long time ago, but not so much that all memory of what follows is completely lost in the vast remote capital of a caliphate, there lived a young man who was serving in the regime of semi-professionals as scribe or clerk in a very named institution or guild who had managed over the centuries to create a good reputation often unfounded, and based on it, made with some other fat surprisingly strong and unchallenged monopoly. The young man, the poetic folk tale we paint requires young, relatively innocent, and somewhat pure in spirit, was summoned one day by the Grand Vizier who guided the destinies of the above institution or guild to the Throne Room. This Grand Vizier was not really the Caliph of the kingdom, but the Caliph left in their hands the most mundane matters: yet, the Grand Vizier only desire was to be caliph instead of the Caliph. Once our young had reached the Throne Room of the Grand Vizier, the latter asked him something that exceeded the usual requirements that the boy had his position as clerk or clerk in that institution or guild: to write a review of a book of songs published has little in one of the Taifa that made the Caliphate. It would seem to unaccustomed to the poetry of the folk tale that the parcel was a small thing, little substance, and easily doable, but who is after the complexities of poetic folk-tale and it seems that the alternative histories moral-know things are always more complicated than they seem: the book of songs was published has little work the very favorite of the Grand Vizier, and the director of the magazine in which criticism was to appear was none other than the mimsmísimo Grand Vizier. The young hero of our story is aware of the danger that lurks when Siquier perfunctoriamente examines the book, he had already spoken to his friend indignantly Good Dutonia Ogre, who had them for a hard money with him and his perpetrator . Listed as hard and dangerous trance, the young man, who is young, but not an asshole, and that is those who believe that amicus Plato, sed magis amica veritas , write a review on this to talk about many, very relevant and very interesting subjects, less than, erm ... the book that has reviewed, and that to avoid saying what they really think about the songs mentioned booklet (already said the young man was not an asshole, or had a special fondness for unemployment or ostracism). The passed onto the editor of the magazine, not long in coming, as the young suspect, a call to go back to the Throne Room of the Grand Vizier, who makes him see that look, pal, I see where you're going, and how will you walk, but I do not give me the cheese, and I want to do is talk about what you speak and speak well, of course, and let the nonsense and rambling, and you know what is if I come with scruples enough to give me a kick in the soil of a Instead of the caliphate to twenty as you sprout. In view of what is seen, and the stern wave of the Grand Vizier, the young, whom I have already said that it is young, but not an asshole, bow your forehead, bend the neck, it alleviates the minutes Bollandiana completito and rewrite critical maiorem ad gloriam the favorite of the Grand Vizier. Of course, it does not slide in the original submitted to the journal an interesting acronym (as expected lost in the printed version) and a pair of evil disguised as compliments to the Grand Vizier, and proud among the proud, and blinded for his constant and blind ambition to be the new caliph, or discover even suspicious. In any case, the second version is, as noted, which reached the press. And then there was the will, as always, the Grand Vizier.
Years pass. The young man is not so, and no longer lives in the capital of the caliphate, or works for the institution or guild monopoly. He now lives in overseas, having lived overseas. The Grand Vizier has already achieved his desire to be caliph, and, even more commendably, has achieved what very few: to be his own successor. As a youth (not so young) and it is free, and has a blog, decided to reprint the text did not like the Big Boss, and share with your friends, and with it (and with) this story, as I suspect not has no clear teaching to offer. Or maybe he did. Sometimes things are not what they seem, others do not seem what they are, sometimes things are not, nor do they appear.]
[ About Cancionero de Palacio (Ms. 2653, Biblioteca Universitaria de Salamanca) Editing Pellitero Ana Maria Alvarez. [Valladolid]: Junta de Castilla y León, Ministry of Culture and Tourism, 1993]
Any opinion is debatable, of course, but I think any expert would consider preposterous that the parcel of hispanomedievalismo that has experienced major progress in the last fifteen years is that which aims to study the lyric cancioneril XV century. Perhaps one of the main reasons for the rise of these studies is the final maturity of the critical prejudices about the lyrics of songs came weighing, solid and long-rooted prejudices in a historiographical tradition leaving an indelible mark on a double curse applied to these texts: first, the caps consisting of insults cast with his usual vehemence by Marcelino Menéndez y Pelayo [1] ; second-and rarely referred to him, which meant default preferred dedication of the founder of the English school of philology, Ramón Menéndez Pidal, in other medieval texts most relevant to their interests and preferences in the aesthetic and ideological, as the chansons de geste , chronicles and romances, this lyrical thing cancioneril excluded from both the impressive work of clearing applied by the master English literature medieval and the undeniable influence the work of Menendez Pidal, and their disciples [2] - had in shaping the tourist sites of medieval philology in Spain [3] .
Without forgetting of names pioneers, such as Antonio Rodriguez-Monino, Pierre Le Gentil, José María Azaceta or Charles V. Aubrun [4] , the breakdown of the unfortunate marginalization song lyric that was submitted is attributable primarily to two Anglo-Saxon whose names hispanomedievalistas can not be absent or the more concise bibliography on the subject: Whinnom and Brian Keith Dutton. The first of these we owe a monograph-auction of a series of articles published over the years in which it rejected the insults of Don Marcelino and defined in a solid and convincing Reappraisal cancioneril critical texts worst understood by scholars, amatory content, came to need: The cancioneril love poetry at the time of the Catholic Monarchs [5] . We to second base that any investigation of literary history need if you want to be fairly serious: a code bibliography which lists and locates all the primary sources of lyric cancioneril English, identify and index the poems contained therein are discussed problems of dating and authorship. Spoke of his Catalogue poetry index cancioneril XV century, work done to make a profound and lasting impression on cancioneril studies had it not been for the very Dutton made it worthless to his impressive century Songbook XV (c.1360 - 1520) , which, on expanding and improving its payroll bibliographic index Catalogue, edited texts from the songbooks less accessible and known thus making it much more than a bibliographic reference: it is, in fact, a songbook songbooks without which it is inconceivable future studies on the English lyrical Quattrocento [6] .
these studies do not assign a prominent place in the renovation of the studies on the lyrics of songs would be as unfair as not having in mind others who have helped make accessible or hidden text before making their interpretation easier and understanding. But the bottom line is, no doubt, access to the texts. And, happily, in this area, nucleus of philological research and prior to any attempt of interpretation, where progress has been greater: in recent years have seen the light of songbooks to stringent editions (those of the Cathedral of Segovia, Estúñiga, Juan Alfonso de Baena, Oñate-Castaneda, from Toledo Marqués de Santillana, among other [7] ) as personal production of poetic songs traditionally ignored in favor of the great names of opera Quattrocento (Mena, Santillana, Manrique, etc. [8] ) .
comes happily to expand this wide current edition of the Cancionero de Palacio (Named after its temporary membership in the Royal Library and now is back to its original location of the Tormes river banks under the symbol ms. 2653 in the University of Salamanca) which we owe to Professor Ana Maria Alvarez Pellitero. It was not unheard the Cancionero de Palacio at all: it was the subject of a partial edition as early as 1884 by Alfonso Pérez Gómez Nieva, edited it fifty years ago Francisca Vendrell miles, and Dutton offers a transcript semipaleográfica in Song [9] . But it would be wrong to think that the pre-existence of these issues calls into question the opportunity output of the review here: Editing Pérez Gómez Nieva is no longer a witness to a venerable relic as plausible as rudimentary philological vocation, editing Millás Vendrell, if meritorious for his life, far from now a valid working tool for the philologist, and Dutton, valuable as an approach to the materiality of the codex, it aims to reach ecdotics budgets that define this we are discussing.
is important to the publication of this edition, we review several factors. First by the intrinsic importance the Cancionero de Palacio as cultural product. It is one of the songbooks earliest build date we know (circa 1440; vid. P. XIII for details), and that age is another factor must also consider the end of interest: the most familiar words from these repositories poetic, "the Cancionero de Palacio is much more representative of the courtly atmosphere and general tastes of the first half of the fifteenth century." The importance of the trial unblemished somewhat if we consider that the term of comparison is the Cancionero de Baena "unusual, even bizarre", as ready availability to students (I refer to the above edition, 1851) significantly distorted subsequent literary historiography: "Had it been published [the Cancionero de Palacio ] in 1851, would have been very different history of literary criticism of poetry cancioneril " [10] . True : facing the dominance enjoyed in the Baena and it said allegorical series of questions and answers, very often a mere pretext for metrificador virtuosity, "here stands out with its freshness and vivacity," the lyric poetry of courtly love and aristocratic character in combinations of [...], cosautes mountain, Esparsas, perqué, etc. " [11] . Sean witness to this piece as songs and sayings of García de Pedraza (poems XVIII, XVIII, XX, XXII cosaute ...), the well-known Diego Hurtado de Mendoza (XVI) and the various series of mountain (XXVIII -XXXIV). These are complemented representative of the irreverent pieces like the fusion of love and religion: the well-known attributed to Alvaro de Luna, "God our Savior" (II), or "love Miserere" by Francisco de Villalpando ( XCIV), significantly strikeout in the manuscript. Finally, a clear symptom of general tenor of the Cancionero de Palacio is the absolute predominance of minor art: only two poems of Juan de Dueñas couplets are written in major art (CIX, CXI).
Second, we review the issue that is particularly welcome because it represents a significant improvement over its predecessors. The objective Alvarez Professor Pellet to his edition of Cancionero de Palacio is clear: "debug and fix it the texts, tracing lost forms difficult to interpret, clarify points explain historical and cultural references and expressions of time, to bring to the student of today the voice of the poet, and I'll say, the copier, yesterday. This, and not the content analysis-is the focus of my edition "(Introduction, pp. XII-XIII). The final result is expected in a solid anchor philological endeavor ("I think that taking care of the transcript is not a luxury for philology, but the very heart of our work," ibidem, p. XVII): a transcription carefully prepared, reliable, guided by criteria that show that neatness and accuracy are not synonymous with palaeographic.
The editing of the text is accompanied by a note which deals, in a concise and effective language to clarify details (especially aragonesizantes features of the language of the copier, without doubt original eastern peninsular), lexical text (often based on the testimony of other songbooks), metric or ecdotics. Some of the notes is dedicated to collecting the discrepancies in the text proposed by Professor Alvarez Pellitero regarding editing Millás Vendrell. Its usefulness may not compensate the great effort that surely has brought his painful collection, have been enough to speak the word face to face.
editing precedes a brief preliminary study (pp. VII-XVIII) where the editor briefly discusses the problems of date and provenance of songs, and a little more thoroughly addresses the features codicological the manuscript (perhaps miss some facsimile of one of its pages) and the criteria followed in the edition (to which we have already accomplished by reference). Suffice it to say that the information essential to contextualize the reading of the Cancionero de Palacio is in these pages.
Continue to issue various indexes: of authors, first lines, general (pp. 387-409). Suffice it to say of them that greatly facilitate the student of poetry Quattrocento access to the compositions contained in the song.
In short, Alvarez Professor Pellet has been made available to scholars a well done edition of one of the most important fifteenth-century Castilian songbooks. The fact, in his simple utterance, and realizes the importance of the book review, and makes the opinion expressed at the beginning of these lines, the lyrics cancioneril of four is perhaps the field English literature that more progress has been made the scholarship in the last fifteen years has a more solid foundation and a little less debatable.
Notes
[11] are the words of María Isabel Toro Pascua, editor of the article "Cancionero de Palacio" in Dictionary of English and Latin American Literature , dir. Ricardo Gullón (Madrid: Alianza, 1993), I, p. 265 b . [Back]
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