Portal de Periódicos da CAPES

Baena, Santillaria, Resende and the silent century of Portuguese court poetry

1982; Liverpool University Press; Volume: 59; Issue: 3 Linguagem: Inglês

10.1080/1475382822000359198

1469-3550

Alan D. Deyermond,

Medieval and Early Modern Iberia

Click to increase image sizeClick to decrease image size Notes 1. Johan, a minstrel from León. His poem is no. 708 in the Cancioneiro da Vaticana, and 1117 in the Cancioneiro Colocci-Brancuti or da Biblioteca Nacional (henceforth V and CB, respectively). 2. Fernand' Esquyo, Le poesie, ed. Fernanda Toriello (Bari 1976, 38–43. For the chronology of the other poets, see Carolina Michaëlis de Vasconcellos, Cancioneiro da Ajuda. II. Investigações bibliográphicas, biográphicas e histórico-litterárias (Halle 1904), 587–89. 3. Michaëlis, 151–57; Cancioneiro da Ajuda, ed. Henry H. Carter (New York 1941), xii; Giuseppe Tavani, Poesia del duecento nella penisola iberica: problemi delia lirica galego-portoghese (Rome 1969), 137. 4. Michaëlis, 227–31, 243–54; Tavani, Poesia, 136–37. I indicate lost or hypothetical works or collections by an asterisk. 5. See section 4, below. 6. For the date of compilation of Baena, see Alberto Blecua, ‘“‘Perdióse un quaderno …”: sobre los Cancioneros de Baena ’, Anuario de Estudios Medievales, IX ( 1974–79), 229–66. He puts the final additions at c. 1450, and the copying of the extant MS at c. 1465. For Palacio and San Román, see Brian Dutton, ‘Spanish fifteenth-century cancioneros: a general survey to 1465’, KRQ XXVI (1979), 445–60. 7. The one possible exception, the * Cancioneiro de Mencia de Cisneros, seems likely to have covered the same period as the extant cancioneiros (see section 2, below). 8. I discuss this question in greater detail in ‘The love poetry of King Dinis’, forthcoming in a homage-volume for Dorothy Clotelle Clarke, but in that article I do not take account of three poets whose extant corpus is small; Johan Fernandes d'Ardeleyro wrote one cantiga de amor and three cantigas d’escarnho, Caldeirom wrote two cantigas d’escarnho, and Johan the Leonese wrote a panegyric and a lament. 9. Michaëlis, 685n. 10. Frede Jensen, The Earliest Portuguese Lyrics (Odense 1978), 164; see also 19. Michaëlis, 413, takes a more cautious view of the poet's words. 11. He seems to have been active about the middle of the thirteenth century (Michaëlis, 407–1.5). 12. Michaëlis, 229. 13. For discussions of this poem, see Jole Scudieri Ruggieri, ‘A proposito della cantiga V 209 ( = B 607)’, AION, SR, VIII (1966), 117–25; Dorothy Clotelle Clarke, Early Spanish Lyric Poetry: Essays and Selections (New York 1967), 231–33; Alicia C. de Ferraresi, De amory poesía en la España medieval: prólogo a Juan Ruiz (Mexico City 1976), 5–42. For its place in the manuscript tradition, see Tavani, Poesia, 135–37. Manuel Criado de Val, ‘El libro de Buen Amor, ¿fue escrito, en versión “cortesana” gallego-portuguesa, por el “taller” de las Cantigas alfonsíes?’, RdL, XL (1978), 31–45, believes that the inclusion of this poem ‘confirm [a] la persistencia del prestigio lírico gallego en su reinado’ (41). I think, for reasons given below, that the reverse is true. 14. For example, Pero da Ponte. See Frank Holliday, ‘The Relations between Alfonso X and Pero da Ponte’, Revista da Faculdade de Letras de Lisboa, 3rd ser., IV (1960), 152–64; Pero da Ponte, Poesie (Bari 1967), 43–59. Alfonso X's patronage was not, of course, confined to poets writing in Galician-Portuguese: see Carlos Alvar, La poesía trovadoresca en España y Portugal (Madrid 1977), 181–258. 15. See my ‘Juan Ruiz's attitude to literature’, in Medieval, Renaissance and Folklore Studies in Honor of John Esten Keller (Newark, Del. 1980), 113–25. Criado de Val (see note 13, above) argues that the Libro was translated in the reign of Alfonso XI. I think this unlikely, but the Conde de Barcelos could well have known the Castilian original. 16. On the loss of one MS, see Blecua, (note 6, above). On the vicissitudes of the extant MS, see Antonio Rodríguez-Moñino, ‘Sobre el Cancionero de Baena: dos notas bibliográficas’, in his Relieves de erudición (del ‘Amadís ‘ a Goya): estudios literarios y bibliográficos (Madrid 1959), 39–54. 17. The first detailed study of these matters is by Michaëlis, Chapters 4–5. Tavani, Poesia, 77–179, re-examines the evidence. He is challenged on some details by Jean-Marie d'Heur, ‘Sur la tradition manuscrite des chansonniers galiciens-portugais: contributions à la Bibliographie générale et au Corpus des troubadours’, Arquivos do Centro Cultural Português, VIII (1974), 3–43, and replies, ‘A proposito della tradizione manoscritta della lírica galcgo-portoghese’, Medioevo Romanzo, VI (1979), 372–418, but the general lines of development from single-poet MSS to Vaticana and Colocci-Brancuti seem securely established. 18. Michaëlis, 180–214; Elsa Gonçalves, ‘La tavola colocciana: Autori portughesi’, Arquivos do Centro Cultural Português, X (1976), 387–448. 19. Poesia, 144. 20. Letter of the Marquis of Santillana to Don Peter, Constable of Portugal, ed. Antonio R. Pastor and Edgar R. Prestagc (Oxford 1927). The meaning of ‘cantigas serranas e dezires’ depends on the punctuation. I have eliminated the editors’ comma, since I believe that a better meaning is probably obtained thus. 21. She is wrongly reported by Pastor and Prestage as saying that ‘the codex may have been the Cancioneiro da Vaticana or the Cancioneiro Colocci-Brancuti’ (92). This would be chronologically impossible. 22. The Tavola Colocciana lists some seventy-live poems that are missing from the extant cancioneiros, but none of Dinis's is among them. 23. See, for example, Edwin J. Webber, ‘Further observations on Santillana's Dezir cantares’, UR, XXX (1962), 87–93, which gives references to earlier discussions of a key passage. 24. A lição do texto: filologia e literatura. 1. Idade Média (Lisbon 1979), 111–41. She dismisses Michaé'lis's interpretation of Santillana's words (134–37). 25. On the chronology of the serranillas, see Rafael Lapesa, La obra literaria del Marqués de Santilana (Madrid 1957), 62–63. On their genre, see A. Swan, A. Gronow and J. M. Aguirre, ‘Santillana's serranillas: a poetic genre of their own’, Neophilologus, LXIII (1979), 530–42. 26. Michaëlis, 392–94 and 565–70. 27. For instance, by Tavani, Poesia, 77–179. Michaëlis suggests that *Mencia de Cisneros may represent a stage intermediate between Ajuda and the archetype of Vaticana and Colocci-Brancuti (239–40). 28. These figures are taken from Vivienne Richardson, ‘Five Early Poets of the Cancionero de Baena: their Development of the Castilian Lyric and Interpretation of the Courtly Ideal’ (unpubl. MA diss., Univ. of Leeds 1981), 101. 29. Cancioneiro gallego-castelhano: the Extant Galician Poems of the Gallego-Castilian Lyric School (1350–1450), I (New York 1902). The promised second volume, containing the evidence and arguments to justify the emendations, was never published. 30. ‘La lengua de la poesía lírica desde Macias hasta Villasandino’, RPh, VII (1953–54), 51–59. Lapesa's analysis has been refined by Richardson, 31–35 and 101. 31. Cancionero de Juan Alfonso de Baena, ed. J. M. Azáceta (Madrid 1966), III, 976. 32. Hugo A. Rennert, Macias o Namorado: a Galician Trobador (Philadelphia 1900), 13–14. 33. Rennert, 13–14; Michaëlis, 94. 34. For Macías's dates, see Rennert, 13–14. These arc accepted by Carlos Martíncz-Barbeito, Macias el enamorado y Juan Rodríguez del Padrón (Santiago de Compostela 1951), 21, and Richardson, 8. For his language, see Lapesa, ‘La lengua’, 55–57. 35. Lapesa, Santillana, 8–23; Richardson, 35–50 and 102–04. 36. Antonio G. Solalinde, ‘Fragmentos de una traducción portuguesa del Libro de Buen Amor , RFE, I (1914), 162–72; Lucius G. Moffatt, ‘An evaluation of the Portuguese fragments of the Libro de Buen Amor’, Symposium, X (1956), 107–11. 37. See note 13, above. 38. Stegagno Picchio, 138–41. 39. Ed. Azáceta, 3; cf. 14. 40. For the rubrics, sec Katherine Gyekenyesi Gatto, ‘Tradition and Innovation in the Dedication, Prologue and Rubrics of the Cancionero de Baena’ (unpubl. PhD diss., Case Western Reserve Univ. 1975), 114–93; Claudine Potvin, ‘Les rubriques du Cancionero de Baena: étude pour une gaie science’, Fifteenth Century Studies, II ( 1979), 173–85. 41. Biographies des troubadours: textes provençaux des XIII’ et XIV siècles, ed. Jean Boutière and A. H. Schutz (Toulouse 1950). 42. This is not the first time that the pattern of vida and razo has affected Spanish literature: see Margo De Ley, ‘Provençal biographical tradition and the Razón de amor’, JHP, I (1976–77), 1–17. 43. Stegagno Picchio, 128–31. 44. Poesia, 183–217. 45. Poesia, 211–15. He summarizes previous scholars’ views, 206n and 210–11. 46. There has been no substantial discussion of this poem, but there are brief references to its status by Tavani, Repertorio metrico della lírica galego-portoghese (Rome 1967), 407 and 453n, and Poesia, 205. 47. ‘Le poesie di Roy Martinz do Casal’, Cultura Neolatina, XXVI (1966), 129–57, at 142–46; Macchi edits these poems, 153–56. See also Tavani, Repertorio, 503n, and Poesia, 139. 48. Tavani, Poesia, 140–41. 49. Manuel Rodrigues Lapa, Miscelânea de língua e literatura portuguêsa medieval (Rio de Janeiro 1965), 51–72; Henry R. Lang, ‘The text of a poem by King Denis of Portugal’, HR, I (1933), 1–23; Tavani, Poesia, 219–33. 50. Cancioneiro geral de Garcia de Resende, ed. A. J. Gonçal vez Guimarães, I (Coimbra 1910), 2–3. Resende's efforts to obtain poetic MSS are reflected in a poem in which he asks his friend Diogo de Melo to bring him from Alcobaça the * Cancioneiro do abade frey Martinho (Geral, V [1917], 378). On these efforts, and on lost cancioneiros of the fifteenth and early sixteeth centuries, see jole Scudieri Ruggieri, Il canzoniere di Resende (Geneva 1931), 8, and Andrée Crabbé Rocha, Garcia de Resende e o ‘Cancioneirogeral’ (Lisbon 1979), 15–16. There is no evidence to show whether cancioneiros were compiled in the first half of the fifteenth century; or, if they were, whether the MSS eluded Resende's search or whether he deliberately limited himself to the second half of the century. 51. Álvaro J. da Costa Pimpão, História da literatura portuguesa: Idade Média, 2nd edn (Coimbra 1959), 317–19. 52. Aida Fernanda Dias, O ‘Cancioneiro geral’ e a poesia peninsular de quatrocentos: contactos e sobrevivência (Coimbra 1978). 53. Scudieri Ruggieri, Resende, 18; Manuel Rodrigues Lapa, Lições de literatura portuguesa: época medieval, 6th edn (Coimbra 1966), 411–16. 54. Michaëlis, 836–940; Firmino Crespo, ‘A tradição de uma lírica popular portuguesa antes e depois dos trovadores’, Ocidente, LXXI (1966), 3–17, 98–108, 121–28 and 185–204. 55. A first version of this article was read to the Medieval Spanish Research Seminar at Westfield College, and I gratefully take into account comments made on that occasion.