Vieira), 689, 69O; to cut, to tailor a garment* talhada. fem. part., 69I. talhado. mas. part., 217; talhado: stipulado, ajustado, 395 talhou: 3

te; pron. pess., complemento da 2 pess. (CA. G.); you, 281*

teer = ter; possuir (Vieira); to have tenho; 1st. sing. pres, ind,, 93. tern; sing. pres. ind., 22. t%en: 31» Pl« p res, in d ., ^67. terra; 3<1» sing. fut. ind., 85* terran; 3<^. pl. fut. Ind., 7^4. tenhades; 2d. pl, pres. sub., 662* tiinha; 3<^« sing* imp. ind., Eubric, XXIV* tiinham: 3I» pl* imp. Ind., Rubric, XXIX. Locution: ter alguma cousa nor razon; considérer, julgar justo, liTcito, permitldo, to consider just. I g r _que: Cf. XXIX, 5*

temer (temere); ter temor, recear (Vieira); to fear, 59^*

tempo (tempos); a medida da duragao das cousas (Vieira); time, 25*

tenprar temprar; temperar 0 instrumento rausico; fazer-lhe o concerto necessarlo para que de sons regulares (Vieira); to tune, 565* tenprou; 3^* sing. pret. Ind., 5?2*

tercer: termo antiquado, terceiro (Vieira); third, 138.

terra; s.f,, regi%o (Moraes); country, region, 188.

ten; pron. poss. 2 pess., your, 282.

tirar,(germ, tairan): dlssuadir (Pigueiredo); to dissuade, 63*

todo Mus; See XXVII, 9*

todos. pron. indef., all, I89*

tolher (toilers): prohiblr, evitar, defender (Vieira); to prohibit, to fo r b id . tolheito; part, pass., prevented, 124* tolhede; 2d. pl. imperative, 313. toXherev: 1st. sing, fut. ind., 713*

tomar (sax. tSmian); mostrar que tern (Pigueiredo); to have tomou; 3&' sing, pret. Ind., 52*

tomar: virar-se, voltar^se (Nobling, v, 120, 669); to return tornade; 2d. pl. imperative, 298. se tornou: 3^* sing. pret. ind., 453* 313 torto; sem razSo (CA. G.); wrongly, 250. Locutionî a torte: torzon; torc&o (tortlo. tortlonem) açao efeito de torcer no intento de diminiilr o afltLxo da seiva e impedir a produçS.o exagerada das folhas (Vieira); twisting of the twig, 30. toste; e synoaymo de eedo e certamente. e de origem franceza ou provençal (Nohling, v. 104-9, 7 1 1 ); soon, 386 . touço; Cf* XVII, 6* trabalho: s.m,, exercicio corporeo, rustico ou mechanico (Vieira); work, 5 0 1. trager (trahere); forma antiga de trazer: conducir ou transportât para ca (I’iguelredo ); to bring, 268 * trag*. tra.1 * : 3d. sing. pres. Ind., 2 7 0 . tra.ledes. tragedes; 2d. pl. pres. ind. , 1 0 , 2 2 5 , tragerey; let, sing. fut. ind., 29 I . trouxe; 3

trayzon traic%o (fr. trahison); perfidie (Vieira); treachery, 159 .

tra v a r; Cf, XXXVII, 6.

treedqr ; traidor; pessoa que faz, ou fez tralg%o (Vieira); traitor, 677.

tregoa; s . f . , suspensao temporaria de armas e cessaçao de hostidades ate certo tempo (Bluteau); truce, 328 *

très: three, 4-23,

triste (tristls): adj., quem tem tristeza, e affliçSo, nao contento, n%o alegre (Vieira); 3ad, 453» jtrobador: s.m ., pessoa que compte trovas (Eunes, Cant lgas d'A algo. 1 ,6 2 ,6 3 ) trobadores. pl., troubadours, 182,

tro b a r; fazer trovas, compor trovas (l'funes, Cantlgas d* Ami go. T. 6 2 ,6 3 ); to compose songs, poems, 459. trobava: 3^* sing. imp. Ind., Eubric, XXVII. trobou: 31* sing. pret. ind., Eubric, VIII.

trombas (pl, of tromba) trompa; trombeta usada na musica (Vieira); trumpet, 472. JL4

tronrpeyrofl. pl* of tronrpeyro trombetelro. s.m., homem que faz ou toca trombeta (Vieira); trumpeter, 4yo. jbrosguiar: trosuia-^l«ev: Cf. 2XXIX, I3 , l4 . umjt Ujp^: m. e f. art, indef. See Huber, ^ 3 0 5 . A, an, 1. unha; uma, 333

Yalada; Cf. II, 1* valer; ser preferivel (Yieira); to be better, to be worth, 494. valho! 1st. sing. pres, ind., 496. val; 3d.» sing. pres, ind,, 4 7 . val; imperative (See Huber, 378), 274. v alha; 3d. sing, pres. sub., 2 9 2 . valla; 3d. sing. imp. ind., Eubric, XXIX. vallrla, valrla; 3d-, sing. cond., 3 8 . xeer (vldere); ver, a acçSo de olhar (Yieira); to see vejo: let. elng. pres. Ind., 4o. vedes; 2d. pl. imperative (Cf. Nobling, v. 6 3 , 6 6 6 ); See veen; 3d. pl. pres. Ind., 5 9 3 » v e la ; 3d. sing. imp. in d ., 7 1 2 . v i ; 1st. sing. pret. ind., 7 0 * vyron;(viron); 3d* pl. pret, ind. v ir a ; 3d. sing. plup. Ind., 2 5 6 . Xir; 3d. singl fut. sub. (See Huber, %»390), 85* v ird e s; 2d. pl. fut. sub., 638 . veerdes (personal infinitive), 6 6 6 . vlendo; pres, part,, 2 1 7 . yglr (?); See veir gros. I, 9 ,

YGlh' yelha, adj., f ,, que esta adiantada em annos, em idade (Vieira); old, 756. v e lid a ; a d j. f , , b e la (Munes, Cantigas d>Amigo. D ili, l4 , 15); beautiful, 23 I. yeucer (vincere); levar a melhor do inimigo, fleer victorioso (Vieira); to conquer yencerey; 1 st, sing, fut, ind., 2 9 3 . vencudoe = vencidos. part. pass, de veneer. Of. XXYII, 3.

Xender (vendere): alienar ou ceder por certo preço (Pigueiredo); to s e l l, 2 . yenden: 3d. pl. pres, ind., 438. yendla; 3d. sing. pres, ind., 443* venderon: 3d. pl, pret. ind., 4 3 9 . 315 ventura: s*f.^ sorte, destine, geralmente desgraçado, infeliz (Bunea, Cantigas d*Amlgo. CCVII, 4); fate, destiny, 222* v e rd e : C f. XXXV, 8* vergonha. (verecundia); s.f., a paixao da aima causada pelo receio de cousa que deshonra, infama, e e feita em desprezo, ou por ideas deshonestas e Impudlcas (Tieira); shame, S3* veyras: See nenas. viço: s.m.; alegria, satisfaçHo (Bones, Cantigas d*Amlgo.III.7Q1): Jo y , 501. vicosc: Cf. ïiCVIII, 12.

vilâo; s.m., villan, pessoa baixa (Vieira); rustic, 3^0. vilr (venire); vir vgo: Cf. IV, 4. verra: 3<1» sing. fut. Ind., 3 8 8 . v eh ess* ; 3 I" sing. imp. sub., 394.

vingado, part. pass, de vlngar: a quem se deu, que tomou vin gança (V ie ira ); avenged, 559*

Yinha; Cf. II, 1.

river (vlvere); ter vida, estar vivo (Vieira); to live vyvendo. part. pres. 449*

voda = boda: (a graphia moderna boda e baaeada na pronuncia do Forte de Portugal e em etymologias erroneas) festim que se faz por occaslSo do noviado (Fobling, v. 509» 68?). wedding, 2 3 6 *

vogado; s.m., procurador, advogado e que tem e faz a voz de seu constituinte (Viterbo); lawyer, IO9 .

v o - lo : C f. XXXVII, 5 .

vo-la; (See Huber, ^33^) vos with 91

Yolver (volvere); voltar para d'one saiu (Vieira); to return, 505*

vos) pron. pess, (See Huber, 325), you, 1 3 *

VQSco (vos-f cum em lugar de vobiscum) com vos (CA. &*); with you, 644. 316 vossa ) forma reduzida, familiar de vostro, vostra; quaato a VOS so ) foQçâo, sign, if lea: o que de vos vem ou procédé, o que vos tendes, e eu recebeu de vos. (CA. G.); your. ^59* vossus: Cf. XXVII, 1. vya v&a: s.f., caminho (Vieira); road, way, 509# jEl, II: Cf. XXVII, 26.

%: See i . zevron: Cf. VIII, 6 . GCWCLUSION

The setting-up of the texts of old Portuguese lyric poems may se.;m more or less an. ordinary procedure involving a number of

readily accessible diplomatic texts. It is pei-haps, therefore, unfortimate that instead of a peaceful feeling of confidence,

there is developed a sense of distrust even in the most reliable

editions* An editor can remedy this uncomfortable situation

only by referring to the manuscripts themselves if he wishes to

av o id the e r r in g ways o f some sch o lars*

The criticism s of the critical edition of the Cancioneiro

da Vaticana by Theophilo Braga cited in the introduction are

confirmed by this dissertation. The text is sufficent evidence to

demonstrate that Braga capriciously inserted words, left out

complete verses, did not indicate omission of lines, and did not

collate the Vaticana and the Colocci-Brancnti at all#

Moreover, the w riter's translations, with the authoritatively

supported lexical and grammatical commentary, the identification of

historical figures, either omitted entirely from the Braga text or

frequently erroneous, contribute to the understanding of the cantlgas.

In addition to the specific findings enumerated in the chapters

on versification and themes, the following general conclusions are

obvious upon looking over the texts and translations. Plrst, as

to form — while there is no distinct relationship between form

317 318 and content, there is a definite preference on the part of the satirical poet to express hie wit, whether abusive or joglaresque.

In the eantiga de maestria* The proportion of the maestria type is two to one for every refram poem, In direct contrast to the ratio of two to one of ref ram for the tdOal number of all the old

Portuguese lyrics (this percentage was cited and authority indicated in the chapter on Versification). Second, as to content — the cantigas are frequently addressed to an individual and are very closely linlced to actual occurrences which can be verified through historical documents. Thus a vista of a past age, a reflection of a society, at once refined and rude, sometimes even vulgar, is glimpsed through the Jesting of the troubadours*

Proper identifications of some personalities and events are still to be made. The investigation of church documents for allusions to persons mentioned in the songs, which ha.s been very revealing to such researchers as Martinez Salazar,^' will Involve at some time a trip to Portugal, At times, one has the feeling that Carolina Michaelis de Vasconcellos gleaned all that could be discovered as she probed thi'ough the documents of the Middle

Ages pertaining to the history of Portugal., when her "marginal notes," basic to the study of escarnlio poetry of this era, are consulted. Yet the fact that she implied in her discussion of the profane songs of Alfonso X that all the untnovms have not been solved or sufficiently interpreted encourages the continuation of th is work.

^Cf« Maria Balteira in the chapter on Themes. 319

A complete Index of versification of all three categories of lyrics, amor, amigo, and escamho. would make easier comparing findings such as tiiose of Celso da Cttnha, "As Piindas de Paay Gomez

Charinho," mentioned before in reference to the filnda in chapter th re e .

There still remains, besides the obvious completing of the unedited poems, a definitive study on versification of old Portuguese poetry, even a more perfect edition of the Arte de Trobar, While the indices of this edition are necessarily incomplete, they are a basic part of such future studies. APPEKDIX

320 IHDEX

CAEPI&AS DE MAESTRIA

1 . a b b a CV 1 0 2 3 JoSo Soares Coelho a; eu. i z , e i 10 10 10 10 Braga; RajiA» I, Vol. XX, p. I 6 0 b: a r , e r , i II (1. 6. mi 3 x 7 ; c , s . , d. c; en. on, a

2. a b a b CV 1057 Pero Barroso a: on 10 10 10 10 Braga; Rajid. VII, Vol. XXV, b: a r p . 6 8 1 ; 2x7; c* u. c; e l

3 . a b b a CV IC7 6 Joao A. de Santiago a: on, i , ou 10 10 10 10 Braga; Rand. II, Vol. XXV, b: ar. o r, en p. 146-47; 3 7; c* s. c: e r. QZ 9 £L

4 . a b a b CV 1084 Ajrras Peres Vulturom a; i , on, e r 10 10 10 10 Braga; Rand. Ill, Vol. XXV, b: o r. e i , a r p . 1 6 1 ; 3 I 7 ; C» 8 . c: an, a l , en

5 . a b b a CV 1 0 9 6 Ayras Peres Vulturom a: e r (I-II) 10 10 10 10 Braga; Rand. II, Vol. XXV, b: on (I-II) p . 146; 2 x 7 c; e i . a r A * 6 . a b b a CV 1103 Joao Garcia de Guilhade a; e r, e r , es 10 10 10 10 Braga; Kobling, p. 704-05; b: ey. e r , a r Rand. II, Vol. XXV, p. l4? c; an. a r , 08 3 x 7 ; c* s .

7 . a b b a CV 1104 Lourenço Joao Garcia de a: o r (I-II), 10 10 10 10 Guilhade, Braga; Robling, p. 6 9 I b: a r B f e r 4 X 7+(2 X 3 ); te n . c: ey « . e

f . c c a a: a r 10 10 10 c; ey d d a d; on 10 10 10 8 . a b b a c c b CV 1105 Lotireûço Joao Garcia de 10 10 10 10 10 10 10 Guilhade Braga; Kobling, p. 6 9 8 4 X 7 + (2 z 3 ): ten.; c. d.

f . b b a a ; a r (I-II); a (I 1 0 10 10 b: ê r H e r c: { II V ey

b: a r c; ey

9. a b b a c c a 07 1106 Jolo Garcia de Guilhade a: ar, i r , on 1 0 10 10 10 1 0 1 0 10 Braga; Kobling, p. 699“700 b: on, o r 3 X 7^(1 X 3 ) c: e r, a r , ey

f . b b a a; { 10 1 0 10 b! on

1 0 , a b a b c c b CV 1 1 1 8 Affonso de Cotom a: eus, a r , iz 10 1 0 10 1 0 1 0 10 10 Braga: Band. VII, Vol. XXV. b; o r, on, er p. 682; 3^7; c. B. C! a s , ou, en

1 1 . a b a b c c b CV 1129 Pero d'Ambroa a; a r 10 1 0 10 10 1 0 1 0 10 Braga; l^and. VII, Vol. XXV, b; eu p . 671- 7 2 ; 3x7; c. u. c: ou

12. a b b a c c a CV 1131 Pero d'Ambroa a; a r 10 10 10 1 0 1 0 1 0 10 Braga: Band. VII, Vol. XXV, b; or p . 6 7 2 ; 3 x 7 ; c . u . c: e i (ey)

13. a a a b a b CV 1158 Alfonso X (7); Paay a: e r (I-II), on ( 10 10 1 0 1 0 1 0 1 0 Gomes: Braga: Rand. III. b: a r " , or Vol. XXV, p. 149-50; ten. 4x6; c. d.. d* a b a b c c b CV 1 1 6 7 Pero da Ponte a: a r , ou, a r 10 10 10 10 10 10 10 Braga: Rand* III, Vol. X2V, b: ou, ar, ou p . 1 6 3 ; 3 X? c: i

a b b a c c a CV 1 1 7 0 Pero da Ponte a: o r ( I - I I ) , a l 10 10 10 10 10 10 10 Braga; Rand, III, p. 3.64-65 b: on, er (II-III) 3 I 7 c: a r , on, ay

a b a b c c b CB 465 Alfonso X (?); Garcia a: er (I-II), ar (III-IV) 10 10 10 10 10 10 10 Ferez: ten.. Rand. IV, Vol. b: i r " , i n XXV, p . 367- 6 8 ; 4 I 7 c; e. ei, al (III-IV)

a b a b c c a OB 1 5 0 4 Pernam Velho a: ou 10 10 10 10 10 10 10 Rand. VII, Vol. XX7, p. 558-59. b: or 6 7 6 , 4x7; c. u. c; er

a b b a c c a CB 1 5 0 9 Vasco Ferez Fardai; a: er ( I - I I ) , en ( III-IV ) 10 10 10 10 10 10 10 Pedr'Amlfio: ten,. Rand. VII, b; e i " , ou N Vol. XXV, p. 559, 677 c: a r “ , a l H 4 X 7+(2 X 3); c* d*

f . d d a a d a a: en 10 10 10 10 10 10 d: eu

19. a b b a c c a CB 1512 Vasco Gil: Rand. II, a; on ( I - I I ) , a l (III-IV) » 10 10 10 10 10 10 10 V oli XXV, p , 1 3 1 . Mussafla, b: a r " , 1 p . I 3O; tan., 4x7; c* d. c; en " , o r »

20. a b b a c c a CB 1516 G il P ares Conde a: i 10 10 10 10 10* 10' 10 Rand*. Vol. X3CV, p. 305 b: erra, aes. ece 3 X 7 + (i X 3 ) c: 0 8 0 0 , i a , ava

f . c c a c; ava 1 0 » 1 0 ' 10 21. a a a b a b CB 1517 G il Peres Conde a; sn., a , a r 10 10 10 10 10 10 Band» V,, Vol. XXV, p* 3 ^* b; er, ou, 1 3 x 6 ; C* 8 .

22. a a b a b OB 1 5 2 4 G il Peres Conde a; o r, e i , on 10 10 10 10 10 Band. V., Vol. XXV, p. 3^6 b; an, en, ir 3 I 5Hi X z)

f . a b a: on 10 10 b: i r

2 3 . a b b c c a CB 1531 G il P eres Conde a; a r , e, er 10 10 10 10 10 10 Band* V ., V ol. XXV, p . 3 1O-II; b: i, ou, ei 3 X 6-h(l X 2), c. s. c: en, ou, a

f . c a a: er 10 10 c; a

24. a a a b a b CB 1 5^2 , Don Denis a; om, i, ar 10 10 10 10 10 10 CD, p . 106- 0 7 , 3 x 6 b; as, es, om

2 5 . a b b a c c CV 6 9 Alfonso X; Bra^a; a: ou, em, or, on 10 11' 11' 10 10 10 Rand. V., Vol. XXV, p. 287-88, b; erra, ia, eyra, ora CH. Vol. II, p. 355 c ; a r 4 X 7+(l X 3)

2 6 . a b a b b a CV 937 Joan Soarez de Pavha a; srra, ela, %a 11' 10 11* 10 10 11' Braga; Rand. IX, Vol. XXVI, b: on, ar, er p . 2 0 7 , Vol. II, p. 566 3 x 8 ; c . s.

2 7 . a b b a c c CV 1001 Gonçal*Eannes do Vinhal; a; ey 10 11' 11' 10 11' 11' Braga; Rand. Ill, Vol. XXV, b: amos p . 1 5 8 ; siJ7.; c. u.; 3 7 c ; ia 28. a b a b b a CV 1 013 Jo%o Soares Coelho a: ado 11» 10 11' 10 10 11' Braga; Band. VII, Vol. XXV, b: ir, in, en p . 685, Nttnes, Or* A. , 393 3 z 6

2 9 . a b b a c c a CV 1066 Joan Baveca 10 11' 11' 10 10 10 10 Braga; Band. VII, Vol. XXV. p . 5 0 , 681-2; 1 x 7

3 0 . a b b a c 0 a CV 1020 Pero Martïiz-Bon Vasco a; ade (I-II), estes (III-IV) 11' 10 10 11' 10 10 11' Braga; Band. II, Vol. XXV, p. l48 b: or, il, i (III-IV) te n .; k x 7-K2 x 3) c; iz, or, al, ei

f . d d a d; en 10 10 11' a; e ste s

3 1 . a b b a c c b CV 1024 Joao Soares Coelho a: ar (I-II); eito 10 11' 11» 10 10 10 11' Braga; Band. I, Vol. XX, p. 156 b: 3a (l-II), ores Ill--11' 11' 11' 11' 10 10 11' Bnnes, Cr. A., 393“9^î c: er, or (II-III) 3 X 74.(1 X 3)

f . c c a c: er 10 10 11' a; e ito

3 2 . a b b a c c a CV 1130 Pero d'imbroa a: a r 10 11' 11' 10 10 10 10 Braga; Band. VII, Vol. XXV, b; igo p . 682-3; 3x7) c . u . c; e r

3 3 . a b b a c c a CV 1092 Ayras Peres Vuitorom a: edes 11' 10 10 11' 10 10 11' Braga; Band. I, Vol. JX, b: em p. 155; 3 3c 7; c. u. c: o r

3^* a b b a c c a CV 1 099 Joah Garcia de Guilhade a: edes 11' 10 10 11' 10 10 11' Braga; Bobling, p. 709 b; on, ar, { 3 z 7+(l I 3) c; er (I-III), on f . b b a b; on 10 1 0 1 1 »

35. a b b a c c a 07 1100 Joan Garcia de Gulltiade a; i a 1 1 » 10 10 1 1 »10 10 1 1 » Braga; ÎTobling, p. yiCXll b; on, ar (II-III) 3 I 7 + (l X 3) c; eu, ez, or

f . d d a d; en 10 1 0 1 1 *

a b b a c c a 07 1109 Joan Garcia de Guilhade a: edes, eyra. Sa 1 1 » 10 10 1 1 » 10 1 0 11» Braga; Nobling, p. 710-11 b; e r , a r, in 3 X 7+ (l X 3 ) , m. d. c: a r , e r , an

f . b b a b; 10 1 0 11» a: Sa

37. a b a c c a 07 1176 Pero da Ponte a; ada 11» 10 1 1 » 10 10 1 1 » Bra^a; Band. 711. 7ol. XX7. b: a r p . 6 7 3 ; 3 z 6 + (l z 3 ); c . Tz* c: er

f . c c a 10 1 0 11»

3 8 . a b a b c c a 07 1197 Pedr»Amigo a: ia (I-II), ades (III-I7) 11» 10 11» 10 10 10 11» Braga; Band. 711, 7ol. X3CT, b: a r »' , e r •» p. 557; ^ X 7 , c , d . c; ey (ei) (I-II), ir (III-I7)

3 9 . a b b a c c b 07 1 1 9 9 Pedr»Amigo a; Sa, alha, adas 11» 10 10 11» 10 10 10 Braga; Band. 711, 7ol. XX7, b; ar, en, al p. 685; 3 x 7 . c* s. c; i , eu, on V) 4o. a b b a c c b G7 1 2 0 3 Pedr*Amigo a: ado ( I - I I ) , i a ^ 11» 11* 11» 1 1 * 10 10 11* Braga: Band. 711, 7ol» 2X7, b: eira, * » esse p. 675; 3 X 7 c: « €uL t e z a b b a c c a CB 1501 Joao Soares Coelho a; adas 1 1 » 10 1 0 1 1 » D 10 11» Band. I, Toi. XX» p. 156, b: er, ei, 1 Nobling» p. 702; 3 x 7+(l % 3) c; 1, er, ei

f . c c a C: e i 10 1 0 1 1 »

^2. a b b a b b c c b ÇB 1511 Fernan Garcia a; elho, ada, 3es, ella (ela) 1 1 » 10 1 1 » 10 1* 11» 10 Band. I, Toi. XX, p. 1 5 O b; er, ar, om, az ^ X 7 C; Isa, eira, siro, ido

^3* aabbaccab b a ÇB 1 5 1 3 Pero Malfado a; ado 1 1 » 1 0 1 0 1 1 » ) 10 11» Band. TU, Toi. XXT. p. 6 7 8 ; b; en, er, ei 3 X 7 + (l X 3 ) c: al, or, i

f . d d a d; a r 10 10 1 1 »

44. aabbacca b b a Œ 1535 Don Denis, a; ada, tia, ado 1 1 » 1 0 10 1 1 » ) 10 11* CD, p . 102; ^ X 7, Cm B» b; ou, ar, er c: e r, em, a l

4 5 . a a b b b b c c a ÇB 1536 Don Denis a; ado 1 1 » 10 1 0 1 1 » 11» CD, p . 1 0 2 -0 3 b; or 4 X 6 +(l X 2 ) c: ano, asee, ada, endo

f . c a c ; endo 1 1 » 1 1 »

46. aabbaccab b a ÇB 1550 Pedr'Amlgo a: edes (I-II), ia (lîI-IT) 1 1 » 1 0 1 0 1 1 » I 10 11» Johan Tacquez; II, b; ei " , er " p . 420-31 ; te n .; c : or " , i " ro 4 X 7+(2 X 3 ), c . d.

f . c c a a: l a 1 0 10 1 1 » c; i 47. a b b a c c a GB 1 5 7 4 Pero d'Ambroa a: eira, elro, 3es 11' 10 10 11» 10 10 11' Esjid. VII, Vol. XXV. p. 679; b; an, ar, al (II-ÎII-11» 11» ) 3 % 7» c . s . c: on, ado, inbo

4 6 . a b a b a a CV 37 Joao Garcia de Guilhade a; a r , on, a 11 11 11 11 11 11 Braga; Nobling, p. 6 7 6 ; Band. b: ey, er (I-II) II- b b I I , V ol. xrr, p . 1 4 3 , ON, V ol. c: en III- c c p .) 3 1 6 , d .

4 9 . a b b a c c a CV 1022 Joao Soares Coelho- a: ade (I-II), <& ( II I- IV ) 1 1 » 1 1 » 1 1 » 1 1 » 1 1 » 1 1 » 11» Lourenço; Braga; Band. I, Vol. b; igo »* , ava IV- 1 0 1 0 XX, p . 1 5 9 , ten.; 4x7 c: aes " , esses, ar ( a is )

50. a b a b c c a CV 1196 Pedr'Amigo a: edes, ado, ades 1 1 » 1 1 » 1 1 » 1 1 » 1 1 » 1 1 ' 1 1 » Braga; Hand. VII, Vol. XXV, b: as se, erdes, Igo p. 673; 3 z 7, 0 . 8 . c: ente, ada, astes

51. a b b a c c a CB 1 5 3 3 Don Benia a: 0 8 0 , adas, ata 1 1 ' 1 1 * 1 1 » 1 1 » 1 1 » 1 1 » 1 1 » CD., p . 100; 3 Z 7» 0 . 8 . b; a je, ado, Ida c; ano, ia, elho

52. a b b a c c a CV 1107 Joan Garcia de Guilhade a: ir (I-II), or 8 8 8 8 8 8 8 Braga; Nobling, p. 700*01 b: ar (I-Il), er 3 z7 c: en (I-II), on

53- a b b a c c a CV 1108 Joan Garcia de Guilhade a: 1 , a , eu 8 8 8 8 8 8 8 Braga; Nobling, p. 706-07; b; on, en, or 3 X 7 t 0 . s . c; e r , 1 , az

54. a b b a c c a CV 1110 and CB 1 5 0 0 Joan Garcia a: al, ar (II-III) 8 8 8 8 8 8 8 de Guilhade, Braga; Nobling, b; en (I-II), er p. 706-07; 3 z 7+(i X 3) ct i, or (II-III) f . d d a a; a l 8 8 8 d; on

55. a b a b a a b CT 1166 Pero da Ponte a: on, 1 , e i , a r 8 8 8 8 8 8 8 Braga; Hand» I I I , V ol. XX7, b: er (I-IT), ei, ar II-III- c c b p . 162- 6 3 ; 4 x 7 c; an, 1 (III-IT)

56. a b a b c c b CT 1168 Pero da Ponte a: ir, ei, ou 3 8 8 8 8 8 8 Braga; Band. Ill, Toi, XXT, b; on, 1 , e r p* l6 4 ; c , s . ; 3 X 7 c; a, ar, en

57 • a b a b c c b CT 1 1 7 7 Pero da Ponte a: ar, er (II-III) 8 8 8 8 8 8 8 Braga; !^ad. Ill, Toi, XXT, b: i , o r, on II- a a a a b b a p , 165- ^ 6 ; ~3 X 7 + (i X 3 ) c; on (l-III)

f . c c b b: en 8 8 8

58. a b a b c c a CT 1195 P er’Amigo a: a r 8 8 8 8 8 8 8 Braga; Hand. TII, Toi, XXT, b; i r 4 X 7+ ( l X 2 ) c: ou, en, eue, er

f . c a c: e r 8 8

59. a b a b c d e CB 1 5 0 6 Tasco Perez Pardal emoB, ig o , ados 8' 8* 8' 8' 8« 8« 8 Band.. TII, Toi. XXT, p . 676- 7 7 ; arte, ano, ia II-■III p .p .; 3 x 8 ano, ada, ete a b a b c d c elho, esse, ode ado N 6 0 . a b b a c c a CB 1525 Gil Peres Conde a; e i VO 8 8 8 8 8 ’ 8 ’ 8 Hand, T, Toi. XXT, p. 3O8-O9, b: ar, ou, en Hunes, 409; 3 z 7 c; ados, Ses, eiros 61. a b b a c c b ÇB 153^ Don Denis a; or, eus, ou 8 8 8 8 8 8 8 CD, p. 101; Nunes, p. 403; b: a l, am, em 3 x 7 ; c . B. c: e r , a, f

62. a b b a c c a CT 1002 Gonçal'Bannes do Tinhal; a; elro (I-II); ado (III-IT) 8 » 7 7 8 ' 7 7 8 » Bradai Hand. III. Vol. XXT. b;ar ” » ey " p. 159; air.; 4x7; c. d. c: on * , In “

63. a b b a c a c d CB 1526 Oil Peres Conde a; er, ei, a, ar 8 8 8 8 7» 8 7* 7* I^andf T, V ol. XXV, p . 309-IO; b: or, en, al, e 4 X 84(1 X 6 ) c: ade, esse, ido, fa d: ada

n a c d a c d a; ar 8 7* 7' 8 7» 7* c; ia

64. a a b b a a b b c c b b c 8 » 3' 7 7 8 » 3‘ 7 7 8 ' 8 ‘ 7 7 8 ' CT 64 Alfonso X; Rand. 7, a; anto ( I - I I ) , ado (III-IT ) Vol. XXV, p. 279, Braga; CN b: on , ar ” Vol. II, p. 343.45; 4 X 13. c; inba , elro " c . d.

65. a b b c c b CT 74 Alfonso X; Braga; a; ete 4« 4» 7 4» 41 7 Rand. T, p. 289-90; CN, Vol. b; or II, p. 366-70; 4 X 6+(l X 6) c; ece

a a a b a b a;ados, Iro, azes, inhos 8 » 8 * 8 ' 7 8 » 7 b; or w Voj J CAHTIGA5 DE RSFRAM

1» a a B B B Ç7 1053 Pero Barroeo a; on, ar, an 10 10 10 10 10 Braga; Rand* V*, Toi* XXT, B; on p . 2 9 6 ; 3 X (2+3), c, 8*

2* a a a B a B ÇV 1097 Joan Garcia de Guilhade a; ar, on, ey 10 10 10 10' 10 10' Braga; Bobling, p. 708-09; B; ia 3 X ( 3 + I + I + - I ) , c* s*, d ,

3* a a B a B CB 1 5 I 8 G il P eres Conde a ; e ir a s , e ir o s , inhos 10' 10» 10» 10» 10» Rand. T. V ol. XX7, p .3 O3 B; e rr a 3 X (2 + 1+ 1+ 1), c. s.

4 . aabbccA G7 1004 D. Oonçalo Anes do a; A; ar 10 10 10 10 11»11' 10 Vinhal; Braga; Rand. VII, Vol. b; on X5CV, p. 6 8 0 -8 1 ; 3 X (6+1) c; aça, ota, anto

5 . a b b a C C ÇV IOO8 Don Gonçalo Anes do a; i, on, eus 10 10 10 10 10 10 Vinhal; Braga; Band. XIII, b; ei, er, Ir V ol. XXVII, p . 157 C: ez 3 X ( 4 + 2 ) t - ( l X 2)

f. d d d: ade 1 1 ' 1 1 »

6 . a a a b a B CV IO7 O Joan Baveca a; ey (ei), ar, al 10 10 10 11» 10 11» Braga; Rand. VII, p. 6?1 b,B: eira 3 X (5 + 1); c. 8., m. d.

7* AbbAccA ÇV 1193 Pedr'Amigo A: 3a ^ 11» 10 10 11' 10 10 11» Braga; Rand. VII, Vol. XXV, b; on, ar, an p . 684; 3 X ( 1 + 2 + 1 + 2 + 1 ) C; i r , en,e 8 . a a a b a B Œ 1537 D. D eals a: ado, ar, ou 11» 11» 11» 11 11 11 CD. p . 103- 0 4 , Fuaes, p. 403- b; ua II-III 84; ^ X (5 ■** 1 ); c . s . 10 10 10

9. a b b a C C Œ 1539 D. Denis a: am. a r . ou 10 10 10 10 11» 11» CT. p . 104-05 b; er, eus, em 3 X (4+2); c. s., m, d. C; ades

10. a a B CB 1546 Joan Vasquez a; elro, ao, uso 11» 11» 10 fiaad. VII, Vol. XXV, p. 679 B; o l 3 X (2 4- 1 ); C. 8.

11. a a B CV 79 Alfonso X; Braga; a: etroE, ade, Iga, Inho, 11» 11» 5* Rand. V, Vol. XXV. p. 293-94; Iço, olto, ete, enda, Çÿ» V. II, 330-384; Solalinde, Inhos, eira, itos, anto, p . 7 0 - 7 2 ; 15 X (2 4- 1) edo, arço, udo B: ayo

12. a a B CV 1102 Jo3o de Guilhade a: la, ejo, ente 10» 10* 6 Braga; JTobllng, p. 701 1 B: a l 3 X (2 + 1 )

1 3 . a b b a c 0 CV 999 Don Gong ale s do V inhal; a: e r, esse 8 8 8 8 8 8 Braga; Band. XIII, Vol. XXVII. b; on, in ta II--8» 8» 8» 8» p. 157; 2 X (4 + 2); Cm 8. C; igo

14. A A b b b a CV 10 4 7 Buy Paes de Bib el a A,!a; az 8 8 8 8 8 8 Braga; Band. Ill, Vol. XXV, b; e r , en p . 1 6 O; ( 2 3 + 4 ) X 3

el, on, en. a 1 5 . a b b a C C a CV 1 0 5 4 Pero Barroso; Braga; a: 8 6 8 8 8 8 8 Band. V.. Vol. XXV, p. 297; b: 1 , az, Ir. ou Runes, p. 397; C: lu 4 X (4 + 2 4-1); G, s . l 6 , a b C b D C CT 1055 Pero Barroso a: âo, ado (I-III), enda 8' 3» 8' a» 8* 8* Braga; Rand» T, Vol. XXT| b: aôo, am, o s te , iço p . 2 9 8 ; 4 X (24-14 1 + 2 ) C; ayo D; aya

1 7 * a a a b a B 07 1056 Pero Barroso a: ora, ada, elha 8 ' 8 » 8 » 8 ‘ 8 » 8 » Braga; Rand. V, T o i. 2XT, b,B: ouro p. 299; 4 X ( 5 4 - 1 )

18. a b b a C CB 1 5 0 3 Joan de Guilhade a: ia, asso, eyto 8 * 8 » 8 ‘ 8 ' 8 * îîobling, p. 704; Rand» III, b; orne, ando, oso T o i. XXT, p . 1 6 6 ; C: avan 3 X (4 + 1)

1 9 . a a a B a B ÇB 1 5 2 0 G il P eres Conde a; ada, alo, elro 8 > 8 ' 8 » 8 ' 8 * 8 » Rand» T. T o i. XXT, p . 304-03; B: ando 3 X (3 + 14-1+1)

20» a a B a B ÇB 1 5 2 3 G il P eres Conde a; i, ei, er 8 8 8 8 8 Rand. T, Toi. XXT, p. 307 b,B : oy 3 X (241 + 1 + 1) + (1 X 2)

f . b B

21. a b b a C C CB 1338 Don Denis a; am, a r , ou 8 8 8 8 8 8 CD, p. 104; 3 X (4+ 2) + (l x 4) b; e i , om, a l C; i s ( iz )

f . b b d d b; e i d; {

22. a a a B a B CT 77 Alfonso X; Solalinde, a; erra, eiros, ada, eiga v>j 3 ' 8* 8* 5» 8» 5» p . 7 O; Braga; Rand. T, Toi. XXT, B: e ja p , 2 9 2 ; 4 X (3+ 1 + 1 + 1 ), c . s . 23* a a B CV 1027 Ray Paes de Ribela a: uitas, enas, ivas 8 ' 8 ' 6 » Braga; Rand. Ill, Vol. XXV, B: tta p . I 39 -I 6 O; 3 X (2-+-1); c. s.

24. a a B CV 1101 Joan Soares de Guilhade a: ousa, endo, edes S ' 8* 4 Braga, Hobling, p. 701 Bî er 3 X (2+1); c, s.

25. a b b c b C CB 1 5 4 0 Don Denis a; elro, isse (II-IIl) 8 » 8 » 8 * 8 » 8 » 7 p . 105; 3 z ( 5 + 1 ) b; ente, ome, oso c,C ; aga

26. a b C b D b E ? G a e i 7 8* 8* 8» S ' 8* 8* 8 ' 4 b So, eiro, ade CB 1559 Affonao Heendiz de C e rr a Beesteyros; Rand. V, Vol. XXV, D e te s p . 3OO; Nunes, p. 398-99; QÂ E eu-se p . 5 6 2 ; 3 z ( 2 + 1 + 1 + 1 + 3 ) P ia G a l

2 7 . a b a b a b CDAD a,A: f 7777777 8» 7 8 ' b; a r CV 1171 Pero da Ponte; Braga; C; a Rand. Ill, p. l65; D; eno 3 X (6+ 4); c. u.

28. ababcaC CB 1532 O il Perez Conde a: el, on, ado 7 8' 7 8' 8 7 8» Rand. V, Vol. XX7, p. 3II b: alo, edo, estes 3 z (6+1) c,C ; oa

2 9 . a b a b C A C CV ll6l. Rand. Ill, Vol. XXV, a,A; ar, on, i, ei 7777777 p . 1 6 1 - 6 2 ; Braga; 4 x (4+3) b: on, en, el, 1 C: ou 3 0 . a. a a b a B GB 1559 Affonso Meendes de a; an, er, on, al 7 7 7 7 ' 7 7 ' B e ste iro s: Rand* 7 . Vol. XX7. b,B ; ia p . 307- 0 8 ; 4 z (5+-1) (I-II, 1. 4, identical) (III-IV, « « )

31* a a B 07 1046 Euy Paes de Bib ela a; one, ede, iga 7 ' 7 ' 4 Braga; Band, III, p. 1 6 O; B: az îhines, p. 3 9 6 ; 3 X (24-1); C. 8 .

3 2 . a a a B a B 07 1098 Joan de Guilhade a; eu, ou, ar (lll-l*3-al) 7 7 7 5 ' 7 5» Braga; Nobling, p. ?07-08; B: e rv a , eva 3 X (3 + 11-14-1)

3 3 . a a B AB CB 1522 G il P eres Conde a: o r, eu 7 7 5 ' 7 5 ‘ Band. 7, 7cl* 2X7, p. 303"04; A: or Nunes, p. 391-92; b,B; ada 3 X ( 2 + 3 ) 4 - ( l X 2)

f . a b 7 5 '

3 4 . a a a b A B CB 1 5 4 1 Don Denis, a: e m o , endo, ado 7 ' 7 ’ 7 ' 6 7 ' 6 CD, p . 1 0 6 ; 3 X (4 + 2 ) b,B; ou

3 5 . a a a b B B 07 1 0 2 9 JoSo Servando a; ia, ados, en 1 2 » 1 2 » 1 2 ' 11 11 11 Braga; Egad* III, 7ol* XXV, b,B; i p . I 6 O; 3 X (4 + 2)

3 6 * a a a B CB 1502 Joan Garcia de Guilhade, a: ia, igo, So 1 1 ' 1 1 ' 1 1 ' 1 2 ' Nobling, p. 7 0 3 ; B: outo ) 3 X (3 -M ); c . s. 37* a a a b a B OT 1552 Ntmes (?) a; ado 9» 9* 9' 8 9' 8 Rand. Ill, Toi. 21T, p. l6? b,B; en z X (5-+1); c. V.,

38» a a a b B B CT 466 Ayras Runes, a; ela, ia, ano b,B; on 13' 13' 13* 13' 13 13 Braga; Rand* XI, Toi. XXVI, p. 221; ÇA. Toi. II, p. 3^0, Runes, p. 395; 3 ^ (4- x 2)

DESCOEÎ

a a b a a b c c c b d d d b elo a 5» 6» 5 5* 6« 5 5» 4» 6* 5 4« 3* 6' 6' e te e e f e e f g g g f h h h f ejo e is a 6* 5 5* 6« 5 5* 3* 6 5 5 3 6 5 5* er ice, ata(?) 1 i f i i f g g g f i i i f in ta 5* 6» 5 5' 6» 5 5* 3 6» 5* 3* 5* 6» 5 3,08 CT 1025 Joao Soares Coelho Braga; Lang, "DESCORT”; Rand. I, Vol. XX, p. l62

'al APPENDIX II

337 VASCO FEREZ PARDAL

-2LV I- m 1505 Vedes agora que mala ventura

do don Fernando* que non pod*aver

fisico que Ih'ora posa*a tolher

aqueste mal que a de caentura;

5 pero dizen os fislcos atal,

que o guarrlan mul ben d*este mal

quen Ih'o corpo metesse a ventura*

E d'este mal sempre mul coytado,

e non guarria ja d*el, se non ouver

10 home que I h i d% quanto I h 'e m e ste r,

mays aquesto ten el mul desguysado;

ca pero rauyto fislcos a aqui,

se Ih'o corpo non aventuram hy»

non guarra ja ca jaz desacordado*

15 E pesBu-m’ende, par Sancta Maria,

d'este 8eu mal, ca min dizem que non

pode guarir sen maestre, s*un hon (?)

0 non guarisse, mays vos en dirla

tal hl non pode nulha ren prestar,

20 se Ih'o maestre non aventurer

o corpo ca x'a mul gran mal out r ’la*

338 339

Vaxlants; Poem numbered 378 in 14-CB» v* 6. C^eo guairia; v, 7* Qjienlhyo coir>o metesaa uentura; v. 9« Sno guairia ia del seno ouuer; V. 1 0 . Home Q^lhi de qntolhe mester; v . l4. No guaira la ca iaz descordado; t . 1 5 * s e a m 'ria ; v . l 6 . c a m ! dise q no; v * 1 7 » maestresunhô; V . l 8 * 0 no guarisse; v . 1 9 » T a lh i; v . 2 0 . Selho maest" non auent'ar; V , 21* 0 corpo cajca mul gri. maloutia*

Versification: Cantiga de maestria» 3 % 7* abbacca a: ura, ado, ia 11* 10 10 11* 10 10 11* b: e r , a r , on c• al, 1, ar -XLVII-

Π1507

Don Anssiir, por quai serviço fazedes

al-Sey, per com'eu ouço razoar,

nuaca foy home do vos so logar

que mays poiasse ca vos poiaredes*

5 Ca poys el-Rey o dereyto catar,

sey que vos non podedes errar

que a muyt'alto logar non poiedes*

Qpiçay* de poys, vos ar baixax-vos-edes,

ca vymos melhores ca vos balxar;

10 mays hSa vez quer vos el-Key alçar

em gram calho, poy-lo aervldo vedes;

mays quant' ouverdes punhad'eno dax,

e sse d'esto non quisedes minguar,

poys vos alçaren, alçado seredes.

3 5 3 don Anssur, pela fe que devedes,

poys vos el-Rey assy quer encimar,

como dizen, se per vos non ficar,

per vos non figuen; e assy polardes»

t mul gran calho avedea d'estar,

20 e se vos aly huu hades (î) polar

nunca, de poys, malandante seredes*

3^0 3^1

Variants: Humbered 3 8 O in ]^-CE» v* 6 . © Irar; v* Q» M-CB bauzar; v» 10* Mays hua uez q.ru9 ©1 Rey alçar; v* 11, W-CB reads ^uida: is it not /^uida: ▼. 12. Mays guSt ouuer des punhadeno dar; V. 14. adcado; v . 1 5 . pala fe; v, I 9 , A mul grâ calhu auedes destar; V* 20. E aeuos aly huuhades polar.

Versification: Cant lea de maestria. 3 % 7* C-oblas unissonans*

a b b a b b a a: edes

11 » 10 10 11» 10 10 1 1 » b: a r -XLVIII-

ÇB 1508

Senhor, don Anssur se vos querelou

por couces muytos que Ihi foron dar»

Mays, por Deus, mandad'ora justicar,

por'end’, aquel que os couces levou,

5 ca o foi ferir hun home mul vil;

mays por hun couce den ora aqui mil

a Don A nssur, poys gram torto tomou,

E, Senhor, nunca don Anssur cuydou,

seendo vos na terra, eno lograr

10 que Ih'os couces non mandas sen dohrar;

mais agora ja que Ih'o seelou*

E vos mandade-lh'os mil couces dar,

ca ben os a que el os outros deu (?)

os alcaydes mays poys que vos achou (î),

15 Por Deus, mandad’agora vos, por en,

por hun couce que mil couces Ihi den;

poys don Anssur por justiça hy mlngou

E Ayraz Yeaz non o seelou.

E poys el veo querelar assy,

20 taes mil couces levou ora d*aqui

que diga poys com’eu dereyto vou.

542 3^3

Variants: Poem is numbered 3 8 I in M-CB» Z» For couces nmyt? qlhi for da^ $ r* 9* Seen do uos na teira eno logf; v« 11* Mays a g o ra i a qlho s e e la r; v* 1 3 * Ca be os aq el os outro(achou) deu (there Is a plus sign in the margin); v* 1 9 . E poyssel ue6 qrelar assy ; V* 20. Caes mil couces leuou ora daqui; v* 21, Qjie diga poys comeu d*eyto uou*

Versification: Cantiga de maestria. 3 % 7*

It seems as if the verse pattern should be abbacca; however, both the second and third strophes vary. The second is so

irregular that it Indicates a corrupted text.

abbacca a; ou I-II; en III 10 10 10 10 10 10 10 b; ar I-II; ou III c: il I; eu-II; 1 III II- a b b a b c a 10 10 10 10 10 10 10

III- a a b b c c a 10 10 10 10 10 10 10 DOÎÎ IMMH GAECIA ESGARATÜIÎHA

-XLIX-

CT 1510

Hengueninin (?) que T istes mal doeute

de mao mal ond'ouvera morrer*

Su ptLg’a mano en e l, e caente

o achey muyt'; e mandey-lhi fazer

5 mul boa cama* E adormeceu

e espertou-Bs'e cobrlu-sc*e peeu;

e ora ja mays guarido se sente,

Achey-o eu jazer desacordado

que non cuydey que podesse guarir;

10 e poys eu t 1 que era mal coytado,

mandey-o ben caentar e co b rir,

E des que ss*el ben coberto sentiu,

estomudou tres peydos, e guariu

ja quanto mays, e e mays arrlzado,

]-5 Achey^o eu mal do ente hu ja z ia

desacordado todo com o mal,

e non cuydava que guareceria;

mays, a merece de Deus quanto val,

que hu ssa gente d 'e l desesperou (?)

20 feriu tres peydos e determinhou

e conJioceu ca ja non conhocia,

344 3^5

D 'este mal non cuydei que guarecesse,

pero mandei-lhl fazer hSa ren;

que aquel dia per ren non comesse

25 e sse deytasse e sse cobriese ben*

E el deytou-ss'e cobriu-ss'enton

e peeu ben e ouve coraçon

poys de bever. E dix*eu que beuvesse*

Variants: Œ numbered 383 In M-CB* v* 1. Dengueninin seems to be a person’s name, doante for do ente: v, 3» nnd 4* Eu puga mano en el e caente o achey / muyte mandlhey fazer; v. 6, M-CE cobrulsse for cobrlusse: v, 7» E or Ja; v, 3 2. e desqssel be coberto sentiu; V , 18. Mays a mercee de ds qu&to ual; t , 19* Q hussa gets del desaspou; v. 25» Esse deytasse esse cobrisse be; v. 26. E el deytousse cobriuesenton; M-CB read cobrui.

Versification: Cantiga de maestria, 4x 7* Cobias singulares, a b a b c c a a; ente, ado, ia, esse 11’ 10 11’ 10 10 10 11’ b: er, ir, al, en c: eu, lu, ou, on -L-

CB 1527

Ja eu non ey por quen trobar,

e ja noh. ey en corag on

por que non ey ja quen amar,

por en mi mingua razon;

5 ca ml filh o u Deua mha senbor.

Assi filhou o demo mayor

quant as cousas que suas son*

Como Ih*outra vez ja filhou

a cadeyra hu siia

10 o filh o , por que ml filhou

boa senhor que avya*

e diz el que non a molherî

Se a non a, para que quer

poys tant'a boa Maria?

1 5 Deus nunca mh*a niada deu,

e tolhe-me bîSa senhor*

Por esta non crôo en El eu,

nen me tenh'eu por pecador;

ca me fez mha senhor perder*

20 Catade que mi foy fazer

conf land' eu no S eu amor*

346 3^7

îfanca se Deus migu*averria

se mi non der mha senhora;

mays, como mh*o corregeria,

25 destroya m'ante ca morra

home tod'aqueste mal faz

e Sodoma e Gomorra.

Variants; GB Poem la numbered 4-00 in M-CB» The first strophe and two verses of the second are found in Bodrigues Lapa's Pas Qrigens da poesia lirica em Portugal na Idade-aedia. 101. v. 6, Aq ^~~*fiIhou o demo mayor; Lapa assi filh'o; v* 8» Como Ihout ues la filhou; V. 9* A cadeyra hu sua; Lapa hu siia; v. 10. 0 filhe; v. I 3* Sea no a pa a q quer; v. 22. Priasse Deus miguaueir(i)a; v. 24. coireg'a; V . 2 5 . Destroyamate camora*

Vers if icatlon: Cantl^a de maestria. 4x7» (The last strophe has only six lines). a b a b c c b a; a r, ou, eu, ia 8 8 8 8 8 8 8 b; on, ia, or, ora c; o r, er, e r, az IV- 9' 8» 9' 8» 8» —LI—

ÇB 1528

A la fe, Deusl se non per vossa madre

f o s s 'a mill "boa Maria*

Fezerap-vos eu pesar, hu diria,

pola mha senhor, q^ue mi vos fH astes;

5 que vissedes vos que mal b a ra ta s te s,

ca non sey tan mruyto de vosso padre*

Per que VOS eu a vos esto sofresse

se non por ela, se Ih i non pesasse,

morrera eu se vos comomhasse

1 0 a mha senhor, que mi vos toi estes;

se eu vos sera, por que me perdestesî

Non queriades que eu mays valessel

Lissede-mh'ora que ben ml fezestes

por que eu créa en vos, nen vos servha,

15 se non grand tort•endoad’e sobervha

ca me ceedes mha senhor forçada*

E nunca vos eu do vosso f i lh e i nada,

des que fuy nado, nen vos non mh’o destes*

Parla meu o que vos vos fazedes:

20 L e velhas feas, e as frenosas

e mancebas, f llha-as por esposas. 3^9

Qaantas queredes vos, tentas fllhades,

e a mi nunca ml nenhtia dades;

a ssi p a rtid es migo quant’avedes»

2 5 ÎTen as servides vos» nen as loades,

E van-sse vosqu’e poy-las a lo teedes,

vestide-las mai mal e govemadea

et metedes-vo-las tralas parades*

Variants: ŒB GÔged is written in margin* Poem is numbered 401 in M-»GB* V . ] . Aia fe de$. Lana. Das Origans, 101, A l a fe; v * 2. Laua. ibid*, foes'; v . 3 . Œ an; v* 9 * moirera eu seus com omhasse; V* 10. ^ tolestes; v. 11. s e eu vossera; v* 12. qriades; v* l 4 * CD p^ q eu créa en uos ne u9fuha; v. 1 6 . Garni ceedes; v. 20. Lexar; V . 21. Eilhay^as esposas; v, 26. E uasse uosq poy(s)las aie teedes*

Versification: Cantiga de maestria with a fiinda» 4 x 6 + 4

a b b c c a a: s-dre, esse,estes, edes 11 ' 11 * 11 * 11 ' 11 * 11 * b: la , asse, vha, osas c; astes, estes, ada, ades

f* c a c a c; ad.es 11' 11' 11' 11' a: edes DOïï a or oavEz de breteyegs

f e z estas c ant 1 gas e son d*escariih'e de maldlzer,

—I l 1 1 —

GB 1 5 ^ 3

Johan Eernandiz quer querreyar,

e non quer vinhas alheas talhar;

mays quer queymar, ca Ihi foron queimar

en sa natura ja hunha vegada.

5 E non quer vinhas alheas talhar»

pero ten a mays da sua talhada*

Par tod'outra guerra os quer coitar,

0 non quer vinhas alheas talhar;

maya quer-lhe la malada esnarigar

10 pola sua que traj'esnarigada»

E non quer vinhas alheas talhar,

ten a mays da sua talhada^ÿ^

Variants; ÇB; Tônel is written in the margin* v. 1. queireyar; V* 3» Mays quer queymar / Ca Ihi forjju queimar; v, 7* gueira; v* 9* Mays qrlhela malada esnarigar; v. 10. Pola sua q traies narigada; V . 12, refrain line omitted from ms*

Versification: Gantiga de ref ran, 2 x (1+ lt-2»-2)* Cobias unissonans* a A a b A B aA; ar 10 10 10 11» 10 11» bB; ada

350 -LIII- CB 1544

Johan Pernandiz, aqui e chegado

hun freyre, anda him mouro buscando,

e anda d 'e le os sinaes dando;

e diz que e c re sp 'e mal talhado.

E hlde-vos d'este preyto.

ca atal era o voss*anazado

que vos eu achey babtizado»

Variants; v. 2. freyte; v. 4, crespe maltalado; v. 6. ouossanazado; V. 7» Qpen®.

Versification; Cantiga de maestria. 1 z 7» (Fraient) abbacbb a; ado 1 1 » 1 1 » 1 1 » 1 1 » 8 » 1 1 » 9 b: ando c : eyto

351 PEEKAN SOARSZ

—LIV—

ÇB 1553

Ay amorj amor e de Pero Cantoni e

que amor tan eaboroBo a seu taponl e

que amor tan vycoso e tan saoi

que non podesse teer ata o verao;

5 mays v a lir ia que amor de Churrlchao,

nen de Martin Gonçalvez ZorzelhonI e

amor tan delgad'e tan friol

mays no creo que dure ata o estio,

ca atal era outr’ a mor de Mercio (?)

10 que se botou a pouco de sazoni e

ay amorj amor e de Pero Canton] e

CJue amor tan pontosoj se cuydades

fazer-vos a chorar se o goetades;

e semelJiar-vos a, se o provades,

15 amor de don Palayo de Gordon t e

ay aiQorJ emor e de Pero Cantoni e

%ue amor tan astroso e tan delgadol

que non tevess'un ano soterrado,

aquel fora, en bon punto nado,

20 que de poys ouvesse d'el boa venconl e

ay amor]/amor e de Pero Canton! e/

352 353

Qjjie amor tan a stre s *e tan TïungenteJ

que non podess'aver en remordend’e

mays v a lria que amor d*un meu parente,

25 que mora niuyt'acerca. de Leonl e

ay amori amor e de Pero Cantont e

Variants: In the margin above the poem there is written tonello i cima, V* 1. amore de pero cantone; v. 2. tapone; v . 3* qneno podesse teer; v. 4. choirl chaîT; v. 6. zorzelhone; v* 9* out"mor — mer 1ms the third letter blotted with an r written above and is followed by d o : V» 10, sazone; v, 12. poutoso se cuydades; v. I 3 » Pazeru9 a chorar seo gostades; v. 14. B semelhar^u9 a seo prouades; v, 15. Q o r^ o n e ', V. 18. Q no teuessxin, ano soteirado; v. I 9 . aqi fora en b5» pôto nado; V. 20, ouuesse del boa vecone; v. 21, only Ay amor of the refrain is given; v* 22. ta astrose tà pügete; v. 2 3 * no podessauer en remordende; v. 2 5 . leone; v. 2 6 , amore po cat one.

Versification; Cantiea de refram. 5 X (44-1).

A a b b b a aA: on e 1 1 ' 1 1 * 1 1 * 1 1 * 1 1 * 1 1 » b : ao c ; lo c c c a A d; ades 1 1 * 1 1 * 1 1 * 1 1 * 1 1 * e: ado f : ente d d d a A 1 1 * 1 1 * 1 1 * 1 1 * 1 1 * e e e a A 1 1 * 1 1 * 1 1 * 1 1 * 1 1 * f f f a A 1 1 * 1 1 * 1 1 * 1 1 * 1 1 * BIBLIOGRAPHY

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I, Florence Virginia Phillips, was born in Zanesville, Ohio,

September 5, 190?* I received my elementary and secondary school education in the same city. My undergraduate training was obtained at Muskingum College, New Concord, Ohio, from which I received the

Bachelor of A rts Degree cum lande in 1931* From 1933 to 1946 I taught in the Zanesville public schools both on the elementary and

secondary level. Attending summer sessions at The Ohio State

University, I was eventually graduated in 194-2 with the degree

Master of Arts* The summer of 1946 I received a United States government grant to attend the National University in Mexico City,

Mexico. That fall I began my studies for the degree Doctor of

Philosophy a t The Ohio State U n iv ersity . From 1946 to 1949 I

taught as an assistant instructor in the Department of Romance

Languages. From 1949 to 1950 I had a graduate assistantship. In

September, 1950, I went to Beloit College, Beloit, Wisconsin as

an in stru c to r in th e Modern Language Department. I was granted

a leave of absence for the year 1954—1955 to accept an appointment

as University Scholar at The Ohio State University in order to

complete the requirements for the degree Doctor of Philosophy*