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Secret Language in the Cancioneros : Some Courtly Codes

1985; Liverpool University Press; Volume: 62; Issue: 1 Linguagem: Inglês

10.1080/1475382852000362051

1469-3550

Ian MacPherson,

Libraries, Manuscripts, and Books

Click to increase image sizeClick to decrease image sizeBSS Subject Index: LOVE [AS LITERARY/CULTURAL THEME]*SPAIN — LANGUAGES — SPANISH LANGUAGE & ITS HISTORY — GENERALSPAIN — LANGUAGES — SPANISH LANGUAGE & ITS HISTORY — MEDIEVAL PERIODSPAIN — LITERATURE — GOLDEN AGE/16th–17th CENTURIES — POETRYSPAIN — LITERATURE — MEDIEVAL PERIOD — POETRY Notes 1. Camilo José Cela, Diccionario secreto, 3 vols (Madrid: Alianza, 1974), I, 50. 2. Cancionero musical de Palacio (Siglos XV–XVI), ed. José Romeu Figueras, in La música en la corte de los Reyes Católicos (Barcelona: Casa Provincial de Caridad, 1965), IV–2,268; Cancionero de la Catedral de Segovia, ed. Joaquín González Cuenca (Ciudad Real: Museo de Ciudad Real, 1980), 43; Hernando del Castillo, Cancionero general (Valencia: Cristóbal Kofman, 1511), facsimile repr. by Antonio Rodríguez Moñino (Madrid: RAE, 1958). The Dutton poem number and cancionero reference number, which I use to refer to all poems and cancioneros quoted, are those established by Brian Dutton in his Catálogo-índice de la poesía cancioneril del siglo XV (Madison: Hispanic Seminary of Medieval Studies, 1982). 3. For details, see Romeu, Cancionero musical, IV–2, 269. 4. Lope de Vega, La Dorotea, ed. Edwin S. Morby (Madrid: Castalia, 1980), 446. 5. The misattribution to Costana by the compiler of MP2 (fol. 163v) should not be taken too seriously. Costana was responsible for the gloss, not the canción. 6. Cancionero musical, IV—1, 14. 7. Ed. Evaristo Correa Calderón, 2 vols (Madrid: Castalia, 1969), I, 253. 8. See, for example, Francisco Rico, ' Un penacho de penas. Sobre tres invenciones del Cancionero general', Romanistisches Jahrbuch, XVII (1966), 274–84; Peter Dronke, Medieval Latin and the Rise of the European Love Lyric, 2 vols (Oxford: Clarendon, 1965–66); Alan Deyermond, 'The Worm and the Partridge: Reflections on the Poetry of Florencia Pinar', Mester (Los Angeles), VII (1978), 3–8; Julio Rodríguez Puértolas, Poesía crítica y satírica del siglo XV (Madrid: Castalia, 1981); Keith Whinnom, La poesía amatoria de la época de los Reyes Católicos, Durham Modern Languages Series, Hispanic Monographs, 2 (Durham: Univ., 1981). 9. Cancionero de Juan Alfonso de Baena, ed. José María Azáceta, 3 vols (Madrid: CSIC, 1966), I, 210. 10. Diego de San Pedro, Obras completas, III. Poesías, ed. Dorothy S. Severin and Keith Whinnom (Madrid: Castalia, 1979). La passión trobada (Dutton 4370) is on pp. 101–238 of this edition; the canción 'Más hermosa que cortés' (Dutton 6764) is on pp. 261–62. 11. Jane Yvonne Tillier, 'Passion Poetry in the Cancioneros' BHS, LXI1 (1985), 65–78. 12. Poesía amatoria, Ch. III; Pierre Alzieu, Robert Jammes and Yvan Lissorgues, Floresta de poesías eróticas del Siglo de Oro (Toulouse: Univ. de Toulouse-Miraille, 1975). 13. 'Hacia una interpretación y apreciación de las canciones del Cancionero general de 1511', Filología, XIII (1968–69) [1970], 361–81. 14. Patrick Gallagher, The Life and Works of Garci Sánchez de Badajoz (London: Tamesis, 1968), 211. 15. Cancionero musical, IV–1, 205. 16. Lírica castellana hasta los Siglos de Oro (La Habana: Arte y Literatura, 1977), 486. 17. I am indebted to Dr Tessa Knighton, of Lady Margaret Hall, University of Oxford, who is at present engaged in a detailed musical study of the religious songs in MP4a, and who was kind enough to look closely at the setting of 'Justa' in this manuscript. The views expressed on Francisco de la Torre's setting are essentially hers, as expressed to me in a letter early in 1983. 18. Historia genealogica da Casa Real Portuguesa, 14 vols (Lisbon, 1735–49), IX, 388. See also my The Manueline Succession, Exeter Hispanic Texts, XXIV (Exeter: Univ., 1979), xx. 19. Juan del Encina, Poesía lírica y cancionero musical, ed. R. O. Jones and Carolyn R. Lee (Madrid: Castalia, 1975), 14–16. 20. Both articles are cited in note 8. 21. It did not escape the attention of my colleague Alan Deyermond, on the other hand, that a conceit involving the putting on or removing of a fur wrap does have a connection with sight—the lady may be naked under the fur, a passing thought which could do much to stimulate the linguistic connection between 'veros' and 'averos'. 22. For further, but less warm comment on this invención, see Whinnom, Poesía amatoria, note 95, pp. 104–05. 23. Shakespeare's Use of the Arts of Language (New York: Columbia U.P., 1947), 165. 24. See Alzieu, Poesía erótica, nos. 3, 77, 80, 86, 101, 143, and José Alonso Hernández, Léxico del marginalismo del Siglo de Oro (Salamanca: Univ., 1976), 729. 25. Conceptos e indirectas en la poesía cancioneril: el Almirante de Castilla y Antonio de Velasco', Estudios dedicados a James Leslie Brooks, ed. J. M. Ruiz Veintemilla (Durham: Univ., 1984), pp. 91–105. 26. George Puttenham, The Arte of English Poesie, ed. Gladys Doidge Willcock and Alice Walker (Cambridge: C.U.P., 1936), 260. 27. Poesía amatoria, Ch. V, esp. p. 71. 28. Jones and Lee, Juan del Encina. Poesía lírica, 17–18, note the 'metáforas de fácil interpretación', and comment briefly that 'este poema no lo escribió un hombre al que no interesaban las mujeres'. The editors of Poesía erótica are uncharacteristically hesitant: 'Uno puede preguntarse si fue inocente o no la intención de Juan del Encina' (9). 29. There is a slight violation of the syntax here—'la justa' would have read better—but this is not unusual in cancionero poetry. 30. Earlier versions of this article were read to a Medieval Symposium at the University of Virginia in 1981, and to the Medieval Spanish Research Seminar of Westfield College, University of London, in 1983. I should like to express my thanks for the contributions of the many who participated in the discussions which followed, and in particular to my colleagues and friends Alan Deyermond, Keith Whinnom and Daniel Rogers, whose comments on earlier drafts have done much to improve the argument, tighten the presentation, and reassure me about the content.