(Rodríguez de Montalvo ; emphasis added) Since at least one late-medieval de Pero Ferrez a Pero López de Ayala, number in the Cancionero de Baena: ‘Amadís, el muy fermoso [] sus proezas fallaredes en tres libros’ (). Cancionero. Copyright: Attribution MIEL San Marcos – Proezas. Uploaded by. ybanful Cancionero – Tiempos de Amores Iglesia Ebenezer. Uploaded by. se traen más guarnidos, e hazen por su amor grandes proezas e cavallerías, ansí (Textes Littéraires Francais, , Geneva, ); Gutierre Diez de Games, ser desanparado a su Hjo singular sin gloria nunca dar (Cancionero j obras.

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The Spanish estriboteestrambote and related poetic forms. In that article, to which the reader is herewith referred for matters of detail, the position was taken that the terms eslrabot, estribot and did not, as assumed by Novati and others, originally denote a kind of satirical song, but had chiefly reference to the metrical form of a certain class of compositions ‘.

As the latter are far more clearly defined in structure and purpose than the estrabot and estribot of France and Provence, they thus afford a basis of real fact for at least one side of the question.

As was shown, the Cancionero de Baena contains four poerris called es tributes nos. I-IV of the texts below which from their superscriptions were evidently meant to serve as conclusions to preceding poems.

The purpose of these poems was therefore the same as that of the so-called desfechas nos. As for the desfecha, it was found to have three different forms. The first form consists of one or more final stanzas of a given as indicated by Alfonso Alvarez de Villasandino in his decir mayor CB no.

VIII, IX 1 as well as in the popular adufe or pandero-song, artistic echoes of which are found from the thirteenth century down to the sixteenth no. Neither in the one case nor in the other is the satirical element the characteristic trait 3. First met with in the thirteenth century in the general sense of song 1, the term estrambote or estrimbote appears again, now more clearly defined, in Santillana’s Carta al Condestable de Portugal with reference to poetry written by the humanist’s. As was further stated on the former occasion, in the age of Lope de Vega estrambote also designated the strophic increment or cola joined to the sonnet 2.

While there is still no positive evidence at hand that this usage extended to verses appended to other compositions of regular structure, we may cite here, by way of addition to what was said before, at least one that such was the case. This indication is afforded by the following statement of Gaspar Melchor de Jove-Llanos describing the recital of romances in the choral dance of modern Asturias 3: On the other hand, they differ in this that the former is employed exclusively with regard to desfechas or sequences which structurally at least are complete poems in themselves, whereas the latter represents not only independent but also stanzas or verse-groups whose variability of form and function is characteristic of a more primitive stage in the development of a type.

Invyolata permansiste 12 quando agnus Dey pariste. Rosa en Geryco plantada, 20 de angeles glorificada, tu seas mi abogada. Reyd commo ya rreystes 4 de mis locuras que oystes. Este desir d’estribot fiso Alfonso Alvares, pediendole merced al rrey.


Las poderosas quadrillas 8 que vienen de Tordesillas, para ciento veynte millas, provean tal pelegrino. Don Johan, lindo, noble infante, 12 poderoso e bien andante, de tal rrason non se espante, pues de proezas es digno.

E ssi quien es bien sse cata, 20 deve aver por su barata dos tacas de fina plata el poeta canpessino. Desfecha d’esla otra cantiga que fizo Alfonso Alvares.

Byvo ahondado assaz 16 de rryqueza e de solaz ; venga guerra o venga paz, esta amo e otra non. Bivo ledo por cobrar 20 lynda flor que non a par, la qual me quiso librar de muerte e d’ocasyon. Este desir fiso el dicho Alfonso Alvares por desfecha d’este otro dezir mayor. Esta cantiga dr el dicho Garci Ferrans en loores de Santa Maria por desfecha.

Santa Cousa, e digna, 4 rroga a Deus por mi. Quanta carne manda a cozer 4 quand’ orne vay pola ueer! Se lroezas muyto non merger, sol non pode ueer u jaz.

Que amor tan pontoso, se cuy- [dades, 16 fazer-vos-a chorarse o gostades; e semelhar-vos-a, se o provades, amor de don Pelayo de Gordone. Ay amor, amore, etc. The cantyga de Santa Marya, to which this desfecha belongs, consists of seven stanzas of which the first may serve as example:.

A brief list of the. IL Pero Lopez de Ayala, c. The only Portuguese example known at present is a text of the fifteenth century published by J. Leite de Vasconcellos in Textos Archaicos Lisboa,p. As might be expected, many of the attributes of the Virgin found in the ancient texts reoccur in the Spanish folk-lyric of to-day, as may be seen, e. Contrario de Eva, ave. Ca Eua nos tolleu o Parays’, e Deus Aue nos y meteu.

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Poren, amigos meus, Entre Aue Eva etc. Paris, 19 n, p. This order, corresponding in to the cob la cromada of the Leys d’Amors I, p. The annals of the time, however, mention a number of Hebrews of the name Semuel as in the service of the Kings of Castile. Fernando IV,c. Pedro Ic. Still cwncionero personage of this name, D.

It is significant for the strength of the traditional cacnionero current of Castile in the fourteenth and fifteenth centuries that only ninety compositions of the CB. With the decline of the Gaya Sciencia, this practice ceased. As early as the period of Juan del Encina canfionero his Arte de trobar,c. Vthe term arte mayor was applied to poems not because of their rhyme-system, but because of the metre in which they were composed, this cancioneroo being the well-known verso de arte mayor, or double verso de redondilla menor for a brief history of this verse, see the present writer’s ” Notes on The Metre of the Poem of the Cid ” in Romanic Review, V, p.

The only exception in our texts is no.

Cancionero 1st Form 2012

The instance of maestria mayor under discussion CB. Callarnos no sabemos, ya sabemos repullar. Juan II,c. A few further remarks on this term may find a place here. Its metre is the verso de arte mayor. In it, as the superscription informs us, Alfonso Alvares makes an appeal in behalf of loyalty to his king, John II. Enrique, the king’s rebellious cousin, in Junec.

This brings us to the disturbances upon the act of violence, known as the acometimiento de Tordesillas, by which D. Enrique and his partisans early in obtained control of the king, then only fifteen years old. From this tyranny the king was freed chiefly by Alvaro de Luna and by Enrique’s brother D. Chino, the well-known jurist Cinus of Pistoia see e. Ponimiento, a warrant or order of payments cf.


Pedro I,c. Cuda for cuida, frequent in contemporary texts. The loss of the i is first met with in the unaccented syllable, as Libro de Alexandre P.


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Enrique III,c. Juan, II,1 ;15, etc. In a poem written before CB. This wish seems to have been granted, for in no. Gutierre de Toledo, Archdeacon of Guadalfajara the petitioner complains of having a lawsuit about an estate acquired?

It is composed in coblas singulars or in the arte comun, of versos de redondilla mayor, with the cancinero abba; cccaca. As in prlezas desfecha, each stanza begins with the same word, a form of epanaphora frequently employed in the courtly lyric of the Middle Ages, and occurring in some thirty poems of the CB.

The metre is the verso de arte mayor, with the exception of Rhyme a in -eros continues through all the stanzas, thus taking the poem out of the arte de vancionero mayor, and placing it in the arte de maestria media. As defined in the superscription of CB. Our “desir mayor” is noteworthy for still another feature. All of its stanzas have rhyme-words which either are, or else might easily be turned into, Galician forms. Such are, for instance, sello, consello, bello, espelho in the first stanza, and all the rhyme-words ending in -eros.

The only rhyme-words in the poem cancioenro do not lend themselves to such treatment are proezae in the second stanza, and coecha, desecha, ve in. The question therefore arises whether this poem should not be regarded as originally composed in Galician. The answTer must be in the negative not only because of the Spanish forms just mentioned, but proeezas in the rhymes gayos: Just what occasion this was, we can hardly determine with the data at hand.

It was on a dav when the. Alvaro de Luna, tit. From another consideration, however, we may at least arrive at an approximate date for our poem. As Alfonso Alvarez wrote a song no. This conclusion receives support from the fact that the Don Tello whom he mentions in the first stanza, is again presented by him as his friend and patron in nos.

Needless to say that the personages here alluded to are Alvaro de Luna and his partisans. The Infantes are the previously mentioned sons of D. Fernando of Aragon, D. Enrique, whose praise the poet sings in nos. Juan, II,c. Little is known of the two personages here referred.

Fadrique de Castro, Duke of Arjona, who died in prison in de D. Of the literary work of Juan. Of Alfonso de Morana we have in CB.