[68] Antonio de Vasconcellos, _Anacephalaeoses, id est Svmma Capita
Actorum Regum Lusitaniae_ (Antverpiae, 1621), p. 79.
[69] See also C. V. B., pp. xcv-vi.
[70] An English Crusader writing from Lisbon speaks of _inter hos tot
linguarum populos_ (_Crucesignati Anglici Epistola de Expugnatione
Olisiponis_, A.D. 1147).
[71] _Colección de Poesías Castellanas_ (1779), vol. i, p. lvii. The
important passages of Santillana’s letter have been so often quoted
that the reader may be referred to them, e.g. in the _Grundriss_, p.
168.
[72] Milá y Fontanals (_De los Trobadores_, p. 522) lays much stress on
the resemblance between Galician and Provençal.
[73] It must be remembered that in the early thirteenth century (1213)
the range of the Galician-Portuguese lyric already extended to Navarre
(C. V. 937).
[74] Guiraut Riquier and Nat de Mons placed Provençal poems on his
lips, which may be taken as an indication that he also wrote in
Provençal. As proof that he wrote poems in Castilian we have a single
_cantiga_ of eight lines (C. C. B. 363: _Señora por amor dios_). The
other poem of the _Cancioneiros_ in Castilian (with traces of Galician)
is by the victor of Salado, Alfonso XI (1312-50), King of Castille and
Leon: _En un tiempo cogi flores_ (C. V. 209).
[75] Their antiquarian interest was recognized over three centuries
ago. Cf. Argote de Molina, _Nobleza de Andalvzia_ (Seuilla, 1588), f.
151 v.: _es un libro de mucha curiosidad assi por la poesia como por
los trages de aquella edad ̃q se veen en sus pinturas_.
[76] Some of King Alfonso’s _Cantigas_ were recited in the same way. C.
M. 172 implies this in the lines:
Et d’esto cantar fezemos
Que cantassen os iograres
And of this we made a song for the _joglares_ to sing.
[77] Their popular origin is borne out by the music. See H. Collet et
L. Villalba, _Contribution à l’étude des Cantigas_ (1911). Cf. also P.
Meyer, _Types de quelques chansons de Gautier de Coinci_ (_Romania_,
vol. xvii (1888), pp. 429-37): _paroles pieuses à des mélodies
profanes_.
[78] Padre Nobrega came upon a crowd of _pobres pedintes peregrinos_ at
Santiago feasting merrily and having _grandes contendas entre si_ as to
which of them was cleverest at taking people in. The trick of one of
them was to declare that, being captive in Turkey, _encommendando-me
muito á Senhora ... achei-me ao outro dia ao romper da alva em terra
de Christãos_ (Simão de Vasconcellos, _Cronica_, Lib. I, § 22). Cf.
Jeronymo de Mendoça, _Jornada de Africa_, 1904 ed., ii. 34, and Frei
Luis de Sousa, _Hist. de S. Domingos_, I. i. 5.
[79] i. e. besides the Spanish _cantiga_ (C. C. B. 363), C. C. B. 359,
which belongs to the _Cantigas de Santa Maria_, and C. C. B. 372, which
consists of a single line.
[80] _El Rei aia tres jograes en sa casa e non mais._
[81] Riquier’s _segriers per totas cortz_ (King Alfonso X (C. M. 194)
speaks of a _jograr andando pelas cortes_). See also C. V. 556. The
word probably has no connexion with _seguir_ (to follow). Possibly
it was used originally to differentiate singers of profane songs,
_cantigas profanas e seculares_. Frei João Alvarez in his _Cronica do
Infante Santo_ has ‘obras ecclesiasticas e _segrãaes_’; King Duarte
counted among _os pecados da boca_ ‘cantar cantigas _sagraaes_’, The
_Cancioneiros_ show that the _segrel_ was far less common than the
_jogral_ in the thirteenth century. For _segre_ (= _saeculum_) see
_infra_, p. 93, n. 2.
[82] For instances see H. R. Lang, _The Relations of the Earliest
Portuguese Lyric School with the Troubadours and Trouvères_ (_Modern
Language Notes_ (April, 1895), pp. 207-31), and C. D. L., pp. xlviii et
seq.
[83] This poet, Fernam Gonçalvez de Seabra or Fernant Gonzalez de
Sanabria (C. V. 338; C. C. B. 330-7; C. A. 210-21, 445-7), apparently
obtained some fame by his mystification, unless the object of his
devotion was as high-placed as the Portuguese princess for love of
whom, according to legend, D. Joan Soarez de Paiva died in Galicia.
The latter wrote in the first years of the thirteenth century (C.
V. 937, _Randglosse_ xi). They are the only two Galician-Portuguese
poets--besides King Dinis--mentioned in Santillana’s letter.
[84] _Poetica_, ll. 126, 130. Much of the information of this _Poetica_
(printed in C. C. B.) may be gleaned from the _Cancioneiros_, but it
shows how carefully the different kinds of poem were distinguished.
There were apparently special names for poems to trick and deceive: _de
logr’ e d’arteiro_, and for festive laughter poems: _de risadelha_ (or
_refestela_?) = _de riso e mote_. Santillana’s _mansobre_ is, it seems,
a misprint for _mordobre_. It occurs again in the _Requesta de Ferrant
Manuel contra Alfonso Alvarez_ (_Canc. de Baena_, 1860 ed., i. 253):
Sin lai, sin deslai, sin cor, sin descor.
Sin dobre, mansobre, sensilla o menor.
Sin encadenado, dexar o prender.
[85] e. g. C. V. 300: _Por Deus, se ora, se ora chegasse Con el mui
leda seria._
[86] _q’coi_ (C. V. M.), _qual cór_ (C. V. B.). D. Carolina Michaëlis
de Vasconcellos proposes _quiça_ (cf. C. V. 1006, I. 8).
[87] _Aqueste cantar da egoa que non andou na tregoa_ (C. V. 956).
[88] Or D. Joan Garcia de Guilhade. See C. A. M. V. ii. 407-15.
[89] C. V. 28-38, 343-61, 1097-1110; C. A. 235-9; C. C. B. 373-6.
[90] A large number of _cantigas_ by the same hand would emphasize the
monotony of the kind and provide an unwelcome mirror for contemporary
bards. Of Roy Queimado (fl. 1250) other love-lorn poets said that he
was always dying of love--in verse.
[91] Soares de Brito in his _Theatrum_ mentions ‘Ferdinandus Garcia
_Esparavanha_, optimus poeta’ (= _bom trovador_).
[92] See p. 31.
[93] See _Randglosse_ xii. An incidental interest belongs to this poem
of eighteen dodecasyllabic lines from the fact that in C. V. B. it is
printed in thirty-six lines, as a proof of the early predominance of
the _redondilha_.
[94] Cf. the Provençal passage in Milá y Fontanals, _De los
Trobadores_, p. 62.
[95] He thus overlapped Dante’s life by four years at either end.
[96] T. A. Craveiro, _Compendio_ (1833), cap. 5: _D. Diniz trouxe a
idade de ouro a Portugal_.
[97] A late echo of the early (Alfonso X) legislation against the
_jogral_ is to be found in King Duarte’s _Leal Conselheiro_, cap. 70:
_Dos Pecados da Obra_. These include _dar aos jograaees_. Nunez de Leam
translates _joglar_ as _truão_ (1606).
[98] C. V. 80-208 (= C. D. L. 1-75, 77-128, 76) and C. C. B. 406-15 (=
C. D. L. 129-38). C. V. 116 = C. V. 174.
[99] _Cronica del Rei D. Diniz_, 1677 ed., f. 113 v.
[100] _Mandou hum livro delles escrito por sua mão a seu avò ... o
qual eu vi na livraria do Real Convento do Escurial, em folha de papel
grosso, de marca pequena, volume de tres ou quatro dedos de alto, de
letra grande, latina, bem legivel, e o que ly era de Louvores a Nossa
Senhora, e outras cousas ao divino_ (_Eva e Ave_, 1676 ed., pp. 128-9).
This interesting passage is not included in those quoted in C. A. M.
V. ii. 112-17; it is obviously the source of no. 17. It does not imply
that the poems were exclusively religious. Can the book three or four
fingers in height have been the _Canc. da Ajuda_ (460 millimètres) from
which a section of sacred poems may have been torn? If so the letters
_Rey Dõ Denis_ (C. A. M. V. i. 141) would explain the attribution to
King Dinis.
[101] The language of C. M. and the Portuguese _Cancioneiros_ was of
course the same. Identical phrases occur.
[102] He twice visited Oxford, he says, in order to see the library,
which he describes--_hũa das grandes cousas do mundo_ (_Eva e Ave_,
1676 ed., p. 156). At the Escorial he also examined an original
manuscript of St. Augustine (ibid., p. 150).
[103] C. C. B. 406-15.