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AN EDITION of Soî>IE of the CANT I GAS D'escaimho E PE

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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.
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    Sachgebiete im Überblick 513 Sachgebiete im Überblick Dramatik (bei Verweis-Stichwörtern steht in Klammern der Grund­ artikel) Allgemelnes: Aristotel. Dramatik(ep. Theater)· Comedia · Comedie · Commedia · Drama · Dramaturgie · Furcht Lyrik und Mitleid · Komödie · Libretto · Lustspiel · Pantragis­ mus · Schauspiel · Tetralogie · Tragik · Tragikomödie · Allgemein: Bilderlyrik · Gedankenlyrik · Gassenhauer· Tragödie · Trauerspiel · Trilogie · Verfremdung · Ver­ Gedicht · Genres objectifs · Hymne · Ideenballade · fremdungseffekt Kunstballade· Lied· Lyrik· Lyrisches Ich· Ode· Poem · Innere und äußere Strukturelemente: Akt · Anagnorisis Protestsong · Refrain · Rhapsodie · Rollenlyrik · Schlager · Aufzug · Botenbericht · Deus ex machina · Dreiakter · Formale Aspekte: Bildreihengedicht · Briefgedicht · Car­ Drei Einheiten · Dumb show · Einakter · Epitasis · Erre­ men figuratum (Figurengedicht) ·Cento· Chiffregedicht· gendes Moment · Exposition · Fallhöhe · Fünfakter · Göt• Echogedicht· Elegie · Figur(en)gedicht · Glosa · Klingge­ terapparat · Hamartia · Handlung · Hybris · Intrige · dicht . Lautgedicht . Sonett · Spaltverse · Vers rapportes . Kanevas · Katastasis · Katastrophe · Katharsis · Konflikt Wechselgesang · Krisis · Massenszenen · Nachspiel · Perioche · Peripetie Inhaltliche Aspekte: Bardendichtung · Barditus · Bildge­ · Plot · Protasis · Retardierendes Moment · Reyen · Spiel dicht · Butzenscheibenlyrik · Dinggedicht · Elegie · im Spiel · Ständeklausel · Szenarium · Szene · Teichosko­ Gemäldegedicht · Naturlyrik · Palinodie · Panegyrikus
  • Did Ancient People Wander Through a Mystical World Each Night?

    Did Ancient People Wander Through a Mystical World Each Night?

    Special Special Feature Human Knowledge: Sleep Feature Sleep = a state of apparent death Human Knowledge Did Ancient People Wander through a Mystical World The Sleeping Cat carved into Nikko Toshogu Shrine Sleep Each Night? is a symbol of peace The Sleeping Cat carved into Nikko Toshogu Shrine, in Tochigi Prefecture, is said to have been carved by Hidari Jingoro, in the hope of In modern times, people have strayed protecting Tokugawa Ieyasu. Another explana- Why do humans sleep? The answer tion rests on the premise that sleep represented from the natural human instinct of sleep. to this question is clear: sleep is peace, in that the reign of the Edo Shogunate instinctive and is indispensable for was said to be “so peaceful that even cats We need advancements in the scientific approach to sleep. the restoration of the body’s func- could sleep.” tions. Sleep is essential for human life. However, in ancient times, sleep was considered closer to death than between this world and the heavens. remain unknown. to life, and was general thought of The things that the spirit experienced For example, it is said that beds as a state of apparent death. This there became dreams, and if the spirit were invented in ancient Egypt; theme is also apparent in Hypnos, did not return, this was interpreted to however, it is not clear how they later the Greek god of sleep, who is broth- mean death. spread. In Japan, there is evidence ers with Oneiros, the god of dreams, Although sleep was the state that bed-like furniture made from tree as well as Thanatos and Moros, gods of rest shared by everyone, logs was once used.