72:
173:
The girl says goodbye to the boy, or greets him when he is back. She gets angry at him when he leaves without her permission, does not go on a date with her or when she sees him talking to other girls. They argue and then she asks him to return. Sometimes she asks her mother for authorization to go
94:
Much has been made of nature symbolism in this genre, but “Erotic symbolism, though it has rightly attracted attention is not as common as might be imagined. All told, a few dozen poems make use of it (for instance, a rendezvous by the river, spring, or seashore). Far more often sexuality is
90:
According to Rip Cohen, “In 98% of the poems, the speaker is a girl, her mother, the girl’s girlfriend, or a boy (who is given a voice only in dialogues with the girl—which she begins). The girl can speak to any of the other three personae, but they can only address her (there is no directly
139:
Stylistically, they are characterized by simple strophic forms, with repetition, variation, and parallelism, and are marked by the use of a refrain (88% of the texts). They constitute the largest body of female-voiced love lyric that has survived from ancient or medieval Europe. There are
197:
is simpler than of the two other genres, it is more complex than it was often allowed, slowly articulating a present action (or emotion) by repetition with variation, and usually holding important information until the end. There are insults, though lighter compared to the
91:
represented communication between the other three personae: mother, girlfriend and boy do not speak with one another onstage). There are a dozen cantigas with an outside narrative voice, but most of them include words from a girl’s song.”
566:
Cohen, Rip (2012). Erotic Angles on the
Cantigas d’Amigo (Papers of the Medieval Hispanic Research Seminar, 68). London: Department of Iberian and Latin American Studies, Queen Mary, University of London, p.
855:
184:
The mother permits or denies the girl's requests to see the boy, or even offers to go with her. She can also give advice after a fight or say "I told you so" when things go wrong.
102:
is its focus on a world of female-voiced communication. The earliest examples that survive are dated from roughly the 1220s, and nearly all 500 were composed before 1300.
174:
see him, just says that she is going to see him or says that she already did it. Often she narrates, anticipates or does things without talking to any other person.
862:
144:(52 songs in this genre), Johan Airas de Santiago (45), Johan Garcia de Guilhade (22), Juião Bolseiro (15), Johan Baveca (13), Pedr' Amigo de Sevilha (10),
550:
189:
The boy (always in dialogue) says goodbye to the girl or greets her when he is back, asks her favours, or begs her for forgiveness.
179:
The (girl-)friend tries to persuade the girl to be receptive to the boy or forgive him, or sometimes advises her to give up on him.
1518:
848:
1292:
1190:
399:
200:
789:
713:
686:
640:
535:
884:
1457:
997:
1528:
1523:
427:
108:
565:
1533:
393:
61:
600:
122:
at the beginning of the 16th century (possibly around 1525) at the behest of the
Italian humanist
438:
420:
114:
141:
64:, apparently rooted in a female-voiced song tradition native to the northwest quadrant of the
678:
664:
632:
618:
587:
527:
523:
509:
95:
expressed by code words, like veer (‘see’), falar (‘talk’), and fazer ben (‘do a favour’).”
1412:
1267:
1046:
1042:
820:
810:
413:
8:
674:
628:
519:
459:
49:
29:
454:
449:
1397:
1367:
1206:
1107:
785:
781:
719:
709:
682:
636:
531:
209:
149:
132:
119:
65:
38:
1302:
1033:
555:
Washington DC: Virtual Center for the Study of
Galician-Portuguese Lyric, pp. 9-10)
482:
1437:
1427:
1377:
1287:
1185:
1112:
1097:
972:
775:
703:
668:
622:
513:
406:
165:
71:
840:
752:
123:
705:
Poesía dialectal árabe y romance en
Alandalús: cejeles y xarajāt de muwaššaḥāt
136:, probably a mid-13th-century manuscript and unique in all Romance philology.
1512:
1417:
1372:
1307:
1247:
1071:
952:
912:
892:
723:
232:, but these may be merely coincidences of female speaker and erotic themes.
145:
1342:
1277:
1038:
907:
444:
153:
127:
84:
76:
57:
1477:
1392:
1352:
1297:
1133:
1102:
1061:
1056:
1002:
947:
1487:
1482:
1462:
1347:
1332:
1012:
1007:
992:
942:
932:
163:
The quantity of situations, although limited, is still higher than in
1467:
1442:
1387:
1252:
1143:
982:
962:
897:
667:. In Parkinson, Stephen; Alonso, Cláudia Pazos; Earle, T. F. (eds.).
621:. In Parkinson, Stephen; Alonso, Cláudia Pazos; Earle, T. F. (eds.).
512:. In Parkinson, Stephen; Alonso, Cláudia Pazos; Earle, T. F. (eds.).
205:
828:
Trovadores e
Jograis: Introdução à poesia medieval galego-portuguesa
553:
The
Cantigas of Pero Meogo, Edited with Introduction and Commentary.
244:
130:
are also contained, along with music (for all but one text), in the
1447:
1422:
1407:
1382:
1357:
1327:
1222:
1164:
1076:
1066:
957:
927:
252:
194:
157:
1497:
1492:
1472:
1432:
1322:
1272:
1227:
1092:
1050:
1017:
977:
922:
578:
Reyzábal, Victoria (1998). "Diccionario de términos literarios".
248:
224:
759:. Vol. 1 (18th ed.). Barcelona: Ariel. pp. 49–53.
160:, author of a single song, has been acclaimed as a master poet.
1312:
1257:
1138:
902:
228:
140:
eighty-eight authors, all male, some of the better known being
1452:
1402:
1362:
1337:
1317:
1159:
987:
967:
937:
917:
268:
by Bernal de
Bonaval (text from Cohen 2003, tr. Cohen 2010).
53:
1262:
1128:
819:. JScholarship, Johns Hopkins University, Baltimore, 2010.
223:
have been said to have characteristics in common with the
821:
https://jscholarship.library.jhu.edu/handle/1774.2/33843
811:
https://jscholarship.library.jhu.edu/handle/1774.2/33843
169:, and the quantity of speech actions is even higher.
736:
773:
112:, now in Lisbon's Biblioteca Nacional, and in the
375:And there's something else you're careless about:
312:By God, that you not speak ill of me, and I'll go
1510:
870:
755:(1999). "La lírica primitiva y su posteridad".
310:If it doesn't upset you, my mother, I will ask,
757:Historia de la literatura española. Edad Media
662:
616:
507:
322:
271:
856:
582:(2nd ed.). Madrid: Acento Editorial: 14.
817:The Cantigas d'amigo: An English Translation
665:"2: The Medieval Galician-Portuguese Lyric"
619:"2: The Medieval Galician-Portuguese Lyric"
510:"2: The Medieval Galician-Portuguese Lyric"
361:Lovely daughter, look what I'm telling you:
305:That you not speak ill of me today, if I go
285:Rogar vos quer' eu, mha madre e mha senhor,
863:
849:
798:Mercedes Brea & Pilar Lorenzo Gradín,
477:
475:
314:To Bonaval, since my boy is coming there.
292:Se vos non pesar, mha madre, rogar vos ei,
751:
701:
658:
656:
654:
652:
612:
610:
307:To Bonaval, since my boy is coming there.
52:spelling), literally "friend song", is a
807:500 Cantigas d'amigo: A Critical Edition
777:Breve diccionario de términos literarios
577:
294:por Deus, que mi non digades mal, e irei
70:
737:Fernández del Riego, Francisco (1982).
663:Cohen, Rip; Parkinson, Stephen (2013).
617:Cohen, Rip; Parkinson, Stephen (2013).
508:Cohen, Rip; Parkinson, Stephen (2013).
472:
303:I want to ask you, my mother and madam,
1511:
649:
607:
370:I ask you that you never talk with him
16:Genre of the Galician-Portuguese lyric
844:
774:Estébanez Calderón, Demetrio (2000).
487:Cantigas Medievais Galego-Portuguesas
377:You lose every word you talk with him
287:que mi non digades oje mal, se eu for
37:
28:
670:A Companion to Portuguese Literature
624:A Companion to Portuguese Literature
515:A Companion to Portuguese Literature
330:
279:
235:
368:And, daughter, if you want my love,
343:E se vós, filha, meu amor queredes,
13:
802:, Vigo: Edicións de Galicia, 1998.
433:Cancioneiro da Biblioteca Nacional
350:E al á i de que vos non guardades:
336:Filha fremosa, vedes que vos digo:
14:
1545:
809:, Porto, Campo das Letras, 2003.
345:rogo vos eu que nunca lhi faledes
352:perdedes i de quanto lhi falades
296:a Bonaval, pois meu amig' i ven
1293:Cantigas de escárnio e maldizer
1191:Cantigas de escárnio e maldizer
837:, Cambridge, D.S. Brewer, 1968.
767:
745:
708:. Madrid: Gredos. p. 386.
400:Cantigas de escárnio e maldizer
379:Without me, o lovely daughter.
363:Do not talk with your boyfriend
289:a Bonaval, pois meu amig' i ven
201:cantigas de escárnio e maldizer
730:
695:
571:
559:
544:
501:
372:Without me, o lovely daughter.
365:Without me, o lovely daughter.
338:que non faledes ao voss' amigo
98:What mainly distinguishes the
1:
741:. Gijón: Galaxia. p. 15.
465:
1519:Western medieval lyric forms
871:Western medieval lyric forms
702:Corriente, Federico (1997).
428:Cancioneiro Colocci-Brancuti
212:are taboo, just like in the
109:Cancioneiro Colocci-Brancuti
30:[kɐ̃ˈtiɣɐð(j)ɐˈmiɣu]
7:
387:
10:
1550:
259:
39:[kanˈtiɣɐðɪaˈmiɣʊ]
1240:
1215:
1199:
1173:
1152:
1121:
1085:
1026:
883:
876:
394:Galician-Portuguese lyric
354:sen mi, ai filha fremosa
62:Galician-Portuguese lyric
830:, Lisbon, Caminho, 2002.
347:sen mi, ai filha fremosa
340:sen mi, ai filha fremosa
334:
283:
106:are found mainly in the
60:, more specifically the
439:Cantigas de Santa Maria
421:Cancioneiro da Vaticana
115:Cancioneiro da Vaticana
739:Historia da literatura
595:Cite journal requires
359:
323:
301:
272:
210:open sexual references
148:(10), Pero Meogo (9),
142:King Dinis of Portugal
87:
1241:By alphabetical order
877:By regional tradition
126:. The seven songs of
74:
675:Boydell & Brewer
673:(reprint ed.).
629:Boydell & Brewer
627:(reprint ed.).
520:Boydell & Brewer
518:(reprint ed.).
414:Cancioneiro da Ajuda
1529:Portuguese language
1524:Galician-Portuguese
1174:Galician-Portuguese
551:Cohen, Rip (2014).
483:"Sobre as cantigas"
460:Galician-Portuguese
325:Bernal de Bonaval 8
274:Bernal de Bonaval 7
50:Galician-Portuguese
835:The medieval lyric
800:A Cantiga de Amigo
784:. pp. 62–63.
455:Pergaminho Sharrer
450:Occitan literature
251:cantiga which use
88:
1534:Galician language
1506:
1505:
1398:Petrarchan sonnet
1236:
1235:
1108:Petrarchan sonnet
826:Giuseppe Tavani,
782:Alianza Editorial
385:
384:
320:
319:
150:Bernal de Bonaval
133:Pergaminho Vindel
118:, both copied in
81:cantigas de amigo
66:Iberian Peninsula
1541:
1303:Chanson de toile
1283:Cantiga de amigo
1181:Cantiga de amigo
1034:Chanson de toile
881:
880:
865:
858:
851:
842:
841:
795:
761:
760:
749:
743:
742:
734:
728:
727:
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647:
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614:
605:
604:
598:
593:
591:
583:
575:
569:
563:
557:
548:
542:
541:
505:
499:
498:
496:
494:
479:
431:, also known as
331:
328:
280:
277:
266:cantigas d'amigo
221:cantiga de amigo
166:cantigas de amor
104:Cantigas d'amigo
100:cantiga de amigo
41:
36:
32:
27:
21:Cantiga de amigo
1549:
1548:
1544:
1543:
1542:
1540:
1539:
1538:
1509:
1508:
1507:
1502:
1438:Sicilian octave
1288:Cantiga de amor
1232:
1211:
1195:
1186:Cantiga de amor
1169:
1148:
1117:
1113:Sicilian octave
1081:
1022:
872:
869:
792:
770:
765:
764:
753:Deyermond, Alan
750:
746:
735:
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584:
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572:
564:
560:
549:
545:
538:
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492:
490:
489:(in Portuguese)
481:
480:
473:
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407:Cantiga de amor
390:
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262:
247:is a lyric and
241:
214:cantiga de amor
45:cantiga d'amigo
34:
25:
17:
12:
11:
5:
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889:
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878:
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873:
868:
867:
860:
853:
845:
839:
838:
833:Peter Dronke,
831:
824:
813:
803:
796:
790:
769:
766:
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714:
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687:
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597:|journal=
570:
558:
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264:Below are two
261:
258:
257:
256:
240:
234:
191:
190:
186:
185:
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175:
124:Angelo Colocci
75:Manuscript of
15:
9:
6:
4:
3:
2:
1546:
1535:
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1530:
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1525:
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1520:
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1479:
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1401:
1399:
1396:
1394:
1391:
1389:
1386:
1384:
1381:
1379:
1376:
1374:
1373:Maldit-comiat
1371:
1369:
1366:
1364:
1361:
1359:
1356:
1354:
1351:
1349:
1346:
1344:
1341:
1339:
1336:
1334:
1331:
1329:
1326:
1324:
1321:
1319:
1316:
1314:
1311:
1309:
1308:Cobla esparsa
1306:
1304:
1301:
1299:
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1279:
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953:Maldit-comiat
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949:
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939:
936:
934:
931:
929:
926:
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916:
914:
913:Cobla esparsa
911:
909:
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904:
901:
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896:
894:
893:Alba (poetry)
891:
890:
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846:
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791:9788420636177
787:
783:
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771:
758:
754:
748:
740:
733:
725:
721:
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715:9788424918873
711:
707:
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688:9781855662674
684:
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642:9781855662674
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537:9781855662674
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23:
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1428:Salut d'amor
1343:Formes fixes
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973:Salut d'amor
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58:lyric poetry
56:of medieval
44:
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1478:Trobar clus
1393:Pastourelle
1353:Grand chant
1298:Cerdd dafod
1134:Cerdd dafod
1103:Ottava rima
1062:Pastourelle
1057:Grand chant
1003:Trobar clus
815:Rip Cohen,
805:Rip Cohen,
522:. pp.
26:Portuguese:
1513:Categories
1488:Trobar ric
1483:Trobar leu
1463:Torneyamen
1333:Ensenhamen
1013:Trobar ric
1008:Trobar leu
993:Torneyamen
933:Ensenhamen
780:. Madrid:
677:. p.
631:. p.
493:August 24,
466:References
156:(7). Even
146:João Zorro
1468:Traethodl
1443:Sirventes
1388:Pastorela
1253:Arlabecca
1144:Traethodl
983:Sirventes
963:Pastorela
898:Arlabecca
236:Types of
225:Mozarabic
206:Obscenity
35:Galician:
1448:Tagelied
1423:Rondelet
1408:Reverdie
1383:Partimen
1368:Madrigal
1358:Kyrielle
1328:Devinalh
1223:Kyrielle
1207:Madrigal
1165:Tagelied
1077:Rondelet
1067:Reverdie
958:Partimen
948:Lo Boièr
928:Devinalh
724:39347425
388:See also
253:dialogue
238:cantigas
229:kharajat
195:rhetoric
158:Mendinho
1498:Virelai
1493:Viadera
1473:Triolet
1458:Tornada
1433:Sestina
1413:Rondeau
1323:Descort
1273:Ballata
1268:Ballade
1228:Triolet
1200:English
1093:Ballata
1086:Italian
1051:Virelai
1047:Rondeau
1043:Ballade
1018:Viadera
998:Tornada
978:Sestina
923:Descort
885:Occitan
260:Samples
249:satiric
1418:Rondel
1378:Octave
1313:Cywydd
1258:Aubade
1216:others
1153:German
1139:Cywydd
1098:Octave
1072:Rondel
1027:French
903:Aubade
788:
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639:
534:
245:Tençon
1453:Tenso
1403:Planh
1363:Leise
1338:Enuig
1318:Dansa
1278:Canso
1160:Leise
1122:Welsh
988:Tenso
968:Planh
938:Enuig
918:Dansa
908:Canso
152:(8),
120:Italy
54:genre
42:) or
1263:Awdl
1248:Alba
1129:Awdl
786:ISBN
720:OCLC
710:ISBN
683:ISBN
637:ISBN
601:help
532:ISBN
495:2022
219:The
208:and
1348:Gab
943:Gab
567:10.
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